I Can See Electricity at the Proper Distance

1. Favorite Plea

2. Invalid Entry

3. Got A Light

4. Not the Regular Glass

5. Watching Smoke Dance

6. Doomed to Repeat, I Say Doomed!!

7. Bobs Attempt at a Television Commercial

8. Curses...

9. Some Sick Affliction

10. The Truth About Faerie Tales

11. Rappaport Vs. The Jet (That Bombed the Grocery Store)

Editorial Reviews

Herald Times
"...demands repeated listening."

Product Description
Chaos never died. This is experiential music. This is anARTchy and poetic terrorism. This is all subject to change.

A violently honest canvas filled with compelling instrumentation, hauntingly addictive vocals, and lyrics of the wisest insecurity. "Electricity" intentionally is an uneasy listen, harboring displacement early on. Disparate ideas immediately collide becoming entangled and indistinct.

I Can See Electricity at the Proper Distance

I Can See Electricity at the Proper Distance,Panic Strikes A Chord

Average customer rating:

Jeremy Strikes A Honda--and how!

left to nothing with psac

I Can See Electricity at the Proper Distance

ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music
General | Rock | Indie Music | Stores | Music
ASIN: B000056EZX
Release Date: 2000-12-15

Tracks:

Favorite Plea
Invalid Entry
Got A Light
Not the Regular Glass
Watching Smoke Dance
Doomed to Repeat, I Say Doomed!!
Bobs Attempt at a Television Commercial
Curses...
Some Sick Affliction
The Truth About Faerie Tales
Rappaport Vs. The Jet (That Bombed the Grocery Store)

Album Description

Chaos never died. This is experiential music. This is anARTchy and poetic terrorism. This is all subject to change.

Customer Reviews:

Jeremy Strikes A Honda--and how!.......2001-05-03

Jeremy Brightbill's expansive experimentalism on "I Can See Electricity at the Proper Distance" is, I must say, quite remarkable. Songs mutate, twist and vibrate under the harsh glare of truths too pertinent to be idly brushed aside; emotions that are transitory yet, at the same time, too horribly mesmerising and beautiful to be hastily identified and dispensed with. Dare I say this album rightly represents a complete emotional cycle, if you will: exploration, discovery, and acceptance.

The first track, "Favourite Plea," is perhaps the most dark and haunting track on the album, and sort of outlines a 'plot' for the rest of the album to follow (upon repeated listening, however, it seems that, at least according to the lyrics, the songs are not quite in the proper order!).

The second track, "Invalid Entry," is a rumbling instrumental number that, despite its lack of lyrical content, conveys an extraordinary emotional intensity (tip: pan the speakers all the way left or right during the answering machine messages--you can hear a little more). My only complaint about this track is that the drums could have been a bit more solid, but of course, in saying this, I am somewhat biased! (It should be noted that the a-bit-off drumming does not in any way detract from the 'feel' of the song; indeed, it perhaps adds to the sense of emotional dissonance.)

The third track, an acoustic number titled "Got a Light," is a small work of lyrical genius, coupled with superb songwriting and arranging; the production on this track is excellent, with the guitars and cello, etc. sounding very animate. How far into this one can you read? "Do as thou wilt shall be the whole of the law..."

The seventh track, "Bob's Attempt at a Television Commercial," is perhaps one of the best tracks on the record. The guitars shimmer like fine crystal, intertwining indiscernibly with each other in a cascade of perfect harmony. Brightbill's vocals on this track are of such stark honesty and persuasion that one might, for just a moment, forget one's self and think that one were actually him, living out the bittersweet scenario that is portrayed therein.

On the tenth track, "The Truth About Faerie Tales," Brightbill's lyrics are on point enough to keep you interested, but just vague enough so that the interpretation is still largely up to the listener. The verse, with its staggered beat and slightly shaky vocals, is extremely evocative; the chorus, downright infectious--not at all in a manner which is in any way annoying or maddening--and beguiling. The track advances in this fashion for a few minutes and then seems to fade out, only to return with an almost mantric repetition of the distortion-driven chorus, and it is here that Brightbill's studio skills shine, as he plays all of the instruments with the greatest ease and confidence. Indeed, on both this one and the above-mentioned track, "Bob's Attempt...," it sounds almost as if he had hired session musicians, so effortless and flowing is the instrumental work.

And the last track, "Rappaport vs the Jet (That Bombed the Grocery Store)?" This track, so I believe, could encapsulate the entire record, or at the very least it touches briefly on almost every minute aspect of the range of emotions encountered on this recording. And considering how many millions of parsecs Mr. Brightbill's plateau of sentiments must span, that is quite an achievement indeed! The disparate elements of the song cohere together perfectly; lyrics of fragmented optimism leave the listener with the feeling that life's possibilities are boundless, but one would do well to watch out for bulls**t along the way.

Well, though I could go on for quite some time about this record, it exists for you to listen to, not for me to talk about. With that in mind, GO BUY IT!

left to nothing with psac.......2001-01-10

whether it's the smoke and coffee or jeremy's anguished razor slitting wit, panic's live performances are malignant, choked with tears and caffeinated decelaration.

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