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Pared down to the duo of Joe Denardo (guitar) and Kevin Doria (bass),
Growing recorded
The Soul Of The Rainbow And The Harmony Of Light (Kranky, 2004).
The 18-minute introduction, Onement's modulated mantra-like drone, is
the purest composition, classy background music.
The celestial atmosphere of Primitive Associations mixes sounds of
nature with processed guitar tones.
The violent static of Anaheim II builds up a ferocious momentum,
but doesn't take advantage of it.
The 18-minute
Epochal Reminiscence dilutes a traditional-sounding melody
(eerily reminiscent of the USA national anthem) into a lengthy cycle of
ear-piercing drones
(a counterpart of sorts to Hendrix's orgy of glissandos at Woodstock 1969).
The problem is still one of development. One can marvel at a sonic idea for
a few seconds, and maybe even a few minutes. But to marvel for five, ten
or even fifteen minutes at a sound for the sake of its sound is not human.
The limited-edition 80-minute Live (Growing Sound, 2005)
is a much better document of their slow-motion, massive Earth-style meltdown.
His Return (Megablade, 2005) was mainly notable for containing the
lengthy space-rock juggernaut Wide Open.
Their adventures in post-psychedelic landscapes got even weirder on
Color Wheel (Megablade, 2006), reaching new levels of folly in
Fancy Period, that bridges extremely heavy textures and lighter electronic textures,
the guitar-reverb sonata Peace Offering, the
wall of guitar noise of Friendly Confines, and
the dense hyper-dilated slowly-shifting 16-minute Blue Angels.
Vision Swim (Troubleman Unlimited, 2007) abandoned their signature
droning music for a dynamic language of instrumental and digital effects,
The 15-minute Onanon stands as the manifesto of their new style,
sandwiched between guitar patterns and glitchy turbulence.
The EP Lateral (Social Registry, 2008) insists on their
subliminal ambient droning soundscapes.
Growing shifted towards the busier digital soundsculpting style of the 2000s,
partially abandoning the droning aesthetic, on
All The Way (Social Registry, 2008), a typical transitional work.
Joe Denardo and Kevin Doria were joined by Sadie Laska on vocals and sampling
on Pumps (Vice, 2010), another album in the new vein that highlighted
how now the focus was on rhythm (although usually
neither the usual "beat" of dance music nor the drumbeat of rock music).
The overall feeling is one of disorienting machine music, more akin to
Brian Eno's Before and After Science or Throbbing Gristle's DOA
than to their droning roots.
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