Tympanik Audio: CD TA079 Time: About 49 minutes
Music – Zinovia [Arvanitidi]: www.facebook.com/ZinoviaMusic
Label – Tympanik Audio: www.tympanikaudio.com/artists/zinovia
Artwork – Shift: http://www.futurorg.com/
Mastered by Alexander Dietz Mixed by John Valasis
Tracks: 1) The Blue Shade Of Dawn Covered Your Skin, 2) Communicating Vessels, 3) Chimera, 4) Entangled, 5) Emerge To Breathe, 6) Attached, Our Eyes Wide Open, 7) Sucking The Smoke From Your Lips, 8) Beneath A Stellar Sky, 9) A Time To Make Amends
I suspect that most of us live pretty ordinary lives, but every once in a while finding oneself on the cusp of an adventure seems rather tempting. A while back, author David Schickler wrote a book Kissing in Manhattan; it’s mysteriously haunting and strange—as if eavesdropping on people, places and their situations; the kinds of experiences that only happen to others. So, imagine arriving at home some night and seeing a note pinned to the door: “Meet me at ___ at 9 pm”, signed “___” (you fill in the blanks). Would you go?
I’ve mentioned it before: my strongest connection to music is when it takes me somewhere—whether an escape, a fantasy, to relax or to find a groove, and Zinovia’s The Gift of Affliction is a nearly perfect connection; even better, it’s beautifully recorded and produced. This album has the broad pulse of a city, its dark spaces and verve with occasional tender moments. It tells a story with many possible beginnings and endings.
First, I posit that the sounds in this album have a connection to the vast works of fellow Greek countryman Vangelis Papathanassiou (listen to his 1990 album The City, and passages in the dark soundtrack to the film Bladerunner)—if only for historical influences or connections, yet Zinovia’s album has a clear and freshly expressive voice of its own. I also wonder, given the recent political and economic times in Greece, if there are any political undertones or foreboding woven into the narrative.
Second, I am most familiar with Zinovia Arvanitidi’s recent collaboration (on Kitchen Label) with Hior Chronik as the duo Pill-Oh, their Kitchen Label release Vanishing Mirror was a favorite of mine in 2012. I love the reflective track Melodico. It’s a compassionate album, but The Gift of Affliction is quite different in every way, except in the strong musicianship and production.
Throughout the entire album there is a constant shift from the ethereal to the grounded, reality to fantasy, electronic to acoustic; and as quickly as we are in a sonically amorphous zone, the vibe moves from solitary to a full ensemble of electronica or jazz undertones—a genre-bending and cohesive swirl.
It could be late at night or in the early hours of a morning; from the first plaintive beats of The Blue Shade Of Dawn Covered Your Skin all the characters are furtively introduced into the narrative with an broad ambience, beats, melodica and piano (the latter two, perhaps being the voices of the main characters). Unexpected sounds enter and vanish in Communicating Vessels; there is movement of people, vehicles and information in this new place, yet despite all the motion there is a comforting presence of the familiar (the recurrent melodica and piano). One doesn’t want to be swept-away too quickly. But adventures are not without complications, but why not enjoy the ride?
The mythic shift begins in Chimera, a fantasy of sound and voices, expansive, getting absorbed into the experience and the implausible. Momentary introspection follows in Entangled—the deep and centered beats, one of the most absorbing (and longest) tracks on the album—I think my favorite too. The narrating melodica returns, in conversation with the piano, they weave into each other, in and out of the pulse. Emerge To Breathe is a shift from interiors to exteriors, traveling, sounds of rails and stations (like Kraftwerk’s Europe Endless, but more ominous).
Attached, Our Eyes Wide Open is the darkest and most vulnerable of scenes on the album, yet there is an alluring comfort in the melody of a solo piano (with string accompaniment). Key shifts are slowly introduced, along with an emotional realism and sense of doubt, yet still one is drawn further into the fantasy of…
…Sucking The Smoke From Your Lips and its out-of-focus depth of field with moving colored lights—a sonic tilt-shift in a smoky jazz club with the liberation of dream-like voices. The adventure nears its end with Beneath A Stellar Sky, out in the open, holding onto the escape. It’s a reluctant emergence and one last taste of the vibrations of the night. A Time To Make Amends is the return from fantasy, the pensive melancholy, with a reflective and intimate close, accentuated all the more with the sounds of the internal workings of Zinovia’s piano.
In case you’re wondering, I did take the note from my door and went on the adventure, and you should too.
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.