Feeds:
Posts
Comments

Archive for the ‘Progressive Rock’ Category

Advent – Cantus Firmus (2006)

Posted in Progressive Rock, Review, Symphonic, tagged , , , , , , , , , , , , , , on March 5, 2011| 3 Comments »

TRACKLISTING:

1. GK Contramundum (2:00)
2. Awaiting the Call. (5:10)
3. Parenting Parents (6:45)
4. Utter Once Her Name (5:30)
5. Remembering When (4:00)
6. Ramblin’ Sailor (18:14)
7. Your Healing Hand (8:18)
8. Firmus Finale (4:40)

Bonus tracks (previously unreleased 24-track recordings):
9. Rear View Mirror (3:34)
10. Alison Waits (A Ghost Story) (10:40)

LINEUP:
Alan Benjamin – guitars, basses, stick, mandolin, recorder
Henry Ptak – keyboards, lead vocals, backing vocals, percussion
Mark Ptak – keyboards, backing vocals, percussion
Drew Siciliano – drums

With:
Shunji Saegusa –  bass (6)
Ken Serio – drums (10)

My first contact with Advent’s music dates back from a couple of years ago, when I reviewed Dante’s Inferno, the first instalment of the monumental The Divine Comedy project released by Musea Records. The band’s contribution, a song called “Canto XXVI – The Evil Counselors”, impressed me as one of the most interesting tracks on that 4-CD set; therefore, I eagerly grasped at the opportunity to review their second album, Cantus Firmus – which, even if released exactly five years ago, is still recent enough not to qualify as a ‘vault’ review.

While quite a few North American bands have taken the classic English progressive rock sound of the Seventies as their blueprint, no one, when listening to this album for the first time,  would ever associate Advent with the bustling, overcrowded and down-to-earth East Coast of the US. Though hailing from New Jersey (home of a number of fine prog outfits, such as Shadow Circus, The Tea Club and 3rd Degree), here is a band that sounds more English than most contemporary English bands. Their love for the Old Country is evident right from cover artwork and logo (by artist and illustrator Michael Phipps), inspired by the stunning illuminated manuscripts of the Middle Ages.

Formed in 1989 by two highly accomplished multi-instrumentalists with a wide range of musical interests, Alan Benjamin and Henry Ptak (whose brother Mark joined the band some time later), Advent released their self-titled debut album in 1997, and then dropped off the radar for nine years. After the inevitable line-up changes (notably the addition of drummer Drew Siciliano), in 2006 Cantus Firmus finally appeared, to a very warm reception. The album’s title, meaning ‘fixed song’ in Latin, refers to a pre-existing melody that forms the base of a polyphonic composition – another nod to medieval and Renaissance musical tradition.

Like most acts, modern or otherwise, Advent have their own strong set of references, and are refreshingly honest about it. Though modern bands that openly pay homage to one or more of the prog greats of the Seventies are neither new nor surprising, Advent distinguish themselves from the myriad of Genesis or Yes-inspired outfits by having a rather unlikely pair of bands like Gentle Giant and Procol Harum as their main source of inspiration. Indeed, the band’s name brings to mind one of Gentle Giant’s most iconic songs, “The Advent of Panurge”. With such influences, it is not surprising that the music on Cantus Firmus is sophisticated, understated and devoid of hard edges – as well as admirably tight in compositional terms. Indeed, while not a concept, the album projects a sense of cohesiveness, with the first eight tracks acting much like the movements of a symphony. On the other hand, the two bonus tracks (both originally featured on the band’s debut album), though bringing the album’s running time close to a rather hefty 70 minutes, are not unwelcome additions, as they bear witness to Advent’s gradual but steady development of their own artistic personality.

Advent’s love for everything Gentle Giant immediately surfaces in the opening track, the short but sweet “GK Contramundum”, dedicated to English 20th-century author Gilbert Keith Chesterton, and sung entirely a cappella. The song flows directly into “Awaiting the Call”, a lovely instrumental number with hints of Genesis and Camel in Alan Benjamin’s stately, melodic guitar solo and the lush, elegant sweep of the Ptak brothers’ keyboards. “Parenting Parents” and its companion piece “Your Healing Hand”, both dealing with the topic of the relationship between parents and their children, share the same keenly sentimental quality (which thankfully never descends into mawkishness): while the latter is very sparse, almost hymn-like in tone with its whispered vocal harmonies, the former couples lilting, madrigal-like passages of touching sensitivity with instrumental surges led by Benjamin’s fluid, crystal-clear guitar.

“Utter Once Her Name”, a sparse, meditative number with a strong Gentle Giant vibe, and the hauntingly beautiful instrumental “Remembering When”, featuring some really inspired acoustic and electric guitar work, introduce the album’s centrepiece, the 18-minute “Ramblin’ Sailor”. Featuring the participation of Japanese band Kenso’s bassist, Shunji Saegusa, it is based on a traditional English folk song called “The Rambling Sailor”; the stunning complexity of its instrumental parts is relieved by the sprightly, cheerful nature of  the contrapuntal vocal parts, including a chorus of ‘carousing sailors’. The magnificent central section is occasionally reminiscent of the stately yet riveting pace of Genesis’ instrumental compositions, while the titular sailor’s farewell to the sea is conveyed by a slower, more sedate passage enhanced by the distinctive sound of the recorder. The core of the album is then brought to a close by the upbeat, fanfare-like “Firmus Finale”, in which hints of Gryphon’s quirky take on medieval music join the Genesis and Gentle Giant influences.

Though some might complain that Cantus Firmus is not a truly original proposition, and wave the dreaded ‘retro’ word around, the album – far from being a mere tribute-like effort – simply oozes class and dedication. In spite of the individual band members’ impressive chops, in this case technical skill is put at the service of the music, and not the other way round. Moreover, the emotional content is conveyed with grace and delicacy rather with the self-indulgent angst typical of may higher-profile bands. Gentler and more meditative than the output of bands in a similar vein such as Änglagård or Wobbler, Cantus Firmus will definitely appeal to fans of vintage prog of an eclectic bent – though some listeners might be turned off by its unabashed sentimentality and occasional church-like gravity. At the time of writing, Advent are working on their third album, which will hopefully be released within the year.

Links:
http://www.adventmusic.net

http://www.michaelphipps.net/

Read Full Post »

Il Tempio delle Clessidre – Il Tempio delle Clessidre (2010)

Posted in Progressive Rock, Review, Rock Progressivo Italiano (RPI), Symphonic, tagged , , , , , , , , , on February 28, 2011| 2 Comments »

TRACKLISTING:
1. Verso l’Alba (2:52)
2. Insolita Parte di Me  (7:20)
3. Boccadasse  (5:20)
4. Le Due Metà della Notte  (5:18)
5. La Stanza Nascosta  (5:10)
6. Danza Esoterica di Datura  (6.07)
7. Faldistorum  (6:06)
8. L’Attesa  (4:36)
9. Il Centro Sottile  (9:39)
10. Antidoto Mentale  (3:30)

LINEUP:
Stefano “Lupo” Galifi  – vocals
Elisa Montaldo – piano, keyboards, organ, concertina, vocals, sound effects
Fabio Gremo – bass
Giulio Canepa – guitars
Paolo Tixi – drums

With:
Max Manfredi – voice (7)
Antonio Fantinuoli – cello (5)

Known outside Italy as the hometown of Christopher Columbus, the bustling seaport of Genoa has had a long tradition as a hotbed of musical creativity – starting as far back as the late 18th century with legendary violinist Niccolò Paganini. Then, in the early 1960s came the ‘Genoese school of singer-songwriters’, whose foremost representative, Fabrizio De André, is known to prog fans for his collaboration with PFM. About ten years later, a number of influential progressive rock bands were formed,  such as Delirium and New Trolls – two outfits that are still producing great music in the early 21st century. In particular, Delirium’s comeback album of 2009, Il Nome del Vento (reviewed elsewhere on this blog) stood out among the plethora of prog releases for successfully marrying the glorious heritage of Italian prog with a thoroughly modern sound quality. The same accomplished nature is shared by this stunning debut by Delirium’s label mates (and fellow Genoese) Il Tempio delle Clessidre.

Named after the final section of the titular suite of Museo Rosenbach’s one-off Zarathustra – one of the most iconic albums of the Italian Seventies – Il Tempio delle Clessidre (“The Temple of Hourglasses”) have been around since the summer of 2006, when keyboardist Elisa Montaldo and bassist Gabriele Guidi Colombi met former Museo Rosenbach vocalist Stefano “Lupo” Galifi. The idea that brought the band together was to perform the whole of the Zarathustra album live on stage with Museo Rosenbach’s original singer, using vintage instruments, and subsequently start penning original compositions inspired by the spirit of the golden years of Italian prog. After some line-up changes, Il Tempio delle Clessidre’s self-titled debut album was released in September 2010 by Genoa-based label Black Widow Records.

For all its cult status, Italian prog can be seen as very much of an acquired taste – mainly on account of its operatic, occasionally overblown nature, especially as regards the vocal department. In this respect, Galifi’s warm, bluesy vocals (also heard on one track of Delirium’s 2009 album), which add an emotional yet somehow informal note to the lush textures of the band’s music, are definitely Il Tempio delle Clessidre’s not-so-secret weapon. The tightly organized compositions, never gratuitously meandering, strike the right balance between melody and complexity, without a second wasted in pointless noodling, and with enough changes of pace to make the most demanding prog fan happy. Although the singing is strongly emphasized,  there is also a lot of room for the instrumentalists to display their considerable chops. Indeed, the pristine sound quality allows each of the musicians’ performances to shine, and captures every nuance of Galifi’s seasoned vocal delivery, honed in years of fronting blues-rock bands; while the pronounced melodic bent tempers the intensity of the lyrics and the dense esoteric symbolism of the cover art and booklet.

Interestingly, with the sole exception of the almost 10-minute “Il Centro Sottile”, the tracks on the album are all relatively short, with an average running time of 5 minutes. The album itself, at about 55 minutes, is markedly shorter than the majority of current prog releases, some of which skirt the 80-minute mark. Those who appreciate the instrumental aspect of progressive rock rather than the vocal one will be glad to learn that Il Tempio delle Clessidre manages to balance both sides quite admirably. Opener “Verso l’Alba”, the only completely instrumental track on the album, sets the scene with the deep, Gothic sound of the organ and wind-like effects, developing into a keyboard- and guitar-driven piece reminiscent of a heavier Genesis. “Insolita Parte di Me”, at 7 minutes the second longest track, alternating quieter passages with more dramatic ones, dominated by Elisa Montaldo’s magnificent keyboards, is a perfect example of how the band manage to achieve the structural complexity typical of prog without sacrificing the unique Italian attention to melody. Montaldo, who is the main composer together with bassist Fabio Gremo, handles her array of instruments with impressive skill and flair. “Le Due Metà della Notte”, interpreted with warmth and feeling by Galifi, is a splendid keyboard showcase that combines melody and intensity; while in the sedate “La Stanza Nascosta” the piano and Galifi’s stunning vocals conjure a melancholy, meditative atmosphere. On the other hand, the mid-paced “Boccadasse” (dedicated to a picturesque mariner’s neighbourhood of Genoa) is a more conventionally structured song, with a very catchy chorus and a beautiful, melodic guitar solo.

However, it is the two central numbers that prove to be the most distinctive, in keeping with Black Widow’s keen interest in the mystical and the esoteric. “Danza Esoterica di Datura”, as the title implies, opens with a brisk, dance-like pace, and culminates with an extract from Shakespeare’s Macbeth, chanted by Montaldo in tense, dramatic fashion; some of the keyboard inserts are appropriately reminiscent of Goblin’s Dario Argento soundtracks, such as the renowned Profondo Rosso. The cryptically-titled “Faldistorum” sees the Hammond organ take the lead in parallel with the drums, introducing a male voice reciting a short text in an emphatic, melodic yet slightly ominous manner, reinforced by the closing strains of a church organ. The following “L’Attesa”, a rich, energetic keyboard-fest, is very much in the vein of classic Italian heavy progressive acts such as Il Balletto di Bronzo and Biglietto per l’Inferno; while in the solemnly melodic “Il Centro Sottile” all the instruments strive to create a lush texture that can bring to mind Genesis or Banco del Mutuo Soccorso in their heyday. After a somewhat lengthy pause, the album is wrapped up by the poppy, rather undistinguished “Antidoto Mentale”, which in my view is the only track that smacks a bit of filler.

Blending the warmth and melodic flair of the Mediterranean musical tradition with the driving energy of rock and the artistic ambition of prog, Il Tempio delle Clessidre’s debut deserves to be hailed as one of the standout releases of 2010, and one of the most promising albums to have come out of Italy in a long while. While taking their cue from the music produced in the Seventies – and, thankfully, not pretending to reinvent the wheel – the band manage to sound fresh and up-to-date, and not a mere exercise in nostalgia. A flawlessly performed, lovingly presented effort, Il Tempio delle Clessidre will surely bring a lot of listening pleasure to the many fans of Italian progressive rock.

Links:
http://www.myspace.com/iltempiodelleclessidre

http://www.museo.it

http://www.blackwidow.it

Read Full Post »

From the Vault: Egg – The Polite Force (1971)

Posted in Avant-garde, Canterbury Scene, Progressive Rock, Review, tagged , , , , , , , , , , , on February 24, 2011| 7 Comments »

TRACKLISTING:
1. A Visit to Newport Hospital (8:25)
2. Contrasong (4:21)
3. Boilk (9:23)
4. Long Piece No. 3 –  Part One (5:06)
5. Long Piece No. 3 –  Part Two (7:39)
6. Long Piece No. 3 –  Part Three (8:01)
7. Long Piece No. 3 –  Part Four (2:51)

LINEUP:
Mont Campbell – bass, vocals, organ, piano, French horn
Dave Stewart – organ, piano, tone generator
Clive Brooks – drums

With:
Henry Lowther – trumpet (2)
Mike Davis – trumpet (2)
Bob Downes – tenor sax (2)
Tony Roberts – tenor sax (2)

Released in 1971, Egg’s sophomore effort is one of those albums that, in a way, can be said to be representative of a whole movement, though they rarely get the appreciation they deserve. Though “Canterbury scene” may sound rather vague as a definition, being more about a place than an actual musical style, it is nonetheless undeniable that most of the bands and artists associated with this most peculiar subgenre do share a number of features that go beyond their somewhat ‘incestuous’ sharing of personnel. Many see the output of the  “Canterbury scene” as a subsection of jazz-rock with poppy leanings and occasional excursions into more avant-garde territory; however, to these ears at least, the best Canterbury outfits offer a complete progressive package of humour, sophistication, diverse influences, and remarkable musical chops. Quintessentially English,  with a timeless feel that often eludes the more stereotyped instances of symphonic prog, the Canterbury sound commands fierce devotion, though its quirky nature can also leave listeners somewhat cold.

To all intents and purposes, Egg was a continuation of Uriel, the psychedelic progressive quartet that also included guitarist Steve Hillage (later with Khan and Gong), whose only album was released in 1969 under the name of Arzachel.  After Hillage left, the three remaining members took a different, more experimental route, pushing the keyboards at the forefront, and dabbling in those genre-defining contaminations between rock and classical music – as witnessed by “Fugue in D Minor” and “Symphony No.2”, both featured on their 1970 self-titled debut album.

In spite of its cult status among true-blue Canterbury fans, The Polite Force is generally not rated as highly as the likes of Third or In the Land of Grey and Pink. Some reviewers have even hinted at comparisons with the much-reviled ELP – owing to the similar configuration of both bands – which, unfortunately, does not do the album any favours. Now, though I consider ELP one of the most influential bands in the history of progressive rock, and rate their first five studio albums quite highly, I do not find the connection between their sound and Egg’s as evident as some maintain. While The Polite Force is very much a showcase for Dave Stewart’s distinctive style, and therefore a real delight for keyboard fans, it would also be unfair to state that the band is dominated by him. In fact,  bassist/vocalist Monty Campbell and drummer Clive Brooks (who joined blues-rock trio The Groundhogs after Egg’s demise) do not just function as supporting cast for Stewart’s keyboard antics, but drive the band’s sound along with their impressive, though understated, skills. Campbell is also a vocalist very much in the classic Canterbury mould, with a polite (pun unintended), pleasant voice that is the perfect complement to the band’s quirky, complex sound.

Though seven tracks are listed on the back cover, the album actually comprises four compositions, one of which, “Long Piece No.3” is divided into four parts. “A Visit to Newport Hospital” is one of the most impressive openers to be found on a Canterbury album – introduced by an almost Sabbath-like riff, heavy and plodding, which suddenly loosens up into a cheery, sprightly organ section. The gently ironical lyrics, relating some of the band’s experiences in their Uriel days, are an unobtrusive yet essential accompaniment to Stewart’s elegantly assertive organ; Brooks’ drumming underpins everything with a discreet touch.  The song then comes full circle, ending with the same gritty organ riff as it began.  In the following “Contrasong” a full-blown horns quartet punctuates Stewart’s dynamic piano forays and Campbell’s urgent vocals, with a basic 5/8 9/8 pattern reminiscent of Gentle Giant’s counterpoint arrangements; Stewart switches to organ later during the song, propelling it forward in parallel with Brook’s drumming, and the horns coming in bursts.  Next comes the somewhat controversial “Boilk”, a full-fledged avant-garde piece almost 10 minutes long, very much in the vein of King Crimson’s “Moonchild”. The composition, which had already appeared on Egg’s debut (though in shorter form), opens with the sound of running water, and includes improvisations on a Bach theme, tolling bells and a host of other effects.

The album closes with the ‘epic’ instrumental “Long Piece No.3”, about 20 minutes long if taken as a whole – though its four parts are listed separately. As the liner notes point out, the ‘outer’ parts (One and Four) are rhythmically based, while the ‘inner’ ones are harmonically based. Interestingly, the whole composition comes across as somewhat fragmented, with frequent pauses breaking up the flow of the music. Part One opens with Stewart’s briskly repetitive organ, assisted by Campbell on piano and organ, and driven along by Brooks’ skilful drumming. Part Two immediately introduces Stewart’s fluid organ, with the drums going back to a supporting role (though essential), and a palpably more melodic texture – though its central section contains a sort of improvisational organ piece that might bring “Boilk” to mind. Campbell’s bass introduces the textbook-Canterbury Part Three, with its almost military drum pattern, unbridled organ flights (sometimes reminiscent of Soft Machine’s Mike Ratledge), and tone generator adding wailing, guitar-like effects. Part Four wraps up the album in a short but intense climax, driven along by frantic drumming and harsh, fuzzed organ.

As Edward Macan intimates in his book Rocking the Classics, The Polite Force can be seen as bridging the gap between keyboard-based symphonic prog and the jazzier, quirkier sound typical of the Canterbury scene. Definitely one of the finest moments of  Stewart’s career, its eclectic nature – featuring as it does avant-garde experimentation, more or less ‘conventional’ songs, classical touches and plenty of instrumental brilliance –is likely to appeal to a wide range of fans of progressive music. While not a full-blown masterpiece like Third or The Rotters’ Club, it is doubtlessly one of the most interesting productions coming from the variegated Canterbury universe – and as such highly recommended.

Read Full Post »

Mike Henderson – White Arrow Project (2010)

Posted in New Age, Progressive Rock, Review, tagged , , , , , , , , , , , , on February 17, 2011| 3 Comments »

TRACKLISTING:
1 Never Be The Same (3:18)
2. Rage (4:37)
3. Lasso (5:17)
4. Stone Wall (4:19)
5. Emergence (4:40)
6. Starting Over (4:44)
7. Can’t Wait Anymore (4:18)
8. Equinox (5:34)
9. Goddess (4:32)
10. Continuum (6:28)
11. Read My Mind (5:02)
12. Summertime (4:37)

LINEUP:
Mike Henderson –  acoustic and electric guitars, bass, synthesizers, hand and electronic percussion, mandolin, effects
Caroline Dourley – vocals
Jack Housen – vocals, bouzouki, guitar (11)
Chuck Oken, Jr – drums
Dion Sorrell – electric cello, bass (5)

The year 2010 saw the release of two albums by side projects of members of historic US prog outfit Djam Karet, along with the band’s live-in-the-studio album The Heavy Soul Sessions. While Chuck Oken, Jr and Gayle Ellett explore electronic progressive music with Ukab Maerd,  guitarist Mike Henderson is responsible for this largely acoustic, song-oriented White Arrow Project. According to the accompanying press release, the album took many years to complete, and, though all its participants live in the same Southern Californian town, this is the first time they have actually worked together on the same project. While this lends the album a warm, endearingly ‘homemade’ feel, light years removed from the contrived nature of so many mainstream productions, White Arrow Project sounds definitely more streamlined than most of Djam Karet’s output. Not that it should come as a surprise to long-time fans of the band, who are by now quite used to its members’ need for branching out and expanding their sonic horizons – as also witnessed by the two albums released in the past couple of years by Gayle Ellett’s acoustic side project Fernwood.

Though the album is solely credited to Henderson, who lends his distinctive guitar style to the compositions (as well as playing most of the other instruments), the musicians involved (including Chuck Oken, Jr. on drums) form a very tight unit, whose contribution is essential to the fabric of the sound. Employing both male and female vocals, White Arrow Project is a quintessentially melodic offering,  with quite a few catchy, almost poppy moments (such as closing track “Summertime”) and a distinct lack of hard edges. The album lacks any numbers longer than 6 minutes, most of them featuring vocals and keeping a steady, relaxed mid-pace. The press release mentions influences such as Kate Bush, Dead Can Dance and Brian Eno, and the moody, atmospheric nature of the  instrumental tracks may indeed bring the latter musician to mind. The similarity between some of the songs and Kate Bush’s output is also quite remarkable, particularly as regards the presence of the bouzouki’s distinctive metallic twang. On the other hand,  I have found the Dead Can Dance comparisons somewhat more tenuous – since neither of the vocalists (while perfectly adequate) reaches the stellar level of Lisa Gerrard and Brendan Perry, nor does the music possess the same deeply haunting quality.

Out of the 12 tracks featured on the album, most involve singing of some sort, which, in my view, often detracts from the musical aspect instead of enhancing it as it should. Caroline Dourley, with her well-trained, well-modulated voice, only sings on a handful of tracks, the majority being performed by Jack Housen – whose contribution on the bouzouki is an essential component of the album’s overall sound. However, I found his vocals rather disappointing, at times reminiscent of Gordon Haskell on King Crimson’s Lizard, though not as grating. The presence of a truly commanding male voice such as the aforementioned Brendan Perry would have lifted the level of the album from merely pleasant to actually memorable.

Not surprisingly, then, the true highlights of this album are provided by the three instrumentals, showing that the group of musicians are indeed a finely-tuned unit. The Eastern-flavoured “Emergence” (where the Dead Can Dance comparisons surface most strongly), “Equinox”, with its acoustic/electric interplay, and the hauntingly percussive “Continuum” meld gentle, folksy strains and New-Age-tinged electronics, creating soothing textures and intriguing soundscapes. As to the vocal tracks, I found those performed by Caroline Dourley more impressive than the ones featuring Jack Housen (with the exception of the muted, hypnotic “Stone Wall”). On “Lasso”, Dourley’s subdued vocals forms a backdrop for the instruments rather than the other way round; while the Celtic undertones of “Can’t Wait Anymore” may bring to mind Clannad’s more recent output.

A lovingly crafted album by a group of gifted musicians, White Arrow Project is likely to appeal to those who like folk- and ambient-tinged music with a nice balance between vocal and instrumental parts – as well as those who are looking for some respite from the demands of the weightier instances of prog. With a very manageable running time of 57 minutes, it is a very listener-friendly disc without being overtly commercial, performed with passion and skill. On the other hand, its pleasant but not quite memorable nature might cause it to be overlooked among the glut of progressive or quasi-progressive albums that are flooding the market.

Links:
http://www.djamkaret.com
http://www.myspace.com/djamkaret

Read Full Post »

From the Vault: Colosseum II – Strange New Flesh (1976/2005)

Posted in Classic Rock, Fusion, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , on February 6, 2011| 3 Comments »

TRACKLISTING (2005  edition):
Disc 1:
1. Dark Side Of The Moog (6:17)
2. Down To You (9:05)
3. Gemini And Leo (4:48)
4. Secret Places (3:59)
5. On Second Thoughts (7:30)
6. Winds (10:23)
7. Castles Version 1. (previously unreleased demo – 1975)(11:09)
8. Gary’s Lament (previously unreleased demo – 1975) (7:00)
9. Walking The Park (previously unreleased demo – 1975) (7:05)

Disc 2:
1. Night Creeper (previously unreleased demo – 1976) (3:46)
2. The Awakening (previously unreleased demo – 1976) (11:43)
3. Siren Song (previously unreleased demo – 1976) (6:55)
4. Castles Version 2. (previously unreleased demo – 1976) (5:00)
5. The Scorch (previously unreleased demo – 1976) (4:39)
6. Rivers (previously unreleased demo – 1976) (4:27)
7. Interplanetary Slut (previously unreleased demo – 1976) (5:32)
8. Dark Side Of The Moog (BBC session, In Concert – June 1976) (9:00)
9. Siren Song (BBC session, In Concert- June 1976) (12:13)
10. The Awakening (BBC session, In Concert – June 1976) (15:46)

LINEUP:
Don Airey – keyboards, synthesizers
Jon Hiseman – drums, tympani, gongs
Gary Moore – guitars, vocals
Neil Murray – bass
Mike Starrs – lead vocals

Although I had been thinking for a while of posting a review of this album for my ‘vault’ series, the sad events of today have made it almost mandatory for me to do so.  And what better way to celebrate the life and work of Irish guitar legend Gary Moore – who passed away last night at the still young age of 58 – than posting a review of an album that sees some of his finest contributions to the history of rock music?

In spite of the name, the only connection between Colosseum II and the original Colosseum is the presence of monster skinsman Jon Hiseman (so conveniently forgotten in those boring “best drummer” polls, where everybody seems to think that Portnoy and his ilk are God’s gift to drumming).  The new band also showcased the considerable talents of keyboard maestro Don Airey (who went on to replace Jon Lord in Deep Purple) and bassist Neil Murray, nowadays better known for his stints in Whitesnake and Black Sabbath. Murray tends to be given less credit than other four-stringers – in spite of having previously played with such Canterbury legends as Gilgamesh and  National Health, where he took the place left vacant by Richard Sinclair after Hatfield and the North’s demise. The musical proficiency of somebody who can keep up with both Jon Hiseman and Pip Pyle cannot be so easily disregarded, and Murray’s playing on Strange New Flesh is immaculate.

However, Colosseum II’s ace in the hole was the fiery fretboard prowess of then 24-year-old Gary Moore, formerly with Dublin-based band Skid Row. Moore’s stunning guitar work gave  Colosseum II a definitely harder edge  than the band’s former incarnation – straddling the line between Colosseum’s blues-based, sax-laden jazz-rock and Deep Purple-style hard rock. Unlike other jazz-rock bands, Colosseum II did not start out as a purely instrumental outfit. For Strange New Flesh, their debut album, Hiseman and Moore enlisted the talents of  vocalist Mike Starrs  (later with German-based band Lucifer’s Friend). For some, the sometimes overpowering presence of Starrs’s otherwise excellent vocals – a powerful tenor that, at times, oddly reminds me of a richer, more restrained version of James LaBrie – detracts from the overall brilliance of the album. Personally, though I quite like Starrs’s singing (Moore’s backing vocals being quite abrasive most of the time, though he developed quite a respectable voice in later years), I must also admit to having a slight preference for the instrumental tracks.  As Starrs (together with Murray) was subsequently fired by the band’s record label, Colosseum II’s next two albums were almost completely instrumental.

Most of the songs on the album were penned by Moore, with the exception of the Joni Mitchell cover “Down to You” – apparently an odd choice, yet rather successful, mainly thanks to Starrs’ passionate vocal performance and Moore’s beautifully melodic guitar. The album, however, opens in a completely different vein, with the blistering keyboard and guitar tour de force of the aptly-titled “Dark Side of the Moog”. “Gemini and Leo” is a funkier, jazzier track, with Starrs sounding a bit like Glenn Hughes in his Trapeze years. The following songs, “Secret Place” and On Second Thoughts” continue in much the same vein, all featuring superb interplay between the four virtuoso musicians, as well as soaring, powerful vocals. Hiseman and Murray’s propulsive rhythm section is masterful throughout, but Moore and Airey are the ones who really steal the show, Airey’s majestic keyboard sweeps duelling with Moore’s fluid yet searing lead. Original album closer “Winds” , a 10-minute-plus epic, summarizes all that is great about this record, at the same time jazzy and edgy, with plenty of tempo changes and that magnificent guitar sound.

The 2005 edition contains some real treats for fans of the band, including a number of live tracks (such as a killer version of “Dark Side of the Moog”) and quite a few unreleased demos of songs, part of which would end up on the band’s following albums, Electric Savage and War Dance – notably the original versions of blistering, intricate “Intergalactic Strut” (here bearing the amusing title of “Interplanetary Slut”),  the self-explanatory “The Scorch”  and romantic ballad “Castles”.

The highlight of those bonus tracks, though, is  the utterly beautiful Moore showcase “Gary’s Lament”, a wistful slow burner that  sounds particularly poignant in the light of today’s news. Gary was the anti-shredder, a down-to-earth guy who could really make his instrument speak and sing with an almost human voice. This review is dedicated to him, one of the many great musicians who left us way too soon. On any account, Strange New Flesh is a superb album, highly recommended to all lovers of great musicianship combined with heart and soul.

Read Full Post »

D.F.A. – 4th (2008)

Posted in Canterbury Scene, Fusion, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , on February 4, 2011| 4 Comments »

TRACKLISTING:
1. Baltasaurus (14:18)
2. Flying Trip (7:51)
3. Vietato Generalizzare (6:38)
4. Mosoq Runa (18:58)
5. The Mirror (10:16)
6. La Ballata de s’Isposa ‘e Mannorri (10:16)

LINEUP:
Alberto De Grandis – drums, percussion, vocals (5)
Alberto Bonomi – Hammond A-100 organ with Leslie 760, Fender Rhodes electric piano, Steinway acoustic piano, synthesizers, flute
Silvio Minella – electric guitars
Luca Baldassari – bass guitar

With:
Andhira (Elena Nulchis, Cristina Lanzi, Egidiana Carta) –  vocals (6)
Zoltan Szabo – cello (4, 6)
Maria Vicentini – violin, viola (4, 6)

Hailing from Shakespeare’s own ‘fair Verona’ (one of the most beautiful cities in Italy), where they formed in the mid-Nineties, D.F.A. (acronym of Duty Free Area) are living proof of the old Latin saying that a prophet has no honour in his own country. Hailed as one of the best progressive rock bands of the past decade, they took the NEARfest audience by storm in 2000, and offered a stunning repeat performance in 2009 – when I first saw them, and was floored right from the opening strains of  their set. However, as seems to happen all too frequently, they are barely known in their home country, where their extremely elegant yet punchy brand of Canterbury-tinged jazz-rock starkly contrasts with worship of all things Genesis that is still widespread in Italy. That historic first NEARfest performance was captured on the band’s 2001 live album, Work in Progress, which for over seven years remained the last testimony of the band’s activity.

D.F.A. are nothing but pure class. A quartet reproducing the configuration of bands such as Hatfield and the North and National Health – with both keyboards and guitar in a prominent role,  and the occasional contribution of other instruments – they are one of those rare outfits where each member’s contribution is essential to the band’s overall sound. Even if drummer Alberto De Grandis –  a drummer that, like Christian Vander or Daniel Denis, is much more than a simple timekeeper – gets most of the composing credits, all of the instruments get their chance to shine and create a tightly woven mesh of sound. Alberto Bonomi’s multilayered keyboards lay a lush tapestry for Silvio Minella’s brilliantly expressive guitar work; while Luca Baldassarri’s bass provides ever-reliable bottom end, adding fullness and texture to De Grandis’ propulsive drumming. D.F.A.’s music is effortlessly fluid, yet complex enough to please the most demanding jazz-rock fans – striking a perfect balance between technical skill and genuine emotion, breathless dynamics and captivating atmospheres.

Taking a leaf out of Soft Machine’s book, the album’s title is a simple numeral – not surprising, in the light of their affiliation with Leonardo Pavkovic’s far-sighted MoonJune label. Though it runs at almost 70 minutes, unlike the majority of albums running at over an hour it never outstays its welcome, and always manages to hold the listener’s attention. Most of the six tracks are instrumental, with one notable exception (on which more later). Interestingly, though D.F.A. do not sound as typically ‘Italian’ as those bands who opt for a more traditionally symphonic sound, they possess the inimitable flair for melody that seems to be ingrained in most Italian musicians. Their music is never harsh or needlessly convoluted, yet it also manages to eschew that somewhat overblown theatricality that can turn people off Italian progressive rock. It would be unfair to the band, however, to imply that they are mere Canterbury imitators. While D.F.A have a definitely international appeal (as proved by their choice of giving their composition titles both in Italian and in English), their Mediterranean inspiration – even if thankfully untainted by the overly sentimental excesses of Italian melodic pop – can be often keenly felt. This is one aspect that D.F.A. share with historic jazz-rock outfits such as Area, Il Baricentro and Napoli Centrale.

Chosen to accompany the opening images of the documentary film Romantic Warriors, “Baltasaurus” introduces the album in charmingly subdued mode, a feature shared by most of the tracks. Elegant guitar licks and flawless rhythm section lead the way for a splendid, mid-paced development, in which keyboards and guitar seamlessly interact, bolstered by De Grandis’ stunning drum work – never overwhelming, but very much a protagonist. Gently atmospheric sections alternate with more energetic ones, and the many tempo changes do not break up the smooth flow of the music. The following number, “Flying Trip”,  picks up the Canterbury references with a wistful mid-tempo spiced up by occasional jazzy, Latin-flavoured passages, and featuring some stunningly beautiful organ passages and delicate flute; while the barnstorming “Vietato Generalizzare” (It Is Forbidden to Generalize – the track with which D.F.A. opened their set at NEARfest 2009) barges in, propelled by a vertiginous synth riff and high-energy drumming. Very much guitar-driven, it allows Silvio Minella to display his considerable chops in an intense, expressive solo reminiscent of Gary Moore during his Colosseum II tenure. “The Mirror”, on the other hand, is a classic jazz-rock workout, with the instruments creating a keen, somewhat darker-hued sense of tension – though eased by snippets of muted singing at the beginning and in the middle of the track – and climaxing with an arresting, yet subtle drum ‘solo’.

That leaves the album’s epic, the almost 19-minute “Mosoq Runa” (Quechua for “new human being”), which, not surprisingly, displays a definitely more symphonic bent – thanks also to the presence of strings, as well as a recurring main theme. The amazing interplay between the instruments is nowhere more evident than here, and – in spite of its running time – the track never once feels overlong or overdone; as usual, both the guitar and the keyboards get their chance to shine, with Minella’s soloing at its most soulful. However, 4th’s most distinctive track is strategically placed at the close of the disc. Sung entirely in the ancient Sardinian language (the most archaic of Romance languages) by the heavenly voices of the folk trio Andhira, “La Ballata de s’Isposa ‘e Mannorri” (The Ballad of the Bride of Mannorri) is a tale of love, betrayal and vengeance that would be perfectly at home on a Pentangle album – in spite of the frequent comparisons between Andhira and Canterbury’s own trio of female vocalists, The Northettes. The three Sardinian vocalists, though, are less operatic and more emotional; the resonant contralto timbre of one of them lends even more depth to their performance. The minimalistic instrumental accompaniment does not divert the attention from the sheer beauty of the vocal interplay – though the bridge features a lovely, touching guitar solo that seems to echo the profound sadness of the story.

At the time of writing, D.F.A. are reported to be on indefinite hiatus, due to the all too familiar pressures of ‘real life’ (i.e. family and work) on any non-professional musician. It may even be that the band has reached the end of the road – which would obviously result in a great loss for the whole progressive rock scene. However, even if they indeed decide to call it a day, they will have left a lasting legacy in the history of progressive rock, both for the beauty and power of their music and their genuinely down-to-earth attitude – as captured in the aforementioned Romantic Warriors.. Needless to say, 4th is a must-listen for devotees of the Canterbury scene and classic jazz-rock, and very highly recommended to prog fans of every persuasion. This is one of the landmark albums of the first decade of the 21st century, and one of the very best productions to ever come out of the Italian progressive music scene.

Links:
http://www.myspace.com/dutyfreearea
http://www.moonjune.com/MJR021.htm
http://www.andhira.com

Read Full Post »

Univers Zéro – Heresie (1979/2010)

Posted in Avant-garde, Instrumental, Progressive, Progressive Rock, Review, tagged , , , , , , , , , , , on January 30, 2011| 1 Comment »

TRACKLISTING:
1. La Faulx  (25:03)
2. Jack the Ripper (13:20)
3. Vous Le Saurez En Temps Voulu (12:51)
4. Chaos Hermetique (bonus track) (11:52)

LINEUP:
Michel Berckmans – oboe, bassoon (1-3)
Daniel Denis – drums, percussion
Patrick Hanappier – violin, viola
Vincent Motouille – keyboards (4)
Guy Segers – bass, voice
Roger Trigaux – guitar, piano, organ, harmonium

Released when the original prog movement had, for the most part, already run out of steam, over the years Heresie has built a reputation as one of the gloomiest, most disturbing records ever produced in a progressive rock context. A descent into unadulterated darkness, Univers Zéro’s second album enjoys near-legendary status in the more forward-thinking circles of prog fans. As technically brilliant as any of the ‘big name’ bands of the early Seventies (and possibly even more so), the Belgian outfit approach the creation of highly challenging music from a distinctly different angle than the likes of Genesis or Yes – while a comparison with King Crimson might feel more appropriate.

Almost 32 years after Heresie’s release, Univers Zéro are the only founding band of the Rock in Opposition movement to be still active. With their latest release, Clivages, hailed as one of the last year’s landmark albums, their performance at the 2010 edition of the Sonic Circuits Festival in Washington DC (thanks to the joint efforts of the festival organizers and the band’s label, Cuneiform Records) was nothing short of breathtaking. They are also, however, a very divisive band to the more conservative set of prog fans, who often look upon the whole RIO/Avant scene as little more than a bunch of purveyors of jarring, overly demanding fare with pseudo-intellectual pretensions. While most of the classic prog of the ‘70s is symphonic in inspiration, with Univers Zéro we enter ‘chamber rock’ territory – which, just like its classical counterpart, can be the object of equally intense love or loathing.

Originally running at a whopping 50 minutes (very unusually for a single vinyl album), and almost completely acoustic, Heresie undoubtedly shares more with academic music than conventional rock, with typical rock instruments like the guitar taking a back seat. While Daniel Denis’ astounding drumming forms the core of the band’s sound, his style distinctly clashes with the common image of the powerhouse rock drummer. Having been so lucky as to see him and Magma’s Christian Vander on stage in the space of a week, I was struck by how both of them come across as almost antithetic to the brash, flamboyant style of drummers such as Mike Portnoy. Indeed, both Denis’ and Vander’s  approach to drumming brings to mind the role of percussion in an orchestra –  not merely propulsive, but textural and expressive at the same time. .

Though frequently described as the ideal soundtrack to a horror movie (or even to one of HP Lovecraft’s insomnia-inducing short stories), Heresie does not have a lot in common with the hard-hitting, yet slightly garish music produced by the likes of Goblin and Keith Emerson for Dario Argento’s iconic slasher flicks. As pointed out in the very thorough liner notes (courtesy of Renato Moraes and Aymeric Leroy, Canterbury expert extraordinaire and founder of the Calyx website), the album’s centrepiece, the monumental, 25-minute “La Faulx” (The Scythe) parallels the structure of Ingmar Bergman’s legendary The Seventh Seal – also suggested by the bleak, sepia-tinted cover artwork. Though “La Faulx” might at first appear as Univers Zéro’s idiosyncratic take on that old prog warhorse, the ‘epic’, I see it as perfectly contained chamber piece rather than a mini-symphony like “Close to the Edge”or “Supper’s Ready”. Opening with about seven minutes of nightmarishly chaotic sounds, echoing drum beats and menacing vocal growls in an invented language that would give any death metal band a run for their money, it develops into an intense, mesmerizing theme propelled along by Denis’ subtle yet relentless drumming and Michel Berckmans’ rich tapestry of woodwinds, interspersed by the plaintive voice of the violin. When, towards the end, the controlled chaos subsides, a hint of melody surfaces, as well as a measure of calm that seem to reflect the ending of Bergman’s masterpiece.

While apparently more cohesive and linear in compositional structure, “Jack the Ripper” suggests the devastation wrought by the titular character by means of harsh violin slashes, while the bassoon and drums at the beginning evoke the slow, plodding pace of a funeral march. The whole structure of the track is indeed ruled by the drums, whose expressive potential unfolds fully, lending them a ‘voice’ that transcends mere rhythmic beat. On the other hand, “Vous Le Saurez En Temps Voulu” (We’ll Let You Know in Due Time) is the most classically-inspired of the three original compositions, with a tuneful, almost upbeat first half reminiscent of Stravinsky, gradually driving towards a disturbing, doom-laden culmination – the ‘due time’ of the title probably referring to the moment of death.

The thorough remixing process undergone by Heresie lifts the music from the murky depths of the original version – perhaps effective in terms of atmosphere, but much less so in terms of musical enjoyment. However, besides the definite improvement of the sound quality, the main attraction of the album lies in the previously unreleased track “Chaos Hermetique”, remastered from an audio cassette copy and originally recorded in 1975,  prior to Berckmans’ arrival. With a definitely more electric direction, it revolves around composer Roger Trigaux’s guitar, conjuring shades of the sleek angularity of King Crimson; while Denis assumes a more conventional rock drummer role, providing plenty of bottom end in unison with Guy Segers’ bass.

Splendidly composed and flawlessly executed, Heresie can nonetheless prove nearly unapproachable for those who believe melody and memorable tunes are essential components of music. While not as harsh or atonal as other efforts by RIO/Avant bands, and much more disciplined and tightly knit than one might expect, this is an album that needs to be listened to with care and attention, preferably when the time and mood are right – and not just because it is ‘scary’ music that might not make you sleep at night. Based on painstaking detail (like most chamber music) rather than broad sweeps, it also possesses the austere beauty of medieval architecture, stark though not exactly minimalistic, yet full of  majesty and power. In any case, I would recommend Heresie to anyone interested in authentically progressive, challenging music, though not necessarily ‘prog’ in the canonical sense of the word. A liking for early 20th-century academic music would also help when approaching Univers Zéro’s output as a whole.

Links:
http://www.univers-zero.com
http://www.cuneiformrecords.com

Read Full Post »

From the Vault: Steely Dan – Countdown to Ecstasy (1973)

Posted in Classic Rock, Crossover, Fusion, Jazz-Rock, Progressive Rock, Review, tagged , , , , on January 27, 2011| 4 Comments »

TRACKLISTING:
1. Bodhisattva  (5:19)
2. Razor Boy  (3:11)
3. The Boston Rag  (5:40)
4. Your Gold Teeth  (7:02)
5. Show Biz Kids  (5:25)
6. My Old School  (5:47)
7. Pearl of the Quarter  (3:50)
8. King of the World  (5:04)

LINEUP:
Donald Fagen – piano, electric piano, synthesizer, vocals
Walter Becker – electric bass, harmonica, vocals
Ray Brown – string bass on Razor Boy
Denny Dias – guitar, Stereo Mixmaster General
Jeff “Skunk” Baxter – guitar, pedal steel guitar
Jim Hodder – drums, percussion, vocals

With:
Ben Benay – acoustic guitar
Ray Brown – string bass (2)
Rick Derringer – slide guitar (5)
Victor Feldman – vibes, marimba, percussion
Ernie Watts – saxophone
Johnny Rotella – saxophone
Lanny Morgan – saxophone
Bill Perkins – saxophone
Sherlie Matthews, Myrna Matthews, Patricia Hall, David Palmer, Royce Jones, James Rolleston, Michael Fennelly – background vocals

Steely Dan are one of those bands that are loved passionately by a great many progressive rock fans, but whose legitimacy as a genuinely progressive outfit can spark some really heated debate. Now, while their music has definitely little in common with ‘traditional’ prog (as in 30-minute epics, head-spinning time signature changes, and all that jazz), its sheer complexity, sophistication and technical brilliance – not to mention Donald Fagen’s literate, sarcastic lyrics –  deserves a place in any self-respecting, comprehensive account of progressive music.

Though I was already vaguely familiar with the band, it was only in the past few years that I really got to know them in depth – thanks to the man who is now my husband. Having listened to all of their albums, I can safely state that I consider Countdown to Ecstasy (the band’s sophomore effort) their masterpiece, superior even to the much-praised Aja. Almost every track on it is a gem, a perfectly crafted example of music that is at the same time accessible and demanding, intricate and smoothly flowing. Steely Dan can do great hooks with the same ease as any seasoned pop band, and stun you with  complex instrumental interplay that would do any ‘classic’ prog band proud. Their choruses are infectiously memorable, but a dark, often seedy reality is hidden beneath those apparently carefree melodies.

Coundown to Ecstasy opens in upbeat mode with “Bodhisattva”, which targets the hippie fad for Eastern philosophies (the pun in ‘the sparkle of your China’ is quite priceless). Rich with horns, guitar and piano, the song has a brisk, almost danceable rhythm, but (unlike other songs on the album) no recognizable verse-chorus-verse structure. “Razor Boy” follows with its melancholy, laid-back vibe underlying one of Steely Dan’s many seedy tales of lost lives: “Will you still have a song to sing/When the razor boy comes and takes your fancy things away….”  The presence of an unusual instrument like the vibraphone lends a haunting quality to the song. The initial triple-whammy is closed by my favourite number, the moody, somewhat menacing “The Boston Rag”, another tale hinting at crime and punishment with one of the best choruses ever known to man (“Bring back the Boston rag/ Tell all your buddies that it ain’t no drag”), and the closest Steely Dan get to guitar power chords.

Out of the remaining songs, the hit “My Old School” and the romantic, French-flavoured “Pearl of the Quarter” lean more towards the more commercial side of things. The former is a real delight for lovers of brass rock, but as a whole leaves me somewhat cold; while I agree with those who think the latter is the weakest track on the album. “Your Gold Teeth”, the longest song at over 7 minutes, is instead an exercise in slinky elegance, deceptively lazy and effortlessly sophisticated. That leaves us with another couple of crackers – the venomous “Showbiz Kids”, punctuated by relentless background chants of ‘outrageous’, and featuring some killer slide guitar courtesy of Rick Derringer; and album closer “King of the World”, another lyrically intriguing tour-de-force enhanced by distinctive, slightly cheesy synth sounds.

Even though at a superficial listen the Dan may sound like an entertaining, yet ultimately hollow pop/jazz band, if you bother to peel away the layers you will find a lot to keep even the most demanding prog fan on their toes. Everything is there – the technical proficiency, the sterling production values, the intelligent lyrics, the expressive singing, the flawless songwriting. So, forget any labels and preconceptions, and get hold of a copy of this gem. You will not regret it.

Read Full Post »

Majestic – Ataraxia (2010)

Posted in Progressive Metal, Progressive Rock, Review, tagged , , , , , , , , , , on January 25, 2011| 2 Comments »

TRACKLISTING:
1. Disarray (3:02)
2. Faceless (7:57)
3. Wither (9:23)
4. Star Bound (4:43)
5. Numb (4:05)
6. Astral Dream (7:03)
7. Delusion (4:06)
8. Dance of the Elders  (8:18)
9. Takes My Breath Away (2010)  (14:14)
10. Altered State (9:43)
11. Reflections (5:14)

LINEUP:
Jeff Hamel – guitars, keyboards, bass, vocals
Jessica Rasche – vocals
Chris Nathe – drums

With:
Jerry Swan – bass (5)
John Wooten – drums (6, 8)
Gregg Johns – guitars, talkbox (10)
Jeremy Hamel – guitars (11)

When I reviewed Majestic’s album Descension in the summer of 2009, my words reflected my lack of enthusiasm for what I saw as yet another ‘solo pilot’ project by a very skilled multi-istrumentalist (Jeff Hamel, formerly of prog-metal band Osmium), ambitious yet lacking in direction. Things took a definite turn for the better with their following album Arrival – the first recorded with the participation of vocalist Jessica Rasche – though I still expressed some reservations about the compositional aspect. Rasche’s arrival (pardon the pun), however, brought some welcome depth and intensity to Hamel’s lengthy, sometimes rambling compositions, and the added bonus of one of the best female voices heard on CD in the past few years.

With Ataraxia (a philosophical concept meaning ‘freedom from worry’ in Greek) it would not be overstating the case to speak about a quantum leap for the Minneapolis-based outfit – now become a real band, with Rasche’s husband Chris Nathe on drums. With the collaboration of a few guests (including Gregg Johns, Hamel’s partner in Proximal Distance, and leader of Mississippi-based project Slychosis), though resting mainly on Hamel’s talents as a multi-instrumentalist, Majestic have produced an album that is unabashedly ambitious – almost 80 minutes long, offering a wide range of sounds and styles that had already been foreshadowed in the band’s previous efforts, though not as coherently developed. The evident progressive metal bent of Arrival is here kept to a minimum, while the symphonic component emerges with far more authority. Indeed, Majestic seem to have grown out of that fascination with prog-metal that, in my view, caused Arrival to be not as impressive as it might have been.

This time, Majestic decidedly head for more traditional prog territories, with most of the compositions bridging the gap between Pink Floyd-style spacey moods and symphonic textures, solemn and pastoral in turn. The longer, weightier compositions (between 7 and 12 minutes) are interspersed by shorter, more accessible numbers that prevent the album from turning into too onerous a listen on account of its length. Most important, though, the music on Ataraxia keeps melody at the forefront, all the while avoiding any descents into cheesiness. As a matter of fact, the danger of sounding too close to those terminally cheesy, female-fronted symphonic metal bands (whose progressive quotient is often rather flimsy) is thankfully kept at bay by Jessica Rasche’s stunning performance. Her clear yet assertive voice steers clear of the operatic excesses of so many female singers, relying on a near-perfect balance between sweetness and power.

All but two of the tracks on Ataraxia feature vocals – mostly Jessica’s, though Jeff Hamel makes a brief appearance on the last two tracks. Touches of Genesis circa Wind and Wuthering surface in the cascading finale of the wistful, melodious opener “Disarray”; while following number “Faceless” begins very much in the prog-metal vein displayed on Majestic’s previous recording effort, then subsiding in favour of a fuller, more symphonic mood with plenty of tempo changes to add interest. The longest track on the album, the 14-minute “Take My Breath Away”, takes instead a more stately direction, with solemn, march-like passages and a lovely, nostalgic mood, enhanced by Jessica’s pure, heartfelt tones and Hamel’s clear, Gilmourian guitar. Another highlight, “Wither displays all of Jessica’s vocal versatility, with a darker mood and a sense of tension that contrast with the almost pastoral quality of “Faceless“, and more of  Hamel’s excellent guitar work.

As wonderful as Rasche’s vocals are, the two instrumentals can easily be numbered among the album’s highlights. The hard-edged riffing and overall ‘metallic’ touches in “Astral Dream” are never overdone, and do not overwhelm the spacey atmosphere created by the synths and the clear, piercing tone of the guitar; while the aptly-titled “Dance of the Elders” reveals a folksy inspiration in its lilting pace and a classical feel in the guitar parts, as well as reminiscences of the likes of Vangelis or Tangerine Dream in the haunting keyboard passages. As to the shorter tracks, the piano-led, funky workout of “Star Bound” allows Jessica to pay homage to her idol Ann Wilson of Heart, and the equally dynamic “Delusion” reveals a distinct influence of Pink Floyd circa Dark Side of the Moon, with a final section where Jessica’s vocalizing made me think of Clare Torry in the immortal “The Great Gig in the Sky”; while “Numb” and “Reflections” are both subdued, romantic ballads which, in my opinion, do not add a lot to the album – the latter providing a rather anticlimactic, though soothing, conclusion.

While Majestic do not pretend to be reinventing the wheel, Ataraxia is a classy offering, showcasing the work of a band brimming with an enthusiasm and love of their craft that have become increasingly rare in the music world, and whose compositional skills are growing by leaps and bounds. Though, as my faithful readers know, I tend to be rather critical of albums that exceed one hour in length, and believe that Ataraxia would have benefited from a bit of trimming, its refreshing lack of pomposity and ‘cheese factor’ balance its undeniable ambitiousness. Moreover, Jessica Rasche’s delightful vocals alone are worth the price of admission – she is a real find, and living proof of how a female singer does not need to indulge in operatic or cloyingly sweet excesses to offer a credible performance in a prog context.

Links:
http://www.majesticsongs.com

Read Full Post »

Djam Karet – The Heavy Soul Sessions (2010)

Posted in Ambient, Instrumental, Progressive Rock, Review, tagged , , , , , , , , on January 23, 2011| 1 Comment »

TRACKLISTING:
1. Hungry Ghost (8:32)
2. The Red Threaded Sexy Beast (12:42)
3. Consider Figure Three (9:48)
4. The Packing House (12:56)
5. Dedicated to KC (9:48)
6. The Gypsy and the Hegemon (10:55)

LINEUP:
Gayle Ellett – organ, analog synth, mellotron, digital synths
Mike Henderson – guitars, ebow, effects
Aaron Kenyon – 5-string bass, effects
Mike Murray – guitars, ebow, effects
Chuck Oken, Jr. – drums, altered voices

Despite their decades-long career as one of the foremost US progressive rock bands, I have to admit that this album was my very first approach to Djam Karet’s music. Although I was obviously familiar with the name – Edward Macan devoted a section of his seminal book Rocking the Classics to them as examples of ‘post-progressive’ rock – but, for some reason or the other, I had never got around to hearing any of their material. Thankfully, the opportunity came some time in 2010, when I got in touch with Gayle Ellett after reviewing the second album of his side project Fernwood, and he sent me a copy of The Heavy Soul Sessions. And what better introduction to a band’s music than a live album, even if recorded in the studio rather than before an audience? Indeed, The Heavy Soul Sessions was recorded immediately after the band’s performance at the French prog festival Crescendo in the summer of 2009, with a view to recreating the atmosphere of a live setting in the studio without any resource to overdubs or the like. An elusive outfit for most of their career, Djam Karet have not been very active on the live front in the past few years, and seeing them perform on a stage has become a rare treat for their loyal following.

Released five years after Djam Karet’s latest studio effort to date, Recollection Harvest, The Heavy Soul Sessions gathers five tracks from the band’s back catalogue, plus a cover of “Dedicated to KC” from Richard Pinhas’ album L’Ethique. The oldest number, “Consider Figure Three”, originally appeared on the Suspension and Displacement album, released in 1991 as a companion effort to the harder-edged Burning the Hard City. “The Packing House” and “The Gypsy and the Hegemon” are taken from Recollection Harvest, while “Hungry Ghost” and the “The Red-Threaded Sexy Beast” (which actually conflates two separate compositions, “Red Threads” and “Sexy Beast”) come from 2003’s A Night for Baku.  The album as a whole runs at a reasonable 64 minutes (with individual tracks between 8 and 12 minutes), presenting a highly satisfying picture of the band’s skills and expressive potential, accrued in the almost 30 years of their musical career. To Djam Karet newcomers like myself, the six tracks are a real boon, as they show a band that has grown and matured constantly over the years, and whose individual members’ side projects have proved to be a source of enrichment rather than a drain.

Djam Karet’s music has often been described as ‘King Crimson meets Pink Floyd’ – a definition which is only partly true. Following Macan’s advice, the band have finally managed to bridge the gap between their rock side and their inclination towards spacey, ambient textures that make good use of cutting-edge technology. Their unabashed eclecticism emerges from even a cursory listen to The Heavy Soul Sessions: the dynamic, riff-heavy opener “Hungry Ghost”; the gentle, almost pastoral moods of “The Gypsy and the Hegemon”; the trippy, Pinkfloydian passages in “The Red-Threaded Sexy Beast”; the airy, measured beauty of the piano and guitar work in “The Packing House”; the choppy, galloping pace of the organ-led “Dedicated to K.C.” On the other hand, “Consider Figure Three” showcases the ambient/electronic side of the band’s creativity (further explored in the side project Ukab Maerd, soon to be reviewed here). Mentioned in Macan’s overview, it is a haunting, brooding piece where the recorded voice of a doctor recites a dry scientific text over a background of spacey electronic effects, surging keyboard waves and Eastern-tinged chanting.

The compositions are ruled by the seamless interaction between Gayle Ellett’s keyboards and Mike Murray (the band’s newest member) and Mike Henderson’s guitars. Unlike the traditional ‘twin guitar’ format of many classic and hard rock bands, their main function is to add layers of sound and complement the keyboards, rather than act as perpetual sparring partners, or provide relentless rifferama – though riffs surface every now and then, aided and abetted by the powerful yet restrained rhythm section of Chuck Oken Jr and Aaron Kenyon. The music’s natural flow is not at odds with its complexity; even the frequent pauses and changes in time signature do not create that impression of patchiness or lack of a coherent structure that seem to be a constant in the output of ambitious yet less experienced bands. The remarkably fluid interplay between all the instruments puts to shame the displays of virtuosity for its own sake that plague many recent releases.

While the band’s hardcore fanbase will probably be disappointed by the lack of any new material after a five-year wait, The Heavy Soul Sessions provides a great opportunity for those who (like myself) want to get acquainted with Djam Karet’s output. Hopefully this excellent album will encourage more people to delve into the band’s back catalogue, available through their website. Highly recommended to lovers of instrumental prog, and an excellent introduction to the work of one of the most representative bands of the ‘second generation’ of progressive rock.

Links:
http://www.djamkaret.com

Read Full Post »

« Newer Posts - Older Posts »