Zappatistas - The Music of Frank Zappa ABSOLUTELY LIVE (UK voiceprint 01)
The Zappatistas are a collected group of musicians from the currently vibrant UK Jazz Scene. John Etheridge, Steve Lodder, Annie Whitehead and other came together to play live a selection of Zappa's work after a commission from UK arts council. I'm not going into "tribute" land here, what I feel from these recording is the Zappatistas are paying homage to the music of Frank Zappa.This isn't automatically the selections of songs you would expect from a night of Zappa music. King Kong, Sofa No1, I'm The Slime, Eat The Question are all played along with other making a more interesting approach to the overall sound. Something I feel confident in saying, I'm sure Mr. Zappa would have personally appreciated this set. The skillful playing of John Etheridge on guitar, while Ben Castle, Paul Jayasinha and Annie Whitehead handle the brass section, The Zappatistas are first rate musicians, and its with this knowledge in hand that they have given us a CD which is both fun and a pleasure to listen too while remaining unpretentious throughout. These recordings are about the work of Frank Zappa and the interpretations on these works that the Zappatistas have made, all of it which are done with sensitivity, energy and affection. Whether you are a hardened Frank Zappa fan, a lover of jazz, a passer by looking for a new listen, this CD contains music to entertain you.
Steve Jansen / Claudio Chianura - Kinoapparatom (UK medium 01)
All names here are new to me and that for once has excited me, I was entering the unknown. A live performance of Simi-improvised music to accompany the film "Kinoapparatom" by Dziga Vertov. Vertov, from what I have since learned was Russian film maker enthralled by the world of cinema, this film was originally made in 1929 and screened in Milan some 60 years later to which these recording were made. Jansen (samples loops), Chinaura (synth, samples) along with Roberto Zorzi (guitar) and Piero Chianura (synth) create the sound track as the movie plays. A performance of latter 20th century music to accompany post revolutionary Russian cinema almost sounds obtuse. What follows is a selection of ambient and industrial themes. What the movie is about remains unclear to me, what the music portrays is a collected look at Russia life and how actions and reaction are taking place. I felt an eerie bleak motion picture, full of coldness and darkness taking hold; I felt a movie shot to show the bleakness of Russian society at the time in question. Apart from the movie, the soundtrack is wonderfully bleak and constant of its own sound. Either as a minimal ambient work or as a soundtrack to the film this has a strange but exciting feel, not uplifting in any way but tormenting you, making you delve deeper into a dark and desolate world. I have tried now to listen to this from a standalone music work and as a soundtrack, I know not of the film so maybe I have faltered on the latter. What I do hear is music calling you into its own darkness making you want to explore more, the deepr you move into the darkness.
Braindance - Redemption (US Progressive darkwave 01)
This hour long CD is packed to the max with a mix of progressive metal and gothic fusion. This for me in 25 years of listening was one of the biggest sounds I have heard and could represent a new era in sound and style. Braindance are Sebastian Elliot and Vora Vor, built around an operatic sound of vocals, guitar riff's, sound samples and more you are drawn inch by inch into the dark underground world of Braindance. Vocally hard in places, although smoothed by the voice of Vora, her style and approach saved this from slipping into Dark/Death metal territory. With an epic soundscape from the opening attack of Refracture, Braindance are not scared to use melodic sounds against a gothic backdrop to their advantage. This not only allows conflicting styles to infiltrate, but to complement. On first listen it was the "sound" to this recording I heard and not the songs; now after repeated listening I hear the songs while understanding the sound. The clever use of samples and programming have helped me to return time and again to listen, and after each listen there was something new, a new sound, a new voice, a new statement of fact for me to scrutinize. It's these factors that will add longevity to this CD and will see me return many times over the coming weeks for more repeated listening.
Tied and Tickled Trio - Electric Avenue Tapes (Ger Clearspot Records 01)
First up there are 6 in the Tied + Tickled Trio whose name apparently refers to a Japanese sexual practice involving …well I leave you to do to do your research on that, (I don't really think this is really the time or place.)- That may give you a taste of what they are about or lead you completely up the garden path. The first track comes on all electronica and simply does what it does for 5 or 6 minutes until the jazz starts! Saxophone, just on the restrained side, squelch's all over the disciplined electronics before finally ending in a dubby climax. Dub sounds are returned to in the second track where the fine conventions of echoey drums and bass are adhered to in time-honoured tradition - sorta almost Tortoise in dub but not exactly. Whatever the dubious comparisons it sure sounds good to these ears. Small sounds are left to spiral around polyrhythmic real time drums with an almost traditional horn section exploring the spaces. The Trio doesn't fall back on the easy options that befell drum n' basses exploration of the jazz field, samples aren't just mindlessly trotted out as a sort of ' I'm cool I listen to Jazz me!' way. Real progress I made in the solos and it is quite challenging in parts. The electronics too aren't just plonked down in an excuse to latch on to a trend or hang a few bits of cool blowing to. They form an integral and full part of the music. Breakdown to free jazz's total lack of restraint is masterfully done; formless honking can sometimes be the easy option. A Tricky trip-hop mood is conjured up at some point and things get correspondingly dark and cinematic. A cd of many parts - Dub jazz electronica if you want to hang a label, you don't have to though …just a good cd as always when I like a disc the best comment I can give it in the end is - give 'em a listen.
PLEXIQ - 20000 ( Ger Clearspot Records 01)
Imagine this if you would - Andy Williams as seen and heard through the eyes and ears of a blissed out post 3am eternal casualty, top electronic tunes and rhythms given a human touch by a vocalist who, on the first track of this cd at least must be wearing platform shoes, brown cord flares and a serious pimping hat. Tiptop keen break beats go hand in hand with moog phatness and smooth vocals. On paper it's surely one of those combinations that doesn't work but on listening it does! It has its full quota of strangeness too; an odd break in the title track '20000' had me rushing to the CD player with the expectation that it had gone belly up. The ever-present echo of the mighty Kraftwerk shows up in some of the deceptively simple and pretty melodies that will be running through your head for hours after listening to it. Although firmly based in the land of pop tunes these guys aren't afraid to rock! Check out track 7 for its Nu-metal meets radiophonic workshop melding of guitars and oddness. Overall a nicely turned out disc of eclectic and wide ranging styles all branded with a willingness to include experimentation, a virtue sadly missing from many releases these days.
THE FLOWER KINGS - THE RAINMAKER
Anyone claiming to follow modern-era progressive rock should already be familiar with the music Sweden's finest, The Flower Kings. A career now spanning six studio albums, including two doubles, plus side projects ( Roine Stolt - Transatlantic guitarist ) and solo records. But for those who still need convincing, TFK play rock music in the 70's grandiose of Yes, complexity of Genesis and ELP ( particularly on this newie ) with traces of jazz and psychedelia, but with an overall feel and style unique to TFK. Technical expertise , uplifting melodies, odd meters and time changes, long improvisations, changing moods, reoccurring themes and hippified, metaphoric lyrics, creating an inspired moving experience. Guitarist Roine Stolt is an exceptionally gifted, emotive player. Influenced by legend Frank Zappa, I would say his use of acoustic, Ibanez and Gibson guitars closest to the style of Steve Howe, a unique sense of phrasing and chording. Retro Hammond organ, mellotron, Moog and piano dominate the flawless playing of keyboard player Tomas Bodin, in Emerson and Moraz vein.
Moving onto the new masterpiece, the main changes are that vocalist Hasse Froberg shares equally vocal duties, with Roine Stolt taking on the more mellow parts and Hasse the more up-tempo. Also, sonically the recording is stronger, particularly the drums of Jaime Salazar, and every instrument is crystal clear. But it is in the composition that this new disc excels. I felt the previous album 'Space Revolver' tailed off mid-record, too commercial for my tastes. I believe these tracks to be easily the best since 'Stardust We Are'. Keyboard and guitar leads seem almost equal suggesting a bigger input from Tomas, but no, Roine pens all 11 tracks, Tomas obviously keeping his material back for his imminent solo album. Here's a brief run down of each track:
TR 1, 'Last Minute On Earth' ( 11:40 ) starts with a bombastic , symphonic, heavy riff with Emersonesque keys and soaring vocals from Hasse Froberg. This leads onto a series of jazz-tinged, melodic, instrumental sections followed a beautiful vocal/acoustic part with Jonas Reingold on fretless bass. Then a reprise of section one and a weird spacey ending with pipe organ. All this to tell a story of the importance of living life in present day to its fullest. Blistering start. TR 2, 'World Without A Heart' ( 4:29 ) is a mellow, melodic guitar/keyboard song, down in tempo with catchy vocal lines. An ideal track to split the two epics. TR 3, 'Road to Sanctuary' ( 13:50 ) is the album's Tour de Force and a track about making the right choices in life and supporting the right forces. So many different musical ideas here, awesome Hammond intro and up-tempo guitar/keyboard interplay throughout, frenetic drums and bass to start. Then a soft acoustic spine-tingling section with harmonic vocals leading to another ELP part and solo from Roine. Then an under-stated section and a trademark Steve Howe-like solo to close. A prog classic. TR 4, 'The Rainmaker' ( 6:02 ) is an experimental instrumental with eerie background noises and spacey ending. Also, massive guitar solos from Roine. Throughout the album there is this weird, French?, linking vocal; perhaps the cryptic voice of The Rainmaker? TR5, 'City Of Angels' ( 12:04 ) is another epic, up-tempo and wordy explaining the meaning of real universal love and how modern society takes it away for business and materialistic reasons. Grooved vocal rhythms, Moog solos, fretless bass, Howe-like guitars and long instrumental work-outs. Another outstanding track.TR6, 'Elaine' ( 4:55 ) is once again down in tempo, a Genesis style track almost ballade with twelve string, strong bass lines and soprano sax. A melancholic song about how unattractiveness can be so cruel in today's society. TR 7, 'Thru The Walls' ( 4:31 ) is another Genesis-like track about the disrespect for the aged despite treading the path for today's youth. Hammond and fuzz guitars dominate this great deep thinking song. TR 8, 'Sword Of God' ( 6:00 ) is a heavy rock song in Deep Purple vein. Although melodic I find it a bit over the top. Definitely not their best. TR 9 & 10, 'Blessing Of A Smile' ( 3:12 ) & 'Red Alert' ( 1:10 ) are laid back, melodic and moody, synth instrumentals with fretless bass and sax, understated guitar with a trace of Camel. These lead nicely on to the brilliant final track. TR 11, 'Serious Dreamers' ( 8.59 ) is a clever track starting with two alternating vocal lines. The first a great, slick, harmonised line in Tears For Fears fashion with wah wah guitar, the other in a funky, psychedelic, Beatlesque vein. Great instrumental sections, improvisations and meandering solos lead to reprise of part one and an improvised ending leaving you....... in Dreamland.
Don't expect the penny to drop with these new tracks first spin; attention to detail and small subtleties serve to make this album pass the test of time. The Special Edition Bonus CD version comes some new collaborative tracks, video coverage and the debut of new Hungarian drummer Zoltan Csorsz. Essential listening.
Ian Doughty
There was a time in the mid eighties when I looked forward to the release of a new Fall disc like a die hard monarchist looks forward to the Queens speech on Christmas day. Somehow after about 1990-I sort of lost touch with the wonderful and frightening world of M. E. Smith. When these discs dropped into the (ever growing) pile of review copies I was definitely looking forward to listening to them. 1978 was a vintage year for the Fall and this is demonstrated well by this somewhat ropey recording of the Band at its garagey and spiky early punk peak. Repetition plays an important part in the sound, who cares if the guitars are out of tune or if M.E. S has the vocal qualities of a mongrel? Its all to do with attitude and the overall effect of a young snotty band from the north of England putting two nicotine stained fingers up to the prog rock and disco dominated charts of the world. The spirit of Can is often referred to when talking about early Fall and this disc demonstrates why. Monolithic rhythms are brutally stuck to and vocals are not necessarily a means of transmitting information to an audience but just another sound to add to the overall effect. Top tunes from my particular list of Fall faves on this disc include 'Bingo Masters Breakout', 'It's the New Thing' and 'Industrial Estate'. Lots of fun! The 'Live in Zagreb' set captures a much later incarnation of the band. This time the band is a lot more 'together' in a traditional sense but it serves to emphasise the single-minded disregard of anything remotely tuneful in M.E.S's singing. Featured on this cd are the vocals of the sometime Mrs. Smith, Brix, who brings a fine sense of sixties psych proceedings (see the Adult Nets recording of Incense & Peppermints) there is fine warped organ sounds on 'Telephone Thing' which highlights Smiths ability to just 'go off' about a subject and oscillate wildly around both the tune and the original lyrics. Showing off his sci-fi paranoia to a high degree this disc is the sound of the half pissed drunk in the pub who is expounding all sorts of half thought out conspiracy theories, the sort of bloke that you find at once deeply fascinating and highly repellent. The highlight for both Fall completists and sixties psych fans is the warped version of a Monks tune. My only criticism of both of these discs is that while they do have good sleeve notes a little more information on when and where they were recorded would be nice. Welcome to the Wonderful and Frightening World!!
Three British jazz releases, the first two live, the last a 1992 recording. It's jazz, these are all fabulous players so the content can be taken as read really, if jazz is your thing. Now, I like jazz, I do, I like to hear it live, I like to listen to some but none of these releases is truly inspiring. The problem with the live sets is the audience. Actually, I think it's a problem with live jazz audiences too. The tune starts, someone eventually will play a solo, the audience will give them polite applause, someone else might play another one and you get the same result just a ripple of polite applause. If anything, the problem here is politeness. The music just doesn't grab you and shake you around it doesn't demand your attention. You can, quite happily, just put it on in the background and it's pleasant. Pleasant is a hideous term to use. Of the three, I much preferred the Harry Beckett Quintet as it did have some energy, some real honking saxophone to begin with though after that opening track I can't recall anything apart from the damned polite applause. I think the other problem was that I had quite high hopes for both of the guitar led albums, that of Jim Mullen and John Etheridge who I first came across in 'Softs' era Soft Machine. Yet I came away from the latter thinking, I know you can play but you're not saying anything to me. It's fabulous that we have a label like Jazzprint, fabulous that they are releasing music by British jazz players, heck it's essential that someone does. But in the end I'm not stirred or moved or involved by the music they've made and that's a shame (GE)
I have decided to group the review of these 3 CDs together as they all have one thing in common - the bands all come from Russia. Now that Eastern Europe is opening up more to commercial influences from the west we are also starting to see CDs appear from non-traditional countries.
The 3 CDs are all competently played, however stylistically the bands appear to be stuck in an early '80s groove and in particular Mortifer.
Archontes play a style which would probably be defined as neo-classical metal with the majority of their influences appearing to be from artists such as Yngwie Malmsteen and the large number of melodic power metal bands that emanate from Italy and Sweden. The musicians involved are certainly no slouches with their respective instruments but I have to say as can be the case with a great number of European bands the accent of the vocalist does detract from the songs slightly. I have to say that I was highly impressed by the standard of this release and if the band can work on their songs and the vocalist improves his phrasing we could be onto a very promising band for the future. To conclude nothing original but this should get quite a good reaction in mainland Europe and it is certainly worth adding to anyone's collection who wants a representation of all the territories that are releasing material.
Mortifer are 1980s style thrash metal and their album is once again very competently played however the sound quality is not as good as the Archontes CD due to the slightly muddy sound. Don't be put of by my comments about the sound quality as there are plenty of other CDs around with a much worse sound that have been produced in Western Europe. The album is certainly listenable but is not one that would sit on your shelf and demand to be played. A quite promising debut and if the band can persevere and improve both song-writing and sound quality they could develop into a decent band.
Specter are a more progressive metal band and again have a good knowledge of how to find their way around their instruments. I really like good progressive metal (as opposed to prog rock) but if the playing and song-writing don't hit exactly the right mark you can find the flaws more easily than in some of the other forms of metal. It is good to see bands like this getting some exposure in Russia but because of the standards set by bands such as Threshold and Vanden Plas this band has a lot more work to do to get some attention. The signs are there that with a lot of hard work and a pinch of good luck that this group could also evolve into something much better.
To conclude the best album for the everyday fan is the Archontes album as they can definitely make the step up to the next level, the other bands need to make greater efforts to be able o progress but it should not be outside their capabilities. I am very encouraged to see bands from outside the mainstream rock producing countries producing products like this and together with the upsurge in the scene in Brazil, Italy and Spain in the past couple of years means that even though most rock music is still underground in Britain we can still obtain good CDs if they are publicised through people in the know.
Chris Willis
Daniel Givens - Age Aesthetics ( US AST 12 01)
Kryptasthesie - No Age ( EU Mizmaze Records MZ002 01)There really is no connection between these two cds apart from a similarity in name and the fact that they have moved up and down the review pile for a while. Now, when something does that it means a couple of things, either I can't get a handle on them or I don't want to. In this case it's the former.
With Daniel Givens here is another of those multi-talented people who record for Aesthetics, so many of them seem to have skills in other arts. This album is probably too long and too unwieldy for it's own good. It also defies easy comparison. It's hard for me to give you a notion of how it sounds. I've looked at the other, very few, reviews that have been written about it and I don't agree with them as I can't see either their comparisons nor do I share their opinions as I like this album and they seemed not to. One mentioned Tricky, this has less emphasis on the beats and more on the other aspects, it never made me think of him once, it did, however, make me think of Gil Scott Heron and it came as no surprise to discover that the two have worked together. There is a certain politic element to the spoken, wordy lyrics. There is also an invocation of the spirit of a certain type of 70's jazz most eloquently shown by the dedication on the sleeve, 'Derived from the Divine energy that generates all thoughts, gives life and shows truth'. Look at the names of some of the contributors and a well-known Chicago connection arises, Jeff Parker plays guitar on two tracks and Casey Rice is the mix engineer. There's a very spiritual vibe here but it's almost too heavy, man! You feel drained and swamped if you listen to it all in one go. That's an odd sensation to be sure.
Kryptasthesie on the other hand, are a bunch of mad Italian psyche/space rock loons whose album reminds me of no one in particular but usually keeps surprising me and that's another odd sensation. Actually, that's not strictly true, one track reminded me of Joy Division which I thought was odd but then a recent I.E.M. track did too. I don't read Italian, I don't understand Italian so the contents of the sleeve make no sense to me, as I remember neither did the website. Thankfully though they didn't remind me of any other Italian band especially as the only other one I'd ever heard scarred me for life with their jazzprog noodlings. No, this is quite a joy in a, 'can't quite put my finger on it', sort of way and highly recommended to those addled brain space pixie people who hang upon my every word. Time for a long holiday on Saturn me thinks no doubt this lot will be providing the floor show. (GE)
Colin Reid - Tilt - Topic TSCD530
So, what do you do when you've been, quite rightly, acclaimed as one of the finest new acoustic guitar players but you don't sing. Well, you could get in a couple of great voices, such as Eddi Reader or Boo Hewerdine to sing on a cover version and a co-written song respectively. You could take a great piece of instrumental music such as 'Music for a found harmonium' and stunningly arrange it for your own unique talents. And you could hint at the possibilty of a pseudo-classical meisterwerk that might go by the name of 'Icarus'. Whilst doing that you could showcase your undoubted guitar skills. But what do you do next? More of the same? Will you have people writing glowing reviews of your technical ability but questioning where is the soul? Time will tell but if wonderful guitar playing is enough for you, you'll enjoy this and it is worth hearing for 'Music for a found harmonium' alone.
Christine Collister - An Equal Love - Topic TSCD1001
Let's look at the positives. Christine Collister has a wonderful voice and she also seems to be finding her writing 'voice' too. And, as she sang on one of my wife's favourite songs ever, I really, really wanted to like this. But even with repeated listens I'm left wondering why there isn't a white line painted up the centre of the cd so middle of the road and middle aged it all sounds. Of course, what I call middle of the road and middle aged someone else will call superb production values and mature inciteful songwriting. It's too much late night Radio 2 jazz-lite for me and not enough excitement and 'roots' and that's my problem not the album's. So, if you like superb production values lead by a wonderful female voice who's finding her feet as a songwriter you'll love it. If the phrase Radio 2 jazz-lite sends shudders down your spine listen to it first maybe you'll find what I've obviously, given it's glowing reviews everywhere else, missed.
Martin Simpson - The Bramble Briar - Topic TSCD513
What do you do when you've been, quitely rightly, acclaimed as one of the finest acoustic guitar players and you sing superbly too but for a long time you've been in the US exploring all the styles of guitar playing you can find and now, physically and spiritually, you've come home to your roots even if it'll only be part-time? Well, you make one of the finest albums it'll be my pleasure to hear this year. And, I know I've said that three or four times this year already but this album is an utter joy to listen to. It helps when you've friends like Martin Carthy to play on three tracks, when Ollie Knight, (whose forthcoming album I'm really looking forward to), engineers so well on the tracks recorded in North Yorks and helps with the mixing too along with Simpson and the engineer of the US sessions, Barry Phillips. I've found Martin Simpson 'difficult' to listen to in the past, whether it was his breadth of styles I don't know. He says himself in the sleeve notes, 'the music and songs of that [childhood] home have come into sharp focus', this is indeed a focused and clear vision, ten traditional songs; a poem set to music and two recent compositions. At the end of the year it will be up there with the finest folk and roots albums released this year or I'll be around with the boys to ask questions.
DFA - Work in Progress (US moonjune 01)
Live set from Italian group DFA (a band I had not come across before) recorded at NEARfest Pennsylvania in June 2000. The CD sees the band showcasing material from their first two CDs live in the USA for the first time. Opening with a 10-minute instrumental track ESCHER the bands playing is tight and undisturbed; although I found too much going on here for me to fully enjoy my baptism to DFA. Ever being the persistent one I stayed with this CD and by the end of the 2nd track, CALEIDOSCOPIO, I had started to settle to DFA. This track although predominately instrumental again did have some vocals and I found these a welcome break in the instrumental passages. The CD over the next 50 minutes is full with clever and sophisticated progressive rock. Based on the interplay between instruments and musicians, at times taking a jazzier direction, while on the turn of a note musically you are back in the early 70's at the height of the progressive rock genre. As the CD progress along DFA (a nonprofessional unit) finds their selves on the receiving end of an ever-increasing warm reaction from the US crowd. For a live CD, as with Moonjune's previous release Finisterre - Storybook, the quality of these recording again are excellent as is the CD packaging. Though for me the jury remains out on DFA's music, I'd enjoyed some of this set. The quieter parts of LA VIA a 15-minute long number were excellent, full of emotions and realism. While the musically complex sections of this CD are taking me slightly longer to fully digest. This CD should appeal to the many progressive rock fans who like things to rely heavily on the interaction of instruments. While if you were at NEARfest in June 2000 and saw DFA live, I'm sure this CD has already made it to your shopping cart.
SCENE KILLER - S/T (Meteorcity Records 01)
SCENE
KILLER is documentation of the New Jersey rock scene; all of the musicians involved
here have been in and out of bands and projects together for a number of years.
Names like solace, Burnout King, Atomic Bitchwax, Six Sigma are already known
by the numerous followers of the incessant stoner sound. From the classic rock
influences, raging guitar leads, fuzzed-out guitar, the songs all have a loose
(but tight) feel you get only from knowing the way others play over a number of
years. I'm unclear if this is a stoner rock concept album, or maybe Meteorcity
pulling together fine musicians to entertain. The information given in the CD
book that comes with gives names/dates and where each cut were recorded so a must
for anyone needing to know this stuff. A little to "jam / barroom "
sounding on some numbers for my liking and I still can't make up my mind if I
like that murky sound you got on some cuts, stand out numbers for me where "midnight
snack" and "you know". If already converted to the Stoner religion,
you'll love it, if not maybe not the best starting point. (J L)
Fans
who have followed the career of US prog band Spock's Beard will have known for
a while that drummer Nick D'Virgilio has a lot more to offer than just pounding
skins. On the recent Beard tour Nick joins Neal Morse on guitar and lead vocals
in acoustic mode on Beard classics and cover versions (check out'From The Vaults
II - Live In Europe' on Radiant ). Here Inside Out give Nick chance to air original
material and on 'Karma' he handles vocals, keys, bass and drums - this is no self-indulgent
drummers' record. He is also joined by a group of established progressive musicians
including guitarist Mike Keneally and bassist Bryan Bellar (Steve Vai and Beer
For Dolphins ) and also current Beard members Alan Morse and Ryo Okumoto ( whom
I feel is under used here ). This self-produced album contains varied, sometimes
experimental, melodic songs calling on a variety of influences, having already
played with Genesis ('Calling All Stations' ), Peter Gabriel and Tears For Fears.
Nick also acknowledges Kiss, Led Zeppelin, The Beatles, Dave Matthews and Elton
John and I also here traces of King's X, Rush and Queen amongst others. I haven't
heard such a diverse album in a while and like the way Nick seems to change his
vocal approach to suit each style of song. Title track 'Karma', a song about how
good and bad karma can follow you around, contains ethnic style rhythms, female
vocal harmonies and an infectious vocal hook. 'Forgiven', a heavy riff based song
ala Led Zeppelin. 'The River Is Wide' has a great hard rock groove alternating
between Ty Tabor and Alex Lifeson in guitar style. On 'The Waters Edge' and 'Come
What May' you can just visualise Freddie on piano. Great stuff.. Nick's attempt
at a progressive epic 'Paying The Price', a story of children in dysfunctional
households, only partially works - more emotion and subtlety needed I feel - maybe
room for improvement here. Nevertheless, I feel this album may also appeal to
a more mainstream audience but fear that in an already cluttered market this gem
could get overlooked. Overall, a strong, solid debut with much to build on next
time. I.D.
Devin Townsend - Terria ( EU IOM 01)
I must admit to being embarrassed to this being my first encounter with the prolific artist Devin Townsend. It's obvious that Inside Out rate the thirty year old Canadian very highly and this newie gets the Limited Edition Double CD treatment. Spanning an eleven year career, he started as a nineteen year old performing vocals and guitar on Steve Vai's highly acclaimed 'Sex And Religion' album. Then stints with Industrial band Frontline Assembly and English rockers The Wildhearts, followed by his first real solo effort in '95 under the moniker Strapping Young Lad. Since then, under his own trademark Hevy Devy records, D.T. has released Ocean Machine ( '97 ), Infinity ( '98 ) and Physicist ( 2000 ), these albums being described as varied as speed pop, ambient to progressive hard rock. Devin Townsend sees this new record as a fresh start, the first he has written from an adult perspective. He describes it as a spiritual album, the lyrics dealing with mortality and the reality of your responsibilities. It's obvious D.T. has a very complex personality and this is born out on this experimentally diverse and challenging album. Ten tracks of technical metal, a musical hybrid of Zero Hour, Voivod, Symphony X, Ambient and Industrial. Heavy double bass drumming, crunching layered guitars, razor sharp riffing, neo-classical soloing, whining keyboards and tension building sound effects. Use of light and shade to blend tracks; one minute quiet ambient acoustic moments with gentle voice, the next an extreme wall of sound with almost a Death metal grunt, but always maintaining a sense of emotional melodic groove. Like Zero Hour's recent album I see D.T. attempting to make ground breaking metal taking the genre to the next level. Personally, I find Terria a little intense and overbearing as a whole for my tastes but with excellent tracks like 'Earth Day' and 'Deep Peace' you cannot deny D.T.'s unique brand of musical sensibility has plenty to recommend. I.D.
Neal Morse - It's Not To Late ( EU inside out 01)
As a big fan of Neal Morse I really looked forward to this disc, the eagerly anticipated follow up to the played to death self titled debut. The prolific Morse's pedigree is beyond doubt. Chief songwriter, vox, keyboard and classical guitar player with progressive heavyweights Spock's Beard, and biggest influence on supergroup Transatlantic's superb debut SMPTe. First thing I noticed about the new album is the more relaxed, mature approach. Stripped down with all instruments recorded together in one studio in Nashville, with The Beard's Nick D'Virgilio again on drums. No progressive epics like 'A Whole Nother Trip' on the debut, this contains thirteen mainstream rock/pop tunes with the usual Beatlesque melodies and warm soothing vocals. Also, female backing vocals are added along with jazz, country and blues influences to make this a great collection of emotive personal songs. I was hoping for more in the vein of 'Emma' and 'Landslide' from the debut and with new personal faves, the beautiful 'Leah', a story of a daughter whose mother disappears in mysterious circumstances, and 'I Am Your Father', a story of neglected childhood, Morse comes up trumps again. Moving, stirring stuff. If you're looking for The Beard's multi-layered style then this may not be for you, but I say judge it for what it is, to quote the press release 'a fine collection of songs that listeners of all tastes will appreciate'. Highly recommended. (I.D)
Ozric Tentacles - Pyramidion (UK Stretchy Recrods 01)
There's not really anything you can say about the Ozrics. They are what they are and this 40 minute EP isn't going to win any new fans nor disappoint any old ones. Made up of one studio track and four live ones, the first new live material issued for some time, seemingly all based around an Egyptian theme. If you've ever heard an Ozrics record you'll know exactly what to expect, spacey rock sounds, some wild jazz rock guitar stylings, a cod-reggae number, it's all here. I can take them or leave them. I feel exactly the same way about this. To a fan essential, to the world? maybe. (GE)
Two more excellent slices of Americana from the wonderful Tangible label. The new one from Darryl Purpose pours his honey matured James Taylor-esque voice over another ten solid slices of songwriting joy. Purpose claims to write half a good song so we must give congratulations to his three collaborating songwriters and to Dave Carter who wrote one of the numbers for while there is nothing as majestic as 'Mr Schwinn' from 'Traveler's Code', the whole album is consistently excellent. The only problem I have with it is it claims in the sleeve to be one of these multimedia disks and it plainly isn't. That's good as it means all the songs words are printed on the sleeve booklet. It's not a bunch of fun finding just a folded insert with everything else accesible only by computer. Which brings me to Gary Myrick. Whose album is one of those multimedia things with a couple of videos and all the lyrics and links to the web site all on the cd itself. Which must be hateful if you don't own a computer. Myrick was once in Havana 3am, Paul Simonon's post Clash outfit. I never heard them as big a Clash fan as I was/am. This album is Texas tinged country blues I guess, quite gothic in places it draws in a little Mexican influence too, hey, Tex-Mex, no, not really. He seems to deal with the notion of celebrity a lot, it doesn't always work, 'Fame is Dangerous', being about the worst offender. But like all of Tangible's releases I've been fortunate to hear it's so well produced and sung and played that it draws you in and you can forgive your niggling doubts and just enjoy the music. The fact it reminds me of no one in particular is really good and the video for 'Hometown Waltz' is really enjoyable in a sort of seen some of the ideas before but what a great song sort of way. This all means it's a fabulous album for lovers of Americana, whatever that is this week. For me it means American music in touch with it's roots but in touch with today too. Is that good enough for pseuds corner? Probably not. Bottom line, more superior music from Tangible. (GE)
Fish - Fellini Days ( UKCFVP007CD 01)
Despite the tragic break up of Fish's marriage to German wife Tammi, and the sort of semi-hold on his acting career, its good to see Fish has remained true to his promise - producing a special new album. Voiceprint are now handling distribution etc. on yet another new label 'Chocolate Frog Records', allowing Fish to concentrate on more creative matters. You've got to hand it to the big Scotsman. How many artists can take a whole set of new songs months before it's official release and pull them off with such confidenceand inspiration? The album has moved nicely on from 'Raingods' and 'Sunsets' despite a whole new writing team. Fish acknowledges guitarist, American John Wesley as principal co-writer on Fellini Days and is ready to join him on the next album. Keyboard player John Young also contributes to the writing but has since left amicably to join the Scorpions tour although he too may join for the next. The whole album is inspired by Fish's fascination with the films of Italian writer/director Frederico Fellini. Even the cover concept, Mark Wilkinson artwork again, is inspired from Vietnam war film 'Apocolypse Now', the scene where Martin Sheen emerges from water with explosions lighting up the sky. Fish explains that in a Fellini movie it is the subtle and surreal moments that sometimes get missed first time around. Fish attempts to create an album of depth, with weird and wonderful imagery, an album you can return to and discover something new - a 'Fellini' moment. Soundbites appear frequently creating atmosphere and the songs flow together so smoothly. Opener '3D' is a real building track with haunting female backing vocals with Wes's crisp distinctive playing at the forefront. 'So Fellini' is another anthemic track in the 'Brother 52' vein. 'The Pilgrims Address' is inspired by Fish's experiences in Bosnia and Kosovo - a soldier's perspective. Closing track 'Clock Moves Sideways' is more experimental with drum and base beat and again awesome guitar lines 'tumbling towards a conclusion'. Overall, eight superb songs , great production from Elliot Ness and possibly Fish's best work to date. Go buy. I.D.
V/A - Soupsongs Live; The music of Robert Wyatt (UK jazzprint 01)
A live musical tribute to the work of Robert Wyatt with a cast that reads like a who's who of UK jazz. Robert Wyatt had himself put together this line up of, Julie Tippetts, Phil Manzanera, Didier Malherbe, Harry Beckett and more names from every corner of the jazz world for these recordings. The music is drawn from over 30 years of Roberts long-standing career and was recorded in October 1999. With the most prominent feature of Robert Wyatt's work over the years been his vocal interpretations, how would these new live working stand up? Julie Tippet and Ian Maidman handle the vocals, while Ian Maidman transfers to the listing audience the feeling Robert had always conveyed so well, I feel it was Julie Tippetts rendition of Sea Song which took pride of place, marvellously rich in sound and delivered with affection. Other highlights from the set (although the whole 2CDs are exceptional) were Muddy Mouse, Free Will and Testament, and Heaps of Sheep. To observe and then communicate in words two and a half hours of work from someone who is seen by many as a genius of our time has not been an "easy task". Musically this is an almost flawless live recording, showing how high the calibre of the musicians assembled was. As a CD to own, this should not only appeal to admirer's of Robert Wyatt work and the vibrant UK jazz scene, but to anyone who appreciates hearing good songs played well. Robert Wyatt has now have retired from the live stage, but as long as quality musicians are willing to play his songs there will always be an audience for Robert Wyatt's work.
El Diablo - S/T (Mex private 99)
This is a stunning CD of excellent 70's sounding progressive-psychedelic heaven. This Three-piece (and friends) hail from Mexico and make great use of their instruments, Flute, Sitar, keys, drums and of course those guitars.The overall sound is hard and heavy while still sounding worked and meaningfully, although some of the numbers do head into more dream like construsted sections. Most of the 8 songs are instrumental but what vocals there are, are sung in English. The tracks all build around each other while opener Huautla and Womoon are the two stronger numbers, I didn't find any of this CD to be lacking in any department. Some great fuzzy wah wah guitar with a dirty sound (how it used to be played 30 years ago) made this a winner for me. If you like older bands like Iron Butterfly, Captain Beyond, and Budgie while taking more than passing interest in the current "Stoner Explosion" these guys are going to hit the spot for you. While this CD is a couple of years old now don't waste time in finding a copy, musically this has it all if you are into 70's hard rock/Stoner stuff. The CD comes in "LP" styled packing, gatefold and inner sleeve which sets up a great thought of, how nice would it have been nice to get a vinyl copy hitting my doormat?
500ft of Pipe - Dope Deal (It BoS 01)
Doesn't take a lot of working out to see where this US three piece are going here. 42 minutes of mind frying stoner rock. Why take prisoners when you can fry their brains and let them burn in hell, Hard Heavy and taking its long guitar riffs straight from an MC5's soundtrack! Not your Mule, is Stoner rock delight, these guys decide its time your mind has lived long enough and decide to kill it here, there no need to think after hearing this, the brain cells dying you collapse into musically induced high. Dope Deal, D.E.A and 420 to Go all give Stoner rock at full speed. If you get your kicks from the bulging Stoner rock scene and seek out every band you can find at each turn then 500ft Of Pipe are gonna waste you time and time again. The vocals are powerful and throaty without getting that growling sound I dislike and the use of keyboards add a slightly wider perception to the sound. Closing the CD is the showstopper for me; We blew the whole thing up, finishes this 10 track CD off with a more melodic approach for these guys. Looking for no frills Stoner? You'll find it here.
Wrench - Oscillator Blues ( It BoS 01)
For some reason this seems to be a re-issue of a release from High Beam Records on this new Italian label. Stoner, psych and space rock all rolled up inside a 47 minute CD. If you are into this ever-growing scene and are looking for a new challenge then I can see Wrench giving it to you. Gravitron opens the CD with war on the ears; heavy on the guitar riffs, bulked out drums and warlord vocals hold the whole thing down. You think you are on a stoner rock roller coaster after Humanoid and Twenty Times (which is very much Sabbath "from a jar" but that's not a bad thing here) The thoughts of "just another" Stoner Rock CD soon fades away the further you enter into Wrench's music. With the infusion of spacey synth sounds, this makes enough of a difference to set these guys from the crowd. Title track Oscillator Blues, open with a tape loop but soon racks out with Wrench's sound of heavy guitar riffs. Track 5, Free Ride is just over a minute long but gives a welcome break with its eastern vibe and sound loops you can start to chill from this point. Lights came down, another slower tune, with vocals set low in the mix and its analogue synth sound the drum beat keeps your ears awake waiting for a upsurge of sound to break through though this never comes. Finishing off is another spacey number, Wrench scribble their way through 7 minutes of unexpected and extraordinary styled sound, space loops and low end guitar fills this one from start to finish. This CD opens with full assault on stoner rock and finish's with spacey synth sounds, maybe not everyone's idea of stoner rock heaven, but with the ever increasing sound-alike bands out there, this marks a welcome change.
Tony Hill - Inexactness ( UK Woronzow 2001)
Firstly, the instrumental and guitar work throughout this are fabulous, fans of Bevis Frond will feel instantly at home here but so will many others. Secondly, with the exception of the title track I feel that the vocals lack a little depth and definition and don't always fit the sound. Thirdly, the viola or violin really does give another dimension to the overall sound. Finally, fourthly, it struck me that this sounds like it could have been written and recorded circa 1971, that's just an observation it's no criticism as the album just sounds like along lost gem. Well worth a listen if you love rock out guitar work of that sort of era.
Pulseprogramming - 1 of 2 in 1000 (US Aesthetics 2001)
The problem with multi-media projects is that if you've only got one aspect and here, obviously, it's the sound, you always feel you could be missing the point. After all you don't have the whole picture. These they describe as, 'soundtracks to films that do not exist', and they find themselves on tour in galleries rather than regular venues. They also make great play over the art side of the release, the photography and design, neither of which is truly represented here. Mmmm. Here we have perfectly pleasant, perfectly ordinary electronica the likes of which you've heard lots of times before from artists such as those on the Warp label here in the UK. The music doesn't particularly bring anything new to the table, explores no new ideas or directions and boldly follows where others have gone before. And that sounds a little harsh as, I have said, it's perfectly pleasant listening it's just not terribly original nor essential even when the promo copy states, 'This cd is an unmastered rough and for promotional use only. It's the vinyl, my friend, that's more true to the sound'. Which then begs the question why send out unrepresentative samples of your work? Apart from the convenience of cd does that outweigh not doing your work the justice you feel another medium gives it?
TRUMMERFLORA - 'No Stars Please' (Accretions records US 01)
A live and exuberant set of recordings from San Diego based improv collective Trummerflora, which means apparently the plant growth on a site that has had recent disturbance, especially though not exclusively bomb sites. With members that hail from parts of the world as disparate as Japan and Mexico Trummerflora burst and seethe with raw energy. Not afraid to take risks this double c.d., mainly recorded in 2000 at various locations in and around Southern California, fuses the traditional spark of jazz improv with the electronic element of digital samplers. Going from the meditative space of solo piano in one minute to the structuring chaos of a maelstrom the next, Trummerflora turn on a sixpence and can drive into your skull like a freight train. Every so often a theme emerges that you can just get a handle on. No sooner that this happens than the band is deconstructing it in a flurry of brass and electronics. Guitars enter a kind of Grateful Dead /Twilight Zone area and for a moment hints of a space-rock path is revealed, happily though the improv is brought to the fore and the easy path is never trod for long. The first disc ends with a 27 minute track called (with not a little humour I hope) 'Frosty the Snowman/Silent Night' this track is FIERCE! Any aspiring Santa Clauses need not apply to work in the rummerflora grotto this Xmas unless they are very brave indeed. After 10 plus minutes a warped vocal introduces us to the lyrics of the favourite kiddie tune, with the aural equivalent of the Texas chainsaw massacre happening in the back. If I were the reindeer I would be severely worried. The familiarity of the tune only emphasise the savagery and sheer inventiveness of this collective, it's hard to remember sometimes this is live! Disc 2 brings us 3 long tracks of 18 plus minutes each. A long and fulfilling trawl through the outer reaches of US improv. (There, I have finished the review without mentioning Derek Bailey or Paul Rutherford…until now …DAMN!!) (CB)
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| I really did think I'd drawn the short straw here when I got this package of 4 CDs from Sound Riot. Sound Riot are split based between Brazil and Portugal releasing Death/Doom Metal acts from around the globe. I have to say it did nothing for my enthusiasm for music on this hot and rather humid Friday morning in England. I fasten down the hatch and pressed play! (at this point I should point out I'm not a metal head) First up was SVARTSYN - His Majesty, SVARTSYN are from Sweden and are DOOM metal to the core. Harsh mega attack vocals over a power riddled guitar and rhythm section. This CD is only 31 minutes long but for me it was too long. If you can imagine Motorhead being played at 78! you can guess where these guys are at. I'm sure in the world of doom metal these guys go down a storm, on my CD it was game over after 3 minutes. Never one for backing away I thought "and the next!!" Pulled from the pile was LOST IN THE TWILIGHT - Planeteer. These guys are from Finland and play a more palatable brand of heavy prog-metal for my ears. This CD only runs for 24 mins which was a little short and even had me going back for a second listen. The band keep time well and play to their skills. This sound should cross over the boundaries of death metal and progressive metal. The score now after an hour and a half of listing was one all. Next came SATAN'S BLOOD - Christmas to Ashes, Angels to Dust. A German band that powers it's way along with a great approach. Was I becoming to like Death metal? The lyrics are lost in a growl but this did work. The sounds the band made fitted well around their vocal skills. Another short CD but one I'd found palatable again. This was fast and furious with not a seconds let up. This crew of devil gods know how to make your brain hurt. I even tried reading the lyrics but without any joy as the speed this guy sings at is unfollowable! So now I'm two hours in and my mind is doing somersaults trying to take all this noise in. After the first attack of SVARTSYN had passed I realised I had enjoyed what I'd heard. Maybe it is not my daily listening but with the attitude and style this label is putting through even the most non-metal head could get a listen from some of this. Last CD from this batch was NIGHTSHADE - The end of Christmas. Finnish band again had me back at the beginning of these reviews, not enjoying the open section here. It was fast and furious in its approach and I didn't think I was going to enjoy any of it and thought it was time to end the review here! This isn't quite how the story ends. I stuck with this CD, the longest of the batch at 44 minutes, and got to the end without to much trouble. Even rocking out on track three Nights Blackest Shadow, and going back for a second listen too!! It's never easy to listen to, and digest 4 CDs in just over three hours, let alone be fair and objective about them. Firstly, as I've already said, I'm no metal head. What Sound Riot are doing is putting out quality work, the musicianship is to be admired if only on technical merit alone. All CDs are well packaged if a little dark in design. What this parcel of CDs has done for me is to awaken me to what is out there in death metal land. If you are already a fan of dark, doom and death metal, and have not come across the wares of Sound Riot before now, I'd recommend you give these guys more than a "crack of the whip" there's plenty there to get your blood stained teeth into! |
SUICIDAL
TENDENCIES - 'Friends & Family 2' ( Bis Records France 01)
Well
I remember this lot when I had a brief flirtation around the hardcore skate scene
in the 80's, you remember, the Stupids, the Skatenigs and to a lesser extent Anthrax
and Suicidal Tendencies. From what I can gather this is a compilation of tracks
that either feature the whole band or solo musicians and bands who have worked
or played with them, sort of like the Hawkwind 'Friends and Relations' releases.
Not knowing much about the band or the hardcore scene in the intervening 15 odd
years I don't know whether or not I can really comment on the bands progression
or current sound. The overall theme seems to be of a very tight wired up noise
with lots of fine guitar work, a lot of emphasis is placed on the more funky side,
a fine example of this is track 5 'Cat got my Tongue' by Infectious Grooves. A
very apt name as they go from funk riff to metal wipe-out in the twink of an eye.
From funk to real metal come Missile Girl Scoot who are quite possibly Japanese
and bring a twisted pop sensibility to the proceedings.
Zen Voudou give us
some very passable industrial noise, all guitars and electronics, shouty too.
Overall an enjoyable comp, the tunes and styles roll round fast enough so you
don't get too over familiar with them. A few names to look out for in the future
too.
ASHFELT - "The Butterfly Chair EP" - (Iris Light records UK 01)
A lo-fi take on the bastion of drum and Bass. Ashfelt use noise
and glitches to create a moving sound that encompasses as many tricks and turns
as you can keep up with. Old movie soundtracks keep our attention from wandering
very far. Using a palette of sound and texture to warp space this sometimes feels
like a very fucked up Hawkwind doing a jaunt into d+b territory. The EP includes
a remix from the very wonderful ZION TRAIN that brings forward a more ambient
trippy side of the sound. The sound of a radio telescope involved in the SETI
project colliding with a streetwise record bag. Ethereal voices fade in and out
of the static and audio chaff whilst a strong rhythm keeps some semblance of order
in the back. Electric motors and staccato riffs keep the EP from descending into
the morass of convention Far from formulaic this disc is a nice discovery to make
using some of the conventions of d+b and then twisting it to their own purposes
serves Ashfelt well. Long may they mash up genres and styles. Out on the edge
Daevid Allen's University of Errors 2 -(US InnerSPACE Records 01)
Another outpouring from the master of the history of the Planet Gong this time ably abetted by an ever increasing crew of like minded astronauts, including members of US space rock travellers MUSHROOM. From the start the disc grabs you - gliss guitar over a suitably spiky rhythm track. Almost taking off from where some of the new York Gong sessions hinted. A spacious almost dubby feel melds with the aliens sublime vocals - sublime both in the warm Australian tones that Daevid has never lost in all his many travels and in the lyrical content of the words of truth and inspiration that he is intoning to us. Some of the vocals take on an almost scat feel with small improvisations firing away at the end of lines sounding like a well-oiled and natural mantra. Daevids politics are still as radical as ever, this is ably demonstrated by the words on the inside cover of the c.d., talking of the futility of working for a 'boss' and the grind of the wage slave in their daily struggle to make a living in the face of all odds stacked against a realistic ethical living. Long passages of the c.d. take of and fly in a twisted take on the standard space-rock theme whilst all the time Daevids guitar sings and hums cutting through the static like a lighthouse. Definitely a disc that can be listened to for many reasons and in many different mindsets, from the intelligent listen in a social and ecological mood to the whacked out appreciation of the guitar and trancey sounds. As with the previous U of E c.d. and the recent Gong releases this isn't the work of a sixties throwback but the sound of an artist and thinker constantly evolving and taking part in a living music. Definitely recommended to all (CB)
Scythe - Divorced Land ( Eu GR 01)
Divorced Land is the first proper album for German symphonic proggers Scythe following their demo 'Each Other' in 1999. Although only Mike Oldfield gets a credit in the liner notes the band appears at least to be influenced by classic IQ, 'Brave' era Marillion, King Crimson, jazz rock and prog-metal. There is a loosely related conceptual link between the tracks dealing with relationship problems and life experiences. Also a great booklet with notes on each track from various band members. Quite wordy, emotional heartfelt lyrics. The playing, mix and production are xceptional throughout. Complex arrangements, time changes, mood swings, atmosphere, bombastic phrases, subtlety, instrumental passages, it's all here. On the downside, the vocals aren't the best, particularly on the more powerful pieces. Stand out tracks are 'Denied'. At 16:41, a beautiful IQ sounding track building up to fantastic Steve Rothery sounding crescendo. 'Am I Really Here?' at 9:30 with Enchant sounding riffs, great piano and synth passages. Finally 'One Step Further', at 14:25 another building track, great drum and bass rhythms, jazz and moog sounds, and great Mike Holmes/Martin Orford style interplay to close. A great debut recommended to all you neo-proggers.
Pallas - The Cross and the Crucible (Eu Inside Out 01)
Living in Aberdeen, I've been fortunate to hear excerpts from this album as it has taken shape, and from my earliest hearing of demo mixes in October 2000, I knew this was going to be something special. Beat the Drum from 1998 is a collection of fine stand-alone tracks, but on reflection it perhaps was also the opportunity for the band to clear out the cupboard of tracks that had been gathering dust during the wilderness years of the late 80's and early 90's. This time round the band have been able to sit down and write from a blank sheet of paper, and for the fans who craved a return to the early Pallas days of conceptual, progressive rock music, with the emphasis very much on 'rock', then this is what they have been waiting for.
Based on the theme of religion versus science, TC&TC takes you on a ride through the history of time, when in the beginning everyone prayed to, and lived in fear of, their own particular God. However when some began to question their God, this led to the inevitable conflict and the tragedies of war that are all too common in today's world.
In my opinion the band have reached a new high in terms of their writing and playing. The music and lyrics are challenging to the listener (and I'm sure to the player!), and the individual performances are outstanding. There's no holding back on this album, Ronnie Brown's keyboards are as intricate as ever including a few amazing solos, Niall Matthewson has at last turned himself up in the mix and plays some great solos as well as slide and acoustic. You can tell Graeme Murray has enjoyed making this album, his thumping bass lines are varied and feature prominently throughout. As a result of being in from the start this time, Colin Fraser's presence is very noticeable on this album. It shows his versatility as a drummer, which is clearly demanded of him on this album by the differing tempos and various track styles. Alan Reed continues to deliver some killer vocals…the way he can inject emotion into the lyrics leaves this writer's hair on end at times.
Onto the tracks themselves, and for the first 3 tracks you are bombarded with a wall of sound that hits you right between the eyes. "The Big Bang" sets the scene at the beginning of time and moves into the title track "The Cross and the Crucible", which describes how science first challenged religious beliefs….'How can these mighty opponents be reconciled?'. I'm looking forward to hearing this live and features one of Niall's finest solos as well as terrific drumming. The use of the gothic chanting lends an extra eerie dimension. "For the Greater Glory" follows and depicts the extent that people will go to defend their own God. Battlefield sounds, marching, whistling… it's all in there, and has a wonderful finish with Niall playing a weeping guitar solo and Alan delivering the final couple of lines which are filled with emotion. Terrific stuff indeed, I'm sure this track is destined to be a classic amongst Pallas fans!
Only after this can you exhale and relax as "Who's to Blame?" reflects on the continuing damage that people can inflict on others, and asks if things will ever change? Some welcome acoustic guitar as well as great vocal harmonies by Alan and Graeme during the chorus. Hold onto your seats cause after a quiet first minute, it's back to a frontal onslaught with "The Blinding Darkness" which depicts how science is linked with various dreadful events throughout history. "Towers of Babble" follows…again a quiet start but don't be fooled cause it bursts into life (again using the chanting choir) depicting the evils of modern day commercialism and how we are all brainwashed by advertisers. Listen out for great church organ keyboards from Ronnie. "Generation" provides another breather through the use of acoustic guitar while the vocals describe someone who is reflecting on their life as it comes to its natural end. He sees much of himself in his child and hopes the child will always remember him. Again a fine solo from Niall to finish the track. A narrator sets the scene for "Midas Touch" which is set to be another 'Pallas epic' and describes the inevitable consequences of putting opposites together. Whilst our intentions of such an act might be good, the end result can be one of disaster, resulting in ever-growing greed and the desire to always go one better. Stunning playing from the entire band right through this track with another spine tingling ending featuring acoustic piano. The final track "Celebration" is a truly uplifting conclusion. Church bells are ringing at the start and it leaves you at the end with the overall feeling that in a dark world, goodness will prevail over evil…. Ken Ironside, EITN, June 2001
SPOCK'S BEARD All On A Sunday (Eu CD Single 01)
Spock's Beard, on the back of fifth studio 'V' now release a two track CD single with an additional multimedia version of A.O.A.S. The title track is taken from 'V',albeit slightly shorter at 3.22 and re-recorded with a more acoustic intro. Being the most accessible album track I suspect The Beard are trying for video/air play. Very radio friendly. I must admit being more intrigued by the second track, the unreleased 'The Truth', but surprised that it clocks in at only 3.50.It's a straight ahead rocker with a King's X style riff and the usual keyboard periphery. Nothing really new so for the already converted I can only recommend this for completists. However, for those not familiar with The Beard where have you been? I suggest you track down their albums. Pure genius and in Neal Morse the best songwriter in prog. (Ian Doughty)
Epiphany Project - s/t (US ER 01)
This is the forth review I've now wrote for this CD and still can't seem to find the right words to do justice to this marriage of folk and classical music. The Epiphany Project is US duo of Bet Williams (vocals) and John Hodian (piano), although joined by an assorted cast playing electric guitar, Viola, Cello and much more. Poetic and Delicate, Thunderous and Emotional are all words you find yourself using to explain the feeling and passion that is taking place on these recording. Bet's voice is akin to Kate Bush and Tori Amos in both style and delivery on the more piano based songs. On other numbers the style moves in a Clannad/Celtic direction, Lockerbie with its Celtic songbird sound fixes your feet firmly on the Scottish Highlands; the emotion in Bet 's voice is so strong. Black 1 again haunting and eerie with a Celtic approach, personally I feel it's this style that suits the voice of Bet Williams. With her voice and vocal range, Bet Williams that makes this CD a must for anyone who likes singer/songwriter style of music, despite that fact, this should not detract from the excellent music scored here which has it's own place on in these recording, Windows Walk alone musically would work without the vocals as would large number of the other songs. Just check out the last song (which is unlisted in CD notes) it sounds like a Kate Bush demo from the mid 70's, as I was told not so long ago, comparison is the best form of compliment. (Dave Barking June 2001)
Various Artists - Fluorescent Tunnelvision (US Submergence Sub-0047 2001)
An almost flawless compilation of the finest current exponents of improvised and space rock. Compiled by Hadley Kahn of the criminally underrated Escapade, (who have a track on the album), this is the perfect antidote to the waves of bland corporate music that surrounds us everyday. Nearly every track is a gem with only Djam Karet disappointing me with their prog-rock stylings, though they are a group with a split personality and, even then, it's not the worst thing I've ever heard. With other notable names including Circle, Faust, Mushroom and Subarachnoid Space, though every artist needs to be congratulated, every sonic explorer should be going out to secure their copy as soon as possible. Not sure if it would make a great introduction to these musical fields but if you've got to start somewhere start here. If you survive this and this isn't workaday background noise, this is up your nose and in your face noise of the highest quality, you'll soon move on to explore further out. Once you hear it, you can't ignore it. File under uneasy listening and all the better for that. (GE)
Finisterre - Storybook (US moonjune 01)
Live performance from Italian band Finisterre's first ever US concert, recorded at ProgDay 31st August 1997 this was originaly released a while ago as a limited edtion and now gets a reissue on Moonjune. Influenced by the many greats of the early 70's prog scene, Gentle Giant, early Genesis's, VDGG, PFM (even a cover of a PFM track on this CD), and with the flute playing of Sergio Grazia the every popular Tull influence is here too. Finisterre have been around for a number of years and have three studio releases so far. Finisterre has a sound that doesn't seem dated by these influences. This is due to the band pushing back boundaries, so that they can explore their natural Avant Garde edge through progressive rock. Predominantly this live performance is based around the excellent and exceptional guitar playing of Stefano Marelli, but this doesn't stop the rest of the band getting to show off their individual and collective musical skills. The 13-minute Phaedra is the showcase track, as the band one by one gets introduced to the crowd, who respond favourably. For my ears vote winner on the CD is the excellent opener of In Limine; which has everything a prog-rock fan could ask for. Complex rhythms, long drawn guitar sections with many time changes! On the whole this is an excellent release and if you have yet to hear anything from Finisterre, then this is as good as starting point as any. The overall sound is excellent for a live recording and with the digi-pack case helping to top off this package of great music.
Bruce Hotchkies - a different point of view (Cn DZCD0002 2001)
There's a psychological notion that we are driven to leave behind an 'identity legacy', to show we were ever here. For most people this is satisfied through having children. For some that isn't enough, or isn't right for them. This seems to be Bruce Hotchkies' attempt at an identity legacy, at least that's what his sleeve notes hint at. Nothing much wrong here with the songs, a little samey perhaps, lyrically a bit banal, some sub-Springsteen rock, other's big hat country. Unusually the main protagonist and writer is a drummer and he doesn't appear on all of the tracks and only sings the last one, much better than he seems to believe. Whether that approach really works is open to question. If it's a calling card for other producers to show what sort of songs he can write and how they sound tackled by various and varying line-ups then it kind of succeeds, though personally I can't find much here that's either memorable or inspiring.
Paradox One - Reality Quake (US Neurosis Records '7' CD-01 NR 2001)
This cd does have a very 'home produced' sound to it, which indeed it was. The choice of sound samples used was unusual and he proclaims influence for the first two tracks from two great SF writers, (including my all time favourite writer Robert Sheckley to whom Douglas Adams owed a great debt). However, if you think cliched Sci-fi soundtrack sounds, sub-Blade Runner, then you'll be close enough. There's an odd mix of sequenced electronica and wannabe prog pretention which never really gels. The whole album feels dis-jointed and I don't think it's deliberate as it makes for an unpleasent listening experience. There are obviously good ideas and as a starting point this is fine. But this man has had contact with Bob Sheckley, lucky dog and how cool do I think that is?? So, it is possible to produce stuff at home with an entirely professional feel, maybe it's a case of practice making perfect or learning what your equipment can really achieve.(GE)
Waste Lagoon - Shadow Chaser ( Nor Millenium Lagoon Records 01)
This cd bears the legend inside, 'Made with pride in Bergen, Norway', though, in truth, it could have been made anywhere in the Western world. They consider themselves as prog rock/metal in the vein of Rush or Dream Theater et although to my ears it's more rock with occasional prog twiddly flurries and the odd headlong charges towards jazz-rock fusion. These are obviously very technical and skilled musicians. However, I found myself looking in disbelief at the length of the album, (56 mins and 10 seconds but seems like an eternity). If I have to recommend it to anyone I'd heartily recommend it to fans of Rush. But then, even they must have heard more inspired and inspiring music than this. (GE)
Feels so good when your gone (US mrr 01)
This is the 2nd CD from New York's finest Rock & Roll ensemble! When reviewing the debut CD from this three piece all female band I said then I thought the fact that Bottom are all females would make people take note and maybe get them one step ahead of the following pack. On this CD there's no need, the music is enough to make any serious heavy rock fan take notice. Bottom will always get the Black Sabbath "alike" quotes added to any review but this is very much a compliment not criticism. What Bottom do they do well, just over 40 minutes of pure red hot stoner rock, opener is Hell of a Life is full of snaky fuzzed guitar, pounding its was into your head. Forever Gone is a deeper darker number with distorted guitar riffs. The following tracks are all of the highest possible calibre. Got Meth and closing number and Angermeistar (over 8 minutes!) are both worth pulling from the crowd. The latter has well chosen sample to start, letting it build over the vocals to a hard rifting guitar climax. Black Sabbath in style, an enthusiasm for music I've not heard since G&R's Appetite for Destruction, Bottom's unique attitude, and you come up with this classic 40-minute heavy rock CD. For any serious rock fan, this has to be on your "to-buy" list this weekend!
Tony Stoufer - One Swell Foop (US Absolute Obscurity 01)
Californian synth constructs with a moody presence. Tony stoufer has produced rhythmic loop based tunes that are a nicely melodic and light break from the more jackhammer techno and industrial sounds that usually hit the (virtual) decks at this branch of the Acid attack empire. Obviously put together by someone who knows his way around both the technological side of music and the craft of writing a tune that holds interest. Some nice ethnic samples touches add another layer to the songs; with a mellow jazz organ sound sits nicely with electronic percussion on track 3 'Particals of Light'. More of the jazz keyboard sounds abound on 'The Magnificant Catastrophy'. If I had to make a negative point it would be that there is a bit of a heavy reliance on pre set factory sounds but other than that I can think of nothing else. A light cd (that's not a criticism even if it sounds like it) that pushes the right buttons for this reviewer. When the weather gets warmer this will get played at my next (all Veggie) BBQ
Boris - Flood(JP Midi Creative CXCA-1076 01)
Where do you start to review a 70 minute concept piece by a Japanese stoner rock band? How do you tell people that, through those 70 minutes and 32 seconds using only guitar, echo, orange (??), bass, vocals, drums and gong, they perfectly evoke the start of the rainfall, the build-up of flood water, it's breakthru' and the damage the flood causes and then, ultimately, the music slowly ebbs and flows away at the end as would the floods water? What words can you use to express your admiration at the musical skill involved and the breadth of their vision? Can you honestly try to convince people that this really is some sort of rock symphony, though not in the horrid overblown prog sense, and that they should immediately beat a path to Boris' door and find out for themselves? Would it make any sense to tell people that although there are four tracks they aren't identified as seperate entities on the sleeve, at least not in English, and you have to listen to the piece as a whole to understand and comprehend it's magnificence and beauty? Is there some, secret, Zen message to all of this? Can I really say in April I've heard my album of the year? Yes, yes I can. (Mr Gordon)
Brainstorm 2 - Earth Zero (Aus. 2000 private cd)
Coming out of Melbourne, Australia, Brainstorm 2 dish up a varied platter of prog inflected space rock… Can't really see the balmy climate of the antipodes inspiring space rock epics in the style of the eternal warriors of the Hawkwind mother ship but this is where the Brainstorm laddies are heading. Not so much on the burbling spacey synth tip, but maybe more in the earlier 80's style of Hawkwind i.e. high rise and tracks like that. Some nicely sympathetic acoustic guitar picking on the second track made me turn up the CD player. Seems that they have a social conscience as well with songs about Tianemen and Berlin with quotes in the booklet from Che Guevara. It would appear that this release has been out in cassette form since 1985 and only seen the digital light of day recently, it would be nice to know what the band have turned out like in the intervening 6 years A pleasant cd but for all the sci fi trappings (great car on the back of the cover btw) I was hoping for something a little more spacey. Still don't let my preconceptions influence you, Brainstorm has a web site where you can download lots of tracks and read other reviews. Make it so!
Eric Bibb - Painting Signs (uk Manhaton Records Hatman 01)
Sometimes you hear something that makes you want to throw open your windows and yell, 'YES'. This is one of those things. It's such a joyful, soul-filled, gospel-tinged beauty that to call it a blues album seems just silly. This is a life-affirming classic. It's dedicated to Pop Staples, maybe that explains the gospel tinge, there's a wonderful version of 'Hope in a Hopeles World' with Linda Tillery & The Cultural Heritage Choir. There's also the most exquisite piano-based version of Jimi Hendrix's 'Angel'. The production is wonderful because you don't realise there is any, Eric's own material and the cover versions are equally as good, he makes other people's material his own with that easy voice of his, like warm drinking chocolate on a cold night. It makes all that manufactured pap we're fed irrelevant, listening now I get a tingle down my spine. Go see him on his UK tour, go and hassle you're local megastore to put aside that nonsense they try to sell and get some real, truly soulful blues music, something that lives and breathes with you, something that never leaves you, 'Painting Signs'.
Emetrex
- staring at the Stone'
Infur/Seriously Groovy cd single UK 2001
3
track cd single of fucked up guitar attitude from US based Emetrex (which means
by the way - of, relating to, or being, imitating, suggestive of, or reproducing
effects (as hallucinations) resembling distorted or bizarre images or sounds,
sometimes psychic states mimicking mental illness. Well you were going to ask
weren't you) nicely fuzzed out sounds and an angst ridden vocal collide with sensitive
acoustic guitar. A nicely 'not quite right' vibe is present in all of Emetrex's
work and this isn't an exception. Forget the wannabee chemical aspirations of
Richard Ashcroft (god he's soooo boring!) these boys are out to mash your synapses
and fry your brain. Don't laugh but the guitar on the last track took me off on
a King Crimson Mellotron trip. Now repeat after me - I want the new emetrex single
please Mr record shop man… I want the new emetrex single please Mr record
shop man…I want the…
Econoline
- 'Breakfast of Champions
Infur/Seriously Groovy cd single UK 2001
3
tracks of fuzzy guitar fun from Econoline. Fast paced speedy songs with a tight
and concise sound. The press release compares them to Husker Du who I saw at Glastonbury
festival and weren't impressed by. The more fitting comparison is the Pavement
one. Definitely one for the baggy trousered punk rock kids who hang round the
precinct in YOUR home town wearing T-shirts by bands you've never heard of and
aren't brave enough to check out. The last track reminds me of a fuzzed up early
Cure track but then I've always been a bit strange. To sum up, fuzz! Lots of it
and in all the right places and for all the right reasons. Roll on the album is
what I say.
Richard Bone - Tales from the Incantina (US Indium QRK0131 2001)
That Brian Eno has a lot to answer for. After all he 'invented' the ambient genre, lying there in a hospital bed. It's really not his fault that people have taken his general idea, 'environmental music - music deliberately constructed to occupy the background', and turned it into mush. This is a cd of that sort of ambient music. And ambient music isn't exciting, it isn't meant to be. It's meant to be background music, or foreground music if you choose to listen to it that way but it isn't meant to be exciting. And this isn't. Some of the melodies contained within this cd are really beautiful. But it's all rather single paced, once you've heard the first thirty seconds to a minute of a track you've heard it all, the tracks don't really develop. And though the musician may have drawn great influence from the spiritual philosophies of the ancient Toltec people the music itself gives you no sense of this. The only loose connection is through the titles. It sounds like the sort of stuff you'd hear in the background of any New Age type shop. It sounds like it should be played in rooms adorned with hanging crystals and incense circles slowly rising into space. And there's nothing wrong with that. Nor anything wrong with the album itself. If you've shared those experiences you'll know instantly how it sounds. If you haven't well then you could get a copy and listen to it, or visit a New Age type shop and hear stuff very similar, probably based around some other 'ancient' concept. Not really what Eno meant at all.
| Well heres a nice clutch
of shiny new cds from the Tone Casualties label with some really nice work onFirst
up is the double cd from Gabor Csupo -'Liquid Fire' some of you may be thinking
' hang on a minute that name is really familiar to me!' well if you watch The
Simpson's or RugRats then it will be because Gabor is an animator who is involved
with both these excellent shows and his name is prominent in the credits (ok I
know only nerds read the credits but I don't care!) His new cd is a journey taking
in lots of styles; dark ambience collides with sultry vocals, trip hop beats mash
up with hot guitar, Hungarian folk tunes make a recurring motif even when backed
up by a buzzing didj sound. The breadth of this cd set is amazing and I cant possibly
do justice to 2 ½ hors of music in one review so just take a tip and order
it! Tell 'em Homer sent ya! THE WIPEOUTERS - P'TWAAANG!!!' Monterey Pop Festival, 1968. Jimi stole all the headlines that year; his presence, his performance, his pronouncement that 'Surf music was dead'. How ironic then, that he's been cold in the ground for thirty-odd years yet the pure simplistic lure of the ragin' surf still manages to get believers rubbin' their woodies with glee in the 21st C. Sadly, though, this intriguing collaboration between the geniuses behind Klasky Csupo (Rugrats, Simpsons…) and Mark, Bob 1 & Bob 2 of the now de-volved pop re-combo known as Devo, adds little to the mighty legacies of either 'surf' or the Spudboys themselves. Best tracks? Surf's Up On Goon Island comes over like an inspired de-evolution of Martin Denny, Bo Diddley and Jason King (via the B-52s). Wedgie Wipeout weaves 'Ventures In Space' motifs around a Stray Cat Strut swagger. Wounded Surfer is a sparse, haunting, almost trip hop affair, blending Dick Dale's South Asian sounds and textures, with Joe Meek and even the Butthole Surfers in their Pepper era / Jack Officers guise. Batusi -looking back, this is how the surf music of the future would have sounded; unlike the weak, techno-pop of Ravin' Surf, which despite chugging along to a classic fall bassline, ends up being an error of judgement which should be avoided. It's not a bad little album, but it's hard to ascertain whether this is a project built around its Devo connections or the 46 second Rocket Power Animated Series Theme tucked away as track 7.Indeed, you could argue that P'TWAAANG's strengths lie more in DEVOs (slight) return to form than its failings as an 'authentic' surf record (if you want (reasonably) contemporary 'surf n drag' check out The Trashwomen, Phantom Surfers, Man or Astroman, Shadowy Men on A Shadowy Planet, or Blighty's own Beachbuggy). Then again, this is neither an authentic surf record nor a bona fide Devo project; it's The Wipeouters. And although they can't avoid the mongoloid guitar lurchings and spudhead keyboards of yore, Are We Not Men? it ain't. (Daren Garratt - 7/10) |
Download - Effector (Uk Nettwerk Records 2001)
Download,
or Phil Western and cEvin Key as their families know them; have provided a top
example of break beat tinged electronica. Sub bass rumbles pin you down as toppy
snares puncture your eardrums…yes you may gather that I like this and am
listening to it rather loudly. Rhythmically complex there is always something
evolving in the soundscape. Too many producers of electronic sound can be accused
of setting of the machines and just letting them have their way. This is ok with
old analogue equipment that has a mind of its own and slips out of tune or looses
its way but modern digital boxes just chug away doing what they are told for hours
on end. I left Rebirth running on my machine at low volume by mistake one day
and when I returned to it 7 hors later it was still doing what I had left it doing!
Love the name! This is the second release by this artist that I have reviewed and Mozart (if I may call him that) is still defiantly making music that HE wants to. Regardless of fashion, fad or any other outside force. Artists like this are true mavericks. Add a new wave vocal to a blues guitar, some barrelhouse piano and some obscure lyrics, rock styling and a hint of prog …put all this into a blender with a large pinch of tongue in cheek humour and you may have something approaching Mozart Rottweiler. Don't rely on the basic ingredients though because I'm sure that location and attitude has a lot to do with the music. Don't know whether it's just me but the track 'Carnival of Souls' has lumps of influence from the late great Vv Stanshall and other such English humorist musician type weirdoes. The track has some lovely on the edge psychedelic guitar as well. The final track is a version of the Screamin' Jay Hawkins tune 'I put a Spell on You' this is done in a suitably unhinged way with fuzzed out guitars and nicely rounds of a cd of humour, tunes, lysergic damage to neurons and hard work. I cant find a specific web address for this release so try http://home.computer.net/~mozart/, a good starting point into the world of Mozart Rottweiler
Land of Chocolate - Unikorn on the Cob (US Slipt Disc Records 01)
When I first played this I went, oh no not another prog rock album. But I listen to everything several times before I review it and this one grew and grew in my estimation. So, yes, it is a prog-rock album but it has a sense of humour, it has nice Zappa-esque touches,a slight jazz influence, a hint of Adrian Belew, that makes it stand out. It also has good genes, former members of Finneus Gauge and Echolyn are involved, though the music of those two bands isn't known to me the label that they came out on in the UK, Cyclops, isand, though I'm sure they know about the band, I passed the name along. For this deserves to find a wider world audience. It just has 'quality', a certain something that nags at you. Lyrically it sounds strong, not apparently mired in a disasterous concept that hamstrings so much stuff in this field, just good individual songs, (joy, the lyrics are included). The joy of reviewing is finding the real good stuff out there that no one has heard of and this is one of those. I've been recommending them all over the place and I recommend them to all the prog-rock fans that read our reviews. You might have to go through the website (clear and well-organised), to initially get copies, (and also hear examples and make up your own mind), but it'll be worth the trip.
Something Wicked - Something Wicked (US Nightmare records 01)
Run of the mill bog standard heavy metal fayre with occasional samples thrown in to make it seem up to date. It fails. Seems to be three years old, could be ten or twelve. Still there is an audience out there for this, there must be, bands still come together to produce it and I can't really recommend this to anyone outside of fans of this genre and, to be honest, even fans will have heard this done before and done better. It even has the Metallica ballard-esque number.
Derek Sherinian - Inertia (EU Inside Out IOMCD 077 01)
This guy is apparently the keyboard player for Dream Theater amongst his other sins. There are some well known names on here, including co-producer and co-writer, (of five numbers) session drummer extraordinaire Simon Phillips. The opener is throw away prog widdly keyboardness. They then proceed to destroy 'Frankenstein' bringing nothing to that fabulous instrument. And so it goes. If it's a genre of soul destroying music, such as jazz fusion, then they play it. They even sacrifice 'Goodbye Porkpie Hat'. Mercy!! If you like widdly vaguely prog, (in the worst sense), or old style jazz-rock you'll love this. And when in doubt plaster heavy metal widdly guitar solos over it. Me, it reminds me of the worst excesses of the genre when every member of the band had to put out his own solo album. All flash playing and no substance. Technique ain't worth a lick without some feeling behind it, (and yet Maria Carey can sell records, criminal).
Visionary - Visionary (US Nightmare Records 01)
This one came out in 1996 originally and yet, for some reason Nightmare has decided to re-release it. Why? It would've sounded old and out of date then. And, joy of joys, they've sent a biog. 'Progressive metal (there's two words that don't go together well), with moody melodies that sometimes haunt your mind for days'. Nope, bog standard metal with just about the worst drum sound I've ever heard on a rock album, it sounds like the drummer is flaying lettuce leaves, I've never heard such a weedy fizzy bass drum sound. 'They've been compared to Dream Theater, Metallica & Queensryche and yet they sound like no other ...', well they certainly bear no resemblence to any of those bands, maybe they share a haircut. Can't even recommend this to fans of progressive metal, whatever it might be. If Metallica are Premier League, these lot are Dr. Marten's Division Two. Fabulous booklet imagery though, wasted here.
United States of Mind - Silver Step Child (US Nightmare 01)
Well at least this one has balls. It grabs your attention right out. Melodic metal and pretty good at what it's doing too. Nothing terribly original though but it least it's done with verve and power. The project of one Tony Ritchie, (of Balance of Power), and it has something, in better times you could see, 'Believe it or not', having success in the singles charts, it has a hook and a chorus! Of course he won't catch cold here in the UK but over the world this should reap it's just rewards. If you like your rock with melodies and catchy bits and yet with the power to knock down walls this should suit you well.
SONUS UMBRA - Snapshots from limbo (US mcr 01)
Sonus Umbra are the former Mexican band Radio Silence who released the album 'Laughter in the Dark' in 1999, now re-located in Baltimore, U.S.A. a new hot bed of underground prog. S.U. contain three members of Rush influenced proggers Kurgan's Bane including drummer Jeff Laramee, vocalist Lisa Francis (who provides backing vocals here) and keyboard player Luis Nasser, but whereas K.B.'s chief songwriter is Jeff's brother Pete Laramee, Nasser pens or co-writes all of the tracks, as well as providing bass, keys and acoustic guitar. I've seen S.U. described as 'The Sound of Shadow' and I can see why. Mostly mid-tempo tracks with beautiful acoustic leads, backed with piano and synth washes, with the occasional electric workout, moog sounding solos and the liberal use of sound effects. This all countered by dark, brooding lyrics and the deep gravelly vocals of Andres Aullet. Comparisons I would say are U.S. bands Iluvatar and Timothy Pure, but with greater intensity and the almost unique Latin influenced acoustic soloing within this genre. Overall, a solid effort, which is a grower and should soon be available to European audiences via the Musea label, this being the final offering on the U.S. Moon Child label.
Captain T - Sinister Ambassador Artificial Records 1003
Great concept slightly flawed execution. The concept is that someone with a great deal of information, an ex-CIA operative no less, uses music to spread the knowledge wider. The execution is, with the honorable exceptions of some fine instrumentals which are the pick of the album, pretty standard American rock fare and doesn't really standout from the pack. But the instrumentals, Joyloader a sort of surf tune, Girls Inc. a meandering funk workout and finally, Heaven Jam which is almost stoneresque post-rock in it's execution. But for someone who makes a great play about his lyrical content the fact that I'm praising the instrumentals should tell you something. Tells me two things actually, there is good music here but when it gets mixed up with the overall concept the music suffers.
| "Not of This World" has been perhaps Pendragon's most anticipated album. After all, it has been five full years since the release of the band's last studio album"The Masquerade Overture", which many fans have come to consider Pendragon's masterwork. So, how does "Not of This World" stack up against five years worth of expectations?...Extremely well I must say! Pendragon have thoughtfully crafted yet another album that overflows with memorable melodies, cleverly crafted arrangements, ace musicianship, thought-provoking lyrics, and above all else, emotional intensity! While there has been criticism from some reviewers that the bands sound has remained virtually unchanged over the last few studio albums, after listening quite intently to this album for the last several weeks, I must say that I find such criticisms to be overstated. While the distinctive sound of past Pendragon albums is certainly on hand, there are also some new sounds, textures, and musical ideas floating around for those who care to hear them. What is striking about this album is just how well all of the tracks ebb and flow together. The changes of mood, sound and style always come along at just the right moment to give the album a perfectly "balanced" feel. Adding to the cohesiveness of the album are some recurring musical themes that tie the songs together. Lyrically the album takes a darker and more personal path than previous Pendragon works, dealing with failed relationships, betrayal, and the search for God and meaning.Thanks to the ever-creative pen of Nick Barrett, every song here is expertly-crafted and wholly satisfying. If I had to pick some favorites? The melodic epic "Dance of the Seven Veils" swells with tangible emotion,and sums up just about everything that I love about progressive rock in it's 11-plus minutes! "A Man of Nomadic Traits" kicks up the intensity level a bit, and easily rates as one of the most stirring and complex gems in the Pendragon catalog. The 3-part title track aptly shows the musical variety that Pendragon is capable of (even in the same composition), and "World's End" brings the album to a stunning and natural close. The musical arrangements are also never disappointing, and this album is filled to the brim with some of Nick Barrett and Clive Nolan's finest guitar/keyboard interplay to date. Melodic bassman Peter Gee and powerhouse drummer Fudge Smith once again prove that they may well be one of prog's most dynamic and overlooked rhythm sections. Special notice must also go to Barrett's excellent vocal work on this album, as he uses his distinctive pipes to pour some real "soul" into his lyrics. Over the years Pendragon's music has been a real comfort and inspiration to me, and "Not of This World" may well be their most inspiring (and inspired) work yet! As Barrett himself sings on the opening track, "through this melody and rhyme, I'll find some comfort here". |
Pendragon New Sun - Expectations (US private 01)
I can recall mailing this band months ago, not hearing from them, giving up, and then this CD arrives in the mail! A progressive rock CD of 8 tracks, 45 minutes of listening later we have the end result of a years hard work. Opener Mammoth has raw edged vocals, which I found unpalatable though musically enjoyable. This soon changed on the Rush sounding Cause & Effects, before entering the backbone of the CD the 7 part 6 minute title cut Expectations, utilizing all elements of people perception of progressive rock, complex guitar and keyboards work with multiple rhythm and key changes throughout, this keeps you conscious of what's going on. The numbers which follow are mixed from the aggressive No Mas Uvas, a return to their progressive influences with Do you wish to know, with its Ian Anderson alike vocals, again shows the band using different vocal styles. With the contrasts in sound along with the mixed vocal styles I found this unsettling for me to the running order on the disc. Despite these obstacles I'm impressed enough to put this down for "more listening" to make sure I'm not missing out on an intriguing, to say the least CD.
David Rosenboom - Invisible Gold (US Pogus Productions 01)
This CD is subtitled 'Classics of live electronic music involving extended musical interface with the human nervous system' this is a CD that I find extraordinarily interesting both in a musical and conceptual terms. The first piece is the product of the phenomenon of biofeedback. Four performers linked to tone generators slowly relax and attempt to synchronise and ultimately have control over the sound. The tones created move slowly over time. This description is grossly oversimplified both in terms of the sound of the piece and in describing the technology used to produce these mesmerizing sounds. David Rosenboom mentions in the CD booklet certain Tibetan ideas influencing and shaping the sounds. As someone who plays a Tibetan bowl the interplay between these tones, and the audio interference patterns that are set up are very familiar. A beautiful and meditative suite of sound. The second piece 'On being Invisible 1 & 2' are much more frantic pieces - here the sound is directly linked to analysis techniques that attempt to 'track shifts of attention and changes in consciousness of a solo performer that are concurrent with specifically identified musical events' from my reading I think that the performer is able to change the sound and sequence of sound events by actually listening to the sounds s/he is creating. In the second 'On being invisible' track the emphasis is more on the performers physical interaction with a sound system introducing small acoustic elements into the overall sound mix. This is a fascinating cd both in musical and intellectual ways, the interplay in-between a human nervous system and an electronic sound-producing array has produced some fascinating and deeply wonderful music. Can't recommend this one highly enough. (cb)
 |  |
Kenneth Gaburro - Tape Play 10 Works for Electronic Tape
Also from Pogus a cd of tape collage and manipulation from the late Kenneth Gaburro, the pieces date from 1964 up till 1992. as usual with a Pogus release a well documented book is provided which gives the history of the composer and of the way in which he worked. A lot of these pieces are collages that stretch our understanding of the structure and meaning of speech and organised sound. The first piece includes an excerpt from a big band piece that seems so natural to us in the days of sampling techniques but at the time would have come completely out of left field. Of course sampling as a concept has existed almost as long as music itself, look at all the classical composers who have written pieces which use other work as a starting point, 'fantasia on…' just fill out the dots. The pieces on the cd range from the maniacal Zappaesque taking in the weirder bits of Beatles tape experiments to contemplative jazz influenced piano. Not easy listening (in the true sense of the phrase) but nonetheless a fascinating and inspiring collection. Pogus should be congratulated for its lasting commitment to music that is not at all the most commercial of work, they do an important job in documenting artists such as Kenneth Gaburro, I hope the label goes from strength to strength. (cb)
Sciflyer - S/T (US private 01)
36 minutes and 43 seconds of basement indie styled lo-fi come late punk tinged
guitar rock, with a hint of psychedelic sounds added for good measure! Now there's
an hand full for anyone to try and get their head round in one go, the same goes
for me here, it's taken me 5 attempts to get close to the core of this CD. Late
night club stuff without exception; maybe it's the 4-track home recording (with
added hiss) which gives it that feel, but a dark room filled with smoke is the
place for this to best be heard. By the third listen I found I was being drawn
into the inner circle, the guitar style on Beyond the event Horizon had penetrated
my mind as I entered Sciflyer's world of ultra low mixed vocals, muddy guitar
sound, and dark atmosphere. The time is right now, is dark and moody to the max,
not unlike UK's underground bands, Jesus and Mary Chain or Joy Division. To finish
the CD off Sciflyer do, Set the controls for the heart of the sun, a creditable
attempt at this Floyd classic in their own distinctive dark style of sound. As
this CD may never be bought by millions of people around the globe (I'm sure this
will end up as a "lost classic") a musical injustice is about to be
done……………
CALIX - Cancoes de beurin (BR private 01)
Brazilian band who kick this CD off with a couple of Jethero Tull sound alike numbers, mainly because of the strong use of flute (sorry just can't get past flute=Tull in my head). The CD is then set for the listener, who is treated to another 10 numbers of similar ilk, relying heavily on classic/progressive rock influences. 10 of the 12 tracks are self-penned, one English language song in No more Whispers, although I found this a little weak in sound it had a catchy hook line. Titles track is a 6-minute number, which works inside itself, inserting guitar and piano parts along with a strong vocal line, while the final cut, O-FORTUNA was classic prog with gothic overtones, for my ears was the strongest number on the disc. In debt to many who have come before, Tull, some Floyd, Genesis and the likes of, this will with the ever-expanding market for "new-prog" find many homes around the world enjoying these tunes for many years to come.
John Polito - Crossing the line (US green note 01)
Debut CD from US composer John Polito, this is just 47 minutes in length which can appear short in the days when people expect 70 minutes on a disc or there about. A little mixed in the styles this sits someway between classical, newage (sorry I dislike using this terminology) and modern jazz melodies. Though saying this, I didn't find this a confusing listen at all. Enjoyable and relaxed melodies are the key feature to this CD. Expertly played with even a touch of Latin America slipped in on Aurora Alegre, and In Motion, which sounded similar to a rhythmic Tubular Bells. I found this exciting in his work, an area as a artist I would encourage him to go in. This CD although a solo effort does have a full band approach which works extremely well in the setting from start to finish. The use of drums, bass, sax, violin, all fit in well making this a more solid and fuller listen that a plain piano work, the way I feel this started life as. John may have here tried to approach too many styles in one go on this disc, trying to make people aware of his ability to compose and play a variety of styles. The softer tunes are well suited to the idea I felt coming from the CD while the more up tempo tunes had the deeper, more creative touch to them. In time and with the right surrounding John Politio will give pleasure to many listeners over the coming years. Though I'd like to see him experiment with darker jazzier rhythms; I feel then we might just get a gem from this guy.
SRA - Crazy Again (EU rockheaven 01)
Can't go wrong here if you are a guitar Rock & Roll fan. The SRA (southern
rock allstars) are 100% pure class. With Dave Hlubek (Molly Hatchet) and Jackson
Spires (Blackfoot) in the band, a high calibre of musicianship is set for the
next 45 minutes. 12 tracks, with one bonus cut here for this European release.
You get pure guitar heaven from the off, be it a small club or large stadiums
SRA would be sure to fill the air with enthusiasm for the music they play. There's
two covers on the disc, Don't believe a word, which they handle with skill and
do more than justice to Thin Lizzy's version, and for me the topper on the CD
is a stunning live version of Free's Wishing Well, as this track has reached legend
status in my house, they would have to come up with the goods here, and they did.
I was now 100% covered to the SRA. As for the bands own material it's very much
in the classic rock vain some of the tracks have a blues edge in there which suited
me well. Great moves on the guitar clever use of vocals rising to the occasion
when needed. Title track Crazy Again and Traveller are both full fire winners
which makes you feel you are there live with the band, while Better off Alone
is the classic AOR ballard. I can feel warm summer nights in America calling,
now where's my passport gone!
Donald Walters - Secretes of Love (US CCR 01)
In this world I call work this CD had been hanging around on my desk for far to long. It got pulled and pushed back into he pile on more than one occasion. I was unsure what to make of the work of Donald Walters regarding the press sheet which came with this, Melodies to open the Heart, really isn't my cup-of-tea. Anyway, true to my word I played this CD into my new CD player and was soon off on light-hearted musical travels around this disc. Trying to evoke the music of love you get a selection of mild mannered tunes, which really doesn't ask anything other than you sit back and enjoy this polite 70 minutes of music. Fixed very much into the "newage" idealism, flutes, piano, harp and much more. Donald Walters is a multi million selling author and composer, listening to this CD you can see why. It's well played and constructed around a sensible style, if you are into modern classical, newage music then this CD will suit you. If you are looking for spiritual or emotional guidance there might be more inside Donald Walters's work that's worth looking for.
The Tear Garden - Crystal Mass (US Nettwerk 30158-2 01)
The Tear Garden is the result of a collaboration of the talents of cEvin Key of Canada's Skinny Puppy and Download, Edward Ka-spel and Ryan Moore and other band members of Holland's Legendary Pink Dots. They described their work as "acoustic elements with hints of ambience and psychedelia in an electronic fusion." Not quite what I'd call it but I'm struggling for my own definition. The voice and some of the rhythmic stuff brings to mind The Church to me. Certainly there's a hint of psychedelia. They reminded me of The Psychedelic Furs too on 'Desert Island Disc' for example. Odd combinations of memories but a fine album of classy pop songs, not in the UK Pop trash charts of today but in the classic sense. You must remember, hooklines, melodies, that sort of thing. No, well remind yourself with this album.
Amoeba - Watchful (US Relapse RR 6441-2)
Clever title. 'Watchful' suggests taking great care. Great care has been taken over this. Beautiful ambient pop music, what you might imagine No Man strive to achieve without going as syrupy as they do. A duo, their titles tell you as much about their music as I could, for example, 'Inside', 'Footless', 'Ignoring Gravity', 'Desolation', and so on. It could have been all gothic and doomy, I guess in a sense it is, but these are skilled craftsmen at work and you are never overwhelmed with hopelessness yet you are drawn deeper into despair. Pity that to find the lyrics you have to go to the website but there you can learn so much more about them. They call their songs, 'cinematic', but think Bergman, think French film noir. There is a later album than this which I'd be intrigued to hear. This one is gorgeous, sheer class. Gossamer music for the introspective goth in all of us.
Curbside - Reclaim ( US Half Pint HP108 01)
Pretty straight forward American punk punctuated with a couple of bar room boogies and a final, uncredited, acoustic track that was the best thing on it for me. It was pretty much a protest song and you'd pretty much heard the sentiments before but it stood head and shoulders above the punk stodge that preceeded it. Hard to be positive about a style of music that reached it's peak 25 years ago since when it's been all down hill. But some people love it and those that do will get much pleasure here.
Amorphis - Tuonela ( US Relapse RR 6414-2)
In a recent discussion I was having about Anathema this band's name came up. So I immediately put on this cd and was immediately disappointed. It's not that there is anything inherently wrong in this apparently Finnish bands rock music it's just a little bit samey and a little bit, 'I've heard all this before and better'. I can't hear anything here that sets them apart from any number of other rock bands. I certainly can't hear any thing of their native land in their music. Certainly my friend was impressed by them, enough to mention them to me and I'll throw up my hands and say, 'No, I can't see it'. Perfectly competent, perfectly professional, perfectly ordinary.
Vincent's Ear - Coming Down ( US Half Pint Records 01)
This one is a mess but in that collection of favourite toppings on a pizza style. Lot's of tasty bits that shouldn't really be thrown together in one place and work but do. It starts of sounding like the Dead Kennedys, itself a bit of a treat compared to a lot of the punkier stuff I'm getting to hear, then in the next track they go on a Mariarchi bender and the one after that is more of a rocker, then back to a punkier one and so on. Yet the whole thing seems to hang together, (must have good cheese), and, at the very least, shows an adventurous spirit and individuality sadly lacking from all too many releases. Hopefully they'll never set their sights on being just another straight ahead rock band and they'll continure to weave their own strange way along the road. They might even make a success out of being individuals. Can't be a bad thing that.
Steve Ashley - Everyday Lives (UK TOPIC TSCD 526 01)
An album of 'English songs' rooted in, but not to, the folk tradition, all concentrating on, in his own words, 'aspects of everyday lives and love in the country of my birth'. It's a wonderful collection of songs played by a sterling group of musicians including Danny Thompson, Dik Cadbury, Chris Leslie and Gerry Conway. These are beautifully observed ballards sung in a voice that often reminded me of an unmannered Martin Carthy, emotional but not affected. It's an album every lover of carefully crafted songs will enjoy. There's nothing wrong in acknowledging our own English roots. That doesn't mean that the collection won't appeal outside of this country and these shores. Love songs are universal, those contained here are a delight. And the observational detail is a joy. Last year Topic released a collection of songs that just blew me away, John Tams 'Unity'. This album isn't that good but, then again, an album like that is a once a decade achievement. This IS a very fine folk album. I'll be lucky if I hear one of this quality again this year. (GE)
Blind Dog - The last adventures of Captain Dog (US meteorcity 01)
Debut CD from Swedish band Blind Dog, with this delivering to StonerRock heaven you get 63 minutes of high-octane sounds. From the opener Thundergroove, that hits you full faced with a packed out metal sound you know the ride has only just begun! Soon the CD is powered along by 10,000 Reasons another full on guitar number, from the metal opening this slips into some tasty mid section sleazy guitar riffs. Vocals on both these are hard but suit the numbers well. After the first two tracks this CD takes camp in every style of "rock" you can hope to think of. First listen is a little confusing to hear so many different styles on one CD but you soon pick up the feel after a few times round the player. From the acoustic based When I'm finally Gone through to the darker sinister sounds of Feels like my Mind…, onto Back where I've always Been which again enters into the harder rock sound arena. After an hour of guitar burnt tunes your mind is drenched with guitar noise bursting brain cells with every opportunity you allow. This full-blooded rock set is played with commitment to the music and the experience needed to pull these different styles together without conflicting the sound balance. I'm not sure what these guys where listening too while cutting their teeth, 70's hard rock, 80's metal or 90's grunge? With a splattering of all mixed in the outcome is to offer the best CD I've heard so far this year.
Jet Set Satellite - Blueprint (US Nettwerk 01)
This is one of the finest debut albums I've heard in a long time. The possibilities and future for this band are almost limitless. Basically a duo, Trevor Tuminski and Dave Swiecicki have produced a fabulous intelligent rock album bristling with great songs, great instrumental interplay and a great rock voice. Yes it tends to AOR on occasions, actually there are hints of all sorts here, a little Pink Floyd touch on some guitar work and atmospherics, some songs Bon Jovi would die for there. But also they can riff it up, there's a hint of eastern exotic and a lightness of touch that other artists have lost or never had. They've also been recognised in their Canadian homeland with award nominations for this album. So, if you're tired of tired AOR, fed up of dull lifeless rock, get the 'Blueprint' for the future. They'll probably make a bigger impact on the American continent and, maybe, continental Europe than here, though they'll be in the UK and Germany shortly having found a band to complete their line-up. That won't be their fault, the UK media environment won't take to them. They'll be huge everywhere else though so see them now while you can and get the album..(GE)
The Albion Band - Road Movies (UK Topic TSCD523 01)
What is there left to say about the Albion Band? Through constant line-up changes revolving around the rock solid centre Ashley Hutchings he's managed to discover and nuture new talents and create great music. As the website says, energy, experience, youth, tradition and that's the strength of this release. This new album may be as fine an Albion Band title as there has ever been. A band with four writing talents squeeze into one cd great songs, wonderful instrumentals, a seemingly throw away song from the Guv'nor that on the second listen I found myself singing along to, the lovely voice of Kellie While rootsy but unmannered, (recently heard fronting E2K reviewed hereabouts), the bell clear tones of Ken Nicol, the dynamic fiddle work of Joe Broughton. You can't beat good song writing and this album has it. Nor good tune writing, the instrumentals have vitality and vigour. The whole thing is a joy bringing a warm summer glow to a cold winter's eve as I write this. All this on a record label, Topic, that's releasing music now as fine as any in it's long career. This is another chapter in their story and it deserves the plaudits that must surely come it's way.(GE)
Trottel's Monodream - Fluid (Trottel records TR063CD )
This is an absolute delight, totally uncategorisable though that probably won't stop me trying. On the back of the sleeve you can find the words, 'Interesting Music for Curious People', that alone piqued my interest. It's an accurate description. Monodream are Trottle's latest project. A cursory scan around their website gives you a brief history and, frankly, intrigues me. I want to hear more from this label. Heck, I want to hear it all. This cd is such a diverse mix of styles that giving you a plain description will not do it justice yet I must try to draw you in, convince you to try these extraordinary sounds. There are folks roots here, from all around the world not just their home, Hungary. There are tracks on here that would sound great at a folk festival, you could see them going down a storm at Womad or even Sidmouth, I can see them dancing in the streets to 'Monodream or, especially, it's companion piece, 'The End of the Dream'. Yet other parts of it have a naive indie charm, the 'home' keyboard sound and vocals on 'Ikaros' are Pram-like or Stereolab-esque. Then again, 'Movement' is a chill out moving into great ethnic pounding drums (and hint of didg, keyboard derived I'm guessing as no player is credited). The love of music is evident. The whole project has such joy, such vitality. The love of the true power of music is also apparent in their dedication on the sleeve. I'd like to thank them for sending this to us. If you have an ounce of curiosity in your soul seek this out.(GE)
Lamont - Population 3 (US Cote 676 01)
There are times listening to this cd when I'm reminded of The Pirates. A scuzzed up scraped-throat singer version of the Pirates true. The other thought is of a psychotic ZZ Top. For a band based in Boston there's a real Southern edge to the sound, apparent even before I found out it was guitar and vocal man Pete's home. They have a real live vibe and probably go down a storm on tour, tight as a ducks arse as we say. A bar room blitz band, a sleazy sound sensation, a twisted torrent of tortuous rock'n'roll. Tasty in small doses.(GE)
Amor - Amor (UK Manhaton records Hatman2004 01)
An album of funky blues tinged rock. And it's hard to say much more than that. His voice is adequate, it's doesn't really have the depth the material requires but his guitar playing is superb, great blues tone and timbre. Fine band, good arrangements and probably a wow live. It's not going to change the world, it might be hard pushed to get the world to hear, which would be a shame as it's a good funky blues rock tinged album. You could imagine Eric Clapton taking one of these songs and really doing it justice though it wouldn't be hard work the source material is pretty strong. And that really is the type of audience that'll find this essential. Still don't think Jon Amor has the voice to do it justice.(GE)
Threshold - Hypothetical (UK inside out / spv 01)
Set for release in early April this will be the 7th (5th studio) CD from UK prog metal band Threshold. Finally keeping a settled line up for a change they deliver the perfect follow up to their 1998 release clone. All 8 tracks are strong and keep their sights firmly fixed on a full assault on the ever-growing "prog metal" crowd. The structure is formed around the guitars of Karl Groom and Nick Midson added to vocals of Mac. I'd started to settle to this CD by the 3rd track The ravages of Time 10 minutes of constructed progressive metal which struck me from the off as a leader for any live show. Following this was Sheltering Sky, the ballad of the CD was bursting with emotion and should with the right airplay in the USA get these guys to a wider audience with it's AOR hooks (also Keep my Head would do the same job). The shorter songs on the disc defiantly have a sound, which would entertain any stadium full of rock fans around the globe, while the two longer tracks show the full potential of this bands musicianship. Overall Threshold have delivered a fiery balance of heavy AOR and progressive metal with the potential of a couple of hits as well. If you have yet to hear anything this band have done in the past, I'd recommend you gave this one a chance to turn you on to them.
Penumbra - Skandinavien (UK Iris Light Records 01)
Penumbra is one half of the long running experimental team :Zoviet 'France who have been on the cutting edge of electronica from before it was called electronica! This beautifully arranged disc is a complete world enclosed in sound. Ambient passages float effortlessly along taking in field recording of aircraft interiors. To add colour to the trance inducing passages of what can only be described as sound that flow liquid motorik beats drop down in a very pleasing way, which emphasise the quieter ambient drone like passages. The icy sound tones reinforce the theme of the disc, conjuring cold landscapes and the isolation of an artist in time. My car broke down last week and I had to get the bus to and from work, this disc on my headphones suited the industrial landscape I travelled through easing from passage to passage with a fluid ease. One of the things that I find especially interesting is the fact that the disc changes with the volume that you play it, at high volume lower frequencies come to the fore altering the overall sound and feel of the piece. This I know is true for a lot of electronically sourced sound work but it seems more readily identifiable on this disc. As a complete disc this project works well for me , it is one of those c.d.'s that only truly make sense when you listen to the whole disc with no break then the sounds and themes map out before you. A rewarding and interesting voyage.(CB)
Keith Christmas Blues band - Weathermen (UK voiceprint 00)
This is a reissue of a 1992 offering from Keith Christmas (and friends) who has been around on the UK music scene on and off for over 30 years. Predominately known for folk music, this offering is blues based club sound. Slide guitar work and a laid back sound; very much an Eric Clapton approach to the blues. Solid from beginning to end on this collection of 12 songs, all tracks are self-penned apart from the classic Need your love so Bad, and Corinne Corinna. Not a missed note anywhere on this and a smooth atmosphere throughout should find many modern blues fan getting hours of listening from this CD. To fully enjoy the sound that the Keith Christmas blues band came up with I feel you would have had to catch these guys live. Though, I see no reason why this CD can't be a worthy replacement for what a great night out the blues with Keith Christmas would have been.
Generous Maria & Skua s/t (Sw Split CD Alone Records AR 002 01)
In a couple of reviews recently I've bemoaned the standard of the rock cds coming out of, mainly, the US for not showing much adventure or modernity. In a couple of other reviews I've complained about cds feeling too long. Well, here's a new angle for you. This split cd was too short. This split cd featured two Swedish bands within a, I guess, Stoner rock category. This cd truly rocked. It's chock full of adventurous modern rock. I would love to hear full cds from both of these bands. Generous Maria have a deep and dirty voice up front, a true stoner lead vocal, (reminiscent of Monster Magnet), real fuzzed up bass, all around great rock songs, absolutely top class. Skua remind me of none of their listed influences and produced their own stuff too. Top stoner rock. Really difficult to say much more. If you're into Kyuss or QOTSA you must seek this cd out immediately. The promotion sheet calls this hard and psychedelic rock from two great bands. Wow, even the promotional material is true. And all this from two bands from Sweden showing those US bands how to play rock. Mighty.(GE)
John Wetton - Sinister (UK gep 01)
New studio CD from John Wetton sees him joined by a who's who in progressive rock, Robert Fripp, Steve Hackett, Martin Orford (IQ) Gary Chandler (Jadis) all get name checked at one point or another. This CD is easy access to 40 minutes of progressive AOR (is there such a musical term?) 10 tracks heavily reliant on Asia's style and sound. I've enjoyed blasting this CD out on a number of listens, early March the sun's out, roof down on the car, CD playing at number 10, can't beat that! Only thing I'd say about this is that I didn't find it very challenging, not as it's meant to challenge you. Recorded both here in the UK and the USA this is going to bring joy to the already converted followers of his music, I just don't see many new followers coming to the church of John Wetton. I'm off to try and catch him live on one of his upcoming UK shows; I recommend you do the same.
Common Tongue - Step into my World (RebbeSoul Music US)
OK the fact is that I moved a pile of papers in the chaotic space that I laughingly refer to as my office and found a pile of discs from last year that hadn't been reviewed! So apologies all round and especially to Common Tongue as I really like their c.d. The band is built around multi-instrumentalist Bruce burger who draws on his Jewish roots to embellish and enhance his music. Truly a fusion of styles, the music blends elements of middle eastern sound, Russian balalaika playing and of course a hint of klezmer dance action into a modern pop sensibility. One of the biggest surprises on the album is the cover version of the all time best ever Jefferson Airplane track 'White Rabbit'. Underpinning the moody build up of the song is some delightful Arabic style percussion and sensitive acoustic guitar. There is also a dance mix of this track at the end of the c.d., which for me doesn't quite make the grade but a brave try nonetheless. African finger piano and highlife rhythms abound and even a didgereedoo rears its drone to build up global sounds that don't sound forced like some cross-cultural projects do. Bright, clear and progressive in the true sense of forward reaching, I feel that this disc is a success and hope to hear more from the band. By the way is god really a lesbian? I thought she was a DJ … (CB)
Pagan Dub Lord - Dragonseior (UK A New Music 01)
Another
disc retrieved from the 'Ohmigod I'd missed those' pile! Pagan Dub Lord is an
electronic space rock band who definitely ingests far too many psychotropic drugs
for their own good. This chemical haze does however lead to a stunning c.d. of
trippy sound rhythms and tunes. With influences as wide as King Crimson and P.I.L.
the sound on the disc always challenge and delight. With the instrumentation including
Dragontronics, throbtones and electric mushrooms I think you know where these
people are coming from. Musically a bit like the Bastard offspring of the Aphex
twin and Ozric Tentacles my only criticism is a bit of an over reliance on Synth
drums…a bit of processing wouldn't have gone amiss there.
Sadly I Haven't
a web address so get in touch through:
A
New Music
47 High Street
Harborne
Birmingham
B17 9NT
England
Candy Snatchers/Cheap Dates - This is Rock N Roll' (US Yo Olde Splite CD 01)
19 track punk cd, 9 tracks from Candy Snatchers and 10 from Cheap Dates. All sound pretty much the same, though the Candy Snatchers do a slower song. And really, there's not a lot more to be said for it. It's punk, American punk but punk none the less. Can't help wondering what the reaction would've been in, say NME, to an album of music heavily influenced by Patti Page, Kay Starr and Rosemary Clooney in 1976. This is as relevant a concept to 2001.(GE)
Catchin' 22 - Can't Steal Our Spirit ... ( US Catch-CD-0699 01)
'Can't Steal Our Spirit ...', and wouldn't want to either. There's some wonderful music being made in Canada right now. This isn't it. This is average AOR with incongrous samples thrown in for no real reason, tired licks, trite lyrics and I've tried to think of something nice and positive to say. Well, their web site is alright. It keeps you up to date with everything that's happening with Catchin' 22. No doubt their music goes down a storm with people who like this sort of thing, they wouldn't catch cold in the UK and this type of rock is pretty much done anywhere else. Just seems a waste of a great equipment list and musical ability.(GE)
Melvins - Electroretard ( US MR2001 01)
This is an album of eight tracks, the first is backwards noise, the last a cover of Interstellar Overdrive, in total three cover versions, four re-workings of old material and the aforementioned first track, 'Shit Storm'. The whole thing is two fingers to the world, their fans, anybody at all. Destined to be a footnote in history as Kurt Cobain's favourite group, or some such, they could've been contenders. Instead they are much loved by their fans, on the website some of them were giving this album a five star review without even hearing it. It's probably a four, four and a halfer tops. The website is worth a visit, www.mansruin.com 'Spilling the Blood of Innocents Since 1995'. The inside sleeve of the cd has a delightful picture of two children slaughtering blindfolded lambs. Keep that and the fans reviews in mind. Marvellous but dangerous if your mind is already bent well out of shape. Left field rock two counties over.(GE)
The Rabbit's Hat - Year of the Rabbit (UK Stone Premonitions SPCD013)
I guess this is some sort of concept album, certainly the lyrics seem to refer to similar themes and concerns. The overall sound though, is so dense that it has been difficult to listen to. That and the fact that it's couched in musical terms of reference I find unappealing, one track just sounds so like Clapton AOR. It also seems over long as well. If I've missed the point I'm sorry. After a few listens I'd just about given up. One more time I thought and put it on whilst doing something else on the over side of the room. That was when it became a little clearer to me. With some space between us I could finally listen. It reminded me of a Roger Waters concept album, not anyone one in particular, with Roger Chapman singing and guest appearances from Steely Dan and the aforementioned EC. Not something I'd readily enjoy but there's still an audience for music of such depth out there. If you can get past how thick and wooly it sounds initially you'll be rewarded for your persistence.(GE)
Proxima - Music For Pleasure ( Fr ref: 133178902-2 00)
France, home of the music of Serge Gainsbourg, Francois Hardy, Air and Proxima. Unfortunately some of this was recorded in LA and it's that sort of vibe, American AOR rather than Gallic flair. It has proggy moments but not enough to sustain interest. If you want to sing and play along they provide lyrics and chords at their well-appointed web site thru' www.alcatrazprod.com At least it sounds well written, played and produced just not my idea of, 'Music for Pleasure'(GE)
