By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
By Drew Ailes
"The other big thing about Standstill, too," muses Tyler, "is that we're starting to incorporate new restrictions, and all of us are playing with the same source tone. The stereo outputs of my tones used to go into everyone's pedals. Now we've changed that. Instead of a big stream, it's a feedback loop that's really dangerous — because if all of us turn up at the same time you'll just get straight feedback. Now we've got it so that Carson's tone goes into Nathan, then goes into me and into Peter. So at any one time, any one of us could be playing an instrument and everyone else can be affecting them."
A similar technique is used by artists like Minamo and Geologist from Animal Collective, but the Suicide Pact's particular take on looping incorporates the ability of each member of the band to manipulate the source tones rather than all tones going to one source, with one person wielding that power on any given song.
"It's like if we were those four-armed characters from Mortal Kombat; in a circle jerk, you can reach out to everyone else," summarizes Carson with a laugh.
Kevin Costner Suicide Pact has confounded some audience members and caused others to enter meditative states — and whatever its music can be called, or however it can be described, it has effectively crossed its own boundaries with every release. And it's already helping to make ambient music exciting again by virtue of the inventiveness of its approach.