12. SLEEPYTIME GORILLA MUSEUM In Glorious Times
The California avant deconstructionist cabaret band's third (and final?!) album. (No: New album Of the Last Human Being is slated for release on February 1, 2024.)
Line-up / Musicians:
- Nils Frykdahl / guitar, vocals
- Carla Kihlstedt / violin, percussion guitar, bass harmonica, hurdy gurdy, vocals
- Michael Mellender / guitar, xylophone, trumpet, percussion, toy piano, vocals
- Dan Rathbun / bass, dulcimer, vocals, co-producer, mixing
- Matthias Bossi / drums, glockenspiel, xylophone, piano, backing vocals
With:
- Per Frykdahl / voice
- Dawn McCarthy / backing vocals (2)
1. "The Companions" (10:04) total Danny Elfman cabaret. Could come directly from
Nightmare Before Christmas 2. It's so powerful and entertaining! (18.5/20)
2. "Helpless Corpses Enactment" (5:57) a little heavier and darker than the previous song: it feels as if it wants to venture into Death Metal territory. A little too vocal-centric for my tastes. I like the second DEVY TOWNSEND-like motif a little better. (8.666667/10)
3. "Puppet Show" (4:15) sounds and feels like a bombastic metal JC Superstar with its choral vocal delivery, while the music in between vocal passages has more of a cabaret noir feel. The use of toy piano, dulcimer, and glockenspiel gives it that Danny Elfman feel again. (8.875/10)
4. "Formicary" (5:46) angular Andy Partridge-like guitar chord sequences promote an odd melody line that is performed by Carla Kihlstedt and Michael Mellender as if female and male conversationalists in a stage one act. Big, chunky bass beneath and circus-like drums really add to the odd KING CRIMSON-esque feel of this one--especially in the central instrumental passage. (9/10)
5. "Angle Of Repose" (7:53) slower, heavy, plodding music with Carla Kihlstedt performing the lead vocal in a fragile-sounding higher register voice. Very cool--and compelling. The musical bed overwhich she sings is very buoyant and supportive until things speed up and turn ominous in the third minute. The music then turns pure avant--yet Carla continues to sing (and contribute her violin). The fifth minute results in new motifs: kind of two, alternating, as Carla continues her narrative singing. Some klezmer influence showing itself in the sixth minute as Carla's vocal turns toward desperation. I think I'd value this one more if I heard the message of the lyrics. (13.33333/15)
6. "Ossuary" (4:35) opens with a bit of a bluegrass sound palette and feel. A funked-up jazz-rock fusion motif develops in the third minute before the growl vocals and aggressive KING CRIMSON chord progressions begin. As these speed up in the fourth minute one gets the feeling as if the build up of centrifugal force is going to throw one off the merry-go-round but then we are saved by a grounding, pounding, earth-digging pattern that plays out for the final 30 seconds. Interesting. (8.875/10)
7. "The Salt Crown" (8:40) opens with some industrial percussive noises that provide the background for Nils Frykdahl's Judas-like JC SUPERSTAR vocal performance. This is very theatric, very heart-wrenching in Nils' convincingly feigned act of pain and suffering. A THINKING PLAGUE-like musical shift occurs mid-fourth minute and Nils just adapts: his vocals becoming more aggressive with his anguished/angry scream-growls. While I was quite impressed and taken with the tender opening motif, not so with this more angry/aggressive one. Luckily, Nils and the band return to the opening motif in the seventh minute, going even further into the theatric depths of pain and despair. The significance of the recorded voices at the end are a bit of a mystery to me (as they are on several of the album's other songs). (17.75/20)
8. "The Only Dance" (4:20) Carla gets another turn in the lead vocal department with this music that sounds to me quite a bit like the autobigraphical/narrative storytelling of JACK O' THE CLOCK's Damon Waitkus. Even when the music ramps up to loud levels in the fourth minute, there remains some of the deep folk roots that Damon's music exudes. Nice but nothing to write home about. (8.75/10)
9. "The Greenless Wreath" (6:51) there is a familiarity to the style presented by this dirge-like wakes song: something about Nils' MAJOR PARKINSON-like vocal performance; something about the disturbing yet-oddly-cinematic music. Interesting with each and every listen. (13.25/15)
10. "The Widening Eye" (5:09) an instrumental displaying many of the band's odd and self-created instruments within its expanded string-and-percussion tempo-shifting weave. The instrumental palette being founded in picked stringed instruments and clean tuned- and untuned percussive instruments makes for an easier listen than some of their other more densely-populated material. I can easily envision Tony Levin, Bill Bruford, and Adrian Belew enjoying and wanting to join in on this one. (9/10)
11. "The Putrid Refrain" (2:55) what seems like the continuation of the previous song--palette and all--ends with another odd recorded (phone) message. (4.5/5)
Total time 66:25
The compositions and performances are all amazingly sophisticated and artistic, I'm just not as drawn into the music and performances to the degree the I was on the band's previous album, Of Natural History. I think it is Nils' propensity to move into aggressive, almost-growl vocals that sometimes puts me off. Otherwise, I find the ultra-Crimsonian musical constructs to be quite entertaining and refreshingly expansive of other avant/RIO band creations.
89.25 on the Fishscales = B+/4.5 stars; an excellent addition of boundary-expanding avant-RIO music for any and all of the most adventurous prog lovers' music collections.
13. CORDE OBLIQUE Volontà d'arte (Neo-Mediæval Folk/Neo-classical)
Riccardo Prencipe's second release of neo-mediæval folk music under the title Corde Oblique.
Line-up / Musicians:
- Riccardo Prencipe / Classical guitar, Medieval lute, producer
With:
- Caterina Pontrandolfo / vocals (1,2,8)
- Floriana Cangiano / vocals (3)
- Simone Salvatori / vocals (5)
- Sergio Panarella / vocals (7)
- Claudia Florio / soprano (10)
- Catarina Raposo / vocals (12)
- Luigi Rubino / keyboards, piano
- Eugenio Catone / piano (11)
- Alfredo Notarloberti / violin
- Franco Perreca / clarinet, ciaramella
- Andrea Sosto / bass
- Alessio Sica / drums
- Francesco Paolo Manna / zarb, daf, riq, tambourine, shekere, caxixi, bells, cajon, darbouka, frame drum
1. "Cantastorie" (4:18) very Spanish-, almost GIPSY KINGS-sounding. Flawless. Caterina Pontrandolfo sounds so relaxed, her voice so crystalline. (9/10)
2. "Amphitheatrum Puteolanum" (4:32) very mediæval sounding with Ricardo playing the lute. Good despite Ms. Pontrandolfo's voice being treated with reverb (8.5/10)
3. "Casa Hirta" (5:16) opens as a classical guitar solo before the whispery vocalizations of Floriana Cangiano begin to join in. At 1:35 Floriana finally starts singing the lyrics. Another stupendous vocalist in Riccardo's impeccable employ. However, it's not until the violin and percussion instruments join the now-strumming guitar that it really gets good. (8.75/10)
4. "Before Utrecht" (5:47) opens with solo piano for the first minute, then it gives way to classical guitar, also playing solo. At 1:30 the two team up, playing off one another quite beautifully. (8.875/10)
5. "Atheistic Woman" (4:56) another song that opens like a fiery Spanish dance tune before Simone Salvatori's deep spoken voice begins narrating (in English). In the second verse his spoken voice switches to singing. Piano, violin, and hand percussion shine in the bridge before Simone starts again--same sequence as before. Too bad he pronounces "atheistic" with a soft 'a'. The instrumental jam in the final minute is awesome. (8.875/10)
6. "Kaiowas" (3:33) odd three-chord progression of strumming and hand percussives takes us into a kind of indigenous dance song. (8.75/10)
7. "My Harbour" (4:37) opening with solo classical guitar before the high tenor of Sergio Panarella starts to sing along (also in English--sometimes on two tracks). Nice duet, nice song. (8.75/10)
8. "Kunstwollen" (4:56) classical guitar accompanies Caterina Pontrandolfo on another immaculate performance. Though her performances are perfection, I think she gets better--more emotional and dynamic--on future Corde Oblique albums. (8.875/10)
9. "Panneggio" (2:45) ANTHONY PHILLIPS-like solo guitar (8.875/10)
10. "Cuma" (5:31) more solo classical guitar play before Riccardo switches to light strumming while backing the operatic singing of Claudia Florio. Francesco Paolo Manna and Alfredo Notarloberti join in the support crew on hand percussion and violin, respectively. Nice tune; great performance from Ms. Florio. (8.875/10)
11. "La Pioggia Sui Tasti" (3:06) guest musician Eugenio Catone appears for a solo classical piano performance. (9/10)
12. "Olhos Cinzentos" (7:04) lute with vocals from Catarina Raposo: using multiple tracks to back and harmonize with herself. Very cool vocal performance sung in a language unfamiliar to me. (Portuguese. Catarina was, at the time, in the Portuguese band Dwelling) (13.5/15)
13. "Piazza Armerina" (5:16) beautiful, more classically arranged with guitar and clarinet (9/10)
Total time: 57:27
As on the debut Respici, Riccardo surrounds himself with collaborators who are up to his vision and standards. I love the consistently high quality of composition and performance on this album. I am, however, biased toward the less-classical- and more medieval folk-orientation of two of Riccardo's future albums, 2009's exquisite The Stones of Naples and 2011's wonderful Hail of Bitter Almonds--both of which exhibit more songs with vocals, beginning Riccardo's journey through some extraordinary albums with his posse of extraordinary female vocalists.
88.61 on the Fishscales = B/four stars; an excellent collection of classical- and folk-infused songs from virtuoso acoustic guitarist Riccardo Prencipe--but this is only the beginning! Wait till you hear the next decade of albums!
14. QUIDAM Alone Together
Polish NeoProgger's fifth studio album release and first without the full-time participation of lead singer Emila Derkowska (now Nazaruk).
Line-up / Musicians:- Bartek Kossowicz / lead & backing vocals
- Maciek Meller / guitars, backing vocals, co-producer
- Zbyszek Florek / keyboards, co-producer
- Jacek Zasada / flutes
- Mariusz Ziółkowski / bass, backing vocals
- Maciek Wróblewski / drums, percussion
With:
- Emila Nazaruk (Derkowska) / backing vocals (2)
- Piotr Nazaruk / xaphoon (1), zither (2)
- Piotr Rogóz / alto sax (6)
1. "Different" (3:16) okay start, great end. (8.5/10)
2. "Kinds Of Solitude At Night" (6:00) great melodic hooks, solid, mature construct and palette. A great song--a top three for me. Nice to hear founding vocalist Emila Derkowska's beautiful voice again, if only in background support. (9.25/10)
3. "Depicting Colours Of Emotions" (10:18) nice mellow song with many instances reminiscent of fellow Polish proggers, Collage. A near-perfect song. (19/20)
4. "They Are There To Remind Us" (7:49) trying to go heavier, the sound is decent, it just does work for me. These musicians are too talented to have to murk things up with power chords and heavy distortion. It's good when the acoustic instruments are allowed to shine--and when the electric guitar is let loose. (12.5/15)
5. "Of Illusions" (8:04) fast-moving and extremely tight throughout, just not the most interesting song; nothing stands out or grabs me. (12.25/15)
6. "We Lost" (8:26) a song that feels based on some MARILLION-like traditional folk sounds, melodies, structures. Once the vocal starts I'm reminded of the first couple LUNATIC SOUL albums (which are yet to arrive on the Prog scene). Nice jazziness develops as it progresses--becomes especialy noticeable with the chorus. Great instrumental passage follows the first chorus--with awesome drum and lead guitar work--in the middle of which the band doubles the tempo. Wow! It's off to the races we go! How these guys can stay so tight! It's amazing! (17.5/20)
7. "One Day We Find" (6:46) solid music to support a rather straightforward vocal performance. The guitar, flute, and keyboard contributions in the instrumental section are stellar. The chorus does eventually get into your head. (12.5/15)
8. "We Are Alone Together..." (8:20) piano intro, quickly joined by Bartek singing sensitively. Very nice melodies and chords. Other instruments join in for the second verse, but they do not disturb, change, or disrupt, merely add dimension to the existing piano weave. Beautiful! Exquisite ambient textures--even from the drums! Atmospheric prog perfection. (19.5/20)
9. "... But Strong Together" (4:25) launching straight into a power drive, then turning to a Rasta rhythm and Hammond solo, the vocal section is dull, but the bridges and instrumental support passages are impressive. (I especially love the flute play.) Certainly an upbeat way to end an album. (8.25/10)
Total time 63:24
This is an album that, more than anything, showcases the virtuosity of these musicians--the seemless unity and cohesion they display in all collaborative performances of some not-so simple compositions. Kudos to these veterans: Masters of their craft(s). And band leader Bartek Kossowicz does a great job stepping into the BIG shoes voided by newlywed Emila Nazaruk.
88.333 on the Fishscales = B+/four stars; a solid prog album from some very seasoned veterans. Definitely an album that is worthy of addition to any prog lover's music collection.
A very nice set of diverse songs, though all establishing the signature ambient-droning Gazpacho sound supporting Ohme's somewhat monotonous voice, with two real standouts, "Upside Down" and "Dream of Stone". Definitely my favorite Gazpacho album though Tick Tock is a close second.
*****Five star songs: 3. "Upside Down" (9:41) (18.5/20) and 2. "Chequered Light Buildings" (6:34) (8.75/10).
****Four star songs: 1. "Dream of Stone (17:00) (32/35); 5. "Massive Illusion" (13:37) (26.5/30), and; 4. Valerie's Friend (6:29) (7/10).
88.333 on the Fish scales = solid four star album; excellent addition to any prog rock music collection.
16. MANNING Songs from the Bilston House
Wonderful blues-based prog from an one-man force with an old 1960/70s folksie storytelling style and the gravelly voice to match.
Line-up / Musicians:
- Guy Manning / 6- & 12-string acoustic, Classical & electric guitars, keyboards, bass, mandolin, bouzouki, vocals, arranger & producer
With:
- Julie King / vocals
- David Million / electric guitars
- Andy Tillison / keyboards, drums, vocals
- Ian Fairbairn / fiddle
- Laura Fowles / alto sax, vocals
- Stephen Dundon / flute
1. "Songs from the Bilston House" (6:04) a catchy opener. (8.75/10)
2. "The Calm Absurd" (7:25) Great song composition with stunning performances from all musicians. A top three song. (13.75/15)
3. "Lost in Play" (7:05) great keyboards throughout this song. Gutiars/stringed instruments aren't too bad either. (13.25/15)
4. "Understudy" (8:13) a very catchy song due to several layers of very engaging melodies. A lyrical/singing favorite of mine as well. More GREAT keyboard work from Andy Tillison. Another top three song for me. (13.5/15)
5. "Skimming Stones" (7:19) starts out as a soft ballad before turning into an exciting sea shanty. Ian Faribairn's violin really tears it up--especially when reflected off of Andy Tillison's Hammond and Stephen Dundon's flute. And then there's the bluesy lead guitar in the fifth minute! The cinematic buildup in the sixth minute is a bit contrived, but Guy brings us back to Earth with his vocal. (13.125/15)
6. "Antares" (7:11) smooth, pretty acoustic guitar strumming and chordplay accompanying Guy's pleasing vocal. The chorus and that which follows is a bit of a letdown, but we have Ian Fairbairn to bring us back to bliss with his violin over Guy's guitar strumming. Another round through the chorus et al. and then we get some more violin and flute with strummed guitar before the sudden paroxysm into a classic Andy Tillison prog outburst. Wonderfully relaxing and gorgeous JIMMY WEBB-like ending. Despite the chorus I like this song very much. (13.25/15)
7. "Icarus & Me" (5:54) a well-constructed and designed song that somehow misses the mark. Perhaps it's the weak melodies or odd sound engineering of Guy's singing voice. Plus, I just don't like those bare, pounded blues-rock piano, Hammond, and electric guitar chords. (8.666667/10)
8. "Pillars of Salt" (10:36) Nice instrumental performances, pleasant enough music with innocuous lyrics and vocal performance. A little too similar to the Americana genre of music for me--despite the tricks of treating Guy's voice in the middle and Andy's fine Hammond and orchestration-like work in the second half. (17.25/20)
9. "Inner Moment" (7:33) another song that feels a little loose in its folk-traditional arrangements--especially in the discordant choral vocals. (13/15)
Total Time 66:00
Anyone who likes the 1970s music of VAN MORRISON, JETHRO TULL, MARSHALL TUCKER BAND, DAVE MASON or even the ALLMAN BROTHERS will like the music of Guy Manning. My question is: Is this prog? To me, this sounds like straightforward bluesy rock'n'roll; there are no challenges or experimentations with form or structures, just solid lyric-driven song-writing. My other problem with Manning and the above mentioned artists is that, while I do like and appreciate their music and artistry, I do not love this kind of music--and I rarely seek it out. Is Songs from the Bilston House masterful? Perhaps. For its genre. Do I consider it an "excellent addition to any prog lovers music collection"? Perhaps. Of the Manning catalog, this is the one I would most recommend trying. Especially if you like(d) any of the above-named artists music from the 70s. Is it good music? Yes, it is good music--very well crafted--"bard"-like--music. Just not my cup of prog.
88.11 on the Fishscales = B/four stars; an excellent collection of maturely composed and expertly performed eclectic prog folk songs.
17. RATIONAL DIET Rational Diet
The third album from Belarus' fresh, classically-oriented Avant/RIO artists, which are led by multi-instrumentalist Vitaly Appow.
Line-up / Musicians:
- Vitaly Appow / bassoon, tenor sax, accordeon
- Maxim Velvetov / guitars
- Cyrill Christya / violin
- Dmitry Maslovsky / bass
- Eugeny Alexeyev / keyboards
- Nikolay Gumberg / drums
Guest musicians:
- Alta Pustchina / cello
- Cyrill Yelshow / vocals (7)
- Maria Lagodich / vocals (5, 6)
- Andrew Bodanow / voice (3, 4, 6)
- Oleg Gorbatiuk / voice (4)
1. "From The Grey Notebook - Intro" (0:23)
2. "From The Grey Notebook - Part 1" (5:05) very smooth flowing Avant Gard/RIO in the vein of many of France's most adept and adventurous jazz explorers. Definitely music that involves more rock instrumentation and form than UZED or Present. (9/10)
3. "Stop Kolpakoff!" (9:57) now this has more in common with the work of AFTER CRYING and FIVE-STOREY ENSEMBLE as well as Claudio Milano's NICHELODEON: performance art and cabaret noir. (17.66667/20)
4. "I Refrained From Closing My Ears" (12:15) Far more similar to dissonant, boundary-pushing 20th Century classical chamber music than avant prog. Not an electrified rock instrument to be found. A little too lacking in melody for my tastes, but interesting from a theatric, cinematic noir perspective. (I kept waiting for more narration.) Becomes more Eastern European in the second half--almost klezmer like. (21.25/25)
5. "An Order For Horses" (8:52) This one reminds me of early UNIVERS ZERO music--especially the first two albums--though the slurring violin and electric guitars are different. Vitaly Appow's bassoon is like a distant swan or goose squawking incessantly in the background. Maria Lagodich's frenetic peasant vocals in the fourth, fifth, and seventh minutes are interesting--an offshoot of Yoshimi P-We's work with OOIOO, perhaps? Again, I would love to see the stage or film expression to accompany this music. (17.5/20)
6. "Don't Swing The Wheel" (10:37) by this point in the album I am struggling to make out the differences between the songs, especially this one: it feels and sounds exactly like the previous one--even down to more of Maria Lagodich's crazy peasant rants. What is the band's intention here? Thankfully, there is a change in motif and, a little later, pace starting at 2:45, but this just makes the music feel even more as if it is more likely intended as accompaniment to a a narrative, short story, film, or stage performance. Like the more cinematic music of UZEd and Present, I find myself enjoying this--more if I allow my own vivd imagination to conjure up the silent film footage to attach to this music. (Fritz Lang, of course, though images from films by Orson Wells and Alfred Hitchcock also arise.) (18/20)
7. "From The Grey Notebook - Part 2" (13:48) I like the smoother, more drawn out nature of the weave of this one--at least, until the 45-second mark when the band most-assuredly counters my sentiment with some fast-capitulating note salad making. Settling back a bit, the chaos again takes over at the two-minute mark. Again, for some strange reason I feel myself comforted by the presence of the familiar rock instruments--especially the electric bass, electric guitars, and drum kit. The militaristic morale-boosting anthem that begins with Cyrill Yelshow's singing at 4:45 is another interesting and unexpected turn. Again I am reminded of some of the more odd (and, I'm guessing, colloquially Eastern European inputs similar to those of Hungarian band AFTER CRYING). Barroom piano helps transition the music through one venue to another: the streets; a chase scene! Electric bass, guitar, bassoon, and drums convey the elements and agonists involved in the run and hide--and it is a stop and go affair through the darkest, dirtiest, and most clandestine alleys of old Minsk (pre-WW2, of course). More (purposely bad) narrative singing from the military man telling the story in the 13th and 14th minutes brings us back to the present--to the story's finish. Interesting. Another situation in which I wish I could have a band member's insight into what is really going on here or that the story's printed words could be found in a good English translation. The music is okay. The story is unknown to me but, I have to admit: I am curious. (26.25/30)
Total time: 60:57
This is the last album before the arrival of young keyboard player, vocalist, and composer Olga Podgaiskaja which, after two albums, resulted in the eventual leadership struggle that would lead to the band's demise (and eventual creation of two bands: FIVE-STOREY ENSEMBLE and ARCHESTRA).
87.73333 on the Fishscales = B/four stars; a very solid display of cinematic avant gard/RIO music in the tradition of and of the level of Univers Zero and Present.
18. MOTH VELLUM Moth Vellum
Moth Vellum Moth Vellum is only my second exposure to a group whose sound is mostly neo-YES group (Glass Hammer being the other). While I agree that "Whalehead" and "Salvo" sound very much like out of some outtakes from the The Yes Album to Going for the One era of YES, it is a very much mellower YES, and the remainder of the album presents Moth Vellum with its very own identity. Sure there are guitar sounds similar to Steve HOWE, and a vocalist similar to Jon ANDERSON (though with far simpler and more accessible lyrics), but the keyboards and song structures are, IMO, much more akin to those of Tony BANKS, and the vocalist sounds much more, to me, like BUGGLES'/ Drama-era's Geoff DOWNES or Rush's Geddy LEE. Still, a very nice collection of songs setting very high standards. The drums and bass playing are rock solid if unspectacular throughout, the melodies and chord progressions are almost always very catchy and ear-pleasing. The soli are very rarely deserving of YES-like superlatives yet do a fine job of entertaining and engaging.
Line-up / Musicians:
- Johannes Luley / guitars, backing vocals
- Tom Lynham / keyboards, percussion
- Ryan Downe / bass, lead vocals
- Matt Swindells / drums, lead vocals
1. "Let the Race Begin" (9:14) has a nice neo-symphonic prog feel to it, some YES feel to it, but, largely establishing Moth Vellum as their own entity. Something about the lyric and vocal melody I don't like--but not the voice: the vocals are angelic. Perhaps they're a bit too simple. (17.33/20)
2. "Whalehead" (7:13) has a 'mellow YES' feel with a RUSH-like vocal chorus. Steve HOWE-like guitar playing must surely be the aim for the familiarity is unquestionable. Here, as with "Salvo" the vocal harmonies are most imitative of the above-mentioned 1972-76 period of YES. Nice song. I like it more than Rush. It would fit in well among the songs collected on MAGENTA's Seven. (12.5/15)
3. "Salvo" (13:34) begins a bit like a GENESIS Nursery Crymes, or Selling England by the Pound song (and ends like "The Knife" or "Giant Hogweed"), though the first solo, given to the keys, is taking full advantage of all of the technological advances made in the 80s and 90s. The 3:15 mark marks the first time of many on this album in which I thought I was hearing a female lead vocalist. (Nice voice, Ryan!) Really a beautiful voice. (Same effect whenever Ryan sings slowly, as on "Against the Suns" and "Against the Suns (Reprise)"). The 'Yes Effect' really makes its presence known at about the 6:30 mark. From there one feels as if you're floating between grooves of The Yes Album and those of Close to the Edge. Really quite a pretty song--very engaging in a way that YES sometimes . . . wasn't. (25.25/30)
4. "Against the Suns" (11:22) slows it down quite a bit. Melodies and chord progressions are quite simple--kind of a Wind and Wuthering feel to it. I like the vocals of this song quite a lot--as cheesie as they kind of are. The slow pace also allows for enough space in which to hear many of the subtleties that are often lost among fuller, more dynamic, power-chord crunching songs or song parts. A nice "Close to the Edge"-like quiet period beginning at the 4:00 minute mark preceeds a RUSH/MARILLION vocal, Howe guitar bridge to a beautifully melodic love-groove section right out of a great GINO VANELLI song. Enter a very cool and unexpected Wes MONTGOMERY-Chris SQUIRE conversation and then lead to fade with a Hackett-Rutherford-Banks foray. Great song. Very fresh even after 50 listens. (17/20)
5. My favorite song on the album, "
Walk it Off" (11:23), I had trouble liking until I finally got the lyrics. Now I can get passed the songs ONLY flaw: the chorus. Sounding somewhat like our friends from Down Under, UNITOPIA, this song is very exciting with several melodic 'hooks' which get introduced separately, repeatedly, and even get layered harmonically at times. Very reminiscent of the winning tricks of Big Big Train, especially as used on their masterpiece,
The Difference Machine. I also love the moments of almost campy Broadway musical theatrics (e.g. 7:45). But then we return to one of the great instrumental riffs--this time taken over from the keys by a very un-Howe-like fuzz/distorted guitar before fading out with the intro's guitar's harmonic arpeggios. (18.25/20)
6. "
Against the Suns (Reprise)" (5:11) is a mellow "Afterglow" type of piece in which everybody seems to get to loosen up and let the last bits of expression fly from their fingertips in a kind of "late-night, it's time for bed" loosely structured jazz format. A great wind-down song. (10/10)
Total Time: 57:54
A VERY pleasurable and OFT-repeated listen. I think it will stand up well over time--perhaps even better than a lot of Yes because of its simpler, more melodic sounds. Can't quite give it a five, but I sure want to! 87.25 on the Fish scales means four stars and an excellent addition to any prog lover's music collection.
19. THE DECEMBERISTS The Crane Wife
I have the great advantage of listening to this album 15 years after it's initial release--with 15 years of getting to know "Prog Folk" and folk rock behind me. (To put this into perspective, one of the first Prog Folk albums I tried from ProgArchives recommendations was this same band's "new"[at the time] and highly acclaimed release, Hazards of Love). There's a lot of familiarity to this music. I found myself hearing Bob Dylan, The Cure, REM (and the singing voice of Michael Stipes), even some Talking Heads, Smiths and Roddy Frame (Axtec Camera).
Line-up / Musicians:
- Colin Meloy / acoustic & electric guitars, bouzouki, percussion, vocals
- Chris Funk / electric & pedal steel guitars, banjo, bouzouki, dulcimer, hurdygurdy, percussion, backing vocals
- Jenny Conlee / piano, Hammond & pump organs, Wurlitzer, glockenspiel, accordion, Moog Bass, percussion, backing vocals
- Nate Query / upright & electric basses, cello, percussion, backing vocals
- John Moen / drums, percussion, backing vocals
With:
- Christopher Walla / keyboards, backing vocals, mixing & co-producer
- Eyvind Kang / violin, viola
- Steve Drizos / hand drums
- Laura Veirs / duet (girl) vocals (3)
- Ezra Holbrook / backing vocals
1. "The Crane Wife 3" (4:18) very nice folk-rock in the vein of JACK O' THE CLOCK and even FLEET FOXES or The MOULETTES. (8.5/10)
2. "The Island" (12:26) one of the top three "songs" on the album. (22.5/25):
- a) Come And See (6:14) organ and electric bass and guitars make this extended opening proggy, a little PINK FLOYDian. At the two-minute mark we stop and set up a new, simple, one-instrument foundation over which Colin enters to sing. At the end of the third minute drums join in, then bass and then, finally, at 3:30 the full band. (9/10)
- b) The Landlord's Daughter (2:47) Hammond and fast-picking acoustic guitar accompany Colin to open this part until one minute in the whole band burst forward for the chorus. There's a kind of "Can You Hear Me?" feel to this one before it turns ELP-ish. (9/10)
- c) You'll Not Feel the Drowning (5:33) moderately fast picked acoustic guitar arpeggi play on before Colin joins in. Organ and piano add some in the chorus (organ staying thereafter). (4.5/5)
3. "Yankee Bayonet (I Will Be Home Then)" (4:18) sounds just like a Michael Stipes/REM song--despite the shared lead vocal duties with Laura Veirs. Laid back, melodic, and very simple. (8.5/10)
4. "O Valencia!" (3:47) Bob Dylan meets Roddy Frame. (8.25/10)
5. "The Perfect Crime #2" (5:33) a pop-bluesier sound palette (with a bass sounding like TONY LEVIN) reminding me of ROSY VELA. While I love this song, it's not really proggy. More PopJazz. It's bouncy, light, and danceable. (9/10)
6. "When The War Came" (5:06) a great, truly proggy song. Also a strong vocal performance to match the music and lyric. My favorite on the album. (9/10)
7. "Shankill Butchers" (4:39) a gentle folk song that starts out as a solo Colin Meloy performance of guitar and vocal. Various and sundry instruments begin to show their simple contributions after the first verse and chorus. It has a very old-time southern porch folk feel to it. (8/10)
8. "Summersong" (3:31) strummed guitars and accordion with full rock combo supporting Colin's vocal. Nice melodies and construction. Another top three for me. (9/10)
9. "The Crane Wife 1 & 2 (11:19) After two and a half minutes the song finally kicks into full gear but the pace and styling changes little until the sixth minute. The choral vocalise in the fifth minute is a nice touch. At 5:35 there is slow down and shift to a base of acoustic guitar arpeggi (often one, long-held chord). Chorus with lap pedal steel guitar is nice. Organ joins in for third verse of this second motif though the overal mood remains reserved and sensitive. A very nice, moving song. (17.25/20)
10. "Sons & Daughters" (5:13) a great finishing song as it builds from a few droning noises into a fully textured song with anthemic lyrics sung over the top. I love the chorale vocal approach in the final two minutes to "here all the bombs fade away" lyric. (8.75/10)
Total Time: 73:48
People commenting of this band's acumen on their instruments must not have heard the amazing skills and intricacies of The MOULETTES! Colin & Co's music, style, and skills are more akin to those of Damon Waitkus (Jack O' The Clock) to me.
87.0 on the Fishscales = B/four stars; a very solid contribution to the Prog Folk lexicon and a nice addition to an adventurous prog lover's music collection.
