Fusion Shows | Native

Live video of "Coin Toss" the first of three videos made by Made of Chalk http://t.c& href="http://twitter.com/search#8203" target="_blank">#8203;o/jrKhUjEKO8 http://t.c& href="http://twitter.com/search#8203" target="_blank">#8203;o/dUFbMMXZoZ

I have to review my favorite song performed by Native on March 25th, 2013, in Montreal at L’Escogriffe. This favorite Montreal dive bar, at first, seemed like a peculiar location to film a killer video, but it became clear this was home. The vibe and lighting accompanied Native‘s tension and rebellious attitude. These cats were so real and nice to the Spread crew, I was blown away. Also, the connection between them and another band close to my heart, Tomorrow, St. Peter, was too big to ignore, having played together at the Straight Edge Coalition‘s loft in Sweden. I found myself analyzing every piece of music as if it would save my tired soul. Watch the video before you read, so you really get how big this is. I promise to deconstruct this song and the writing approach just for you guys. The recipe behind the production of this timeless and perfect track. It was not by chance, nor was it a fluke, but masters at play.
Is it just me or are these crazy bastards playing to the tempo of children playing and other vocal samples. I’ve only seen this type of thing in Powerviolence and it’s a style that always impresses me as a listener. It’s the rare time that I don’t know where a song is going. Playing with tempo instead of time signatures. Hmmmmmmmm….. song has the trademark Native presence forcing forward a wall of sound with their killer cabs. The song then falls into, what I call, groove number two. It’s the point of the song, really. A great shuffle with amazingly placed accents on the open high hat, creating a triplet feel within the binary shuffling groove. Then comes the Rage inspiration hidden within the song geniuse
ly with the punches aside the groove of the shuffle, creating more bass drums and a bigger heavy progression. The first loud, straight, and forward chorus-like riff returns and the drummer does some nice triplet work on the ride using a Samba-like ride pattern that’s more broken and rock influenced. Now, the part I really want to talk about. It is what led me to be inspired by this song, and on that evening was the last groove. The first time I heard it, I was astonished. I’ve smoked NNDMT many times, so I know what astonishing means concerning human experience and sincerity of meaning. It’s not dramatized. You really don’t understand what’s going on! Your mind is blown wide open in front of this musical circus, and they are doing what seems like inhuman musical athletics of the mind and of placement. After listening to the track some more, you realize that the last groove is the primary shuffle with awesome accents layered over the punchy Rage rhythm, leading to this insanely pro beat. You have to cut all your high hats because your almost in an over ride, but like, engineered in reverse. There is always a scared way to novelty, just like Nassim Haramien‘s theory. My point is for anyone who ever said that the Native guys are just a bunch of rich kids playing with pedals…suck it. This song is so mature and has a Fusion jazz approach. No fluff as they told Spread, when we met them. Look how true it is. Words have meaning, as do symbols. Try and read between the lines and understand. It’s what Steve Wilson was recently saying to Spread about how no one engages with music anymore. Native and their fans do. It doesn’t happen by itself. Honest human contact on a biological level. This song as a musical narrative divorced from the lyrics attains that height for me. This song is for kings by kings. Play along, that’s cool, or understand and join us. Buy albums, Support Native and L’Escogriffe! Spread it, bitches.

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