Did Somebody Say “Unexpected”?

Did Somebody Say “Unexpected”?

Adriana SaboThursday,15 January 2015

Behind the name of rryrry, we find Harry Perry, a man from Britain currently working in Sweden, that turned out to be a welcoming soil for his love for experiments. He writes that “An early introduction to folk, Asian and classical music met with an adolescent obsession with alternative rock and David Bowie to form a fairly unique musical taste,” which is most definitely true, as he is influenced by David Bowie, Nine Inch Nails, Faith No More as well as Arvo Part, an Estonian classical composer, writing mostly meditative, spiritual and religious music. His music can best be described as eclectic–and I mean really, completely eclectic–as Perry is not afraid to combine different role models and try out new combinations. Sometimes, he gets it right, sometimes not so much, but what can’t be denied is his amazing creativity that will surely take him places. Last year, he released a five track EP titled I want & the me culture (self-released and self-produced) that can help shed some light on the poetic of Harry Perry.

I want & the me culture starts slowly, with a track titled “The Good Life,” obviously inspired by Asian music (among other things). The whole song is basically off key, with different layers–voice, instruments–falling out of and getting back in synch. “The Good Life” can be understood as the artist’s attempt to convince himself and the audience that he leads a good life. The music, on the other hand, seems to be telling us that things are not exactly as he would like them to be, with numerous glissandi and “wrong” notes, suggesting that he is standing on a slippery slope. “This is the Salon” introduces the synths and picks up the pace, with Perry’s voice going “in parallel” and “against” the music once more. “Horror Express  [Give Blood cover]” moves further into the experimental zone, with more and more effects being used. The track sounds somewhat “dislocated,” as the voice is moving between singing, talking  and “meowing.” The music flow is constantly interrupted by different short fragments, resembling the technique of short cuts, used in visual (video) arts.

“Salad Heart” is, again, different than the third track, bringing a bit of the dance beat to the EP, as well as a more energetic, even aggressive atmosphere. The final song, titled “Knowledge, all the Knowledge” is, in my opinion, the most extreme one, since the disassociation of different layers of the track is here at its highest. It starts with one tone being repeated in the electronics, and the voice singing the words off key. After this slow begging, things start to pick up as more and more layers are introduced into the sound picture. After the culmination, everything goes back to the sound the track started from, making a logical conclusion.

It seems that the love for eclecticism took Harry Perry to a world in which nothing is impossible. In this sense, I must say that this EP lacks a bit in cohesiveness–which seems to be the point–but this lack is compensated by a fantastic ability of mixing some unexpected genres. And I must say, it is really hard to do something unexpected after all that was done in the 20th/21st century music. Kudos, Mr. rryrry.

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