Karate
Biography
**Karate**
In the pantheon of post-rock and indie rock masterpieces, few albums achieve the delicate balance of mathematical precision and emotional resonance quite like Karate's "The Bed Is in the Ocean." Released in 1998, this stunning collection represents the Boston trio at their absolute peak, weaving together intricate guitar work, subtle jazz influences, and Geoff Farina's whispered vocals into something that feels both intimate and expansive. The album's title track exemplifies everything that made Karate special – its patient build-up, crystalline guitar tones, and lyrics that seem to float just above the instrumental complexity like morning mist over still water. This wasn't just their finest hour; it was a blueprint for how indie rock could evolve beyond its punk origins into something more sophisticated without losing its emotional core.
Karate emerged from Boston's fertile indie rock scene in 1993, formed by guitarist and vocalist Geoff Farina, bassist Eamonn Vitt, and drummer Gavin McCarthy. The band's genesis came from Farina's desire to create music that challenged the conventional loud-quiet-loud dynamics that dominated alternative rock at the time. Instead, Karate pursued a more nuanced approach, drawing inspiration from jazz, post-hardcore, and even classical music to create compositions that rewarded careful listening. Their name, borrowed from a Big Black song, hinted at their interest in precision and discipline – qualities that would define their entire catalog.
The trio's musical style defied easy categorization, existing in the liminal space between genres. Their sound was built on Farina's distinctive guitar work, which employed unconventional tunings and fingerpicking techniques that created shimmering, bell-like tones. His vocals, delivered in a near-whisper, demanded attention rather than commanding it, creating an intimacy that drew listeners into the band's carefully constructed sonic world. Vitt's bass lines provided both rhythmic foundation and melodic counterpoint, while McCarthy's drumming was notable for its restraint and creativity, often incorporating brushes and unconventional percussion to create texture rather than simply keeping time.
Their 1996 debut album "Karate" established their reputation as innovators willing to let songs breathe and develop organically. Tracks like "Caffeine or Me" and "New Martini" showcased their ability to create tension and release without relying on volume dynamics alone. The album's success in underground circles led to increased attention from both critics and fellow musicians who recognized something genuinely original in Karate's approach.
Following "The Bed Is in the Ocean," Karate continued to evolve with 2000's "Unsolved," which saw them incorporating more electronic elements and exploring even more complex song structures. The album demonstrated their refusal to simply repeat their earlier successes, instead pushing into new territories that sometimes challenged even their devoted fanbase. Their final studio album, 2002's "Some Boots," served as both a culmination of their artistic journey and a farewell statement, featuring some of their most emotionally direct songwriting alongside their most adventurous musical arrangements.
Throughout their career, Karate's influence extended far beyond their modest commercial success. They became touchstones for countless indie rock and post-rock bands who admired their commitment to artistic integrity and their proof that complexity and accessibility weren't mutually exclusive. Bands like Modest Mouse, Built to Spill, and later post-rock acts frequently cited Karate as an influence, particularly praising their guitar work and song construction.
The band's live performances were legendary affairs, often featuring extended improvisational sections that transformed familiar songs into new experiences. Their concerts felt more like intimate gatherings than traditional rock shows, with audiences hanging on every delicate note and whispered lyric. This approach to performance influenced a generation of indie rock bands to reconsider the relationship between artist and audience.
Karate disbanded in 2005, leaving behind a catalog that continues to reward discovery. Their albums have aged remarkably well, with "The Bed Is in the Ocean" frequently appearing on lists of essential 1990s indie rock albums. In an era of constant reunion tours and nostalgic cash-grabs, Karate's decision to remain dormant has only enhanced their mystique and preserved the integrity of their artistic statement. Their legacy lives on in the countless bands who learned from their example that true innovation comes not from volume or aggression, but from patience, precision, and the courage to create something genuinely unique in a world of musical conformity.
