Today, Polyenso, the band formerly known as Oceana, have released their long awaited new record, One Big Particular Loop. In celebration of the first new music since 2010's Clean Head EP, and the first release under the new name, Polyenso has teamed up with Sanctuary Review to give you a deeper look at what went into the thirteen new tracks. After the jump, you can check out what the band had to say about their new album.
We did a lot of the pre-pre-production for this album on garage band, believe it or not. That’s where this song and many others were created. But the percussion loop was a chopped and screwed garage band sample, so we obviously had to remake it. With Matt Goldman’s help, we tried several different approaches until one finally stuck. I like the way that this song introduces one element of the album at a time. You get a small taste of everything you’re about to experience. You get the bleed from the last song of the album into the first and the first into the second, the natural tones mixed with the electronic, and the repetitive layering loops. This was the song that the record was named after.
2. Dog Radio
This song was actually the first song that we wrote for One Big Particular Loop (that made the cut). We chose to put this song second because it once again encompasses so many aspects of the album in one track. It went through so many changes over the span of our three year writing period, that it almost didn’t make the album. After a good sit down with Goldman, we decided it meant too much to just shelf. The vocal take in the first part of the first chorus was actually the original take from the garage band demo, done from the MacBook mic.
"Push" was also one of the first songs that we wrote for the album. It all started with the lead melody in the chorus, and the rest followed. It’s absolutely one of the most straightforward tracks on OBPL. It’s about love and skateboarding.
4. Falling in Rain
We were going for a very raw, yet “up close” feel for this one, if that makes sense. It was the only song we tracked live. Which was cool because of the nakedness of it. Our trumpet player, Alec [Prorock], is the newest addition to the band. When he stepped to the front of this song like he did, none of us were expecting it; but we went with it and I think he did an amazing job introducing himself.
5. Meeting Grey (Cricket)
As much as I want there to be, there is no mystery to the “(Cricket)” portion of the title. It was just our working title for the song, and is still what we call it. This is one of my personal favorites. I think our R.E.M influence was definitely revealed through this track.
6. Pocket Soul
This song has a contrast like none of the others. From the verse to the chorus you have a strange distinction between dark and mysterious, to hopeful and delicate, yet still very melancholy. We’re all big fans of bands like Wilco, Bright Eyes, and Elliott Smith; so I’d like to think of this song as our homage to them. While we were recording the album in Atlanta I took a trip to the Sweetwater brewery where I met a girl who played the violin in this folk band that happened to be performing outside. I introduced myself and told her about the album, one thing led to another, and the next day she showed up at Glow in the Dark and laid down some beautiful violin tracks. I think those tracks were the icing on the cake for "Pocket Soul." Thank you.
7. Counting Fish
This core of this song was written by Denny [Agosto], if you couldn’t tell. Our influence of soul, hip-hop, and jazz is prevalent in this track for sure. It is such a fun song to play live. For a while, we were playing with two drummers, which was a real treat. Hopefully we’ll be able start doing that again on future tours.
8. Cherry Life
This is another super fun track. This is the one where we could let it all hang out. This song is about the bittersweet of everyday life. Brennan [Taulbee] uses the simple metaphor of cherries to represent this. You have the sweet, red, maraschino cherry; that is almost like candy, which is great, but you know it’s not genuine. Then you have the natural cherries; you have to watch out for that pit, and the bitterness makes the sweet all the more enjoyable. I’d like to think that the contrast between the two is apparent within the music as well.
9. New Garden
Goldman loved the percussion from the original pre-production track so much that we ended up keeping it on the final. The layering of folk instruments on this track is also something that we’d never attempted before, but we ended up loving the way it came out. This is one of the wildcards of OBPL. For a while we didn’t anticipate this song making it onto the album. But I think it gave us all a warmth and comfort that we couldn’t ignore. Every album needs a ballad right?
10. Danger Signs
Another fun/funky track where we ended up dissolving a few boundaries for ourselves. If anyone would have brought to the table the blending of electronic and pop-funk, we would have probably shot it down right away. But the song just ended up manifesting, and we rolled with it. This is another one we had to evolve from a garage band demo.
11. Always Ending in You
This is another one of my personal favorites. The layering of this track could have been a disaster. There is so much going on, and each part is so special; but once again it ended up manifesting itself into an incredible, sincere, love song. And I feel that it’s a perfect description of our journey in creating this album.
12. Be Too Well
Although “Always Ending in You” would have been a perfectly fitting ending to the album, we thought that it brought too much closure. Instead, “Be Too Well” sits at number 12 on the record because we want our fans to know, we’re not done so soon. We’re still writing, changing, trying to dissolve our own boundaries, and step outside of our own comfort zones to create the music that we love. As long as they keep listening, we will have the ability to record and tour. So as well as a statement of perpetual creativity, this is really a thanks to them. Without their belief in us, this record would have never been created.
This is one of those songs that either our devoted fans will listen to, or you’ll end up listening to it on accident. "Doom))" was actually a full song before we got to the studio, and we had full intentions of recording it. Instead, someone had the idea of throwing up some room microphones while Brennan played the piano to the song, and we cleaned up the ridiculous mess of instruments and such that we had made in the tracking room. Double productivity! It turned out just the way we wanted it to, and ended up giving us the freedom of blending the album’s end with the album’s beginning to ultimately create our loop.
Sanctuary Review would like to thank the guys in Polyenso for working with us to bring our readers this track-by-track. You can get One Big Particular Loop now, through Polyenso's Bandcamp.