Description
Demonstrates Plastic and Elastic is the fourth album by the American alternative rock band The Violet Burning, independently released on Ruby Electric Recording Company in 1998. Re-issued on Northern Records in 2001, distributed by Tamplin Distribution. The album was recorded and mixed by Anthony Arvizu with band leader Michael J. Pritzl producing.
There are some definite benefits of being on the fringe, and The Violet Burning are enjoying them. Freed of any label restrictions, main Violet man Michael J. Pritzl is able to make the kind of album he just plain feels like making. His fourth album, Demonstrates Plastic & Elastic, is the result of his desire to bring more of an alterna-pop sensibility and brooding balladry to his signature brand of underground rock in yet another incarnation of the Violet Burning that typically bears little resemblance to its predecessors. The more metallized hard-rock look of the band and overall vibes recalling The Cult that filled the 1996 self-titled effort are now replaced with consistently more goth-rock qualities ala The Cure and the Sisters of Mercy (right on down to the guitar sounds and lipstick), as well as some passing glances at Nineties arena rock from the Smashing Pumpkins, Radiohead, and the more ambient offerings of U2. Whereas all of these inspirational sources are potentially worthy, The Violet Burning could afford to go farther to differentiate themselves from these other bands.
Nevertheless, Pritzl has succeeded yet again in creating an album that is greater than the sum of its parts. If you were to break down the musicianship instrument by instrument, you would find nothing of virtuoso status worthy of a write up in Musician magazine and its imitators. The guitars, bass, and drums are fairly unremarkable, but some of the synthesized effects and nearly industrial drum loops help jazz things up. The highly effective combination of all the instruments playing together, however, works well in setting moods and creating an enjoyable and engaging listening experience. Even Pritzl’s voice, which ranges from a brooding low whisper to a high and wispy screech, lacks power and pizzaz. Yet he caterwauls here in shades of joy and frustration that undoubtedly make a visceral and absorbing impact. Couple this ability to create music of import with the commendable production presenting a clear and wide range of sound that far surpasses most indie offerings, and you have an album that is at all times melodic and memorable. Pritzl’s strong songwriting and arrangement skills make the album succeed, even where it seems unlikely.
Demonstrates Plastic & Elastic can be neatly categorized into two very distinct moods. About one half of this album, particularly the first, is represented by edgy pop songs, including stand-outs like «Moon Radio» and «Berlin Kitty». These two in particular are the kinds of catchy songs that your local radio station ought to be putting into heavy rotation, and launch the album with a jaunty pace. The other half of the album consists of moody ballads mostly collected toward the end, like «Seamonster» and «We Close Our Eyes», which are unquestionably beautiful and well executed. Regrettably the album loses momentum and slides off into redundant areas that recall some of The Cure’s and U2’s work a bit too closely. Regardless if whether such imitation suits you, these songs remain hauntingly moving.
If you are one of those fans that routes around for evidence of faith in the lyrics, you’ll find very little to satisfy you. The nearly gospel/hymn quality of «Elaste» which frames the album, however, offers up a plea that can be easily interpreted as a call out to God:
Lay your hands now on me
Let your love cover me
Sing your sweet songs to me
Pour your love over me
All my days are with thee
Let your love cover me
I know you feel like a highway to the sky will help you get it right
Will make your eyes catch fire.This level of poetry is consistent and even surpassed throughout the album, which mostly explores the obstacles and elation associated with relationships in this often tortured world.
Of course, being on the fringe can also lead to uninformed production choices, and The Violet Burnings have committed a minor offense here. Annoyingly the twelve listed songs do not correspond to the numbers, mostly due to the insertion of musical reprise bits and interludes which could have been included as part of one of the existing tracks, but instead are given their own. Until you get used to what is where, you may have trouble finding that really groovy song that you wanted to share with a listening buddy.
Dark yet hopeful, and wavering from merely smoldering to fully alighted, these songs serve The Violet Burning’s desire to conquer the world one album at a time. [Steven S. Baldwin, The Phantom Tollbooth, 3/1/99]
CD tracklist:
01. Elaste – 7:40
02. Moon Radio – 4:00
03. Berlin Kitty – 4:22
04. She Says Electric – 4:43
05. I’m No Superman – 3:22
06. Oceana – 4:56
07. Sugarlight U.S.A. – 5:51
08. Ilaria – 3:54
09. Robot Fluide Robot – 3:04
10. Gorgeous – 4:53
11. We Close Our Eyes – 6:44
12. Seamonster – 8:30
Note: Tracks 3, 6 and 11 are either faded in or out intros or outros. Tracks 15 to 17 are silent. The album was re-issued by Northern Records in 2001, distributed by Pamplin Distribution. Available at Bandcamp: https://northernrecords.bandcamp.com/album/demonstrates-plastic-and-elastic
CREDITS. Produced by Michael J. Pritzl. Additional Production by Michael Misiuk. Recorded and Mixed by Anthony Arvizu. Mastered by Mark Chaleki. Design by Josh Kellman.
Musicians: Michael J. Pritzl (Vocals, Guitar, Bass, Tambourine, Maracas), Robbie Farr (Guitar), Herbie L. Grimaud Jr. (Bass), Michael Kalmar (Backing Vocals).
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