Deep Time is a band that cracks sonic earth in a new epoch. Known for the past six years as Yellow Fever, an infectiously discordant two-piece pop outfit out of Austin, Texas, trademark litigation with a clothing company forced a name change.
“Deep Time is a geologic reference,” Jennifer Moore (guitar, organ, vocals) says. “The concept of the earth going through cycles [of] water, life and mountain-building is what we’re going for.”
And the richly cyclical sound, like Ian Curtis and Kim Gordon locked in a stereo-lab, gives Deep Time enough rough weight to hold down the wispy structure of their songs. Whereas Adam Jones (drums, bass, vocals) draws influence from the harsher, more abrasive sounds of free jazz and grunge, Moore’s songwriting avoids the gloss of pop by integrating a different palate of sounds and tones.
“We’re like an ugly door that came with a prefabricated house,” Moore says. “An open door for a new project.”
Deep Time’s new album, the first under the fresh moniker, is set to be released eponymously July 10, on Seattle-based record label M’Lady. Recorded over the past year, Deep Time is a cleaner, more complete sound than the previous Yellow Fever releases. Lead single “Clouds” is a skittering, yelping, guitar-licking igneous inclusion that tumbles from sedimentary cliffs. “Bermuda Triangle” sounds like a march into the Marianas Trench. The songs “Marathon” and “Homebody” offer a mellower take on molten music.
For Deep Time, summer brings a West Coast tour, followed by a Midwest and East Coast supporting gig for The Mynabirds, and then an eventual month-long European circuit. Live, the multi-task juggling of an array of odd noises inserted around a liquid-metal center of off-kilter melodies makes Deep Time sound like the band is mining diamonds from the future veins of pop music.
Deep Time plays with the Groundblooms 8:30 pm Friday, July 13, at the Old Whiteaker Firehouse, 1045 W. First Ave.; $5 suggested donation.