The CAMARILLO BLUES TRIANGLE was formed whilst river dwelling and war mongering were necessary and fashionable, respectively. With me (Cyrus Melchor) on guitar, synths and mixing console; Alfred Di Maio on drums and synthesizers; and Shahen Hagobian on bass, we native Angelenos twist resonance switches, pull delay pads and occasionally utter a few lilting lyrics.
I first linked up with Alfred Di Maio at the Black Eyed Peas' studio in Atwater, CA where I was producing Blood Of Abraham's Eyedollartree record and he was drumming for DJ/Producer Poet Name Life. His rhythms completely sucked me in. I never heard such insanity. Untamed, unschooled and out-of-control, I had to jam with this guy. He told me he went to John Marshall High School in Los Feliz, California one year after I graduated. A fellow Barrister, I really had to jam with this guy. I was looking for somewhere else to go because hip hop was getting so damn trite, stale and corporately contrived. I'd been working on other people's stuff as a producer for so long (Eazy-E, Massive Attack, The Prodigy, Bell Biv Devoe...) that a project of my own was more overdue than this book on alien abduction that I checked out from the Downtown library many years ago. So we started going at it in 2000. We pulled from so many backgrounds and influences that a strange new sound was forming. Future. (Our first collaboration, "The 3 Minute to Hell" is included on this record.) Although what we were doing already sounded huge and epic, Fredo grabbed bassist Shahen Hagobian, a high school friend. Nowhere else could we find a bassist that contributed to the overall spaciousness of our music than Mr. Hagobian. Another layer of ambience to our sh*t stew and from a bassist of all things. So, the three Marshall High alumni went off on tangents and started making music to bake to slay to lay to and, of course, drive to. It's like modern day Miami Vice with far more violence and definitely less drugs.
Much of our music is dedicated to t-Rex's, robots (operational, pre-programmed, and fully malfunctioning), buxom women, and the need for human organization. It reflects the moods and life cycles of people during the early 21st Century: unpredictable, serene, hostile and overly-medicated. There is never a master plan or blueprint during the recording process at the Safari Gun Shoppe, a music and art studio complex in the East Hollywood sector of Los Angeles. Rather it's always about the moment-the emotions and passions at that given second. Some songs are intricately carved and masterfully planned on a Macintosh with layers of overdubs and weavings of ambience, while others are impromptu compositions that appear pre-conceived because of the finely tuned breaks and aligned instrumentations. I'm a rat bastard -we all know this, he's a jerkoff and he's a pud. We are in tune with each other's character flaws and like to milk them. That sounds gross. And it really is
Our live shows further accentuate our studio practices in that they're unpredictable as well. One night we might play some songs off of our album and the next we'll just go up there and go off on an hour-long improvisation. Sometimes it's just us three or the occasional expanded roster with upright bass, violin and flute. Peaks and valleys, strikes and gutters (like the Dude once said), breaks and ritardandos work the crowd into bipolar mood shifts-and they loyally cheer us on through it all like crazed Angels fans wooping it up for Vlad Guerrero. But the shining point of our performances is when our individual personalities explode on stage. The intoxicating psychedelia of both analog film and digital projection reflect off of our mysterious silhouettes. I can't even divulge any words on it because prose can't do any justice to the intense energy, violence and hallucinations you will experience. Like idiot "comedian" Gallagher, we might have to give out tarps or even metal body shields because when stuff goes a-flying you better duck a-down. I shit you not: you have to see this.
The goal of the Camarillo Blues Triangle is to open our souls and let you see the inner working of psychotics and sociopaths. But we do have the common sense to compose ourselves somewhat properly in social settings. Just like rappers say: if it weren't for my mic --I'd be locked up in prison yo. Well, if it weren't for our guitars, basses, synthesizers, drums, API and Soundworkshop mixing consoles, Neve mic preamps, vintage and consumer-level Guitar Center microphones, Macintosh computers, ProTools software, analog-to-digital/digital-to-analog converters, racked reverbs and pedal delays-we'd be in straight jackets strapped to cocoon-like body harnesses awaiting our next dosages of intravenous Xanax. I shit you not: you have to see this.
~ Cyrus Melchor