Cherry Red Records – Esoteric Antenna EANTCD 1053 – CD Time: 48:59
Available at: http://shop.cherryred.co.uk/shopexd.asp?id=5158
Tracks: 1) Another Life 2) Look Up 3) Poison Town 4) White Lines 5) Life In Reverse 6) Burnt Down Trees 7) Satellite 8) Forest 9) Magazine 10) Rain 11) Actors 12) Another Day, Another Night 13) Poison Town Reprise
It’s hard for me to believe that it was 10 years ago John Hackett released his last “electric” album Checking Out of London, a collaboration with lyricist Nick Clabburn, brother Steve Hackett, keyboardist Nick Magnus and guest vocalist Tony Patterson. COoL was largely an album of contemplation of modern realities with a fairly narrow and relatively calm emotional range (the song Ego & Id being the exception). Since COol John Hackett has released a collection of acoustic collaborations (see photo, I’m sure some are missing from my collection) and a live album with Nick Magnus in 2010, in addition to other session work with Magnus and others.
In contrast, Another Life exists in a darker realm, and is cathartic, but also treats the subject matter, at times, with sonic irony—where the music belies the lyrics, almost mocking the hopelessness or anger, reveling in the pain, getting to an even darker place perhaps in the hope to emerge in a better elsewhere. It’s not, however, necessarily a nihilist point of view. I also hesitate to say that Another Life is a concept album, but there is a tightly knit theme throughout.
The title track opens the album aggressively and builds to a primal scream of sorts. After listening to it a few times, I detected a structural pattern similar to the verse and refrain comparing it to In The Court of the Crimson King, including the point where John Hackett’s flute enters…coincidental or an homage? In Look Up “Everyone is changing…” and it is reminiscent of the sound of the change The Byrds sang of in the late 1960s (and distinctive opening chords like ELO’s 10538 Overture). The song is embedded with foreboding, but it has a driving energy of what I characterize as hope in the words “Look up and feel the light…” Poison Town is one of the examples of where the music seems to contradict the message of the lyrics, it has a sort of chill-vibe with the soft keyboards and wah-wah treatment of the guitar…kind of swaying and comforted in the darkness of thought. White Lines delves into frustration, with the Doppler-Effect sound and motion of vehicles speeding past on a highway, following the road into a vanished point in the distance…a destination never reached on an endless journey.
Life In Reverse on one hand is bleak, but there is a sense of optimism and beauty in the music—the chord shifts, layered chorus vocals and the gorgeous bridge from John Hackett’s flute (the passage “This rented room…This rented life…” with the chord bends and vocals is powerful). Another example of the sharp contrast of the message in the lyrics and music is Burnt Down Trees, as if one is mocking the other. The music is funky, rhythmic with ripping guitar solos from Steve Hackett, almost as if the music is laughing at reality while the streets burn; like the conditions are so bad, one needs comic relief or escapism. Ant Phillips is a guest instrumentalist on Satellite (12 string guitar and harpsichord). A song of conflicted feelings, opens with Steve Hackett on harmonica, with flowing chords and harmonies from the vocals and guitars. Stark truth and minimal sentimentality “Say how you feel…I just want to hear you try…” By the time Phillips’ rich sounding harpsichord enters, the difficulties of reality return—a very emotional piece, one that cannot be played loud enough to hear all the depth to the layers. Holding onto beauty in the face of despair.
Forest, in a way harkens back, in sound and instrumentation, to many of the songs on COoL. Reflection and self-examination, pondering how things could have gone, yet living with how they turned out. Magazine is the one piece on the album where Nick Magnus is credited as a songwriter along with Hackett and Clabburn. It’s another in the canon of gentle and contemplative songs, somewhat like the early instrumental piece by brother Steve Hammer In The Sand, although it passes through a couple of grander orchestral codas. Rain is perhaps a relationship gone bad (the actual inspiration could be completely different!) and in this the music and lyrics are aligned—the twisting sadness of the minor chords and the forceful vocal refrain, punctuated by Steve’s sustained growling solos.
There was something about Actors that sounded familiar to me…the lyrics seemed to have a parallel elsewhere, and sure enough, portions of the lyrics were used in the Squackett (Steve Hackett and Chris Squire) song Divided Self (a marvelous song, by the way—lyrics also by Clabburn). It’s a song of internal conflict—“Two tongues speaking in my head…” with a curious I Am The Walrus-esque link in the middle before the first guitar solo and vocal choruses. Another Day, Another Night has some sounds of hope with its upbeat rhythm and instrumentation, and is where the message is delivered to whatever is causing the feelings of darkness to move on—kind of an ultimatum with signs of optimism.
And then…the Poison Town Reprise…and a bit of the darkness returns.
Fear not the subject, just get lost in the music—I certainly have…as I click REPLAY.
Label: InsideOut Music: Two Clear Vinyl LPs (with CD IOMSECD 417)
Time: About 65 minutes with bonus material (Other formats available)
LP 1: Side 1: Out of Body, Wolflight, Love Song to a Vampire; Side 2: The Wheel’s Turning, Corycian Fire, Earthshine, Loving Sea
LP 2: Side 1: Black Thunder, Dust and Dreams, Heart Song; Side 2: (Extra Tracks) Pneuma, Midnight Sun (with Todmobile), Caress (on LP 2, but not the enclosed CD)
After a pair of tremendously successful Genesis Revisited tours in Europe, UK, Japan and the US (with many sold out concerts and shows added due to demand), I’m thrilled that Steve Hackett is back again creating new music. He did the historic material from his Genesis era a worthy justice, clearly an important part of his life (and heck, mine too) and career, and some of that material will always be part of his live shows, but clearly it was time to move on to new things.
I was fortunate to have a chance to hear a preview of Wolflight in Steve Hackett’s studio in the autumn of 2014 and my immediate impression then was that the music is incredibly cinematic—vibrant sound and images in the tales unfolding in the music, whether vocal or instrumental. The music is drawn from experiences, places visited, dreams, nightmares, ancient history and inspired by love. I sense that there is still even a bit of delicately blended (and not yet completely written) autobiographical experiences.
Wolflight is an album of contrasts, from broad filmic passages, some briefly anthemic, to moments of delicate beauty. There is no formula being rehashed from his earlier work, but some elements that are pleasantly familiar are mixed with the inventiveness and varied regional instrumentation that I have come to appreciate in Hackett’s work throughout his oeuvre. Steve’s primary collaborators continue to be keyboardist Roger King and his wife Jo Hackett, along with live show bandmates and production team: Gary O’Toole, Rob Townsend, Nick Beggs, Amanda Lehmann, Benedict Fenner and others.
Out of Body is the eerie wolf-howl call and then energetic overture to the album, a brief taste of what’s to come. Title track, Wolflight opens gently, setting a scene of calm, but the challenges of the tale are expressed in orchestral and sharp-edged guitar solos in contrast with the acoustic twelve-string verses—a powerful title track that has proven to adhere well in my memory, despite the complexity of the piece. In addition to the contrast of sound there is also the irony of subject—that of pleasure in pain and the attraction of potential danger, which is the exploration of Love Song to a Vampire with Hackett’s hushed verses (almost a lullaby), powerful refrains and soulful peregrinations on his Les Paul guitar.
The Wheel’s Turning revisits some of the sights and sounds of works as far back as the album Please Don’t Touch—carnivals of inspiration and a bit of time-travel (with shades of his Squackett collaboration with Chris Squire in the marvelous song from the album A Life Within a Day, Divided Self). At first there’s the basic song then orchestral moves to a devilish romp with a brief homage to The Air Conditioned Nightmare (from the album Cured) and then his album Blues With a Feeling before returning to strains of Bach and the memory of that distant carnival. Creating a strong sense of place, Corycian Fire, after a gentle opening, Hackett uses his highly processed vocals like an instrument to accompany the orchestral, choral and regional instruments in exploring the history of an ancient underworld, which has some similarities to his earlier and less adorned instrumental Steppes (from the album Defector for those who have listened since the early days). Earthshine and Loving Sea are a respite from the album’s vigorous beginnings (an intermission similar to the days of changing a film reel in a theater). Earthshine, a classical guitar fantasy merges into the joyful twelve-string and vocal harmonies of Loving Sea, sailing freely.
Black Thunder rumbles with raw emotion; part history and part social commentary on slavery and civil rights struggles of Martin Luther King with an homage (in the liner notes) to Richie Havens (and his well-known song Freedom) who worked with Hackett on his second solo album. Dust and Dreams is at first a vamp of languid movements and drifting mirages that adds layers and builds to portray scenes of divergent impressions and ultimately it’s resolved in a returning to the comfort of Heart Song, dedicated to Hackett’s wife and creative partner Jo.
The bonus material on side 4 of the LPs (two solo guitar tracks on either side of a collaboration with the Icelandic band Todmobile) fits quite well with the overall album. Pneuma (translates as breath, soul and spirit) is a subdued rumination, a calming re-centering of sorts. Midnight Sun is powerful, melodic and pleasing in its chord structure and rhythms. Caress gently closes the album (which is on the LP, but not the CD).
Despite the sharp contrasts in the instrumentation and sources of inspiration, Wolflight is a very cohesive album, which upon a few listens will become deeply and solidly embedded in the canon of Hackett’s work. The Steve Hackett Band will be celebrating his 40 year solo career with a tour in 2015, Acolyte to Wolflight. I hope to attend a show (but tickets sell quickly!) and I urge readers to get tickets to a show, which will certainly be quite a visual and aural experience, as all of Steve Hackett’s concerts have been since the late 1970s.
Seeing John Edginton’s recent documentary Genesis: Sum of the Parts, one might be left with the impression that after Steve Hackett left Genesis in 1977 he went on to do a few minor projects and then disappeared into the ether. On the contrary, after his highly innovative work with Genesis during the tremendously creative period from 1971 to 1977, Hackett has had a varied and successful solo career of nearly 40 years with as many albums, including some well-known collaborations, songs in international charts (Wolflight is in the UK charts, as I write this), and a faithful legion of fans who are spreading his work to a new generation of listeners.
If anything, Steve Hackett is more vital and relevant than ever with new-found and ever-growing energy that belies the span of his career—continuing to blaze new frontiers in music and live shows.
2014 has been a year when I’ve been relatively quiet on reviews, but I have been listening to many things, and I was very fortunate to attend some fabulous concerts that I’ve documented here with brief write-ups and photos (no photos of King Crimson!). I’ve also been focused on other things, including making noise with some guitars. As in the past, my listening is concentrated on what’s available to me, which is relatively narrow in scope, but I do listen to a pretty wide array of music.
This is my list of 14 favorites for 2014 (in no particular order) and then a few special categories. Each title on the list links to the artist or record label website. Happy Listening and I hope you all have a nice Holiday season, no matter what you celebrate. Thank you for reading in 2014!
Sturgill Simpson – Metamodern Sounds in Country Music
Nick Magnus – n’monix
Tony Patterson & Brendan Eyre – Northwinds
Should – The Great Pretend
Gareth Dickson – Invisible String (a compilation of recent live recordings)
Hiss Golden Messenger – Lateness of Dancers
Steve Hackett – Genesis Revisited: Live at the Royal Albert Hall 2CD/DVD (a fabulous live album & DVD with excellent sound quality!)
Stephen Vitiello + Taylor Deupree – Captiva (double 10” LP)
Medeski Scofield Martin Wood – Juice
Ben Watt – Hendra
Beck – Morning Phase
Levin Brothers – Levin Brothers (It’s only taken decades, but the Levin brothers got together and made a really marvelous jazz album)
Rosanne Cash – The River & The Thread
Robin Guthrie and Harold Budd – White Bird in a Blizzard
Anthony Phillips – Harvest of the Heart (Anthology Boxed Set): Unlike the recent R-kive Genesis box set, Cherry Red knows how to put together a proper anthology, complete with many tracks of never-before heard music from AP’s archives.
Jason Molina – Songs: Ohia – Journey On (7” 45 RPM Compilation Box Set, a really beautiful set, probably rarer than hen’s teeth by now.)
King Crimson – The Elements (Tour Box, archive, live and some new material as a companion to the 2014 US Tour)
East River Pipe – The Gasoline Age (vinyl reissue, my introduction to the brilliant songs of F. M. Cornog when it was first released on CD in the early 1990s)
Lambchop – Live at XX Merge (I’m so happy that Merge Records decided to release this in honor of their 25th Anniversary. Looks like the LP is out of print for the moment.)
William Tyler – Lost Colony
Olan Mill – Half Seas Over (Live performances 2012-2014)…too short for an album, too long for an EP, but what the heck!
An Accidental Concert Photo
A great show last night by the Steve Hackett Band at the Ridgefield Playhouse in Ridgefield, Connecticut for the Genesis Extended fall 2014 tour of the USA and Canada. More information on the tour is here: http://www.hackettsongs.com/tour.html
This will be the last tour with exclusively Genesis material in North America, with a South American tour scheduled for early 2015. Hackett will have a new solo album in early of 2015 with a planned late summer/autumn tour likely in 2015–stay tuned! The Band: Steve Hackett (guitars), Roger King (keyboards), Gary O’Toole (drums), Nick Beggs (bass, Chapman Stick and guitars), Rob Townsend (woodwinds, keyboards and percussion) and Nad Sylvan (vocals and percussion).
Set List: Dance On A Volcano, Squonk, Dancing With The Moonlit Knight, Fly On A Windshield, Broadway Melody Of 1974, The Return Of The Giant Hogweed, The Fountain Of Salmacis, The Musical Box, I Know What I Like (In Your Wardrobe), Horizons (acoustic, preceded by an excerpt from Bay Of Kings), Firth Of Fifth, Lilywhite Lilith, The Knife, Supper’s Ready Encore: Watcher Of The Skies, Los Endos (including an excerpt of Slogans)
Encore with Watcher of the Skies with Roger King on Mellotron and Nad Sylvan as the Watcher.
Temporary Residence TRR 227 LP (CD and D/L) Time: About 39 Minutes for 11 LP Tracks
1) Good Graces 2) Great Equator 3) Hegemony 4) Henry Lee (Trad) 5) Need Some Sun 6) Don’t Be A Tool 7) Electricant 8) IO 9) Stop Counting 10) Sinker 11) Your Time 12) Codebreaker* Bonus on Deluxe LP download with silkscreened cover
Many scientists have labs and equipment, and there are parallels between science and the creation of music. Discovery and creativity take hard work, inspiration and many tools—some of the work is also drudgery and can take a long time to complete. Some experiments succeed and some don’t, but research presses on.
Nick Zammuto’s lab is in Vermont and while Zammuto’s current work is more accessible and song-oriented than work of his previous collaboration with Paul de Jong (The Books), Nick and his bandmates are still looking for music and inspiration in unexpected places (sometimes in quirky infomercial videos, physical inventions, admonitions from a parent and odd audio samples). Sounds are discovered, altered, created and spun into a fabric of song, and more often than not the results are downright fun.
It took about a year from the very successful IndieGoGo campaign to the release of Anchor, but along the way Nick Zammuto kept backers well informed on progress and entrusted early previews of the final tracks, along with the background for inspiration and in-depth technical information on how many of the sounds were developed. The resulting album varies from calming drones to chest pounding beats along with idiosyncratic melodic turns and spirited lyrics. Many of the tracks are based around odd rhythms, some created with scratches deliberately made on LPs at planned intervals.
Although I’m not always an advocate of loud music, I think this album better with the volume knob UP—it’s often an absolute romp. Most of the music is also well suited to their live shows, where Nick Zammuto and his bandmates know how to have a good time, often with accompanying videos. I can attest it’s also a great album for driving (at safe lower volumes!). In general, I find this album to be more reserved (almost cautious, at times) compared than their first.
After Good Graces eases-in, the more dynamic tracks like Great Equator, Hegemony, Need Some Sun, Electricant and the aggressively percussive IO give the album its verve. Anchor also has its quieter and more drone oriented moments, and can be quite introspective at times, as in Henry Lee, Stop Counting, Your Time and the acoustic percussion and guitar swells of Sinker. The bonus track Codebreaker is a syncopated keyboard, guitar arpeggio and electronic percussion pattern study.
I think my only criticism of Anchor is that Zammuto might consider exploring some longer form works. Peculiar and energetic always work for me.
The limited edition deluxe LP with silkscreen print cover
Photos are courtesy of Zammuto’s website, but I participated in the campaign and got myself a deluxe LP.
Lest you all think that I only listen to Ambient and Progressive Rock music, I also listen to many other genres including Country music…wait, WAIT, don’t close the window–you won’t regret it!
Sturgill Simpson – Metamodern Sounds in Country Music (High Top Mountain): This new album by SS is the real deal. Great country songs about real stuff with great music, and even better the first single released is Turtles All The Way Down (with a nod in the title to Stephen Hawking) and it’s deliciously psychedelic with reverb, phasing-shifting and Mellotron. Give it a listen:
Shearwater and Sharon Van Etten – Stop Draggin’ My Heart Around (SubPop): From Record Store Day 2013, I missed this single, but I found it on RSD 2014 in the back of the singles bin—aha! The A side is by Tom Petty (which I can take or leave), but the gem is Jonathan Meiburg’s A Wake For The Minotaur—it’s just plain stunning. This live version features vocalist Jesca Hoop.
Songs: Ohia – Journey On Collected Singles (Secretly Canadian): Not much I can say about the tragic loss of Jason Molina that hasn’t already been written. Thank goodness we have Molina’s musical legacy, including his last band Magnolia Electric Company—great songs and music and many of subjects of Molina’s songs turned out to be prophetic. Long before he died, his last label Secretly Canadian was discussing releasing a boxed set of the early singles of Songs: Ohia, many of them quite rare and long out of print. Unfortunately Jason didn’t live to see it. It’s a beautiful blue cloth wrapped boxed set of nine 7” singles with a separate book of the original artwork and song histories and a CD compilation of all the singles. These were available on Record Store Day 2014 and they disappeared quickly…I was very fortunate to find a copy. Here’s a video on the set. If you can find one, buy it, you won’t regret it.
Mutual Benefit – Love’s Crushing Diamond (Other Music Recording Co.): Bob Boilen from NPR’s All Songs Considered got me to this album. Part folk, part psychedelic and reminds me a bit of a softer Grizzly Bear (the band) at times.
Ben Watt – Hendra (Caroline – Unmade Road): I’ve been a fan of Everything But The Girl (ETBG) since their early days and then Tracey Thorn and Ben Watt put that project on an indefinite hold while they pursued other musical endeavors and had a family. Tracey has released a number of excellent solo albums and this is Ben’s first solo album—very introspective. My favorite song is The Levels and David Gilmour plays slide guitar. This is a live version:
Lee Gobbi – Purple Prose (www.leegobbi.com): Lee is a fan of Progressive Rock music and the influences are clear on his self-produced debut album of mostly original songs with guest appearances by alums of the original 1970s and 80s Steve Hackett band. There are strong shades of The Beatles, ELO and the vibe of George Harrison’s work in this album. There are a couple of covers, a Stu Nunnery tune Madelaine (remember Stu Nunnery from the early 1970s?!) and a haunting version of Nick Drake’s Parasite. A brilliant first album, and I hear that there is a second album in the works—stay tuned. I’ll post some sound samples when they are available.
John Pizzarelli – Double Exposure (Telarc): This album from 2012 is of song interpretations and some pairings by Jazz guitarist (and son of Bucky Pizzarelli) and Popular song-man. The album is largely covers, with an original by Pizzarelli and his wife Jessica Molaskey Take A Lot Of Pictures (picking up where Michael Franks left off with his song Popsicle Toes). My favorite is the soulful Neil Young song Harvest Moon.
Elaine Radigue – Trilogie de la Mort (Experimental Intermedia): When I reviewing Nicholas Szczepanik’s latest album Not Knowing, I noticed the dedication to French composer and electronic music pioneer Elaine Radigue (born 1932) and I was reminded of this 3 CD trilogy that was composed as a tribute to her son upon his death. It’s very minimal with gradual layers in parts and intense at others. Like most of her other work it was composed on an Arp 2500 modular synthesizer. Since 2001 she has composed on and for primarily acoustic instruments.
Superchunk – I Hate Music (Merge Records): This is the band that started Merge Records (http://www.mergerecords.com/i-hate-music) and if you have a chance read their book Our Noise – The Story of Merge Records. I heard FOH (stands for Front of House) just before the album was released and ordered it instantly (and then waited, since it was a preorder). Be careful, it’s raucous!
Tomotsugu Nakamura – Soundium (Kaico): I have Tench and Words On Music label’s Marc Ostermeier to thank for getting me to Nakamura’s work. He is a sound artist from Tokyo and Soundium is an album of microtones, springy and glitchy rhythms and fractional sound samples. The sounds and instrumentation are so pure—this is a great album and delightfully quirky at times. http://naturebliss.bandcamp.com/album/soundium
Lateral reference: Soundium reminds me of the absolutely enchanting album In Light by 12k label’s Small Color (and I think that everyone should buy this album): http://www.12k.com/index.php/site/releases/in_light/
Federico Durand – El estanque esmeralda (Spekk): I find this album to be Durand’s most melodic work so far. Many of his previous albums and collaborations focus on longer form field recordings combined with bells, wind chimes and other instrumentation. This album concentrates on childhood memories of places and times, presented in delightfully concise pieces . The three latest Spekk label releases are in the larger format CD sleeves and they are a welcomed change from small digipacks, jewel boxes or (worse yet) plain sleeves. The music AND the art matters. http://www.spekk.net/catalog/esmeralda.html
Celer – Zigzag (Spekk): Will Long AKA Celer is well known for his extensive ambient works and soundtracks. This is a more rhythmic (albeit subtle) electronic work. Have a listen: http://www.spekk.net/artists/celer.html
Melodia – Saudades (Kaico): Melodia is a collaboration of Federico Durand and Tomoyoshi Date. I missed the original LP on the Own Records label, so I was quite pleased that Kaico released a CD version. More here: http://kaicojapan.tumblr.com/
Opitope – Hau (Spekk): This is the first album by Tomoyoshi Date and Chihei Hatakeyama. Micro-tones, found sounds, ambient and field recordings along with instrumental (acoustic and electronic) improvisation make up Hau. The album is charmingly subtle at times and crystalline at others. The pieces are observations and explorations of places and experiences. http://www.spekk.net/artists/opitope.html
Opitope – Physis (Spekk): This is the latest CD from Opitope. The pieces are longer form than on Hau and curiously feel more like minimalist Jazz, at times. The instrumentation is more direct (recognizable), yet the environmental and visual influences are still present.
William Tyler – Lost Colony 12” 45 RPM EP (Merge Records): Unlike Tyler’s recent (and fabulous) album Impossible Truth, which is a solo guitar album, this EP is a band release and Tyler reinterprets the track We Can’t Go Home, covers Michael Rother’s Karussel and the entirety of Side A is devoted to Whole New Dude. Dude is a ramble with a meandering opening (with excellent pedal steel by Luke Schneider) and then sets off on a driving rhythm (drums, guitar, pedal steel and bass) for the duration. It’s a traveling song, heading out “there” to explore, and Tyler lets it rip towards the end. http://www.mergerecords.com/lost-colony
Orcas – Yearling (Morr Music): Orcas are Benoit Pioulard (another guise of Tom Meluch) and Rafael Anton Irisarri. This is the follow-up to their first eponymous collaboration in 2012. Yearling is part environmental instrumentals and part songs. The opening instrumental track Petrichor reminds me of Brian Eno’s The Spider and I from the 1977 album Before and After Science. I complained about the tone and mastering of BP’s most recent album, but this album sounds MUCH better. The songs are lush with vocals and harmonies by Pioulard—really nice music with oft-catchy refrains.
EANTCD 1032 – Esoteric Antenna (Cherry Red Records) – Time: 46:54
Tracks: 1) Time, 2) Memory, 3) Kombat Kid, 4) Headcase, 5) Eminent Victorians, 6) Broken, 7) Shadowland, 8) Entropy
Other music genres aside, I posit that many fans of Progressive Rock (Progressive Metal and other sub-genres included) have fairly high expectations when anticipating the release of an album by a favorite artist or band. The hope is perhaps for certain sounds and instrumentation—in a way, holding onto the past, the memories. I’m certainly guilty of that (I want Mellotrons, Les Pauls, E-bows and bass pedals), but I also hope for variants and invention in addition to complicated rhythms and key signatures that I associate with Prog Rock.
Music can trigger memories; hear a song and it can take one back to a long distant place and time, instantly. My memory of Nick’s work goes back to the early days of the Steve Hackett Band, in the late 1970s through the 1980s, and I certainly remember standing up front at more than a few venues close to the stage, marveling at Nick using his two (four?!) hands, feet and even elbows at times to assist with bringing Steve Hackett’s early work to life (he was a large part of the sound and technology of that era…and the transition from the analog to digital era in instrumentation and recording technology). Then, of course, I have enjoyed his solo work beginning with Straight On Til Morning from 1993.
I’ve heard some recent Prog Rock albums (even albums that I like) where the artist felt it necessary to include frequent derivative historical references and instrumentation or phrasing to other artist’s albums, but Magnus resists this temptation and takes n’monix in unexpected directions and makes it his own. The album does include many new friends as well as old; a connection to the past while looking to the future: Steve Hackett, Tony Patterson, Tim Bowness, Pete Hicks, Rob Townsend, James Reeves, Kate Faber and Andy Neve. Once again, long time collaborator, Dick Foster delivers sharp, witty and poignant lyrics that combine so well with the music.
n’monix is social commentary, history, reality and an observation of the results of technological advancements and the effects they have on us all. The more information available, the more to process, the more to remember and as a result we need devices to cope, mnemonics of many types. And curiously, even with the most tragic and unjust, we humans have such short memories; history is bound to repeat itself, it sadly becomes inevitable. We are victims of our own creations. The album is also about loss on many levels.
Time is the allegro of the symphony or the overture to the opera and it’s aggressive with firm vocals by Tony Patterson (and it will give your audio equipment a workout). By contrast (but very much in keeping with the symphonic reference) Memory is an adagio (slower tempo) waltz of sorts, which shifts from a somewhat shrouded soprano solo to broad choral treatment. Kombat Kid is an allegory. It is part march, part recitative and a story of consumption, manipulation and obsession…a reminder to step away from the keyboard or game controller now and then. Headcase is the only track on the album that even vaguely includes an homage…in this case (it seems to me!) to Gentle Giant…with quirky rhythms and lyrics—and memory games in the lyrics. Eminent Victorians is the most fantastical of the pieces on the album (with a brilliant animated video to accompany and vocals by the carnival “barker” Pete Hicks), and traces the absurdity of the served and servants, the sacrifices of the young and poor for the glory of an Empire and upper class; a familiar theme even today as income gaps grow ever wider and those less fortunate suffer even more. EV also includes prominent and most welcomed solos by Steve Hackett.
Broken is a heartbreaking lament with remarkable and emotional soprano saxophone solos by Rob Townsend (I have to admit that I had quite an unexpected emotional reaction to the track). Reality hits in the mournful resignation and loss of Shadowland and includes choral treatments and a stark guitar solo again from Steve Hackett. Some of the original themes return in the opening of the final track Entropy, an acceptance of reality and the unknown possibilities. I am certain that I have missed some of the literary, mystical and historical references…for now.
Although the subject matter of this album can be rather daunting, I find it to be somewhat lighter in spirit at times and more musical compared to Nick’s brilliant previous album Children of Another God. n’monix is impeccably arranged and orchestrated, and dances on the edge of being symphonic and operatic while including original and accessible songwriting. This is certainly not an album that collapses under the weight of a Prog Rock cliché, in fact, just the opposite–it brings a fresh relevance and viewpoint to the genre.
We were fortunate to be in the audience for both the afternoon soundcheck and evening’s concert on Friday night March 28, 2014 in Collingswood, New Jersey. We had seats at the head of the mezzanine and also had a chance to see sound engineer Ben Fenner and lighting engineer “Tigger” perform their magic–they’re on their toes the entire evening! I have a photo of the set list, but I won’t give it away entirely, but rest assured that there are minor changes each evening according to those who attended the Thursday show. The added songs last night included: Squonk, Carpet Crawlers, Lilywhite Lilith, The Knife (from the Ant Phillips days!) and many other favorites from the early to mid 1970s. The Scottish Rite Auditorium is part of Masonic arts complex and in the interior of the building has an eery Moorish feel to it, so the music was appropriate, if not haunting at times.
If you haven’t gotten your tickets yet for this “Genesis Extended” Tour, do so before the ship sails (as in The Cruise To The Edge) and then the band is off for a European tour. More information here: http://www.hackettsongs.com/tour.html
Thank you, as always to the Band (Steve Hackett, Roger King, Gary O’Toole, Rob Townsend, Nad Sylvan and Nick Beggs) as well as their fabulous crew, tour manager and Jo Hackett.
All Photos are copyright 2014 by wajobu, please do not use without permission and credit–thank you.
There’s so much great music out there, I just can’t get to it all (let alone afford to add it to my collection!). And so, another installment of a brief overview of the best of what’s playing here. Since the temperature has moderated with the season, I’ve been able to fire-up the tube amplifiers again.
Pausal – Sky Margin (Own Records) http://ownrecords.bandcamp.com/
Simon Bainton and Alex Smalley return after their most recent album Forms. Sky Margin is a series of mystical “flights”, with some tracks grouped (Vapour-Distance-Trails, Celestial, Balance-Topography, Solstice-Utopian). Whereas Smalley’s work as Olan Mill tends more towards the melodically and harmonically directional, Pausal’s compositions are of the “out there.” The music flows as from drifting gossamers with ethereal layers of instruments and field recordings.
Federico Durand – El idioma de las luciérnagas (Desire Path Recordings) http://www.desirepathrecordings.com/releases/federico-durand-el-idioma-de-las-luciernagas/
I live in an area where the sound of the night is anything but silent, but it’s not the sound of a city or machines, it’s the sounds of fauna (small mammals, birds and insects). So, I have to admit that when I first cued Durand’s new album I had to look and see if I had left a window open.
I have missed-out on some of Federico’s recent albums (like El éxtasis de las flores pequeñas and Saudades by Durand and Tomoyoshi Date AKA Melodia), but I really enjoyed his collaboration with Nicholas Szczepanik (as Every Hidden Color), Luz on the Streamline Label. El idioma is a blend of the outdoors, pastoral chimes, sensually treated piano, gentle guitars and many other instruments—a subtle and restful tapestry of sound. Tracks like El espejo de mil años are in good company with Harold Budd and Brian Eno—peaceful, on the edge of a dream. There is also a familiar melody (to my ears) in the title track.
Julianna Barwick – Nepenthe (Dead Oceans)
After Barwick’s last album, The Magic Place on Asthmatic Kitty, I was curious to see if she could take her music to other places—without seeming like a repetitive formula of her last album…and on Nepenthe she has. This time her inspiration is taken from a new sense of place, the stark and raw beauty of Iceland, in conjunction with producer Alex Somers (Sigur Ros and Jónsi associated). The album has a sense of searching and loneliness, and Barwick’s voices are combined with rhythms and melodies, more so compared to her last album.
Juliette Commagere – Human (Aeronaut Records)
Late in 2010 Commagere released her album The Procession on Manimal Records—a diverse combination of songs with dense and gorgeous vocals instrumentation—part art-rock, progressive and electronica. Commagere has returned with another beautifully recorded album of lush songs with her strong vocals and support from husband Joachim Cooder, Ben Messelbeck, Amir Yaghmai, Ry Cooder and recorded by Mark Rains and Martin Pradler. The sound is deep, full, inventive and often fantastical—she is doing her own thing, and I love it (catchy melodies and all). There are times when she channels Elizabeth Fraser as on Low.
Meridian Brothers – Desesperanza (Soundway) and Devoción (Staubgold)
I have NPR’s program Alt Latino for getting me to the delightfully quirky Meridian Brothers. I characterize their work as part Equivel, part Joe Meek and part Raymond Scott. Just go along for the ride, it’s like nothing you’ve ever heard. Devoción is a collection of earlier recordings and Desesperanza is their latest album.
Laith Al-Saadi – Real (Weber Works)
I first saw Laith and his trio perform live at an audio festival in northern Michigan a few years ago, and then saw him again a couple of years later. He is an artist who puts his heart and soul into his music, mostly Blues (as does the rest of his band). For this extended EP (six tracks with two alternate takes) producer Jeffrey Weber assembled Al-Saadi’s dream-band (Jim Keltner, Lee Sklar, Larry Goldings, Jimmy Vivino, Tom Scott, Lee Thronburg, Nick Lane, Brandon Fields and others) and recorded this album of original compositions (except for Robbie Robertson’s Ophelia) live to two track with no overdubs, treatments, mixing, editing, limiting, or compression. Have a listen to the samples—great music, solid.
Hush Hush Records # HH011 CD: About 38 minutes
Tracks: 1) Following, 2) Secret Angle, 3) Animal Totem, 4) Night Valley, 5) Looking Out, 6) Red Touch, 7) Inner Portal, 8) Kicking In, 9) Melt Down, 10) I’ve Got A Feeling, 11) Night Rising, 12) Myself Inside
I’m thrilled that Cock & Swan have a new album. With each release it’s apparent that their confidence is growing, and even better, they’re still experimenting. From their earliest albums like Drawing From Memory (2007) and Unrecognize (2010) their sound ranged from rough synthesized foundations, tape and microphone experiments to nearly extreme lo-fi acoustic recordings. The 2012 album Stash (I reviewed early last year) had moved their sound from more electronic towards “…a record focused on acoustic instrumentation…” For their forthcoming album (to be released on September 10th) Secret Angles they are combining the acoustic instrumentation with more of their electronic roots—the sound is fuller, rhythmically engaging and more up-beat. Secret Angles moves between many different genres: progressive, electronica, acoustic and electric folk, house, dance and many others—it doesn’t dwell in one realm for long, but the album is not at all disjointed—it’s quite cohesive.
The acoustic and analog roots of Cock & Swan are still strong, and they appear as Following begins with the sound of tape mechanisms and immediately a seductive pulse, electric guitar riffs and Ola’s soft voice initiate their hypnotic spell. By contrast the title track shifts to a darker, looped and gritty electronic foundation (and we are awakened briefly from our pastoral spell). Animal Totem is quite reminiscent of the latter day Everything But The Girl’s track Before Today from their album Walking Wounded, when ETBG’s music shifted from coffee house to a darkened house vibe, but C&S’s Animal Totem is earthier and more acoustic with broad clarinet washes added by Hungerford.
With Night Valley, the album shifts to an even glitchier more experimental sphere where Ola’s voice and some of the instrumentation are bent and shifted and the sound enters a mysterious territory. Looking Out continues with electronic, vocal loops, an almost Mellotron Brass sound and what I call “heavy drums.” As I noted with their album Stash—tracks like these are reminiscent of King Crimson’s earlier work as on In The Wake of Poseidon. The album also contains some short instrumental and vocal links (Red Touch and I’ve Got A Feeling) which are samples disguised elsewhere in other tracks.
Tracks often start with samples and a vibe that are then absorbed into the mix of a song; Inner Portal illustrates this with Ola’s vocal and breath loops coupled with what almost sounds like a ship’s steam-powered horn and it’s woven together with a heavy dub beat and coarse under-pinnings. The chorus adds an acoustic guitar (a contrast of the heavy with the delicate). This is a great track and one of my favorites on the album, along with the first three. By comparison Kicking In is quite stark in its percussion and rhythm section before gathering momentum into the vocals. Melt Down is the most electronically layered of the songs, and Ola’s vocals calm the mood and fill the spaces.
Only once did I feel like I had a sense of some monotony drifting in during the track, Night Rising—after a while it didn’t really take me anywhere…a bit like some of Edgar Froese’s (Tangerine Dream) solo work of the late 1970s. It’s a vocal and rhythm-section drone. The album closes with Myself Inside, which harkens back to Cock & Swan’s stark early work—an acoustic guitar (in the character of a child’s toy piano), a simple rhythm and Ola’s vocals layered with deep breathing.
Since I’m working with a promo recording, I don’t have access to the lyrics or the personnel list for the album, so I’m not sure if there are other musicians on the album besides Johnny Goss and Ola Hungerford. It’s also worth noting that Johnny Goss provides engineering and recording support for other Seattle-based musicians, including one band that recently caught my attention, La Luz (absolutely infectious 60s surf-pop) fronted by Shana Cleveland.
After Secret Angles, I’ll be very interested in hearing where Cock & Swan takes us next. Don’t miss this album, and seek out a copy of their last, Stash too.
Cock & Swan – Ola Hungerford and Johnny Goss – Photo by Angel Ceballos
This is a solicited review
CD: Emarcy B0018605-02 Time: About 62 minutes www.johnscofield.com
Band: John Scofield: Guitar, Avi Bortnick: Guitar and Samples, Andy Hess: Bass, Adam Deitch: Drums, Louis Cato: Drums, Special Guest: John Medeski: Organ, Wurlitzer and Mellotron
Tracks: Camelus, Boogie Stupid, Endless Summer, Dub Dub, Cracked Ice, Al Green Song, Snake Dance, Scotown, Torero, Curtis Knew, Just Don’t Want To Be Lonely
Between his solo and collaborative work, John Scofield has appeared on more than a hundred albums since the 1970s (including his early work with Miles Davis). His first Überjam album was released in 2002. As with the first album, Scofield moves all around and in between music genres, Jazz, Rock, Blues and Funk. Many of the tracks on Überjam Deux start with a sound or rhythm sample and the quartet (switching between drummers Adam Deitch and Louis Cato) build a groove and just chill there or get their funk-on. My two favorite tracks are Boogie Stupid (which reminds me of Roy Buchanan’s work) and one of the five tracks with John Medeski Curtis Knew, where Medeski brilliantly has his way with a Mellotron—just delicious. In recent years I’ve greatly enjoyed Scofield’s collaborative work with Medeski, Martin & Wood. Überjam Deux is a joyful album and I can’t help but think that John Scofield was sending positive vibes to his son Evan during the recording of this album earlier this year (Evan died far, far too young in July, from a rare form of cancer). A bitter-sweet album, yet excellent for a road trip or listening at home.
Rest in Peace, Evan.
More on the album in this video
RareNoiseRecords CD RNR033 Time: 45:53 (LP version coming soon)
Tracks: 1) The Vindicator Returns, 2) Scribble, 3) Empty Words (featuring Coppé), 4) Top Of The World, 5) Orange Grey Shades, 6) A Piedi Verso Il Sole, 7) Plates, 8) Noodlin, 9) Labratorio, 10) Secret Mission, 11) Otaku Goes To A Rave, 12) Viv, 13) To Be Continued
Band: Jacob Koller: Piano/Fender Rhodes/Keyboards, Brian Allen: Trombone/fx, Hernan Hecht: Drums
Wit and subtlety are often hard to find in much of what passes for music today. Then there’s music that takes itself so seriously that it might collapse under the weight of its own ponderous self-importance. Music isn’t always about the sound, it’s sometimes about the spaces and the silence—it doesn’t necessarily have to be a full-frontal assault on the senses.
A few years ago Brainkiller released their first album The Infiltration on RareNoiseRecords (#RNR010). Initially, this album caught my attention because it was a trio with a trombone, their music sounded playful and quirky, and it had some roots in other artists whose work I admired (Frank Zappa, King Crimson, Brand X, Godley-Creme, Weather Report, Return To Forever). Here’s a sample track, Casketch from their first album:
Colourless Green Superheroes is a series vignettes (some atmospheric like Empty Words, and some funky) exploring melodic, rhythmic and at time ethereal motifs and the tracks don’t rest long on a given theme before shifting direction. In a way, this album is a soundtrack in search of a film. There is also a restful ease throughout the album (making it perfect for a languid summer day or when the night is young), but there are moments when cool breezes blow and there is a jaunty awakening, as in Scribble. The spirited Fender Rhodes opening phrases take me back to Brand X’s Disco Suicide*. There is, however, an unexpectedly laid-back funky response from trombone and percussion, a bit like The Tortoise and the Hare—as if the Tortoise retorts, “Chill, I’ll get there…”
The themes introduced in the anthemic opening track The Vindicator Returns are explored further in Top Of The World, at first on a solo piano before the full trio plays off the rhythms and melodies. As in their first album, there are moments of recorded studio banter or live voices, which add a sense of spontaneity—also evident in the veiled conversations during the furtive Orange Grey Shades (my favorite track on the album). One can make up their own story to accompany the music.
The Vindicator Returns
There are times when the album is more contemplative as in A Piedi Verso Il Sole, a reflective lament of sorts. Yet the album shifts (before the vibe gets too heavy) to more raucous themes in Plates. The mood lightens further with Noodlin—a spirited piano solo (think a leisurely evening at a night club…at first), before moving to lighthearted voices (steering the improvisation), muted trombone solos and ultimately a vigorous trio romp. The upbeat repartee continues with the march-like Labratorio and perhaps the most vigorous track on the album Secret Mission (like a chase scene from one of the Bourne films)—see the video below for an excerpt.
Earlier themes are again revisited in the closing tracks of the album Otaku Goes To a Rave (my other favorite track on the album) mixing in some Scribble[s] and polyrhythms from the drums and piano. There’s an interesting combination of 1970s-era electric piano work combined with energetic phrasings similar to what the band Zammuto (ex-The Books) is working on these days. The album closes with the peculiar and brief Viv—a prepared piano musing, followed by To Be Continued, a reflective and somewhat subdued “roll credits” piece.
This album functions well as both incidental music or for straight-on listening and as soon as it ends I wonder where the time has gone…and so, REPLAY!
Photo of Brainkiller Courtesy of RareNoiseRecords
* – For those curious about Disco Suicide by Brand X: http://www.youtube.com/watch?v=FdAPEEW-OUA
This is a solicited review.
Volume One – SoundSignals – #HCC001
Notes and Detailed Credits: http://hearcapecod.org/soundsignals/
CD 1 (Time: 39:08): Sound Signals: Act 1: On Land, Act II: On Water, Act III: A Year, Coda: Route Six
CD 2 (Time: 46:24): Signals Remixed: 1: Goldmund, 2: Marcus Fischer, 3: Loscil, 4: Taylor Deupree, 5: Neara Russell, 6: FourColor, 7: Steve Wilkes, 8: Simon Scott, 9: FourColor & SoundSignal
Volume Two – Upstream by Fordham Wilkes – #HCC002
Notes and Detailed Credits: http://hearcapecod.org/upstream/
CD (Time: 37:08): 1) Gates of Summer, 2: The Language of Birds, 3: GP Road Resonator, 4: Dive Down, 5: Upstream, 6: June, 7: Shifting Sand, 8: Fog, 9: The Message
Sound Archive: http://www.hearcapecod.org/ListView.php
Recordings mastered by Taylor Deupree at 12k Mastering
Since the middle of 2011, Berklee College of Music professor, percussionist and Blue Man Group alum, Steve Wilkes has been working on a project to capture the sounds of Cape Cod over a year and to map those sounds as an aural history of the region (the far eastern end of Massachusetts in the northeastern United States). The project was funded in part by the Newbury Comics Faculty Fellowship. The region has undergone many environmental and man-made changes, from rising sea levels and coastal erosion to residential development. It was Wilkes’ feeling that the region is measured and analyzed in many ways (like bird population counts, temperature and sea levels), but there was yet to be a base-line environmental sound analysis examining animal, environmental and cultural activity in the region.
At this point, the project consists of 3 CDs: 1, a collection of regional sounds; 2, the sounds remixed by a number of musicians who will be familiar to many, and 3, a song-cycle inspired by the region at various times throughout the year (which also incorporates many of the environmental sound recordings and the detailed credit links give an excellent overview of the variety on-location recordings). The album artwork evokes pleasant memories of worn edged blue-green beach-glass.
CD 1 is a sonic time capsule, and at first it reminded me of a number of sound effects and spoken word recordings of the 1940s and 50s, and for a brief moment, I thought I was hearing a snippet of the old records by Bert and I. It also had the immediate effect of taking me back in time to the days when I summered on “The Cape” as a child with my parents in the early 1960s. The documentation of the region also harkens back to some of the expansive sound archive work by Alan Lomax. This CD chronicles the sounds of land, water and activities that mark the course of a year from a First Night Noise Parade to the calming summertime beach surf. It closes with the reading of the poem Route Six by Stanley Kunitz (being the road that travels down the center of the “flexed arm” of Cape Cod, reaching out into the Atlantic Ocean).
Having lived in a beach-town region in nearby southern Connecticut, I am also reminded that a resort region like The Cape has two lives—the times when the summer-folk occupy and the off-season when only the locals remain. The off-season is the time when locals can take long walks on the shore beaches and see very few people. Life goes on in a different way after the tourists have left in the autumn.
Taylor Deupree’s Remix
Wind Chimes Field Recording That Inspired TD’s Remix
CD 2 is a sensitively created set of interpretive remixes by many well known artists in the current electro-acoustic, ambient and electronic music communities (see list above). The field recordings from CD 1 are delightfully co-mingled with the offerings from each of the artists (well documented at the web link also noted above). I was immediately struck by the opening notes of the first track by Goldmund (Keith Kenniff), the piano melody being very reminiscent of Anthony Phillips’ Death of a Knight from Henry: Portrait from Tudor Times (from the album The Geese and The Ghost), before drifting into a dream-state with seaside, night-time crickets and Morse Code pulses.
Field Recording for FourColor Remix
Most of the remixes are by artists who have done work strongly connected with outdoor environs and water (as in the Flaming Pines label Rivers Home series), like Marcus Fischer, Taylor Deupree and Simon Scott (to name a few). The character of this disc ranges from contemplative to glitchy (FourColor) to playfully rhythmic (as in Loscil’s remix). The remix by Steve Wilkes includes the first HearCapeCod recording made in Truro at Corn Hill Beach in the summer of 2002. The CD closes with a collaboration of FourColor and SoundSignal (Wilkes) and is the most melodic and rhythmic of the tracks of the album. This CD forms a strong connection to the foundation provided by Wilkes’ research and recordings. As much as I’m tempted to suggest that this CD be made available separately, after spending time with the entire set, it is actually a quite inseparable part of the whole.
CD 3 Upstream, is a song cycle by the duo Fordham Wilkes (Ginny Fordham: vocals, Steve Wilkes: drums with Crit Harmon: guitars and Keiichi Sugimoto: guitars) and is inspired by years of memories of time on Cape Cod and it is the most personal of the three discs. Fond recollections of places run deep for many and they have different effects on people. This is where the project transforms from being objective (CD 1) to the most reflective and personal (while avoiding sentimentality).
The album has a sense of welcoming and ease, enjoying summer breezes, wading in tidal pools, walking in sanctuaries or along beaches. There is no heavy foreboding or hand-wringing of what was or could be; the feeling is that of the now and hopefulness, and Ginny Fordham’s voice brings a relaxing calm to the album. Gates of Summer opens CD3 and is forms an instrumental and melodic transition from the last track of CD2. The Language of Birds plays rhythmically with a juxtaposition and syncopation of the instrumentation and avian field recordings.
GP Road Resonator
The Field Recording Forming Basis for GP Road Resonator
The ever-present drone of automobile traffic is also a reality of summers on The Cape (whether passing over the Sagamore or Bourne bridges before necking down to Route 6 or at the half-way point to Provincetown, in Eastham) and these sounds are merged with fleeting views to salt marshes in the pensive GP Road Resonator. As in CD 1, there are songs of Land as well as Water, as in Dive Down and Upstream (as much a metaphor for returning to and rebirth of the area as it is the traffic on Route 6 that one is “swimming” against!).
CD 3 is also a reflection of CD 1’s A Year, The Cape in song over the course of a single circumnavigation of our Earth around the Sun. As the album progresses through the summer and into the end of a year (June, Shifting Sand and Fog) it grows more contemplative with the advancing of the calendar, melding dreams with reality. Each Spring many look forward the approaching time outside and then seemingly in the blink of an eye, Summer is over. The album closes with The Message, an inspiration left in a voicemail, which ultimately is the beacon announcing the sense of place of The Cape that inspired the HearCapeCod project.
The release date (May 28, 2013) for this set is at the unofficial “gate of summer” season, just after Memorial Day weekend. These albums will be available at: Booksmith Musicsmith, Orleans, MA: https://www.facebook.com/BooksmithMusicsmith , Muir Music, Provincetown, MA: https://www.facebook.com/muirmusic5 , The Cape Cod Museum of Natural History: http://ccmnh.org/, CD Baby: SoundSignals On CD Baby, iTunes: http://www.apple.com/itunes/ and Amazon.com: http://www.amazon.com/
RareNoise Records CD RNR031 Time: 49:41 (vinyl soon and hi-res digital)
Tracks: 1) Macabre Dance, 2) Fetal Claustrophobia, 3) Blow, 4) Not Dead, 5) Clairvoyance, 6) First, 7) Dream Made Of Wind, 8) Wait Until Dark, 9) Latent Prints, 10) Dream Made Of Water
Band: Lorenzo Esposito Fornasari (Voice, Electronics, Organ, Guitar) and Lorenzo Feliciati (Electric and Upright Bass) with: Gianluca Petrella: Trombone & Effects (tracks 1,2,4,5,7,10), Fabrizio Puglisi: Piano & ARP Odyssey (6,8,9), Jamie Saft: Keyboards (1,2,9), Eivind Aarset: Guitars (3,4,7,9,10), Sandro Satta: Alto Sax (3,9), Cristiano Calcagnile: Drums & Effects (4,5), Pat Mastelotto: Drums & Effects (6,8,9), Simone Cavina: Drums (1,2)
Lorenzo Esposito Fornasari aka LEF and Lorenzo Feliciati form the core of Berserk!, along with some other familiar names in the RareNoiseRecords stable, including Feliciati’s fellow Naked Truth bandmate Pat Mastelotto.
We all need a venting catharsis now and then—some folks resort to primal scream therapy, but generally I’ll pick music to assist with exorcising my darkened bilious tendencies. The new self-titled album from Berserk! seems like an effective cure for those intractable days when the pile gets too deep and the unrelenting Myth of Sisyphus comes to mind. Despite the band and album moniker, there is a broad mix of dynamics in the album and it’s marked by many (nearly neck-snapping) contrasts in sound and rhythm.
Berserk! isn’t a broad spectrum motoric assault on the senses, but it deftly selects its points of release, building like a suspense thriller with the rage boiling over every so often. The album also teases and mocks (from the gently maniacal whistling in the opener Macabre Dance to the background telephone ringing in Fetal Claustrophobia…yes, I turned my head to see if my phone was ringing!). There’s also a brief moment of saxy playfulness (albeit dark) in the reflective interlude Blow before entering the backstreets and dark alleys of Not Dead (shades of the growling Tom Waits and Sparklehorse duet Dog Door from the 2001 album It’s A Wonderful Life) with raspy voices and clusters of percussion pushing against an unyielding darkness.
Feliciati’s bass work throughout the album is reminiscent of Percy Jones’s work with Brand X, particularly the earlier freer-form improvised and less commercial version of “The X”. The aggressive horns, meandering piano, fast-changing rhythms and moods (as in Fetal Claustrophobia) also remind me a great deal of one of my favorite King Crimson albums, Lizard (under-appreciated until Steven Wilson remastered it with Robert Fripp). The treatment of Gianluca Petrella’s horns throughout much of the album often sounds like the thundering Mellotron horns used in Lizard. The sharp inventive contrasts in instrumentation also remind me of Frank Zappa and early albums by Godley and Creme (as in the albums L and Freeze Frame). Yet, there’s little humor in Berserk!—the focus is strictly business.
The middle portion of the album is furtive and contemplative in spirit (like the tracks Clairvoyance and First) and eventually LEF’s vocals (sung here, not spoken) break through, channeling John Wetton. Note: Don’t forget to listen for R2D2. There’s a brief pause (the calm before the storm?) with ethereal atmospherics and horn work in Dream Made Of Wind before the closing section of the album begins with a tender solo piano largo and transition to a massed rhythmic vocal and ultimately a full band assault in Wait Until Dark leading into an alto sax ensemble of Latent Prints (the feeling of KC’s Lizard returns) and moves into a roaring full-clustered rip. The album closes with the ominously thunderous and raging vocal domination of Dream Made Of Water—there’s the Berserk!
Had a tough day in the trenches? Hold the rage at-bay (warn the neighbors, shut the doors and turn up the amp) and have a listen. I think you’ll feel better.
This is a solicited review.
Anthony Phillips: http://www.anthonyphillips.co.uk/
Ant’s friend and illustrator Peter Cross: http://petercrossart.com/
Ant’s (too occasional) collaborator Enrique Berro Garcia: http://quiqueberro.com/
Although he was 18 when he departed from the band Genesis in 1970, many still associate Ant Phillips almost exclusively with that band (despite his approximately 40 commercially released solo albums and collaborations since 1970 in addition to his vast output of library music compositions and commission work). I have been very fortunate over the years to acquire all of these albums, and each time I place one of Ant’s albums on my turntable or a CD player his music takes me to another place and time (the ups and downs of a life). Ant’s music has been a big part of my life and I owe a great deal of my own creative work to being inspired by his. I think Ant said it best on his second Private Parts and Pieces album Back To The Pavilion (released in 1980): “This album is dedicated to all those who still champion the “old fashioned” ideas of beauty, lyricism and grandeur in art against the tide of cynical intellectualism and dissonance.” Many of Ant’s earlier albums are now being completely remastered (from the source tapes) and reissued (often in double CD releases).
Ant and Quique from PP&PPIII – Antiques: Old Wives Tales
Also spinning these days are albums by:
Three Metre Day – Coasting Notes
I have a ceramic artist friend (Hayne Bayless at Sideways Studios) to thank for getting me to these folks (often the best music comes from referrals by friends). At times their music is somewhat mournful, but always reflective and passionate—this trio from Canada is Michelle Willis, Hugh Marsh and Don Rooke with guest appearances by bassist David Piltch and drums by Davide Direnzo. The album is up-close, largely acoustic in instrumentation and delightfully musical.
Rhian Sheehan – Stories From Elsewhere
At times the music is delicate and others it’s intense, but it’s always inventive and beautifully recorded. Rhian Sheehan is from New Zealand and has released 7 albums under his name as well as appeared on many compilations and soundtracks.
Iron and Wine – Ghost on Ghost
I sometimes find Samuel Beam’s work to be a bit too intense and serious, but his latest album is open, hopeful and at times playful. The first single Joy is beautiful.
Wire – Change Becomes Us
I kind of lost touch with Wire after their albums Pink Flag and Chairs Missing, but I rediscovered their more recent albums when I updated my original recordings with CD reissues. If this new album sounds a bit like it comes from the late 1970s and early 1980s post punk era it’s because many of the songs were written back then, and haven’t seen the light of day until now. The recordings and production are full, with great clarity and this album just makes me want to turn up the amplifiers.
You can listen to the entire album here: https://soundcloud.com/wirehq/sets/change-becomes-us
Montt Mardié – Skaizerkite
Record Label: http://hybr.is/
David Olof Peter Pagmar has taken many identities and until a few years ago he was Montt Mardié (his website is now defunct) and he has since moved on to new projects, but in early 2009 this was his album of excellent pop tunes and ballads—beautifully recorded and produced. The entire album can be streamed here:
Jonas Munk – Searching For Bill (Original Soundtrack)
Jonas Munk has released many great albums and collaborations as Manual and more recently as Billow Observatory, but this is his first soundtrack. The documentary Searching For Bill is Danish director Jonas Poher Rasmussen’s debut and it explores the meaning of life for those living on the edge of American society. It’s a sensitive and contemplative soundtrack.
Many of these albums are available directly from the artists’ websites or at online merchants like http://darla.com/
Happy Listening and Spring (finally)!
Concert: Zammuto with Valgeir Sigurðsson and Nadia Sirota at the Spaceland Ballroom, Hamden, CT March 29, 2013
Nick Zammuto – Guitar and Electronics, Nick Oddy – Guitar and Keyboard
Mikey Zammuto – Bass, Sean Dixon – Drums
Promoter and Venue
I missed the last Zammuto tour in 2012, so I was determined to go see them this time around—and it was a great coincidence that they ended up stopping so close by in Hamden, Connecticut at the new Spaceland Ballroom with promotion by Manic Productions from nearby New Haven. Valgeir Sigurðsson (producer and founder of Iceland’s Bedroom Community record label and Greenhouse Studios) and violist Nadia Sirota started the evening’s show with an introspective and sensitive performance of work from Nadia’s latest album Baroque and Valgeir’s album Architecture of Loss (in addition to some earlier VS work). I think that the performance would’ve been enhanced all the more with a better piano and subwoofer system, but their performance ranged from the contemplative (my son says “chill”) to visceral. I’m less familiar with Sigurðsson’s and Sirota’s individual works, but this performance was a great introduction. My only other hope for this new venue is that the lighting improves to allow one to see the musicians better during their performances (and perhaps some more tables and chairs).
I’ve followed Nick Zammuto’s work since his days with The Books, and have appreciated his mining for music and inspiration in unexpected places, whether from old or new family home movies to skillfully edited (often bizarre) instructional videos. The humor and wordplay also makes his work all the more attractive. The difference (to my ears) between The Books and Nick’s latest incarnation in the band Zammuto is that the music is even more rhythmically infectious and at times, downright joyful. I also appreciate that Zammuto has created in their first eponymous album music created by artists staying true to themselves and their work—always pushing the boundaries and seeking inspiration from the most unlikely of places…making the serious silly and the mundane musical…and to be doing it in beautiful Vermont is all the more enticing. Their work is also an example of what I see as a proper usage of auto-tune technology—not to correct a singer who can’t sing, but to enhance the statement of the art and sound.
Last night’s set was tight, energetic and enhanced by a multimedia show of short films synchronized to the music. Much of the songs were taken from the latest Zammuto album on the Temporary Residence (independent) label. We were also treated to some songs from The Books era, a Paul Simon cover and some unreleased tracks. This was the second performance by new guitar/keyboardist Nick Oddy and he has immediately absorbed the often intense and delightfully quirky parts that Gene Back (up until recently) contributed to the band—bravo!
Zammuto Set List: 1) Groan Man, Don’t Cry, 2) The Shape Of Things To Come, 3) Idiom Wind, 4) Too Late To Topologize, 5) Zebra Butt, 6) FU-C3PO, 7) Harlequin, 8) Fifty Ways To Leave Your Lover by Paul Simon, 9) Yay, 10) The Stick, 11) Tahitian Noni Juice – That Right Ain’t Shit – from The Books The Lemon of Pink, 12) Classy Penguin, 13) The Greatest Autoharp Solo of All Time – A remarkable bit of video/sound editing!, 14) Smells Like Content – from The Books – Lost And Safe and the non-encore 15) The Fig and the Finger
If you haven’t seen Zammuto live yet, go see them—it was a very memorable concert. The link to their current tour is noted above, and I’m told that Nick is working on material for a new album.
Please note that all photos are by wajobu.com unless the image is suffixed with “IAB”, in which case it’s by Isaac Burns. We retain all copyrights to the images, but if you choose to borrow or share an image, please at least credit one or both of us. Thank you.
Stick Men: https://www.facebook.com/stickmenofficial
Tony Levin: http://www.papabear.com/
Pat Mastelotto: http://patmastelotto.com/
Markus Reuter: http://www.markusreuter.com/
Stick Men dot Net will take you to: http://iapetus-store.com/album/deep
I’m not often prone to numerical connections, but it occurred to me last night on the long quiet drive home from the woods of northwestern Connecticut that here I was in year 13 of this century and it has been (almost to the day) 31 years since I had last seen Tony Levin on stage in Syracuse, New York with the 1982 incarnation of King Crimson (Fripp, Bruford, Belew and Levin) in support of their incredible return album Discipline. Although Tony Levin might disagree, to my eyes his energy and spirit hasn’t aged a day in those 31 years. Last night’s concert in Norfolk, Connecticut was an incredible display of musicianship, sound and an intimate connection between the musicians and the audience (especially in a small hall like Infinity with great acoustics, sound system and a beautifully restored historic building).
In one way or another this trio of Tony Levin, Pat Mastelotto and Markus Reuter all have a connection to King Crimson (and Robert Fripp) in various incarnations and ongoing KC ProjeKcts, but Stick Men while embracing KC’s influential work, have continued to develop their own voices in progressive rock including vital relationships with other bands, artists in addition each members respective solo work.
The Bows Come Out!
The set list last night was largely from their new album DEEP (all but two tracks) in addition to some real treats. Tony Levin made a special point to express appreciation to the audience for being so receptive to the new material, rather than insisting on hearing only the old (including many King Crimson favorites)–in effect progressive rock music…PROGRESSES. One thing that I wanted to see after listening intensively to DEEP is just how much of the melodies each instrument would take, and I was surprised to see that many sections that I thought were coming from Reuter’s Touch Guitar turned out to be melody exchanges between Reuter and Levin (the Chapman Stick being an extremely versatile instrument—not just for the bass line). Here are the tracks (along with some brief notes…not on every track, and nothing that I can write will do justice to the intensity and clarity of the sound last night–something to be experienced first-hand!):
1) Nude Ascending Staircase: As is the beginning of the album DEEP, this performance set the tone for the entire night, a seriously raucous (and fun) sound with deep visceral notes from Levin’s stick.
3) Crack In The Sky
4) Breathless (from Robert Fripp’s 1979 solo album Exposure): This Fripp album is incredible, and it’s still as vital as when I first placed the LP on my turntable in 1979. This was an absolutely shredding performance of this piece. Markus Reuter’s faithful interpretation of Fripp’s work (searing guitar) was just chilling. The trio seriously cooked on this.
6) Infinity Improv (free improvisation): Tony Levin noted that they record each of their performances (and I had noticed some stage and ambient microphones on stage before the show) in the hopes that some of the improvisations and recordings could lead to future releases.
7) Horatio: Thunderous!
8) Whale Watch: Tony Levin noted that despite his many years of having played the Chapman Stick, he was still learning more about what the instrument could do (and its often unpredictable results). He noted that some nights Whale Watch could turn out differently, depending on whether the instrument needed to be wrestled to the ground (I’m paraphrasing). It’s the story of being on a whale watch, from the start of an ocean journey to spotting, pursuit and arrival to see a whale up-close.
9) Industry (from the 1984 King Crimson album Three of a Perfect Pair): The growl and electronic percussion.
Pat is A-blur
10) Hide The Trees: The growing tension, exchange and release in this piece is deliciously enticing.
11) Open, Pt. 3 (from Stick Men’s 2012 improvisation-based album Open)
12) Larks’ Tongues in Aspic, Part 2 (from the 1973 King Crimson album Larks’ Tongue in Aspic): It was exciting to hear this piece live again, as it was in the concert in 1982 (and previous KC concerts that I had attended)—also, on the heals of the recent 40th anniversary release of the re-mastered album.
Tony Levin playfully taking a stage photo for the ongoing Crimson Chronicles
13) Encore: A Stick Men arrangement of Stravinsky’s Firebird: Let’s hope that this ends up on a future live album—a forceful and experimental rendition of Stravinsky’s 1910 work.
After the Encore
It was a real treat to observe the persona of each musician on-stage: Tony Levin’s classic broad stance and kinetically expressive movements (resulting in many blurry photos!), Markus Reuter’s calm scanning of the crowd as he switched from touch-fingering his guitar to using it in a more conventional guitar-stance, and Pat Mastelotto’s highly expressive performance on percussion and electronic devices—and just when I thought that he had no more tricks in the bag, out he’d pull even more paraphernalia, including a bow!
At one point during the night Tony Levin noted that King Crimson was still alive, not broken-up, yet (somewhat comically) Levin noted that Robert Fripp had recently attended a Stick Men show (and paid for his ticket, despite a guest pass) and in response to a question about when a King Crimson tour might occur again, Fripp responded “Pain.” I think Mr. Fripp has moved on, and is enjoying his semi-retirement and over-seeing of the re-mastering and re-releasing of their massive archive of concerts and other recordings.
If you’re within striking distance of a Stick Men show—please go see them! They’re appearing at the Iridium Jazz Club this Friday (March 29) and Saturday (March 30) nights in New York City. I’m sure they’ll be on the road again soon. Bravo and thank you to the Stick Men! Oh, and buy their new album DEEP–see also this great review of the album by my friend over at Horse Bits: http://horsebits-jrc.blogspot.com/2012/11/deep-by-stick-men.html
Note: Click on any photo to see an enlarged version. Please contact me if there are any factual errors in what I have written above. I have many other high resolution photos of the show, and if you chose to copy or repost any of the photos, please credit me “wajobu.com”. You can’t see them, but the photos ARE watermarked.
When is a musical work true invention? When is it referential? When is it derivative? Can a work influenced by previous work still be considered original or innovative? I suppose these are questions that could spark a (sometimes heated) discussion like: “What audio speakers sound the best? Is it the east coast or west coast sound?” Often, the proper answer is: “What ever speakers sound best to one’s own ears.”
Generally, I think that most art, design and music works are built on the foundations that came before them and there really is little actual invention, more on the side of innovation or variants of an original. Dig deeply enough and one even can see that Frank Lloyd Wright’s and other modern architectural works (many seemingly original) have been influenced by the works of others or by some reference to design in nature or distant history (like many of Wright’s LA houses of the 1920s being highly influenced by ancient Mayan temples).
I’m certainly not an expert on the extensive back catalogs of Roxy Music, Bryan Ferry, Porcupine Tree and Steven Wilson (including Wilson’s various side projects), but I have enough of their music in my collection to know that I generally like their respective work (some albums, in my opinion, being better than others—that’s the subjective part, like the what speakers sound better question). Bryan Ferry and Steven Wilson are from two different musical generations and have been influenced by different works and people, but there is some overlap.
Ferry has noted that much of his seminal listening, writing and songs were influenced by early and mid-20th century instrumental jazz (including Charlie Parker and Ornette Coleman): “I loved the way the great soloists would pick up a tune and shake it up – go somewhere completely different – and then return gracefully back to the melody, as if nothing had happened.” With these influences and those of The Beatles, The Rolling Stones, The Who, Pink Floyd, King Crimson and others, Ferry’s band Roxy Music (with a number of different musicians, including Brian Eno and later Eddie Jobson) would go on to create quite innovative and often influential art-glam-pop-progressive rock works in the 1970s and early 80s in addition to Ferry’s distinctive solo works.
Steven Wilson works within a cauldron of many genres (progressive rock, metal, ambient and jazz fusion), and it’s clear from his remixing/remastering work (such as the King Crimson back-catalog, most recently Larks’ Tongues in Aspic) that he has both a deep affection for those influences as well as a respect for the history behind them. Wilson’s latest album The Raven That Refused To Sing is steeped in a mind-bending brew of musical influences, yet stays safely on the side of creatively paying homage while avoiding pastiche or cliché. Throughout the album he tips his hat with musical phrases and instrumental sounds that have kept me looking back into my music collection for their roots (a most welcome research project).
Steven Wilson – Luminol
Steven Wilson – The Raven That Refused To Sing
Whether it’s a soaring guitar bend of Pink Floyd, a vocal introduction reminiscent of McDonald and Giles’ Tomorrow’s People, a Mellotron phrase from Genesis’ Watcher of the Skies, an electric guitar intro akin to the band Focus, acoustic guitar phrases of Ant Phillips’ The Geese and the Ghost or flute phrases of Jethro Tull, Wilson and his current band blend these deftly into the rather sullen tale of The Raven… I can also hear more recent parallels in the menacing track The Holy Drinker, to the works of (Miles Davis scholar) Bob Belden’s jazz-fusion Animation project (the recent post-9/11 track Provocatism from the album Transparent Heart). The musical and sonic success of this album is also thanks to the great live studio engineering care of Alan Parsons and gifted musicians Nick Beggs, Guthrie Govan, Adam Holzman, Marco Minnemann, Theo Travis and Jakko Jakszyk who have interpreted Wilson’s vision into a cohesive and often stunning recording. The dynamics and emotions are broad, from the aggressive percussion/bass opening to the somber balladic close of the title track. There are minimal overdubs on the album, except for using an original King Crimson MKII Mellotron (recorded at DGM).
The Bryan Ferry Orchestra – Do The Strand
In contrast, Bryan Ferry is reinterpreting his own past work with vocals removed, leaving the melodies and harmonies of the original songs, and they’re are filtered through a time machine that brings the listener back to Ferry’s earliest musical influences—the sound, orchestration and recording techniques of the roaring and often buoyant 1920s. Some fans of Roxy Music or Ferry’s original work don’t seem to appreciate the effort (especially the sound treatment, and the monaural recording), but being that I enjoy original pre-and jazz-age acoustic recordings, I think it’s a favorable re-examination of Ferry’s work while avoiding the temptation reissue yet another compilation for the sake of churning a back-catalog. In fact, the recording sounds almost identical to the hi-fidelity of that period, a Victor Orthophonic reproducer and Victrola.
The Bryan Ferry Orchestra – The Jazz Age – The Reinterpreted Tracks
Bryan Ferry – The Jazz Age – The Original Tracks
I like both of these albums very much, for different reasons, and while they are clearly influenced by works before them, they stand very well on their own. Are either as groundbreaking as King Crimson’s In The Court Of The Crimson King? No (again, my subjective opinion). On the positive side, after a somewhat cool start, Steven Wilson’s album has been growing on me (my favorite track, by far, is Drive Home), whereas I liked Ferry’s album almost instantly—I was hooked by Do The Strand. Are either of these albums what I would consider the best of 2013? It’s a bit early for that–let’s wait and see.
Steven Wilson – Drive Home
Thank you to all the artists and record labels for such wonderful and diverse music.
This is one list of many, it’s my list, and it leaves off many other favorites that I have enjoyed over the year in addition to the thousands of other albums and single tracks that make up music throughout the World. What has helped me arrive at this list is what I have always loved about music: Does it move me? In addition, is it creative, well recorded and produced with a degree of care that makes me pay attention to it? There was a time when I was obsessed with highly produced and tightly engineered works, then I learned about artists such as East River Pipe and Sparklehorse, and many other genres of music were opened to me.
If you don’t see your favorite album on this list (or even your own album), it doesn’t mean a thing. If an album has been reviewed on my website this year, it’s meaningful to many others and me, but this is only a very, very small slice of the music world. Often people ask me about new music, and what I recommend. When I started this website in late January, 2012 it was first a means to write about music that I enjoyed, but also to get to know other artists and learn about new music that they create, so I could pass it on. Often, the best new music is that referred by a friend. Please feel free to send me your comments and recommendations.
Special note: There are still three or four late 2012 releases that are either enroute to me, have yet to be released or have just arrived. I need to spend proper time listening to and absorbing these albums. Rather than delaying this list further, and if after listening to those last 2012 releases I feel that they hit a sweet spot, I’ll review those albums in early 2013. I know of at least two 2012 releases that I’ll likely not receive until 2013.
I have three categories: Albums (12), Individual Tracks (6), and Special Releases (3) that don’t necessarily fit into a category.
Albums (Artist – Album Title – Record Label)
1) Twigs & Yarn – The Language of Flowers – Flau
2) Lambchop – Mr. M – Merge Records
3) Zammuto – Zammuto – Temporary Residence
4) Steve Hackett – Genesis Revisited II – Inside Out Music
5) Taylor Deupree – Faint – 12k
6) Billow Observatory – Billow Observatory – Felte
7) Gareth Dickson – Quite A Way Away – 12k
8) Pill-Oh – Vanishing Mirror – Kitchen. Label
9) Brambles – Charcoal – Serein
10) Almost Charlie – Tomorrow’s Yesterday – Words On Music
11) Cody ChesnuTT – Landing On A Hundred – One Little Indian
12) Stick Men – Deep – Stick Men Records
Individual Tracks (from other albums)[vimeo http://vimeo.com/46499688]
1) Library Tapes – Sun peeking through (from the album Sun peeking through) – Self Released
2) Cock & Swan – Orange & Pink (from the album Stash) – Lost Tribe Sound
3) Alex Tiuniaev – Daylight (from the album Blurred) – Heat Death Records
4) Kyle Bobby Dunn – In Praise of Tears (from the album In Miserum Stercus) – Komino
5) Kane Ikin & David Wenngren – Chalk (from the album Strangers) – Keshhhhhh
6) Olan Mill – Bleu Polar (from the album Paths) – Fac-ture
1) Celer & Machinefabriek: Maastunnel/Mt. Mitake, Numa/Penarie, Hei/Sou – Self Released
2) Birds Of A Feather: Michael Frommer – The Great Northern Loon, Porya Hatami – The Black Woodpecker, Darren McClure – The Black Kite, The Green Kingdom – The Great Blue Heron – Flaming Pines
3) Simon Scott, Corey Fuller, Marcus Fischer, Tomoyoshi Date and Taylor Deupree (Recorded live in Japan October, 8, 2012) – Between (…The Branches) – 12k
Record Labels Noted Above
Merge Records: http://www.mergerecords.com/
Temporary Residence LTD: http://temporaryresidence.com/
Inside Out: http://www.insideoutmusic.com/
Kitchen. Label: http://www.kitchen-label.com/
Words On Music: http://www.words-on-music.com/
One Little Indian: http://indian.co.uk/shop/landing-on-a-hundred-1.html
Stick Men Records: http://stick-men.net
Library Tapes: http://librarytapes.com/
Lost Tribe Sound: http://www.cockandswan.com/ Note: I have not listed the weblink to the record label as Google has noted that the website MAY be compromised.
Heat Death Records: http://www.heatdeathrecords.co.uk/
Kesh (Simon Scott’s label): http://www.keshhhhhh.com/
Flaming Pines: http://flamingpines.com/
RealNoiseRecords RNR029 (CD & Digital) Time: 49:51
Record Label Websites: http://www.rarenoiserecords.com/
Tracks: 1) Dust; 2) Dancing With The Demons Of Reality; 3) Garden Ghosts; 4) Orange; 5) Right Of Nightly Passage; 6) Yang Ming Has Passed; 7) In A Dead End With Joe; 8) Neither I
Ouroboros, the eternal consuming and replenishing serpent can be seen in the singular (nothing outside of itself) or in a broader societal context. In this case, my interpretation is more of a collective urban consciousness. This is an album of motion, not of rest, an album of experiences, not of contemplation (at least until after the intense experience is over). It’s a fusion-brew of industrial, urban and cosmic sounds, and a potent follow-up to the 2011 album Shizaru (the lesser-known fourth primate of see, hear, speak, and DO no evil).
Graham Haynes has joined the Naked Truth quartet on electric cornet and trumpet (following Cuong Vu’s departure) along with original members, King Crimson alum drummer Pat Mastelotto, English keyboardist Roy Powell, and Italian Lorenzo Feliciati on electric bass and guitars.
Shizaru from 2011
First a warning: Prepare your audio system (and your ears) for a workout. Ouroboros will shake out the cobwebs. The opening track Dust is the warm-up, the testing of the systems. It’s a more keyboard dominant, brass punctuated bookend before entering the fuzzed sonic maelstrom. It has the atavistic fibers of many eras, and I’m old enough to have been around for the many incarnations of King Crimson, Weather Report and other Jazz-Fusion, Progressive Rock variants, and it’s all there–the solid musicianship and the sometimes angst-filled drive. There’s also a hint of Miroslav Vitous’s 1976 spacey funk inspired album, Magical Shepherd.
Track One: Dust
Next, place yourself in a traffic jam with an impetuous case of not-so-mild road rage (in the aggressive spirit of KC’s Neurotica, sans vocals), and that’s Dancing With The Demons Of Reality. The pauses are the waiting at traffic lights, restoring momentary sanity, but tension builds with pressurized chromatics, electronics and percussion before subsiding. Garden Ghosts is a respite; at first a progression of sonic fragments, a meandering prepared piano, percussion and fuzz-bass. The trumpet is the roaming spirit joined by a languid beat, murky electronics and guitar background; ultimately it ends as a brass-teasing percussive danse macabre.
At the start of Orange it’s disguised as an atmospheric piece, a quiet evening perhaps—serenade with cornet, but then diverts quickly with syncopated rhythms (bass, guitar and keyboards reminiscent of Kazumi Watanabe’s work), before returning to the more sedate themes. Right Of Nightly Passage is an instrumental recasting of the driving rhythmic “heat in the jungle” anagram. Clustered horns interlace with the cadence of the frenetic scene. The spirit of Miles Davis’s later more electronic work is channeled in Yang Ming Has Passed. It’s a menacing and deeply rhythmic piece (sounding like it could be dock-side in a shipping yard) with traded riffs between bass, percussion and trumpet meshed together by a high-cover of electronics.
The heavy backbeat continues in the darkly raucous In A Dead End With Joe. The trumpet soars and trills against the syncopated drums, electric guitar and keyboard phrases. Neither I is the other keyboard-textured closing bookend of the album. It displays some Far Eastern influences, and is more experimental and atmospheric with clustered brass, melodic percussion and roving piano before finding its beat. By contrast to the rest of the album, it closes with a gentle yet furtive purity.
Ouroboros is an adventurous and deliciously brash album that reveals glimpses of the eternal and sometimes daunting cycle of existence from different perspectives. Naked Truth is a sturdy, tight and vibrant quartet, and I’ll be very interested to see and hear where they take us next.
Naked Truth – courtesy of RareNoiseRecords
This is a solicited review.
InsideOut Music 0506240 (Ltd 2 CD & Book, also 2 CD & 4 LP)
Time: CD 1: 73:18 CD 2: 71:27 minutes
Record Label Website:
Photos of Musicians on the Album:
Tracks CD 1: 1) The Chamber of 32 Doors; 2) Horizons; 3) Supper’s Ready; 4) The Lamia; 5) Dancing With the Moonlit Knight; 6) Fly on a Windshield; 7) Broadway Melody of 1974; 8) The Musical Box; 9) Can-utility and the Coastliners; 10) Please Don’t Touch
Tracks CD 2: 1) Blood on the Rooftops; 2) The Return of the Giant Hogweed; 3) Entangled; 4) Eleventh Earl of Mar; 5) Ripples; 6) Unquiet Slumbers for the Sleepers…; 7) …In That Quiet Earth; 8) Afterglow; 9) A Tower Struck Down; 10) Camino Royale; 11) Shadow of the Hierophant
It has been 16 years and many life changes since the last Genesis Revisited album by Steve Hackett (subtitled Watcher of the Skies) in 1996. Although the span of time recounted musically is similar, 1971 through 1976; the breadth of the work on GRII is far more comprehensive. It’s also worth noting that in 1987 Steve was a special guest on an orchestral reinterpretation album of Genesis work, We Know What We Like: The Music of Genesis (led by arranger David Palmer conducting The London Symphony Orchestra), although in that case it includes works after Steve had left the band (from albums And Then There Were Three and Duke). On that album is perhaps the best example of how well the work of Genesis transfers to an orchestral format: Can-utility and the Coastliners. As much as I love the instrumental section with waves of Mellotron on the original recording, the full orchestra adds great depth and power to that track.
I’ve read (and I’m paraphrasing) that Steve didn’t want to literally re-record these works (as some Genesis tribute bands so painstakingly perform), rather enhance them with the lens of time, since many were recorded somewhat hastily between concert tours in the 1970s. Another added benefit is that some recording technologies have improved, and this is quite clear in the warmth and clarity of GRII. Frankly, I rather liked many of the reinterpretations on the last GR album, and there was the added track Déjà vu originally penned by Peter Gabriel and SH, then set-aside, to be revived and beautifully completed with Paul Carrack’s vocals.
As much as I wanted the limited 4 LP vinyl set, I opted for the 2 CD version along with the extensively illustrated and annotated small format hardbound book—a quite worthy trade-off (designed by Harry Pearce of Pentagram Design). It’s clear that this album was an enormous undertaking (with a special mention for the co-production, recording and mixing by collaborator and keyboardist, Roger King), with some 30 guest musicians and vocalists (including brother John Hackett, SH Band alum Nick Magnus, and the members of the most recent touring and recording SH Band: Roger King, Gary O’Toole, Nick Beggs, Amanda Lehmann and Rob Townsend). I have provided a link above to a page on the SH Website showing a complete list (with photos) of all who participated on GRII. A matrix of the album track performers in included in the credits.
Throughout the album there are a number of acoustic guitar introductions (like the opening to the potent The Chamber of 32 Doors), variations and electric guitar solo fills by Steve that are not on the original recordings; they reflect journeys and musical influences from his many years as an artist. Horizons and Supper’s Ready are preserved in their pairing from the original Side B of Foxtrot. The solo acoustic guitar of Horizons has long been a mainstay of Steve’s live shows since the early days of his solo career, and here it’s just as pure, unrushed and striking as a morning sunrise or evening sunset at one’s favorite place to be. The vocals and instruments on Supper’s Ready are powerful, clear and Steve’s guitar is “up” in the mix (as it is on much of the album). The treatment greatly invigorates the original, and made me want to take the time to listen to the entirety of the track repeatedly. The Apocalypse in 9/8 and the closing section of As sure as eggs is eggs (aching men’s feet) just sends chills up the spine as from those concert days long ago.
The purity of Nik Kershaw’s vocals on The Lamia is different from Peter Gabriel’s more raspy treatment of the song, and to my ear it’s a stunning performance (brighter than the original). Again, the instrumentals have a clarity superior to the original (although, I’ll never turn my back on the Charisma/ATCO recording of The Lamb Lies Down on Broadway—too many aural historic memories there). SH’s closing solo echoes the original while adding a smooth lyricism. I’d be interested in knowing how and why Kershaw was chosen for the track. After a brief acoustic guitar link of Greensleeves, Francis Dunnery’s (It Bites et al) vocals on Dancing With the Moonlit Knight are probably the closest to channeling Peter Gabriel and the Selling England by the Pound performance as on any of the album’s tracks. As has been the case during recent concerts, drummer Gary O’Toole performs the vocals on the Lamb’s two tracks Fly on a Windshield and Broadway Melody of 1974. Both are broad and authoritative performances. O’Toole’s voice is his own.
I have always wondered why Anthony Phillips isn’t credited as a songwriter on The Musical Box, since he and Mike Rutherford wrote and recorded the early demos in 1968, when the track was known as F Sharp, but anyway… TMB opens with an almost Raymond Scott-like musical box fantasy, before entering into the realm of the long ago Nursery Cryme album. Sung by Nad Sylvan (who also provides vocals on Chamber and Eleventh Earl), this interpretation has an intimate sound, chamber-music-like, with clustered and freer vocals, before breaking into the raucous guitar-centric bridge and to the familiar closing that was performed in concerts during the mid to late 1970s.
As noted above, I think one of the most powerful and diverse Genesis tracks from the early days, which is frequently overshadowed by Watcher of the Skies or Supper’s Ready, is Can-utility and the Coastliners. Steven Wilson (solo and Porcupine Tree) provides the vocals. This version has the “soft bits and loud bits” and combines the oceanic strings (violins/violas) and bass pedals with the rawness of Foxtrot. Please Don’t Touch (from the 1978 album) closes CD 1 and was a track originally to have been linked with the instrumental Wot Gorilla on the 1976 album Wind and Wuthering. One of the reasons SH left Genesis (well documented) was he felt at that time his contributions to the band were being overlooked, so when he appeared officially as a solo artist, this track was the perfect, aptly named, composition to strike out on his own. It has had many incarnations, including sections of a 1986 track Hackett to Bits from the eponymous GTR album with Steve Howe et al. I remember concerts from the late 1970s and early 80s that would end with this track at ear-splitting volumes. This version is dark and authoritative.
CD 2 contains many tracks co-written with single Genesis members rather than the full band (exception is Hogweed and In That Quiet Earth), and one of my personal favorites is the timeless (and still topical) track penned with Phil Collins, Blood on the Rooftops. For years, SH played small sections of this track as a teaser during his acoustic “breaks” at concerts, and then in the early 2000s, the full track appeared in concerts and live recordings. This piece has a great deal of meaning to me—like entering a time machine to another place. Steve opens with a small fantasy on his nylon string guitar before the track begins, and I consider it a great gift to his fans that it has been recorded again (vocals by Gary O’Toole and woodwinds by Rob Townsend).
The Return of the Giant Hogweed is a different type of track in the Genesis oeuvre that starts with an attack (or rather, an infestation!). It also displays SH’s early fret-tapping technique. Although this video is not the recording from the album, it has a similar spirit and same vocalist, Neal Morse (taken from the 2010 High Voltage Festival by Transatlantic with SH as the guest guitarist).
Entangled was written by Hackett and Tony Banks—the dreams and nightmares of an altered mind. The vocals (fuller than on A Trick of the Tail) are by Jakko Jakszyk with backing vocals by Amanda Lehmann (guitarist and vocalist in the SH Band, and Jo Hackett’s sister). Eleventh Earl of Mar (Banks, Hackett, Rutherford) has a much deeper and clearer sound that I always found lacking in the original recording (and all of the reissues…for some reason the David Hentschel engineering that sounded so great in the Seconds Out live album, just sounded so flat and compressed). Nad Sylvan also adds layers to the spirit of the original Phil Collins vocal harmonies and channels the voice of Noel McCalla at times. Nick Beggs’ bass energetically drives the piece. Amanda Lehmann skillfully adapts the Collins’ vocals on Ripples, adding lyrical depth to the chorus (also a tribute to the engineering, recording and mixing of co-producer Roger King). The instrumental sections are faithful to the original. Lehmann returns again on the closing track Shadow of the Hierophant, which was co-written by SH and Mike Rutherford on Hackett’s first solo album from 1975, Voyage of the Acolyte.
Grouped together are (Hackett and Rutherford’s) Unquiet Slumbers for the Sleepers…, followed by the group-written …In That Quiet Earth, and Tony Banks’s deeply melancholic Afterglow, the closing tracks of the last official album that Hackett recorded with Genesis (excluding the 1977, 12 inch EP Spot The Pigeon). SH improvises more freely on his guitar in …Quiet Earth and the solos that close (including Rob Townsend’s soprano sax) are more rugged than the original. The strong and familiar voice of John Wetton anchors the close of the trio from W&W.
It’s exciting to hear a reinvented A Tower Struck Down (from 1975’s VotA) with a true orchestral opening (Dick Driver on double bass, Rachel Ford on cello, Christine Townsend on violin and viola and John Hackett on flute). The solid bones of the Tower from Acolyte are present, but in a completely different, even darker skin. Steve Hackett notes that he had dreams of Genesis playing the chorus of Camino Royale (written by SH & Nick Magnus). This track dates from the 1982 solo album Highly Strung, and was always a great concert piece, from when Nick collaborated with Steve in the late 1970s and 1980s—full of spirit and rhythmic precision, a great addition to this collection. This track also includes jazz influences from the Hungarian band Djabe (Steve has collaborated with Djabe on some of their recent albums and concerts). As does Voyage of the Acolyte, Genesis Revisited II closes with Shadow of the Hierophant. This version is more up-tempo and potent, and Rob Townsend’s flute peregrinates throughout the shadows. It closes as it has since it was first recorded with the hierophant traveling on the long journey of seeking and interpreting the sacred and the arcane.
The one thing some (purist) listeners might find missing in GRII is the grittiness of the original recordings, but the defects of these compositions from long ago have been deftly exorcized, and the sonic foundations treated with such care that Hackett not only preserves the legacy of his former band, but enhances it for future listeners. These recordings are not meant to replace the originals; they are akin to variations by composers of the past. In a way, Steve Hackett is the archivist of the musical spirit of Genesis from that time. Sit back and enjoy this brilliantly crafted set of recordings with all the 21st century enhancements. You will not be disappointed.
The Hackett Band will be on tour with many of these recordings in Europe, the UK and America in 2013. I can’t wait!
CD: RareNoiseRecords RNR027: 70:39
Album samples: http://www.rarenoiserecords.com/jukebox/mole/wtm/
Also available at: http://darla.com/
Mole Productions at Facebook: https://www.facebook.com/MoleProductions
Tracks: 1) PB; 2) Stones; 3) Trees And The Old New Ones; 4) Flour Tortilla Variation; 5) What’s The Meaning; 6) Greenland; 7) Grass; 8) Grubenid
Spirited, funky, and at times reflective is the vibe of the debut album What’s The Meaning from the Mexican, Argentinean and American contemporary jazz quartet known as MOLE. Originally started as a duo about eight years ago, Mark Aanderud (on piano and composer, from Mexico) and Hernan Hecht (on drums, from Argentina) sought out New York guitarist David Gilmore for his diverse recording credits and touring experience with Wayne Shorter, Steve Coleman’s Five Elements and others, as well as Jorge “Luri” Molina (on bass, also from Mexico).
Mark Aanderud and Hernan Hecht
So, the music? Think food…GOOD food…Mōl-eh! The album starts quietly and mysteriously with PB. The individual ingredients are being prepared for what will become a great meal. PB develops as the quartet gradually mixes together, an exchange of themes and solos. In Stones, the drums take a powerful lead and the solos gather around. With each track the intensity of the album grows, although there are some pauses along the way. The most delightful is Trees And The Old New Ones. It has some calming shades of Metheny and Mays’ 1981 album As Falls Wichita, So Falls Wichita Falls (September Fifteenth in particular). Bowed bass and cello (played by Dorota Barova) almost mournfully open the piece. The woven piano and guitar themes echo each other throughout along with skilful and gentle percussion.
Flour Tortilla Variation has a driving drum, piano and bass opening. Solos are traded and echoed between guitar and piano, including a closing guitar solo reminiscent of Al Di Meola’s expressive work. Brooding and syncopated is the feeling at the start of the title track, What’s The Meaning? Initially, a gentle piano and drum exploration between Aanderud and Hecht (think Bill Bruford’s Earthworks), which then weaves in Gilmore’s guitar to explore with piano interludes, and builds to a closing solo by Gilmore with chops reminiscent of Carlos Santana. Hecht and Molina lay down an upbeat foundation on Greenland for Aanderud and Gilmore to vamp and solo over—it’s a spirited romp.
Grass is a languid piano and bass pulse with a repeated piano and guitar theme and is one last pause before the last track; Grubenid gets its funk on. This is a great piece with plucky shades of Stanley Clarke. After the guitar and bass opening vamp it stomps and Aanderud and Gilmore carry the somewhat off-key main melody. Gilmore then leads the rhythm with a growling and energetic solo and Aanderud responds. Guitar and piano return to the original theme before the rhythm section fades.
Let’s hope MOLE does some touring to support this album—they’re cookin’!
This is a solicited review.
CD: RareNoiseRecords RNR025: 60:51
Also available at: http://darla.com/
Album samples: http://www.rarenoiserecords.com/jukebox/fiuczynski/pmj/
Tracks: 1) Micro Emperor; 2) Mystic MicroJam; 3) Meditacion; 4) Sun Song; 5) Horos Fuzivikos; 6) Drunken Longing; 7) Madoka Blue; 8) En Secreto; 9) Green Lament; 10) Apprehension; 11) Ragaku
Have you ever had a friend or acquaintance that you might see every five or ten (even fifteen) years, and then for some inexplicable reason they disappear into the ether? When you next see the friend the conversation picks-up where it left off, without skipping a beat? The intervening years are important and they might filter into the new conversation, but immediately the old connection is solid again.
The last time I saw David Fiuczynski he was with John Medeski and I am embarrassed to say that it was…eighteen years ago…it was a Lunar Crush back then. I have stayed in touch with Medeski and his compatriots, Martin and Wood, but I do not have any excuses for why I have not seen Fiuczynski in quite some time. So, after all these years, we reach again, this time on Planet MicroJam. This is where Brand X could have traveled after Moroccan Roll had they hit the teleport button to a laterally warped microtonal universe.
I will say it now: I think this is a great and colorful album. This is one of those times when the connection for me is instantaneous, even when it is challenging. The reason is the interest in exploring, pushing the edges of musicality, and at the point where it seems like it might break apart, there is a sonic magnet that pulls it all together, and that is the Fuze.
This time guitarist David Fiuczynski is microtonally jamming with Evgeny Lebedev on keyboards, David Radley on violin and Takeru Yamazaki on keyboards. Special guests also include Kenwood Dennard, Jovol Bell, Jack DeJohnette and Eric Kerr on drums with appearances by Trout (Fuze’s pup).
The album opens with Micro Emperor (based on a fragment of Beethoven’s 5th Piano Concerto) and it slides and twists immediately into stimulating fretless territory. Mystic MicroJam starts with a lazy vamping rhythm, strums on the piano soundboard with twisting guitar and keyboards syncopating. After a speedy refrain, meandering violin joins and all peregrinate and then return to edgy indolence and then solos play off each other.
Meditacion starts with playful chordal-quartertones by Fiuczynski and then drums, violin, guitar, bass and piano meander in a delightfully light-hearted banter. The piano at times harkens back to Corea’s work on Romantic Warrior. Sun Song is based on Sun Ra’s piece of the same name with polite melodic percussion and guitar on the edges and in between. As the piece continues, layers are added into a soothing fabric. Horos Fuzivikos is a spinning tarantella that does stop and then romp with a great spirit.
Drunken Longing is a traditional Chinese interlude. Madoka Blue’s guitars and keyboards cascade then guitar, bass and drums have a layered conversation with strategic interjections from a treated piano—a bit like a herd of wrens in the trees. En Secreto’s trio furtively creeps and is based on a quartertone string quartet by Julian Carrillo. Green Lament is a subdued guitar solo. Apprehension starts by taking it easy, then the rhythm quickens, sound expands and dissonance appears. Takeru Yamazaki solos on violin, trading themes with guitar and piano and the structure switches between chaotic and rhythmic. There are times when John Goodsall-like phrases appear. Ragaku is a Far Eastern postscript and there are percussive stops emphasized with growls and barks by Trout.
For some, this work will be an acquired taste (quarter and micro tones can take some getting used to…for dogs too), but if you are in for a tonal adventure, I say take the leap and turn it up.
So David, let’s stay in touch more often, OK? I know; it’s entirely my fault.
Photo of Fuze by Gaspard Duroselle
This is a solicited review.
Esoteric Antenna/Cherry Red Label: CD/LP/Stereo/5.1Mix EANTCD #21002 46:20
Label Website: http://cherryred.co.uk/
Chris Squire Website: http://www.chrissquire.com/
Steve Hackett Website: http://www.hackettsongs.com/
Squackett Website: http://www.squackett.com/
Tracks: 1) A Life Within A Day; 2) Tall Ships; 3) Divided Self; 4) Aliens; 5) Sea Of Smiles; 6) The Summer Backwards; 7) Stormchaser; 8) Can’t Stop the Rain; 9) Perfect Love Song
Collaborators include: Roger King (album producer, keyboards, programming, and 5.1 Surround Sound Mix), Jeremy Stacey (drums), Amanda Lehmann (backing vocals), Christine Townsend (violin and viola), Richard Stewart (cello) and Dick Driver (double bass). Songwriting credits are Hackett/Squire/King with Nick Clabburn on Divided Self, _?_ Healy on Aliens, Gerard Johnson/Simon Sessler on Can’t Stop the Rain and Johnson on Perfect Love Song
PLEASE NOTE: Apparently, the Record Label has long since removed the track samples from Soundcloud, but I have since relocated the Divided Self Youtube clip.
It took a while to get to these fair shores, and I resisted listening to the previews…
Progressive Rock is by now a fairly broad genre and I am quite happy that it has seen resurgence in popularity recently, with both younger and older listeners (thanks in part to artists like Steven Wilson and Porcupine Tree). At its worst, some Prog Rock tracks can carry on far too long and collapse under the weight of their own bombast, instrumentation or blatant commercialism, and at best can yield some really inventive music, pulling from a variety of influences and periods (rock, blues, folk, classical, instrumental, vocal…). This is not at all to say that longer pieces are all bad—far from it (my lasting fondness for the Genesis works Firth of Fifth or Cinema Show support this). Since my primary experience over the years has been with the works of Steve Hackett and Genesis, my point of reference is more Hackett than with Chris Squire and his band Yes.
This has been a busy and very productive time for Steve Hackett (SH), since the release of his album Out Of The Tunnel’s Mouth in 2010. Chris Squire (CS) appeared, somewhat mysteriously, on the tracks Fire on the Moon and Nomads, and again on the 2011 SH album Beyond the Shrouded Horizon on tracks Looking For Fantasy, Catwalk, Turn This Island Earth and bonus CD tracks Four Winds: North and Enter The Night. Some may recall my recent review of SH’s album Beyond the Shrouded Horizon:
The Squackett project had apparently been brewing for about four years while SH could settle personal matters and scheduling with CS. I more or less parted ways with the works of the band Yes at about the same time that Bill Bruford left for King Crimson; I remained laterally interested in their subsequent releases and followed Jon Anderson’s earlier solo career before his work got a bit too mystical for my taste (although I enjoyed much of Anderson’s collaborative work with Vangelis).
Chris Squire’s work comprises some twenty studio albums, ten live albums and numerous compilations with Yes in addition to his three solo albums and many collaborative works with Rick Wakeman and others. The Yes Album is perhaps my strongest connection to CS’s work. The song I’ve Seen All Good People, and in particular part b: All Good People (penned by Squire) and then later the driving bass line in the song Roundabout from the 1971 album Fragile.
As for Steve Hackett, in his long career, he has constantly reinvented and explored many music genres, styles and formats (having practically invented the “unplugged” album with the acoustic/instrumental Bay Of Kings in 1983). SH has also explored shorter format songwriting, having penned beautiful ballads like the early Hoping Love Will Last (from Please Don’t Touch) to the sardonic Little America (from Guitar Noir).
A Life Within A Day may be too song-oriented for diehard Prog Rock fans that desire longer instrumental works. With one exception, eight of the nine songs vary from four to six minutes in length. Squire, Hackett and Roger King (long-time SH collaborator) have produced an album of concise, well-crafted and accessible songs. For the most part, the album takes few breaks and stays sharp with minimal forays into a more (and often dreaded, in Prog Rock circles) “commercial” sound. I appreciate that the songs are for the most part NOT overly polished; there are some rough edges, quick key and rhythm changes (Jazz and Blues fills). There are enough familiar Prog Rock elements present for this album to strike a successful balance between the shorter format and instrumentation.
A Life Within A Day: Although not as stark in instrumentation or spoken-word, the opener has an air of the SH song Darktown about it; majestic opening, sudden rhythm shifts, aggressive percussion, sharp guitar, bass solos and SH’s clustered vocals with Roger King’s sinister (and familiar) orchestral production. This is the most aggressive track on the album.
Tall Ships: A nylon string guitar opening followed by vamping guitar, bass and percussion riffs (constructed similarly to works penned by Mike Rutherford, but with sounds of Robert Fripp and Bill Nelson-like guitars) sail with this ocean-going journey. CS’s vocals coupled with a rather catchy rhythm, guitar reminiscent of Steve Winwood’s album Arc of a Diver followed by a broad vocal chorus—funky too.
Divided Self: Instantly, The Byrds Turn, Turn, Turn comes to mind—homage to the 1960s? SH sings lead vocals with an infectious rhythm, catchy and quick guitar solo chorus and melodic bass line. Following the main part of the song there is a hauntingly playful ending like that of SH’s Circus of Becoming (with whistling). Some might also notice a similarity to the Genesis song Tell Me Why. This is a great song!
Not An Official Video
Aliens: CS is the primary vocalist and there are times that this easily could be heard as a Yes track (the vocal chorus is akin to Jon Anderson’s sound); the lyrics being of future travels and science fiction. The keyboard opening is a bit timid. This also has a sound that is similar to the opening SH’s Loch Lomond (acoustic guitars sounding a bit like zithers). It remains relatively tame. Layered vocals and guitar solo fills.
Sea Of Smiles: Clustered vocal opening, melodic percussion, keyboards, bass line, up-tempo rhythm that repeats. A guitar solo coda that eventually develops into a dense almost relentless rhythm similar to Group Therapy from SH’s 1982 album Highly Strung.
The Summer Backwards: Is the shortest track on the album and it has a comfortable and reflective quality. The opening is very similar to one of my favorite vocal pieces by SH, Serpentine Song, descriptive of the scene—almost a waltz (trading three and four beats)—no pencil-grey days here though.
Stormchaser: Guitar, bass and drums open with more sinister vocal treatments; reminiscent of Duel from Till We Have Faces. It is the sound of raucous pursuit.
Can’t Stop the Rain: CS is lead vocalist, and at first the processed vocals threw me (auto-tune I find to be a bit distracting), and then the pleasantly layered vocal chorus by Amanda Lehmann washed that feeling away and the contrast seems to fit. It has a rather relaxing, but steady beat with Jazzy acoustic guitar fills. It then shifts to a more somber mood as it blends into a reflective…
Perfect Love Song: This piece seems to me to be more of a building coda to Can’t Stop the Rain than a stand-alone song. The vocals are shared by SH & CS.
Long distance and long-term collaborations are often tricky (compromises made and sometimes continuity lost). At times, A Life Within A Day seems a bit safe for Hackett, Squire and King aka Squackett who have been known as musical innovators throughout their careers. Yet it is a spirited gateway to the rest of their collective works and a solid introduction, I think, to a wider audience. A great change of pace, and I enjoyed many of the songs on this album, almost immediately.