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http://www.skratchmagazine.com
Stendhal
Tubring
Mindless Self Indulgence
December 18, 2003 @ the Trocadero (Philadelphia, PA)
By Pham Wolfe
Ah, Philly, the land of Brotherly Love...though apparently not for the ones who need press passes to do their job. There may have been a mix-up, and the powers that be got crossed and didn't give us clearance to photograph the bands. Hmmm, what is a girl to do? After tracking down the tour manager for Mindless Self Indulgence and blowing him in the bathroom, did we finally get clearance to photograph this show? Okay, I'm lying: the MSI tour manager happens to be female, and—although she is attractive—she lacks the proper equipment for said gift. Actually, all it took was to explain to her who we were. It wasn't hard at all, but unfortunately it was time-consuming. Therefore, we missed half of the first band's set. While we were waiting, I was able to listen to them. What I heard I liked; and when I finally saw them, what I glimpsed blew me away. Stendhal is a Philly-based band whose music is somewhat ethereal in nature, but with an edge. Think The Blue Man Group bred with The Jesus and Mary Chain. Their lyrics are haunting, and their music uniqueness (caused by effect pedals on their bass and guitar). What makes them stand out are their use of everyday items for their drum set: kerosene tanks, water bottles, an oil drum. Drummer Darren Morze is an absolute genius. At one point during their set, each person abandoned their instruments to join him in an intense drum session. Unfortunately, the pure brilliance of Stendhal was lost on this crowd: they weren't "loud" or "hard" enough for this crowd of young punks (who were probably missing their curfew to be there)...
Now, what did we learn from this review, my loyal readers? 1) Stendhal rocks, and you should check out their Website, www.stendhalnoise.com; 2) be prepared to get spit on during an MSI show; and, most importantly, 3) you do not need to perform sexual favors to get what you want—you only need to be polite and mind your manners. (Thanks to the MSI tour manager for teaching us that important lesson.)
SouthJerseyNews.com
Tuesday, September 9, 2003
Right now, `Cryptome' is intense
It can be a good idea to write a review immediately after seeing a show. The freshness of the theatrical experience can inspire better writing. Better reading, too.
But at Cryptome, a Philadelphia Fringe Festival offering that describes itself as "a multimedia neuroblast," the audience is advised to wait several days to experience the full impact of the performance.
So it may have been unwise to write this review a mere 24 hours after seeing Cryptome. This ambitious production is being presented in what the Theatre Exile company calls "a subliminal memory induction chamber" (otherwise known as the Fringe Festival box office) at Third and Arch streets in Old City.
Perhaps the hyperbole with which Cryptome decorates itself is meant to be ridiculous, as befits the thoroughly post-modern political statement this cleverly written, visually inventive but often silly spectacle yearns to make. Techno-gibberish about subliminal memories, media manipulation and virtual information notwithstanding, Cryptome is a one-hour series of monologues-character sketches, punctuated with live industrial-rock music by a capable four-man band called Stendhal...
www.wrappedinwire.com
4/16/02
Impure cd review by Darklight
This four man band states that none of the music provided on this recording was done by synthesizers, samplers or digital manipulation of any kind. This is due to the fact that upon hearing the music contained here you might assume that it was.
What is delivered here are dark and cold experimental alternative rock songs with clean untreated somewhat high pitched male vocals. The music is made up of interestingly played guitar, bass and drums. These musicians make their instruments create sounds I did not know were possible. I have to admit that it’s nice to finally hear a rock band doing something different with their sound for a change.
Some tracks are mid-tempo while others are fast paced and energetic. So there’s definitely a good helping of variety here. And some songs such as “Double Image” have radio hit written all over them. This band deserves recognition. Because they are finally something fresh in the alternative music scene.
www.torkvar.com
concert reviews
4/20/02 - Downtime, New York, NY
...Next up was Stendhal, who are a self-proclaimed "avant rock scrap-metal industrial art multi media destruction" band. Even though their music, for the most part, was a bit pretentious and boring, they were an interesting group. Their drum kit was made up of steel barrels, gas tanks, water jugs, buckets, propane tanks, metal pipes, and other bits of junk. Very industrial. At one point during the set, all four band members gathered around the home-made drum kit and did this really cool four-part rhythmic drumming on all the tanks and pipes, creating a great metallic tribal groove. Pretty decent band.
Skyscraper #10
Jan/Feb 2002
Impure cd review by Joshua Gabriel
Much like Babyland, Crash Worship and Collapsing New Buildings, Stendhal work within and around the framework of composed dissonance. Utilizing power tools, oscillators, movie dialogue, obscure rhythms and warmly subversive melodies set on enveloping its audience rather then intimidating them. Unlike the more popular and equally linear nature of second tier experimental brethren Skinny Puppy or The Tear Garden, Stendhal reiterate a clear sense of compositional prowess, dictating their sounds capes and enhancing Impure's seamless accord. Without proper song writing ascription the band remain casually mysterious, leaving us scent to worry about ephemeral jargon insisting instead un our attention on the whole unit. Under which, the percussive confluence and technical acumen surges beneath a torrent ethereal landscape clasped with shimmering keyboards, prickly guitars and sinister piano passages. Granted, while Stendhal consumes its listeners with a spiraling wash of calculated freakouts (a la Red Crayola or Cromagnon) the theatrics are tempered with echoes of new wave enthusiasm (a la Jesus and Mary Chain or contemporaries Aerial Love Feed). Curiously, the latter half of the disc redirects its stylistic vantage point, shifting into sweeping shoegazing arrangements paired with obtuse power chords and a pulsing rhythm section. Rarely are artists mining parallel territory so completely, fleshing out its arrangements with imminent hooks, memorable vocals and crystalline production. Stendhal implies proof that throughout experimentation and serendipitous discovery can co-exist and create life among the ruins. (Joshua Gabriel)
Buzz Newsletter
January 2002A great Noise/Industrial/Goth/Experimental band known as Stendhal that is based in Philadelphia, Pa. These guys use anything and everything (yes, even the kitchen sink, I think) to record their latest full length release "Impure". This 11 cut CD takes the listener on a sonic journey that explores the boundaries of this genre. The beats and rhythms are punctuated by the crashing and smashing of different objects, be it the guts of a television set, traffic light, or hand-held AM radio, or whatever they wanted to use. This release is interesting in the fact that this listener never heard each song the same way as before. Fans of this genre be sure to pick up a copy of "Impure".
Philadelphia City Paper
January 3 -January 10, 2002
From "Music Picks: Shok Hits Home"....Rounding out the bill is Stendhal. This Philly quartet’s usual sound — made acoustic for Shok’s event — is akin to Einstürzende Neubauten, only made small, quiet and achingly melodic, sans flying burning objects projected your way. No ducking required.
Shok’s Welcome Home Visit, with Sweetie, Zeitmahl, Stendhal, Calidelphia, Sat., Jan. 5, 10 p.m., $7, The Khyber, S. Second St., 215-238-5888.
Philadelphia City Paper
October 11 - October 18, 2001
From "Dozen to Go: New local acts on the move".
Stendhal is an ivy league band. Not because you’ll be seeing them taking physics at Penn anytime soon, but because they seem to have all these musical vines crawling up the walls of indie rock. Even though it seems like they should be a weed, they keep getting prettier — and more widespread — as they grow. Their current EP, Four Songs, follows up last year’s Impure with a few new tunes and reworkings that show off their continuing evolution as Philadelphia’s premier horror-rock quartet. On the other hand, they’ve joined the multimedia circuit, spending two weeks providing a live soundtrack to John Lumia’s splintered, sardonic sketch act, Amputation Nation. And in the last year, they’ve been gaining attention — and a devoted following — from all over the place as an intense synthesis of some of the best underground music from the last several decades: King Crimson, Joy Division, Einstürzende Neubauten. The best part is that they remain refreshingly musical without compromising their exquisitely raw aftertaste. Next on the menu, after trampling the mid-Atlantic next weekend, is an experimental instrumental set at Gate to Moonbase Alpha; knowing them, they’ll break down the gate and shoot the moon.—Helen H. Thompson
www.megakungfu.com
Impure cd review by Matt
Philadelphia area quartet Stendhal combine pure industrial chaos with soulful art on their indy album "Impure". When most people think of industrial, Nine Inch Nails and Ministry pop into their minds. But, Stendhal plays the more pure version of industrial, adding white noise and dissonant chording to their mix of inspired song ideas.
"4th Passenger" is weird. Tinny drums hit your ears first, soon joined by a synth noise that resembles a spaceman's raygun. See? Told you so. Anyways, these noises contribute to the song's ambience, while laid back vocals show that they are beneficial to this performance and this art.
"Double Image" fits echoing chord progressions with loud, thundering drumming and a ton of white noise. The vocals are more upbeat and a lot more emotional than the laid back feel of "4th Passenger". Constantly crashing drums push along, as vocals jab at you and guitar riffs seamlessly flow through you. Eventually, the white noise takes over, then as abruptly as it started, the whole thing stops dead in its' tracks.
The scratching of strings and echoing basslines begin "Third Person Singular". Atmospheric and trippy, the vocals are emotional and full of energy. The sound is laid back, yet ambient, yet background noises still make their way into the equation throughout. "Every Night" first shows you a thumping drum beat and low, dreary basslines. Somber vocals and bits of white noise switch back and forth in the forefront. The vocals remind me of Roger Waters' work on Pink Floyd's "The Wall" album. Slow and laid back throughout, the mood is very saddening.
"Lord Dufferin" begins in a depressing mood with sad vocals, slow drums beats, and dreadful guitar licks. At times it seemingly comes to life with jagged guitars tear through the underbelly and sarcastic vocals that mimic pathetic expressions. Eventually, it returns to its' laid back, ambient feel and takes you the rest of the way home.
Overall, the music and song structures were interesting, although they didn't always hold my attention. At times, I was waiting for an explosion or something energetic to happen, and most of those moments didn't happen. The experimentation factor leads me to believe that Stendhal has a lot of potential, if only the songs gain focus and add more life to this art.
The Philadelphia Inquirer
September 7, 2001
review of Amputation Nation performance by D.K.
'Amputation Nation': High volume, high energy
With its live rock band, ear-filling sound design, banks of video cameras, moody lighting and forcefull acting by John Lumia, Amputation Nation is something to experience...
...The attention is held, too, by the rock band Stendhal, which with the help of sound engineer Bill Reim, fills the small performance space with throbbing sound that is terrifically loud but, oddly, not off-putting - even too these old ears - ...
Legends Magazine
http://www.legendsmagazine.net
August 2001
review of Impure by Mike VentarolaStendhal's CD Impure could have easily been subtitled "Dare" simply because that is what they did. This four-piece outfit didn't strive to create a formulaic album with pretty choruses and glittering lyrics. Instead, they defiled every inanimate object known to man, and like the Blue Man Group, created order from the chaos. They utilized no synthesizers, samplers or digital manipulation of any kind but rather enmeshed the sound of guitar and bass that were put through the rigors of banging and bowing and wove them through a strange cacophony that included everything from metal detectors, oscillators, televisions, and scrap metal.
The Boat Song darkly opens like some ill-fated ship lost at sea. The noise effects give rise to an eerie soundtrack quality. Guitars are abused to reach the right note within the parameters of disorder. 4th Passenger tends to have an alien quality to it. The song embraces the future with its stark sounds, catchy off beat rhythm and midnight quality vocals. Think Gary Numan meets Bauhaus. Double Image delves into a more goth rock friendly style song, clearly demonstrating that this band is quite capable of creating club friendly songs if they had to. In the break, we are once again treated to a sonic world that this band hears and interprets. Even if one is not too keen on avant-garde expression of sound, one cannot help but be amazed at how well this band expertly layers each tone.
Third Person Singular almost segues from the last song with guitar licks that are a tribute to every underground band that has come before them. This track harkens back to the early stages when punk was evolving into goth. Every Night takes a recorded voice and white noise and places it within the parameters of a heartbeat style rhythm. The lyrics are sung over this in an odd mix that resonates with the emphasis of the forlorn. Tundale veers again into the realm of early punk/goth with added background bonuses that one is hard pressed to identify. This is a haunted track full of kinetic energy.
Lucky 7 seems to emanate with an Asian influence with the way the intro portion of the song utilizes what sounds like cans and bottles, each clanged with a tonal intent that works well. Legend Song segues from the previous track with militaristic beats and guitar chords that are from the school of early Bauhaus and the Joy Division. The song leaps from the CD, almost demanding to be considered a classic, which it certainly deserves to be. Lord Dufferin starts a shoegazer style track that opens with 2 guitars and a drum, metronomically keeping time with the vocals, which then segues with tougher sounds to coalesce into a dark rock track.
The Girl With The Purple Face brings us into a mild reverie with sounds that are also backward masked at the opening. This track also works as one that would be club friendly to some extent because it pulsates with great energy between the somber moments. My Life To Live opens a haunted style piano instrumental that seems to have been recorded from a timeless past. Dialogue samples are layered under the music, indistinct, but adding to the element of mental reflection. Once again, the band utilizes sound to reflect the pervasiveness of technology replacing our memories and emotions.
Had Stendhal only created an album full of cacophony, their talent would have been highly suspect. However, they defied the laws of music by utilizing objects to create tones that work harmoniously in their songs. Much of this work is reflective of the early punk/goth transition, yet with the added machinations of objects that were never meant to be used as part of a music venue, they clearly brought the underground world full circle.
In a world where every 20 years everything old is new again, Stendhal pays great homage and does justice to the early roots of the punk/goth hybrid era. That is not to say that this is an album steeped in merely borrowed elements of that period. Instead, they have taken all that was great about that time, added some expert touches, utilized additional sound effects and handed us what could be a glorious future for the underground musical movement.
Stendhal demonstrated that a band does not need fancy gadgets to create something new and innovative. They took sound from the world around them, or tweaked it out of objects for the desired results, culminating in an album that is well done, thought provoking and entertaining. The work may not be to everyone's taste due to the somewhat experimental nature that is woven within the songs. However, fans of early underground work as well as "noise" fans, will find that it is a refreshing album.
Philament
http://www.candelabra.org
August/10/2001
review of Ulanas performance by NightshadeI was truly psyched to see Stendhal. The last time I'd seen them was at the Balcony with TTV and Carfax. Unfortunately, the acoustics at the Balcony leave much to be desired. So I jumped at the chance to see them in a good venue.
Stendhal is something of an unclassible band. They aren't goth, or industrial, or anything else you could name. The only thing that comes to mind for me is "experimental rock." But whatever you want to call them, they're entertaining.
The group consists of Jeff Bera (vocals), John Yorio (guitar), Darren Morze (percussion), and Kevin Miller (bass). Darren sits behind one of the most interesting drum sets ever created. Some of his instruments include: a 50 gal. drum, a one way sign, a propane bottle, an old metal gas can, and a power drill. Kevin and John have both been seen using their instruments in unique ways, including using foreign objects on the strings and manipulating pedals. But Jeff is not to be outdone, what with his rather battered saxophone and canister vacuum. The music is truly unique. Nothing is digitized or sampled, which is a nice switch from the over-use of the DAT that I've become used to. The sounds are created by using imagination, not technology.
When Electrichead and I arrived, Stendhal was setting up in the balcony. I approached Jeff and gabbed for a few minutes. He relayed the horrors of the night thus far. A leaking roof, a party next door, and a somewhat cranky lady of the house. Jeff said, "Yeah, everyone seems very grumpy tonight." But his spirits were high, along with the rest of the band’s. They were even sweet enough to give me two free CDs. They get extra points for being so nice.
"Double Image" is one of my favorites. The bass work is fantastic, working against the driving guitar rhythms. The beaten sax makes an appearance, sounding like a middle eastern flute. The total piece is flowing and beautiful. "We thought it was a nice way to die," is the first line. "Lucky 7" is another favorite of mine. Probably because this one has the clearest lyrics. You all know how much I love being able to understand what I'm listening to. And that's one flaw of Stendhal. Sometimes their music overshadows their lyrics. And I have yet to find lyrics listed anywhere. So, it's a guessing game. "4th passenger" gives the listener a chance to hear the unique drum set up. You can pick out the tin quality in the music, which is sometimes lost in the MP3s. Along with the percussion is an eerie guitar vibrato that always reminds me of alien movie music. But it's a great song nonetheless.
Stendhal is a band that must be seen live. Their ingenuity can only be appreciated by experiencing them. CDs and MP3s will only give you half the thrill. The light show is great, although the projection screen can draw your attention away from the stage. But be forewarned, their music isn't for everyone. Some people can't get past the sometimes dissonant and bizarre sounds. And the cryptic lyrics can annoy you.
My suggestion: give them a listen before you see the show, just to familiarize yourself with their music. You'll have an all around better experience for the research. Check out their website at: http://www.stendhalnoise.com/ or on MP3.com. Me personally, I loved the show. Originality along side with musicianship makes for a very entertaining time.
Seventh Circle
http://www.seventh-circle.com
January 2001
review of Impure by Sparrow
Based out of Philadelphia, this foursome has attracted some attention from fans and other bands alike with their very original and impressive latest release "Impure". This is their first full length release and before I even sat down to review this and fully explore it's musical depths I had heard praise for it from other bands that the Seventh has reviewed in the past...so I was looking forward to it even more.
Stendhal harkens back more to the early days of the movement (hell, I can even hear some influence from King Crimson at times) rather than trying to compare them to any modern acts as they experiment more with a physical sound than something that is computer generated. I've heard remarks that they use everything from big metal oil drums to metal detectors straying from the use of traditional drum sets which should make their live show something to experience.
"Impure" is a collection of very well put together songs with smooth vocals and imaginative music to back that up. They are even able to include songs that have "hook value" which is something that is usually hard to do with the music that they put forth (Double Image and the Legend Song are good examples of that). I'm a huge fan of any band or artist that tries to push boundaries with their music and Stendhal are one of those without a doubt.
Rockpile
January 2001
Volume 7 Number 1
review of Impure by Mark Ginsburg
Sailing in with strange noises and seemingly random beats, squeals and static reaching out and clawing at the frontal lobes, there is an immediacy to the way the opening track on this disc builds. "The Boat Song" is an instrumental, which slides easily into "The Fourth Passenger", an edgy and eerie tune with some of the most hypnotic percussion ever devised. Each song on this strange and wonderful disc oozes magnificently into the next. Vocals slither beautifully around the guitar and bass. "Double Image" features an interesting and appealing little sax solo, while "Third Person Singular" displays a tense and mesmerizing relationship between each player, as if they are reaching out and then pulling away, trembling. Stendhal is a striking mix of gothic, industrial, and experimental influences, transcending all to make a unique and glorious noise.
Philadelphia City Paper
December 7 - December 14, 2000
review of Impure by Helen H. Thompson
"Johnnygoth" Yorio, guitarist for locals Stendhal, recently described their sound as "sonic terrorism." While that may conjure images of the sort of antitonal distortion fests that drive the pulse of the hardest industrial tunes, Stendhal’s fury is a heck of a lot more musical than that. Their inaugural disc, Impure, is remarkably un-digital, with a heavy horror influence. Distorted bass, spidery guitar giggles and a percussion array that includes such demented additions as a bent-up one way sign and a provocatively miked water cooler bottle help yield the astonishing result of an ambitious resurrection and update of a sound that peaked in early ’80s London. It’s a welcome break from over-programmed, over-sampled "underground" music that’s never two steps away from techno, and from so-called alternative music that’s hashed from a static formula unchanged since 1989. Evocative and infectious, Impure has a beguiling energy that demands your attention.
University City Review
September 20, 2000
excerpt from the article: "Goin' Underground:The Best Bands in Philly...Part One"
by Mark Ginsburg
All the way across town and a millions miles from FDB in style, there is the somewhat gothic, somewhat industrial, hauntingly experimental band Stendhal. Another recent addition the scene, this 4-piece combo first came together in the Fall of 1999.
A Stendhal show is complete audio and visual experience; joining film, music and lighting to create a storm cloud of artistic possibilities. The guitarist, bassist and drummer are each amazing soloists, who somehow seem to coexist in this swirling mass of noise. Guitarist JohnYorio plays spare notes and then blistering passages, first a slight cloying presence, then a full on assault of distortion. Bassist Kevin Miller has this odd talent for making his instrument do things a bass just doesn't do. Drummer Darren Morze has taken the concept of percussion and re-defined it, tricking out his kit with everything from a propane tank to a watercooler bottle to a metal detector to a bent one-way sign.
This is art and this is entertaining. Stendhal avoids pretension by simply being an enjoyable listen. The songs slither into your consciousness, take hold and keep you swaying from one to the next, until the set is over and it seems like it only just began.
Like FDB, Stendhal has a debut full length hitting stores soon, sometime in October. Again, watch for it, and in the meantime, if atmospheric experimentation is your thing, see them live.
Tape Op: The Creative Recording Magazine
Sept/Oct 2000
review of the self-titled EP
from the "Under the Radar" column by Rob Christensen
This four-song EP was recorded by bandmember Darren Morze on a Fostex R-80 1/4" reel-to-reel through a powered Spirit PA mixer down to a "very shitty" Tascam DA-30. Darren writes that he "hates DATs, but you gotta do what you gotta do." This is a great example of Tape Op readers making cool music on equipment that's available to them. It sounds really good. Morze describe's Stendhal's music as "weird experimental rock n' roll" which is as good a description as any. A good introduction to an up and coming Philadelphia band.
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