New Music

Experimentalist AUX ERA comment on their impressive, self-contained debut EP

AUX ERA by Seanbryant Dunn
AUX ERA by Seanbryant Dunn
Some say we we need experimental, mind-bending art to teach us how to experience it, and in case of music, how to listen. We’ve seen hundreds of amazing artists and bands that work tirelessly toward a mission to create sounds and commnmpositions that defy categorization, teaching us about the healing and hugely inspiring properties of sound, and discovering every other worthy experimental troupe is just a blessing. That’s exactly the case of Brooklyn based psych rockers AUX ERA!

The band’s debut EP is crackling with unbridled imagination. Every few minutes, AUX ERA undergoes a stylistic metamorphosis, implementing musical inventiveness and adventurous atmospheres in nearly every scene. They’ve clearly succeeded. We have teamed up with them to learn more about each and every track, which they commented on below.

For fans of The Mars Volta, Black Mountain, Portishead, Colour Haze, Minus the Bear.

AUX ERA’s self-titled debut is out now via Magnetic Eye Records and Bandcamp.

AUX ERA cover

Shine On

This is a great set opener, which is why it is song one on the album (our album plays out as our live set currently). The bass and drums lead off with an awesome, tense groove followed by a creeping synth melody. The guitar doesn’t even come in until the two minute mark. One thing we wanted to highlight with this band was a sense of space and in this song, all elements-bass, guitar, synth, drums, and vox- are present and clear, everything has room to breathe. – Dylan

This song was much longer when we were first started arranging it. There was an extended bridge section where Dylan did this echoed, almost spoken word thing over a quiet synchronized drum and bass rhythm. I still have a practice recording of that version and hopefully we can use that part one day! – Tommy

Rearview

Straight up rocker. One of those songs we basically wrote in one practice. It’s simple and gets to the point. – Dylan

I wrote the opening part after a Fugazi binge on the way to practice one night. Joe Lally has always been one of my bass heroes, and that kind of bouncy, unique way of playing riffs is ALL him. The song very quickly became more of a fast, spacey Failure thing (Greg Edwards being another huge influence). It’s our most straightforward song, and is a good reprieve from the longer, denser songs on the rest of the album. – Tommy

Imposters

Full disclosure, when I wrote this song I was basically trying to write a Portishead song. The creepy vibe, moody lyrics, very simple transitions. it’s also the one song on the album that is written from the perspective of a fictional character. The middle section of this song is my favorite part. its droney and psychedelic, but in a murder ballad kinda way. I’d love to explore those sonic avenues more. – Dylan

This is my favorite song on the album, and probably my favorite song I’ve ever been a part of writing and recording. Emotionally, it just really hits me. At over 11 minutes, there are so many different moods and dynamic changes on this song, yet it flows along at a slow and patient pace. – Tommy

Flagburner

This song is about all the people in your life that inspire you to get up and try the things you are afraid to try. I love this song, it may be my favorite on the record. – Dylan

This song has that “Disintegration” quality to it, and is a nice, mellow comedown after Imposters. – Tommy

Remedial Math

Another rocker, a bit more mathy. – Dylan

This song is definitely the most noisy and challenging to play. Jeff had the biggest hand in coming up with that spastic rhythm part in the last 3rd of the song. – Tommy

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