Stationary Odyssey – Komondor EP

Stationary Odyssey
Komondor EP

Stationary Odyssey isn’t so much a band as it is an experimental endeavor featuring Aaron Tanner (previously of Fracasos and Inuit) and a host of constantly changing musicians as contributors. The purely instrumental five-track EP Komondor – Stationary Odyssey’s first effort – was released earlier this year and features Tanner on bass, keyboards, samples, and drum sequences.
The tracks on Komondor clock in at less than 15 minutes in total length, but there is so much to experience here. Stationary Odyssey seems to center around soft but constant bass lines with a variety of subtle sounds weaved on top. The nuances between unstructured and tightly controlled use of sound are flawless. While Komondor is definitely not based on any one specific style of music or decided songwriting, there is delicate cohesion to the EP, which provides the perfect backdrop for the juxtaposition of beautiful sounds versus dissonance and samples.
The perfect example of this combination is “Sometimes Running,” which includes a toy piano provided by Twink’s Mike Langlie as well as the sound of a baby crying for an eerie, almost disturbing effect that is superbly balanced with light bells and bass. The same is true of the sampled police scanners and children’s voices in “Turn it On,” although this track has a slight trip-hop feel to it. The other tracks, “Labour of Moles,” “Los Angeles,” and “Boomba” are equally as impressive sonic explorations.
I think it’s also important to note that the EP’s insert claims the packaging was printed entirely by hand using an 1887 letterpress. To me, this shows just how organic this entire project really is down to the smallest details. While certainly not the kind of music that everyone will enjoy, Stationary Odyssey is an effort worth checking out if even just to experience the depths of range that music can reach.