Quichenight: Tesago
Nashville’s Brett Rosenberg continues his musical vision-quest under the veil of Quichenight, pandemic be damned, with Tesago his eleventh(!) recording and third since Covid- 19 reaped havoc on musicians and their livelihoods worldwide. It looks and sounds as though adversity has served him well creatively, delivering three completely different expressions for fans of his unique rock n’roll sensibilities.
First came the self-titled Quichenight, a follow up to 2019’s Dork in the Dark, which for this listener, was an introduction to the ever-evolving realm of Quichenight’s music. With one foot planted in Dork in the Dark’s irresistible classic rock leanings and unhinged execution, 2020’s Quichenight planted the other foot two steps forward. Rosenberg then adds a slightly more sinister glow to the mix, lending those recordings an indigo hue to the album’s nod to 70’s rock. The album is then interspersed with playful instrumental side bars, that subtly plants seeds for what is to come with Tesago.
Months later, oddball entry Classic Al and The Classics - Still Classic arrived. The album allowed Rosenberg to role play as “the area’s number one progressive oldie’s band” … declaring “we play weddings, we play everything.” An album of cover songs that offered truly unique takes on Martha and The Vandellas , Electronic (Pet Shop Boys, Bernard Sumner & Jonny Marr), Pavement, Van Halen, The Beatles and The Rolling Stones among others. The result was an eclectic collection of interpretations that never takes themselves too seriously. One that binds varying sound sources and material, threading them into a package with a united sound that rocks as much as it is fun.
Tesago, the most recent and eccentric of all, sits alone, brave and confounding. With little information about the album, Rosenberg teases the mystery a little further on the album’s Bandcamp page by simply informing the listener:
TESAGO is the soundtrack to a phone system I designed. Dial 1+307-438-8279 to learn more
recorded mar - June at quichenight international recorders
credits
released August 7, 2020
recorded / mixed / composed / performed
in that order
Dialling the number did not provide any answers but did provide cryptic clues, which if solved provided a number of listeners/participants a free physical cassette of the album. This not only acted as a unique promotional tool for those in the know, but enabled fans of Quichenight’s music an opportunity to participate in the launch of the album. I will admit after calling the number I abandoned the message for fear of unwanted long-distance charges but the excitement was not lost on me.
More importantly, the unique build-up prior to release did not distract from the fact that Tesago stands on its own as a solid and unique entry into Rosenberg’s expanding catalogue. The album dips into more abstract waters than previous releases, while carrying over with it all the aspects of Quichenight’s sound that listeners have become accustomed to. This could be a reflection of Rosenberg’s restless creative spirit in times of isolation or perhaps laying to waste any fear of repeating himself.
Out of the gate, Fake Plant provides everything you expect in a Quichenight song. It has Rosenberg’s trademark guitar work; it’s melodic, surreal and funny, drenched in sweat.
Tesago PT.1, among many other tracks throughout the album, adds bold synthetic textures that loom like shadows over Rosenberg’s verbose guitar work. They gel perfectly!
These electronic strokes allude to, but never fully embrace a nod to the 1980s. Instead, they provide an almost dream-like state of that era or an alternate reality of the sounds you might have caught as you slipped out of an airport lounge or hotel bar.
As always on Quichenight albums, there are musical nods to the ghosts of rock n’ roll’s past. Pam winks an eye to Hendrix’s Hey Joe colliding with a Sunday stroll through the park on acid. Seven-Eighty- Seven starts with the muscular revving of engines laying the way for some neon-drenched instrumental guitar work. It strokes painted images of gritty damp streets and polished chrome.
The kitschy, but never tacky Friends 2 The Party remind us that within these strange times, we shouldn’t forget the good times. The simple refrain of “I want to dance/ I want to sing/ I want to bring my friends to the party...” is a simple plea for a return to nights filled with music and friends and yet feels surreal, so far removed from our current reality.
Dance The Plausible is dressed in woozy synths and an infectious bassline that intertwines effortlessly with exaggerated jazz guitar, snapping so tight, eye protection must be provided to the listener.
Hot August paints little vignettes with simple nursery rhyme imagery, each one left unfinished, leaving us scrambling to complete the scenario before the next line begins. It’s an endearing trick that ensures that the song and the sentiments remain, pulling at the heartstrings and much like the album as a whole. It demands to be played over and over again.