{"id":3423,"date":"2014-04-14T23:43:07","date_gmt":"2014-04-14T22:43:07","guid":{"rendered":"http:\/\/www.thesenseofdoubt.com\/?p=3423"},"modified":"2016-12-10T21:53:18","modified_gmt":"2016-12-10T21:53:18","slug":"three-days-dark-art-beyond-vagaries-fashion","status":"publish","type":"post","link":"http:\/\/box2305.temp.domains\/~thesent5\/three-days-dark-art-beyond-vagaries-fashion\/","title":{"rendered":"Three Days Dark: \u201cArt beyond the vagaries of fashion\u201d"},"content":{"rendered":"

Three Days Dark: \u201cArt beyond the vagaries of fashion\u201d<\/span><\/h2>\n
Alejandro De Luna<\/span><\/h5>\n

Meet Trent Halliday, <\/b>ex-member of the extinct London-based garage band, Deep Sea Green <\/b>and Three Days Dark\u00b4s <\/b>commander in chief, a guitar-oriented solo project that relies comfortably on 60\u00b4s psychedelia overlapped with dirty thick layers of blues, tons of reverbs, fuzz and garagesque <\/i>madness that work out as evocative landscapes through the pure and classic essence of rock \u2018n\u2019 roll.<\/p>\n

Constantly writing music; currently living in the Essex county as an outsider and a loner within the music industry affairs and inspired lyrically by \u201cnature, psychology, the sound of trees, the sun, myth, theology, love and modernity\u201d \u2013 in words of its creator,\u00a0<\/span>Three Days Dark<\/b>\u00a0<\/span>is \u201cessentially psychedelic rock, but with eclecticism and variety, as if you were journeying through a musical psychology, a mental landscape of sound and song.\u201d And indeed they are gratifying reminiscences to early\u00a0<\/span>Floyd;\u00a0<\/span><\/b>the psych and classic rock guitar-driven heroes like\u00a0<\/span>Blue Cheer, The Yardbirds, Cream, The Byrds, The Who\u00a0<\/span><\/b>and\u00a0<\/span>The Pretty Things.\u00a0<\/span><\/b>But despite the comparisons, in\u00a0<\/span>Three Days Dark,<\/b>\u00a0<\/span>there is a refreshing sound immortalized in recorded noise last winter.<\/span><\/p>\n

Trent Halliday<\/span><\/b>\u00a0<\/span>lives on \u201ca steady diet of\u00a0<\/span><\/b><\/span>Tom Waits, Os Mutantes\u00a0<\/span><\/b>and\u00a0<\/span><\/b>The Flaming Lips<\/b>\u201d\u00a0<\/b><\/span>but without leaving behind obscurities like\u00a0<\/b><\/span>Tuba Skinny<\/b>\u00a0\u2013 \u201ca nice 1920\u00b4s New Orleans styles jazz band\u201d,\u00a0<\/span><\/b><\/span>Terakft<\/b>\u00a0\u2013\u00a0\u201ca kind of psychedelic Malian desert group\u201d, and the likes of<\/span>\u00a0<\/b><\/span>Kurt Vile, Hookworms, Foxygen\u00a0<\/span><\/b>and the Mexican garage\/shoegaze from\u00a0<\/span><\/b>Lorelle Meets The Obsolete.\u00a0<\/span><\/b>Overwhelmed by the 60\u00b4s \u201csurprise and dynamism\u201d of psychedelic studio-based opera albums such as\u00a0<\/span><\/b>Floyd\u00b4s\u00a0<\/b>Piper At The Gates<\/i>\u00a0and\u00a0<\/span><\/b><\/span>The\u00a0Pretty Things\u00b4s<\/b>S.F. Hollow,\u00a0<\/span><\/i>Trent<\/b>\u00a0relies on classic rock heroes for developing his art: influenced in the six strings by\u00a0<\/span><\/b><\/span>Dick Dale\u00b4s<\/b>\u00a0\u201ctwangy lines, high reverb and Spanish inspired tremolo picking\u201d guitar style and the \u201cscrappy drunken-master kind of styles of\u00a0<\/span><\/b><\/span>Marc Ribot<\/b>\u00a0when playing for\u00a0<\/span><\/b><\/span>Tom Waits<\/b>\u201d, and vocally favouring \u201cthe great blues, jazz and soul singers like\u00a0<\/span><\/b>Nina Simone, Billy Holiday, Otis Reading<\/b>\u00a0and baritones like\u00a0<\/span><\/b><\/span>Morrison, Nick Cave<\/b>\u00a0and\u00a0<\/span><\/b><\/span>Tom Waits<\/b>.\u201d<\/span><\/p>\n

\"THREE<\/a>Three Days Dark<\/b> debut album was recorded in its entirety by the man himself with \u201cjust three microphones on the whole kit\u201d as an attempt to recreate the sound on early recordings and with a production described as \u201cairy, bright, surf orientated, with lots of maximalism and over-saturation\u201d. In this outstanding solo album released independently, Trent Halliday<\/b> had a whole well-formed concept behind the final achievement: \u201cI liked the idea that the whole thing was a symphonic song, each song being just a part of a larger movement, but capable of standing alone. That\u2019s pretty much what a lot of the great 60\u2019s psychedelic albums attempted\u201d. And it seems that he did not fail. If you listen carefully through the whole album, the distinct elements filled with psychedelic guitar passages in each track are sonic bridges that lead the composition into transitions of harmony and sonic variations within each song.<\/p>\n

You need some proof? Tracks like the opening \u201cHey!\u201d that could easily fit as the song that <\/span>The Black Keys<\/b> let go or never managed to conceive; \u201cThe breaks\u201d as a piece of dirty blues that leads into a heartrending guitar solo; \u201cIt\u00b4s easy to say\u201d, full of reverbs and fluctuations within almost 6 minutes of experimentation; the druggies and 60s-esques \u201cSunblushed\u201d\/\u201cCome black blue sky\u201d or \u201cThe Waves Awake\u201d, a 10 minute long epic, with a start reminiscent to <\/span>Neu!\u00b4s<\/b> \u201cNegativland\u201d that explodes into a \u00a0<\/span>Ron Asheton<\/b>-like dirty guitar sound and proto-punk\u00b4s garage madness.<\/span><\/p>\n