Päatos is a Swedish band formed in the early 21st Century by two former members of Landberk and Morte Macabre, bassist Stefan Dimle and guitarist Reine Fiske, and two relative newcomers in husband and wife Ricard "Huxflux" Nettermalm, the drummer, and cellist/vocalist Petronella Nettermalm, respectively. Timeloss
is their debut album and, unfortunately, the only album in their catalogue to include axeman extraordinaire Fiske.
Päatos is another band I've been fortunate to stumble in the past year. After listening to streams, samples and making a few experimental MP3 purchases, I decided to buy the band's first album, Timeloss. Not a bad song on the disc, though the two ultra mellow ones, "Hypnotique" and "Happiness," do not get the same frequent play as the others. What really sold me on this band, aside from the dreamy voice of Petronella Nettelmans, were the drums. "Teá," "Sensor" and "Quits" have some absolutely stunning speed and subtlety--reminding me of STEVE GADD with a little more power (when he wants to). Drummer Richard "Nuxflux" Nettelmans (Petronella's husband) shows amazing restraint and never seems to be trying to steal the limelight from the others--though his every flourish and syncopation surprises and almost defies belief. Such confidence, free-form creativity, and facility!
1. "
Sensor" (5:15) begins like a soft 70's jazz piece, but at 48 seconds in it kicks into high gear rock and roll. (Listen to those drums!!) Though perhaps Petronella's weakest vocal performance (she's strangely mixed into the background with the overall effect as if she's singing from inside an isolation tank!) At the 2:57 mark the tempo slows into a Yes/Genesis moment as the mellotron surges forward (Did I mention Päatos uses mellotron?) followed by a guitar solo which then carries the music back into it's fast tempo as the band jams to the song's sudden conclusion. (10/10)
2. "Hypnotique" (8:36) accomplishes just what the title declares. It is a long, very soft piece in which Petronella's voice, combined with her husband's soft jazz drumming, lulls one into submission. But, not unlike Pure Reason Revolution's Dark Third, this CD really shines with its layers of very interesting and rewarding subtleties. For example, at the 2:40 mark the music just cuts out, leaving the listener with a rather nice piano and flute interlude. When 55 seconds have passed, Nuxflux sneaks his way back in with a little flourish on his Zildjian before reestablishing the song's original jazzy rhythm, thereby cueing the start of the guitarist's very pleasant and somewhat "raw" guitar solo. Eventually, after the mellotron has snuck into the background, at about the 5:40 mark, the flute reappears to take over the guitar solo's melody line. Then, just as suddenly, the music stops for a brief cello solo before giving way to a brief return of Petronella--this time with a bit more of a forceful presence--until the song finally devolves into another all-out band jam to it's conclusion. A song that has grown in my esteem tremendously over time. (9/10)
3. I absolutely love "
Teá" (5:50) because of its native language vocals. Swedish has never sounded so beautiful! But, again, pay attention to the subtleties in this song: piano and DRUMS! The guy is amazing! (10/10)
4. "They Are Beautiful" (7:48) begins very Genesis "Entangled"-like before a double bass and tympanic percussion rhythm set the tone for another of Petronella's mind-massages. Hypnotic guitar and mellotron and with the surprise appearances of several sneaky, snaky reed instruments alternating with an electric guitar's note- and volume-play make for a very interesting and unusual song. Again: Headphones are highly recommended. This is another song that has grown tremendously on me over the years. (9/10)
5. "Quits" (14:49) gets a lot of grief from reviewers--especially prog reviewers--but I think this song is brilliant--very reminiscent of Ben Watt of EVERYTHING BUT THE GIRL's "Walking Wounded" phase. Drum machines and programs? What about all of the obviously live play Huxflux is doing? Man, the percussion work on this song alone make it a near masterpiece! And, no, I don't care if he's using synthesized or acoustic percussives. I love his guts and creativity! The synth work is also so interesting. Richard Barbieri meets Ben Watt meets Mr. Bill Bruford! And let me not forget to give this bass player his due: he does an awesome job tying husband and wife into the same cohesive piece. Awesome music. (And don't forget the horns! Amazing fun on the trumpets! Great devolution into Joni itchell/Weather Report/King Crimson-esque chaos! I love it!) (10/10)
Awesome band. Awesome album. Awesome jams at the end of each song. I forgot to mention that for PÄATOS' first album, they sported former LANDBERK and MORTE MACABRE genius guitarist REINE FISKE, one of my favorite two guitarists of the 21st Century. Sadly, Reine did not continue playing with Päatos. (But check him out on DUNGEN and THE AMAZING albums!)
96.0 on the Fish scales = five stars; a true prog masterpiece. Timeloss' only flaw is its length: a very old-fashioned 39 minutes!
9. THE PSYCHEDELIC ENSEMBLE The Dream of the Magic Jongleur
Thanks again to Sunhillow and progstreaming.com. Does anyone recognize how lucky we are to have The Psychedelic Ensemble in our lives? Three top notch albums in three years--and all conceived, composed, performed, and produced by one guy! Has there ever been a solo composer/performer who has produced music of this quality? And people: This Is The Best of all the Psychedelic Ensemble releases. It is utterly astounding! Time after time I am blown away by the emotion, the virtuosic performances--on many instruments--and the incredible clarity and engineering of this production. There are many times on this album that I am hearing an instrument solo, duelled by another, then a third! a FOURTH! even a fifth instrument gets into the act--all playing top notch riffs, talking to each other through the fire of their instruments. Astounding! Amazing!
God! I hate these reviews and the inability to get my excitement and enthusasm across. This, not "Shattered ..." or "Visions" or "Grace for ..." or "Ghosts" or SKE is the Album of the Year 2012!! Certainly the year's Best Album That Nobody's Ever Heard! There is no keyboard player on the planet that can compare to this guy's power and versatility.
The album opens with a cacophony of beautiful world sounds: bells, sitars, church organ, fuzz guitars and so much more, before it kicks into a great rocker with such a fullness of sound. "
Overture: Into theNight" (9/10) is such a 'complete' well-thought out, well-constructed song (much like many of the BIG BIG TRAIN compositions of recent years)--which sets the stage for a whole album of absolutely TOP QUALITY music. The 5:54 mark gives the first real introduction to the ride you're in for: amazing soli, multiple instruments dueling (in this case like STEVE HOWE and RICK WAKEMAN in their finest hours).
The instrumental "The Quest" (9/10) begins with a STARCASTLE/ROBIN TROWER sound until the main themes are played simultaneously buy guitars and multiple keyboards. Love the 'bubble bass' sounding not unlike fretless master PERCY JONES. He even gets a solo (an awesome one at that!) at the 2:40-3:10 span. Return to STARCASTLE/YES sound. Awesome energy!
"The Secrets of your Mind" (9/10) opens with a bit slower pace but with exciting 'bubble' JACO PASTORIUS-like bass patterns. Vocals are rather high and etheric--somehow similar to JAMES TAYLOR--with some really well-constructed intricate harmonies. The long solo section has more laid back and layered approach to multiple instrumental soli--electric and acoustic guitars, electric and acoustic keyboards, GENIUS! Absolute genius!!
Next is the mind-bending church organ song, "The Benefaction of the Nobal Wizard" (5:06). This was my first experience while listening to this album of goosebump and awe. It starts simply, unassumingly. Then, suddenly a full organ chord is added. Then, second hand and bass pedals. The effect is humbling, truly humbling. Not unlike Wakeman's intro to Yes' "Awaken" combined with the the traditional Yes intro, Stravinsky's "Firebird Suite"--but with more emotion. (10/10)
"Listen to Me" (9/10) brings us back to Earth--but at fairly high speed--and with some incredible keyboard and guitar work--the level of instrumental performance has just been turned up to 11! Vocals are the ONLY weak point here--and they aren't bad!
The all-too-brief "Stones to Flowers" (10/10) brings us back to the BEATLES/MAMAS & THE PAPAS 60s before gently fading into a dreamy BBT-like vocal collage.
"Magicking" (2:30) presents a beautiful, sensitive, virtuosic acoustic guitar duet. Somewhat reminiscent of "Mood for a Day" but moreso of Brother Ape's gorgeous BILL EVANS-like "In a Rare Moment" from 2010's In A Rare Moment of Insight. (10/10)
"The Riddle" (7:56) puts speed and multi-instrumental soli back in our faces in a BIG way! My favorite song on the album, it is full of such hauntingly beautiful melodies--every vocal, instrument's sound, instrumental solo is of such high adrenaline pumping value that I don't think even JAN AKKERMAN could do it better! Once in a rare eon you wish there was a rating number higher than 10! This is it; my 11/10 for 2011/12! Amazing song. I've listened to it over and over--and have had such joy trying to imagine playing all of the soli, imagining the level of extreme genius that could compose and perform at such a high level. TPE simply cannot be human! (10/10)
Then--GET THIS--"The Riddle" is followed by a truly rare and amazing song of deft skillmanship:
The bass performance on "Dream and Premonition" (4:22) is jaw-dropping in a JACO PASTORIUS way. A song if you heard you would not soon forget! (10/10)
The vocal harmonies and guitar and flutes on the JETHRO TULL-like "Strange Days" (6:38) is wonderful. Not unlike 2010's CICCADA release, like getting a fresh dose of great TULL! (9/10)
The album's closer, the 11-minute epic "
The End of Days: Epilogue" (9/10) is interesting for its emotional Richie Havens-like lead vocalist, high paced frenetic drumming (à la BROTHER APE), and of course, amazing interplay of what seems like an infinite number of keyboards and guitar. Great BIG BIG TRAIN feel to it.
94.54 on the Fish scales = a five star album; A TIMELESS MASTERPIECE. (No arguments accepted.)
GET IT!
NOW!!
10. FIVE-STOREY ENSEMBLE Not That City
Out of the ashes of RATIONAL DIET rises this phoenix of incredible power and beauty--in my humble opinion, an album ten times better than the very well crafted albums of its predecessor. Yes, Five-Storey Ensemble is the spawn of RATIONAL DIET. RATIONAL DIET founding member and reed player, Vitaly Appow, and keyboard/vocalist Olga Podgaiskaja, of the final two RATIONAL DIET albums,
At Work and
On Phenomenon and Existences, are principle composers here, while violinist, Cyrill Christya, and bass guitarist, Dmitry Maslovsky participate on several songs.
While I thoroughly enjoyed the Avant/RIO/Modern Chamber musings of RD, I was quick to zoom in on Not That City once it was posted on progstreaming.com. Bam! Was I broadsided! This album blew me away from the opener through to the last song. It’s music is reminiscent of RATIONAL DIET but, like ARANIS, it is much more melodic. Plus, vocals play a much more important role in defining their sound. The vocals here are used more operatically—and really only used in the forefront of four different songs. Whenever the male tenor and female soprano voices perform I find myself reminded of Goreki’s Third Symphony. Even though vocalists Sergey Dolgushev and composer and keyboard player, Olga Podgaiskaja, respectively, employ operatic approaches stylistically, their vocals are often used almost more as additional instruments—which has the tremendous effect of deepening the conveyance of emotions within each song. And each singer makes such a distinct and different contribution to the songs with their voices—often at the same time--that it has the effect of bringing two very different, almost divergent threads into the emotional weave.
1. “
The Harbinger” (5:51) opens the album with some long, sustained note playing from accordion player, Alexander But’ko. He is then gradually joined by violinist, Anastasia Popova, and oboist, Natalja Malashova, all weaving their magical notes together, slowly, deliciously. At the 2:20 mark pianist Olga Podgaiskaja, bassoonist Vitaly Appow, and double bass player Vyacheslav Plesko join in, taking the music into more staccato, rapido mode for several measures before fading back to let the original weave evolve. This cycle of piano- and bass-infused tempo upgrade recurs twice more, before the third occasion, in the third minute, ion which a prolonged, sustained dark theme more suited to PRESENT or UNIVERS ZERO is presented and built upon. This continues until 4:15 when an additional thread of color is provided by male vocalist, Sergey Dolgushev. We then see the song devolve into a final weave coming from Sergey’s plaintive voice and Alexander’s emotional accordion.
Awesome song—though it does get drawn out a bit in places.
I’ve heard this song in three different formats now, album version and two different live performances with two very different instrumental lineups (one more expanded, like the album version). (The YouTube link I provided is to a video recording of the song being performed by the band in front of a live audience.) Each has its strengths and charms. (10/10)
2. “Bondman’s Wings” (2:24) is a short, beautiful and powerful 'folk' instrumental using accordion, bassoon, oboe, and stringed instruments (with some military-like percussion) to tell its tale. Charming! (10/10)
3. “The Incommunication” (5:22) uses alternating female and male vocals as if in conversation. It sounds so romantic yet spiritual, almost religious. Sparse instrumentation of long sustained chords accompany the vocal until the two minute mark when a kind of Renaissance courtly music dances us into another dimension. Incredible constructions of seemingly independent instrumental voices all woven into a spacious yet multi-layered tapestry of exquisite beauty! The voices return for the final two minutes, this time woven within the multi-layered tapestry (a bit too much going on here for these ears). (10/10)
4. “To Ringfly” (3:11) begins as a rondo between accordion, bassoon and percussion and plays out very much in that format with the occasional instrument added here or there. One of my favorite instrumentals, very much in the vein of the best of AFTER CRYING. (10/10)
5. “A Disappearing Road" (4:42) To pulsing bassoon, and drum are soon woven in with accordion and other woodwinds. The first third is very Baroque/Renaissance processional feeling, but then structure shifts at about the two minute mark, taking on a more squared, constant feel, and then again at the 3:20 mark in which cacophonous strings play wildly over a woodwind section that holds long, long notes in strange discordant harmonies. Interesting and unusual. (9/10)
6. “The Unpainted” (7:57) is a haunting, even disturbing song beginning with simple piano arpeggio, double bass, and intermittent injections of string or woodwind instruments. Just after the one minute mark, the discordant tones of a female vocalist enters in low registers, then slowly climbs, octave by octave, until a minute later she is singing her dirge in her highest soprano register. Piano, strings, and woodwinds work themselves into until at 3:35 drums join in to accentuate the drama. A few seconds later and all has calmed down to 'solo' piano attended very sparsely by injections of winds, strings, percussives and, in the sixth minute, an electric guitar(!)--all painting a picture of the most ominous and despondent tones. The most UNIVERS ZERO-sounding song yet! (8/10)
7. Yesterday Dormant” (5:40) is a classical sounding discourse between male and female vocalists. Very powerful. I love music like this (no matter that it's being sung in a language I neither know nor understand.) It kind of reminds me of a more classical sophisticated version of Jon Anderson's "Chagall Duet," a conversational duet he did with Sandrine Piau from 1994's Change We Must. Beautiful music! Very powerful in the way that Sergey’s tenor is so strong, staccato, and positive while Olga’s soprano is so delicate, melodic and pleading. (10/10)
8. “
The Protector” (3:22) uses oboe and piano over rapid hand drumming--all of which makes me feel very at home, as if I were at a Renaissance Faire. The slowed down piano chord hits with cello and percussion section that begins around the 2:20 mark is quite devastatingly sad, a mood that is then quickly dispelled with a return to the opening section. But the song then concludes with a half-a-minute of some very ambiguous chords and feel. (9/10)
9. “Fear-Dream” (3:47) piano, strings and bassoon dominate this one, though accordion, oboe and a little percussion are also involved. It's very powerful and emotional. Electric guitar even joins in for some soloing a couple of times--especially during the last minute. This one reminds me of the music of one of my favorite modern groups, KOTEBEL. (9/10)
10. “Amid the Smoke and Different Question” (6:31) starts out sounding like a Broadway/operetta, even Moulin Rouge-ish. A male vocalist sings over the simple support of long, sustained accordian chords, and later is accompanied by an almost-separate woodwind dance, then another separate, discordant thread comes from strings, and then yet another seemingly unrelated theme arises from the deeper woodwinds. It's as if several small troubadour groups are parading through a town center, criss-crossing at the center, each playing its own little diddy as it passes by where the tenor continues, unphased, singing his plaintive dirge. Brilliant and gutsy! (9/10)
11. “
Not That City” (6:57) (YouTube link is to a video recording of the song being performed by the band live [before a "dead audience"!]) The recording of the band performing begins as a rondo between oboe, chor anglais, and bowed double bass and then accordion. Then harpsichord takes over! The other instruments join in in a frolicking folksie tune with the accordion and chor anglais kind of dominating the twin melody lines. The at 2:15 all stops and piano enters to take over lead melody and rhythm making while all other instruments slow down in long languorous sustained notes in gorgeous harmonies. At 3:32 it happens again, everything stops and adjusts to a section in which strings lead the basic rhythm while all else pulse and dance around them (even the double bass and viola). Another shift allows the song to play out its final minute in a very dreamy, mysterious but beautiful way. Incredible song! My favorite on the album. Were I a music theorist I might appreciate and enjoy this even more—it seems so bold and daring.
(10/10)
Without a doubt Not That City is one of my favorite album of the albums I've heard from 2013. It's music excites and mesmerizes me, its constructs surprise and delight--they raise my hopes for the possibilities of music and for the possibilities of humanity.
94.5 on the Fish scales = 5 Stars, unquestioned; six if it were allowed (occasionally). I've not been this excited about a new album since MAUDLIN OF THE WELL's Part The Second blew me away back in '09. Stunningly creative and fresh.
11. ULVER Shadows of the Sun
My first Ulver album and what an album! Definitely one of the best collections of songs, start to finish, from this, the 21st Century. And though this is a dark and pessimistic concept album, it does an amazing job of conveying the despair and hopelessness of our role as perpetrators and victims of planet Earth's demise. The use of piano, tympanic drums, Oslo Session String Quartet, deep breathy vocals, synthesizers and even trumpet and theremin all help to impart the heavy, tragic mood exquisitely, even beautifully, if that is possible. I am ever awed by the wonderfully unexpected and subtle turns and twists within each and every song--including the "extra" 2 minutes of recorded silence at the end of the album's last song (after the world and/or life on the planet has been extinguished). Though an inattentive listen may leave the listener thinking the album is just one song and one mood, the attentive head-phoned listener is privy to a very artful and intimate experience. The first song, "EOS," sucks you into the album experience like light into a blackhole, the other songs entertain as you fall in, as light begins to fade, and the last song, "Whatever Happened?" spits you out on the other side, into a fresh, new universe. A lot to ponder; a lot of responsibility in their message. Fantastic album. Definitely a classic of our time, for the ages; a masterpiece. My favorite album of 2007. Sorry to fans who look forward to my play-by-play song list but this is a true flow-through experience; the album is a whole that, IMHO, should not be dissected--though I will say that the album ends as strongly if not more strongly as it begins.
1. "Eos (5:05) The mood setter! (10/10)
2. "All the Love" (3:42) Trumpets! (10/10)
3. "Like Music" (3:30) How true! (9/10)
4. "Vigil" (4:27) So emotional, so gorgeous! (10/10)
5. "Shadows of the Sun" (4:36) Awesome piano. (9/10)
6. "Let the Children Go" (3:50) Percussion! (10/10)
7. "Solitude" (3:53) Yes! The remake of the Black Sabbath song! (8/10)
8. "Funebrae" (4:26) How deep will this tragedy go? (9/10)
9. "What Happened?" (6:25) One incredible end song--perhaps the greatest of all-time! (10/10)
94.44 on the Fish scales = 5 stars, a masterpiece of progressive rock music.
12. ANATHEMA Falling Deeper
Though I only own Anathema's music catalogue from Natural Disasters to the present, my feelings with regards to their music has remained fairly constant. I love their sound, I love their spiritually-minded lyrical messages, I love the flow and feel of their records, I just find their song-writing style too boring and repetitive: a song's opening riff or chord sequence is played start to finish with nary a flutter or flourish, ad nauseum; they're Post Rock/Math Rock's staunch poster child! But here, on Falling Deeper, the band may have stumbled upon their music's true purpose, it's best delivery style, it's most powerful presentation: the orchestrated soundtrack. Every song on this album is incredibly rich, hypnotically engaging, and lyrically sparse--all of which allow for a much more varied and deepened listening experience. Plus, the flow of this album's songs has an even tighter weave, each song seeming to be but a single 'movement' within the context of the whole. Try out "Sleep in Sanity" (3:51) (10/10), "J'ai fait une promesse" (4:23) (10/10), "Alone" (7:16) (10/10), "We, the Gods" (3:03) (9/10), and "Sunset of Age" (7:20) (10/10)
Bravo, Anathema! In my opinion, this is how all of your music should be presented.
94.44 on the Fish scales = five stars; a masterpiece of progressive rock music, one of the most deeply engaging albums I've heard in a long time--an album I want to listen to over and over--especially for the opening and closing songs: masterpieces for the ages.
13. FAUN Renaissance
On this their third major album release, FAUN puts on display their continued experimentation with electronic support to the moods of their medieval and Gothic-tinged story telling. This seems to be the directional flow that Germany's prog folk masters have chosen since their more acoustic start on 2002's Zaubersprüche.
1. "
Satyros" (3:34) The album opens with a very festive yet sacred sounds of multiple female voices harmonizing in Renaissance/mediæval fashion over some hard driving hand percussion and fast moving "ancient" instrumentation. (10/10)
2. "
Da Que Deus" (3:54) opens with similarly layered harmonies of multiple female voices but moving at a bit slower a pace than the album opener. Nice recorder and harp solos are given space between the vocal sections. (10/10)
3. "
Tagelied" (5:01) opens with strummed lute and deep heart-beat thrum drum establishing a deep penetrating effect before the male lead vocal enters with female background vocal support coming from far back in the mix. There is an ominous, almost scary feeling conveyed through the music and singing of this song. Beautiful wooden flute solos are interspersed between the vocal sections. A brilliantly constructed song. (10/10)
4. "Rhiannon" (3:31) is an instrumental reel that opens with some treated/synthesized and acoustic hand percussives weaving together with bagpipe, bazooka, and other instruments all moving together at breakneck speed. (9/10)
5. "Sirena" (5:11) opens with some sequenced rhythms playing quietly, well behind the harmonized vocal "ooooo-aahhs." The Arabian-tinged droning medieval troubadour music that develops would probably be better were I to have an understanding of the lyrics. (8/10)
6. "Königen" (6:25) opens with some Arabian-sounding female voice panning around in the far background as arpeggiated harp plays in the foreground. Set to a slow tempo of computer-sequenced electronic drums and hi-hat, a single female voice enters to carry the lyric over a beautiful, rather simple melody line. Very little embellishments to the vocals or recorder solis. Pure and simple, the story must be quite powerful in order to have been given this very simple arrangement. Again, I wish I knew the language so I could better appreciate the story of the Kings. Lovely song! (9/10)
7. "Iyansa" (4:51) is another droning simple piece with mostly solo female voice singing the lyric. Hypnotic. (9/10)
8. "
Rosmarin" (6:45) returns to the more woven textures of the earlier songs, including the vocals, which start out with just Oliver singing but soon add the female harmonies (interestingly, in a lower register!) Hurdy gurdy, bouzouki, bagpipes, and hand bells and shells weave nicely to form a solid support for the vocals and in-between soli, until at the four minute mark everybody stops and a series of synthetic sounds take over in a quiet interlude before percussive and single-note instruments are slowly added back into the mix. At 5:40 an electric guitar power chord surprises and is repeated every few seconds to the end of the song as a single voice whispers repeatedly "es come der tar" or something like that. Wow! What a surprise! Awesome song! (10/10)
9. "
Das Tor" (8:13) opens with another deeply ominous electronic background industrial drone as a crazed female voice hums a simple nursery rhyme melody in the middle ground. Lisa takes up a simple melody alone for the first verse and then is joined by another female voice and some other instrumentation (violin, flutes, hand drums, electronic drums, harp). The song builds and builds, slowly but ever so powerfully, resolutely. Even the vocals begin to climb the ladder of octaves as the foundational rhythms and weaves plod along insistently, unrelentingly, beautifully. By the sixth minute the song is devolving into the opening mix, with those eery hums and now laughing children's voices carrying forward the disturbing feeling of this song. Incredible song. Incredible. (10/10)
FAUN here show their continued and increasing experiments with inputs from computer and electronic-generated support as contributed by electronic expert, Neil Mitra. For the most part it works--especially as a complement or takeover for the rhythm section. Oliver, Fiona and Rüdiger's contributions on ancient traditional instruments are virtuosic yet restrained and never overbearing--which puts a nice focus on the vocals of which the gorgeous voice of Lisa Pawelke seems to have taken greater prominence. I have to say that, so far, every FAUN album seems to be better than the previous one. (Too bad Totem did not continue this trend.) This album may be better than 2011's Eden but it has not yet won my heart to the extent that Eden has.
94.44 on the Fish scales = five stars; a certifiable masterpiece of progressive rock music.
14. METHEXIS Suiciety
A concept album following the life cycle of a human being, childhood to citizen adult, the lyrics (and music) of Suiciety are replete with references to all of the odd destructive and self-destructive patters our 'civilized' race has attached itself to. Brainchild of Athenian NIKITAS KISSONAS, Methexis' music is never predictable and always unexpected. Begin with The Enid's Joe PAYNE's chameleonic voice: It seems that he can sound like anyone he chooses! It is simply amazing--must be heard to be believed. Then focus on Nikitas' eclectic and stunningly diverse guitar soundings and stylings. Then try to pinpoint his influences, the many styles he is drawing from--in each song!--in order to make his eminently creative and original songs. It is nearly impossible! This is music that draws from so manyi diverse and unusual styles and ideas. This is music that tests the capabilities, the combinations and permutations, that are possible within the realms of human expression using sound and music.
1. “Chapter IV - Ruins” (4:49) starts the album with ‘the end’! The fourth and final suite in the album’s song-cycle, entitled “ruins,” is what Nikitas chooses to begin his album with. I love it!
It is an atmospheric ‘post-apocalyptic’ song much in the vein of Mariuz Duda’s LUNATIC SOUL or even Norway’s ULVER. (9/10)
2. “Chapter 1 - Exterior - Remember, Fear’s a Relic” (6:11) opens with the energetic force of a great blues-based jazz-rock song—complete with Hammond organ, sassy horn section, and bluesy GINO VANELLI-like vocal. A surprise as this was quite unexpected but I have to admit: it is quite refreshing and enjoyable. The falsetto chorus is also quite unusual, but then, everything Nikitas does is quite unusual and unexpected. Quite fun. (9/10)
3. “Chapter 1 - Exterior - The Windows’ Cracking Sound” (1:46) (9/10) is another unusual song for its surprising mix/engineering: the entire time a heavily treated electric guitar is slowly strumming the accompaniment to Joe Payne’s delicate, untreated voice, a drummer is jamming away at a very fast pace in the background. Once, at the end, the drums are brought up to front and center before being faded back to deep background for the horn opening of the next song,
4. “Chapter I - Exterior - Who Can It Be” (6:34) is a song performed by a horn ensemble with occasional whispered vocal and mid-song classical guitar interlude (including a brief slightly angular/diminished replication of Beethoven’s “Ode to joy”). The post-guitar interlude shifts into PETER HAMMILL territory with some odd jazz instrumentation for accompaniment and the PH vocal. When things amp back up—first via return of the horns and then full TOBY DRIVER-like band to spacey end. So odd! So outstanding! (10/10)
5. “Chapter I - Exterior - The Origin of Blame” (3:27) starts out as a piano-accompanied cabaret-like vocal much in the MATTHEW PARMENTER style. The cacophonous ‘chorus’ is equally ‘out there’—but so creative and idiosyncratic! This is such an amazing mind that can successfully weave such odd and unusual sounds and styles into the flow of this, a concept album. I call it genius! (10/10)
6. “Chapter I - Exterior - Prey’s Prayer” (6:07) is an instrumental support/setup for an amazing guitar solo. The guitar play reminds me of JEFF BECK, ROY BUCHANAN, HIRAM BULLOCK, or RAY GOMEZ! Great horn support. This is not a song to be missed! Guitar this sublime is too seldom recorded! (10/10)
7. “Chapter II - Interior - Sunlight” (8:20) opens with some more adventurous guitar sounds before shifting into a sensitive acoustic guitar supported ballad—not unlike the recent work of JOHANNES LULEY—including the voice (though on this song Joe Payne’s voice is more similar to that of RITUAL lead vocalist, Patrik Lundström). Quite unusual song structure and sound combinations. So like our enigmatic chameleon Nikiitas! Excellent song. The final section sounds like recent ECHOLYN before the solo voice closes in Peter Hammill fashion! (10/10)
8. “Chapter II - Interior - The Relic” (8:28) opens with a minute of purposefully picked chords on acoustic guitar which are eventually joined by Joe Payne’s equally composed yet emotional vocal. By the end of the second minute piano and then full band have joined in to support a multi-voiced chorus. In the instrumental fifth minute the music builds in layers and intensity before crescendoing and crashing into silence with a brilliantly placed audible sigh to restore the gentle yet plaintive sounds and structures of the opening. Piano and violin—and later cello—perform some nice soli to accompany the synth orchestral sounds. Nice Post Rock song. (9/10)
9. “Chapter - Suiciety” (6:40) opens with a fast-paced, hard-driving PORCUPINE TREE-like sound of drums, odd spacey synth sounds and ominous keyboard bass chords until 1:37 when the drumming cuts the pace in half while the pile of ominous incidentals and washes mounts higher and higher. Then at 2:20 everything drops away to leave the slowly picked notes of a solo classical guitar. Cymbol play accompanies the addition of orchestral participation (I especially like the horns sections’ contributions). This is then followed by a creative section in which the drummer creatively fills orchestra-supported ‘space’ with his cymbol and kit play. A return to full force in the ominous chord progressions crescendoes and decays while Joe Payne’s treated voice alone fills the album’s sad finale. (9/10)
This is an awesome album of eclectic music! Being a concept album with songs integrated to express this elevates it a notch above Methexis’ previous 2011 effort, The Fall of Bliss (which I also love). A brilliant masterpiece of modern progressive rock music—one that gets me so excited to come back to it and hear it again. Special shout out to Linus Kåse and Nikos Zades, the keyboard player and sound design/D&B programmer, respectively. Amazing contributions! And Walle! Awesome play on the batterie! Check this one out, people!
94.4 on the Fish scales = 5 stars, definitely essential: a masterpiece of progressive rock music.
15. GHOST MEDICINE Discontinuance
Produced in England, with the full participation of seasoned bass legend, Colin Edwin, comes this project from Atlanta's JARED LEACH and company--including lead and background vocalist and lyricist Sarah Hoefer, amazing drummer and programmer, Scott Prian (who also recorded and mixed the album), and, of course, Colin on bass. Three principle musicians created these incredible weaves of heavy prog rock sound! Only three!!! Amazing!
1. "Crooked House" (9:44) opens with an awesome synth-supported acoustic guitar picking/strumming solo. By the time the first minute comes to an end, the intro gives way to a very fast-paced, intricately performed heavy rock with a slightly Southern Rock flavor. The male and then female vocals that enter around the two minute mark take over the foreground but the amazing YES-like instrumental guitar feast that forms the background goes on--and would command all of the listener's attention were it not for the beautiful melodic voice of Sarah Hoefer and the great harmonies presented by composer/bandleader/guitarist extraordinaire, Jared LEACH. (Remember this name: It is one I guarantee you will hear again!) An interlude of beautiful ANTHONY PHILLIPS-like solo acoustic guitar in the eighth minute feels like it could be the "bookend" of the song's opening intro--but no! The song returns to its top speed heaviness for the final minute and ends on a high note of LED ZEPPELIN quality and ferocity! Amazing song! Incredible opener and introduction to this extraordinary new talent! (10/10)
2. "Shiver" (5:55) opens with a very strong C-W feel and sound--which is only solidified with the entrance of Nashville-like vocal of Sarah Hoefer for the first verse. The instrumental bridge between first and second verses is awesome--and some amazing slide guitar work continues beneath Sarah's singing of the second verse. By the time the chorus and instrumental sections arrive the song has almost lost any Country/Southern feel to it. Astonishing flow and development! The guitar, bass, and drum work on this song are spell-binding, to say the least--so much so that I found myself pushing the repeat button three times when I first heard it! The song's only flow is that Sarah's voice starts to become drowned out by the instruments by the end of the second verse. In my listening history, only BRUCE COCKBURN at his very best rivals this complex, virtuosic sound! (10/10)
3. "Departure" (6:24) opens with a very heavy, fast-driving OCEANSIZE-sounding guitar, bass and drum weave, which backs off a little into more of a heavy PORCUPINE TREE sound as the vocals enter. The instrumental passage at the end of the second minute contains some awesome guitar--which falls into some ALCEST-like guitarscapes beneath the next round of vocals. The next instrumental bridge contains some guitar shredding (two tracks, R & L) that rivals anything anybody has ever done with pick and four fingers. This then segues into a minor-key section that sounds like something between Italia's AKT or East Anglia's FEN or 4AD's DIF JUZ. The instrumental sections are amazing. The vocal sections are weak. (9/10)
4. "Desert Spring" (8:54) has some very interesting sound and structure. I especially like the atmospheric treatment of the guitars and the presence of acoustic guitar. The song's instrumental sections contain some of the heaviest soundscapes of the album--more than Porcupine Tree at their heaviest--and then some of the album's most sensitive, atmospheric sections, too. Yet they work. Together! In the seventh minute there is a very GENESIS-like feel to the soft, atmospheric section as it slowly climbs back into full soundscape. And then Sarah's wonderfully impassioned vocal falls over some of the album's most straightforward neo-prog section (not unlike MAGENTA, MOSTLY AUTUMN or MANTRA VEGA). (9/10)
5. "Beautiful World" (4:00) opens with some soft, delicately played acoustic guitar--sounding a lot like many of the 1980s guitarists from Windham Hill--or Steve TIBBETTS and/or the late, great Michael HEDGES. The ensuing voices (Jared with Sarah in harmony b vox) present a spacious story with Jared's voice sounding quite beautiful--not unlike Britain's Tony PATTERSON. Though an all-acoustic guitar based song, this one plays out quite well. John Martyn or Tim Blake might have liked this one enough to cover it. (9/10)
6. "Broken Corridor" (5:01) despite solid sound and song structure, there is nothing new or innovative about this one; it feels like something that's already been done. It opens with some Southern Rock Dobro-like guitar fast-picking--which then becomes the pace and melodic structure of the whole band sound. Things quiet down enough for the vocal to enter--first the male, in a REM-like sound, and then Sarah for the second verse. The breakneck speed is, I have to admit, impressive. By the third verse Sarah and Jared are sharing the lead. The drumming and guitar play during the instrumental passages rival anything Gavin Harrison and former DIXIE DREGS' axeman Steve Morse have done. Amazing duo! (9/10)
7. "Discontinuance" (11:14) opens with spacy synths, computer-like percussive sounds before being joined by gentle acoustic guitar arpeggi and bass guitar. Sarah Hoefer's HEATHER FINDLAY-like voice enters at the end of the first minute to deliver the first verse of the song. Lively drums and more playful bass accompany the second. Then, at 2:30, everything stops to start a very PORCUPINE TREE/KING CRIMSON-like heavy instrumental section. All instruments are cruising at very skilled levels for two minutes before a slight switch allows the presentation of a more traditional electric guitar solo--albeit, a brief one, as things soon back down to allow drums and bass, synths and Sarah's vocalizations to haunt us beautifully. At the beginning of the seventh minute everything shuts down to make way for acoustic guitar arpeggio fast-picking and slide guitar in background with synths and bass in support. (Colin Edwin is masterful!) Echoes of screechy, scratchy electric guitar sounds open the ninth minute before the acoustic guitar picking takes on another few phrases. Then a great wall of sound, like a tidal wave rushing onto the shore, fills the soundscape during the tenth minute before fading into a slow fade into guitar amp feedback, static, and distant guitar tunings till the end. Amazing song! One of the album's other top three. (10/10)
94.29 on the Fishscales = a five star masterpiece of progressive rock music and one of the most astonishing albums of the year if not the decade! Again, people, remember this name: JARED LEACH is the New Kid on the Block and a force to be reckoned with for a long while, I surmise!
16. IAMTHEMORNING Lighthouse
