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Seventh Will – Ordinary Li(f)e (2010)

Posted in Post-Prog, Progressive Rock, Psychedelic, Review, tagged , , , on March 18, 2012|

TRACKLISTING:
1. Ordinary Li(f)e (8:00)
2. A Sea Without Shores (3:45)
3. In Circle (9:01)
4. Lying on a Pink  Cloud (12:38)
5. Acid Carousel (3:50)
6. Ashes (3:49)
7. Night Euphoria (6:27)
8. Outside the Rain (6:41)
9. Colliding  (7:00)
10. Starseeing on the Shore (8:53)

LINEUP:
Francesco Bassoli – guitars
Tiziano Cofanelli  – drums
Luca Guidobaldi – vocals
Luca Parca – bass
Claudio Stasi – piano, keyboards

Formed in 2006, when the four former members of a prog metal cover band called Kimaera  Project joined forces with vocalist Luca Guidobaldi, Rome- based quintet Seventh Will debuted in 2007 with the demo Pink Clouds and Heavy Rain. In the following years, they concentrated on the realization of their first full-length CD, an ambitious concept by the title of Ordinary Li(f)e, eventually released in 2010.

For many progressive rock fans, the Italian scene is almost automatically associated with the so-called “symphonic’ bands of the Seventies, all operatic vocals, sweeping keyboards and lush arrangements. However, in the second decade of the 21st century Italian prog does not seem to be stuck in a time warp, and bands such  as Seventh Will show that there the Seventies model is not the only blueprint for acts hailing from the boot-shaped peninsula. In fact, a first-time listener may notice that Ordinary Li(fe) does not sound typically Italian – and not only on account of the English-language lyrics. While quite a few contemporary Italian bands display that timeless sense of warmth and melody that is one of the hallmarks of Italian music, and that seems to complement progressive rock so well, Seventh Will have chosen to tread a different, more international-sounding path.

Ordinary Li(fe) is a very ambitious undertaking, based on an elaborate concept (one day in the life of Will, an archetypal “ordinary man”), illustrated in detail on the band’s blog. With a running time of 68 minutes, and most tracks over the 6-minute mark, it inevitably features some filler material that might have been left out without detriment to the album’s overall structure. Moreover, the longer tracks, particularly the 12-minute “Lying on a Pink Cloud”, occasionally suffer from lack of cohesion, sounding at times like a collection of separate passages strung together without an actual plan. Luca Guidobaldi’s high-pitched, vaguely plaintive vocals  belong to the Thom Yorke/Matt Bellamy school of singing – with a pinch of  Cedric Bixler-Zavala’s more aggressive tone thrown in – with only his accent giving his non-English origin away.

While the band’s previous prog metal matrix– represented mainly by sharp riffs and sudden accelerations – occasionally emerges, most evidently in the intense yet atmospheric “Colliding” (which made me think of Riverside circa Second Life Syndrome), on the whole the album comes across as a rather eclectic effort. Indeed, its basic Pink Floyd/Porcupine Tree inspiration is enhanced by nods to vintage hard rock (as in the title track, which opens the album with Hammond organ swirls offset by more subdued passages), or to more avant-garde acts such as The Mars Volta or Mr Bungle, complete with slightly dissonant passages (as in “Night Euphoria”). The band’s liberal use of quiet-loud dynamics indicates the band’s allegiance to the post-prog aesthetics embodied by most of the acts on the Kscope roster, including their fellow Italians Nosound. US band The Tea Club might also provide a useful term of comparison, especially on account of the similar vocal style and the use of slow build-up leading to powerful climaxes – as exemplified by “In Circle”.

On the other hand, a couple of contiguous pieces, “Acid Carousel” and “Ashes”, draw upon Pink Floyd’s late Seventies heyday – the former echoing the theatrical scope of The Wall (hard not to be reminded of Roger Waters’ commanding performance in “The Trial”); the latter patterned on melancholy acoustic pieces such as “Wish You Were Here”. Album closer “Starseeing on the Shore” offers a sonic rendition of the lovely cover image with a slow-burning, atmospheric ballad driven by acoustic guitar, piano and vocals, and synth effects evoking the sound of the surf.

Though, as is very often the case with debut albums, Ordinary Li(fe) is still very much of a “work in progress”, and inevitably derivative in parts, it also points to a promising band that is trying to break free of the  “retro-prog”  mould. It is to be hoped that they will adopt a more streamlined approach to songwriting in their next recording effort. In any case, the album is likely to appeal to fans of modern progressive rock, with particular regard to Steven Wilson’s numerous projects and most of Kscope’s output.

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

http://seventhwill.blogspot.com/

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Dasputnik – Cyclokosmia (2011)

Posted in Instrumental, Progressive Rock, Psychedelic, Review, tagged , , , on March 13, 2012| 4 Comments »

TRACKLISTING:
1. Orbitary Volcano (7:11)
2. …Phantom Wakes (12:26)
3. Cosmic Train to Anticreation (7:41)
4. Trinity Quadrilogy (10:53)

LINEUP:
Tuomas –  electric and acoustic guitars
Sini  – saxophones, percussion, mallets, tubular bells
Marko – drums, percussion
Teppo – keyboards, voices
Ville – bass

With:
Antti – trombone

Known only by their first names, the five members of Dasputnik hail from the former Finnish capital of Turku, where they first got together in 2005 as a jamming project called Mystery Space. They became Dasputnik during the following year, which also saw their first live performance. After two demos (titled Demo and Blatta Caverna), they finally released their debut album, Parapsychosis, in 2009, followed by Cyclokosmia in the spring of 2011.

With its stunningly bright-hued artwork (apparently based on the Garden of Eden)  and song titles such as “Cosmic Train to Anticreation”, Cyclokosmia proudly declares Dasputnik’s allegiance to the time-honoured school of psychedelic/space rock – which,  in this second decade of the 21st century, is enjoying something of a revival both in Europe and in the US. Scandinavian countries, as is so often the case in the variegated world of progressive rock, seem to be at the forefront of this movement, with outfits such as Øresund Space Collective, My Brother the Wind and Dungen (to name but three) attracting quite a lot of international attention. Finland’s remarkable contribution to this thriving subgenre, while perhaps not large in terms of sheer number of bands, has been remarkable, includes names such as cult trio Kingston Wall in the early Nineties, and, in more recent times, Hidria Spacefolk and Taipuva Luotisuora.

Many of the bands adopting the psych/space aesthetics, both in the Old and the New World, blend trippy jams in the iconic style of Gong, Steve Hillage and Ozric Tentacles with the harder-edged, fuzz-heavy suggestions typical of stoner rock – via the subgenre’s founding fathers Black Sabbath and Hawkwind. However, the average first-time listener will not fail to be impressed by the mature, almost understated quality of Dasputnik’s music. Rather than pushing screaming guitars to the forefront in quasi- metal fashion, the riffing is employed judiciously, often kept in the background to add some bite to the other instruments’ mellower, Eastern-tinged efforts. Various percussion instruments, including mallets and tubular bells, join their warm, organic sound to the swirling electronics that are a key ingredient of any self-respecting psych/space band’s toolkit. The impression of naturally flowing smoothness is compounded by the prominent role of Sini’s saxes, occasionally complemented by the solemn voice of the trombone.

While, in compositional terms, the four tracks on Cyclokosmia share the typical features of the subgenre – developing slowly but relentlessly, with instruments playing in parallel and repeating the same tune with minor changes, with a rivetingly hypnotic effect (as exemplified by the stately closing track “Trinity Quadrilogy”) – the music is rendered in surprisingly sophisticated terms, with the instruments contributing their own individual voices, yet striving together to produce a harmonious whole. Sax and electric piano are responsible for injecting hefty doses of heady melody, balancing out the more free-form passages (as in the 12-minute “…Phantom Wakes”, the album’s longest track). Opener “Orbitary Volcano” is introduced by gentle acoustic guitar arpeggios with a faint Spanish flavour, then organ and synth take the lead, alternating with sax and electric guitar. Surprisingly, it is one of the two shorter tracks – the previously mentioned “Cosmic Train to Anticreation” – that packs the most variation in its nearly 8 minutes, juxtaposing harsh, churning guitar riffs with an almost funky bass line, then introducing a brisk, dance-like Eastern European motif as a surprise factor.

Clocking in at under 40 minutes, Cyclokosmia (which was also released as a vinyl LP on the band’s own label, Art Safari Records) combines vintage psychedelic suggestions with thoroughly modern production values that enhance the mix of sophistication and intensity in Dasputnik’s music. While it does not substantially deviate from the well-established psychedelic/space rock canon, the album is nevertheless highly recommended to fans of the subgenre, and it also has the potential to appeal to most lovers of progressive rock, regardless of niches and labels.

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

http://equaldreams.com/artsafarirecords

http://eetupellonpaa.deviantart.com/

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Vitkaste – Lestinjoki (2011)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , on March 12, 2012|

TRACKLISTING:
1. Osa Yksi (4:04)
2. Osa Kaksi (4:28)
3. Osa Kolme (4:33)
4. Osa Neljä (4:04)
5. Osa Viisi (5:31)
6. Osa Kuusi (9:39)

LINEUP:
Joonas Hietala – organ, synthesizer, piano, guitar, accordion, percussion, clapping, bass (1)
Vesa Makkonen – bass, voice (4)
Heikki Korhola – drums, clapping
Sini Palokangas  – soprano saxophone, vibraphone, violin, alto saxophone (3), voice (6)
Jussi Hurskainen – alto saxophone
Nico Kanerva – clarinet
Heikki Puska – harp
Janne Vuorensyrjä – turntables

The second part of my mini-feature on modern Finnish bands focuses on the debut album by Helsinki-based ensemble/multimedia art collective Vitkaste, a seven-piece created in 2003 by guitarist/keyboardist Joonas Hietala, bassist Vesa Makkonen and drummer Heikki Korhola. The album’s title, Lestinjoki, comes from the river in western Finland near which Hietala spent the summer of 2008, and wrote most of what would later become the body of Vitkaste’s debut. The composition was then expanded to become a suite in six parts – dubbed “Lestinjoki Electronic Acoustic Symphony” – and the album was released in the early months of 2011.

Clocking in at a mere 32 minutes, Lestinjoki is more of an enhanced EP than an actual full-length album. Though the striking artwork by Joonas Hietala and Eetu Pellonpää might suggest a band steeped in the psychedelic tradition, Vitkaste’s musical offer treads somewhat different territory – an eclectic, lushly arranged concoction that blends smooth jazz-rock with more conventional symphonic prog modes, throwing a hint of chamber rock into the mix. While previous reviewers of the album have drawn comparisons to Camel – especially if the English band’s debut album, with its jazzy overtones, is taken as a frame of reference –the near-legendary Wigwam, one of the trailblazers of the original Finnish prog scene, would also deserve a mention as a model for Vitkaste’s approach.

As Lestinjoki is meant as a single composition, the pauses between the tracks (accordingly named Part 1-6) are nearly imperceptible, creating an impression of remarkable cohesion and fluidity. The music itself is very pleasing to the ear, never jarring or overly convoluted, and its complexity is rendered in subtle shadings rather than dramatic contrasts. Not surprisingly for a piece of music named after a river, the six parts of Lestinjoki flow smoothly and steadily, enhanced by the almost liquid, tinkling sound of instruments like the harp and the vibraphone. Violin and accordion add a touch of sedate, folksy melancholy, while occasional chanting and turntable scratches inject an eerie, faintly disquieting note into the richly orchestral texture of the composition.

Although none of the instruments can be said to dominate, a more focused listen will reveal the discreet yet unmistakable role of the drums in setting the pace and mood of each individual piece, with subtle shifts whose presence may not always be immediately perceived . The guitar also works behind the scenes, only occasionally stepping into the limelight, sometimes providing a more assertive foil to the gentler voice of the piano (as in “Osa  Kuusi”, where the guitar sound is intensified by the use of the wah-wah pedal). On the other hand, sax and clarinet contribute a jazzier feel, at times perhaps a bit too “loungey” for comfort, though the band have mastered dynamics well enough to know when to turn the volume down and go for a more atmospheric mood.

As a whole, Lestinjoki is a solid effort, easy on the ear yet not too streamlined for the demanding tastes of the average prog fan, and short enough to be enjoyed in one sitting without having to push the Pause button. Vitkaste are clearly a talented outfit, and their debut album – though not exactly ground-breaking, and slightly on the derivative side of things – definitely shows the right amount of potential for interesting future developments. However, for the time being, the gorgeous artwork remains Lestinjoki‘s most memorable feature.

Links:
http://vitkaste.net/

http://eetupellonpaa.deviantart.com/

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Hiidensointi – Hiidensointi (2010)

Posted in Folk, Progressive Rock, Review, tagged , , , , , , , , , , on March 11, 2012|

TRACKLISTING:
1. Koskella (3:50)
2. Isätön Poika (5:03)
3. Valonvaltiatar (4:59)
4. Lintunen (4:10)
5. Kaihomieli (3:45)
6. Suolla (4:17)
7. Aihetta Lauluun (4:22)
8. Pohjalainen Pitkä Poika (3:57)
9. Oivallus (3:49)
10. Virran Mukana (5:24)

LINEUP:
Petri Koivistoinen – guitars, kantele, bass (9), all kinds of gadgets
Nina Hiironniemi – vocals
Mika Hiironniemi – drums, percussion & thingies, keyboards (3, 10)
Pate Laitinen – bass

With:
Janne Haka-Risku – keyboards

This will be the first of a trio of reviews dedicated to new bands from Finland – a country that, in spite of its relative isolation in geographical terms, has earned a place of its own on the contemporary music scene. Though the country is often associated with metal – both of the power/symphonic and the extreme variety – the Land of a Thousand Lakes enjoys a thriving, variegated progressive rock scene, and a very high rate of musical activity (not to mention excellent educational standards) for a population of slightly over 5 million. As I mentioned last year when reviewing Tuvalu’s debut album, I always welcome the opportunity to listen to some new music coming from Finland, on account of my close personal connection with the country. Therefore, once again I thank my good friend, Helsinki-based artist Eetu Pellonpää, for exposing me to some of the bands whose recordings are graced by his distinctive artwork.

Hiidensointi (whose name, meaning “The Voice of Hiisi”, references a nature deity of the ancient Finnish religion) are a quintet based in the thriving city of Tampere, where they were formed in 2007 by guitarist Petri Kivistoinen and drummer Mika Hiironniemi. After the 2010 release of their self-titled debut, the band underwent a line-up change, with keyboardist Janne Haka-Risku leaving the band to be replaced by violinist Petri Ahonen. They also started work on their second album (which should be released some time in 2012), all the while keeping up with their busy performance schedule around the Tampere region.

Though barely known outside Finland, the members of Hiidensointi (as is very often the case with artists from northern Europe) are very accomplished instrumentalists, with a solid  background and plenty of experience. While they call themselves “folk-oriented progressive rock”, their debut album, rather than anything suggesting the complexity or epic sweep of classic prog, is an accessible, song-oriented effort featuring 10 tracks with an average running time of 4 minutes. The folk overtones are not as evident as in the debut album by Positive Wave (a band with a similar musical direction), and always take a back seat to a conventional verse-chorus-verse structure.  On the other hand, recent live recordings of the band reveal that the presence of a violinist lends a more definite folksy tone to their sound, which will probably come to the fore in their second album.

Like Tuvalu and Positive Wave, Hiidensointi sing in their native language – which is likely to be a turn-off for those who think that English is the only suitable medium for music – and are fronted by a female vocalist. Nina Hiironniemi (wife of drummer Mika), who is also responsible for the lyrics, possesses a confident, versatile voice (though not as impressive as Positive Wave’s Susan Karttunen) that avoids the cookie-cutter, saccharine sweetness plaguing many modern prog bands, and tackles the material with considerable assurance. Petri Koivistoinen replaces her in the plaintive “Suolla”, the one track with a clear-cut folk matrix – assisted by the subdued lilt of the kantele, or Finnish zither (the Finnish national instrument, an object of mythical proportions).

As a whole, and right from opening track “Koskella”, Hiidensointi comes across as remarkably catchy and upbeat, often dance-like – almost debunking the myth of the supposedly melancholy nature of Scandinavian music.  The pervasive rumble of the organ, coupled with Petri Koivistoinen’s energetic guitar, inject an unmistakable classic hard rock vibe à la Deep Purple into tracks like “Isäton Poika” and “Kaihomieli”. Suffused with a gentle wistfulness, “Lintunen” showcases Nina Hiironniemi’s vocal dexterity in adopting a deeper, lower register to complement the instrumental mood, and alternating between singing and speaking in the final section of the song.  Album closer “Virran Mukana” marks a distinct change of pace, with Pate Laitinen’s funky bass line beefed up by organ and guitar, reminding me a bit of Camel’s “Summer Lightning” with its hints at Seventies dance music.

Clocking in at a compact 41 minutes, Hiidensointi is a well-crafted debut by a talented band, with plenty of catchy hooks, pleasing melodies and excellent singing. However, it is also not very likely to impress those looking for a musical offer more firmly rooted in the Finnish folk tradition, in the style of an internationally renowned band like Värttinä. In my view, the album would have proved more interesting if it had pursued the route shown by “Suolla” (and hinted at by the mysterious, dark green hue of the artwork), and delved deeper into the fascinating treasure trove of Finnish folklore. Hopefully their forthcoming second album will take a more definite turn in that direction.

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

http://sites.google.com/site/hiidensointi/

http://eetupellonpaa.deviantart.com/

http://www.reverbnation.com/hiidensointi

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Morgan Ågren, Henry Kaiser and Trey Gunn – Invisible Rays (2011)

Posted in Avant-garde, Instrumental, Progressive Rock, Review, tagged , , , on February 26, 2012| 2 Comments »

TRACKLISTING:
1. Invisible Rays (22:19)
2. The Magic Ring of Invisibility (6:50)
3. Where Is Juan? (5:52)
4. The Secret Handshake With Danger (6:21)
5. Greatest Hits (1:04)
6. The Last Guru (4:55)
7. Take A Bath With Lenin (2:13)
8. Ghost Red Wires (4:25)
9. Invisibility Clause (4:35)
10. Understudy To The Stars (0:18)
11. An Unusually Nice Hotel (12:40)

LINEUP:
Morgan Ågren – drums, zither
Trey Gunn – touch guitar, bass
Henry Kaiser – guitar

Born from a fortuitous encounter between three outstanding musicians with a distinguished career in the field of progressive music, Invisible Rays seems to embody the very definition of “one-off”. The album is the result of an impromptu jam that took place in March 2011, when Warr guitarist Trey Gunn (known for his tenure with King Crimson in the late Nineties), San Francisco guitarist Henry Kaiser (one of the pioneers of American free improvisation) and Swedish drummer Morgan Ågren (of Zappa, Kaipa and Mats/Morgan fame) found themselves with some time on their hands before a presentation at a music conference in Sweden. When they first heard the rough mixes, the sheer quality of the recordings took them by surprise, in spite of the almost completely unstructured nature of the material.

The above description makes it clear that Invisible Rays is the product of a spur-of-the-moment situation, prompted by a unique set of circumstances that allowed the three artists to make music together for the first time. While the bulk of the tracks do have a semblance of compositional structure, the two pieces that bookend the album are intentionally loose and sprawling, brimming with the simple joy of playing without a recognizable script. The title-track, strategically positioned at the opening of the album, acts as a sort of gatekeeper, its intensely powerful 22 minutes occasionally bordering on white noise. Kaiser’s guitar tone can turn almost unbearably sharp, aided and abetted by Ågren’s explosive drumming, while the eerie wail of Gunn’s Warr guitar supplies a gentler undercurrent. While certainly not cohesive, and the kind of stuff that is more than likely to scare the more conservative prog  set away, the track often hints at King Crimson’s live improvisations, though in some ways brasher and bolder.

Interestingly, though the three artists produce an impressive volume of sound, there is also a minimalistic aspect to the music, due to the  limited number of instruments involved. Rhythm is very much at the heart of Invisible Rays, with Ågren’s supercharged drumming all over the place, setting the pace for Kaiser’s wild guitar exertions and Gunn’s more sedate, atmospheric contribution. Tantalizing ethnic suggestions – one of the constant features of Gunn’s extensive output – emerge in “The Magic Ring of Invisibility”, which acts as a foil to the unbridled improvisation of the title-track, and at the opening of “The Last Guru”, before things turn more dissonant, with an almost metal-like sense of aggression.

Only “Ghost Red Wires” maintains a hauntingly mellow mien throughout its 4 minutes, the guitar sound flowing smoothly in contrast with its imperious presence in most of the other tracks; while in “Where Is Juan?”, Gunn and Ågren indulge in some funky sparring. In closer “An Unusually Nice Hotel”, the slow, solemn pace of the drums – which provides a steady, nearly unchanging backdrop throughout the whole 12 minutes of the track –  and the mournful tone of the Warr guitar are offset by the gradual progress of Kaiser’s piercing, abrasive guitar.

Clocking in at a hefty 71 minutes, Invisible Rays – which comes packaged in a striking cover out of a Fifties science fiction B-movie – is definitely not for the faint-hearted. Even staunch King Crimson fans might find the album a somewhat daunting proposition, while lovers of free improvisation are bound to appreciate it much more than those who prize melodic content or compositional cohesion. A worthwhile testimony of a unique opportunity, it may, however, ultimately prove less than satisfying because of its basically raw (though powerful) nature. Therefore, the album is probably not the best bet for those who would like to get acquainted with Trey Gunn’s outstanding contribution to the cause of progressive music.

Links:
http://www.treygunn.com

http://www.morganagren.com

http://www.thehenrykaisercollection.blogspot.com

 

 

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Pocket Orchestra – Phoenix (2011)

Posted in Progressive Rock, Review, RIO/Avant, tagged , , , , , , , , , , , , , on February 23, 2012| 3 Comments »

TRACKLISTING:
CD 1 – Studio:
The Pocket Orchestra Tape 1983:
1. Imam Bialdi (6:24)
2. R. V. (7:04)
3. Regiments (14:59)
4. Letters (13:53)
The Knēbnagäujie Tape 1978-1979:
5. Blueing (7:10)
6. White Organ Meats (7:03)
7. Grandma Coming Down The Hall With A Hatchet (5:32)
8. Bagon (16:52)

CD 2 – Live:
1. Annex (5:56)
2. Bagon/Wandering Aimlessly (14:48)
3. Blirt (4:05)
4. Blueing (12:01)
5. Letters (19:12)
6. Parade (5:23)
7. Regiments (Parts 1, 2 and 3) (11:32)
8. Corn Fed (5:37)
9. Sound Check Bonus (0:43)

LINEUP:
Craig Bork – keyboards
Joe Halaijan (aka Joe Who)- clarinets, saxes, incidental vocals
Bill Johnston – cello
Tim Lyons – bass
Tim Parr – guitars
Bob Stearman – drums

With:
Craig Fry – flute (CD 1, 7)
Warren Ashford – tablas (CD 1, 7)
Jack Chandler – saxes (CD 2,  5-6)

If a contest was held for the unluckiest band on the progressive rock scene, Pocket Orchestra would have quite a few chances of winning first prize. In fact, only three members are left of the original six-piece lineup that recorded two demos between 1979 and 1984. What looked like a promising career for one the trailblazers of the RIO/Avant movement in the United States was cut short first by saxophonist Joe Halajian’s family problems (which led to the band going into hiatus), then by guitarist and main composer Tim Parr’s untimely demise in 1988. Thanks to the unstinting effort of Scott Brazieal, leader of Cartoon and a personal friend of the band, the material they had recorded in those short but intense five years finally saw the light in 2005, with the release of the CD Knēbnagäujie (the original name of the band). In the meantime, bassist Tim Lyons had passed away in 1998,  while drummer Bob Stearman (who had had a stroke in 2004) followed suit in 2010.

In spite of those unfortunate circumstances, Pocket Orchestra’s reputation remained very high in RIO/Avant circles, lending them a near-legendary aura in a context that often thrives on cult status. In 2011, Marcello Marinone and Francesco Zago of Italian label AltrOck Productions , assisted by such luminaries as Cuneiform Records’ Steve Feigenbaum and renowned sound engineer Udi Koomran, brought to light some of Pocket Orchestra’s unreleased recordings – including almost 80 minutes of live material – which eventually became the double CD set Phoenix, released in the second half of the year.

The album’s title, reinforced by Paolo “Ske” Botta’s striking cover artwork,  refers to the band’s hometown in Arizona, as well as to the almost miraculous reemergence of recordings that had seemed fated to remain buried in oblivion. Since Knēbnagäujie was sold out, the release of Phoenix was greeted enthusiastically by dedicated RIO/Avant followers, especially those interested in the US scene. While such archival operations rarely claim to present material in truly organic and cohesive form, Koomran’s state-of-the-art mastering has given new life to those 30-year-old live tapes, as well as to the contents of the original Knēbnagäujie  CD. Brazieal’s detailed liner notes, complemented by vintage photos of the band on stage and other memorabilia, complete this lovingly assembled tribute to the “Phoenix reborn”.

As can be expected from their checkered history, while undeniably gifted and dedicated to their craft, Pocket Orchestra had not yet fully developed their potential when circumstances forced them to call it a day. Their compositions suffer from occasional bouts of patchiness, added to some of those features that generally make the whole RIO/Avant subgenre so daunting (often unnecessarily so) to newcomers. Indeed, both the eight tracks on the studio CD and the nine on the live CD are nothing but ambitious and unpredictable, packed with twists and turns of every description.

While the founding fathers of the RIO movement such as Henry Cow and Univers Zero are inevitably referenced, the main influence that can be detected on Phoenix is that of Samla Mannas Manna,  another band belonging to the original RIO contingent – something that earned Pocket Orchestra the tag of “Samla of the desert”. However, Pocket Orchestra’s music is completely instrumental, and also decidedly less melodic, though imbued by a similar brand of playful light-heartedness, embodied by the use of circus music in “Grandma Coming Down the Hall With a Hatchet” .  Sudden blasts of saxophone and clarinet and wailing, piercing guitar excursions seem to be the rule, with Bob Stearman engaging in a mind-boggling range of intricate rhythmic patterns to propel the sound forward.

The word “anarchic” is probably the best description of Pocket Orchestra’s approach. The average composition can suddenly shift from a laid-back, almost meditative pace to unrelieved chaos – as exemplified by “R.V”, whose first half is deceptively mellow, then erupts into an intense, free-form maelstrom of sound. The sedate, piano-driven passages in the 14-minute, Canterbury-influenced “Letters” are bound to bring to mind the easy elegance of Hatfield and the North or National Health, offset by Parr’s aggressive guitar solo at the end. On the other hand, album closer “Bagon” marries the lovely, melodic Canterbury feel with more typical RIO features such as blaring sax and strident guitar.  As a whole, the first four tracks –dating back from 1983, immediately before Pocket Orchestra went on hiatus – come across as more accomplished, showing a band well on its way to reining in the in-your-face dissonance and chaos that instead emerge in the studio CD’s second half.

The second CD offers an invaluable testimony of the band’s brisk live activity in the years 1980-1984, and includes a number of previously unreleased tracks, as well as noteworthy versions of “Letters” and “Regiments”. Udi Koomran’s experience in the studio managed to bring out the best in recordings whose original quality was less than ideal, presenting a band that was definitely at home on stage. While some of the longer tracks may still reveal a bit of self-indulgence, the shorter ones, such as “Parade” or “Corn Fed”,  show how Pocket Orchestra were gradually but clearly finding their own unique voice and direction, and at the same time tightening up on the compositional aspect.

Though somewhat clichéd, the definition of “rollercoaster ride” seems to be a perfect fit for an album like Phoenix, which probably should come with a warning sticker. While its blend of dignified chamber rock, wild, wacky all-out experimentation and the occasional foray into sophisticated, Canterbury-style jazz-rock will not fail to appeal to fans of everything RIO/Avant, even a cursory listen to opener “Imam Bialdi” will send the average “mainstream” prog fan running for the exits. While bands like Miriodor or Yugen might have a broader crossover appeal and win over staunch devotees of symphonic prog, Pocket Orchestra, as captured on this double set, were definitely raw and uncompromising. All in all, though not exactly a comfortable listen, Phoenix is a moving tribute to a band that might have grown into a force to be reckoned with, had not fate got in the way.

Links:
http://production.altrock.it/prod2.asp?lang=ita_&id=171&id2=172

http://www.allmusic.com/artist/pocket-orchestra-p876979/biography

 
 

 

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Machine Mass Trio – As Real As Thinking (2011)

Posted in Jazz, Jazz-Rock, Progressive Rock, Review, World Music, tagged , , , , , , on February 19, 2012|

TRACKLISTING:
1. Cuckoo (9:23)
2. Knowledge (6:09)
3. Let Go (4:54)
4. Khajurao (5:22)
5. Hero (10:13)
6. UFO-RA (6:44)
7. Falling Up (18:03)
8. Palitana Mood (3:05)

LINEUP:
Tony Bianco – drums, loops, percussion
Michel Delville – electric guitar, bouzouki, electronics
Jordi Grognard – tenor sax, bass clarinet, flute, bansuri, electronic tempura

Machine Mass Trio was originally born as a side project of douBt, the electric jazz trio formed by Belgian guitarist Michel Delville whose acclaimed debut album, Never Pet a Burning Dog, was released in 2009 by influential New York-based label Moonjune Records. For this project, Delville and renowned NYC drummer Tony Bianco recruited a rising star of the modern jazz scene, Belgian reedist/saxophonist Jordi Grognard, who is also well-versed in non-Western woodwind instruments. Machine Mass Trio’s debut, As Real As Thinking, recorded live in the studio in October 2010, was released in November 2011 with the support of the Belgian French Community.

Like most of Moonjune Records’ output, As Real As Thinking is definitely not an immediately accessible album – sophisticated and multilayered, yet permeated with a sense of sharp urgency that surfaces when you would least expect it. In a veritable melting pot of diverse influences, the album merges the raw power of free jazz and guitar-based progressive rock à la King Crimson with the heady mysticism of Eastern music filtered through the electronic experimentalism of Krautrock. The three band members alternating in the spotlight or blending their collective strengths together to produce music that is constantly challenging but always rewarding, contribute in equal measure to the success of the final product.

At the core of Machine Mass Trio’s sound lies Tony Bianco’s astonishing drumming, a concentrate of pure energy and flawless time-keeping. He lays down an unflagging beat for the whole 10 minutes of the jammy, deceptively sedate “Hero”, providing a steady rhythmic backdrop for Delville and Grognard’s exertions. On the other hand, in the spectacular 18 minutes of “Falling Up Nº 9” – a tour de force that marries intoxicating psychedelic suggestions with chaotic free-jazz improvisation – he unleashes the pyrotechnics, the drums starting out in a subdued fashion, then gradually gaining intensity, sparring with Delville’s guitar and eerie electronic effects in an exhilarating crescendo.

Delville’s guitar runs the gamut from the blistering riffage of “Let Go”, with its almost metallic edge coupled with Grognard’s unbridled, highly emotional sax, to the intriguingly laid-back textures and staggered rhythms of “Knowledge”. The distinctive sound of the bouzouki, with its haunting, sitar-like twang, replaces the guitar in the Eastern-inspired “Khajurao” (named after the Hindu temple complex famous for its erotic sculptures) and album closer “Palitana Mood” – sinuously intertwining with Grognard’s breathy flutes, discreet percussion and buzzing electronic effects; while “UFO-RA” revolves around Delville’s slightly dissonant synth guitar, emoting over the lively pace set by drums, piano and sax.

A classy blend of stunning technical prowess, energy and creativity, As Real As Thinking is never predictable, and will not disappoint fans of independent labels such as ECM and Cuneiform, which, like Moonjune, comfortably straddle the lines between jazz, avant-garde, world music and progressive rock. In spite of the collective talent gathered here, the album celebrates the joy of unfettered playing, in a spirit that is both collaborative and mindful of each musician’s background and inclination. Though the album may be a daunting prospect for those who prize flowing melodies and carefully structured compositions, it is highly recommended to adventurous listeners and anyone who supports genuinely progressive music-making.

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

http://www.moonjune.com

 

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Camembert – Schnörgl Attahk (2011)

Posted in Canterbury Scene, Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged , , , , , , , , , , , , , , , on February 5, 2012|

TRACKLISTING:
1. Infinicheese (1:35)
2. Clacos Zero (0:35)
3.Untung Untungan 2.0 (11:13)
4. Clacos 1 : Notre Mère à Tous (1:58)
5. El Ruotuav Ed Sram (8:16)
6. Clacos 2 : Die Experimente von Dr Frankenschnörgl (0:48)
7. Le Meurtrier Volant (9:01)
8. La Danse du Chameau:
a) Batifolade  (5:29)
b) Soif! (1:17)
c) La Tempête De Sable (4:51)
d) Rêveries Lubriques Sous une Dune (1:09)
e) The Final Run  (5:01)

LINEUP:
Fabrice Toussaint – tenor trombone, xybraphone, congas, tam-tam, triangle, other percussionBernard Eber – trumpet, didgeridoo, cowbell, whistle, voices
Pierre Wawrzyniak – bass, acoustic guitar, voices
Philémon Walter – drums
Guillaume Gravelin – harp
Vincent Sexauer – electric guitar

 With:
Julien Travelletti – bass trombone (3, 5, 7, 8), tuba (7)
Francesco Zago – electric guitar (3)

When coming across a French band named Camembert, and an album title featuring the word “Attahk”, most progressive rock fans will inevitably think of two illustrious outfits such as Magma and Gong – both of whom have also ties with France. Add to that a rather left-field story about the Earth being invaded by small, gelatin-like beings from outer space called Schnörgl, led by a mad scientist researching weapons of mass destruction, and involving a giant spaceship made of intergalactic cheese – and the resemblance will steadily grow, so that a first-time listener might wonder if they are being confronted with the new frontier of “retro-prog”. However, there is very little “retro-anything” about Camembert, whose thoroughly modern brand of jazz-rock proudly sports that strongly absurdist streak that is one of the distinctive traits of French prog.

Camembert are a six-piece hailing from the city of Strasbourg in north-eastern France, where they formed in 2005.  Schnörgl Attahk, their first full-length CD, which marks the beginning of the band’s collaboration with Milan-based label AltrOck Productions, was preceded in 2009 by the release of the 6-track EP Clacosmique. Most of the material that had originally appeared on the EP has been included on the album, though in almost completely rearranged form. Camembert members Fabrice Toussaint and Pierre Wawrzyniak had also appeared on another noteworthy 2011 release, Ske’s 1000 Autunni – and Ske mainman Paolo Botta (who also plays keyboards with Yugen, and is a gifted graphic artist) returned the favour by providing suitably wacky artwork for Camembert’s debut.

As previously hinted, Schnörgl Attahk manages the remarkable feat of combining an amazing level of complexity with an upbeat, ebullient mood that will provide the perfect antidote to the excess of earnestness of far too much prog. The outrageous tale of Dr Frankenschnörgl and his dastardly plans for a global takeover is told through the artwork and detailed liner notes, as the album is completely instrumental. On the other hand, while no actual singing is involved, the music suggests the events in strikingly effective manner, appealing to the listener’s powers of imagination.

Like the best examples of progressive rock (modern or otherwise), Schnörgl Attahk is a quintessentially eclectic effort. The band’s handling of their main sources of inspiration eschews derivativeness, moving rather along the lines of incorporating those sources into the fabric of their own original sound – whose foundation is a sinuously intricate brand of jazz-rock with roots in Frank Zappa’s output circa Apostrophe, as well as Shamal/Gazeuse!-era Gong (incidentally, both Pierre Moerlen and Mireille Bauer were originally from the Strasbourg area – perhaps something in the water?). However, the many pieces of Camembert’s musical mosaic are extremely variegated, supported by a very distinctive instrumentation that rules out keyboards, but hinges primarily on an unusual combination of horns, mallet percussion and harp. The gentle, liquid voice of the latter, blending harmoniously with the rippling tinkle of Fabrice Toussaint’s xybraphone and the warm, organic sound of various percussion instruments, gives Camembert’s sound a unique imprint.

While the two short, consecutive openers, “Infinicheese” and “Clacos Zero”, set the scene in textbook-spacey fashion, with swishing electronics and occasional guitar touches, the 11-minute “Untung Untungan 2.0” makes a bold entrance with its lively avant-fusion allure, then unfolds in a myriad of dazzling twists and turns, to which Francesco Zago’s guitar lends some extra bite. The easy, natural flow of the music, whose melodic flair almost belies its inherent complexity, brings to mind Canterbury acts like Hatfield and the North, and the energetic presence of the horns, coupled with Pierre Wawrzyniak’s solid bass lines, lend a funky swagger to tracks like “El Ruotuav ed Sram” (“Le Vautour de Mars” spelled backwards). Shades of Magma and Univers Zéro lurk in the imperious, martial pace of  the intense “Le Meurtrier Volant”, while in the 5-part suite, “La Danse du Chameau”, sprightly Latin-tinged rhythms in the style of early Santana, weird voices and dense, faintly dissonant passages coexist, held together by the lush yet unconventional instrumentation.

An exciting slice of sparkling eclecticism, combining melody, complexity and zany humour in an irresistible mixture, Schnörgl Attahk is almost mandatory listening for fans of modern jazz-rock and RIO/Avant prog, and will particularly appeal to fans of genre-straddling bands such as Frogg Café, miRthkon or Miriodor, as well as newer outfits like Calomito or Slivovitz. With all-round outstanding performances, excellent production values (courtesy of Udi Koomran and Eric Gauthier-Lafaye), and a genuinely positive attitude that will put a smile on your face (as well as a very restrained running time, which allows the music to be absorbed without weariness setting in), Schnörgl Attahk  proves that it is fully possible to pay homage to the trailblazers of the past without turning into a nostalgia act.

Links:
http://www.myspace.com/camembert67

http://production.altrock.it/home.asp?lang=ita_&id=9&id2=9

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Garden Wall – Assurdo (2011)

Posted in Avant-garde, Contemporary Academic Music, Electronic, Progressive, Progressive Rock, Review, tagged , , , , , , on February 4, 2012| 2 Comments »

TRACKLISTING:
1. Iperbole (6:21)
2. Butterfly Song (8:31)
3. Trasfiguratofunky (7:31)
4. Negative (7:03)
5. Just Cannot Forget (2:25)
6. Flash (5:23)
7. Clamores Horrendos Ad Sidera Tollit (6:49)
8. Vacuum Fluctuation (8:04)
9. Re-Awakening (8:03)
10. Isterectomia (7.26)

LINEUP:
Alessandro Seravalle – vocals, electric, acoustic, e-bow & 12-string guitars, synths, keyboards, samples
Raffaello Indri – electric guitar
William Toson – fretted & fretless bass guitars
Ivan Moni Bidin – drums
Gianpietro Seravalle – electronic percussion, soundscapes

With:
Simone D’Eusanio – violin (1, 2, 8)
Cristian Rigano – synth solos (3)
Giorgio Pacorig – keyboards (3)
Pietro Sponton – congas (3), vibraphone (4)
Flavia Quass – vocals (4)
Andrea Fontana – percussion (4)
Davide Casali – bass clarinet (5)
Jacques Centonze – percussion (8)
Carlo Franceschinis – double bass (8)
Alessandro Bertoni – piano (9)
Mariano Bulligan – cellos (9)
Massimo De Mattia – flute (9, 10), bass flute (10)

In spite of a name referencing one of Genesis’ most popular songs and a “progressive metal” tag, Italian band Garden Wall are neither one of the many followers of the “retro-prog” trend, nor a bunch of Opeth or Dream Theater devotees. Hailing from the north-eastern Italian region of Friuli, the band was put together by vocalist and multi-instrumentalist Alessandro Seravalle in the late Eighties, and released their debut album in 1993. Assurdo, their eight album, forms the third and final chapter of the trilogy begun in 2002 with Forget the Colours, and continued with 2004’s Towards the Silence. It is also their first release with Lizard Records  (one of the most rolific independent labels for modern progressive rock), and – unlike their 2008 album, Aliena(c)tion – contains completely new material.

Now a quintet, with only Seravalle and guitarist Raffaello Indri left of the original lineup, Garden Wall have pulled out all the stops for their recording comeback. Not being familiar with their previous output, and misled by the “prog-metal” tag, when I first heard the album I was confronted with something that was almost impossible to label. Moreover, while most of my reviews include comparisons with other bands or artists (something that readers generally appreciate), this time I was hard put to find any suitable frame of reference within the progressive rock spectrum.

If I had to use a single adjective to define Assurdo, I would call it unpredictable. While far too many albums and individual songs seem to endlessly reproduce the same structure, the 10 compositions featured on Garden Wall’s eight CD take the listener on a veritable rollercoaster ride that will leave all but the most open-minded rather bewildered, as well as drained. To say that Assurdo is not an easy listen would be an understatement: spanning a wide range of influences and moods, each song conceived as a mini-suite in many different movements, and providing a canvas for Alessandro Seravalle’s amazing vocal gymnastics, the album is an exercise in deconstruction rather than a showcase for cohesive compositional standards.

Obviously, this is not meant as criticism: though Assurdo is clearly a daunting prospect for anyone not used to more challenging fare than the average “mainstream prog” release, it can also be immensely rewarding for those who will invest time and patience in  trying to “unlock” it. Its densely woven texture, made of so many different layers, its deeply literate nature (the album’s title comes a quote from Robert Musil’s The Man Without Qualities, “Everything is absurd when you see it clearly”), a complex instrumentation  blending state-of-the-art electronic soundscapes with warm ethnic percussion, lyrical flute and violin, and gutsy electric guitar – all make for a very demanding listening experience, though one that can confidently bear the “progressive” label. For all its cosmopolitan, cutting-edge allure, Assurdo does have that indefinable “Italian” quality that the use of the Italian language (though juxtaposed with English) lends to even the most avant-garde musical efforts – as proved by a band like Nichelodeon, whose mainman Claudio Milano has been actively involved in the realization of Garden Wall’s latest effort.

Assurdo is one of those albums that need to be absorbed as a whole, so that trying to describe any of the tracks in detail would feel like a pointless exercise. The tracks run between 2 and 8 minutes, with the lone instrumental “Just Cannot Forget” strategically placed in the middle, as a sort of interlude. Taking Demetrio Stratos as a springboard, Seravalle dominates the rest – at times speaking, at others whispering, or even screaming or growling.  Garden Wall’s  impressively omnivorous approach encompasses the academic suggestions of opener “Iperbole”, to the deconstructed funk of the appropriately-named “Trasfiguratofunky”, the haunting trip-hop of “Negative”, the heady Middle Eastern flavour of “Vacuum Fluctuation” – blending jazzy organ, industrial electronics and heavy riffing as in “Clamores Horrendos Ad Sidera Tollit”, employing flute and violin to complement the spacey, ambient-like electronics of closer “Isterectomia”.

At under 70 minutes, Assurdo is not an excessively long album for today’s standards.  However, with its unabashedly eclectic, experimental bent, coupled with a distinct lack of anything even remotely resembling a catchy tune (as well as Seravalle’s acquired-taste vocals), the album is rarely a comfortable listening experience – though a much more solid effort than some overly pretentious releases in the experimental prog field. In any case, adventurous listeners will find a lot to appreciate in Assurdo, one of the most intriguing albums released in 2011, and one that definitely deserves more exposure.

Links:
http://www.gardenwallband.com/

http://www.lizardrecords.net63.net/index.php

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Ben Craven – Great & Terrible Potions (2011)

Posted in Progressive Rock, Review, Symphonic, tagged , , , on February 1, 2012| 2 Comments »

TRACKLISTING:
1. Diabolique (2:27)
2. Nobody Dies Forever Part 1 (2:37)
3. Aquamarine (5:07)
4. Ready to Lose (6:02)
5. The Conjurer (4:13)
6. No Specific Harm (10:58)
7. Solace (2:43)
8. Nobody Dies Forever Part 2 (1:51)
9. Great & Terrible Potions (9:06)

Bonus tracks:
10. Ready to Lose (Single Edit) (3:39)
11. Nobody Dies Forever (Single Edit) (2:59)
12. No Specific Harm (Single Edit) (3:29)

LINEUP:
Ben Craven – vocals, all instruments

Prior to the release of this CD, Ben Craven may not have been a household name for progressive rock fans; however, an album whose cover bears the unmistakable style of legendary artist Roger Dean is bound not to fly under the radar for too long. A self-taught “cinematic progressive rock singer-songwriter” from Brisbane (Australia), in 2005 he released his debut album, Two False Idols, under the handle of Tunisia. Great & Terrible Potions, Craven’s first full-length CD under his own name (preceded in 2007 by a digital-only EP, Under Deconstruction), was released in the late summer of 2011 after Dean had put the finishing touches to the artwork.

Modern technology offers artists the opportunity to release and record their own music without having to rely on outside assistance – be it the backing of a record label or  simply the presence of other musicians – and, as a result, the market has been flooded with “solo-pilot” projects that, more often than not, have little to recommend them. However, this is not the case with Great & Terrible Potions, as the album – though obviously targeted to the “mainstream” prog crowd – is not only very accomplished in a technical sense, but even manages to display some measure of originality. While the overall sound does reference classic symphonic/neo acts such as Genesis and Marillion (with occasional nods to Pink Floyd), Craven’s warm, engaging vocals hint at a singer-songwriter matrix rather than conventional prog. Catchy, almost hummable tunes abound, but at the same time the music often possesses a broad, cinematic sweep that is not overdone to the point of cheesiness.

Running at around 55 minutes, Great & Terrible Potions offers a nice balance of shorter and longer tracks, both instrumental and featuring vocals. While Craven has chosen to dispense with the ever-popular multi-part epics, the presence of two songs hovering around the 10-minute mark will keep the more traditionally-minded set happy. On the other hand, the three bonus tracks appended to the album, though emphasizing the accessibility of the material, do not really add anything of particular interest to the equation.

The cinematic bent of Craven’s compositional approach immediately shows up in the short but punchy instrumental opener “Diabolique”, complete with ominous sound effects, leading to an intense Hammond organ coda in pure Jon Lord style. The first part of “Nobody Dies Forever” is introduced by atmospheric noises in true spy-movie fashion, then develops into a slow, measured number in which Craven’s slightly breathy, yet well-modulated voice is complemented by guitar and keyboards. “Aquamarine”, the longest of the instrumentals at 5 minutes, gradually builds a sense of tension through keyboard washes and faint choral effects, then softens into a clear, melodic guitar solo in the classic Hackett/Gilmour mould. The remaining two instrumentals, “The Conjurer” (dedicated to the late Richard Wright) and “Solace” are quite similar in mood and structure, the harmonious interplay of piano and guitar highlighting the emotional content.

While the catchy mid-tempo “Ready to Lose” shows some serious airplay potential, blending neo-prog stylings with almost Beatlesian suggestions, “No Specific Harm” and the title-track, the two longest numbers on the CD, head for more ambitious territory, though avoiding the excesses that often plague prog epics. The Middle-Eastern flavour of the former parallels the Biblical references of the lyrics, with a dramatic, eerie keyboard-driven middle section bookended by gently haunting vocal-led passages offset by piano and acoustic guitar. Similarly, the title-track develops from a subdued, piano-and-voice opening into a  lilting, waltz-like pace enhanced by strings and majestic keyboard sweeps, then climaxes in a soaring slide guitar solo.

While not breaking any new ground, and probably a bit too “traditional” to attract the interest of those looking for more cutting-edge fare, Great & Terrible Potions is definitely above the average of the many rather derivative releases that flood the market on an almost daily basis. Offering a well-balanced mix of instrumental complexity and catchy melodies interpreted by a strong, confident voice, it references past glories while not aiming for an unabashedly retro sound. Coupled with the striking visuals of Roger Dean’s cover and overall stylish packaging (including a foldout booklet that doubles as a mini-poster), the music will not fail to satisfy fans of classic symphonic prog, as well as those who appreciate good-quality movie soundtracks.

Links:
http://bencraven.com/

http://www.rogerdean.com

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