Three Rays Release Psychedelic Swamp Rock Self-Titled Album
It’s an array of emotions for bandleader and songwriter Dayle ‘Raymond’ Jellyman on the release of the Three Rays’ debut album – relieved / proud /uplifted – “it certainly simmered in the pan a long time, but it’s tasty, and the nutritional value seems to have increased.”
Recorded before a global viral outbreak, the unexpected (and unrelated) circumstance of losing one’s voice meant this feisty selection of new anthems waited patiently in hard-drives, sidelined by usual life reasons and other musical endeavours.
Nevertheless, now it’s now, and the release timing feels more opportune in light of pertinence, because, as Dayle surmises, “even my 2018 skeptical self wouldn’t have guessed at the madness we currently face…”
That’s because the album reverberates with Dayle’s disquiet and ideality for a world uncomfortably dealing with malaise.
Drawn to the piano young, Dayle ran wild with his brother in Whanganui in the lower central North Island of Aotearoa New Zealand. Blessed with creative parents and in keeping with family tradition, members of the local brass band, making music was just everyday life.
Leaning into jazz piano – and partying – exposure to exemplary musos and eye-opening gigs came with a shift to Te Whanganui-a-Tara Wellington, a tonic that Dayle drank in deeply. He merged effortlessly into the city’s musical character, also expanding his repertoire across rock, orchestral, ska to swing. Nowadays he’s in seminal outfits punk popsters Love Party and metallers Fvkvshima, as well as other triumphs: Battleska Galactica, Miles Calder, Michaela Tempers, Daily Keno, Belladonna, The Electrons, Louis TM, and Snakebone. He’s also keen for more improvisation with pipe organ, sings in two choirs (one of experimental noise drone that he is addictively fond of), and has another ambitious project to bear, Floating Head – solo piano music to be released soon.
Taihoa, what about the enigmatic Three Rays?
A stack of songs swirled into existence while Dayle was in NYC. Graced with a year-long chance to polish sparks and threads inspired from his many musical endeavours, a froth of blues, ragtime and brass band rose to the top, spiced with his vintage synthesiser obsession. Big Apple played its part by offering easy access to sonic tastemakers like Jojo Mayer and Mark Guiliana, while it’s clear the legendary Dr John made a particular impression.
Tunes emerged in all manner of ways – floating from a lyric, a melody, or while dancing or a vibe. Lyrical themes also weren’t by design but largely reflected concerns and observations mulled over by Dayle – critiquing autocratic ideology, loss of societal care, especially of those in need – conversely, how to embolden those eager for a better world, and to make the most of moments that matter. Songs were duly instilled with purpose, and in tandem, forged an appeal for peace, freedom and social justice.
Back home, Dayle sought esoteric architecture to fortify his stand. Sonically, an assembly of synths was to be centrestage, and he openly on lead vocals, “I wanted it to be everything I wanted, and all the way.” But to steel the organic contours and fabrication, brazen handcraftspeople were required to realise his full kaleidoscopic vision – so rounding out the outfit, two southern troublemakers were engaged: debonair scoundrel Tyson Smith on electric guitar, and the exquisite beast Darren Mathiassen on drums.
Dayle grins gleefully (while also rolling his eyes): “They are definitely trouble – gigs are just me holding on for dear life, playing keys and bass, trying to sing my songs, while two freaks of nature throw everything at it.” Aside from their sabotaging talents, “I think of it as a CPU meter, occasionally up in the red,” he credits their rare listening ability, “I found it more advantageous being ambiguous with instructions, simply encouraging astonishing occasions and/or marinating in whatever splendours occur.”
Thus the Three Rays (named after three special Rays), a trio by happenstance, broke ground and began hauling out tantalising concoctions of psychedelic swamp rock, with Dayle’s compositions at the heart. Soon enough, this raucous merrymaking bestrewed with sincere championing was igniting dancefloors.
The next critical mission was how to capture this formidable vivacity.
The Surgery in the back streets of Te Whanganui-a-Tara was most apt, with a simple plan to meld themselves, multitudes of synths, keys, fruity falsetto vocals, pops of percussion, and some kind of brass band. In what now seems somewhat of a pattern, Dayle’s modus operandi was, “I’m just going to put everything I want on it, and see what happens…”
Jams, rhythm tracks and gyrating grooves were played down live as a band, with liberal application of experimenting, reckoning, overdubbing, getting comfy in the weird, and luxuriating in Dr Lee’s throng of microphones, preamps and lovingly maintained studio gear. Arrangements got shook up, surprising pathways were unearthed, and constraints transformed into auditory assets, noting that every single one of Dayle’s keyboards were included as an essentiality.
“It was so fun,” he declares with great satisfaction and a small tear in his eye.
Now, with the self-titled album sizzling on all platforms, the Three Rays are imbued with gung-ho vibes. Dayle can also see the greater picture, “I hope this music brings people joy and rebellious energy in these crazy times,” and in his usual altruistic manner affirms, “if this could carry over one message, it would be – we humans can and should do better.”
Bolster the uproar lovingly exposed by the Three Rays and relish its tsunami of revelry, enlightenment and shindiggery.
THREE RAYS ALBUM RELEASE SHOW
16 October @ The Rogue & Vagabond, Wellington
