Much of the hopes and dreams of preceding generations is concerned with the transmission of cultural heritage and tradition to future descendants. The same occurs in music, as artists constantly strive to either revive their influences or innovate new styles for future followers. In essence, music is like a family tree - comprising the history of different genres, showing the trails that have been trodden and what bridges remain to be crossed. Electronic-rock is no different, from the grandfathers (Kraftwerk, Brian Eno) to the offspring (Radiohead, Animal Collective). As forefathers fade into history, new artists ultimately arise to fill the void. That is what the Philadelphia-based Grandchildren looks to become - the proud inheritors of those who came before them.
Grandchildren is the story of six talented, multi-instrumentalists playing the parts of an ensemble double their size - often happening on stages with enough room to comfortably fit three, maybe four people at most. What occurs as a result is not just a notable live show featuring their creative original work, but a choreographed round of musical chairs where the band members walk on a tightrope through their intricately-devised presentation.
Despite what appears to be a predominantly electronic influence upon first listen, songwriter Aleks Martray does not define Grandchildren as electronic-based (or rock-driven, for that matter). Instead, he cites a blend of world music, folk and orchestral arrangements as the band's defining inspiration. While they may not be solely self-defined by electronic music or a particular focus on indie rock, their sound does draw from all these genres and more, fusing styles that resonate somewhere between the progressive folk of Akron/Family and the African polyrhythmic syncopation of the Dodos. Combine their acoustic side with an electronic lineage comprised of Merriweather Post Pavilion and The Eraser, and Grandchildren becomes what Martray appropriately refers to as "electro-acoustic orchestral pop music."
Grandchildren made a name for themselves only recently, about midway through 2009. Before that, the band did not exist in its current incarnation and was a continuously evolving, longstanding project of Martray's. Grandchildren's roots formed several years ago when Martray played in numerous projects with current drummer Roman Salcic and bassist Russell Brodie while attending the Maryland Institute College of Art in Baltimore. From their initial acquaintance, their paths would later realign - along with the help of some new friends - to assemble Grandchildren's present lineup.
After college, Salcic and Brodie moved to Philadelphia, where they lived in a Victorian house that later evolved into Danger Danger - a DIY venue that hosted artists including Dan Deacon, War on Drugs and Times New Viking. While living there, the two met fellow roommates and musicians John Vogel, Adam Katz and Tristan Palazzolo. Martray eventually moved into the Danger Danger house with his friends in 2006 and started to lay down the framework for Grandchildren.
These years were a far cry from the current band. As Martray recalls, "I wrote and recorded drafts of all the songs in my tiny third floor bedroom which was crammed full with electronics and instruments. This new approach of writing through the recording process really evolved the music into the layered beat-heavy sound that it is today." Soon, however, Martray saw the need to expand his project and with the help of his housemates, gradually added instrumentation to his tracks and received collaborative input. Slowly but surely, Grandchildren developed from a fledging solo project into a talented, well-refined act.
For a band whose recordings are so highly produced, pegging Grandchildren as another bedroom project or sample-based group would seem reasonable, if not logical. Since Radiohead and other pioneering acts popularized electronic-based rock, an onslaught of artists have followed in their footsteps. For the most part, these imitative disciples have lacked the ability of their hybrid-embracing predecessors to replicate their sounds live without the heavy use of sampling. Yet Grandchildren faithfully replicates their studio work, without an overbearing reliance of sampling. This authenticity is not only where Grandchildren differentiates itself from other contemporary bands, but also where they shine.
After seeing a Grandchildren show, what stands out most is how much the band radiates when they are in their element and showcasing their music for their fans. Most of their finest moments on stage reveal new and exciting layers of their recorded work, as is the case with their sprawling song "Ant Hill." Off their upcoming record,
Cold Warrior, this six-minute epic prevails as its own triumphant string of mini-movements, complete with distinct, animated sections including a lively brass buildup. The song remains impressive in its own right, but only when Grandchildren exhibit their track live does it turn into an stirring routine, displaying the band in all its glory. During its performance, five members switch instruments (including three on drums) and Palazzolo meanders away from his bass and microphone setup to delve into trombone. Movements like these often require a ballet of climbing over gear.
After finishing up 2009 with a seven-week tour that was both booked and organized by the band itself, Grandchildren envisions 2010 as the year all the pieces start to come together.
Cold Warrior, being released this spring through Green Owl Records, is the first official album from the current incarnation of the band. Its vibe is titillating, the result of careful listening. "We re-recorded parts all across the city to get the sound we were looking for," says Martray. "Horns in the local brewery where some of the guys work, at a studio at Drexel University and in warehouse studios." A promotional tour will follow, part of a determination to make their own mark on their overarching lineage.
http://www.myspace.com/grandchildren
-Written by Max Blau, Featured as the Cover Story for Performer Magazine (March 2010)
