Larval Obedience

Bill Brovold’s talents as a composer, musician and sound experimenter are evident in his recordings and performances. But it’s the depth and scope of his career that make his musical history a worthwhile read. Long before he and his band, Larval, were signed to John Zorn’s record label or compared to King Crimson, Glen Branca and Godspeed You Black Emperor, Brovold was building his sound and sensibility. Performing and recording with some of the most influential artists in modern music as early as the 1970s, Bill was an important player in the New York No Wave scene.

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	Larval/Madagascar Larval plays a song from their self-titled debut cd at the Deep Listening Festival on april 25th 1996 at 1515 Broadway in Detroit city. Bill Brovold-guitar, Beth Wilusz-guitar, Erik Gustafson-guitar, Dean Western-bass, Wil Osler-drums
	Larval/Slow Death of a Very Large Animal Larval plays a song from their self-titled debut cd at the Deep Listening Festival on april 25th 1996 at 1515 Broadway in Detroit city. Bill Brovold-guitar, Beth Wilusz-guitar, Erik Gustafson-guitar, Dean Western-bass, Wil Osler-drums, Johnny Evans-saxaphone
	Godzilla vs. Battra Larva (READ THE DESCRIPTION) Godzilla is back and a bit angry. Meanwhile he has to fight the Battra Larva Yes, Battra has Rodan's screech, because he had it in the movie he was in.
	yellow grub (larval trematode) Yellow grub, larval stage of a Clinostomum (Trematoda) species that will mature in a fish-eating bird, most likely a heron. This specimen came from a bluegill sunfish.

He was also exhibiting his visual art throughout the United States and in Europe. By the time he got to Detroit in the 1990s, Bill had a strong sense of what was going on in the world of modern music and in his own work. He was ready to take his sonic experiments and deconstructed rock riffs and form the band, Larval. “I try, in my visual art and my music, to stay away from pure stylized work,” Bill said in a 1997 interview. “I try not to become neo-expressionist or abstract whateverist. I try to keep the music from being pure minimalism or avant-garde contemporary classical. “I try not to pigeonhole what I am doing. I use whatever tools I need from either a style or a form or whatever and disregard whatever I don’t. ” True to Bill’s need for constant movement and evolution, Larval became more of an ongoing collaboration with a range of musicians who could best interpret and contribute to his genre-defying compositions. Layered combinations of guitar, bass, saxophone, violin, cello, harp, percussion and more build his dense mathematical soundscapes. Often players will arrange their own parts to create the swirling torrents of classical, straight-on rock, surf guitar and noise that have become Larval’s signature sound
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