Issue #18 Extra!: New Releases
Andre Andersen - "Changing Skin"
Corrosive Media - "Speakeasy"
Deathwatch Beetle Repairman - "Hollow Fishes"
Energipsy - "Tamborea"
Final Tragedy - "Trial of Tears"
Kenziner - "Timescape"
Ian McDonald - "Driver's Eyes"
Mother Gong - "The Best of Mother Gong"
Ken Pedersen - "Deja Views"
Simon Phillips - "Another Lifetime"
Porcupine Tree - "Metanoia"
Praxis - "Collection"
Rumblin Orchestra - "Spartacus"
Sebastian Hardie - "Live in L.A."
Matthew Shipp Duo - "DNA"
Sylvan - "Deliverance"
John Tavener - "Eternity's Sunrise"
Terra Firma - "Earthbound"
David Thomas - "Mirror Man"
Threshold - "Clone"
Dave Weckl Band - "The Rhythm of The Soul"
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Porcupine Tree - "Metanoia"
(Aether 003, 1997, LP)
This hard-to-find treat was released after the live album “Coma Divine”
but prior to the latest album “Stupid Dream” as a limited edition gatefold
double 10” vinyl-only release. Recent interviews with band leader
Steven Wilson indicate that it will most likely be issued on CD at
some point in the future although no plans are in place as of yet.
“Metanoia” is a collection of improv jams recorded on two different
dates during the sessions for “Signify” in 1995 and 1996. The recordings
were then later mixed and edited by Steven Wilson at his home studio.
The album is in every way the antithesis of “Stupid Dream”, and
simultaneously every bit as brilliant. The opening track “Mesmer
(i)” showcases drummer Chris Maitland and bassist Colin Edwin really
opening it up in a masterful display of finesse and energy. The
syncopated groove continues to build, leaving the listener with a
profound sense that this band must have really meshed into a cohesive
unit in order to pull of difficult riffing like this in an improvisational
setting. Chris and Colin easily steal the show from Wilson throughout this
album, and it’s a pleasure to hear. Wilson spends a lot of time noodling
with guitar effects and keyboard atmospherics, all to great avail.
Occasionally, he steps out front with some soloing, but for the most
part the emphasis is on the full band sound rather than individual
performances. The last portion of “Mesmer (iii)” is positively sublime,
easily one of the band’s finest moments. A more raw, intense version of
“Intermediate Jesus” is contained here as well (but without any of the
shortwave radio samples and overdubs). The band shows quite a sense of
humor here, too, as “Metanoia (ii)” builds into a frenzy with Maitland
going completely out of control until the tape unwinds into a hilarious
mock interview at a crowded restaurant in Milan where the guys are
discussing what to order and how they feel stupidly overdressed.
If this doesn’t recall Spinal Tap for you, then the hand-etched phrase
“None More Black” in the run-out groove of Side 4 ought to do it.
Unlike anything they've done before, “Metanoia” is a very unique
release and comes with the highest recommendation. It will feel
like an eternity waiting for this to reissue on CD, so even though
the vinyl may be a bit pricey (if you can even find it), it’s well
worth it. – Dan Casey
John Tavener – “Eternity’s Sunrise”
(Harmonia Mundi, HMU 907231, 1999, CD)
The British composer, John Tavener, has struck a chord with a significant
cross-over audience. Like Arvo Part, Tavener creates a sumptuously
gorgeous music infused with his belief in God and a desire to create
music which honors and glorifies Him. And this is glorious music;
indeed the composer admits to find this his most beautiful release
yet. As does Part, Tavener works with an overtly tonal (or modal)
language, but he is no neo-romantic. Rather, his style, both musically
and performance-wise, derives much from the Renaissance. In fact,
this music was commissioned and performed by the Academy of Ancient
Music Orchestra and Choir for their 25th anniversary. Invoking the
British tradition of the High Renaissance, including composers such
as Thomas Tallis and John Taverner (note the difference in spelling,
though it is thought that they are distant relatives), composers
whose sweet and resplendent music falls in the same category as
that of Palestrina, Tavener uses modernisms and departs from the
Renaissance style as he sees fit. Thus, there is a timeless and
reverent quality about his music that appeals to a broad audience
without pandering to it. The crystalline, pristine performance by
the Academy of Ancient Music, the pure and exacting singing, sans
vibrato, by soloists Patricia Rozario, Julia Gooding, George Mosley
and Andrew Manze are simply magnificent. Stunning. - Dean Suzuki
Energipsy- “Tamborea”
(Alula ALU-1012, 1999, CD)
This one sounded quite promising... a mixture of flamenco and fusion?
With a wonderful heritage of bands such as Iceberg, Triana, Guadalquivir
and Gotic the Spanish fusion scene has been extremely fertile. And with
guest appearances by members of Iceberg I was quite excited to hear this
disc. As it turns out, this is actually a vocally-oriented effort firmly
in the style of the Gypsy Kings. A more cynical listener might even dismiss
it as an effort to cash in on the commercial success of the Kings whose
music blares from the sound system of many Spanish and Mexican restaurants.
The album is a spirited one, with elements of flamenco, gypsy rumba, and
Europop. The vocals are all in Spanish, and many of the melodies are
quite catchy with plenty of acoustic guitar and percussion pushing the
tunes forward. There are four instrumental tracks out of the thirteen
songs, and they are very tuneful and are imbued with a romantic Spanish
flavor. If you like the sound of the Gypsy Kings it’s a safe bet that
you’ll enjoy Energipsy. If you were looking for the next Iceberg,
however, you’ve come to the wrong place. David Ashcraft
Dave Weckl Band - “The Rhythm of the Soul”
(Stretch Records, SCD-9016-2, 1998, CD)
Back when I was in college Weckl was God to every star struck drummer
who ever picked up a pair of sticks. His years behind the kit in both
of Chick Corea’s bands allowed him ample opportunity to display his
surfeit drum chops and sky’s-the-limit outlook -- a sort of Steve
Gadd pushed to greater technical extremes. Here he appears fronting
his own ensemble, and though I know not how many previous albums he
has completed, I no longer relish the thought of another slice of
his music. To make my biases known: I prefer fusion with a sting
of uniqueness that makes Brand X, Dixie Dregs, or Mahavishnu Orchestra
so special. But Weckl’s CD sounds like it could have been made by any
random set of studio musicians you'd care to stick in a room together,
at any time between 1982 and 1999. Eleven instrumental tunes, co-penned
by Weckl and keyboardist Jay Oliver, make up the recording, which seems
aimed at drummers wishing to study Weckl in detail, credits listing
every piece of equipment, even down to his brand of sticks, heads,
and shoes! If I had to capture the essence in one word, I would choose
“orthodox”. His band, consisting of guitar, bass, sax, and keys, plays
in a commercial Tower of Power mode of 80s funk/fusion that leaves
hardly a nook or cranny of room for originality. Behind the kit,
Weckl usually keeps a steady supportive backbeat, complemented by
the odd snare accent on an off-beat. At a certain point in each
tune (almost without exception) you can expect that either he, or
the bassist, will burst into a flurry of two or four-bar solo phrases.
These highlights however are a sort of double-edged sword insofar as
the flashy fills and soloistic drum breaks (impeccably executed though
they are) inexorably serve to reveal the uneventfulness of the
compositional substance. Furthermore, I had hoped a player of his
stature would show a bit of cavalier, daredevil risk-taking, whereas
here everything comes across as strictly calculated; as if every
moment were rehearsed. Some of the quieter moments are perhaps more
original, and more to my liking, but on the whole only those whose
motive is to study how Weckl approaches a certain tempo or meter
(how he works his fills and solos into these kinds of grooves) will
benefit from a recording like this. - Mike Ezzo
Simon Phillips - “Another Lifetime”
(Magna Carta, MA-9033-2, 1999, CD)
Simon Phillips is a drummer who has little to prove nowadays,
what with the monstrous level of playing ability he has cultivated
over the years. Terry Bozzio is perhaps his closest competitor
musically speaking. But whereas Bozzio blazes uncharted trails
in percussion styling (often at the expense of what is musically
appropriate), Phillips makes up for a less groundbreaking spirit
by a style that speaks with a fluidity unmatched by Bozzio’s
stiffness. (Odd -- Bozzio was once quite the feel-oriented player
that he now is certainly not). “Another Lifetime” follows in the
footsteps of Jeff Beck, from the days back when Simon was his
drummer, showing us a work somewhere between rock and jazz, where
guitarists always want to imitate Allan Holdsworth. This is no
exception in that on the surface, the guitar does parallel
Holdsworth’s sound. But comparisons stop there, as in content
we are in utterly different terrain. His last release, “Symbiosis”,
was a lot more technical, giving Simon the chance to show what he’s
got up his sleeve at the kit. But not so much here. There is almost
no improvisation for starters. And little is very thematically
dense, but rather it gives primacy to atmosphere and groove. Backing
Simon up are two guitarists, bass, sax, keyboards, and a percussionist.
Keyboards though keep well to the background, and percussion is
largely tacit. Simon himself however uses the odd percussive color
to spice up his work and it is always tasteful and immaculately
executed. His finest effort here must be “Euphrates” where his
drumming is actually melodic. Exquisite! But for the most part
the band plays in a safer mode, offset by sections of unison melodies
whose dynamic peaks and valleys are propelled by Simon’s drums.
Whenever anything of a technical nature pops up, it is always a
simple unison passage, with no counterpoint or contrast. In other
words -- not much interplay. As if all the parts were recorded by
each member separately, an aesthetic more in line with rock music.
Thus you'll find no stretching out in the way that Chad Wackerman and
his boss do to such intense extremes in all of their work. After 8
pieces in this style I began to wonder whether Phillips would give
us any kind of spontaneity, i.e., improvisation. It finally came on
the very last piece, but it left me realizing what I was missing up
to that point. So, I would recommend “Symbiosis” before coming
here. - Mike Ezzo
Mathew Shipp Duo (with William Parker) – “DNA”
(Thirsty Ear, this57067.2, CD, 1999)
Mathew Shipp has paid his dues in the eastern US jazz circles
for the past several years and “DNA” is his first for Thirsty
Ear Records out of New York. Two traditional pieces are included
on the disc in addition to five of Shipp’s compositions embellished
by Parker’s upright bass lines. Both of those pieces are spirituals
interspersed with songs which reflect a subject matter of the
dichotomy between the religious and scientific impulse. Shipp
himself appears to be a “spurious” composer - a believer in
dissonant interjection, but with less spasmodic emphasis as Keith
Tippett or Keith Jarrett. The dialogue between pulse and dynamic
is the key in which to exact a crucial interaction if the players
are up to the task. How listenable is it then to live in the
moment of live spontaneous combustion? I would say it’s both
revealing and an exercise in the discipline of listening.
Rhythmically the interchange between these two musicians is
stark and perpetually shifting. “Orbit” is probably the most
successful track since Shipp keeps emphasis on the rhythmic
chorusing he’s establishing with Parker punctuating the bottom
line. The opening track, “When Johnny Comes Marching Home” is
propelled by Shipp’s restatement of the main theme amidst a
controlled, if somewhat frantic bass solo. Seven minutes into
“Mr. Chromosome” a simple repeating melody is invoked to signal
a time to change to a cross sectional improvisation which finishes
with an almost calypso like figure and sad resolution. “Amazing
Grace” comes as a proud closing statement to the disc, bookmarking
the album so to speak. Overall “DNA” is a successful new excursion
for Shipp and Parker and definitely a must see performance in
your local jazz club. - Jeff Melton
Terra Firma – “Earthbound”
(Def Ear 98001-9, 1999, CD)
Climbing out the morass of thrash bands and Pearl Jam clones
ascends a new Seattle area group with its feet rooted in Terra
Firma and its head in the cosmos. Forget your preconceived
notions of space rock (Hawkwind, Ozrics, et. al.). Terra Firma
has redefined the genre combining elements from grunge, goth,
psychedelia, and sci-fi/space rock in a revitalizing pangalactic
gargleblaster. Earthbound is space rock with a razor edge, more
attuned to the world of Bladerunner than interplanetary flight.
Terra Firma borrows freely from Bladerunner and includes samples
from the movie¹s climax in “Electric Sheep” as well as references
in other songs. The Legendary Pink Dots sci-fi masterpiece
“Andromeda Suite” is another point of departure for Terra Firma,
just listen to “Strange Hallways”. Then there is the Jefferson
Airplane¹s drug anthem, “White Rabbit”, which Terra Firma takes
into territory where the Airplane feared to tread. Other
similarities are the Stones¹ “Sympathy for the Devil” in
“Darker Days”, Fields of the Nephilim¹s “Celebrate” in
“Earthbound Traveler”, and “Also Sprach Zarathustra” in
“Odyssey”. At times darkly violent and others beautifully
ambient, Earthbound delivers more than expected. Earthbound
could easily be one of this year¹s best new releases! But
beware, Earthbound is addictive and you may find yourself
unable to stop listening. Highly recommended. -
Henry Schneider
[Def Ear Recording Co., 2603 Pacific Highway East, Tacoma,
Washington 98424, USA; www.terrafirma.tf ]
Threshold - “Clone”
(Giant Electric Pea GEPCD 1023, 1998, CD)
Given that this is a Karl Groom project, and that it’s on
the GEP label, and that the first tune is called “Freaks”,
you would be pretty safe to assume this is another tired
and unwanted neo-prog album. But, you would be wrong...at
least about the neo-prog part. Threshold are purely a
prog-metal outfit, whose highest aspiration appears to be
emulating Dream Theater in the fullest. The aptly-titled
“Clone” is a complete knock-off, caring not a wit about
displaying any shred of originality but rather focusing
completely on making a solid prog-metal album, no matter
how derivative. To which end, it must be confessed, they
succeed due to the talents of guitarists Groom and Nick
Midson, keyboardist Richard West and drummer Mark Heaney.
Vocalist Andrew McDermott isn’t quite in the same league
as many of his peers, but he avoids the grating high-pitched
operatic wailing in favor of some occasional harmony vocals.
Other than that, his voice fits the style like a glove.
“Clone” is so full of gimmicks that it’s hard to take it
seriously, but I have no doubt that fans of the prog-metal
genre will find countless reasons to heap praise after
praise upon it. – Dan Casey
Ken Pedersen - “Deja Views”
(Skymark SYM0503, 1999, CD)
“Deja Views” is a collection of 12 piano instrumental pieces
based upon various classical themes. Many of the tracks are
piano solos, and some have wind or string accompaniment. The
songs list people ranging from Bach to Beethoven to Copland
to Foster as sources of inspiration. Some of the tracks like
“Birth Of Hope” or “Reunion” really resemble the listed
inspiration composer and piece (in this case Bach’s “Jesu,
Joy Of Man’s Desiring” and Pachelbel’s “Canon in D"), while
others aren’t as easy to connect. The style of playing is
squarely in the New Age camp, and the Pedersen favors sticking
with traditional major and minor chords and progressions
for the most part. Even in the MacDowell, Glass, and
Copland-inspired pieces where you might expect the
unexpected, the arrangements are fairly harmonically
confined. On an up note, the recording quality of the
album is actually quite good with the piano sounding
well-balanced and smooth. Pedersen is obviously very
comfortable playing in this style too. It would have
been more interesting had he played the songs in more
varied styles though. Instead, what he presents on
“Deja Views” is a homogenized view of the music based
on these diverse composers. - Mike Grimes
Praxis - “Collection”
(Doouglas Music ADC19, 1998, CD)
If a guitarist who calls himself Buckethead wearing a white
mask with a Kentucky Fried Chicken bucket on his head and
claims he was raised by chickens doesn’t frighten the crap
out of you, then maybe this handy little collection will.
The other two-thirds of this trio are the very well-known
bassist Bill Laswell and the lesser-known drummer Brain.
8 of the 10 tunes compiled here are pulled from the band’s
second and third albums “Sacrifist” and “Metatron”. There
must have been a good reason (perhaps legal) that nothing
from the groundbreaking debut “Transmutation” is included,
although the liner notes don’t give any clue. It would have
been nice to have some history or other info given with
this CD. Most of the tunes are dominated by Buckethead’s
wild, self-indulgent, screaming-mad, million-notes-a-minute
guitars over rudimentary machine-gun riffing. Sometimes it
gets fairly mindless, as on the half-step ping-pong riff of
“Skull Crack”, but perhaps anything else would ruin the sharp
contrast. A few guests appear here and there, but their
contributions are fairly insignificant, especially the
squawking sax of John Zorn. Two tracks really standout,
however, and both of them are essentially all Buckethead.
“Maggot Dream” is a somber acoustic-driven mood piece with
a melodic solo that really shows off Buckethead’s formal
guitar training under Paul Gilbert. The other is a lengthy
piece called “Dark Hood” which includes a massive amount of
signal processing and seemingly computer generated tones in
a dark ambient style not too far removed from Djam Karet’s
“Suspension and Displacement”. Overall, Praxis has got to
be one of the best examples of “you either love it or hate
it”. As a collection, this release is too incomplete to
warrant a high recommendation, but the two tracks
mentioned above make it worth hearing. –
Dan Casey
Rumblin Orchestra – “Spartacus”
(Periferic BGCD022, 1998, CD)
“Spartacus” by Rumblin’ Orchestra is led by Hungarian keyboardist
and composer Ella Bela. This release is technically fine, but is
somewhat a rehash of things that have been done better before.
Bela is obviously a huge ELP fan which is cool, but unfortunately
he tends to quote a bit too much. Something most annoying here is
the chorus segments. The chorus sounds a bit stiff and parodying.
The concept of the CD flows well and is interpreted in good form,
though. The instrumentation is varied and includes flute, cello,
trombone, oboe, and violin. Bela’s own keyboard work is very good,
and his compositional skills are impressive even though a bit trite.
Simply, Bela needs to get away from the past and look to his own
voice. - Carol Hammett
Final Tragedy - “Trial of Tears”
(Independent, DCJLM 7117 1998, CD)
Once upon a time there was a French thrash metal band called Etheric
Soul which included among its original members multi-instrumentalist
Jean-Luc Millot. Then one day, singer Delphine Cochand appeared to
replace the original vocalist and from that moment things went to
hell. The band eventually fell apart, leaving only Millot and
Cochand to carry on under the new moniker of Final Tragedy. This
EP is the result of a year’s worth of work and includes four
tracks, each running in the 5+ minute range, with Millot
covering all keys, guitars and programming while Cochand
handles all vocals. The sound has been reformulated into
a more melodic and romantic style of goth-prog-metal, with
swirling synth washes and arpeggiated guitar over which Cochand
spins out her romantic verses, contrasting against all too familiar
aggressive metalish forays. While I could wish them well, Final
Tragedy have two very major strikes against them: the songwriting
and arranging are extremely mediocre and Cochand’s singing is
nothing less than awful. Plus, the poorly handled drum machine
tracks are rather annoying and further accentuate the impression
that these two need to spend much more time refining and honing
their craft. Lyrics like “Please don’t go, ‘cause baby I need
you near.” and “I can feel my body heat/turned on by your beat”
aren’t going to endear these two to Exposé readers and Cochand’s
cat-in-heat keening have earned Final Tragedy the top slot on my
Worst of ‘98 list. Consume at your own risk. - Paul Hightower
Sebastian Hardie - “Live in L.A.”
(Musea FGBG 4272.AR, 1999, CD)
“Live in L.A.” is taken from part of Sebastian Hardie’s headlining
Progfest 1994 set, and represents their first, and only, show since
their previous “final performance” in Melbourne way back in 1976.
This track listing for this release is slightly strange since it
is essentially a live version of the entire “Four Moments” album
with a guitar solo and the last four minutes of the song “Windchase.”
Considering they played about a two-hour show that night, it’s
interesting that the set list for this CD isn’t more varied. Maybe
technical reasons played a part? Speaking of those, listening to
the first couple of tracks, the familiar feedback that plagued the
early part of their show that night is present on this CD too. Millo
looked like he could just kill the monitor guy that evening... The
overall performance? Thumb sideways. It’s fairly representative of
what my impressions were from being at the gig. Parts are good and
parts are so-so. The only previously unavailable track, “Millo’s
Bizarre Bizet” is an unaccompanied guitar solo that is pretty cool.
For the most part, the live versions of the songs presented here
closely resemble the studio versions. While that’s fine if you're
at the show, it doesn’t necessarily make for several repeated
listens - especially since it wasn’t a stellar show. On the plus
note, the sound quality, forgetting some of that annoying feedback
which isn’t their fault, is actually really good. Fans of the band
will surely want to get this CD, but newcomers interested in checking
out Sebastian Hardie would be better off buying the reissued
“Four Moments.” - Mike Grimes
Sylvan - “Deliverance”
(Angular Records, SKAN 8213.AR, CD)
Here’s a well-recorded album by an obviously polished German
group filled with interesting ideas. I'm sorry to say that those
ideas don’t always work, such as “A Fairytale Ending,” but I
appreciate the effort behind them. Sylvan’s sound on this album
varies widely, from near “space music” to true metal prog. There
are lots of momentary jewels sprinkled throughout, like the
infrequent keyboard “hook” with a choice patch selection, or
fat overlapping vocals with tons of effects. The album is very
listenable overall, but I feel the band’s best songs are at the
beginning and in approximate descending order until “A Fairytale
Ending” at the end, a concept piece that re-tells the Tolkien
story of Beren and Luthien, beginning with what sounds like
drunken bards chanting (yes, really), and moves on to include
driving electric guitar parts, oddly pronounced character names,
just plain bad acting, and… other things. Obviously, not my
favorite song, but it does have some cool moments.
However, I did enjoy “Golden Cage,” Unconsciously,” and “Safe.”
The intro section of “Unconsciously” seemed a bit awkward to me,
but after that it’s like two or three songs in one because it
does so much in it’s 10-minute length. Leave a few combinations
of notes for the rest of us, guys! (Just kidding.) I loved the
tempo change in the lighter-waving “Safe,” an attention-getting,
mood-altering device that is very under-used in prog.
The nine-minute “Those Defiant Ways” wasn’t very exciting at
first, but it’s like playing a video game where the music is
different in every room - just run around a corner and it will
be a different song for a little while… until it changes again.
The keyboardist’s skill really shines out on this album and the
guitarist’s talents are also obvious, but I thought the vocalist
was too forceful at times when subtlety would have made a
particular section more poignant. I wouldn’t recommend this
album, but your mileage may vary, especially if you like
heavier prog. - Willow Polson
[http://pendragonusa.com (909) 784-1712]
André Andersen - “Changing Skin”
(Rondel RRCD RR0101, 1999, CD)
Anderson is the keyboardist of Royal Hunt, a progressive metal
band from Denmark that released the album “Paradox” on Magna Carta
a couple years ago (and four more on other labels before that).
The songs on “Changing Skin” could best be described as keyboard
driven symphonic metal-ballad, with a powerful vocalist in Kenny
Lübcke, coming at you front and center with a nod to Coverdale era
Purple. With anthemic power ballads like “A Thousand Miles Away”
and “In My Arms” regularly punctuating the song sequence, no
singular stylistic tendency becomes overbearing - though the
ballads add a far more commercial slant to the proceedings that
is reminiscent of MTV bands of the early to mid-eighties (no
judgement here, there are many out there who really dig that
stuff, and obviously Andersen is one). The keyboard sound is
heavily synth dominated; one will hear very little piano - only
occasional synth piano patches, and very occasional organ. The
drumming is straight ahead, heavily gated/ processed (or maybe
even sampled and programmed a-la early Magellan). Guitars are
provided by a number of different players, including Royal Hunt
mate Jacob Kjaer. Andersen’s compositions and arrangements are
quite good, but tend be ‘safe’ and stay well within the confines
of the subgenre, reinforced by Lübcke’s voice (often multi-tracked
to get that ‘big’ sound). While the musicianship and writing here
are top notch (for the market they aim to reach), this writer found
it to be a little too safe and commercially oriented. Your mileage
may vary. - Peter Thelen
Kenziner - “Timescape”
(Leviathan 199832 1998 CD)
Remember when a “shredding guitar” player was the exception? Seems
you can’t turn around these days without knocking one over. Kenziner
is another one of these small-label guitar bands. The focus is the
axe playing of one Jarno Keskinen. (The inside cover offers a glimpse
of Mr. Keskinen at his pouty best.) However, the guitar isn’t Jarno’s
only credit; besides electric and acoustic guitar, he plays bass and
keyboards. His guitar playing is good, not exceptional. And since he
is playing them, the keyboards are up in the mix, which is nice.
Regardless of my feelings for this album, one cannot question his
abilities. Vocalist Stephen Fredrick’s style is akin to Graham
Bonnet’s - very raw. The material he is singing isn’t the greatest
either, as “Walking in the Rain” or “Land of Shadows” will attest:
they repeat the chorus five times. Drummer Dennis Lesh is a speed
player, getting every bit out of his playing time. Most of this is
pretty generic rock; it really went nowhere. In reading the back of
the CD you see what a “project” this is: the drums were recorded in
Indiana, the vocals, bass and keyboards in Georgia and the guitar
parts in a different studio in Georgia. In the world of guitar rock,
one must stand out to be heard. For me “Timescape” didn’t have much
of anything that stood out. I've heard it before and heard it
better. - Dane Carlson
Corrosive Media - “Speakeasy”
(Corrosive Media Corp., CM 002 1998, CD)
“Speakeasy” is a maxi-CD single of three techno-house tracks from
German duo Benedict Wyneken and Uwe Wienke. Tracks 1 and 3 clock
in at just over 5 minutes each while the centerpiece, “Tommy Gun,”
clocks in at 21 and a half minutes, though length means nothing here
since all three cuts are slices of pure, unadulterated techno-house
pie. This is the kind of thing found pouring from huge PA systems
in dimly lit dance clubs, while throngs of sweating bodies bob about
under the flickering lights. If you love dance music drenched in the
deafening bass, bubbling and throbbing synths, and rhythmic stops
and starts, then this may be a disc you'll want to pick up. Find
more info at www.corrosivemedia.com - Paul Hightower
David Thomas – “Mirror Man”
(Cooking Vinyl, COOK CD 175, 1999, CD)
From a dizzy blurring pastiche of commentary and cadence comes a
curious project, extremely artsy with obscure socio-overtones.
The former lead vocalist of Pere Ubu, David Thomas has assembled
one of the oddest collections of musicians for his “Pale Orchestra”
project and this is only Act 1: Jack and the General. Starting out
with poetry and recitation as the key focal point of the disc,
political statements about the drift of priorities of the US are
rampant. I can’t help the obvious comparisons to a Captain
Beefheart/Lou Reed/ Residents/Tom Waits event. Support is
provided by several interesting participators including Linda
Thompson (ex-Richard Thompson) who hasn’t graced a live
performance in almost fifteen years! Her lead vocal on
“Nowheresville” is almost a Patti Smith style approach.
Two prog heavy players, Peter Hammill and Chris Cutler are
utilized in instrumental support roles as part of the band:
Hammill as second guitarist and harmonium player, Cutler on
electric drums. Pieces such as “Ballad of Florida” benefit
from a folksy motif with some brash echo trumpet from Andy
Diagram. Plus there appears to be many more portions to this
conceptual work as one part of the four day festival, “David
Thomas: Disastrodome”, how do they link? Missing the visual
aspect of this work can be a bit disproving of the concept
by making the proceedings more beat poetry than major
multimedia event; hopefully there could be a DVD release?
Overall, “Mirror Man” is a clever puzzle with many onion
layers to peel. But I have no idea how long it takes to
get to the center. Further info on the festival and a
detailed context of the album’s focus is available at
www.projex.demon.co.uk. - Jeff Melton
Deathwatch Beetle Repairman – “Hollow Fishes”
(private release, DBM777-001, CD, 1998)
Debuts albums from obtuse solo acts can be difficult to
ascertain on the surface. The first few listens of this
disc from the Toronto based artist sound very much like
an alternative to some of the more ominous darkwave acts
which are sprouting up across the world. Mr. Repairman
is in actuality Mathew Riley who has many alter egos
including such modern heroes as Trent Reznor, (NIN), Peter
Murphy or even Jim Morrison (The Doors). The best atmospheres
are created on pieces which emphasize grandiose synths using
an almost Ultravox type approach as on “Season of the Dead”.
The real odd tone, which I’ve come to appreciate, is that
this project also reminds me of elements of the late Kevin
Gilbert’s work “thud” but with a more electronic shift.
Acoustic pieces such as “Violet and Green” use varying
instrumentation such as mandolin and acoustic guitar as
well as Arabic motifs or even sitar (as on “Kings of
the Rooks”). The artist is also the graphics designer
and layout specialist for his own disc too. The cover
inlay depicts an angel statuary with strange blotches
and serene facial expression: creepy! From the opening
strains of “Dream of the Hollow Fishes” to the music
box intro to “The Carny of Mr. Dark”, a new musical
identity appears to have been realized. This album
should find’s it way into the hungry hands of darkwave
and Goth fans looking for that strange but accessible
artist to champion. - Jeff Melton
[www.deathwatchbeetle.com]
Ian McDonald – “Driver’s Eyes”
(Camino, CAMCD18, 1999, CD)
Let us take a long journey back through the ether to advent of
progressive rock. Who do you see lurking around in the shadows?
Well one person was Ian McDonald who’s group, King Crimson was
a magic band by definition: forceful and radical approach.
McDonald’s role was as contributor, but vague in most aspects
related to the actual creation of the concept of that influential
quartet. Now thirty years later, we have his first solo album
with a myriad of alumni on Steve Hackett’s Camino label. Save
for 1970’s McDonald and Giles album and his three year stint
with Foreigner, the gifted saxophonist, multi-instrumentalist
writing and arranging work has been largely undocumented until
now. It appears that his recent involvement with Hackett’s Tokyo
Tapes and Crimson “Epitaph” projects has kicked some life into
those savvy bones. Most of “Driver’s Eyes” is upfront rock with
overtones of the checkered past. John Waite croons “You Are Part
of Me “ with a solid rhythm held down by the drumming of none
other than Michael Giles. Several other singers give competent
vocal readings including Lou Gramm (Foreigner), John Wetton
(Crimson, UK, Asia) and Gary Brooker (Procol Harum) on album’s
closing track. Other notable contributions come from Hackett,
lead guitar on “Straight Back to You”, Peter Frampton on “If
I Was” and former Hall and Oates sideman, G.E. Smith on
“Saturday Night in Tokyo”. The instrumental tracks, “Sax
Fifth Avenue”, “Hawaii”, and “Demimonde” feature good melodic
content across basic arrangements and 4/4 tempos. Overall,
this successful MOR album should find a home with classic
rock stations that have been playing “Feels Like the First
Time” in their seventies time warp. And what’s wrong with
that really? - Jeff Melton
Mother Gong — “The Best of Mother Gong”
(Purple Pyramid CLP 9983-2, 1997, CD)
I suppose there’s a large segment of the record-buying public
(not many Exposé readers among them) for whom the concept of
“The Best of Mother Gong” would be a strange one: that there
should be a band called Mother Gong, let alone a set of music
which could be called their best. Well, Mother Gong does exist,
and have in fact existed since 1978, releasing 16 albums of
material on a variety of labels. Mother Gong is a sort of
collective centered around vocalist Gilli Smith, and consisting
of a variety of musicians (13 incarnations of the band are
featured on this collection). Making appearances here are
Robert Calvert, Guy Evans, Didier Malherbe, Mike Howlett,
Steve Hillage, and many others.
And the music? If you’ve heard Mother Gong you know what to expect.
If not, you’re in for the prime exponents of spaced-out pagan
Goddess-worshipping goofy hippie music in the world. Gilli
Smith’s trippy voice is the centerpiece, breathily reciting
her stream-of-consciousness poetry about Mother Earth, love,
and religion. The background music, largely improvised, tends
toward the jazzy, with violin or sax solos over spacey grooves.
From time to time the band will come together for a tight
composed section, but the general feel is quite loose. I’m
not sure if it’s possible for most people to take Gilli Smith
seriously, but even if you don’t, there’s some good music
here. - Jon Davis