Minot

Matthew W. Solberg (ex-From Monument To Masses., TURKS), Shannon Corr (ex-Sons of Oswald, TURKS), Ben Thorne (ex-Low Red Land, current- TARTUFI) got together in 2011 in order to give 30 Seconds To Mars a run for their money. Matthew Solberg: Guitar Benjamin Thorne: Bass Shannon Corr: Drums Every time they plug in, MINѺT delivers unnervingly intense instrumental rock designed to flip the dance-switch in the listener’s brain with a platinum sledgehammer. MINѺT’s style is deceptively complex: livid post-punk energy roils beneath a surface of cooly understated psychedelic instrumental composition. Their music is immediately familiar, yet they’re a singularity in the world of post-rock. MINѺT (pronounced “MY-not”) has very little to do with those ubiquitous reverb-soaked crescendo-rock bands; they don’t borrow those sounds, nor do they dwell in melancholy themes. They are a bundle of contradictions: dark, but up-tempo; heavy, but danceable; aggressive, but patient. Their style has been shaped by experimental bands on the fringe of rock music, like Turing Machine, The Psychic Paramount, The Paper Chase, and Future Of The Left. These influences brought the three members to an interesting musical intersection. MINѺT puts experimentalism and fury back into instrumental rock. Guitarist/midi-programmer Matthew Solberg, formerly of From Monument To Masses (Dim Mak Records), began writing the music that would become MINѺT shortly before FMTM broke up in 2010. He and drummer Shannon Corr had played together for years in the San Francisco Bay Area noise rock band TURKS as a rhythm section and it was that dynamic which largely defined the way they would proceed in 2011 with MINѺT. Solberg’s guitar playing shunted into Corr’s drumming the way a bass guitar would, which allowed bassist Ben Thorne to explore a more unconventional space. Thorne had played for years in Low Red Land (Thinker Thought Records) and years later MINѺT would be fortunate enough to share his skills with San Francisco’s Tartufi (Southern UK), a band with whom he still plays. His basslines throttle uncannily through roots and melodies alike. Corr’s drumming burns tirelessly and almost mechanically, invoking memories of Jerry Fuchs. Solberg has left most of his pretty melodic arpeggios behind, opting for jagged, biting riffs that shudder with strange effects and hummingbird-quick strumming.