Audiomancers.

I was take this space to rant for a while about how much i hate being treated like a vending machine when i'm behind the counter at my place of work, but then i got home to find Good Night, States practicing in my living room. Please excuse me, then, for taking some time to describe just why and how much i love them, as i've been meaning to do so for some time now.

The thought to write this post came to me as i was looking at one of the many machines GN,S uses to power their music. Sitting about 10 inches high, 10 inches deep and about a foot wide, the box was made out of the most plain looking wood you can think of. On the front, various wire protruded, leading, no doubt, to various basses, guitars, or keyboards. All around the jacks for these wires were knobs, switches, and a couple bright indicator lights of red and green.

I have no idea this device does. Trevor said he hadn't gotten around to labelling any of the controls. In case you missed it, that little comment of the bassist's implies that he built this peculiar little soundbox.

THIS, in a nutshell, is what sets GN,S apart in my mind. They are not just musicians (although they are, and great ones at that), but engineers of their beautiful, unique sounds. I would hazard to say that approximately 60% of the equipment you see on stage was built from scratch by the performers with an additional 20% having at one point been repaired or modded by them.

Now, ok, if this is the best evidence i can give for the awesomeness that is Good Night, States, all i've really accomplished is showing you the geekiest band since Anamanaguchi (who rock, btw). Fortunately, it is the live show which really displays their talent and their need for so many personally and specifically constructed pieces of equipment.

It takes them a while to set up. In fact, you can find pictures on their websites of the numerous diagrams they've created in an effort to discover the best and most efficient stage setup. Dan (drummer) is usually in a corner, behind his kit and little chimes and xylophones, making the craziest faces you'll ever see a human being make while doing something that doesn't involve severe physical danger. Opposite him, Megan (synths) and Joe (guitar, synths) are stationed behind a bank of keyboard synthesizers, with Joe's guitar rack and pedalboard trapping them in. Crammed between these two are Steve (lead vocals, guitar) and Trevor (bassist), Steve front and center, behind a microphone and tiny city of pedals, and Trevor stalking around just behind or to the side of him, finding space wherever he can.

It is difficult to categorize Good Night, States' sound. "Synth-folk" is the term i believe they are using now, and its a pretty accurate explanation. The melodies, the lyrics, the feel is all very raw and pure, something you wouldn't expect to hear in this age of auto-tuned producers-turned-artists. They are beautiful, catchy, sometimes simple: something you enjoy singing or clapping along to, which makes it so much more jarring when they break the song down in a turbulent maelstrom of noise, sound, and dischord.

In a number of their songs, there is a breakdown, an unraveling of all the neat threads that make up the fabric of the song. Feedback pours and writhes out from the amplifiers. The bass line, keyboards, and drums are out of sync and seemingly playing random strings of notes and beats. The synthesizers blanket the cacophony with static, pings, bleeps, screeches. And in the midst of the chaos are the musicians, focused, intent on their instruments; they are not lost in the storm. They are creating it. Like mad, musical scientists, they have engineered a monster and are using their many devices and skills to corral it, control it, shape it and direct it into something useful. Something beautiful.

And they succeed, dear reader.