The band name, 65daysofstatic, refers to the incarnation of the band. They originally formed to make a soundtrack for a John Carpenter film, "Stealth Bomber";, starring Kurt Russell. The film revolved around a period of time known as 65 Days of Static, when all global communications broke down. Therefore, the band took their name from the movie and decided to create more music together after enjoying their time creating the soundtrack. After many lineup changes, the band released their debut album, The Fall of Math, in 2004.
65daysofstatic is a completely instrumental band, mixing live drums with sampled, offbeat drums to create an Aphex Twin-esque feel from the rhythm section, while keyboards and guitars create more sonic action on the forefront. The keyboard often plays a sparse and simple melody, contrasting with the complex rhythm of the rest of the band. Some songs take a post-rock format, crescendoing throughout the song until reaching a climax and then dying away after that for the outro. However, unlike post-rock, where the climaxes are often the most beautiful sections of the song, the climaxes in 65daysofstatic's music sound almost industrial and gritty. Also worth noting is that tracks 1, 4, and 8 were recorded in one of the band member's homes. These tracks break up the album and don't exceed 2 and a half minutes. Math rock, as the title would suggest, is also a large influence in the band's sound. The time signatures, while not the most complex one will ever see, are still uncommon and create an odd feel about the songs. However, 65daysofstatic will not make the song uncomfortable, as they will revert back to standard 4/4 often.
The first single released from the band, Retreat! Retreat!, is the showcase of their electronic drums mixed with live drums put with a typical rock outfit. The song opens with an electronic bit for about 30 seconds, and then a sampled voice comes across saying "This band is unstoppable." Guitars unleash their fury and live drums take the stage while the electronic high hat can still be heard. Airy keyboard lines float overtop. After a few times throughout the riff, the song takes the volume level down a few notches for just under half a minute, allowing you to give your ears a rest from the pure sonic fury that the band puts out in every song. Then, the riff returns, heavier and more rushing. The keyboard lines take a little more prevalence. The song's outro is down once more finishing with guitar feedback and leading into one of the home recordings.
The next standout, and the best on the album, is I Swallowed Hard, Like I Understood. The song starts with an electronic note that crescendos quickly before repeating itself. Guitar palm mutes enter, and the bass eventually joins them on the same note. Suddenly, the song breaks out into a restrained yet still intense riff. The live drums quickly switch to electronic drums, and they continue to trade off throughout riffs. The song is in 5/4 for the most part, yet the song still moves along smoothly as if it were in 4. A beautiful piano melody floats overtop of the great guitar blend going on underneath. The drumming is really a standout as well on the song; both the live and electronic drum beats are very creative and original. The middle of the song features that piano melody and the drums switching from live to electronic. With just under 2 minutes to go, the song returns to the heavier yet restrained riffs from the opening. Everything drops out but a faint, clean guitar to quietly end this song.
Hole sounds very much like Explosions in the Sky. The guitars sound like they could fit on any of their albums. The intervals used create a lot of tension before releasing into power chords. A synthesized sound takes the forefront in much of the heavier riffs in the song. After the heaviest riff on the album beginning at 1:30, the song reverts to the intro riff and puts a piano riff on top that is actually the same as the main theme of Carol of the Bells. It's haunting, for sure. The mix on this song is somewhat out of place, one can hear the sliding on the guitar a bit too much and the guitars sound a bit of tune with each other. All in all, it's a standard 65daysofstatic song with a bit lacking in the production.
The closer, Aren't We All Running?, opens with a piano melody and the bass up on the fretboard playing the chord tones. The song is in ", and the piano melody sounds a waltz at double the speed. Electronic drums pulse the opening. Suddenly, everything fades out and it's obvious what is coming. A heavy riff. However, the main instrumental theme doesn't change from the opening. The chords are exactly the same. This riff continues on and on for a long time, without much adding on, until everything drops out except an electric drum beat and bass. The same guitar chords can still slightly be heard in the background. The drum beat is very cool, and once again a standout. This sounds the most industrial on the album. Suddenly, even more drops out, and we're left with a dainty xylophone melody. It makes a nice break from the main riff, because after a few seconds of silence, the riff is back. Something that was most obviously coming happens; the riff goes up an octave, making for an intended emotional release. Despite this riff going on for too long, it really is a great riff. The riff closes out the album, along with a huge drum fill.
Despite many of 65daysofstatic's songs sounding the same, it makes a great sound. So much is going on that a listener can always find new things to enjoy about the songs. The home recordings add variety to the album, and although they are short, they are very enjoyable. It is obvious that 65daysofstatic formed to create a soundtrack. Their music always sounds epic and emotional, fit for a movie soundtrack.
Recommended Tracks:
Retreat! Retreat!
I Swallowed Hard, Like I Understood
Aren't We All Running?
