Even if you don’t attend Friday’s show by New York noise rockers The Psychic Paramount, there’s a good chance you’ll hear it. And if you are within a block radius, you’ll feel it, too.
“When those volumes approach a certain level, it does become this corporal thing,” said drummer Jeff Conaway of the band’s notoriously loud live shows. “The high volume just goes along with the visceral nature of the music. It’s a total workout.”
More music fans are demanding that physical affront coupled with the sonic experience. Although historically loud acts like My Bloody Valentine and The Jesus and Mary Chain made careers out of thunderous tunes, the market felt scant through the mid- 2000s, until the Internet took its stranglehold on the music industry.
Now, The Psychic Paramount finds itself garnering major media coverage.
“Because music is so accessible online, people have been exposed to a much wider variety than they would have,” said Conaway, who spent his teen years in Norman. “Tastes have widened. I was almost shocked when our record was reviewed on the NPR website. I had no expectation of being on the radar of an outlet like that.”
That album — The Psychic Paramount’s second studio release — was the aptly titled II, a followup to 2005’s Gamelan into the Mink Supernatural. The six-year span between them is something the band hopes to avoid again.
“We basically recorded tracks for a full record, sat with them for a while, then scrapped the whole recording and started fresh,” Conaway said. “We did entirely new tracks for what turned into II, and that added a lot of time.”
With the trio already laying the groundwork for a third disc, it looks like it is, in fact, sidestepping the lull.
The material is just in its gestation period, most of the songs still sketches, and this marks the first time the band has entered the studio without a complete understanding of what the finished product will be.
Loud seems more than likely. “Most of [II’s] songs were pretty much done as statements when we went in to record them. So it was about going in there and getting a good performance,” Conaway said. “This new material still needs to be fleshed-out. It’s a looser, more flexible approach. You know the songs are going to evolve.”