The math rock subgenre can be seen as the wilder identical twin of post-rock. Whereas the latter uses a variety of instruments to conjure soothing melodies and wispy, neo-classical ballads, math rock uses the same method to create chaos with its irregular rhythm and highly unusual sound, like entropy through musical expression. Both subgenres stem from the underground rock scene of the 1980s when bands strived to make their individual sound more unique and fine-tuned. And although they both thrived on their experimental nature and made their indelible mark in coming decades with a wide range of influential bands, math rock arguably had more of an impact on the culture of rock music as a whole.
When you consider its history, math rock was a necessary step forward for rock music in the early ‘80s. Progressive and psychedelic acts generated considerable buzz in the mainstream circuit with the success of bands like Pink Floyd and Jethro Tull. Math rock rode the wave of these popular artists, employing their sounds while combining with it a fast-paced energy and an ever-changing shift in tempo. The vocalist was usually downplayed or foregone entirely and the drummer was given more musical emphasis for being able to lead the highly intricate pacing. Critics couldn’t agree on a coinage for what they were hearing and thought of the sound as very “mathematical.” In an interview with Pitchfork, Matt Sweeney, lead singer for math rock band Chavez, joked that the term “math rock” originally had a derogatory connotation. He said that his friend wouldn’t react to any of their songs and would instead “take out his calculator to figure out how good the song was.”
It is undeniable that math rock is something a lot of listeners simply won’t understand, but younger generations may already be familiar with its derivatives. The brevity of the songs contributed to the creation of subgenres within heavy metal and hardcore music such as grindcore and screamo. The brutality of the songs matched perfectly with the post-hardcore subgenre, as seen in the extremely popular “mathcore” band, The Dillinger Escape Plan. As generations unfolded, the math rock sound branched off and became more aggressive and frantic in order to appeal to the wider market of heavy metal.
If math rock ever had a community, most fans would be quick to tell you that it can be found within the Midwest, but there are a number of bands that pioneered the same style in D.C. and Virginia. If you’re enterprising enough to dabble in off-beat, “experimental” music, give these bands a try.
Breadwinner
Finding a typical math rock sound is as easy as listening to the now defunct Richmond, Va. band Breadwinner. When it comes to their 1994 album, “The Burner,” their influence is uncontested in the mere 20 minutes of playtime. Whereas most people find songs like “Tourette’s” and “Mac’s Oranges” too avant-garde and artsy for their taste, others may find it to be highly addictive. There are no vocals — just a crazy, flavorful instrumentation. Their songs match disorder with precision, and you’re almost able to visualize the whole band letting loose with each new track.
Honor Role
Standing on the periphery of hardcore punk and math rock, this fellow Richmond trio also helped to stylize the trademark of the irregular tempo. For fans of the band both in and out of the Richmond area, their self-titled 1997 album is a well-kept secret. And with their unbridled ferocity, they were one of the driving forces behind the popularity of “mathcore” bands in the following years.
Hoover
Formed in 1992, this D.C. band might fall more on the emotional-hardcore side of the math rock spectrum, a point that’s only amplified by the fact that they have multiple vocalists in their songs. Their self-titled 1997 album is oftentimes seen as too mawkish for math rock standards, yet it contains the same hyper-fast segues of the genre. Whatever genre their music may be, Hoover predated the emotional-hardcore trend that would become all too prevalent in the new millennium.
scho@theeagleonline.com
