IQ Resistance
It's IQ! They're back with yet another attempt to celebrate and emulate the sounds, styles, and spirit of late 1970s GENESIS and YES. What they've achieved here is, in my opinion, a full step better than the dull, unmemorable monotony of 2014's Road of Bones. Resistance contains (mostly) excellent sound and production, as well as lush, melodic themes, inviting song constructs, and awesome solos. There are, however, Peter Nicholls' usual weird, nondescript, undecipherable-though-perfectly-enunciated lyrics sung in his usual steady, almost lazy, pleasant voice. As opposed to Road of Bones, there are high points (CD One's "Rise" through "Shallow Bay") and far fewer lows.
Line-up / Musicians:
- Peter Nicholls / vocals
- Mike Holmes / guitar
- Neil Durant / keyboards
- Tim Esau / bass
- Mike Holmes / guitar
- Neil Durant / keyboards
- Tim Esau / bass
- Paul Cook / drums
CD 1 (52:58)
1. "A Missile" (6:40) opens with some heavy riffing from the guitar, bass, organ, and drums while Peter Nicholls enters with his more insistent voice while always maintaining careful and clear diction. The song is hard-driving but does nothing for me either sonically, emotionally, or lyrically. It feels routine, robotic, one-dimensional, and, ultimately, forgettable. (11/15)
2. "Rise" (6:49) opens with apocalyptic wind noises and orchestral hits before a backwards sound loop takes over. Slowly, Peter's gentle voice sings over the atmospheric loop. At the end of his first chorus a very bass-heavy whole-band motif starts and drives powerfully forward. A strange chamber strings interlude breaks in for half a minute before we bounce back to the frenetic sonic lashing that is the second motif. Some nice, simple, but noticeable synth work is mixed into the thrum as well as some lead guitar work behind Peter's singing. In the sixth minute all kinds of Middle Eastern sounds and computer-effected vocals are introduced, but then they back off for a return to Peter's singing being the central focus. The final minute is simple, with Peter's vocal tying things up over that atmospheric loop from the beginning. Decent song! (13.5/15)
3. "Stay Down" (7:55) a long, slow, bare bones introductory period of electric piano arpeggi and synth washes and, later, chamber strings and 12-string guitar picking, allows Peter Nicholls to shine at his sensitive best. Mellotron voices and bass pedals add a great GENESIS feel. In fact it's four minutes into this one before anything changes--but then it gets tense, ominous, before breaking into a PORCUPINE TREE-like heaviness for its instrumental peak just before the five minute mark. When spaciousness is restored for Peter to sing around the six minute mark, it's merely a teasing pause before re-launching into that heavy PT territory for a final burst before some tick tocks. Powerful, seasoned prog with no fill and full power throughout. A top three song for me. (14/15)
4. "Alampandria" (3:48) opens beautifully with middle eastern pipe over sustained synth white noise synth. I love this! Then there is a developmental shift at 1:45 into more GENESIS-like Neo Prog territory. (Think deep throbbing parts of "Supper's Ready" or The Lamb). Small Mike Nicholls dramatic vocal, seering guitar solo, and organ finish this off. (8.9/10)
5. "Shallow Bay" (6:21) sensitive solo piano opens this one until the full band kicks in around 0:40. It quickly establishes itself as a melodic, syrupy song in the vein of radio-friendly prog hits. Drumming is outstanding--even a little flashy--throughout, and then the mood shifts quite dramatically at 3:00 into a more COLLAGE "Moonshine"-like vein. Very pretty--especially the keys--while the drumming remains quite showy and impressive. Beautiful song. Excellent emotional guitar solo in the fourth and fifth minutes with great band and Mellotron support.
This is where the advantages of a seasoned band shine through. Definitely a song I'll be listening to over and over for a long time. Perfection. A reminder of why I keep listening to new releases. My favorite song on the album. (10/10)
6. "If Anything" (6:03) cool drum machine opening before synth wash joins in giving it a MIKE AND THE MECHANICS or "Captain of My Heart" feel to it. Fretless bass enters just before Peter Nicholls enters singing in a whispy upper register voice--which is unusual for him. Real drums join in at the end of the second minute. I have to admit that I really like the work of the synths, fretless, and voice. Acoustic nylon string guitar seals the "Captain of My Heart" reference. A very nice, gentle, pretty song for late night wine and fireplace sitting--at least until the second half of the fifth minute when things get E.A. Poe dark--sound effects, scary church organ and all! The only thing it lacks is a true 'hook" to make it memorable. (8.75/10)
7. "For Another Lifetime" (15:22) opens with weird circus calliope/squeeze-box-like chord sequence. Peter begins singing and it doesn't quite fit; Peter's nondescript melody line does not blend well with the synthesized calliope/squeeze box--nothing does, even the "Entangled"-like eerie synth added over the top. Just before the three minute mark Peter's voice is mute-distorted to try to create an even eerier feel and then the band breaks into a full on "As Sure as Eggs is Eggs/Apocalypse in 9/8 imitation, trying to make it their own by adding some music box tinkles and some Duke-era bass synth chords. Halfway through the sixth minute the pace quickens and a more HACKETT-like section ensues. At 7:00 the music begins to feel more like ASIA or LOVERBOY. The "resistance" chorus just lacks ... hooks. Another switch into full on GENESIS territory at 8:20 while Peter continues singing as carefully, succinctly as ever. Power chords and more eerie organ and synths in the ninth. The music keeps bouncing around, trying to vary its pace and palette, no doubt, until finally finding its "pocket" in the twelfth minute with the "for another lifetime" chorus and ensuing excellent lead guitar solo. The voice Mellotron sound definitely makes it feel like some crescendo moment in a GENESIS song. Then we devolve to a bare piano in support of Peter's end vocal passage from 13:30 to the "holding on" line and the gorgeous TFK-like end. Pretty awesome song if derivative and perhaps overly complex. The band definitely put some work into this one. A strange dichotomy is that eerie circus-like motif used for the first half and then disappearing the more powerful the song became. (27/30)
CD 2 (55:39)
1. "The Great Spirit Way" (21:45) Prog by the numbers trying to be Hammond-centric. In the first half, none of the individual instrumental threads works--especially the drums, bass, and guitars; they all seem to be at odds with one another. The second half gets spread out and less dense with some electric piano and "acoustic" guitar picking before a spacey synth diversion settles us (and Peter) down. Interesting "xylophone" over strings. But, unfortnuately, it's all so obviously MIDI-computer keyboard generated. In the sixteenth minute they try to GENESIS/WAKEMAN the music back up to engage us but it's all so familiar (thought the drumming finally gets good). After the crescendo in the 17th minute, the YES-like dénouement is a big letdown. (38/45)
2. "Fire and Security" (5:26) the welcome sound of steel-string acoustic guitar strumming opens this one. Peter's vocal starts out rather typical but then gets very emotional. As a matter of fact, there are sections here that I display vocal affectations that I can't remember hearing in his voice very often. Very nice guitar soloing throughout the second half. (9/10)
3. "Perfect Space" (8:33) cymbol play, snare, bass, and classical guitar make this one sound a little jazzy or Latin-infused. Peter's voice is even mixed more forward than usual. Interesting! A new sound palette! The little electric guitar solo at 1:38 can't even destroy the feel of this one but the organ and bass pedals at 2:36 for the chorus does. The bass and drums are trying admirably to hold it together but those organs! Then the guitar turns metal and we've lost that loving Latin feeling. The return of "Get 'em out by Friday"! Let me out! Nice first half; poor second. Not even the walking bass play in the sixth minute or some solid electric guitar soloing in the final minute can recapture that awesomeness. (16.5/20)
4. "Fallout" (19:55) "CTTE 2"? What kind of lyrics are these? Nonsensical? The first three minutes sure seems so. At four minutes we finally get into some meat. I like the clavichord and rolling bass line. The singing harmonies are great but the lyrics are still so innocuous. GREAT transition into the instrumental section in the sixth minute (bass and electric guitar)--a powerful section that sustains its engaging sounds and play for several minutes. Nice drumming in the next instrumental section. And fretless bass! At the eight minute mark we go soft and spacey again (very GENESIS-like). Another sound (and key) switch in the eleventh minute: piano-base, more cymbal play, going into an instrumental section with piano solo, MIDI-ed tuned percussion, and chord section into a late-"Gates of Delirium" section for the fourteenth and fifteenth minutes. (A little too similar to "Gates," even through the guitar solo and drum end, even into the pre-"Soon" quiet, spacey section). The final two minutes is, unfortunately, also an embarrassing imitation of the "Soon" finale of "Gates of Delirium." Very nice sound. I'd rate it higher if it weren't so derivative. (34/40)
Total Time 108:37
Can we be tired of Peter Nicholls' melodies, pronunciation/elocution, and phrasing, please? Can we be tired of the Duke-like drum machines and differently engineered & effected tracks that are so blatantly and poorly spliced-together, please? Can we say we've had enough imitation and blatant derivation of the 1970's "classics?" Still this is SO MUCH BETTER than the high-acclaimed yet soulless "album of the year" from 2014, Road of Bones.
1. "A Missile" (6:40) opens with some heavy riffing from the guitar, bass, organ, and drums while Peter Nicholls enters with his more insistent voice while always maintaining careful and clear diction. The song is hard-driving but does nothing for me either sonically, emotionally, or lyrically. It feels routine, robotic, one-dimensional, and, ultimately, forgettable. (11/15)
2. "Rise" (6:49) opens with apocalyptic wind noises and orchestral hits before a backwards sound loop takes over. Slowly, Peter's gentle voice sings over the atmospheric loop. At the end of his first chorus a very bass-heavy whole-band motif starts and drives powerfully forward. A strange chamber strings interlude breaks in for half a minute before we bounce back to the frenetic sonic lashing that is the second motif. Some nice, simple, but noticeable synth work is mixed into the thrum as well as some lead guitar work behind Peter's singing. In the sixth minute all kinds of Middle Eastern sounds and computer-effected vocals are introduced, but then they back off for a return to Peter's singing being the central focus. The final minute is simple, with Peter's vocal tying things up over that atmospheric loop from the beginning. Decent song! (13.5/15)
3. "Stay Down" (7:55) a long, slow, bare bones introductory period of electric piano arpeggi and synth washes and, later, chamber strings and 12-string guitar picking, allows Peter Nicholls to shine at his sensitive best. Mellotron voices and bass pedals add a great GENESIS feel. In fact it's four minutes into this one before anything changes--but then it gets tense, ominous, before breaking into a PORCUPINE TREE-like heaviness for its instrumental peak just before the five minute mark. When spaciousness is restored for Peter to sing around the six minute mark, it's merely a teasing pause before re-launching into that heavy PT territory for a final burst before some tick tocks. Powerful, seasoned prog with no fill and full power throughout. A top three song for me. (14/15)
4. "Alampandria" (3:48) opens beautifully with middle eastern pipe over sustained synth white noise synth. I love this! Then there is a developmental shift at 1:45 into more GENESIS-like Neo Prog territory. (Think deep throbbing parts of "Supper's Ready" or The Lamb). Small Mike Nicholls dramatic vocal, seering guitar solo, and organ finish this off. (8.9/10)
5. "Shallow Bay" (6:21) sensitive solo piano opens this one until the full band kicks in around 0:40. It quickly establishes itself as a melodic, syrupy song in the vein of radio-friendly prog hits. Drumming is outstanding--even a little flashy--throughout, and then the mood shifts quite dramatically at 3:00 into a more COLLAGE "Moonshine"-like vein. Very pretty--especially the keys--while the drumming remains quite showy and impressive. Beautiful song. Excellent emotional guitar solo in the fourth and fifth minutes with great band and Mellotron support.
This is where the advantages of a seasoned band shine through. Definitely a song I'll be listening to over and over for a long time. Perfection. A reminder of why I keep listening to new releases. My favorite song on the album. (10/10)
6. "If Anything" (6:03) cool drum machine opening before synth wash joins in giving it a MIKE AND THE MECHANICS or "Captain of My Heart" feel to it. Fretless bass enters just before Peter Nicholls enters singing in a whispy upper register voice--which is unusual for him. Real drums join in at the end of the second minute. I have to admit that I really like the work of the synths, fretless, and voice. Acoustic nylon string guitar seals the "Captain of My Heart" reference. A very nice, gentle, pretty song for late night wine and fireplace sitting--at least until the second half of the fifth minute when things get E.A. Poe dark--sound effects, scary church organ and all! The only thing it lacks is a true 'hook" to make it memorable. (8.75/10)
7. "For Another Lifetime" (15:22) opens with weird circus calliope/squeeze-box-like chord sequence. Peter begins singing and it doesn't quite fit; Peter's nondescript melody line does not blend well with the synthesized calliope/squeeze box--nothing does, even the "Entangled"-like eerie synth added over the top. Just before the three minute mark Peter's voice is mute-distorted to try to create an even eerier feel and then the band breaks into a full on "As Sure as Eggs is Eggs/Apocalypse in 9/8 imitation, trying to make it their own by adding some music box tinkles and some Duke-era bass synth chords. Halfway through the sixth minute the pace quickens and a more HACKETT-like section ensues. At 7:00 the music begins to feel more like ASIA or LOVERBOY. The "resistance" chorus just lacks ... hooks. Another switch into full on GENESIS territory at 8:20 while Peter continues singing as carefully, succinctly as ever. Power chords and more eerie organ and synths in the ninth. The music keeps bouncing around, trying to vary its pace and palette, no doubt, until finally finding its "pocket" in the twelfth minute with the "for another lifetime" chorus and ensuing excellent lead guitar solo. The voice Mellotron sound definitely makes it feel like some crescendo moment in a GENESIS song. Then we devolve to a bare piano in support of Peter's end vocal passage from 13:30 to the "holding on" line and the gorgeous TFK-like end. Pretty awesome song if derivative and perhaps overly complex. The band definitely put some work into this one. A strange dichotomy is that eerie circus-like motif used for the first half and then disappearing the more powerful the song became. (27/30)
CD 2 (55:39)
1. "The Great Spirit Way" (21:45) Prog by the numbers trying to be Hammond-centric. In the first half, none of the individual instrumental threads works--especially the drums, bass, and guitars; they all seem to be at odds with one another. The second half gets spread out and less dense with some electric piano and "acoustic" guitar picking before a spacey synth diversion settles us (and Peter) down. Interesting "xylophone" over strings. But, unfortnuately, it's all so obviously MIDI-computer keyboard generated. In the sixteenth minute they try to GENESIS/WAKEMAN the music back up to engage us but it's all so familiar (thought the drumming finally gets good). After the crescendo in the 17th minute, the YES-like dénouement is a big letdown. (38/45)
2. "Fire and Security" (5:26) the welcome sound of steel-string acoustic guitar strumming opens this one. Peter's vocal starts out rather typical but then gets very emotional. As a matter of fact, there are sections here that I display vocal affectations that I can't remember hearing in his voice very often. Very nice guitar soloing throughout the second half. (9/10)
3. "Perfect Space" (8:33) cymbol play, snare, bass, and classical guitar make this one sound a little jazzy or Latin-infused. Peter's voice is even mixed more forward than usual. Interesting! A new sound palette! The little electric guitar solo at 1:38 can't even destroy the feel of this one but the organ and bass pedals at 2:36 for the chorus does. The bass and drums are trying admirably to hold it together but those organs! Then the guitar turns metal and we've lost that loving Latin feeling. The return of "Get 'em out by Friday"! Let me out! Nice first half; poor second. Not even the walking bass play in the sixth minute or some solid electric guitar soloing in the final minute can recapture that awesomeness. (16.5/20)
4. "Fallout" (19:55) "CTTE 2"? What kind of lyrics are these? Nonsensical? The first three minutes sure seems so. At four minutes we finally get into some meat. I like the clavichord and rolling bass line. The singing harmonies are great but the lyrics are still so innocuous. GREAT transition into the instrumental section in the sixth minute (bass and electric guitar)--a powerful section that sustains its engaging sounds and play for several minutes. Nice drumming in the next instrumental section. And fretless bass! At the eight minute mark we go soft and spacey again (very GENESIS-like). Another sound (and key) switch in the eleventh minute: piano-base, more cymbal play, going into an instrumental section with piano solo, MIDI-ed tuned percussion, and chord section into a late-"Gates of Delirium" section for the fourteenth and fifteenth minutes. (A little too similar to "Gates," even through the guitar solo and drum end, even into the pre-"Soon" quiet, spacey section). The final two minutes is, unfortunately, also an embarrassing imitation of the "Soon" finale of "Gates of Delirium." Very nice sound. I'd rate it higher if it weren't so derivative. (34/40)
Total Time 108:37
Can we be tired of Peter Nicholls' melodies, pronunciation/elocution, and phrasing, please? Can we be tired of the Duke-like drum machines and differently engineered & effected tracks that are so blatantly and poorly spliced-together, please? Can we say we've had enough imitation and blatant derivation of the 1970's "classics?" Still this is SO MUCH BETTER than the high-acclaimed yet soulless "album of the year" from 2014, Road of Bones.
86.66 on the Fishscales = B=/four stars; if one stays away from the three epics, this is an excellent addition to any prog lover's music collection and one of the better displays of Neo Prog of the 2010s.
THE PNEUMATIC TRANSIT Chordae Tendineae
Interesting and, at times, creative song constructs of proficient instrumental dexterity ranging between KING CRIMSON and TOBY DRIVER, MARK ISHAM and FROGG CAFÉ.
Line-up / Musicians:
- Jeffery Zampillo / Guitars
- Michael Shell / Drums
- Stephen Manns / Bass
- Waz Fox / Rhodes, Moog
- Carl Coan / Saxophones
- Willie Waldman / Trumpet
1. "Atriums" (12:55) opens with sustained horn note before intermittent synth-orchestral sounds are interjected. Forty seconds in three guitar tracks begin forming a weave which is then joined by/alternated with multiple key tracks. A little ALICE IN CHAINS like in terms of sound and bale. More technically demanding section begins at the end of the fourth minute, leading into a high octane THIN LIZZY-like instrumental foundation over which R.FRIPP-like guitar ramps and pillages. The TOBY DRIVER similarities increase as the song swings between rock and space, power and high-potential calm. A little MOTORPSYCHO feel and sound creeping into the second half allows multiple guitars to mimic THIN LIZZY's twin towers. At the eleven minute mark the music bursts forth into a K.CRIMSON-influenced LED ZEPPELIN section. (20.75/25)
2. "Casino Mouse" (13:07) kind of a KING CRIMSON meets MONOBODY and FROGG CAFÉ/ FRANK ZAPPA horns. Enough said! (21/25)
3. "Residual Sentience" (9:46) opens like an old MARK ISHAM soundtrack for the first 2:25. Then a Math Rock Crimsonian burst signals a switch to a variation on the opening weave in which screaming guitar and synths add their voices in slowburst soli. At 4:50 an electric guitar noodles in as if it's a totally different song and lo! and behold! it is! There is a total shift in tempo, style and sound (thought there is some slight residual of the opening left in the pace and background weave). Guitar and Moog-y synth exchange soli before settling into a weave so that the drums can show off (Not very impressively, I might add). Then it all breaks down for a slow gentle ISHAM outro weave for the final 1:15. (18/20)
4. "The Fountain and The Feather" (12:44) roaring out of the starting blocks with torrential speed from the guitars, things calm down around 0:40 so that Moog-horns and electric guitars can install a nice, catchy melody. In the third minute syncopated pulses play while guitar continues a kind of TED NUGENT "Stranglehold" display of free form guitar. Another stripped down section in the fifth minute leads to a kind of MARS VOLTA section before a Rhodes piano solos. (It doesn't fit--though I've seen Brian Auger do this same thing at a blues festival!) At the beginning of the seventh minute occurs another stop which is filled with a single synth note before an electric piano arpeggio is established--which is then joined by the rest of the band until 7:40 when a continued stripped down Rhodes arpeggio section supports some flashy drum and guitar soloing. A little bit of Carlos Santana's guitar sound is played in a style that is reminiscent of both Robert Fripp and FROGG CAFÉ's Frank Camiola. This plays out to the song's end. Pretty awesome guitar pyrotechnics! (22.5/25)
Total Time 47:52
2. "Casino Mouse" (13:07) kind of a KING CRIMSON meets MONOBODY and FROGG CAFÉ/ FRANK ZAPPA horns. Enough said! (21/25)
3. "Residual Sentience" (9:46) opens like an old MARK ISHAM soundtrack for the first 2:25. Then a Math Rock Crimsonian burst signals a switch to a variation on the opening weave in which screaming guitar and synths add their voices in slowburst soli. At 4:50 an electric guitar noodles in as if it's a totally different song and lo! and behold! it is! There is a total shift in tempo, style and sound (thought there is some slight residual of the opening left in the pace and background weave). Guitar and Moog-y synth exchange soli before settling into a weave so that the drums can show off (Not very impressively, I might add). Then it all breaks down for a slow gentle ISHAM outro weave for the final 1:15. (18/20)
4. "The Fountain and The Feather" (12:44) roaring out of the starting blocks with torrential speed from the guitars, things calm down around 0:40 so that Moog-horns and electric guitars can install a nice, catchy melody. In the third minute syncopated pulses play while guitar continues a kind of TED NUGENT "Stranglehold" display of free form guitar. Another stripped down section in the fifth minute leads to a kind of MARS VOLTA section before a Rhodes piano solos. (It doesn't fit--though I've seen Brian Auger do this same thing at a blues festival!) At the beginning of the seventh minute occurs another stop which is filled with a single synth note before an electric piano arpeggio is established--which is then joined by the rest of the band until 7:40 when a continued stripped down Rhodes arpeggio section supports some flashy drum and guitar soloing. A little bit of Carlos Santana's guitar sound is played in a style that is reminiscent of both Robert Fripp and FROGG CAFÉ's Frank Camiola. This plays out to the song's end. Pretty awesome guitar pyrotechnics! (22.5/25)
Total Time 47:52
Very creative compositions and guitar play but the drumming is poor.
86.58 on the Fishscales = B/four stars; an excellent contribution of refreshing instrumental music to the progressive rock lexicon.
ORION 2.0 - Virtual Human
A surprisingly refreshing release from a pair of French artists, Patrick Wyrembski and Janusz Tokarz, founders of the prog band, Orion, back in 1975, who'd left the prog scene for over 30 years. The new incarnation of the band has compositional and production input from Patrick and Janusz but a whole cadre of new musicians performing the songs. Whereas I lambasted their previous release, Le survivant, for its poor production and simplistic compositions, this album has definitely seen the band step up into the big leagues.
The album is replete with strong melodies, tight and interestingly constructed songs, all indicative of artists who have a mature understanding on what's important in a song. Though stylistically they're still a little scattered, the sound production is very good.
Line-up / Musicians:
- Jérôme Nigou / lead & backing vocals
- Pierre-Jean Horville / guitars
- Paul Cribaillet / keyboards, piano
- Eric Halter / basses
- Cédric Affre / drums, additional rhythm guitar (2)
With:
- Philippe Kalfon / guitar solo (2)
- Janusz Tokarz / additional keyboards (5), co-producer
1. "Virtual Human" (5:24) awesome opener sounding like a cross between an old Big Big Train song (The Difference Machine era) or one from 3RDEGREE, The Long Division album. Great singing voice (in English!) and lyrical delivery. (9.5/10)
2. "T.O.W.U." (3:48) mature, poppy, tightly constructed with great melodies, harmonies, instrumentals and vocals. Quite similar to the sound, feel, and style of New Jersey band, 3RDEGREE. Great song! (10/10)
2. "T.O.W.U." (3:48) mature, poppy, tightly constructed with great melodies, harmonies, instrumentals and vocals. Quite similar to the sound, feel, and style of New Jersey band, 3RDEGREE. Great song! (10/10)
3. "Run For Life" (5:54) piano-based, a little jazz-bluesy, amps up after a few. Nice melodies. Interesting and innovative that the music sparsens for the delicate "jazz" vocal section. (8.75/10)
4. "Le Nuage" (4:31) I hear a lot of NEMO and its guitarist, Jean-Pierre Louveton, in this music. (8/10)
5. "Silicon Cirkus" (6:00) Is this what Jeff "Skunk" Baxter-era STEELY DAN would sound like in the 21st Century? (8/10)
6. "Silicium" (7:45) a late 1970s pop smooth jazz/jazz fusion song in the vein of Hubert Laws, Larry Carlton, Lee Ritenour, Narada Michael Walden, and . Beautiful music with great melodies and harmonies, if a little simplistic. (12.5/15)
7. "Shagreen" (7:01) initially interesting and always pleasant, the song is diminished by its monotony and simplicity over the course of its entire seven minutes. Too bad! (12.5/15)
Total Time 40:29
7. "Shagreen" (7:01) initially interesting and always pleasant, the song is diminished by its monotony and simplicity over the course of its entire seven minutes. Too bad! (12.5/15)
Total Time 40:29
Despite some great songwriting and delicious melodies, the collection of songs here fail to maintain either the strength of the openers as well as a stylistic consistency to which we can attach an identity.
86.56 on the Fishscales = B/four stars; an excellent album of eclectically-inspired poppy progressive rock music.
LOST CROWNS Every Night Something Happens
Line-up / Musicians:
- Sharron Fortnam / vocals
- Richard Larcombe / lead vocal, guitar, handbells, composer, arranger & producer
- Rhodri Marsden / piano, harmonium, electric piano, bassoon, saw, harpsichord, vocals, mixing
- Josh Perl / synthesiser, vocals, handbells
- Nicola Baigent / clarinet, bass clarinet, recorder
- Charlie Cawood / bass guitar
- Richard Larcombe / lead vocal, guitar, handbells, composer, arranger & producer
- Rhodri Marsden / piano, harmonium, electric piano, bassoon, saw, harpsichord, vocals, mixing
- Josh Perl / synthesiser, vocals, handbells
- Nicola Baigent / clarinet, bass clarinet, recorder
- Charlie Cawood / bass guitar
- Keepsie / drums, handbells
1. "Housemaid's Knees" (9:56) (17.75/20)
2. "Lost Crowns" (3:30)
3. "Sound As Colour" (7:39)
4. "Midas X-Ray" (5:21)
5. "She Saved Me" (5:15)
6. "Dandy Doesn't Know" (3:37)
7. "Let Loving Her Be Everything" (6:30)
8. "The Star Of My Heart" (6:32)
Total time 48:20
2. "Lost Crowns" (3:30)
3. "Sound As Colour" (7:39)
4. "Midas X-Ray" (5:21)
5. "She Saved Me" (5:15)
6. "Dandy Doesn't Know" (3:37)
7. "Let Loving Her Be Everything" (6:30)
8. "The Star Of My Heart" (6:32)
Total time 48:20
THE MERCURY TREE Spidermilk
These young virtuosi from Portland, Oregon, under the determined leadership of microtonally-captivated Ben Spees, have progressed further from "normal" musical traditions than any prog band I know with the possible exception of veteran guitarist Dave Fiuczynski. Whereas their earlier music was more immediately accessible, they are now in the territory of TOBY DRIVER/KAYO DOT where the listener has to "work" in order to familiarize and get used to the unfamiliar musical constructs perpetrated by explorations and use of microtonal scales.
Line-up / Musicians:
- Ben Spees / voice, guitar, keyboards
- Connor Reilly / drums
These young virtuosi from Portland, Oregon, under the determined leadership of microtonally-captivated Ben Spees, have progressed further from "normal" musical traditions than any prog band I know with the possible exception of veteran guitarist Dave Fiuczynski. Whereas their earlier music was more immediately accessible, they are now in the territory of TOBY DRIVER/KAYO DOT where the listener has to "work" in order to familiarize and get used to the unfamiliar musical constructs perpetrated by explorations and use of microtonal scales.
Line-up / Musicians:
- Ben Spees / voice, guitar, keyboards
- Connor Reilly / drums
- Oliver Campbell / bass
- Igliashon Jones / guitars
1. "I Am a Husk" (4:48) offers a toned-down introduction into the band's new sound. A kind of display of KAYO DOT plays THE WHO. (8.25/10)
2. "Vestments" (4:39) opens with fast moving "Discipline"-like multi-instrumental weave before several guitar tracks begin to display their atonal microtones. Virtuosic, to be sure, but enjoyable to Western ears? It will be a challenging scenario--one that I fear will not bode well for The Mercury Tree's fan base (though many hard core experimental musicians will appreciate and love this). The vocals and more comfortable bass and drum lines help make this one more easily accessible and, perhaps, enjoyable. (9/10)
3. "Arc of an Ilk" (6:35) an amazing composition of angularities pulled off with jaw-dropping dexterity and flawless team timing. The problem is, that it's not "pretty" or very engaging. It is entertaining from the vantage point of watching and appreciating virtuosi at work. (8.75/10)
4. "I'll Pay" (6:22) fascinating and incomprehensibly complex there are some nice vocals and melodies (especially in the repetition of the title in the background vocal chorus) here above the and great musicianship. (9.25/10)
5. "Interglacial" (1:45) feeling quite Asian in its melodic sensibilities, this brief instrumental is surprisingly pretty. (5/5)
6. "Superposition of Silhouettes" (3:43) aside from the chromatic chords, this one has a pretty, accessible sound and structure--quite like a pleasant TOBY DRIVER song (and the closest thing to old Permutations-era TMT). (8.75/10)
2. "Vestments" (4:39) opens with fast moving "Discipline"-like multi-instrumental weave before several guitar tracks begin to display their atonal microtones. Virtuosic, to be sure, but enjoyable to Western ears? It will be a challenging scenario--one that I fear will not bode well for The Mercury Tree's fan base (though many hard core experimental musicians will appreciate and love this). The vocals and more comfortable bass and drum lines help make this one more easily accessible and, perhaps, enjoyable. (9/10)
3. "Arc of an Ilk" (6:35) an amazing composition of angularities pulled off with jaw-dropping dexterity and flawless team timing. The problem is, that it's not "pretty" or very engaging. It is entertaining from the vantage point of watching and appreciating virtuosi at work. (8.75/10)
4. "I'll Pay" (6:22) fascinating and incomprehensibly complex there are some nice vocals and melodies (especially in the repetition of the title in the background vocal chorus) here above the and great musicianship. (9.25/10)
5. "Interglacial" (1:45) feeling quite Asian in its melodic sensibilities, this brief instrumental is surprisingly pretty. (5/5)
6. "Superposition of Silhouettes" (3:43) aside from the chromatic chords, this one has a pretty, accessible sound and structure--quite like a pleasant TOBY DRIVER song (and the closest thing to old Permutations-era TMT). (8.75/10)
7. "Kept Man" (3:15) microtonal PORCUPINE TREE anyone? (8.25/10)
8. "(Throw Up My) Hands" (2:59) pure TOBY DRIVER discordant minimalism and beyond! (8/10)
9. "Disremembered" (7:07) what starts out as a stark Ben Spees solo effort turns into a 60s-ish surfer song á la Dick Dale with a totally twisted modern approach to it, then back into the stark motif of the opening section, before turning into a KING CRIMSON-esque exercise in odd tempoed polyrhythms. Stunning construction and performance. I just wish it were a little more enjoyable from a melodic sense. (13/15)
10. "Brake for Genius" (3:32) The song that gave me the Jane Siberry comparison. (8/10)
11. "Tides of the Spine" (4:33) The almost normal acoustic guitar work makes this song partly accessible. (8.75/10)
This album--The Mercury Tree's fifth of this decade--often has a Ben Spees solo album feel to it--especially the middle four songs of the album, "Intergalcial" to "(Throw Up My) Hands." Aside from the aforementioned Toby Driver, the only other artist I can compare Ben's singing style to--an artist who uses such unpredictable and often angular melody lines--would be Canadian muse JANE SIBERRY. My rating for this album might be higher if I could hear and make sense of the lyrics, but, alas! I am "blocked" from comprehension of sung words by a lifelong learning defect.
While I am mentally blown away by the skill, dedication, practice, and mental dexterity that goes into being able to play, write, work collaboratively with such experimental musical scales, my own ability to enjoy myself while listening to music like this is challenged to a point that I am sad to admit is beyond my control. No matter how hard I try to distance myself, to chose a different perspective to come at this music from, I just can't seem to find pleasure in the experience. It's work. The musical harmonics on display are even, at times, repellent to me. I thoroughly enjoy the challenge--I've spent over seven months with this album now--and have from the beginning truly appreciated the genius involved in creating such music, but, in the end, I find myself feeling exhausted and dejected by it.
Reviewing this album has been so challenging by the fact that I found myself having to choose to rate each song according to likability and accessibility rather than skill and virtuosity. Usually, I am able to incorporate consideration for both of these very important elements of art, but here I felt cursed to actually have to choose between the two. I guess my reasoning is two-fold: I'm seeking internal resolution to my personal feelings for the work and I'm trying to offer accurate and true commentary to others as to whether or not they might enjoy seeking out this album for their listening pleasure. I highly recommend that each and every one of you take this album for a spin for your self to see what you think. I'd actually be interested to see comments of your reactions.
86.36 on the Fishscales = B/four stars; a remarkable display of progressive progressive rock music--one that certainly pushes boundaries (as well as buttons). I'm not sure this album will be everyone's cup of tea but it is certainly recommended that you try.
THE ARISTOCRATS - You Know What?
Fine musicianship over some surprisingly aggressive and surprisingly schizoid music. One of those albums that I appreciate but feel little draw to return to.
Line-up / Musicians:
- Guthrie Govan / guitar
- Bryan Beller / bass
- Marco Minnemann / drums
1. "D-Grade Fuck Movie Jam" (6:31) 70s-ish guitar pyrotechnics with strums and wah pedal while the rhythm section holds steady beneath. Sounds like 1970s Jeff Beck, Alvin Lee, or Rory Gallagher.(9/10)
2. "Spanish Eddie" (6:56) opens with some very fast guitar arpeggiations tightly wound with bass and fairly laid-back though mirroring drums. To my ears, the "Spanish" element has more to do with a similarity of sound and style to some of AL DI MEOLA's work over the years. Turns into a flashy 1960s blues rocker in the middle before using a Spanish chord strum sequence to bridge into an onslaught of heavy Southern rock. (13.5/15)
3. "When We All Come Together" (6:16) opens like an old ADRIAN BELEW and/or MARK KNOPFLER Mississippi blues railroad rock song. Admirable skill (8.25/10)
4. "All Said And Done" (4:43) another display of Guthrie Govan's surprising penchant for southern rock country blues. A Charlie Daniels or LYNNYRD SKYNYRD tribute! (8/10)
5. "Terrible Lizard" (6:30) lumbering, lurching, squealing, screaming music to fulfill the song's title. Nice team work on this technically demanding composition. The second half is more Guthrie's show piece over the restraint of the others. (8.5/10)
6. "Spiritus Cactus" (5:59) last time I heard jazz fusion like this it was in 1977 at the hands of Jeff Beck and Jan Hammer in an antiquated music hall whose ceiling plaster was falling on stage whenever Jan hit some outrageously deep bass note on his shoulder-strapped Lync keyboard. (8.75/10)
7. "The Ballad Of Bonnie And Clyde" (7:37) a rocker in the Steve Vai vein that sounds all-too familiar on many counts: style, sound, rhythm structure, and melody. (12/15)
8. "Burial At Sea" (6:35) very pleasant aquatic opening with strumming guitar, warbling low-end bass, but breaks into full-on heavy prog guitar play at the one minute mark. Microtonal guitar notes separate the full-body of the section in which female vocals seem to sing "fa-fa-fa-fa." Back and forth between heavy and delicate with some nice guitar soloing in the fourth minute. (8.75/10)
9. "Last Orders" (8:32) a gentle blues-jazz piece sounding like something from DIRE STRAITS, HIRAM BULLOCK, or JAN AKKERMAN. Fine craftsmanship from the two strings players over the first three minutes. Then things amp up into more of a display of premier 1980s metal works for a minute before returning to the soft fluid sounds of the opening three. A full-on Mark KNOPFLER display beginning at the end of the fifth minute. Nice! (18/20)
Total time 59:39
The lessons herein are that these are three fine musicians--especially that man of many hats and styles, Guthrie Govan.
86.14 on the Fishscales = B/four stars; an excellent collection skillfully performed, wildly varied music that we'll call "progressive rock" for lack of a better term--none of which is really my cup of tea anymore. (World-blues-jazz-rock-metal fusion?)
STEPHAN THELEN feat. Markus Reuter Fractal Guitar
The SONAR leader and Math Rock champion is back with yet another solo effort with an all-star array of guest musicians.
Line-up / Musicians:
- Stephan Thelen / guitars (fractal & tritone), granular loops (2,3), co-producer
With:
- Markus Reuter / U8 touch guitar & soundscapes (1-5), co-producer
- Jon Durant / cloud guitar (1)
- David Torn / guitar & loops (1,5)
- Bill Walker / electric guitar & loops (2)
- Henry Kaiser / electric guitar (2)
- Barry Cleveland / guitar atmospheres (3,4)
- Matt Tate / U8 touch bass guitar (1-4)
- Manuel Pasquinelli / drums (1,4)
- Benno Kaiser / drums (3,5)
- Andi Pupato / percussion (3)
1. "Briefing For A Descent Into Hell" (18:35) could have come from Stephan's other project, SONAR, and their 2018 album Vortex, especially as there are three of the five members of that album on this song. Interesting, cool, just not memorable for anything new or distinctive--though there are many moments in which I feel as if I'm more immersed into a piece by CAN or KLAUS SCHULZE. One bull-headed pace and foundation over 18 minutes with lots of interesting displays of creativity over the top as solos. Somehow it works as I find this to be the song I return to most of all when I want to re-test this album. (36/40)
2. "Road Movie" (13:23) another SONAR-like foundation from the rhythm section as Henry Kaiser takes a turn competing with Stephan. Flags a little in the second half. (25.5/30)
3. "Fractal Guitar" (9:20) opening with infinitely echoed and morphed solo electric guitar, the sound journey is fascinating in itself. Yet another SONAR-like foundation is added by the rhythm section at the end of the first minute--in an unusual time signature. The "guitar atmospheres" of Barry Cleveland are quite interesting--perhaps they are the sound "morphing" to which I referred in the opening sentence. Drums and percussion begin to add their own distinct personalities in the fourth minute. (17.5/20)
4. "Radiant Day" (8:42) a more KING CRIMSONian weave of electric stringed instruments opens this song. Markus Reuter, Matt Tate, and Barry Cleveland all weaving their touch guitars with Stephan's is quite interesting. The absence of atmospheric "glue" of washes and slow decay notes and chords is also interesting. It's like a stage full of guitarists each waiting patiently for their turn to solo. (16.75/20)
5. "Urban Nightscape" (17:34) opens with two lines of chromatic arpeggi backed by David Torn loops and washes. Bass line and drums eventually join in but it takes a few minutes until a solid flow and structure are settled upon. Benno Kaiser's drumming is much more noticeable than the hypnotic support style of Manuel Pasquinelli because he is imposing a mentality of a lead instrument. (He's good but not great.) It's David Torn who really shines in the thick and heavy section between the sixth and ninth minutes (though Benno does try). The music gradually moves to a stripped down, atmospheric section where, in the fifteenth and sixteenth minutes you feel as if night skies and bug noises are the sounds trying to be reproduced (or imagined). My least favorite song on the album. (29/35)
Total time 67:34
It is very difficult to fault Stephan Thelen with this type of music because it is so unique and unusual in the music world, but after an album or two, listened to consecutively, one begins to grow fatigued of the repetition of similitude.
86.03 on the Fishscales = B/four stars; a solid contribution of polished, mood-oriented Math Rock
and excellent addition to any prog lover's music collection.
ALIO DIE & LORENZO MONTANÀ The Threshold of Beauty
An exciting event, the second collaboration of the two artists that produced the prog electronic masterpiece of 2015, Holographic Codex, but, alas! it disappoints.
Line-up / Musicians:
- Alio Die / psaltery
- Lorenzo Montana / electronic improvisations & processing
- Lorenzo Montana / electronic improvisations & processing
1. On the waves of fate - Part 1 (07:24)
2. "The closest place to the soul" (12:18) (20.5/25)
3. "Lighthearted expansion return" (06:34) in the vein of their previous effort but there's just something missing. (8.75/10)
4. Dark dhrupad (06:13)
5. Vacant lights disclose the shadows (08:08)
6. "On the waves of fate - Part 2" (17:18) some eeriness similar to the duo's first collaborative release but not nearly as enticing or effective. (28.5/35)
Total Time 57:57
2. "The closest place to the soul" (12:18) (20.5/25)
3. "Lighthearted expansion return" (06:34) in the vein of their previous effort but there's just something missing. (8.75/10)
4. Dark dhrupad (06:13)
5. Vacant lights disclose the shadows (08:08)
6. "On the waves of fate - Part 2" (17:18) some eeriness similar to the duo's first collaborative release but not nearly as enticing or effective. (28.5/35)
Total Time 57:57
KHADAVRA Hypnagogia
Line-up / Musicians:
- Sebastian Eriksson / guitar, sitar, didgeridoo, vocals (5)
- Nils Erichson / keyboards, church organ, piano, guitar, vocals (5)
- Jón Klintö / bass, French horn
- Nils Erichson / keyboards, church organ, piano, guitar, vocals (5)
- Jón Klintö / bass, French horn
- Alexander Eriksson / drums, percussion, marimba, vocals (2)
1. "Horisontens Himlavalv" (1:13) electronic wind (3.5/5)
2. "Down The Rabbithole" (10:16) (16.25/20)
3. "Dissolve" (9:07) (16.75/20)
4. "Mordangel" (7:56) opens with French horn soloing over static Mellotron choir. At 1:20 this is followed by 'tron stings and heavy chunky bass bridge before drums and twangy echoed lead guitar picks away at some notes for a bit. At 2:40 we switch directions, exploring a different groove and pace, taking a while to decide if this is, in fact, the direction we want to go. The drummer seems to be having a good time. Then the bass gets a little solo time bridge for the band to reset to the original post-introduction slow groove. Lead guitar is a little more prominent this time. At 4:40 there is another change indirection with a quicker pace and more rolling bass line as frenzied drums and 'tron strings support a more impassioned electric guitar solo. At 5:40 this is over and we switch to church organ-based dirge with heavily effected guitar lead play. Cool combination of sounds--and nice melody. All the changes in direction are confusing to me as there is barely time for any one groove to get established (and some definitely are begging to be extended) before there is a sudden and rather obtuse change. (12.75/15)
5. "Tryptophan" (5:32) opens very much like a CURE Disintegration-era song, until vocal and then chorus are established. Nice melodic poppy song. The vocals are almost 60s pop folk with their upbeat hopefulness. Strange that the malaise caused by tryptophan would generate lyrics like "touched by the sun" and "I can see by the sea." (8.75/10)
6. "Kollektiv" (27:36) guitar, chunky bass, 'tron low strings, and good support rock drum lines open this one--very nice weave--before a really odd shift at 0:50 to an almost Caribe-beat. The next shift reveals a more sedate COCTEAU TWINS-like soundscape--especially from the lead guitar. This 50-second A-B rotation continues with slight variations until 3:40 when we shift to strumming jazz guitar, 'tron high strings, drums and melodic upper register bass line. Dreamy ROYE ALBRIGHTON-like electric guitar enters and flits and dances over the others in a very pleasant way before turning buzz saw and then coming back more straightforward and forceful. Again, we move between soft and hard rotations for the next few minutes. Like this half-NEKTAR, half-NOVA sound! Cool keyboard solo in the eighth minute--followed by sitar--one of the better sitar solos I've heard in a long time. Then chunky bass gets a turn around 9:00. All this and we're only a third of the way in! Bong crash at 9:46 signals shift to a more jazzy improvisational section in which drums and marimba duel. Band returns to fullness at 11:18--picking up where it started off in the beginning. But then things disintegrate in order to allow a brand new theme and combination of sounds to establish themselves--this one more like a long road of steady classic rock sounds and themes over which soloists can have their turns: first raunchy electric guitar chord play, then syrupy piano notes, again, alternating back and forth for the next few minutes. Nice melodic sense in the lead guitar's solo in the fifteenth, sixteenth, and seventeenth minutes. The next change in direction occurs at 17:40 when drums turn militaristic (snare-based) as bass takes the lead for a minute before heavy 'tron strings and flighty Roye Albrighton guitar solos over. Bass and CURE-like solos alternate until 19:50 when things painstakingly slow down, reaching a transition point at 20:22 when things go full CURE--all four instrumentalists could be playing a Disintegration instrumental passage! The next shift employs some more tinny-grating old Cocteau Twins sounds before returning to a calmer, simpler CURE palette at the 23:00 mark. Crashing metal power chords and band support end this section before we switch into a more upbeat WHO-like palette at 24:00. The final three minutes are a little too happy-saccharine before the odd prolonged BEATLES' "full orchestra hit" final minute. Overall a pretty enjoyable song full of plenty of interesting sounds and transitions. Not every theme was great, but my overall experience was definitely very positive. (49/55)
Total Time 61:40
85.60 on the Fishscales = B/four stars; an excellent submission of retro-sounding psychedelic progressive rock music.
2. "Down The Rabbithole" (10:16) (16.25/20)
3. "Dissolve" (9:07) (16.75/20)
4. "Mordangel" (7:56) opens with French horn soloing over static Mellotron choir. At 1:20 this is followed by 'tron stings and heavy chunky bass bridge before drums and twangy echoed lead guitar picks away at some notes for a bit. At 2:40 we switch directions, exploring a different groove and pace, taking a while to decide if this is, in fact, the direction we want to go. The drummer seems to be having a good time. Then the bass gets a little solo time bridge for the band to reset to the original post-introduction slow groove. Lead guitar is a little more prominent this time. At 4:40 there is another change indirection with a quicker pace and more rolling bass line as frenzied drums and 'tron strings support a more impassioned electric guitar solo. At 5:40 this is over and we switch to church organ-based dirge with heavily effected guitar lead play. Cool combination of sounds--and nice melody. All the changes in direction are confusing to me as there is barely time for any one groove to get established (and some definitely are begging to be extended) before there is a sudden and rather obtuse change. (12.75/15)
5. "Tryptophan" (5:32) opens very much like a CURE Disintegration-era song, until vocal and then chorus are established. Nice melodic poppy song. The vocals are almost 60s pop folk with their upbeat hopefulness. Strange that the malaise caused by tryptophan would generate lyrics like "touched by the sun" and "I can see by the sea." (8.75/10)
6. "Kollektiv" (27:36) guitar, chunky bass, 'tron low strings, and good support rock drum lines open this one--very nice weave--before a really odd shift at 0:50 to an almost Caribe-beat. The next shift reveals a more sedate COCTEAU TWINS-like soundscape--especially from the lead guitar. This 50-second A-B rotation continues with slight variations until 3:40 when we shift to strumming jazz guitar, 'tron high strings, drums and melodic upper register bass line. Dreamy ROYE ALBRIGHTON-like electric guitar enters and flits and dances over the others in a very pleasant way before turning buzz saw and then coming back more straightforward and forceful. Again, we move between soft and hard rotations for the next few minutes. Like this half-NEKTAR, half-NOVA sound! Cool keyboard solo in the eighth minute--followed by sitar--one of the better sitar solos I've heard in a long time. Then chunky bass gets a turn around 9:00. All this and we're only a third of the way in! Bong crash at 9:46 signals shift to a more jazzy improvisational section in which drums and marimba duel. Band returns to fullness at 11:18--picking up where it started off in the beginning. But then things disintegrate in order to allow a brand new theme and combination of sounds to establish themselves--this one more like a long road of steady classic rock sounds and themes over which soloists can have their turns: first raunchy electric guitar chord play, then syrupy piano notes, again, alternating back and forth for the next few minutes. Nice melodic sense in the lead guitar's solo in the fifteenth, sixteenth, and seventeenth minutes. The next change in direction occurs at 17:40 when drums turn militaristic (snare-based) as bass takes the lead for a minute before heavy 'tron strings and flighty Roye Albrighton guitar solos over. Bass and CURE-like solos alternate until 19:50 when things painstakingly slow down, reaching a transition point at 20:22 when things go full CURE--all four instrumentalists could be playing a Disintegration instrumental passage! The next shift employs some more tinny-grating old Cocteau Twins sounds before returning to a calmer, simpler CURE palette at the 23:00 mark. Crashing metal power chords and band support end this section before we switch into a more upbeat WHO-like palette at 24:00. The final three minutes are a little too happy-saccharine before the odd prolonged BEATLES' "full orchestra hit" final minute. Overall a pretty enjoyable song full of plenty of interesting sounds and transitions. Not every theme was great, but my overall experience was definitely very positive. (49/55)
Total Time 61:40
85.60 on the Fishscales = B/four stars; an excellent submission of retro-sounding psychedelic progressive rock music.
BLANK MANUSCRIPT Krásná Hora
Powerful album of provocative art from this socially conscious band of Austrians. Akin to the true spirit of communal prog from which sprouted the likes of bands like Amon Düül and Faust.
Line-up / Musicians:
3. "Achluphobia" (15:35) The clinical name for the fear of darkness opens with gentle, quiet, spacious guitar picking and percussion play sounding like the spacious part of King Crimson's "Moonchild." This continues, though it slowly builds over a ANEKDOTEN "Hole"-like motif with additional instruments joining in and increased volume and intensity (and structure) from the electric guitar. High piercing synth also joins in, until at 5:30 their is a glottal stop before the guitar becomes more bluesy and Fender Rhodes electric piano throws in a few flourishes. I'm reminded of Alvin Lee and Ronnie Montrose, for some reason. Bluesy guitar continues to thrash around with gradually increasing intensity unitl 8:45 when it begins to strum a dirty four-chord pattern over which a male voice begins to sing sounding like a 1970s Heavy Metal British rock song. Full blues-rock guitar solo fills the eleventh minute as the bass and drums amp up in support. In the thirteenth minute an eerie but hopeful piano chord progression takes over. Acoustic guitar, percussion, and bass join in to make a nice AEROSMITH "Dream On" weave before church-like choir voices take over for a few seconds. Piano-based weave picks back up with drummer crashing cymbals every which way until the end arrives. (25/30)
While I found myself intrigued with this album upon first listen due to its wide varieties of styles and sounds, repeated listens have tempered my enthusiasm. Though full of interesting and nostalgic sounds and music, ultimately, the band's skills as instrumentalists and composers leads me to feel as if they have an album or two to go before they reach any kind of masterpiece status. Also, the vocal talents of the most oft-used lead singer sound too raw and untrained. Effects might help.
85.185 on the Fishscales = B/four stars; an excellent and welcomed addition to Prog World--recommended for your own perusal.
Powerful album of provocative art from this socially conscious band of Austrians. Akin to the true spirit of communal prog from which sprouted the likes of bands like Amon Düül and Faust.
Line-up / Musicians:
- Peter Baxrainer / acoustic, Classical & electric guitars, vocals
- Dominik Wallner / piano, electric piano, synthesizer, organ, clavinet, celesta, Mellotron, vocals
- Jakob Aistleitner / saxophone, guitar, bass, flute, glockenspiel, percussion, vocals
- Alfons Wohlmuth / bass, flute, bottles, vocals
- Jakob Sigl / drums, percussion, vocals
With:
- Antonia Sigl / viola
- Wolfgang Spannberger / samples
- Dominik Wallner / piano, electric piano, synthesizer, organ, clavinet, celesta, Mellotron, vocals
- Jakob Aistleitner / saxophone, guitar, bass, flute, glockenspiel, percussion, vocals
- Alfons Wohlmuth / bass, flute, bottles, vocals
- Jakob Sigl / drums, percussion, vocals
With:
- Antonia Sigl / viola
- Wolfgang Spannberger / samples
1. "Overture" (6:49) the first half of this deep thrombosis is a set up for a major Hammond solo. A break at the half way point allows an electric guitar to assert its gentle leadership over a competing piano before a stripped down guitar-supported vocal section--one that become very interesting and engaging when multiple voices join together toward a crescendo into a saxophone solo. (12.75/15)
2. "Foetus" (6:10) computer/radio/effected (muted) guitar, synth, and singing noises open this one. Oh! I get it! It's what music would sound like to a foetus from inside the mother's uterus! At the two minute mark the minor key arpeggio of a creepy nursery music box and bass drum weave together for a while before giving way to abrasive power chord strums from an electric guitar. Organ, drums and synth join in during the fifth minute. The final minute is instrumental mayhem broken up by the crying of the baby, arrived. Interesting conceptually but not musically. (8.25/10)
3. "Achluphobia" (15:35) The clinical name for the fear of darkness opens with gentle, quiet, spacious guitar picking and percussion play sounding like the spacious part of King Crimson's "Moonchild." This continues, though it slowly builds over a ANEKDOTEN "Hole"-like motif with additional instruments joining in and increased volume and intensity (and structure) from the electric guitar. High piercing synth also joins in, until at 5:30 their is a glottal stop before the guitar becomes more bluesy and Fender Rhodes electric piano throws in a few flourishes. I'm reminded of Alvin Lee and Ronnie Montrose, for some reason. Bluesy guitar continues to thrash around with gradually increasing intensity unitl 8:45 when it begins to strum a dirty four-chord pattern over which a male voice begins to sing sounding like a 1970s Heavy Metal British rock song. Full blues-rock guitar solo fills the eleventh minute as the bass and drums amp up in support. In the thirteenth minute an eerie but hopeful piano chord progression takes over. Acoustic guitar, percussion, and bass join in to make a nice AEROSMITH "Dream On" weave before church-like choir voices take over for a few seconds. Piano-based weave picks back up with drummer crashing cymbals every which way until the end arrives. (25/30)
4. "Pressure Of Pride" (3:38) horns and flutes help open this one establishing a nice nu-jazzy groove before chorus vocals ejaculate their message within. At the end of the second minute the groove smooths out and fills the soundscape as a full on jazz-rock onslaught ensues. This song reminds me of Catalan band ZA! and Finnish UTOPIANISTI project of Markus Pajakkala. (9/10)
5. "Shared Isolation" (9:55) opens with Spanish guitar and then flute in a duet before stopping to restart (using the established melody) as a full horn-supported jazz rock fusion instrumental at the 0:51 mark. Using the same melody, the keys, electric guitar, and horns all play with, within, and without the line and chord progression over the next two minutes with a solo or two from the guitar. Then a hi-speed sequenced synth arpeggio takes over before being joined by drums, bass, and slowly strummed electric guitar in a slow, plodding blues-rock foundation. A couple of guitars and synths take turns adding to or soloing over the top of this funereal groove. A bit of a ROBIN TROWER feel to this. In the beginning of the sixth minute the blues rock groove pauses for a PINK FLOYD "Time"-like vocal fill. These two motifs alternate twice over the course of the next two minutes--there's even a David Gilmour screaming guitar solo in there--before a bit of YES guitar bridges us into a chunky bass-driven section of blues-rock jazz jamming with wailing synth soloing over the top. (17/20)
6. "Alone At The Institution" (9:21) opening with an intricate multi-instrument full bad weave that takes on a bit of a feel of a Romani or klezmer folk feel to it--rhythmically as well as melodically. Like a Django and Stéphane song taken to a big band format. The horns, bass, and drums get to shine here (the keys would too were they not mixed a bit into the back) until delicately plucked jazz guitar takes the fore at the 4:00 mark. Bursting back into full band explosiveness, we end the guitar solo and bridge to a stripped down pulsing Mellotron flute chord over which a very soft, sensitive section is constructed--one which, it turns out, is just preparing us for a vocal. The vocal performance here is of a much higher skill level--sounding like early Jon Anderson with John Wetton's tibre and range in a Godspell setting. At 8:20 we transition back into a heavy recapitulation of the klezmer theme for the finish. Easily the best song on the album. (18.5/20)
7. "Silent Departure" (3:37) opens as a romantic chamber folk piece with viola proclaiming the melody over a picked electric guitar. Breathy male voice enters quickly to take over the lead from the viola as bass and percussion join guitar. Voice and viola trade leads while joining forces for the choruses over the course of the remainder of the song. Pretty folk tune but nothing to shout about. (8.5/10)
8. "The Last Journey" (8:34) A JEFFERSON AIRPLANE-like musical foundation with the breathy male singer over the top allows the band to stretch out into an almost beer-hall feel of freedom and mischievousness. The instrumental jam section in the middle is dull and lacking--and made worse by the long-held single chord sustained over the sixth, seventh, and eighth minutes. Do they think they're classical composers of the Minimalist movement? It does somehow end well. I'm not sure how. It's a mystery. (16/20)
Total time 63:39
Total time 63:39
While I found myself intrigued with this album upon first listen due to its wide varieties of styles and sounds, repeated listens have tempered my enthusiasm. Though full of interesting and nostalgic sounds and music, ultimately, the band's skills as instrumentalists and composers leads me to feel as if they have an album or two to go before they reach any kind of masterpiece status. Also, the vocal talents of the most oft-used lead singer sound too raw and untrained. Effects might help.
85.185 on the Fishscales = B/four stars; an excellent and welcomed addition to Prog World--recommended for your own perusal.
ULVER Drone Activity
This is a live album? Could've fooled me (again).
Another great album of ambient mood adventures--four epic length ones--once again enlisting the participation of multi-instrumental journeyman and all-around prog all-star, Daniel O'Sullivan (GUAPO, GRUMBLING FUR, ÆTHENOR, MOTHLITE, MIASMA & THE CAROUSEL OF HEADLESS HORSES, CHROME HOOF, CERBERUS CHOAL). (I guess after ten years of work with Kristoffer Rygg & Co. I should be finally accepting as fact that he is a real and permanent part of Ulver.) Upon repeated listens, I find two of the songs draw me in and keep me there while two lose me. That fine line between droning background music and exciting, engaging foreground music is one that Ulver has always had trouble negotiating with me--except in concert format: I've found everything the band does in concert to be mesmerizing and thoroughly engaging. (But, then, the video and light shows accompanying their stage performances--not to mention their enlisted participation of choir and/or orchestral support--definitely add a different dimension to their music--one that is perhaps under-represented in the studio album versions. I guess the point is: see them live or buy their DVDs, that's where you'll experience the real magic of Ulver music!)
Line-up / Musicians:
- Kristoffer Rygg / Vocals, Programming
- Tore Ylwizaker / Keyboards, Programming
- Jørn H. Sværen / Miscellaneous
- Daniel O'Sullivan / Guitars, Bass, Keyboards
1. "True North" (16:11) (23/30)
2. "Twenty Thousand Leagues Under The Sea" (21:48) (41/45)
1. "True North" (16:11) (23/30)
2. "Twenty Thousand Leagues Under The Sea" (21:48) (41/45)
3. "Blood, Fire, Woods, Diamonds" (16:43) (28/35)
4. "Exodus" (15:50) (27/30)
Total Time 70:32
85.0 on the Fishscales = B/four stars; a solid contribution to the Prog World lexicon. I still think this is a studio album: no crowd noises; all new song titles, perfect production.
LOST WORLD BAND Spheres Aligned
Less proggy than previous releases, does Andy want to be a 1960s jazz-pop star? The musicianship remains top notch if the compositions a little more sappy/syrupy.
Line-up / Musicians:
- Andy Didorenko / guitars, bass, violins, keyboards, vocals,
- Vassily Soloviev / flute
- Yuliya Basis / keyboards
- Evgeny Kuznetsov / bass
- Vassily Soloviev / flute
- Yuliya Basis / keyboards
- Evgeny Kuznetsov / bass
- Konstantin Shtirlitz / drums
1. "Aligned" (3:56) (8.4/10)
2. "Rockfall" (3:44) (8.1/10)
3. "Dawn Day Dusk Night" (3:37) an awesome kind of Satie-esque Gentle Giant vocal-instrumental weave experiment (9.5/10)
4. "Running In The Sun" (3:47) fast-moving rock with all instruments and vocals worked tightly into the weave. A little bit of THE ASSOCIATION or RIFTH DIMENSION worked into the harmonies in the vocal arrangements. (8.5/10)
5. "Symphonic" (5:05) sounds like an jazzy instrumental continuation/variation on the previous song. Not really necessary. (8.2/10)
6. "Aise" (1:26) nice little Keith Emerson-John Tout piano solo. (4.5/5)
7. "Sail Away" (3:43) piano-based vocal ballad by Andy. His English vocals are definitely improving. (8.25/10)
8. "Crystalized" (4:18) another jazz-pop instrumental with some classical/math rock structure to it. Nice flute work and whole-band cohesion. Could be a Broadway or soundtrack career for Andy yet! (9/10)
9. "Lighter than Air" (3:53) spiritual/New Age, too? Nice choral section with flute and piano interlaced but, otherwise ... meh. (7.75/10)
10. "Pressured" (4:35) I can't help but cringe when I hear Andy's music try to go to heavy rock'n'roll power chords. Nice keyboard flights in the Edgar Winter "Frankenstein" sections. (7.75/10)
11. "I Am the World" (8:45) an uninspired attempt at a prog epic. Kind of a cross between Yes The Yes Album and Richard Harris' "MacArthur Park." (16/20)
Total Time 46:49
84.74 on the Fishscales = B/four stars; a solid contribution to the modern lexicon of Progressive Rock music though not Andy's best (that was 2016's excellent Of Things and Beings).
ALIO DIE & INDALASKA Tempus Fugit
Collaborating with a Persion duo from Paris, Stefano Musso has done it again.
Lineup / Musicians:
Stefano Musso - electronics, zithers.
Maninkari/Indalaska - organ, incidentals.
1. "L'heure qui ondule" (21:44) slow and disappointing with a vacuous final five minutes. (36/45)
2. "Le temps du crépuscule" (12:12) psaltry and organ. Brilliant! (23/25)
3. "Réponse aux nuits cache-dieu" (6:19) nice but not as memorable as so many of Stefano's other creations. (8.6/10)
4. "Le temps irrémédiable" (11:37) organ, choir, and reverse-engineered zither and electronic notes and chords. Cool. Turns cold in the second half when organ and synths abandon the choir and echoed percussives. (16.75/20)
84.35 on the Fishscales = B/four stars; a nice addition to a prog lover's music collection but not one of Stefano Musso's most memorable album releases.
CIRRUS BAY - The Art of Vanishing
I feel that the musical productions of Bill Gillham had been getting stronger over the arc of his career--especially since the 2009 Cirrus Bay release, A Step Into Elsewhere, which had shown so much promise and potential. But we may be on the descending curve of that arc now as the productions here are lacking in so many ways none of which are more important than enthusiasm. These songs just feel tired, rehashings of old already used up themes and hooks. And the sad and disappointing part is that I love the sound of Cirrus Bay! I always have! It's just that it has rarely stepped beyond the realm of ABC prog into something more creative and exciting. Yes, there is a place and praise for imitation, but one would hope that an artist--that a person--can grow, can evolve and try new things. I'm not sure Bill would see it this way. His music is very pretty, and very uplifting, it just drags and begins to sound like background music when I believe it shouldn't.
Line-up / Musicians:
- Bill Gillham / electric & acoustic guitars, keyboards, recorder, banjitar, backing vocals, composer, co-producer
With:
- Tai Shan / lead vocals
- Sharra Acle / backing vocals
With:
- Tai Shan / lead vocals
- Sharra Acle / backing vocals
- Mark Blasco / drums, bass, sax, guitar, backing vocals, co-producer
1. "A Blossom of Hills" (10:28) for its first four minutes this song is constructed as a Prog Folk song from about 1970-1 with the sound palette of early ANT PHILLIPS guitar albums and a MADDY PRIOR or JUDY DYBLE-like voice in the lead. Then the music bursts forward into more jazz-folk-rock canter until settling back into the Celtic folk sound and pacing of the opening at 6:50. I have to admit, I really like this folkier side to Bill's work--but it works well in contrast to the BYRDS-like music in the fast section. Great performance by Tai Shan. Nice work, Cirrus Bay! Maybe my favorite song you've ever done. (18/20)
2. "Undiscovered Isle" (2:52) a nice folk guitar solo somewhere between Will Ackerman and Ant Phillips. (8.5/10)
3. "A Garment of Clouds" (5:02) sounds like song built to support a Sandy Denny, Jacqui MacShee, Judy Dyble, Maddy Prior, or Barbara Gaskin vocal performance. Nice prog folk. The dreamy sax-drenched left turn at the three minute mark does nothing, thus the U-turn to get back to Maddy's lovely voice--I mean Tia's. Nice, fitting pastoral lyrics. Overall, a very nice song. (8.75/10)
4. "The North Country" (5:16) that last two songs had helped me almost forget that this was Cirrus Bay, but here we are back to the plodding straight-time simplicity that is typical of most CB songs. This one is in fact so rudimentary in its construction and so "ancient" in its sound that it sounds like it could come from a practice session for some band director's middle school band. Even the shift into second gear at the 2:18 mark doesn't save this 1960s warmup song. How the Byrds sounded at age 14. Odd to have so many instrumentals on a CB album. (7.75/10)
5. "Sooke Harbour" (3:06) a nice little folk pseudo-achronistic instrumental. (4.5/5)
6. "Eden" (3:42) a kind of 1960s Jackie DeShannon song. Nice but it'd never make it onto the charts. Nice Annie-Haslam-like vocalise by Tia in several sections. (7.75/10)
7. "Unexpected Wonder" (6:55) some new sounds (for CB) yet turn out to be 1960s old. Same plodding pacing, same simple though catchy melodies, same simple constructs and soli, just slightly different sound palette for this long instrumental. I'll give Bill a little credit: there is some tension and discord in the third and fourth minutes with his use of minor chords, but it changes little the end result. I don't like the Wurlitzer organ used. (11/15)
8. "Lost and Profound" (3:02) piano and clarinet. A little jazzier than usual until Bill's piano begins sounding like a piano teacher's support play for a student at the 0:48 mark. An étude! (For a fairly unexceptional student.) (3.75/5)
9. "The Dictator" (4:07) another very straightforward song, almost Beatles-ish, though far more simple. Nice vocal performance in the B "chorus" section. (8/10)
10. "The Vanishing Place" (10:08) opens with some tension-filled discordant piano arpeggi before switching to bouncy chords in support of clarinet. At the 0:48 second mark, drums burst in with the full band and voice to give us a full soundscape of simple prog. A few pseudo-switches in timing help us to believe that this is a more complex song than it is. It's not. The timing is straightforward, sometimes doubling or halving, but always one directional. (16.75/20)
Total Time 54:38
84.13 on the Fishscales = B-/four stars; a nice addition to the compendium of Prog World but nothing to write home about.
THE APPLESEED CAST The Fleeting Light of Impermanence
The Cast is back with another solid collection of Post Rock-ish songs--though, with the full participation of Chris Crisci's vocals on all of the tracks, there is a lot more Indie-Pop feel to this one.
Musicians / Lineup:
Bass - Ben Kimball
Drums - Nick Fredrickson
Guitar, Keyboards - Sean Bergman
Guitar, Keyboards, Percussion, Vocals - Chris Crisci
1. "Chaotic Waves" (4:09) Is that Sting out front singing? Great song. (9/10)
2. "Petition" (4:57) kind of COLDPLAY meets ARCADE FIRE or even old CURE. (7.75/10)
3. "Time the Destroyer" (6:32) trip-hoppy-bass line with Indie symbol crashes while a weird Shankar-like "violin" streaking through, this one builds in a Post Rock kind of way, but is more structured like an ANATHEMA song. (8.5/10)
4. "Collision" (6:24) opens with a slow, steady, atmospheric soundscape that sounds like it could come out of sci-fi soundtrack. At the two minute mark, it turns into a more techno-pop song like something from THE FLAMING LIPS. By the second half of the song there is another switch into territory blazed by bands like THE CURE and NEW ORDER. (8.25/10)
5. "The Journey" (6:48) more techno-scapes, this time more akin to DEPECHE MODE or more recent ULVER, before they all vacate for a sparsely accompanied vocal section. The electro-bass line that kicks in in the fourth minute is awesome--as are the heavily reverbed guitar solo notes. Cool build of layers upon layers of effects in the fifth minute. (13/15)
6. "Asking the Fire for Medicine" (4:12) guitar arpeggi and drum machine rhythms interplay at first before voice, drums, and synths come crashing in. Again I am reminded of ANATHEMA more than old Appleseed Cast. Or even GHOSTS OF JUPITER. (8.5/10)
7. "Reaching the Forest" (5:58) full-on 1980s synths open this one, but then at 2:10 there is a radical shift into pure 1980s CURE with the GHOSTS OF JUPITER reverb vocals. Nice C section in the fourth minute and soloing in the peak section of the sixth minute. (8.25/10)
8. "Last Words and Final Celebrations" (4:31) the most "old-style" Appleseed Cast post rock sounding song on the album despite the domineering presence of vocals in the second half. (8.25/10)
84.12 on the Fishscales = B/four stars; a solid contribution of crossover music.
ON THE RAW Climbing the Air
Very nice, if fairly mainstream, Jazz-Rock Fusion.
Line-up / Musicians:
- Alex Ojea / Drums
- Jordi Amela / Keyboards
- Jordi Prats / Guitars
- Pep Espasa / Sax, Flute
- Toni Sanchez / Bass
With:
- Cristina Falcinella / Vocals
- Samuel Garcia / Trumpet, Violin
- Jordi Amela / Keyboards
- Jordi Prats / Guitars
- Pep Espasa / Sax, Flute
- Toni Sanchez / Bass
With:
- Cristina Falcinella / Vocals
- Samuel Garcia / Trumpet, Violin
1. "Climbing the Air" (8:53) impressive skills but kind of boring and bringing nothing new to the world. (16/20)
2. "Red Roses" (4:43) nice chord arrangements and flute work. Earworm melodies. My favorite song on the album. (9.25/10)
3. "Resistance" (7:45) more straightforward Jazz-Rock Fusion with nice chord progression, nice drumming and sax play. Not enough change and/or drama. (13/15)
4. "Moneypenny" (7:58) opens with a movement based on some Hendrix-like guitar riff before bass solos with some bouncy keys and syncopated drums providing support before the trumpet arrives and takes over. (12.75/15)
5. "Herois" (8:25) almost MANHATTAN TRANSFER smooth jazz for the intro and vocal-infused first three minutes. Turns sentimental piano bar jazz for the mid-section. Overall, an odd mish-mash of themes--yet, containing very pleasant melodies. Another top three song. (17/20)
6. "Blackmail" (6:56) organ-based uptempo blues jazz intro turns more rock at the 30 second mark. The organ remains important throughout but there are downtempo sections with sonorous DAVE SANBORN-like sax interspersed as well. (12.5/15)
7. "Skeptic" (8:44) has a MAD CRAYON Preda sound and feel to it from the start. A lack of vocals manages to keep it in the jazz-rock realm. Nice STEELY DAN-like keyboard sounds until Hammond solo in the fourth minute. Overall another interesting late-evening Mini Cooper ride through la vieille ville. (17/20)
Total Time: 54:24
Though blessed with modern sounds, nicely creative ideas, and very proficient musicianship, the music here feels as if a rehash (or updating) of late 1970s/1980s smooth jazz themes. Nothing to get too excited about except for good, enjoyable music.
83.91 on the Fishscales = B-/3.5 stars; a nice addition to a prog lover's music collection--especially if you're a fan of smooth jazzy 1980s J-R Fusion.
THE COSMIC DEAD Scottish Space Race
An excursion into heavy psychedelic rock that will be emotionally satisfying for a very specific mood set and which, I fear, will not be everyone's cup of tea.
Line-up / Musicians:
- Tommy Duffin / drums
- Russell Andrew Gray / lap-steel synthesizer
- Omar Aborida / bass
- Russell Andrew Gray / lap-steel synthesizer
- Omar Aborida / bass
- James T Mckay / guitar
1. "Portal" (20:57) opens with five minutes of tension-building drumless synth and guitar work before machine gun drumming, lap-steel, and hypnotic vocal chant enter and repeat for over six minutes. At 12:18 it all shifts with a kind of LED ZEP "Rock 'n' Roll" frenzied drum beat pacing the way. Guitar and lap-steel go bat crazy (I swear there are more than two tracks creating all of this chaos!) How (or why) they keep it going for so long is a wonder. Screeching vocals become more apparent towards the end. (32/40)
2. "Ursa Major (18:23) a smoother ride with a more melody-conscious ambiance, this one could have been from the 1960s West Coast Psychedelia Scene (e.g., STEPPENWOLF or THE DOORS) or from 21st Century California band PERPLEXA. The drumming skill of Tommy Duffin is much more evidenced here. (35/40)
3. "Video Scottish Space Race (11:54) heavy, GUAPO-RUINS-like heaviness, opens this one. It takes over two minutes to pound it into our heads that this is going to be a heavy, Zeuhl-heavy, song. Once the band falls into the STEPPENWOLF-like pace and guitar chord sequence, an angry vocal is screamed over a choir chant and the music. "Can you dig it?" is the prolonged chorus before the instrumentalists launch off into their wild space trajectories. At times the bass player is going absolutely frantic with his movement on the fretboard. Return to scream vocal and chant for the second half. Entertaining but not really my cup of tea. (21/25)
4. "The Grizzard" (24:08) this one opens with a repetitious crashing that reminds me of some SWANS songs. After about four minutes of this the music straightens out into a cantor over which electric guitar wails and screams for about six minutes before he is joined by a second guitar track. Take the original "Layla" and amp up that guitar duet in the second half by about 20 pills and you get what I'm hearing. At 12:30 the music switches into a more DOORS-like pace and HENDRIX sound--including playing with echoed vocal shouts. This is the motif that plays out over the next eight minutes before things begin to break down and decompose. Interesting. (42/50)
Total Time 75:22
Total Time 75:22
83.87 on the Fishscales = B-/four stars; a satisfying excursion into heavy psychedelic rock that I fear will not be everyone's cup of tea.
A band that I've been following since 2008 because of the promise they showed with their excellent self-titled debut of that year.
2. "Stars Below" (2:46) sounds like the soft side of PINK FLOYD at the opening but then moves into a more folk domain as singer sings and alto sax joins in. I like this very much. My first top three song. (4.5/5)
3. "Citadel" (8:02) two notes from an organ oscillate for a few seconds before bass and drums join in. When singing enters it reminds me of US Prog Folk band, MIDLAKE. The chorus confirms this though I'm also now reminded of GHOSTS OF JUPITER. Sax fits in nicely toward the end. Excellent laid back song even if it does drag on a bit. A top three song for me. (13/15)
4. "The Spectrum Explodes" (4:32) opens with a fast-paced drum pattern (old style sound, i.e. no gated effects! Yea!) As the song develops I'm reminded of THE AMAZING, MICE ON STILTS, and THE MOODY BLUES. Aside from the synth solo and Tony Kaye-like organ work in the second half, this is a solid Folk Rock song in the vein of late 1960s Moodies. (9/10)
5. "Warning Flare" (6:13) opens with a slow keyboard arpeggio which is joined by drums, bass, jazzy guitar notes/chords and gentle sax all woven together into a smooth and surprisingly tight tapestry. Some BEACH BOYS-like singing enters well into the second minute and actually disrupts and disappoints--as does the searing blues/psych guitar solo that joins in in the third minute and remains active between the first three vocal verses. Then it goes solo acoustic guitar for a spell before the third vocal verse. With this accompaniment the choir vocals work much better. A far more interesting and complex song than one would have predicted based on the opening. Sax and synth weave their melody lines with the full band in the final minute. Nice! A top three song for me despite the weak first half. (8.75/10)
6. "Arc" (4:25) opens like the opening to PT's "Dark Matter" before synth and electric guitar join in to create their discordant psych melody. Suddenly, at the end of the first minute the tempo shifts as the multi-voice vocal enters. It turns into another completely surprising vocal-driven song for the next 90 seconds before instrumental passage gives way to synth, sax and electric guitar soli with a little tighter foundational weave in support of it all. The first song that doesn't really work for me. (7.75/10)
7. "The Vital" (7:38) opens with three minutes of slow, spacey organ play within which guitar, bass, and percussion interject sounds and notes before and as soprano saxophone enters to gently flit and fly about above the mix. The music never really changes as the saxophone continues its gentle exploratory flight. Nice for meditative relaxation though more of a New Age-y JAN GARBAREK piece than rock and roll. (12.5/15)
8. "Celestia" (4:34) opens with a fade in of a synth arpeggio which is then joined by drums, bass, and guitar before the Christoffer Gunrup-like voice joins in. Another prog folkie song evoking the late 1960s as well as THE AMAZING. The lead vocals get harmony support in the second verse and then Mellotron. Very nicely done. The foundational music begins to get a little stale in the third minute--just in time for all instruments but the 'tron to cut out while vocal harmonies sing on. This is, unfortunately, all too brief as the the frundational music from the opening returns to play out to the end. (8.25/10)
Total Time 44:32
DIAGONAL Arc
A band that I've been following since 2008 because of the promise they showed with their excellent self-titled debut of that year.
Line-up / Musicians:
- David Wileman / acoustic & electric guitars
- Alex Crispin / organ, electric piano, vocals, producer
- Ross Hossack / synthesiser
- Nicholas Whittaker / alto & soprano saxophones, vocals
- Daniel Pomlett / bass
- Alex Crispin / organ, electric piano, vocals, producer
- Ross Hossack / synthesiser
- Nicholas Whittaker / alto & soprano saxophones, vocals
- Daniel Pomlett / bass
- Luke Foster / drums, percussion
1. "9-Green" (6:22) sounds like old ROXY MUSIC, BRIAN ENO, and TALKING HEADS. Fun! I even hear a little THE MARS VOLTA with the middle instrumental/guitar solo section. (8.5/10)
1. "9-Green" (6:22) sounds like old ROXY MUSIC, BRIAN ENO, and TALKING HEADS. Fun! I even hear a little THE MARS VOLTA with the middle instrumental/guitar solo section. (8.5/10)
2. "Stars Below" (2:46) sounds like the soft side of PINK FLOYD at the opening but then moves into a more folk domain as singer sings and alto sax joins in. I like this very much. My first top three song. (4.5/5)
3. "Citadel" (8:02) two notes from an organ oscillate for a few seconds before bass and drums join in. When singing enters it reminds me of US Prog Folk band, MIDLAKE. The chorus confirms this though I'm also now reminded of GHOSTS OF JUPITER. Sax fits in nicely toward the end. Excellent laid back song even if it does drag on a bit. A top three song for me. (13/15)
4. "The Spectrum Explodes" (4:32) opens with a fast-paced drum pattern (old style sound, i.e. no gated effects! Yea!) As the song develops I'm reminded of THE AMAZING, MICE ON STILTS, and THE MOODY BLUES. Aside from the synth solo and Tony Kaye-like organ work in the second half, this is a solid Folk Rock song in the vein of late 1960s Moodies. (9/10)
5. "Warning Flare" (6:13) opens with a slow keyboard arpeggio which is joined by drums, bass, jazzy guitar notes/chords and gentle sax all woven together into a smooth and surprisingly tight tapestry. Some BEACH BOYS-like singing enters well into the second minute and actually disrupts and disappoints--as does the searing blues/psych guitar solo that joins in in the third minute and remains active between the first three vocal verses. Then it goes solo acoustic guitar for a spell before the third vocal verse. With this accompaniment the choir vocals work much better. A far more interesting and complex song than one would have predicted based on the opening. Sax and synth weave their melody lines with the full band in the final minute. Nice! A top three song for me despite the weak first half. (8.75/10)
6. "Arc" (4:25) opens like the opening to PT's "Dark Matter" before synth and electric guitar join in to create their discordant psych melody. Suddenly, at the end of the first minute the tempo shifts as the multi-voice vocal enters. It turns into another completely surprising vocal-driven song for the next 90 seconds before instrumental passage gives way to synth, sax and electric guitar soli with a little tighter foundational weave in support of it all. The first song that doesn't really work for me. (7.75/10)
7. "The Vital" (7:38) opens with three minutes of slow, spacey organ play within which guitar, bass, and percussion interject sounds and notes before and as soprano saxophone enters to gently flit and fly about above the mix. The music never really changes as the saxophone continues its gentle exploratory flight. Nice for meditative relaxation though more of a New Age-y JAN GARBAREK piece than rock and roll. (12.5/15)
8. "Celestia" (4:34) opens with a fade in of a synth arpeggio which is then joined by drums, bass, and guitar before the Christoffer Gunrup-like voice joins in. Another prog folkie song evoking the late 1960s as well as THE AMAZING. The lead vocals get harmony support in the second verse and then Mellotron. Very nicely done. The foundational music begins to get a little stale in the third minute--just in time for all instruments but the 'tron to cut out while vocal harmonies sing on. This is, unfortunately, all too brief as the the frundational music from the opening returns to play out to the end. (8.25/10)
Total Time 44:32
An album that hit me with surprising force in its friendly, engaging, and familiar sound and styles; I enjoyed this album far more than I thought I was going to.
83.82 on the Fishscales = C+/3.5 stars; no where near a masterpiece but a much more likeable and enjoyable listening experience than the ratings would indicate. Check it out for yourselves!
KOSMOS Ajan peili
One of my favorite old-time Prog Folk bands is back with another great album of spacious, thoughtful music--this one a little more diversified in sounds, styles, and instrumentation than their last album, 2013's wonderful Salattu Maailma.
Line-up / Musicians:
Päivi Kylmänen: vocals
Kimmo Lähteenmäki: drums, conga-drums, organ, mellotron
Kari Vainionpää: guitar, bass
Olli Valtonen: shrutibox, taalmala
Ismo Virta: guitar, mellotron, organ, synthesizer, drums
With
Juha Kulmala: reading
Arto Kuronen: bass
Sini Palokangas: violin, saxophone, xylophone
Kari Riihimäki: electric guitar
Päivi Kylmänen: vocals
Kimmo Lähteenmäki: drums, conga-drums, organ, mellotron
Kari Vainionpää: guitar, bass
Olli Valtonen: shrutibox, taalmala
Ismo Virta: guitar, mellotron, organ, synthesizer, drums
With
Juha Kulmala: reading
Arto Kuronen: bass
Sini Palokangas: violin, saxophone, xylophone
Kari Riihimäki: electric guitar
- "Ajan peili" (5:55) arpeggi from acoustic guitars are soon joined by bass and Mellotron to create a lush, gorgeous sound reminiscent of Salattu Maailma's title song. Singer Päivi Kylmänen enters toward the end of the first minute to spacious soundscape. She is joined by other vocal tracks (all her?) for the choruses. Mellotron (and flute) only appears when there is no singing. (8.5/10)
- Eilinen" electrified acoustic guitar accompaniment and drums for Päivi's singing.
- Lapsen uni
- Aina lähellä" xylophone with Päivi's gorgeously layered multi-voiced singing.
- Kohti taivasta" more upbeat acoustic guitar driven song with hand percussion to support Päivi's Jim Morrison-like singing.
- "Salainen oppi" (4:20) piano and voice open this one for the first verse. It sounds like a recital piece for some Russian cabaret. Soprano sax, flute, Mellotron, and some other chorded organ-like keyboard join in between the singing verses. Nice instrumental passage in the third minute with some nice saxophone interplay with the final verse. (8.5/10)
- Jatkuvuus" heavier with brooding Mellotron and other synths. Great soundscape! Top three for me.
- Minä olen" opens with simple Mellotron and finger-picked acoustic guitar before wind noises take over, transitioning us to the dark turn in mood as a slowly emerging ominous electric guitar riff repeated over as 'tron and drums join. Päivi enters in the second minute.
OG MUSIQUE Water Birds
Interesting experimental instrumental music that reminds me of a blend of GONG, Kosmische music, and the West Coast electronic pop of BRIAN ELLIS or STARVING DAUGHTERS.
Line-up / Musicians:
- oG / bass, guitars, sitar, steel guitar, piano, synth, organ, vocals
- JP Gerard / organ (2,4,6,7,10,11,12), guitar (5)
- Quanah Zimmerman / electric guitar (2,4,6,7,10,11,12)
- Will Z. / percussions
- JP Gerard / organ (2,4,6,7,10,11,12), guitar (5)
- Quanah Zimmerman / electric guitar (2,4,6,7,10,11,12)
- Will Z. / percussions
- Alice Artaud / vocals
1. "Insects Generated By Plants" (4:55) very interesting music that sounds like it came out of one of Daevid Allen's GONG albums from the early 1970s or one of Steve Hillage's late solo albums from the late 1970s. (8.75/10)
2. "The Pyrallis" (2:43) another electronically experimental song based over a nice almost-Kosmische groove from the bass and drums. (9/10)
3. "The Golden Fruit" (1:15) (4.5/5)
4. "The Mermecolion" (2:23) experimenting with wave guitar and flanged bass. (4/5)
5. "The Arimaspians" (2:04) experimenting with percussive and floating guitar effects as well as piano noises. (4/5)
6. "The Gold Bee" (3:00) acoustic guitar with dobro wave guitar, Farfisa organ, floating bubble sounds, and pedal steel slide guitar. Almost Hawaiian laid back. (8.5/10)
7. "Griffins" (3:07) drum loop and deep rolling bass give this one a Kosmische feel which is amplified by the key/synth experimentations going on over the top and the thick underwater sound given the wandering bass. Drags on a bit at the end. (8.5/10)
8. "The Blemmyae" (2:51) more bass and guitar sound and technique experimentation--plus bubbles. (8.25/10)
9. "Perytons" (2:09) like Todd Rundgren making fun of Jimi Hendrix--lots of layers of special effects on the bass, percussives, and guitars until it turns Hawaiian beach music. (4.5/5)
10. "The Kraken" (3:24) another great BRIAN ELLIS or GONG groove with Steve Hillage and Daevid Allen sitting in. So cosmic! (8.75/10)
11. "Hydra" (2:21) like a song used to drive the slave rowers on an ancient Mediterranean ship. (4/5)
12. "Hyperborean Frogs" (6:50) just weirdness. Not even Eno's solo albums, Fripp-Eno, or Eno-Hassell ever got this discordant weird. (11/15)
13. "The All Ears" (2:56) more underwater experimentalism using guitars and flanges and slides. (7.5/10)
14. "Water Birds" (2:09) the most melodic and beautiful song on the album accomplished through slide electric guitar arpeggi, and Alice Artaud's gorgeous vocalise. (5/5)
Total Time 42:07
83.69 on the Fishscales = B/four stars; a nice addition of experimental instrumental sound to this year's progressive rock catalogue; the underwater theme just gets a little old and weird. If the album were more like the first and last songs it would meet with higher ratings.
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