“I want [the gase] to simultaneously sound very subtle and almost acoustic, but one second later it can play Slayer... I’m definitely getting close.”
he instrument-engineering duo of Arone Dyer and Aron Sanchez formed Buke & Gase in 2008 out of a problem: How do two people produce the sonic muscle of an entire band, or an entire orchestra, or, better, an entire drum line of Karen O lycanthropes at equinox?
This is, of course, all according to plan.
“I want [the gase] to simultaneously sound very subtle and almost acoustic, but one second later it can play Slayer,” Sanchez said on a speakerphone call with Dyer, one afternoon last October. The day before, they’d spent 13 hours driving from a Four years and three records later (the newest, show in Richmond, VA to their new home base General Dome, due out January 29th), Sanchez and in Hudson, NY, where the two wrote and recorded Dyer have attacked their founding problem into General Dome over nine months in a reclaimed overkill using the same proven Franken-stringed 19th century factory. On the way back, Sanchez weaponry from which their band takes its name, started designing the newest gase mock-up on his though the models and methods of delivery have computer, and its potential was fresh in his mind. been upgraded a little over time. “I’m trying to balance those high and low worlds in Dyer (“girl Arone”) riffs erratic on the third one instrument, and I’m definitely getting close. iteration of her buke (a six-stringed, semi-blinged It’s a lot closer than a couple years ago.” remix of the baritone ukulele originally crafted to In 2010, Buke & Gase released Riposte, their ease her carpal tunnel), and keeps a troubadour’s genre-confounding full-length debut on National beat with a self-crafted toe-bourine hugged tight brothers Bryce and Aaron Dessner’s Brassland around her stompin’ foot. Records imprint, honed to jagged perfection in Sanchez (“boy Aron”) is designing his ninth or Sanchez’s basement apartment near the maybe tenth prototype gase, abandoning previous waterfront of Red Hook, Brooklyn. The album’s models of the guitar/bass hybrid soldered from unusual sound, coupled with the band’s Volvo parts for a more lightweight, buke-like exhaustively artisanal approach—everything from body with a standard guitar scale neck, capable of their amps to their effects pedals to the home silkplunging to even deeper, doomier lows.
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Rafiq Bhatia, Tame Impala, Adam Schatz, Matthew E. White, The Milk Carton Kids