Following a triumphant return last year that saw them tearing through the main stage at the Laneway Festival and further cement their deserved reputation as one of the loudest bands of all-time, the original lineup of New Zealand legends Bailterspace now unleash a new album of thundering psychgaze with trinine.
Alister Parker creates more jaw-dropping guitar tones in each song here than most bands could even dream of in their lifetime. Brent MacLachlan’s tight drum kit snaps and cracks and drives behind the squalling riffs as John Halvorsen’s bass grumbles and forms a thudding atmosphere. The barely contained power of the band always pushing at the seams, as few bands have ever harnessed the ability to walk that edge quite like Bailterspace. Parker continues to drop vocals in almost as if he has to find a quick hit in-between the wall of noise madness behind him. Returning to record together again in New York City, the trio don’t look back for a second as they fashion a howling and maddeningly hazy beast of an album that challenges any band today to match it for intensity as it careens about wounded and dazed through the city streets, forming a soundtrack for late nights gone sideways in an unfamiliar town.
Far from nostalgic for the 90’s, the band has built upon 2012’s Parker and McLachlan produced Strobosphere to continue an amazing streak of powerful performances here, showcasing a thrilling tenacity and manic mix of noise and melody. Where Strobosphere was coated in a 2am blur, Trinine is the confusion and menace lurking in the hours that follow. Bailterspace continue to remind us that we need guitar heroes now more than ever, providing a vital offering to those thirsty for six-stringed salvation in an age of laptops and pretenders.
Before Bailterspace there was The Gordons. Formed 1980, Christchurch, New Zealand. Future Shock 1981, still electrifying. Then, there was Nelsh Bailter Space. Then Bailter Space. Alister Parker (guitar, bass), Brent McLachlan (drums/percussion, samples) John Halvorsen (bass, guitar) – the core. Hamish Kilgour (The Clean) and Ross Humphries (The Terminals, the Pin Group) came.
Then they went.
Over seventeen years Bailterspace mobilized recording technologies to capture audio. They organised noise. Audio was reproduced into seven different longplayer phonographs. Tanker, Thermos, Robot World, Votura, Wammo, Capsul and Solar 3. Plus manifold extended player (EP) phonographs. These were disseminated via Matador Records and Flying Nun Records. The populace procured the multiple reproductions of this audio. They were amazed at what they heard.
From Christchurch, which is also the only air departure terminal for Antarctica, the band migrated north. First Wellington in New Zealand, then New York, in the United States of America. In many urban settlements Bailterspace performed their work to the public. It was a mosaic of radiant frequencies. Metrics and decibels. In 1999 the mass media communications outlet Pitchfork described them as “a huge mess of sound that’s simultaneously beautiful, jagged, atonal, and supremely melodic”.