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Miriodor – Cobra Fakir (2013)

November 7, 2013 by progmistress

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TRACKLISTING:
1. La roue (3:43)
2. Cobra Fakir (8:53)
3. RVB7 (3:56)
4. Paris-Roubaix (2:14)
5. Titan (4:17)
6. Un cas sibérien (2:28)
7. Speed-dating sur Mars (7:07)
8. Tandem (8:23)
9. Maringouin (3:41)
10. Space Cowboy (3:11)
11. Expérience 7 (2:27)

LINEUP:
Pascal Globensky – keyboards, synths, piano
Rémi Leclerc – drums, percussion, keyboards, turntable
Bernard Falaise – guitars, bass, keyboards, banjo, turntable

Born in 1980 from the meeting of keyboardist Pascal Globensky and multi-instrumentalist François Émon, French Canadian band Miriodor can be counted amongst the veterans of the current progressive rock scene. Surprisingly, despite the many changes the lineup has undergone in the past three decades, Globensky and drummer Rémi Leclerc, another of the band’s earliest members, are still on board – as is guitarist Bernard Falaise, who has been with the band for 20 years even if not part of its original configuration.

Never a prolific outfit, with only eight studio albums released since their inception and lengthy breaks between each new release, Miriodor seem to have embraced the old tenet about quality trumping quantity. They have also maintained a healthy level of concert activity throughout the years, with high-profile performances at international events such as NEARfest in 2002, FMPM in 2007 and 2008, the Rock in Opposition Festival in Carmaux (France) and Sonic Circuits in Washington DC (where they opened for Univers Zéro) in 2010. Cobra Fakir, their eighth studio album, was finally released on Cuneiform Records at the end of September 2013, a few weeks after their appearance at the 19th edition of ProgDay. Though the album was recorded as a trio, Miriodor have gone back to being a quartet with the addition of bassist Nicolas Lessard, who replaced longtime member Nicolas Masino.

As one of the landmark progressive rock releases of the first decade of the 21st century, Miriodor’s 2009 album, Avanti!, was a tough act to follow. Cobra Fakir, however, though it obviously shares a lot with its predecessor, it also shows the band moving in a somewhat different direction. While their sound – sometimes described as the “happy” counterpart to Univers Zéro austere gloom – is immediately recognizable, the band have made some changes to their compositional approach. Unlike Avanti!, which featured six longish tracks, Miriodor’s latest effort presents a wider range of running times, from the almost 9 minutes of the title-track to 2-minute interludes such as “Paris-Roubaix” (a perfect sonic rendition of the titular bicycle race with its layers of slightly atonal keyboards) and the appealingly noisy, almost improvisational “Un cas sibérien”. A longer track list also means a more noticeable diversity –  with the shorter compositions providing an outlet for experimentation, often involving an array of inventive sound effects. Though there are no guests contributing to Cobra Fakir, this does not necessarily result in a more stripped-down sound, and very few listeners will miss Avanti!’s richer instrumentation.  In fact, the album perfectly demonstrates how multilayered keyboards, far from becoming a byword for bombast, can be used for rhythmic as well as melodic and textural purposes.

Leisurely acoustic guitar introduces “La roue”, whose upbeat main theme – as its title (“The Wheel”) suggests – hints at carnival music, offset by angular, somewhat darker patterns around the middle, and reinforced by sounds of clanging metal, breaking glass and the scratchy turntable effects that crop up throughout the album. The title-track sums up the album’s many faces in its 9 minutes of musical whirlwind – the sedate, meditative first half rendering in sonic terms the tale of the cobra and the fakir outlined in the liner notes, followed by a myriad of tempo and mood changes, often sharply veering towards dissonance yet always informed by an internal logic, then coming full circle with its melancholy, acoustic close. Only a handful of seconds shorter, “Tandem” has a more cohesive structure and an almost classical feel, with sampled flute and harpsichord complementing the piano and synth, and a plethora of sound effects intensifying the trippy, guitar-heavy mood of the ending.

In “RVB7”, assorted percussive effects and the crystalline tinkle of the vibraphone create an amazing blend of sounds that enhances the keyboards and guitar in a lively, dance-like pace; while “Titan” hinges on a brooding, cinematic crescendo punctuated by organ, solemn drum rolls, and surging, distorted guitar, creating a Gothic atmosphere that evokes Univers Zéro. Without any need for words, “Speed-dating sur Mars” tells an entertaining tale through  spacey effects and a sprightly, keyboard-led rhythm, as well as a brief, romantic piano interlude. More spacey goodness (as the title makes it quite obvious) is offered by “Space Cowboy”, where electronic effects hold sway, while melody, infused with a nostalgic Old-World flavour and the gentle sway of a waltz, is the key word in “Maringouin”, easily the most “mainstream” piece on the album. “Experiénce 7” wraps up the album with a short yet intense exercise in atmospheric buildup, conducted almost solely by surging keyboard washes and eerie sound effects.

With its intriguing cover art juxtaposing Hindu mysticism and their native Québec’s winter landscape, Cobra Fakir may well confirm Miriodor’s status as the RIO/Avant band that – on account of their keen melodic flair coexisting with more boundary-pushing tendencies – manages to appeal even to staunch symphonic/neo fans. Balancing edgy dissonance and  haunting atmospheres, engaging circus-like tunes and moments of reflection, the album will benefit from repeated listens in order to let its magic unfold, but will amply reward the listener’s patience. Another outstanding effort from one of the best live bands I have seen in the past few years – their understated mastery of their instruments as close to perfection as it gets – Cobra Fakir does not disappoint expectations, and will certainly feature in many “best of 2013” lists.

Links:
http://miriodor.com/wp/

http://www.cuneiformrecords.com

 

Posted in Instrumental, Progressive Rock, Review, RIO/Avant | Tagged , , , , , , , , , , | 10 Comments »

simakDialog – The 6th Story (2013)

November 3, 2013 by progmistress

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TRACKLISTING:
1. Stepping In (10:01)
2. Lain Parantina (9:06)
3. Harmologic (3:52)
4. What I Would Say (6:17)
5. For Once and Never (6:29)
6. Common League (3:53)
7. As Far As It Can Be (Jaco) (8:01)
8. 5, 6 (4:38)
9. Ari (6:52)

LINEUP:
Riza Arshad – Fender Rhodes electric piano, acoustic piano, synth, soundscapes
Tohpati – guitar
Adhitya Pratama - bass
Endang Ramdan – Sundanese kendang percussion (left)
Erlan Suwardana – Sundanese kendang percussion (right)
Cucu Kurnia – assorted metal percussion

Undoubtedly the best-known modern Indonesian outfit in a progressive rock/jazz context, simakDialog have attracted a cult following in the West since the release of their 2007 live album Patahan (their first for Leonardo Pavkovic’s Moonjune Records), followed in 2009  by Demi Masa. Formed in 1993 in the Indonesian capital of Jakarta by jazz-trained keyboardist Riza Arshad and guitarist extraordinaire Tohpati Ario Hutomo, the band released three albums – Lukisan, Baur and Trance/Mission – between 1995 and 2002 before Pavkovic took them under his wing and gave them international recognition. After a series of mishaps (including the cancellation of NEARfest 2011, where they were scheduled to appear), their long-awaited US tour – which coincided with the release of their fifth studio album, The 6th Story – finally materialized in the late summer of 2013, kicking off with a headlining performance at ProgDay that was unfortunately interrupted by heavy rain, and wrapped up by a very well-attended show at the Orion Studios, introduced by French avant-garde trio Jean-Louis.

As used and abused as the “East meets West” definition can be, there is no better way to describe simakDialog’s music to the uninitiated. Alongside electric guitar, bass and that iconic cornerstone of jazz-rock, the Fender Rhodes electric piano, the six-piece configuration of the band features a trio of percussionists in the style of the traditional gamelan ensembles – Erdang Ramdan and Erlan Suwardana playing the Sundanese two-headed kendang drums, and Cucu Kurnia (the band’s most recent addition) handling metal percussion. The result is a uniquely warm sound with a remarkably natural flow, capable of flashes of angularity and even brief forays into noise, yet never overwrought. In addition, though each of simakDialog’s members is a virtuoso of his own instrument, the band emphasize ensemble playing at its finest rather than technical flash, with individual skills put at the service of the composition rather than the other way round.

SimakDialog’s music, on the other hand, may not prove to be the easiest proposition for those who are used to the in-your-face antics of many traditional prog bands. Subtlety is the operative word on The 6th Story, and that in itself requires a lot of patience on the part of the listener. Their leisurely, unhurried approach to live performance has also more in common with Eastern than Western tradition, focusing on the sheer joy of playing and the creation of subtle moods rather than the head-on adrenaline rush of the standard rock concert.

Clocking in at a handful of seconds under an hour, The 6th Story (the band’s first entirely instrumental album in over 10 years) opens with “Stepping In”, the album’s longest track, which aptly illustrates simakDialog’s  modus operandi. While the sinuous interplay of Tohpati’s guitar and Riza Arshad’s scintillating Fender Rhodes immediately leaps out from the speakers, it is the joyful mayhem of the three percussionists that impresses in the long run, bolstered by Adithya Pratama’s impeccable bass emerging every now and then in the foreground. The track unfolds with supreme elegance, spiced up by sound effects that turn slightly chaotic towards the end. The 9-minute “Lain Parantina” also conveys a sunny, bright feel with its oddly catchy main theme and skillfully handled tempo changes, gaining momentum then slowing down to an almost sparse texture,  held together by the steady stream of percussion. Tohpati’s guitar is spotlighted in the much shorter “Harmologic”, while the piano takes an almost supporting role, working almost as an additional percussion instrument. In the second shortest track on the album, “Common League”, soundscapes add an intriguing note to the lively yet fluid sparring of piano and guitar.

SimakDialog’s more energetic side surfaces in “5,6”, where Tohpati displays his rock credentials (amply demonstrated in his power trio Tohpati Bertiga’s 2012 debut, Riot) with a distorted guitar solo; while the upbeat “For Once and Never” revolves around the expressive, almost conversational interplay of the two main instruments, supported by Pratama’s versatile bass. The discreet, laid-back “What Should I Say” pleases the ear with its smooth sounds, and “As Far As It Can Be (Jaco)” – a tribute to the ground-breaking bassist written by Arshad together with fellow Indonesian musician Robert M.K. – takes on a suitably elegiac tone, full of lovely, stately melody. “Ari” then closes the album by giving synth a leading role alongside the piano, with the ever-reliable percussion background seconding the music’s ebb and flow.

For the audiophile, headphones will be a must in order to savour The 6th Story in full, as letting it run in the background will definitely not do any favours to the music’s understated elegance.  Although the album may resonate more with jazz fans than the average prog audience, it is highly recommended to all open-minded listeners, especially those who enjoy the influence of different ethnic traditions on established Western modes of expression. All in all, The 6th Story is an extremely classy  effort (and one of the standout releases of 2013) from a group of very nice, unassuming and talented musicians, whom I hope to see again in the US very soon.

Links:
http://simakdialog.com

http://www.moonjune.com/mjr_web_2013/artists_mjr/simakDialog/

https://myspace.com/simakdialog/music/songs

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review | Tagged , , , , , , , , , , , | 3 Comments »

Trance Lucid – Palace of Ether (2013)

November 1, 2013 by progmistress

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TRACKLISTING:
1. TM (3:33)
2. Spyglass (4:47)
3. Illumination (4:03)
4. Pocket (3:31)
5. The Crossing (3:29)

Palace of Ether:
6. Many Rooms (2:47)
7. Saints in Stone (3:25)
8. Dream of Antiquity (4:34)
9. Painted Dancer (1:51)
10. Actors in Armor (2:56)
11. Before the Idiots (3:51)
12. Vox of Silence (2:02)
13. Horsemen at the Gate (2:13)
14. Nightlit Moons (2:34)
15. Remembrance (5:40)

LINEUP:
Dave Halverson – guitar, synthesizer, bass
Terry Lee – drums, percussion
Richard Bugbee – keyboards

With:
Damien Gonzalez – bass (1)

Although they have been around for about 20 years, Oakland-based outfit Trance Lucid have managed to keep under the radar of the majority of progressive rock fans. Formed in 1993 by guitarist Dave Halverson and drummer Terry Lee, the band released their debut album, Arise, in 1996, followed by Vigil (2000) and The Colors of Darkness (2005). Very active on the live front in the Bay Area, at the end of 2007 Trance Lucid also released a live album, Unrevisited Live, which included 11 previously unreleased compositions performed at five different shows. After a few years’ hiatus, the band regrouped with the addition of keyboardist Richard Bugbee and Halverson himself replacing Bill Noertker on bass duties, and finally released their fifth album, Palace of Ether, in the summer of 2013. Halverson is also an established solo artist, with four albums to his name released between 2003 and 2009.

Stylishly packaged, with an appealing, sepia-toned vintage photo reproduced on the cover, Palace of Ether is a 51-minute slice of instrumental, guitar-based music that reflects the breadth of Halverson’s musical interests and sources of inspiration. While it can be loosely labeled as jazz-rock, Trance Lucid’s sound features elements of other genres, such as blues, funk, world music and even post-rock. Though Halverson’s guitar might be expected to dominate the proceedings, the other instruments are given ample space, and prove equally essential to the musical development of the compositions. The music featured on Palace of Ether runs the gamut from almost straightforward bluesy rock to haunting Oriental influences, showing Halverson’s versatility as a composer. His fluid, consistently melodic style steers clear of self-indulgence, and meshes perfectly with his bandmates’ accomplished input.

Palace of Ether is clearly divided in two halves, the first comprising five stand-alone tracks, the second a 32-minute, 10-part suite that, according to the band’s website, originated 15 years ago. With the exception of the slightly longer closing number “Remembrance” none of the tracks exceed 5 minutes; the album, however, comes across as remarkably tight. In fact, while the tracks may sound somewhat alike on the first couple of listens, the use of apparently similar themes contributes to the cohesive feel of the album.

Opener “TM” gives a taste of Halverson’s compositional approach with a raw-sounding riff in pure Hawkwind style, gradually morphing into a melodic yet somewhat rarefied variation on a single theme. His mastery of quiet-loud dynamics also comes out in the funky “Spyglass” and the brisk, electric “Pocket”, in which Richard Bugbee’s keyboard textures intensify the sense of mounting tension; while “Illumination” and “The Crossing” showcase Trance Lucid’s mellower side –  the latter highlighting the jazzy component of the band’s sound, Halverson’s guitar nicely underpinned by piano ripples, then gradually building up to an exhilarating finale.

As good as these tracks are, the Palace of Ether suite is the true focus of interest of the album, especially for progressive rock fans – and not merely on account of its running time. The twangy, sitar-like sound of the guitar on “Many Rooms” weaves a mystical, Eastern-tinged atmosphere, aptly conveying the “ethereal” nature of the title with the aid of surging mellotron washes – a subdued, entrancing mood that returns in “Saints in Stone”, and even more so in the lovely “Dream of Antiquity”, whose spacious yet carefully structured instrumental texture emphasizes Bugbee’s skillfully layered keyboards. The intricate guitar arpeggios in “Painted Dancer” boldly blend vintage psychedelic rock and hints of bluegrass, while “Vox of Silence” and “Horsemen at the Gate” veer towards an ambient-like direction. On the other hand, “Actors in Armor” “Before the Idiots” and “Remembrance” reprise the more energetic, blues- and jazz-inflected tone of the first half of the album, occasionally reminiscent of the work of Jeff Beck and Allan Holdsworth.

Though Trance Lucid may not be exactly a household name to most of the readers of this blog, Dave Halverson and his bandmates deserve to be more widely known on account of the quality of the music showcased on Palace of Ether. Indeed, both fans and practitioners of the six strings find a lot to appreciate in this eminently listenable album – with enough original ideas not to sound like a rehash of the work of other, better-known names, and avoiding the descent into self-indulgence that has been the undoing of many a would-be ”guitar hero”. Especially recommended to fans of Moonjune Records’ classy output, and instrumental rock in general, the album may need a few spins to click, but is definitely worth the effort.

Links:
http://www.trancelucid.com/home.html

http://www.davehalverson.com/

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review | Tagged , , , , | 2 Comments »

Sonus Umbra – Winter Soulstice (2013)

October 28, 2013 by progmistress

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TRACKLISTING:
1. Last Train To Kimball (1:10)
2. Insomniac Blue (5:35)
3. Palestinian Black (6:55)
4. Wounded Animal (10:26)
5. Let It Rain (4:45)
6. Silence Kills (8:45)
7. It’s Only Fear (6:18)
8. Bar at the End of the World (1:25)
9. Haunted (9:49)
10.Rebuke the Sea (9:03)
11. Adrift (7:30)

LINEUP:
Luis Nasser – bass, miscellaneous debris
Brian Harris – keyboards
Rich Poston – electric guitar
Roey Ben-Yoseph – lead vocals
Tim McCaskey – acoustic guitar
Steve Royce – flute, vocals
Andy Tillotson – drums, acoustic guitar, vocals

With:
David Keller – cello
Brittany Moffitt – vocals

After an eight-year hiatus, Chicago-based outfit Sonus Umbra are back with only bassist/mainman Luis Nasser and drummer Andy Tillotson left of the band that released Digging for Zeroes in 2005. Founded in the early Nineties by Nasser and his friend Ricardo Gómez while the pair were still living in Mexico, they started out as Radio Silence, and disbanded when Nasser and Gómez relocated to the US – only to get back together with on their current name (meaning “Sound of Shadow”) at the very beginning of the new century,  releasing three albums between 2000 and 2005.

The chequered history of Sonus Umbra is outlined with almost poetic flair by Nasser – a professor of physics at Columbia University, as well as a gifted musician and lyricist – in the stylish booklet that accompanies Winter Soulstice, the band’s fourth release. Though Nasser is credited as the main songwriter, in his introduction he makes it abundantly clear that Sonus Umbra is not a one-man show recorded with a bunch of hired hands, but a true band – and a seven-piece at that, boasting of a lush instrumentation that lends variety and complexity to the compositions.

Being a newcomer to the band’s music, my curiosity was whetted by the CD’s striking cover artwork and photography, which suggest a modern rather than a retro direction. Indeed, while listening to Winter Soulstice, I was reminded of the eclectic approach to progressive rock of Man On Fire and Little Atlas (whose mainman Steve Katsikas gets a mention in the liner notes), two modern US bands whose albums I have covered in the past couple of years. Like them, Sonus Umbra straddle past and present with ease, placing a strong emphasis on songs and balancing the vocal and the instrumental component with a skilled touch.

Even if not overtly stated, Winter Soulstice is a concept album of sorts, making use of recurring musical themes that help to create cohesion and reinforce the message of the long, articulate lyrics, which tell a tale of loneliness and loss to which many of us can relate. Albeit somewhat sprawling, the album as a whole will only occasionally elicit reminiscences of other bands or artists. The expressive interplay between Steve Royce’s flute and Rich Poston’s electric guitar in the likes of the instrumental “Palestinian Black” and the autumnal, cello-driven “Rebuke the Sea” evokes Jethro Tull, but as a whole Sonus Umbra sound remarkably original.

Introduced by the ambient noises of “Last Train to Kimball”, “Insomniac Blue” features that mix of catchy, melodic vocals and complex, multilayered instrumental parts, with Nasser’s twangy bass and Tillotson’s versatile drumming pushed to the fore, while Tim McCluskey’s lovely acoustic guitar and Brian Harris’ rippling piano increase the melodic quotient. In the middle of “Wounded Animal”, powerful organ runs intensify the effect of the vocals and guitar riffs, while the frantically pounding drums veer into metal territory – like Deep Purple on steroids. On the other hand, the lyrically and musically connected “Haunted” blends the drama of a solemn, march-like pace with the haunting beauty of the closing a cappella vocal section.

Soothing, folksy notes hold sway in the mostly acoustic, flute-laden ballad “Let It Rain” and soften the intensity of the eclectic, subtly ominous “Silence Kills” – where the role of piano and synth seems to embody the acoustic and the electric component of the album; while the following “It’s Only Fear” – the most straightforward number on the disc, with a recognizable conventional song structure – spotlights  Poston’s discreet yet expressive lead guitar in the bridge. The lovely, somber “Adrift” – an acoustic instrumental piece built upon a hauntingly repetitive theme – provides a fitting conclusion, summing up the mood of the album without any need for words.

Clocking in at over 70 minutes, Winter Soulstice inevitably contains some filler, and may occasionally sound a bit samey. Roey Ben-Yoseph’s voice may also turn out to be an acquired taste for some, especially when he reaches for the high notes. However, the album is impeccably performed, very cohesive in terms of writing, and features outstanding instrumental textures with a keen ear for melody. Highly recommended to prog fans who like a good balance of melody and complexity, Winter Soulstice is a more than satisfactory comeback release from a band that has managed to forge its own individual sound – respecting the genre’s glorious past without lingering too much in its shadow.

Links:
https://www.facebook.com/pages/Sonus-Umbra/29632124118

Posted in Progressive Rock, Review | Tagged , , , , , , , | 2 Comments »

Ángel Ontalva – Mundo Flotante (2012)

October 21, 2013 by progmistress

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TRACKLISTING:
1. Sopla viento del Este (4:36)
2. Bounkam Rêverie (4:08)
3. Leilya (4:00)
4. Una para Lars (3:57)

Suite Sendas de Ofir:
5. En Ruta (1:39)
6. White Bird (6:21)
7.  Sendas de Ofir (4:44)
8. Oricalco (2:32)
9. Oricalco Coda (2:28)

10. Aurelia quiere saber (2:23)
11. Sunda Stream (2:42)
12. Aguas del Bagradas (4:18)

LINEUP:
Ángel Ontalva –  guitar, flute
Víctor Rodríguez – keyboards, melodica (10)
Amanda Pazos Cosse – bass
Fran Mangas – saxophones
Toni Mangas – drums
Pablo Ortega – cello (4)
Salib – vocals (3)

Spanish guitarist and graphic artist Ángel Ontalva is the mind behind RIO/Avant band October Equus and a slew of other eclectic projects. He is also the founder of the independent label OctoberXart Records, on which his main band’s latest album, Permafrost, was released in the late spring of 2013. A few months before Permafrost, Ontalva released his first solo album, Mundo Flotante, which includes material originated around 2007, and recorded between 2009 and 2012. Two other members of October Equus – bassist Amanda Pazos Cosse, who is also the artist’s wife, and keyboardist Victor Rodriguez – appear on the album,  as well as other musicians who had already previously collaborated with Ontalva.

Those who approach this album expecting something along the lines of October Equus’ austerely refined take on Avant-Prog may be disappointed, because Mundo Flotante is quite a different animal. Though featuring the same accomplished musicianship and compositional skill, there is very little to remind the listener of Univers Zéro or Henry Cow, while comparisons with the Canterbury scene will often crop up. Indeed, the album’s very title of “Floating World” neatly sums up the airy, effortlessly fluid nature of the music, reminiscent of the quirky elegance of Hatfield and the North or National Health. A rich instrumental texture unfolds a subtly shifting backdrop for Ontalva’s beautiful guitar excursions, suffused with the warmth of the Mediterranean and Middle Eastern tradition. In fact, the album’s roots lie in one of Ontalva’s many projects, called Transarabian Connection, whose sound blended classic jazz-rock and chamber music with the traditional music of Spain’s Sephardic Jews. The overall effect is of refined elegance and high listenability in spite of the obvious complexity of the pieces. The music possesses an upbeat, almost catchy feel – obviously not in a mainstream sense, but still making listening a pleasurable experience even for those who are used to more straightforward, melodic fare.

Five of the 12 tracks listed on Mundo Flotante are grouped in a suite titled “Sendas de Ofir”, the album’s centerpiece also on account of it strategic placement in the middle of things. Bookended by gentle, subtly melancholy melodies woven by electric and acoustic guitar, saxophone and keyboards, its central section alternates rarefied passages with an almost improvisational feel and more buoyant ones, led by energetic drums and sax and introducing a hint of dissonance. The elegant flow of the music, its many changes handled with a skilled touch, make for riveting listening, without none of the pretentiousness often associated with ambitious, multi-part compositions.

The remaining tracks are even more intriguing, some of their titles hinting at the presence of heady Middle Eastern suggestions. In particular“Leilya”, the only piece featuring Salib’s haunting wordless vocals well complemented by flute, sax, piano and guitar, conjures a North African market place, as well as the timeless magic of flamenco; opener “Sopla el viento del Este”, on the other hand, marries ethnic flavour and a jaunty, appealingly loose jazzy pace, which spotlights Ontalva’s guitar alongside organ and sax. The charming “Bounkam Reverie” evokes the Canterbury sound with its smooth yet intricate interplay between guitar, keyboards and drums (especially in evidence here), while in “Una para Lars” the cello adds its sober voice to the beautiful, romantic tapestry of acoustic guitar arpeggios embellished by tinkling percussion. The wistful “Aurelia quiere saber” pursues the almost autumnal mood of the last part of the suite, with melodica adding an appealing folksy touch. In contrast, the two final tracks on the album – “Sunda Stream” and “Aguas del Bagradas”-  reprise the brisk, jazzy tone of the opener, with some sharper, angular moments that hint at Ontalva’s work with October Equus.

Clocking in at a mere 43 minutes, Mundo Flotante is full of beautiful, laid-back music that is never in danger of overstaying its welcome, and where Ontalva’s remarkable compositional skill is not overshadowed by excessive ambition (as is often the case with solo albums). The strong ethnic component will especially appeal to those who love some exotic spice in their music of choice, but the album can be safely recommended to most lovers of progressive rock, especially those who lean towards the instrumental side of the genre.

Links:
http://www.octoberxart.com/

Posted in Canterbury Scene, Instrumental, Jazz-Rock, Progressive Rock, Review, World Music | Tagged , , , , , , , | 2 Comments »

Live Review: NJ Proghouse Homecoming Weekend – Roxy and Dukes Roadhouse, Dunellen (NJ) – October 12-13, 2013

October 17, 2013 by progmistress

Though the “big” progressive rock festival scene in the US – generally limited to the late spring and summer months – seems to be on the wane, with the demise of NEARfest and the failure of other ambitious events to take off, some fans seem to have taken the old “small is beautiful” adage to heart, and their efforts seem to be paying so far. While the group of close friends and music lovers affectionately known as the NJ Proghouse “staph” are old hands at organizing concerts, the two-day event that took place on the second weekend of October 2013 was a potential baptism of fire that, however, was passed with flying colours.

On a rainy Friday morning we drove from our Northern Virginia home to New Jersey. It had been a relatively late decision, but events had  made it easier for us to take the time off and head north for two solid days of music and good company. Having often written about the need to scale things down as regards the organization of prog festivals in the US, I felt I needed to follow my own advice, and support this venture. As harrowing as the drive was, through occasional spells of heavy rain and equally heavy traffic, the event more than rewarded our patience.

Though the gorgeous fall weather – cool yet not excessively so, with sun and clear skies enhancing the beauty of the multihued foliage – would have made a perfect setting for an outdoor festival, the venue chosen for the occasion was so endearingly quaint and cheerful that even spending so much time indoors did not feel like a chore. Conflating lounge bar, restaurant and music venue in a dimly-lit, low-ceilinged space decorated with an impressive collection of vintage curios, Roxy and Dukes Roadhouse is located on a picturesque, tree-lined road in the heart of New Jersey, close to New York City yet seemingly removed from its hustle and bustle. Though certainly no state-of-the-art theatre like Bethlehem’s Zoellner Arts Centre or Gettysburg’s Majestic (and therefore a bit uncomfortable after a while), it can boast of amazingly good acoustics, and its friendly vibe makes it the ideal setting for non-mainstream music events. Even if the stage may have been a bit cramped for any band with more than four members, none of the eight sets was in any way affected by the relative lack of space.

For a rather low-key event, scheduled away from the main festival season, the Homecoming Weekend was very well-attended, and the venue packed to capacity for most of Sunday, as the organizers had wisely offered the opportunity to buy tickets for single bands as well as the whole weekend. Many of the attendees came from the neighbouring areas, but others (like us) had taken a longer trip in order to be present at the launch of the event and ensure its viability for the future.  With only one exception, the lineup included bands that had already performed at concerts organized by the NJ Proghouse “staph” in the past few years – most of them hailing from the New Jersey/New York region. While the only two acts coming from outside were (as it often happens) also the biggest draws, all the bands drew a respectable and appreciative crowd. The presence of keyboardist Tom Brislin (a NJ Proghouse regular), who contributed musical interludes during the breaks, and also joined some bands during theirsets, added further interest to the already outstanding lineup.

Advent, opening act and “in-house” band of sorts (as guitarist Alan Benjamin, together with his lovely wife Amy, is one of the most active members of the Proghouse “staph”), were one of my own personal draws. While not exactly prolific either as a studio or a live act, the quintet founded in the late Eighties by Benjamin and keyboardist/composer Henry Ptak have a distinctive approach that would be too easy to dismiss as a lesser version of Gentle Giant. In fact, while the influence of the iconic Seventies band was unmistakable in the material from their self-titled debut album, their quietly refined sound, tinged with the haunting beauty of medieval and Renaissance music, as well as jazzy suggestions and  hints of English folk, is redolent with Old World charm. Their gorgeous, multi-part vocal harmonies – masterfully arranged by Henry Ptak, drawing on his experience as a choir director – blend seamlessly with the instrumentation rather than dominating it; the keyboards – manned by Ptak and his brother Mark – and Benjamin’s guitar work together with the ease of a long partnership, weaving fascinating musical textures. New bassist Brian Mooney brings his jazz-rock background to the table, lending a more dynamic element to the band’s stately sound, in unison with Joe D’Andrea’s crisp, elegant drumming. The band looked elated to be back on stage, and the material from their forthcoming third album sounds very promising indeed. Hopefully, next time I see them they will be able to play a longer set.

Advent

The Tea Club are part of a restricted number of bands whose career I have been following since its inception. The outfit led by brothers Daniel and Patrick McGowan, though plagued by growing pains (i.e. frequent lineup changes) has been going from strength to strength, adding layers of complexity to the energetic punch of their debut album, and blending a boldly modern direction with their very personal homage to the past. Young and good-looking in their fashionably bohemian attire, with the McGowan brothers and drummer Joe Rizzolo (a very talented musician with a jazz background) sporting flowing locks that would have looked great in a shampoo commercial, they played a set that emphasized their mastery of quiet-loud dynamics. Intense electric flare-ups, packed with frantic riffs, effortlessly morphed into soothing passages embellished by Renée Pestritto’s pastoral flute, while the brothers’ strong, high-pitched voices – Dan’s more melodic, Pat’s assertive, with a touch of banshee wail – merged smoothly with the instruments. New bassist Jamie Wolff complemented Rizzolo’s agile, accomplished drumming style, propelling the band’s trademark crescendos and beefing up the guitars’ relentless riffage. While the influence of the likes of Radiohead is clearly detectable, The Tea Club have woven subtle but hard to miss classic prog elements into their sound – particularly evident in the material from their latest CD, Quickly Quickly Quickly, performed here in its entirety. Some entertaining visual props – in the shape of a large, top-hatted wolf stuck to Dan’s back – were also introduced during their performance of “The Eternal German Infant” at the close of their set.

The Tea Club

Having been absent from the stage for quite a few  years, Long Islanders Frogg Café were certainly one of the most highly anticipated bands of the weekend. Indeed, while their highly praised 2010 album, Bateless Edge, had made many Top 10 lists, no one had had the pleasure of seeing any of its material performed live. After their career-defining performance at NEARfest 2005, the band had made a lot of fans both inside and outside the US, but had dropped off the radar after their latest album’s release, giving rise to rumours of their demise. Thankfully, the six-piece born as a Frank Zappa cover band called Lumpy Gravy, and later developed into a highly inventive entertaining jazz-rock outfit, are still alive and very much kicking. Frogg Café are also one of those quintessential live bands whose full potential does not truly shine on CD, as their preference for long, jam-like compositions suits the stage much better. They also have the ability not to take themselves too seriously, in spite of their outstanding musical background. Lined up at the front of the stage, with  music stands before each member but drummer James Guarnieri,  their presence brimmed with deadpan humour  – especially evident in guitarist Frank Camiola’s attire of pork pie hat, shorts and mirrored shades, matched by a stony countenance. Dynamic horn duo of Nick and John Lieto, soberly dressed in slacks and dress shirts, went about their comedy routine while playing their respective instruments with gusto, supported by Bill Ayasse’s more sedate violin-wielding turn; while bassist Andrew Sussman’s striking, confident presence marked him as the “rockstar” character of the band. Frogg Café’s set consisted of a number of extended pieces that featured lots of improvisation, engaging Zappaesque vocals and occasional reflective moments. Fans of the Canterbury scene also appreciated the homage to Mike Ratledge’s “Backwards” (part of Caravan’s “A Hunting We Shall Go” instrumental suite, though originally included in Soft Machine’s “Slightly All the Time”).

Frogg Café

The outstanding Saturday programme was wrapped up by New York sextet IZZ, another favourite of prog audiences. After having had a taste of their excellence in the late spring of this year, when their “Quad” version opened for 3RDegree at the Orion Studios, I was looking forward to seeing the full band on stage, and I am glad to say that they did not disappoint. Opening their 2-hour set with an energetic cover of The Beatles’ classic “Ticket to Ride”, IZZ treated the audience to a selection of their best material, including epics “Late Night Salvation”, “Can’t Feel the Earth” and “Crush of Night”, as well as one song from bassist John Galgano’s solo album and a cover of King Crimson’s “Three of a Perfect Pair”. The distinctive two-drummer configuration, with Brian Coralian handling acoustic and electronic percussion and Greg DiMiceli a traditional kit, lent both texture and dynamics to the music, boosting John Galgano’s flawless bass lines and providing a solid backdrop for Paul “Brems” Bremner’s exhilarating, often hard-edged guitar work. Tom Galgano manned the keyboards with energy and aplomb, his voice tackling the band’s melodic yet complex compositions effectively, assisted by Anmarie Byrnes’ pure, soaring tones. Though IZZ’s music is clearly influenced by the golden age of prog, it has enough personality to stand on its own.  Extremely professional in their approach, yet warm and engaging, IZZ are one of those bands whose material – as good as it is in recorded form – takes on a completely new dimension when performed live, its impressive balance of melody, intricacy and electricity fully unfolding on the stage.

IZZ

After a refreshing night’s sleep, on Sunday morning we were back at Roxy and Dukes for another day of great music and friendship. Though the Sunday opening act was the only unknown quantity to the vast majority of the audience,  Tammy Scheffer’s Morning Bound, an experimental trio of voice, bass and drums led by extremely talented Israeli-born singer Tammy Scheffer,  proved to be the real surprise of the festival. Drafted in a few months ago to replace Oblivion Sun, they provided that genuine boundary-breaking element that progressive rock seems all too often to have left by the wayside. When the slight, curly-haired Scheffer stepped on stage and started to sing, my jaw dropped to the floor and stayed there for the whole duration of the band’s set. Her voice soared effortlessly, pitch-perfect and smooth as honey, bending the music to its will and twining with the intricate patterns laid out by bassist Russ Flynn and drummer Ronen Itzik. Tape loops were used sparingly but effectively to add further layers of interest to her performance, but she would have caused a stir even if she had sung without any accompaniment at all. With her graceful posture and charmingly measured gestures punctuating her astonishing vocal exertions, Tammy offered a performance that while devoid of any references to classic prog, was as progressive as they come. One of the undisputed highlights of an hour of musical excellence was her deconstruction of Suzanne Vega’s wistful “Marlene on the Wall”. Tammy’s flawless set proved once again that it is not necessary to rely on overly complex arrangements and large instrumentation to produce authentically forward-looking music, and celebrated the power and beauty of the human voice.

Tammy Scheffer’s Morning Bound

The contrast between the first and the second act on the bill could not have been greater, as Morning Bound’s jazzy elegance left the stage to Thank You Scientist – another local band that we had first seen in action barely over one month ago at ProgDay. Although somewhat constrained by the size of the stage, the explosive seven-piece led by charismatic singer Sal Marrano delivered an energy-packed, highly entertaining set with hardly a moment of respite. Odin Alvarez’s relentless drumming, aided and abetted by bassist Greg Colacino, pummeled the audience into submission, while Russell Lynch’s distinctively-shaped violin added a melodic touch to the band’s hard-driving sound. The irresistible horn duo of Andrew Digrius and Ellis Jasenovich blared their way through the setlist, providing swing and entertainment value, while guitarist Tom Monda anchored the band’s wildly eclectic sound to the rock aesthetics. Marrano, sporting a jaunty beret, almost jumped off the stage on several occasions, his engaging stage presence owing more to punk than prog, and his high, expressive voice never flagging in spite of the demanding nature of his vocal parts. The Beatles’ anthemic “I Am the Walrus”, enthusiastically cheered by the audience, wrapped up their hyper-energetic set. As I noted in my ProgDay review, these guys have serious potential to win over the considerably broader audience of indie/alternative rock – those who do not care for the “prog” tag even if many of their favourite bands have clear progressive features (The Mars Volta, Tool and The Decemberists all being a case in point).

Thank You Scientist

For all the abundance of awesome modern talent on display during the weekend, it cannot be denied that most of the attendees ( prog fans being what they are) were looking forward to one act in particular – Chicago hotshots District 97 with Seventies legend John Wetton as a special guest, performing some of King Crimson’s most popular compositions. The band had played in our neck of the woods a few days before the festival, and garnered very positive feedback, so I was open to be surprised – even if the events of last year’s NEARfest had somewhat soured my attitude towards Wetton. It was my third time seeing District 97, and last year at the Orion I had been positively impressed by their new material and their improved songwriting skills. Unfortunately, the band’s own music was dealt with rather hurriedly to leave room for Wetton’s appearance – which happened in very understated fashion, with the singer stepping on stage during “The Perfect Young Man”. To be fair, his voice was in amazing shape, and his interpretation of the King Crimson classics was in many ways even better than the original versions (I am especially thinking of “Book of Saturdays” and “The Night Watch”). However, he looked quite uncomfortable on stage, his hands obviously itching to play his bass and being instead forced to gesture in a way he was obviously not used to. In spite of the unexpected surprise of “Great Deceiver”, things started going seriously downhill when the marvelous “Starless” (one of the true manifestos of progressive rock in my view) was cut short at the end of the vocal section to morph into “Easy Money” – a medley that did neither of those iconic songs any justice. I would also have gladly done without Leslie Hunt’s duets with Wetton, which did not add anything to the songs, and her constant posturing was ultimately annoying. In stark contrast, the other band members were serious to the point of grimness, and guitarist Jim Tashjian’s shreddy flourishes during some of the Crimson material sounded quite jarring. On the whole, the performance – while spotlighting the band’s undeniable technical proficiency – left a bad taste in my mouth. Those King Crimson songs are among my favourite pieces of music of all time, but their rendition by District 97 lacked the fine balance between sublime melody and jagged edges that made the originals so unique.

District 97 with John Wetton

Unfortunately, when the time came for headliners Beardfish to hit the stage, tiredness had already crept upon us, and the very crowded room – with scarcely enough space to breathe – did not look very inviting. While the Swedish band (the only international outfit on the lineup) have long been a firm favourite of the US prog community, I have always been rather impervious to their charms, and my only experience of seeing them live at NEARfest 2009 left me a bit underwhelmed. However, the audience seemed to love them, and the feedback I heard on the following day was overwhelmingly positive. As they have often visited the US in the past few years, we can expect to see them again relatively soon, and the next time I will make a point not to miss them.

All in all, in spite of Friday’s troublesome drive, it was a perfect weekend. The lovely weather, the outstanding hotel accommodation arranged by the organizers, the welcoming venue, the availability of great food and drink (including the delicious home-baked cupcakes kindly offered by Anita Redondo Wilson), the great company and, last but not least, the top-notch musical programme all contributed to make the first Homecoming Weekend an unforgettable experience. My heartfelt thanks go to the “staph” for the seamless organization, and for all their hard work on behalf of the cause of progressive rock. Small is beautiful indeed, and  we will definitely be looking forward to Homecoming Weekend # 2 in 2014.

Posted in Festival, Progressive Rock, Review | Tagged , , , , , , , , , , , | 12 Comments »

October Equus – Permafrost (2013)

October 10, 2013 by progmistress

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TRACKLISTING:
1. Erosive Forces of Wind and Water (5:14)
2. Lead Poisoning (5:14)
3. Boots, Nails, Watches… (5:25)
4. Thermokarst (5:15)
5. Trapped in the Sea Ice (3:59)
6. …Books, Saws, Silk Handkerchiefs… (3:52)
7. Graves of the Crewmen Buried on Beechey Island (6:17)
8. …Two Double-Barreled Guns and 40 Lbs of Chocolate (5:31)

LINEUP:
Ángel Ontalva – guitar
Victor Rodriguez – keyboards
Amanda Pazos Cosse – bass
Vasco Trilla – drums, percussion

Formed in 2003 in the historic Spanish city of Toledo by guitarist/composer Ángel Ontalva, bassist Amanda Pazos Cosse and keyboardist Victor Rodriguez, for their fourth CD release October Equus have gone back to a quartet format, just as they started out ten years ago. Permafrost,  released in May 2013, is also their first album released by Ontalva’s own independent label, OctoberXart Records. Though, after 2011’s Saturnal, the band have parted ways with AltrOck Records, they appeared at the Italian label’s festival in June 2013, and the new album was mastered by AltrOck’s preferred sound engineer, Udi Koomran, at his Tel Aviv studio.

The lineup changes occurred after Saturnal (recorded as a seven-piece) imply that October Equus have gone back to the basics  on their fourth album – taking reeds and cello out of the equation, though without renouncing the complexity of their particular take on the RIO/Avant-Prog aesthetics. In fact, the album marks a definite step forward for the band, allowing them to distance themselves from the influence of Univers Zéro – which loomed quite large on their previous releases –  and give their sound a more personal imprint. While their style remains firmly ensconced in “chamber rock” territory, the new stripped-down format pushes Ontalva’s guitar to the fore, constantly supported by Victor Rodriguez’s array of keyboards. Drummer Vasco Trilla (also a member of jazz-rock outfit Planeta Imaginario) provides an inventive, often dramatic rhythmic backbone, assisted by Amanda Pazos Cosse’s discreet yet versatile bass lines.

As suggested by the title and the booklet’s detailed artwork, Permafrost is a concept album, based on the tragic ending of Sir John Franklin’s Northwest Passage expedition. Besides his obvious musical talent, Ontalva (who, together with Rodriguez,  is the band’s main songwriter,) is also an outstanding graphic artist, and his black-and-white illustrations complement each episode of the musical odyssey. Though completely instrumental, the music manages to convey the atmosphere of fear, loneliness and impending doom without relying on words – perhaps even more effectively because of their absence. The stark appearance of the cover, distinguished by a striking use of white space, evokes the bleakness of the Arctic winter, while on the back cover Franklin’s last note is reproduced.

 Those who believe any band tagged RIO/Avant-Prog must thrive on dissonance might find their convictions challenged by Permafrost. Indeed, the album often comes across as surprisingly melodic – though of course, not exactly in the same way as your average symphonic/neo prog release. As a whole, though Univers Zéro are referenced on more than one occasion, I was often reminded of Miriodor’s effortless complexity and elegant blend of angularity and fluidity. Obviously, given the nature of the story narrated by the music, the album has its fair share of tense, Gothic moments, rendered by a skillful mix of electronic effects and conventional rock instruments – as in closing track “…Two Double-Barreled Guns and 40 Lbs of Chocolate”, as ominously menacing as a horror movie soundtrack.

The correspondence between track titles and musical content is often astonishingly precise: eerie mellotron and swelling piano flurries, coupled with tinkling vibraphone, evoke the desolation of the abandoned ships in “…Books, Saws, Silk Handkerchiefs…” , while the mesmerizingly measured pace of “Graves of the Crewmen Buried on Beechey Island” – almost Pinkfloydian in its slow, mournful development – is punctuated by suitably dirge-like drumming. Rodriguez switches from organ (whose fuzzed-over sound hints at Soft Machine) to synths, piano and even mellotron, working in unison with Ontalva’s expressive, jazzy guitar to create a wide range of atmospheres – haunting and almost romantic at times (as in the autumnal, melancholy “Lead Poisoning”), strident and aggressive at others (“Thermokarst”).

Clocking in at barely over 40 minutes, Permafrost is an intense, cohesive effort that packs more punch  in its very restrained running time than most 70-minute albums. Though, as was the case with its predecessors, its main audience will be the RIO/Avant crowd, there is enough on the album to appeal to those with somewhat more mainstream tastes. Among its many qualities, this disc proves that “concept albums” can be something different from the overblown messes that have unfortunately become synonymous with progressive rock, and that a purely instrumental palette can be used very effectively for storytelling purposes. Definitely one of the strongest releases of the year so far, Permafrost is highly recommended to all open-minded music fans.

Links:
www.octoberxart.com

Posted in Instrumental, Progressive Rock, Review, RIO/Avant | Tagged , , , , , , , , | 6 Comments »

Simon McKechnie – Clocks and Dark Clouds (2013)

October 4, 2013 by progmistress

McKechnie

TRACKLISTING:
1. Mother and Daughter (7:45)
2. Clocks and Clouds (7:48)
3. The City in the Sea (7:48)
4. God Particle (7:45)
5. Gorham’s Cave (8:34)
6. He Who Saw the Deep (Gilgamesh) (9:47)
7. The Emigrant (6:52)

LINEUP:
Adam Riley – drums
Simon McKechnie – all other instruments

Behind this album there is a heartwarming story of triumph over adversity that should encourage us to put many things into perspective. Based in London, multi-instrumentalist/composer Simon McKechnie (who has a thriving career as a musician with a very eclectic attitude)  had been planning to record a progressive rock album for a long time, but he only got around to doing so when,  in the spring of 2012, a serious health condition forced him to spend most of his time lying in bed. During that difficult time, he kept on playing his guitar and writing the songs that would later be included on Clocks and Dark Clouds. The album was recorded in McKechnie’s own studio, with the assistance of his longtime friend and collaborator Adam Riley – a drummer with a jazz-fusion background who proved to be the perfect choice to enhance the album’s complexity –  and released in June 2013. Its title is an homage to Hungarian composer György Ligeti’s  composition “Clocks and Clouds” , one of the artist’s favourite pieces of music. Though not exactly a concept album, all of its seven songs revolve, in one way or the other, around the topic of time.

In my years as a reviewer, I have often come across a number of similar, studio-based projects, which, albeit technically accomplished, can often be dull, meandering affairs that add nothing of value to the development of the prog scene. However, Clocks and Dark Clouds, while not perfect, is definitely a cut above the average current release. It also sounds refreshingly modern, reinterpreting the classics in a very personal way rather than using them as a template to be followed verbatim. As biased as I may have become, when I first put the CD on I was very pleasantly surprised, as I was expecting something quite different.

With a very reasonable running time of around 56 minutes, Clocks and Dark Clouds comprises seven longish tracks that place a strong emphasis on vocals. Indeed, McKechnie’s voice is spotlighted right from the start, fortunately proving up to the task of tackling the elaborate lyrics without overstaying its welcome. He  also proves himself a capable lyricist, dealing with thought-provoking topics such as history and science with perhaps a touch of wordiness, but avoiding the cheesy nonsense too often associated with prog. On the whole, the album is very cohesive, even if it does lose some steam in the second half. The angular, interlocking guitar lines, supported by Riley’s suitably intricate drumming patterns, evoke King Crimson’s Belew-Levin period, and McKechnie’s knack for a catchy tune tempers the intensity of the instrumental passages.

By an interesting quirk, the album’s first four songs have almost the same running time. Opener “Mother and Daughter” introduces McKechnie’s modus operandi in style, balancing angularity with melody. “Clocks and Clouds” introduces an almost Oriental note amidst the ticking sounds and dramatic, jagged instrumental accompaniment that evokes Yes and Van Der Graaf Generator. In “City by the Sea” (with lyrics by prog icon Edgar Allan Poe, also referenced by the raven silhouette on the cover) the Eastern flavour becomes even more prominent, coupled with suitably eerie sound effects, slashing riffs and outstanding guitar work that recall The Mars Volta’s idiosyncratic approach. The latter influence also crops up in “God Particle”, which opens with a quote by none other than Albert Einstein, and showcases Riley’s astounding drumming, propulsive and textural at the same time.

The following couple of songs are even more ambitious nature, but also reveal a few weaknesses, though without detracting from the album’s overall quality. The almost 10-minute “He Who Saw the Deep”, inspired by the myth of Gilgamesh (the oldest epic known to mankind), is characterized by a dynamic, borderline aggressive mood, only at times relieved by more subdued pauses; the sometimes shrill vocals and spectacular drumming again reminded me of The Mars Volta. “Gorham’s Cave”, though somewhat shorter, is broken up by frequent, sometimes abrupt changes of pace; the influence of later Rush is unmistakable, as well as that of The Police circa “Synchronicity”. The disc closes on a high note with “The Emigrant” an the album’s most “traditional” song in terms of structure, made particularly memorable by Irish poet Joseph Campbell’s lyrics and their haunting “farewell” refrain, and a gentler, elegiac mood reminiscent of Genesis.

For all his alleged debt to the prog icons of the Seventies, Simon McKechnie has produced an album that sounds highly refreshing in a world of often rehashed  ideas. Though lovers of instrumental music might find the prevalence of vocals somewhat offputting,  the instrumental arrangements manage to hold the attention of demanding listeners. In spite of the rather tinny sound quality, the album is still eminently listenable, and challenging without being too taxing. Highly recommended to prog fans who like a healthy mix of modernity and reverence towards the genre’s founding fathers, Clocks and Dark Sounds is a  very promising debut from a gifted artist.

Links:
http://www.simonmckechnie.com/#

http://www.prog-sphere.com/promotions/

Posted in Progressive Rock, Review | Tagged , , , , , , | 2 Comments »

Rhùn – Ïh (2013)

September 29, 2013 by progmistress

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TRACKLISTING:
1. Toz (9:25)
2. Intermud (2:59)
3. Dunb (8:57)
4. Bùmlo (5:34)
5. Mlùez (6:16)
6. Ïh (8:18)

LINEUP:
Captain Flapattak – drums, vocals
Fabien De Kerbalek – guitar, vocals
Brhüno – tenor/soprano saxophones, bassoon, vocals
Thybo – guitar
Sam – alto/baritone saxophones, alto clarinet, flute, vocals
Damoon – bass, vocals (1-3)
Sir Alron – bass, vocals (4-6)
Marhïon Mouette – vocals, percussion (1-3)
Emilie Massue – vocals, percussion (4-6)

With the Ensemble Pantagrulair (1-3):
Séverine – flute, piccolo
Rémi – oboe
Catherine – clarinet
Pierre – horn

Even if, at first, their name may ring a bell with the many fans of J.R.R. Tolkien’s work (Rhûn means “East” in one of his invented languages), French outfit Rhùn are firmly entrenched in the Zeuhl tradition initiated by their fellow countrymen Magma in the late Sixties. The subtitle “Fanfare du Chaos” proudly emblazoned on the cover of their full-length debut album, Ïh, should leave no doubts as to the contents of the disc itself and its potential to appeal to the more adventurous fringes of the progressive rock audience.

The band – based in the northern French region of Normandy – revolves around the figure of drummer/vocalist Captain Flapattak, flanked by a group of other musicians who, like him, go for the most part by pseudonyms in the style of early Gong. Though very little is available in the way of a biography, from their social media presence it can be inferred that Rhùn have enjoyed a lively concert activity in the past few years. After a three-song demo released in 2008, their first proper recording effort – an EP also titled Ïh (like one of the tracks on the demo) – came at the end of 2012. Both of these recordings have been remastered by AltrOck Productions stalwart Udi Koomran and released in CD format by the Milan-based label in the early summer of 2013 – allowing the listener to trace the band’s development from a more rough-edged sound to longer, more elaborate compositions. Besides Captain Flapattak, Fabien de Kerbalek and Thybo (guitars, vocals), Brhüno (sax, bassoon, vocals) and Sam (sax, clarinet, vocals) appear on all the songs on the CD, while other members of this rather eclectic configuration have changed in the intervening years. At present, the band is a six-piece that also includes Damoon (bass, vocals); a reed quartet called Ensemble Pantagrulair also appears on the EP tracks.

The 9-minute “Toz” opens the album with a fair sonic rendition of that “fanfare of chaos” subtitle – a burst of horns, drums and vocals like a less melodic version of Magma, with hints of fellow French outfit Jack Dupon in the extravagantly theatrical vocals. The track develops as a veritable rollercoaster ride, reminiscent of Üdü Wüdü-era Magma – driven by powerful, martial bass and drums, and throwing in Hendrixian guitar solos, massed male-female choirs, majestic horns, carnival tunes and much more, with rare moments of respite. After this rather demanding listening experience, the short classical intermezzo of “Intermud” – with flute and oboe conversing discreetly in a Debussy-like piece – comes as a welcome surprise, though things change sharply once again when the insistent, hypnotic choir of “Dunb” kicks in. Alternating subdued, atmospheric passages with frantic bouts of dissonance, the track pushes Damoon’s thundering bass to the forefront, culminating in a fierce, almost operatic crescendo.

As can be expected, the two parts of the album (which runs barely over 40 minutes) differ quite noticeably. The three demo tracks also show a clear Gong influence – immediately suggested by the wacky, atonal female vocals and blaring saxes in “Bùmlo”– and a raw, almost unscripted quality. Captain Flapattak’s drum take the lead role in “Mlùez”, which combines a laid-back, jazzy allure with a smattering of RIO/Avant angularity; while the title-track veers into free-jazz territory, with low-key, psychedelic moments balancing out the dissonance. As a whole, the second half lacks the orchestral quality of the EP tracks, though the Magma influence is not as overwhelming.

Obviously, Ïh is not the kind of album that is going to convert those who find Zeuhl unpalatable, while lovers of this most idiosyncratic of prog subgenres will find a lot to appreciate in the album – including the stylish photography featured in the CD booklet. As pointed out in the previous paragraphs, the frequent lack of melody (at least in a conventional sense) may put off some listeners, and the compositional aspect might be improved upon, especially as regards cohesiveness. While Rhùn’s interpretation of Zeuhl is definitely more old-school than that of a band like Corima, and more dependent on the Magma influence, the band has still a lot of margin to develop a more personal approach.

Links:
https://myspace.com/rhundesfoins

https://www.facebook.com/pages/Rh%C3%B9n/348653246789

http://www.altrock.it

Posted in Progressive Rock, Review, RIO/Avant, Zeuhl | Tagged , , , , , , , , , , , , | 2 Comments »

Volto! – Incitare (2013)

September 19, 2013 by progmistress

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TRACKLISTING:
1. Grip It (5:50)
2. Gillz (6:37)
3. Whopner (6:13)
4. Drumbeaux (8:36)
5. Quirk (4:09)
6. BHP (6:03)
7. Meltdown (4:57)
8. Tocino (4:25)
9. I’m Calm Now (6:49)

LINEUP:
John Ziegler –  guitar
Lance Morrison – bass
Danny Carey – drums
Jeff Babko – keyboards

Though their name might not be familiar to many progressive rock fans, Volto! have been around since the start of the new century. Formed by drummer extraordinaire Danny Carey (of Tool fame) together with guitarist John Ziegler,  his former bandmate in Pigmy Love Circus, and session bassist Lance Morrison (who is also a member of Don Henley’s touring band), they started out as a cover band, playing live in the Los Angeles area whenever it was possible for them to get together. A few years later, they ventured into writing and performing  their own material. The next logical step was to head into Carey’s home studio to record their debut album, enlisting the services of veteran session keyboardist Jeff Babko and engineer Joe Barresi (who worked on Tool’s most recent album, 10,000 Days). Incitare was released in August 2013, coinciding with Volto!’s appearance at Yestival in Camden (NJ), alongside Yes, Renaissance, Carl Palmer Band and Sound of Contact.

Anyone who approaches Incitare hoping for some Tool-related music to fill the long wait for the cult quartet’s next album is bound to be disappointed, because Volto!’s debut shares very little (if anything) with Tool’s intense, esoteric sound. In spite of its high-sounding Latin title (“to drive/encourage”), the album is full of the genuine pleasure of playing music, as reflected by the humorous, cartoon-inspired black-and-white cover artwork. While the impressive résumé of the band members might lead some listeners to expect a triumph of style over substance, Incitare comes across as surprisingly easy on the ear. The music possesses a natural flow that is not always associated with such an amount of technical skill: it is exhilarating, energetic and often quite heavy, but never used as a showcase for pointless fireworks, and also unexpectedly melodic.

That being said, Incitare does not lay any claim to being innovative – rooted as it is in the classic jazz-rock tradition of the Seventies, with just a touch of contemporary flair to spice things up. The prominent role of drums and guitar and their seamless, scintillating interplay evoke Billy Cobham’s collaboration with Tommy Bolin on the seminal Spectrum album, or Mahavishnu Orchestra circa Birds of Fire; on the other hand, Jeff Babko’s bold keyboard work hints at some modern-day heavy fusion outfits such as Derek Sherinian’s Planet X (as well as his solo work).

These comparisons immediately spring to mind as “Grip It” opens the album, its fiery, relentless guitar riffs and keyboards backed by Carey’s pyrotechnic drumming; the pace slows down towards the middle, with Ziegler delivering a clear, piercingly melodic solo before things heat up again. The next two tracks showcase the band’s skillful handling of contrasts between dynamic urgency and more laid-back moments. Electric piano lends its unmistakable touch to the intriguing structure of “Gillz”: in the first part, the instruments apparently play at odds but manage to keep a sense of cohesion, while the pace quickens in the finale, driven by lively drums and heavy riffing. “Whopner” is pervaded by a mysterious atmosphere, with faraway-sounding guitar and an almost military drumbeat; then organ takes the lead and drums gain momentum. As hinted in the title, “Drumbeaux” – at over 8 minutes the longest track on the album – spotlights Carrey’s celebrated skills, its central section dedicated to a drum solo that does not overstay its welcome, bookended by spacey, riff-heavy ensemble playing.

Airy and melodic, “Quirk” brings back again echoes of Cobham’s Spectrum, with guitar and electric piano indulging in an elegant duet; while “BHP” barges in with a funky swagger and a barrage of crunching riffs, underpinned by spacey electronics and Carey’s spectacular drumming, then turns subdued, almost romantic in the middle, displaying the band’s ability to shift gears in seemingly effortless fashion. The aptly titled “Meltdown” sees the band dabble with all sorts of electronic effects, while Carey lets rip on his kit, apparently having the time of his life; then the sleek, bass-driven ride of “Tocino” brings things back to normal, with Lance Morrison finally stepping into the limelight and elegant piano flurries enhancing the brisk pace of the track. The album closes on a high note with the power-ballad-meets-vintage-fusion of “I’m Calm Now” – Ziegler’s slow-burning lead reminiscent of Jeff Beck or Gary Moore (especially in his Colosseum II days), then leaving the stage to Babko’s eerily reverberating electric piano and moody, understated synth.

Besides its obvious appeal for fans of impeccably played classic jazz-rock/fusion (especially those who are not averse to a bit of heaviness), Incitare is also a very cohesive piece of work, and avoids the temptation of sprawling, overlong compositions. It also celebrates the joy of playing music at a very high level of proficiency without hitting the listener over the head with one’s chops. In these times of studio-only projects, often conducted over the Internet without any physical contact between the musician, it is heartwarming to see an album that has its origins in live performance – an excellent example of instrumental music that sounds fresh and engaging without pretending to reinvent the wheel.

Links:
http://www.voltoband.com/

http://www.concordmusicgroup.com

Posted in Fusion, Instrumental, Jazz-Rock, Review | Tagged , , , , , , | 1 Comment »

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