Photo by Melissa McLaughlin
Interview: Bristler send debut album ‘Cascades at Play’ into orbit
The band discusses debut album and change.
Bristler sends cosmic energy into the universe. Fiery, gaseous orbs emanate from their souls, as evidenced by the band’s debut, Cascades at Play. They begin their orbit with the moody opener “Mirror Image,” in which they allow the guitar’s tender meow to set the stage for the album. That tension stretches throughout the record, and with the frenetic, guitar-quaking lead single “Jaguar Shark,” they dress up the album’s crucial centerpiece.
The song serves as “the propulsion machine or something,” says frontman Rudy Meier. “It sets the tone for the rest of the record in a loose arc. Not that it’s a concept album or anything, but ‘Jaguar Shark’ is kind of like the thesis statement – go after whatever it is you’re looking for, push through your self-doubts and trust the process.”
Due to it’s sheer “energy,” Meier says, it only made sense to kick off the project. “It’s one of the faster songs on the album, but it’s also very straightforward without any unexpected left turns…except maybe the very end of the song. The drums have always grabbed my attention as a listener and serve to give the song a sense of urgency, and I wanted our first drop in the bucket to be something exciting – can’t beat 16th notes on a hi-hat!”
Cascades at Play comes after Meier’s previous endeavor, Wetbrain, dissolved. Admittedly, the breakup came as a relief, feeling like “the right move at the right time. I’m a big fan of a new chapter,” he says. “I guess it kind of reinforced that time is fleeting and nothing is permanent, so I should be as creative as possible with the time I have while I have it…and that, in turn, actually led to me making the (very scary) jump to doing music full-time.”
With an album’s worth of material finished in 2021, Meier and his new outfit — also comprised of drummer Biff Swenson and Yawn Mower bassist Dana Yurcisin — returned to those recordings to reevaluate their meaning and carve up their sound. “I knew I was proud of what we had done, but didn’t know what I should do with it. I also didn’t have a band to play it live, so I really kind of felt stagnant but didn’t let it stop me from working and exploring any avenue I could,” Meier explains. “Once I started getting busier with music/music adjacent work, everyone around me was like, ‘What’s up with YOUR stuff?’ I started to feel like maybe people actually would dig it, and it was time to find a band.”
What emerges is an explosive, hypnotic project that skips around the Milky Way (just listen to essentials like “Tiny Little Pieces,” for example), and you get the sense that the band is leaving a profound trace on music itself. Their musical stains linger in the air, allowing the listener to become lost in their cataclysmic, star-strewn universe.
Cascades at Play is now available on all streaming services and for download.
Below, Rudy Meier reflects on his previous band, favorite album moments, and being inspired by film and TV.
Are you often inspired by films and TV you see?
To a degree, sure. It’s hard to pinpoint exactly where inspiration comes from because it varies often, but I’ve always tried to approach writing – music or lyrics – with visual concepts in mind…and I do get a lot of that from the things I watch, but I think it’s more so from being out in public, people watching or just taking in the surroundings.
How did your perspective shift on music heading into the new era of Bristler?
Personally, it brought out an emphasis on the fun side of things – being in a band is a good time when you’re with the right people. The camaraderie and adventures are what I live for in music. It’s why I wanted to be in a band in the first place. That being said, I’m also looking at it with a more professional and logistical mindset while keeping myself in check – we’re all throwing spaghetti at a wall, really…but making a mess can be fun! Certainly lends itself to writing!
Did those recordings drastically change?
For the most part, the songs remained structurally intact. There were a few spots I reworked and changed. Keep in mind I was recording this album in my bedroom during the height of the pandemic, so I had a lot of time to doll things up with no real deadline.
“Tiny Little Pieces” possesses some of the most layered, intricate choices in production/arrangement. How did it evolve?
That one is the prime example of an extremely drastic change. It started out as a dark, trippy, almost jam band tune with a bit of a sea-shanty vibe in 6/8…if that sounds awful, it’s because it was. It just wasn’t working, and I got frustrated thinking like, “Why am I even doing any of this?”, and in a sort of manic fit, I started chopping up all elements that were there into…wait for it…”Tiny Little Pieces” because I truly felt like I wanted to explode into…wait for it…”Tiny Little Pieces.”
You play with similar sounds, tones, and textures with “Bank Robber,” for example. How did you come drawn to use these blips and bloops in your work?
I do a lot of finger-style taps on guitar and whatnot and have since I was young. It’s always intrigued me for a few reasons – at the top of the list, it offers a seemingly endless amount of possibilities in the realm of harmony and countermelody from one set of hands, which can be very useful when you are the only guitar player in the band. Second, and especially for this album, it can easily sound “glitchy,” and some of my favorite bands (specifically Minus the Bear and Radiohead) have always utilized that aesthetic to great success. Third, it’s visually interesting. Pair it with some cool pedals that can add some extra syncopated blippity blops and textures and you’re off to the races, really.
“Bank Robber” speaks to the “inevitability of change.” How do you relate to change? Are you good in dealing with change? What has change taught you in your life?
Change is something I’ve grown accustomed to expect. Without going into long-winded detail. I feel like I’ve lived a thousand lives. I hope that doesn’t come off as a self-serving, “tortured artist” thing…I’m good with change. Naturally, there are growing pains but eventually, I embrace it. I just have to complain about it first.
What are your favorite moments on the record, whether a rhythm, breakdown, etc?
It’s hard to be objective because I’m so close to it, but a few highlights for me would be “Skipping Rocks” as a whole, just feel like we really nailed the groove with that one, everyone is in the pocket but each instrument really occupies its own space…the chorus of “Counterclockwise” always lifts my spirits. “Lowlife” is a really personal song for me so I’d say lyrically that’s a standout…and the whole second half of “Test Your Water” might be my favorite noise rock/cacophony jam I’ve ever done.
How have Dana and Biff inspired you and made you think differently about music?
So I’ve always been very detail-oriented. Working with each of them is the first time I’ve truly felt like I’m working with musicians as detail-oriented as I am, as focused on serving the song as I am, etc, and we’re not afraid to be honest or open about parts/sections where we can improve, even if it’s just the tiniest thing that makes it 5% better…It speaks to their authenticity, and it speaks to their respective skills across the board – it all inspires me to stay sharp. We keep each other on our toes and push each other to evolve. It’s absolutely great.
