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Posts Tagged ‘Stabat Akish’

1505

No doubt about it: 2012 was a difficult year for most of us. True to the Italian saying about leap years being unlucky, 2012 ran the gamut from weather-related disasters, wars and other acts of random violence to political malfunction and economic near-collapse, sparing almost no part of the world. There was no lack of disruption in my own little world either. In spite of all my good resolutions, the year started with a few weeks of less than stellar physical condition (nothing serious, but enough to grind most of my projects to a halt), and then I was hit by a double-whammy of bureaucracy-related problems that –  while obviously not tragic – caused enough distress to cast a pall over the remaining months.

It is not surprising, therefore, that in 2012 I have been less prolific a reviewer than in previous years, or that the views on this blog have somehow decreased, though not dramatically so. Constant stress can wreak havoc on inspiration, and at times it was hard to come up with a coherent sentence – let alone an 800-word review. However, in spite of the seemingly endless stream of worry and general annoyance, music has remained a source of delight and (as the title of this essay points out) comfort when things got really tough.

The number of progressive rock-related albums released during 2012 was nothing short of staggering. The second decade of the 21st century started indeed with a bang in 2011, and, at least for the time being, the trend does not show any signs of being reversed. Many of those albums were made available for streaming (at least for a limited time) by websites such as Progstreaming, Bandcamp or Soundcloud, allowing the often cash-strapped fans a “test run”. On the other hand, the sheer volume of new releases made it necessary to pick and choose to avoid being overwhelmed. While confirming the vitality of the genre, this also showed one of the downsides of the digital age – the oversaturation of the market, and frequent lack of quality control.

As my readers know, I do not do “top 10/20/50/100” lists, leaving this exercise to people who are interested in arranging their choices according to a more or less strict order of preference. From my perspective, there have been milestone releases, and others that – while perhaps not equally memorable – still deserve a mention. On any account, even more so than in the previous year, 2012 has emphasized the ever-widening gulf between the retro-oriented and the forward-thinking components of the prog audience. Sometimes, while looking at the reviews pages of some of the leading websites of the genre, I have had the impression that (to paraphrase Rudyard Kipling) the twain shall hardly ever meet. In the US, such a split has been detrimental to the festival scene – though the void left by NEARfest’s demise may lead organizers to step out of their typical audience’s comfort zone in order to attract a more diverse crowd.

Though I am most familiar with albums that I have reviewed, or otherwise own, there are others that have left enough of an impression to deserve a mention in this post. As my choices have been mainly informed by personal taste, I will apologize beforehand for any major omissions. While I may consider those albums essential listening, some of my readers will certainly disagree with me, and suggest their own personal picks –and this is exactly how things should be. Indeed, as the French would say, vive la différence!

Although I have built a reputation as a fan of the more “difficult” stuff, one of my favourite albums of the year (and one that is likely to be featured in many top 10 lists) is an album that, in many respects, is not even “prog” in the conventional sense of the word. However, Echolyn’s self-titled eighth studio album – unlike so many true-blue prog releases – is a masterpiece of songwriting, instrumentally tight without any concessions to self-indulgence, and packing a huge emotional punch. Another highly awaited, almost unexpected comeback – 18 years after the band’s previous studio effort – Änglagård’s third studio album, Viljans Öga, reveals a keen, almost avant-garde edge beneath its pastoral surface, well highlighted in their impeccable NEARfest appearance.

2012 was a milestone year for what I like to call the “new frontier” of prog – less focused on epic grandeur and more song-oriented. In the second decade of the 21st century, “progressive rock” and “song” are not antithetic concepts any longer, and going for 5 minutes instead than 15 is not a sign of sell-out. Three albums in particular stand out: 3RDegree’s The Long Division, a perfect combination of great melodies, intelligent lyrics and outstanding musicianship with the added value of George Dobbs’ Stevie Wonder-influenced vocals; the Magna Carta reissue of MoeTar’s 2010 debut From These Small Seeds, a heady blend of catchy hooks, edgier suggestions and Moorea Dickason’s stellar, jazz-inflected voice; and Syd Arthur’s delightful “modern Canterbury” debut, On And On – infused with the spirit of early Soft Machine and Pink Floyd.

As in the previous years, in 2012 the ever-growing instrumental prog scene produced some outstanding albums. Canadian multi-instrumentalist Dean Watson wowed devotees of high-energy jazz-rock with Imposing Elements, the second installment of his one-man project – inspired by the industrial Gothic paintings of Toronto-based artist Ron Eady. In the early months of 2012, French seven-piece Forgas Band Phenomena made a triumphant recording comeback with the exhilaratingly accomplished Acte V. Another two excellent Cuneiform releases, Ergo’s second album If Not Inertia and Janel & Anthony’s lovely debut, Where Is Home, while not immediately approachable, will gradually win over the discerning listener with their deep emotion and lyricism. In a similar vein, A Room for the Night by drummer extraordinaire John Orsi (the mind behind Providence-based collective Knitting By Twilight) provides a veritable aural feast for percussion lovers. On the cusp of prog, jazz and metal, the aptly-titled Brutal Romance marks the thunderous return of ebullient French power trio Mörglbl, led by Christophe Godin’s humour-laden guitar acrobatics. Leonardo Pavkovic’s Moonjune Records specializes in instrumental music of a consistently high standard of quality, and this year’s landmark releases were no exception: Indonesian powerhouses Ligro (Dictionary 2) and Tohpati Bertiga (Riot), Canadian quartet Mahogany Frog’s rivetingly eclectic Senna, and douBt’s towering Mercy, Pity, Peace & Love – all of them true melting pots of rock, jazz, avant-garde and psychedelia. Also very much worthy of exploration, Kotebel’s Concert for Piano and Electric Ensemble revisits and updates the marriage of classical music and progressive rock with a heady dose of traditional Spanish flavour.

The left-field fringe of the progressive rock spectrum was spearheaded by the tireless efforts of dedicated labels such as Cuneiform Records and AltrOck Productions. One of  2012’s musical milestones – the long-awaited sixth studio album by seminal US Avant outfit Thinking Plague, titled Decline and Fall – was released in the very first weeks of the year. Mike Johnson’s monumentally intricate, intensely gloomy reflection on humankind’s impending Doomsday was complemented by a Thinking Plague-related project of a vastly different nature  – the charming, Old-World whimsy of 3 Mice’s Send Me a Postcard, Dave Willey and Elaine Di Falco’s transatlantic collaboration with Swiss multi-instrumentalist Cédric Vuille. By an intriguing coincidence, almost at the tail end of the year came the stunning live album by one of the foremost modern RIO/Avant outfits, Yugen’s Mirrors – recorded at the 2011 edition of the Rock in Opposition festival in Carmaux (France). A special mention is also deserved by Cuneiform’s touching tribute to RIO icon Lars Hollmer, With Floury Hand (sketches), released four years after the artist’s untimely passing.

On the Zeuhl front, founding fathers Magma made their comeback with the short and unusually low-key Félicité Thosz, proving once again Christian Vander’s versatility and seemingly endless reservoir of ideas; while the US produced an astonishing example of Zeuhl inspired by Aztec mythology – multi-national outfit Corima’s second album Quetzalcoatl. Eclectic albums such as Cucamonga’s Alter Huevo, Inner Ear Brigade’s Rainbro (featuring another extremely talented female vocalist, Melody Ferris) and Stabat Akish’s Nebulos – as well as chamber-rock gems such as Subtilior’s Absence Upon a Ground  and AltrOck Chamber Quartet’s Sonata Islands Goes RIO – reinforced AltrOck’s essential role in the discovery of new, exciting talent on the cutting edge of the progressive rock scene. Also worthy of a mention as regards the Avant-Progressive field are the politically-charged Songs From the Empire by Scott Brazieal, one of the founding fathers of the US Avant scene; the exhilarating Sleep Furiously by English outfit Thumpermonkey;  the wacked-out return of cult Finnish band Alamaailman Vasarat, titled Valta; and French quartet Jack Dupon’s energetic double live CD set, Bascule A Vif . The Avant-Progressive scene was also celebrated in the second episode of José Zegarra Holder and Adele Schmidt’s documentary film series dedicated to progressive rock , Romantic Warriors II – About Rock in Opposition.

The year was also noted for hotly anticipated comebacks from high-profile acts:  first of all, Rush, who were also finally inducted in the Rock and Roll Hall of Fame, for the joy of their substantial following. Their Clockwork Angels, while not a life-altering masterpiece, is definitely their strongest effort in almost 20 years. 2012 also saw the release of Ian Anderson’s Thick As a Brick 2, mixed by none other than Steven Wilson (also responsible in 2012 for the 40th Anniversary edition of King Crimson’s seminal Larks’ Tongues in Aspic) – a solid, well-crafted album, though not on a par with the original. While King Crimson seem to have been put on hold indefinitely, Robert Fripp has not been idle, and the elegant Travis/Fripp CD/DVD package Follow offers a complete aural and visual experience – suitably rarefied yet spiked by almost unexpected electric surges – to diehard fans of the legendary guitarist.

On the “modern prog” front, standard-bearers The Mars Volta’s sixth studio album Noctourniquet marks a return to form for the band, as it is their tightest, most cohesive effort in quite a long time. The Tea Club’s third album, Quickly, Quickly, Quickly confirms the status of the New Jersey band (now a trio) as one of the most interesting modern outfits, with a respectful eye towards the golden age of the genre; while Gazpacho’s deeply atmospheric March of Ghosts offers another fine example of English label KScope’s “post-progressive” direction. In a more accessible vein, Canadian/Ukrainian duo Ummagma’s  pair of debut albums, Ummagma and Antigravity,  will appeal to fans of Kate Bush, Dead Can Dance and Cocteau Twins with their ethereal yet uplifting feel.

Though I cannot call myself a fan of progressive metal, the debut albums by female-fronted German band Effloresce (Coma Ghosts) and Israeli outfit Distorted Harmony (Utopia) made enough of an impression to deserve a mention here; while Diablo Swing Orchestra’s Pandora’s Piñata – the band’s most mature effort to date – transcends the boundaries of the genre.  At the very beginning of the year, Steve Brockmann and George Andrade’s opus AIRS: A Rock Opera updates the classic rock opera format while deftly avoiding the cheesiness of other similar efforts, concentrating on a moving tale of guilt and redemption interpreted by an array of considerable vocal and instrumental talent.

The thriving contemporary psychedelic/space rock scene also produced a slew of fine albums that combine modernity and eclecticism with an unmistakable retro touch: among many others, Øresund Space Collective’s mellow West, Space and Love, Earthling Society’s eerie pagan-fest Stations of the Ghost, Colour Haze’s Krautrock-influenced double CD set She Said, Diagonal’s fiery The Second Mechanism, Astra’s highly awaited (though to these ears not as impressive as the others) second album, The Black Chord. Fans of Krautrock, and Can in particular, should also check out Black and Ginger by Churn Milk Joan, one of the many projects by volcanic English multi-instrumentalist Colin Robinson (of Big Block 454 fame); while Australian band Tame Impala’s Lonerism will appeal to those who like psychedelic rock in a song-based format.

As prolific and varied as ever, the Italian progressive rock scene produced a number of remarkable albums ranging from the classic symphonic prog of Höstsonaten’s The Rime of the Ancient Mariner Pt. 1, Alphataurus’ comeback AttosecondO and Locanda delle Fate’s The Missing Fireflies (featuring both older and new material) to more left-field fare such as Nichelodeon’s live album NO, Stereokimono’s Intergalactic Art Café and Daal’s Dodecahedron. Another of Fabio Zuffanti’s many projects besides Höstsonaten, L’Ombra della Sera, presents an appealingly Gothic-tinged, almost completely instrumental homage to the soundtracks of cult Italian TV series of the Seventies. Aldo Tagliapietra’s Nella Pietra e Nel Vento, his first release after his split from Le Orme, a classy, prog-tinged singer-songwriter effort, boasts a splendid cover by Paul Whitehead. The prize of most impressive RPI album of the year, however, goes to Il Bacio della Medusa’s ultra-dramatic historical concept Deus Lo Vult, with side project Ornithos’ eclectic debut La Trasfigurazione a close second.

Of the many “traditional” prog albums released in 2012, one in particular stands out on account of its superb songwriting: Big Big Train’s English Electric Pt 1, an effort of great distinction though not as impressive as its predecessor, 2009’s The Underfall Yard. Autumn Chorus’ debut The Village to the Vale also celebrates the glories of England’s green and pleasant land with a near-perfect marriage of pastoral symphonic prog and haunting post-rock; while Israeli outfit Musica Ficta’s A Child & A Well (originally released in 2006) blends ancient and folk music suggestions with jazz and symphonic prog. Released just three weeks before the end of the year, Shadow Circus’ third album, On a Dark and Stormy Night (their first for 10T Records), based on Madeleine L’Engle’s cult novel A Wrinkle in Time, fuses symphonic prog with classic and hard rock in an exhilarating mixture. On the other hand, Pacific Northwest trio Dissonati’s debut, Reductio Ad Absurdum, gives classic prog modes a makeover with influences from new wave and avant-garde. Highly touted outfit District 97’s sophomore effort, Trouble With Machines, proves that the Chicago band is much more than a nine days’ wonder, showcasing their  tighter songwriting skills, as well as vocalist/frontwoman Leslie Hunt’s undeniable talent and charisma.

With such a huge wealth of releases, it was materially impossible for me to listen to everything I would have wanted to, and my personal circumstances often impaired my enjoyment of music, as well as my concentration. Among the releases of note that I missed in 2012 (though I still hope to be able to hear in 2013), I will mention Beardfish’s The Void, Anathema’s Weather Systems, Dead Can Dance’s comeback Anastasis, Godspeed You! Black Emperor’s Allelujah! Don’t Bend! Ascend! (another comeback, released after a 10-year hiatus), AranisMade in Belgium, The Muffins’ Mother Tongue, Alec K. Redfearn and the EyesoresSister Death, and Motorpsycho’s The Death-Defying Unicorn. All of these albums have been very positively received by the prog community, even if they will not necessarily appeal to everyone.

As was the case with my 2011 retrospective, quite a few highly acclaimed prog albums will be missing from this article. This implies no judgment in terms of intrinsic quality, but is simply determined by personal taste. Albums such as The Flower KingsBanks of Eden, Marillion’s Sounds That Can’t Be Made or IZZ’s Crush of Night (to name but three) –although thoroughly professional and excellent from a musical point of view – failed to set my world on fire. A pure matter of chemistry – as further demonstrated by my lack of enthusiasm for Storm Corrosion’s self-titled album (which reflected my reaction to Steven Wilson’s Grace for Drowning in 2011), or Mike Keneally’s undoubtedly outstanding Wing Beat Fantastic, co-written with Andy Partridge of XTC fame.

2012 was also a great year for live music, with both big names and new talent hitting the road. While we missed some of the former (such as Rush and Peter Gabriel), as well as this year’s edition of RoSfest,  the one-two punch of NEARfest Apocalypse and ProgDay 2012 more than made up for it. Unfortunately, the all-out Seventies bash named FarFest, organized by a veteran of the US prog scene such as Greg Walker, and planned for early October 2012 – was cancelled due to poor ticket sales, reinforcing the impression that the era of larger-scale prog festivals may well be coming to an end (in spite of the announcement of Baja Prog’s return in the spring of 2013). On the other hand, the much less ambitious ProgDay model is likely to become the way forward, as are the smaller, intimate gigs organized by people such as Mike Potter of Orion Studios, the NJ Proghouse “staph”, and our very own DC-SOAR.

With an impressive list of forthcoming releases for every progressive taste, 2013 looks set up to be as great a year as the previous two. In the meantime, we should continue to support the independent music scene in our best capacity – not just by buying albums or writing about them, but also attending gigs and generally maintaining a positive, constructive attitude. I would also like to thank all my friends and readers for their input and encouragement, which has been invaluable especially whenever the pressures of “real life” became too hard to bear. If this piece has seen the light of day, it is because you have made me feel that it was still worth it.

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TRACKLISTING:
1. Nebulos (4:40)
2. Un Peuplier Un Peu Plié (5:32)
3. Sprouts (3:11)
4. Sprouts (Continued) (1:57)
5. Sprouts (Continued) (1:19)
6. Sprouts (Continued) (3:57)
7. Troïde (7:31)
8. La Serrure (2:32)
9. Soft Fate (1:25)
10. Boletus Edulis (2:52)
11. Dynamique Cassoulet (2:28)
12. Fast Fate (0:35)
13. Le Chiffre (4:05)

LINEUP:
Guillaume Amiel-  bass marimba, vibraphone, percussion
Maxime Delporte – double bass
Ferdinand Doumerc – tenor, alto and sopranino saxes, flute, crooning (11)
Stéphane Gratteau –  drums
Rémi Leclerc – Fender Rhodes, clavinet, Moog, Hammond organ, piano
Marc Maffiolo – bass and tenor saxes

With:
Olivier Cussac – lap steel guitar (2)
Sarah Roussel – words (3-7)
Nicolas Gardel – trumpet (9, 12, 13)
Olivier “Lapin” Sabatier – trombone (9, 12, 13)

Based in the southern French city of Toulouse, Stabat Akish are a sextet formed in 2007 by bassist/composer Maxime Delporte. In 2009 they caught the attention of free-jazz icon John Zorn, who released their self-titled debut album on his own label, Tzadik Records. The band’s sophomore effort, Nebulos, was released on Italian label AltrOck Productions in the early summer of 2012.

As much as I try to avoid resorting to definitions that might sound a bit overblown, “jazz meets chamber rock with a liberal dash of Zappaesque humour thrown in for good measure” describes Stabat Akish’s music quite effectively. With a distinctive, mostly acoustic instrumentation that rules out the guitar on all but one track, but places a heavy emphasis on reeds and mallet percussion (as well as on founder Maxime Delporte’s expertly handled double bass)  they privilege a sophisticated delivery that, while undeniably full of twists and turns, is not as daunting as the typical output of other bands and artists found under the RIO/Avant umbrella. In fact, Nebulos is at the same time very complex and surprisingly approachable, and not just on account of its very restrained running time and light-hearted attitude. The band members, while all considerably gifted and in full command of their own instruments, behave like true ensemble players, and avoid hitting the listener over the head with their technical skill.

On the whole, Nebulos is elegant and very pleasing to the ear, its intricate instrumental texture relieved by an appealing lightness of touch and a keen sense of melody that is not often associated with the genre. Even when the music possesses a loose, almost improvisational feel, it never sounds unscripted or haphazard. The title-track acts introduces the album in style, opening briskly then gradually slowing down, with all the instruments engaged in a sort of lively conversation, blending subtle electronics with warmer, organic tones. However, it is the second track – bearing the tongue-twister-like title of “Un Peuplier Un Peu Plié” (A Slightly Bent Poplar) – that best illustrates Stabat Akish’s effortless marriage of sheer melodic beauty and avant-garde tendencies. Pervaded by the heady tinkle of marimba and vibraphone and the ethereal, faraway strains of Olivier Cussac’s lap steel guitar, contrasted with  buzzing sound effects and cascading drums, it is oddly cinematic and thoroughly riveting.

Stabat Akish’s take on the old prog stalwart of the “epic”, the four-part “Sprouts”,  is made of almost bite-size sections veering from the sax-driven, meditative mood of the first part to the classic jazz feel of the final part, and includes a short spoken-word section in which Sarah Roussel recites something concerning the titular sprouts. Roussel’s voice – almost an additional instrument – also stars in the 7-minute “Troïde”, the longest track on the album, and also the most openly experimental, in which an increasingly agitated phone conversation in three languages is punctuated by sparse drums, piano and whistling synth. “La Serrure” begins in low-key, atmospheric fashion, then suddenly turns into a very upbeat, circus-like tune; similarly, “Dynamique Cassoulet” packs an astonishing amount of variety in under 3 minutes, including a very entertaining appearance by reedist Ferdinand Doumerc in the role of a crooner. On the other hand, “Boletus Edulis” (the scientific name of the delicious porcini mushrooms) blends ambient-like sound effects of birdsong and burbling water with charming, Eastern-tinged  percussion and flute; while “Le Chiffre” closes the album in style with a triumphant, albeit slightly chaotic big-band workout, in which the saxes are augmented by trumpet and trombone.

An intriguingly classy effort, Nebulos is warmly recommended to lovers of modern jazz and RIO/Avant/chamber rock, though the more traditionally-minded faction of the prog audience might find it a more appealing proposition than other recent releases in a similar vein.  Another fine release from the AltrOck roster, purveyor of endless musical surprises, the album – in keeping with the label’s tradition for outstanding visual packaging – is accompanied by high-quality artwork and photography.

Links:
http://stabatakish.com/

http://www.altrock.it

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