Titan to Tachyons features guitarist Sally Gates(ex-Orbweaver, ex-Gigan), backed by the powerhouse rhythm section of Kenny Grohowski (Secret Chiefs 3, Imperial Triumphant, Brand X) and Matt Hollenberg (Cleric, John Zorn). Inspired by surrealistic sci-fi, the collective use their full power on “Earth, And Squidless”, walking the fine line between avant-garde and full-on metallic. If 2020 is a new golden age for experimental (and experiential) metal, Titan to Tachyons stand at the forefront of this new era. Heavy, forward-thinking, and unapologetic, this is a new reality.
The song is from Cactides, releasing on 14 August via Nefarious Industries, and was recorded, mixed, and mastered by Colin Marston at Menegroth, the Thousand Caves (Dysrhythmia, Behold… The Arctopus, Cleric) in Queens, New York, in conjunction with the 50th anniversary of the moon landing. The closing track, “Everybody’s Dead, Dave”, features guest musician Trevor Dunn (Mr. Bungle, Fantômas, Secret Chiefs 3) on bass for a structured improvisational piece. The record is completed with artwork and layout by Sally Gates with photos by Karen Jerzyk. The LP is pressed on bone white and gold vinyl with aqua blue splatter, with a full-color insert in a polybag, hand-numbered, limited to 300 copies.
Gates says, “‘Earth, And Squidless’ is a little different from the other tracks on the record. It had the fullest band involvement to complete it and dives further into using improvisation as a composition tool, expanding upon a more minimal set of ideas. Thematically, it explores experiencing uncertain, illusory perceptions of reality, and trying to distinguish between alternate timelines. Musically, this translated into creating vast hypnotic space, with cyclical ostinatos throughout, juxtaposed with driving, upbeat riffs.
“The piece was written after Matt had joined, the first live performance of a Titan’s song featured Trevor Dunn on bass – and finished shortly before entering the studio. At that point, there was a clearer idea of the trio’s sound and capabilities, so it was developed with the full band in mind. Kenny’s input in the studio also helped transform and elevate the final solo, with his very descriptive notes and images. Matt added his brand of polyrhythmic displacements to the piece, which evolved into the intro. When I first played it for him, I joked that it would be easier than the other songs to learn, as there were only five riffs, in contrast to ‘The Starthinker Is Obsolete’, which has roughly 13 parts). However, it still ended up being just as involved in its own way.”