Obelus is the Seattle based live electronica duo of Adam Pessl and Jason Goessl. Played through the traditional instrumentation of guitar and drums, Obelus takes these familiar sounds through a matrix of samplers, effects, and sequencers to recombine them into an eclectic mix of tempos, textures, and moods. These live electronic collages are best described as lush ambient synthesizer and bass driven loops propelled by complex rythmic progressions that take the listener on a sonic escape to the untempered regions of musical imagination.
BEATSEEKING MISSIVES
OBELUS
by Dave Segal
Goessl and Pessl? Sounds like a merciless law firm, but these gents actually form Seattle experimental electronic outfit Obelus, crucial players in this city's underground scene. Named after a symbol used in ancient manuscripts to mark a defiant or obscure passage, Obelus formed three years ago when Minneapolis transplant Jason Goessl and Seattle native Adam Pessl discovered their mutual interest in electronic/IDM music at a DJ Colossus set at Liquid Lounge. They bonded and began creating tracks. Further inspired by musicians and DJs like Lusine, Jerry Abstract, Mr. Projectile, and Adam Linz (AKA DJ Pat Morita), Obelus ambitiously broadened their musical vocabulary. Before moving to Seattle, Goessl says he "freelanced as a jazz guitarist and was drawn in by the sounds of electronic music and quickly saw the potential to transform my jazz chops into glitches and synth tones." Pessl's drumming jones was fuelled by hiphop and funk. He honed his chops in various trios, which eventually led him to electronic music. "From there," Goessl says, "the melding of acoustic and MIDI drums has been a constant driving force in Adam's musical motivation." Like FCS North, Obelus stand out in Seattle's electronic community for flagrantly using old-school instruments like guitar, bass, and drums in addition to what the musicians call "a matrix of samplers, effects, and sequencers." Employing both analog and digital means in recording and playing live give Obelus an edge (more possible permutations with sound, more flexibility) over artists who exclusively use one domain. "We do feel it is an advantage," admits Goessl, "because it gives us more to work with and allows for constant change. More options for creating sounds keeps our music fresh and in turn keeps us excited about composition. We derive sounds from every imaginable source we can get our hands on." As hosts of ...BASSKAMP..., a showcase for Seattle's subterranean sound explorers, Obelus vent their new music every Sunday night at the Lower Level in the Capitol Hill Arts Center. The duo's blessing--and perhaps their curse--is that they have no trademark style. Rather, Obelus range all over the map (and sometimes shred the map). But no matter which mode they employ--ambient, techno, electro, funk, abstract IDM, or experimental soundscaping--Obelus prove themselves to be sonic epicures, creators of acutely nuanced textures and rhythms. Obelus seek "to bridge the gap" between laptop/DJ aficionados and live-band audiences, Goessl explains. "Obelus' combination of electronic and acoustic instruments can draw in a non-electronic listener (because of the visual aspect of the performance) as well as staying technical enough for the electronic junkie. We have been performing with two visual artists (Sean Frego from the Now Device, and Cedar from House on a Hill), who project fantastic digital images in sync with our music. This is yet another aspect that bridges the gap between the two distinct audiences."
www.thestranger.com/2004-08-05/data.html
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