Naughty Bear Face productions explore a dynamic range of evolving styles and are sometimes difficult to classify. There is an undercurrent found within the inconsistency... each recording has at its heart a passion to explore new sounds and sonic textures, questioning the contemporary formulas of songwriting while simultaneously striving to achieve an engaging "listenability".
The wide variety of influences on the Naughty Bear Face recording artists, from John Cage to Nick Cave, from Nina Simone to Nine Inch Nails, from Eno's Apollo to Aphex Twin, and a thousand shades between, is evident in their fearlessness to blend the organic with the electric in their use of so many types of instruments. From one song to another, and often in the same track, you may hear traditional electric rock, acoustic, ethnic, or computerized electronic elements.
But for these artists, the creativity of songwriting doesn't end with the instrument selection or the chord progression, and the "studio" has become in and of itself, an instrument. Often, the artists will obsess over cabling, signal through-puts, audio bussing, and the dynamic workflow of both actual and virtual signal processing gear, continuously manipulating the recordings with a milieu of studio tools.
Consequently, sometimes the work of these artists is a challenge to classify in a neat and perfect little box, but being divided into tidy categories was never their concern. Conversely in fact, the Naughty Bear Face artist objective is almost always to explore uncharted sonic territories.
The wide variety of influences on the Naughty Bear Face recording artists, from John Cage to Nick Cave, from Nina Simone to Nine Inch Nails, from Eno's Apollo to Aphex Twin, and a thousand shades between, is evident in their fearlessness to blend the organic with the electric in their use of so many types of instruments. From one song to another, and often in the same track, you may hear traditional electric rock, acoustic, ethnic, or computerized electronic elements.
But for these artists, the creativity of songwriting doesn't end with the instrument selection or the chord progression, and the "studio" has become in and of itself, an instrument. Often, the artists will obsess over cabling, signal through-puts, audio bussing, and the dynamic workflow of both actual and virtual signal processing gear, continuously manipulating the recordings with a milieu of studio tools.
Consequently, sometimes the work of these artists is a challenge to classify in a neat and perfect little box, but being divided into tidy categories was never their concern. Conversely in fact, the Naughty Bear Face artist objective is almost always to explore uncharted sonic territories.