MAXIMUM INDIFFERENCE: Maximum Indifference

Maximum Indifference

Maximum Indifference

© 1996 Botched Records (634479003622)

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Debut Album from progressive instrumental rock trio Maximum Indifference.

tracks

1 Botched Civillian
2 5ii
3 Giedi Prime
4 Chrysalis
5 Weeping Frontiers
6 The Guester Maniacal
7 Code Blue
8 Echoes
9 Rage and Lunacy
10 As It Should Be

notes

Aggressive and atmospheric.

Edgy and Ethereal.

Dense and dimensional.

Tactile and textural.

Maximum Indifference works in contrasts, in a conscious and sincere effort to obscure all lines of communication, to confound and befuddle, to perplex and obfuscate.

By the means of frequency, amplitude, and time, affect the vibration of air and resonation of skin to mar that safe silence: pollution in what seemed the boundless container of everything.

It is the mutation of personal interests and perceptions, compressed into random, loud and annoying metaphors; inversely, it is the expansion of atmospheres, in an attempt to harness and distill clouds of clarity and grace into something that can be captured, revealed, and relived again, scanned and saved for some private moment alone.

Maximum Indifference is an all-instrumental rock trio based in the San Francisco Bay Area.

Eschewing the standard trappings of contemporary popular music, Mark Bladek (guitars), Rich Duarte (drums), and Gustaf Fjelstrom (bass guitars), focus not on the adherence to a formula or recipe, but on the continual process of experimentation and manipulation.

While functioning around the traditional core power trio armature of guitar, bass, and drums, the trio infuses this skeleton with surgical injections of synthesizers, samplers, sound effects, and the occasional spoken word, defining a luxuriant soundscape, and conjuring up countless images to accompany their filmless soundtracks.

Maximum Indifference formed in the fall of 1990 after linking up through a series of music store advertisements.

The short, fruitless, and ultimately unnecessary search for a vocalist revealed to the band that the chemistry and angularity afforded by the trio format far outweighed the need for a fourth member.

A rough live demo tape propelled the band into opening slots in the local progressive/fusion scene, finding themselves warming crowds for the likes of Allan Holdsworth, Steve Morse, Dream Theater, and Brand X.

In 1994, Maximum Indifference entered the studio to record their debut album.

Self-financed, recorded on donated studio time, and produced by longtime friend Steve Graham, the self-titled album was released in 1996 on the band's own label, Botched Records.

Though a small and limited release, the album met with critical praise, generating new fans throughout the US, Brazil, France, Italy, and Spain.

Summer 2000 marks the release of the follow-up album from Maximum Indifference entitled "The Transmutations of Supposed Angels: Or Beings that were once Girls"(Botched 0002).

Clocking in at over 67 minutes, Sup_Ang, (as the file names abbreviate) represents the culmination of three year's worth of writing, rewriting, arranging, and performing.

Produced by bassist Gustaf Fjelstrom and recorded primarily at his personal studio, Mercurial Labs, the album reflects genuinely the aura of Indifference.

Guitars weave effortlessly between the harsh and the soothing, bass guitars guard from below, stabbing, growling, and undulating amidst the precise, precarious, and furious placement of drum after cymbal after drum.

Aggressive and atmospheric.

Edgy and Ethereal.

Dense and dimensional.

Tactile and textural.

To this end, the members of Maximum Indifference seek not for the empty promise of success, but for the perpetuation of this creative endeavor.

Their emphasis is not on pleasing everyone, but on indifference, perhaps maximum Indifference, to what the lowest common denominator may dictate.

reviews

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  • Simply brilliant!
    author: Alberik Ceglar

    After hearing Transmutations and totally falling for this band, this debut cd was a must-buy. The first thing I noticed is the raw sound and production as compared to the second album, and which is still a great thing. You can hear the band perfectly, displaying their know-how and mastery of the instruments but not sounding too technical or showing off. The album is full of great compositions that have wonderful melodies, interesting rhythms, tempo changes and the overall atmosphere that is captivating, leaving the listener with the unmistakeable feeling of wanting more, more, more! Luckily, the band is not that kind to put out albums on yearly basis. In this case, the phrase less is more fits perfectly. Maximum Indifference and their debut self-titled album is a necessary buy for the fans of the band and for those who seek to hear great instrumental music.

  • best Rush clone ever
    author: Patioguy

    I know the second album. It's one of my alltime faves. Brilliant stuff for a 3 piece band. That's Rush without lyrics. Keep up the good work.

  • Minimum Displeasure...
    author: SteveOldham

    Absolutely rippin' debut! Had the pleasure of hearing this material played at the Progwest 2001 show. Hard to believe 3 dudes can crank out so much great sound. Angular and juxtaposed,well executed and poorly dressed-they had it all! Touches of Rush, Brand X and Djam Karet with a healthy dose of their own chemistry-they defy description. Duarte plays a mean cornet to boot, the samples are a "guide vocal" for the performance;but not overpowering. Fjelstrom is a fine graphic artist and Mark Bladek shreds on gitbox! I look forward to a DVD, video or even an MP3! Maximum Indifference=Minimum Displeasure! Steve Oldham, La Verne CA.(confirmed proghead)

  • Best first album I've heard in a long time
    author: Brent Bice

    Their first album was good, the second was great. I can't wait to hear the third! Several cuts on this album remind me a bit of Rush.

  • Absolutely fantastic
    author: Chris Hageman (netherlands)

    Best instrumental I have ever had the pleasure to hear (and I know Satriani, Vai, etcetera).

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