Issue #25 Extra!: New Releases
Robert Andrews – “An Amnesty for Bonny Things on Sunny Days”
Arlo Bigazzi / Claudio Chianura / Lance Henson – “Drop 6 (The Wolf And The Moon)”
Ron Boots – “Liquid Structures in Solid Form”
Ron E. Carter – “Play Hendrix”
Coral Caves – “Voice from a Distance”
Kelly David – “Broken Voyage”
Garlic – “L’Enigma della Trottola”
Matthew D. Guarnere – “M.D.G.”
Hemisphere – “Attachment X”
Honey Barbara – “I-10 & W. Ave.”
Imagin’Aria – “La Tempesta”
Kryptästhesie – “No Age”
Nodo Gordiano – “Nodo Gordiano”
Pentagram – “Sub-Basement”
Psychedelic Breakfast – “Deuce”
Stealing the Fire – “Hot Ice & Wondrous Strange Snow”
Stephen Philips – “Cycles 4”
Dom F. Scab – “Analogical Confessions”
SS Puft Quartet – “Live at Earthshaking Music”
Storm at Sunrise – “The Suffering”
T-Bass UK – “The Fabulous Neutrinos”
VA – “Collection 1: Opening”
VA – “Floralia Volume 3”
VA – “Innerhythmic Sound System”
VA – “Jazzprint Sampler 2001”
VA – “Manikin Records: First Decade 1992-2002”
VA – “Periferic 2002 Space And Art-Rock”
VA – “Periferic 2002 Folk-World-Ethno”
VA – “Progressive DisDURPance Vol. 3”
Michelle Young – “Marked for Madness”
Zappatistas – “Live in Leeds”
VA – “Progressive DisDURPance Vol. 3”
(private release, 2001, CD)
Here’s a compilation from the folks behind the German prog-rock fan-site DURP that serves as promotion for both the bands as well as the web-site. With Germans you’d expect a healthy dose of prog-metal and you certainly get it here. Bands like TellTaleHard and Prototype ply standard prog-metal fare with even the most successful, Tunnelvision, offering nothing new in this realm. We also get a dose of melodic prog pop from Canada’s Mystery and Americans Salem Hill, and there’s even a Peter Gabriel-like remix from Germany’s Body Full of Stars. Things improve further with the tasty power prog rock of Agent Cooper and Sfumato, though the real gems in the collection are Yoke Shire’s richly atmospheric “The Brook the Mirror and the Maiden” as well as the prog-rock ethnic fusion of Paranoise. The surprise track from Germany’s Platos Halo mixes electronica and avant-pop with Kate Bush vocals that’s a nice change from the testosterone-fest flooding the rest of the disc. Much like Musea’s recent compilations the real worth of this set is that for less than the cost of a regular CD you can sample a whole slew of bands’ music. Plus there’s much here worth investigating, especially if your tastes lean toward the metal end of the spectrum. Side note: the sleeve notes use Enchant as a point of reference for several of these groups’ music. Just goes to show what Germany can do for a band. – Paul Hightower
[www.DURP.com]
Imagin’Aria – “La Tempesta”
(Pick Up Records CD 5490152, 1999, CD)
La Tempesta opens with a bit of an attitude, with an in-your-face rocker that almost manages to betray their distant past as a metal band while not really being a metal song. Forming in the 80s playing Metallica and Iron Maiden, they later found strong inspiration in Banco (who they’ve opened for in concert) and PFM, and it’s also useful to note that they contributed to a Demetrios Stratos tribute. Here they’re in their proper tongue, with a lead vocalist whose tremolo and occasional high reach sometimes reminds of Geddy Lee. The band’s lineup also includes bass, drums, and two guitars, but wait a minute: no keyboards, flute, violin, or phase-looped echoplexed caribou horn here? Well it doesn’t matter a whit because the dual guitar approach with occasional treatments more than makes up for it. They frequently use classical acoustic guitar, and even what sounds like electric mandolin on “Ci Credi Tu?”. There is plenty of compositional variety, including the aforementioned classical treatments, 70s style electric guitar rock, and nods to modern rock, all wrapped into a contiguous package and run through an Italian prog filter of lyricism and passion. This is a very good modern disc from a promising up and comer. – Mac Beaulieu
VA – “Floralia Volume 3”
(Wot 4 Records WoT4CD99003, 1999, CD)
This is quite a mixed bag of generally psychedelic bands from all around the world. It starts off with Cosmic Gardeners doing a nice sitar-accented tune and borderline irritating vocals. A track by Amp is really annoying, with tuneless singing and droning distortion. Hungary’s Korai Öröm bumps up the quality level considerably with “Welcome to the Hippie Future”, with some great drumming and spacey effects. Australian Tom Kazas (formerly of The Moffs) offers up a well-written neo-psych-pop gem that suffers from tinny production. Ohm comes from the more electronic side; In the Labyrinth contributes a lovely Indian-inflected piece that builds slowly over five minutes. Smoking the Century Away provides a scattered and amorphous pieces with lots of squonking from bass clarinet. “Joni’s Sweet Echo” by This Fluid from Greece is a diverting piece based on a groove reminiscent of Peter Gabriel’s Security. Acid Mothers Temple and the Melting Paraiso UFO sound even sillier than their name and are best avoided, as are Le Forbici di Maintú and Ectogram. Tombstone Valentine is a little better, though “The Web” is a little too long and could use some percussion to provide a little energy. Mexican-born electronic and vocal experimentalist Alquimia finishes the collection off with an interesting (if slightly New Age) work for percussion, keyboards, and voice. – Jon Davis
[www.mizmaze.it]
Garlic – “L’Enigma della Trottola”
(Mellow Records MMP 395, 2000, CD)
Italian three-piece Garlic recorded this album live in the studio over three days with no overdubs. The songs are all instrumental guitar, bass, and drums with interesting electronic processing adding some extra sonic spice. The songs are very experimental and improvised sounding. “Il Pezzo Delle” sounds like it could be one of the Red-era King Crimson improvs. And there is a song that incorporates the middle 13/8 part of “Starless”. However, for the most part, Garlic is much more jazz and RIO influenced than Crimson-inclined. The songs definitely don’t make frequent use of standard major/minor chord progressions. “Goya” grooves through some off chromatic patterns and some alternate microtuning sections. “Batret Blue”, for example, has some tweaked-out processed guitar that would make Stockhausen smile. “Slowland” starts off like it might be the exception piece with a “normal” guitar intro, but quickly turns in a more experimental direction. There’s even a resonance guitar middle part in that song that sounds like a didgeridoo or some Tuvan throat singing. The drums, especially the snare, are often understated and frequently sound like they are being played with brushes instead of sticks. That tends to add to the spacey, jazzy sound of the tunes. Fans of non-standard melodies and spontaneously composed songs might enjoy the sound and taste of Garlic. – Mike Grimes
Kryptästhesie – “No Age”
(Mizmaze MZ002, 2001, CD)
I’m not going to get into any generalizations about whether Italian bands can be any good at psychedelia. This release from Krypästhesie will not do much to settle the argument one way or the other, as it is not horrible, but not particularly exciting either. No Age is fairly noisy much of the time, with heavily distorted guitar and trebly bass throughout much of its length. They do manage to come up with some good grooves, as on “Tetano”, which has some nice keyboard parts almost like a harsher version of Ozric Tentacles, but the vocals spoil the mood with unappealing harmonies and screaming. Even the quiet moments, such as on “Totto Passa”, with acoustic guitars and Middle Eastern percussion backed by a subtle wall of distortion, are marred by the vocals. There are a number of parts I like quite a bit, such as the off-kilter “Stella – Machina – Guerra” with its distorted skittery electronic beats, strange noises and mangled vocals. But to offset that, there are tracks like “Ent(h)omologia”, which never seems to gel and relies of the vocals for far too much of its eight minutes. Overall, I would say this is a band with a few good ideas, sometimes lacking in execution, and badly in need of a better singer. – Jon Davis
[mizmaze@tiscalinet.it]
Coral Caves – “Voice from a Distance”
(Dreaming DR 8410.AR, 2000, CD)
Musea’s next entrant into the world of New Age music is this release by Japanese keyboard player Toshiyuki Fujita. This one slots squarely into the space between Yanni, Kitaro, and Rick Wakeman, though Fujita demonstrates none of their technical flair. Several tracks like “Nightmares” and “Camels” explore the juxtaposition of broader, sweeping passages and tighter rock workouts, often switching between the two several times within a song. “Nightmares” especially reminds me of Rick Wakeman’s solo music from the late 80s/early 90s via the melodies and synths used. Otherwise these pieces all share that characteristically Japanese penchant for florid melodies and big symphonic passages that contain little in the way of technical or compositional meat. I also have a hard time with some of the keyboard patches, which sound painfully like factory presets. Whether this and the simplistic nature of the material are a conscious choice or something else is hard to tell. Fujita seems to be self-taught and a big fan of classic 70s prog (did you all get the reference to his nom de plume?) though I find little of the depth or intrigue of those bands and their music here. Still, if you’re a fan of Japanese sympho music à la Vermillion Sands, or even Solaris’ The Martian Chronicles, then this may be to your liking. – Paul Hightower
Nodo Gordiano – “Nodo Gordiano”
(Pick Up Records CD5490142, 1999, CD)
Quotes on the back cover from Banco, PFM, Arti & Mestieri, Balletto di Bronzo, and John Wetton may seem gratuitous at first, but there’s a reason for it: Nodo Gordiano is a hot new band that lives up to the honor of opening for the big guys (if not quite playing alongside them yet). Listeners of recent Banco and Periferia del Mondo will recognize clarinetist Alessandro Papotto, here playing synth, soprano/tenor sax, clarinet, and flute, with vocal on one song. Rounding out the line-up is bass, guitar, and a great drummer with a commanding presence, keeping the mix exciting with fills, rapid rolls, and percussive embellishments, almost always unpredictable. In fact, like when Furio Chirico plays, I often find myself focusing on the drumming despite the not inconsiderable prowess of the rest of the performers. This is mostly instrumental, modern symphonic rock with occasional nods toward Brand X and old school symphonics. The songs are elaborate, building from moment to moment with successive contrasts, fleshing out the five mid-length songs with a short closer that carries a menace of almost NeBeLNeST proportions. Elsewhere they aren’t afraid to threaten with aggression, but they also mix in a swinging waltz with a Santana-esque groove and staggered rhythms, along with a snippet of Italian folk. The one vocal track, “Il Conformista”, is a bit out of place, as its heavy, dark, almost fright-flick soundtrack quality makes it somewhat out of place. – Mac Beaulieu
VA – “Manikin Records: First Decade 1992-2002”
(Manikin Records MRCD 7062, 2002, CD)
Though some of the source material dates back as far as 1976, this is a very forward-looking release, much of it recorded new in 2002. There are very beat-oriented energetic affairs, like the very Ashra-like “Echo Gods (Tom Van Draft Remix)”, due in no small part to Lutz Ulbrich’s guitar, with beats and electronics ably handled by Mario Schonwalder & Thomas Fanger. Klaus Schulze completists will want to check out “Manikin Jubilee”, a cool retro lounge number. For a compilation this has a very natural flow to it. Disc one is great music for driving, doing housework, or turning your living room into a night club. My favorite, a new discovery for me, is Beatboys’ “Scaling the Moon (Manikin Cut Mix)”, which features mesmerizing pinpoint sequencing. Disc two features a stunner in the 17-minute “DeviL’s Run” by Keller, Schonwalder and Broekhuis. Beginning as a very mellow atmospheric piece, it builds into a drum-dominated piece that works in every way. Steve Hug’s “Dances of the Nymphes” is light, one might even say cute, but it fits the title, and unfolds like a good story with interesting plot twists that knows where it’s headed. In fact, the whole disc has a very assured feel, as if to say Manikin is sure to bring us another 10 years of listening pleasure. – Phil Derby
[www.manikin.de]
T-Bass UK – “The Fabulous Neutrinos”
(Infection Music INFECT003, CD, 2001)
This disc opens in very upbeat, rocking fashion, as electronic music meets rock anthem. “Know Fear”, despite the name, is a bright, lighthearted affair, a dead ringer for the stronger melodic output by Tangerine Dream in the mid to late eighties. A soaring electric guitar and softly processed female vocal enhances the mood. Back to energetic with “The Lighthouse”, which features an infectious beat and lush synth strings. Pinpoint arrangements and melodies abound. The music isn’t daring or original, but the sound quality, composition and production are excellent throughout. On “Gazing at the Edge of Forever” the female vocal returns. She keeps repeating the word “dream,” in a breathy whisper that is good initially, but loses its effectiveness somewhat through overuse. “Call from the Wild Side” again begs references to Tangerine Dream, as this could have come straight off their Livemiles CD. “6EQUJS (Wow!)” has even stronger references to TD, sounding much like Christopher Franke’s solo material from The London Concert perhaps, though the harpsichord patch again brings to mind Livemiles. Familiar themes and synthesizer sounds run through most of the material, it sort of camps out in a comfortable groove. For fans of earlier vintage Berlin school, or prog rock, or something else, it may seem a bit vanilla. For fans of melodic eighties electronic pop/rock, this should hit the spot. – Phil Derby
[www.infectionmusic.co.uk]
Arlo Bigazzi / Claudio Chianura / Lance Henson – “Drop 6 (The Wolf And The Moon)”
(Materiali Sonori MASO CD 90123, 2000, CD)
The three artists listed above are only the tip of the iceberg; collaborators on this project include Richard Barbieri (Porcupine Tree), Roger Eno, No-Man, Hector Zazou and many more. The reason it is credited as such appears to be that the basis for this album was 1999’s Another Train Ride, a Materiali Sonori release by Bigazzi, Chianura and Henson involving the readings of a Cheyenne poet about wars, past and present. Having not heard that album, there is less context with which to approach Drop 6, but so it goes. Drop 6 is a series of re-interpretations/re-mixes of material from Another Train Ride by an extensive list of artists, including those mentioned above. This music is steeped in modern electronica, with instrumental parts on guitar, synths, trumpet and so on swept up into a maze of samples (instrumental and vocal) and beats, with a pretty chill tempo and vibe overall. What I can make out from the lyrics seems a bit on the cheesy side to be honest; I’m not sure if this is authentic Cheyenne poetry or not, but regardless its all a bit hokey and heavy-handed. The musical vibe is uniform in its laid-back nature; without the manic energy of Squarepusher or the brutality of Autechre. Without more variety, there isn’t a lot with which to actively engage and challenge the listener, and as such the whole thing comes off as somewhat unremarkable. – Sean McFee
Pentagram – “Sub-Basement”
(Black Widow BWRCD 055-2, 2001, CD)
Dis’ some heavy stuff, man. Pentagram is basically the duo of Joe Hasselvander (all instruments) and Bobby Liebling (all vocals), churning out a heavy, fuzzed-out, brutal-assault-on-all-fronts early British style hard rock / proto-metal. Think early Black Sabbath meets early Blue Cheer and you’re probably getting close – heavy descending chord patterns and distortion in extremis, with furious high speed amphetamine solos buried under the surface of churning metallic slag, with Liebling's voice conveying a dark and sinister attitude that matches the music perfectly, rooted solidly in the late sixties/early seventies. In general, the sound goes for that authentic early-70’s heavy-fuzz guitar style, with screaming feedback and chugging rhythms, and to that end they succeed for the most part, but the gated drums on a few of the tracks give it away; that said, there’s still plenty here to please fans of that style. If you came here looking for the progressive rock sound, then you probably made a wrong turn somewhere along the way in the time machine. That’s OK – enjoy it while you are here! – Peter Thelen
Matthew D. Guarnere – “M.D.G.”
(What’s Real WRCD 1132, 2001, CDEP)
Guarnere is a singer, composer and multi-instrumentalist operating in areas between classic and progressive rock. Playing most of the instruments himself, he brings in other players on bass, lead guitar and keyboards as required to get the job done, and in doing so has produced a first rate collection of rock songs with catchy rhythms and melodic hooks. The disc contains six tracks of music (26 minutes – 4 songs and 2 remixes), plus a seventh track that is essentially a 26-minute interview. Obvious influences would include Todd Rundgren, 10cc, Queen, and Cheap Trick, operating in that same polished 70s power-prog mode that connects a strong hook and a degree of complexity to the power chords, bombast, and front-and-center vocals that trademarked some of the best radio rock of that decade. The last half of the disc, however, is that lengthy interview that frankly gets a bit boring after the second play through. Why do artists do this? I suppose that one could program it out… At any rate, Guarnere could be comparable to Spock’s Beard and other modern proponents of the retro-sound, creating a synthesis of vaguely recognizable styles without doing any direct quotes or rips. And likewise, fans of Spock’s Beard should find plenty here of interest. But where’s the full length album? – Peter Thelen
Storm at Sunrise – “The Suffering”
(Gray Sky Records (no cat #), 2001, CD)
Storm at Sunrise’s debut was a faithful, if slightly amusing, southern-bred retread of the classic 70’s rock sound of Deep Purple, ZZ Top, and Kansas. But even with Black Oak Arkansas veteran Kinley “Barney” Wolf on bass this time around The Suffering is simply painful to sit through. I’ll be the first to admit that when it comes to riffin’ rock without compromise SaS has few peers. And once keyboardist/drummer/singer Dave Gryder finds someone to fill in behind the kit then I’m sure they’ll be a force to be reckoned with live as well. Where I have trouble with this record is the mind-numbingly redneck/truck-pull/white trash lyrical philosophy of songs like “Everything Sucks”, “Man, That’s A Drag” and “The ‘I Hate The Blues’ Blues”. Sample some of Gryden’s poetry from the latter: “Man, fuck the blues!/I’m just usin’ my free speech/So don’t come cryin’ to me. Yeah!” And even though he seems to suffer from some kind of slurred speech impediment, Gryder also proves the musical theorem that given enough shouting any fool can sing hard rock. It’s a pity because instrumentally the band is loaded with talent, and when the Mellotron enters the picture, as on the title track, the material actually adopts a dark edge à la Anekdoten that is genuinely cool. How the delicacy and taste displayed here can exist on the same record that sports the lyrics, “You’re a slacker, there I said it.” and, “Feed the hate, procreate” is truly beyond me. Must be a southern thing. – Paul Hightower
Stealing the Fire – “Hot Ice & Wondrous Strange Snow”
(Burning Chrome BCD 10101, 1999, CD)
Not really a sequel, but certainly a long time coming. Anyone recall the Earthstone album Seed? At the time it was receiving some good reviews, actually people were raving about it; I know I liked it. The Earthstone album was a side project for Stealing the Fire’s Chris Phillips (he was joined by Chris Bond.) Aside from Mr. Phillips Stealing the Fire features Tim Lane on g/k/b and Saff Edye on vocals. Musically this album is very much in the vein of the Earthstone album; lots of guitars and keyboards and the dreaded electronic percussion. Saff’s vocals are great; she fits this music well. She’s more folk than rock. The real strong point here is the interplay between guitar and keyboard, and a knack for tasty little instrumental breaks. This is very much a modern album, but you can tell the players are well versed in the golden age. I can’t really describe it well, but I find the keyboard sounds to be just, well, perfect. They bring to mind a few bands, but it would be a disservice to say they sound like anyone. The bottom line here is lots of guitar over heavy keyboard sequences. Hard driving themes thick with electronics. And a very sophisticated drum machine. Listeners to Earthstone will like this for sure, but I would recommend this to all. – Dane Carlson
Psychedelic Breakfast – “Deuce”
(Sonance Records SO51601, 2001, CD)
With Phish on a hiatus, and Dave Matthews and Widespread Panic pursuing more commercial directions, who will be the next hot group for “jam-band” fans? It might just be this young band from Connecticut who happen to feature one of the most talented new lead guitarists in recent history, Tim Palmieri. Psychedelic Breakfast’s second album shows the strong influence of early Phish, and the tunes are a launching pad for some stunning instrumental flights. The rock-based music has plenty of nifty time signature changes that are reminiscent of progressive bands, but they also incorporate a touch of funk and some reggae into the diverse mix. The band shifts effortlessly in and out of various musical styles, often within the course of a single tune. The highlight of the album is clearly Palmieri’s fluid and inventive guitar lines that can vary from subtle and jazzy to downright explosive. He blends technique and emotion exceedingly well, and he is most certainly a name to watch in the future. While the playing of the g/k/b/d quartet is consistently strong, the songwriting is nothing special. The lyrics are typically throwaway, and the vocals are soulful at times but fairly nondescript. Of course, neither of these drawbacks have prevented Phish from gaining a wide popularity! With the band just starting to tour around the country one can predict that their live show (and this album) will bring plenty of converts to this exciting addition to the jam-band scene. – David Ashcraft
Michelle Young – “Marked for Madness”
(Naosha NACD002, 2001, CD)
Michelle Young’s sophomore effort, Marked for Madness, evinces several subtle changes from 1996’s Song of the Siren [reviewed in Exposé #14]. On that first album, the Tennessean songstress sang and played several different instruments, with the assistance of the guys from Glass Hammer. Here, she limits herself to vocals, turning all instrumental responsibilities over to co-producer Clive Nolan and a bunch of other Brits, including Peter Gee, Karl Groom, and (rather surprisingly) old Yes-man Peter Banks. Although Young still frequently sings in a lilting style reminiscent of Kate Bush, her delivery is now punchier, huskier, and more powerful— at times rock-operatic, like Pat Benatar in her prime, or maybe Lana Lane. Young uses her voice more theatrically as well, especially on the title track. The overall mood of the disk, though, is a bit uneven. On tunes like “Spider’s Thread” and “Hope: Encouragement”, the sound is definitely progressive— more progressive than anything she’s done before, in fact. (And no, in spite of the presence of Nolan, Gee, and Groom, it’s not neo-prog). There are also a few intriguing keyboard instrumentals that were written by Young, but which are for some reason performed by Nolan. On the down side, “A Lively Toast” and “Melissa’s Demise” have a rather generic 80s rock sound to them, with blaring guitars that sound too close to late-period Heart for my taste. The overall sound, though, remains that of an arty prog-pop chanteuse. Those who liked Young’s first album should also enjoy this. – Jim Chokey
[www.michelleyoung.com]
VA – “Periferic 2002 Folk-World-Ethno”
(Periferic Records BGCD 105, 2002, CD)
Concurrent with Periferic’s second space/prog rock compilation comes another collection of Hungarian folk/ethnic music. Whereas last time they featured many groups with a slightly modern bent, whose work clearly displayed a cognizance of popular music, this time around it is almost 100% back to the basics. Fourteen different groups/solo artists are included, the most well known being Marta Sebestyen, doing (ironically) an a capella “Greensleaves”. Ultamarin are the only other band to let non-Hungarian influences in; their upbeat modernized rock tune complete with guitars and drums is the odd man out on this disc. Much of the emotional density of what these groups bring alive bears an indescribable melancholy that I’ve never heard from any other European music. Basta Citerazenekar is an example, whose ancient sound haunts the listener, drowned in strings and male voice. Many of the bands opt for a brisk oom-pah oom-pah rhythmic backing while soloists go at it on violin or hammer dulcimer, invoking what is not too far removed from American bluegrass, or festive Irish reels. Bokros Ensemble, Dongo, Ivanovics Tunde, and Kerekes Egyuttes are indicative. Lastly there is a tendency on other tracks towards what seems like Italian street café music, with its operatic vocals and rollicking playfulness. They all use acoustic instruments, and heavily favor accordion, violin, and hurdy gurdy. It isn’t difficult to realize the intention here is for merry-making. Stylistically this CD is much more likely to appeal to your parents’ generation than to Exposé readers. Thus I would recommend the previous Periferic ethno/world music collection instead. – Mike Ezzo
VA – “Periferic 2002 Space And Art-Rock”
(Periferic Records BGCD 104, 2002, CD)
There is a wonderful variety of material on this, the second of such compilations that Periferic has released spotlighting the prog world in Hungary. The CD gets off to a promising start with a pair of bands— D Sound, and You And I— who do very convincing imitations of Eloy/Floyd space rock, and Yes-circa-1976, respectively. After Crying, who seem to be the most popular Hungarian prog band since Solaris, finish things off with their well known brand of symphonic sounds. In between are six more bands. Colorstar and Korai Öröm cover the more modernized hip end of the spectrum with their slightly technofied styles that also reach back into psychedelia, the latter being similar to Ozric Tentacles. After All goes for the jugular in a Dream Theater-meets-90s-Crimson grungy track that sounds like it was written in California. Mini and Toth Bagi Band play more by the rules but still satisfy artistically speaking. The former presents a jam-heavy instrumental; the latter a vocal song in a blend of reggae/pop/jazz/etc. I’ll save the best two for last. Kada are simply awe-inspiring, in a loose improvisational mode that exudes nothing but taste, class and elegance, only subtly hinting along the way at where their path leads. And Mindflower was a big surprise. Their instrumental offering features intimate interplay between guitar, bass, and drums, whose crack dynamic ensemble virtue bespeaks a band that has been performing together for years. There is something for everyone on this CD and all of it is worthy of attention. – Mike Ezzo
[StereoPeriferic@mail.datanet.hu]
Kelly David – “Broken Voyage”
(Rocky Mountain Records RMR0001, 2002, CD)
Mixed and enhanced by Steve Roach, mastered by Roger King, with graphic design by Sam Rosenthal, it is a sheer wonder that this doesn’t come across as a Roach clone, weighed down by comparison and history. So some straight up kudos to Kelly David for retaining individual sound in the face of such overwhelming presence, and to that presence for letting the art come through. David’s South Pacific take on ambient will undoubtedly bring to mind the work of Michael Stearns, and likewise, the music here stays firm to the abstract, where long moments of the CD will remain on this side of silence with some peripheral atmospherics. However, there are rhythmic touches with a dash of those pulsating techno sequences common to Vir Unis/Roach collaborations and a few tribal percussion vamps as well. The most unique aspect to David’s sound is the occasional foray into strange industrial territory (notable in the long “Shadow Side”). It’s these bizarre twists that keep David’s music from closely resembling the style’s gathering heritage too closely, the type of personal stamp that ought to eventually put his name next to the likes of Vir Unis or Saul Stokes, not to mention the godfather himself. A promising debut, David’s about a tweak or two away from distinction., assisted by steering this ship far from cliché. – Mike McLatchey
Stephen Philips – “Cycles 4”
(Dark Duck Records DDR 134, 2002, CD)
There is ambient, and then there is ambient. This is true ambient, for fans of completely tuneless, minimalist drones and occasional other sounds electronic. For example, after a couple of minutes, muted reverberant drones are met by the slow bleep-bleep-bleep sounds of sonar on a submarine. They resurface occasionally at unpredictable intervals throughout the single hour-long track that comprises the entire disc. Something resembling discrete notes moves through from time to time, giving the listener a little bit to grab onto. Though this is extremely minimalist, there are distinct musical movements. However, depending on your state of mind while listening, you may not be consciously aware of it. Though this may be sonic wallpaper for some, for others it could very well be pure elixir. I think that meditation enthusiasts will be in heaven, or any other place or state of their choosing. It is mostly shades of dark, but there are lighter passages that are quite beautiful as well. Occasionally, a more rapid pulse appears, but disappears quickly, leaving mostly the feeling of deep space, devoid of companionship but also bereft of distractions from the world left behind. A total trance trip, built for one. Come back safely. –
Phil Derby
[www.darkduck.net]
VA – “Jazzprint Sampler 2001”
(Jazzprint JPVP999CD, 2001, CD)
The UK’s Voiceprint label has done well to carve a niche as a purveyor of lost archival recordings both from Canterbury artists (Soft Machine) and 80s alternative bands (the Alarm, All About Eve). To emphasize the jazzier side of their reissue campaign, Rob Ayling chose a set of representative tracks from his acclaimed releases. The first song is a live rendition of Robert Wyatt’s “P.L.A” from the Soup Songs collection of recordings. Ex-Soft Machine guitarist John Etheridge follows with a blues track from his early 90s disc, Ash. Jim Mullen and Howard Riley each get multiple tracks distinguishing their choice discographies. Mullen’s work is heavily steeped in blues while Riley has been touted as one of the fathers of the British free jazz scene since the 1960s. Also spotlighted here is a telepathic duet, “Interchange”, where Riley is paired with the other vanguard of the scene, Keith Tippett. Probably the most significant piece on the disc is Mike Westbrook’s “Riding Down to Platterback”. This song fits into a Cabaret vocal style that masks the complex arrangement of the piece by relying heavily on accordion. Next up is Annie Whitehead’s “Alien Style” single from early 1980s, which is an excellent ska-based piece too. Closing out the disc is the opening medley of pieces from the Zappatistas Live in Leeds tribute, reviewed elsewhere this issue. Overall the collection of tracks warrants further inspection by jazz enthusiasts and serves as a worthy introduction to a catalogue that is only deepening in quality. –
Jeff Melton
SS Puft Quartet – “Live at Earthshaking Music”
(Solponticello SSPOO1-2, 2001, CD)
Four Athens natives + one collectively channel their improvisational demons with this two disc set on the independent Solponticello label. Saxophonist Dave Rempis (on-loan from Vandermark 5) runs out of the starting gate with the first piece as guitarist Colin Bragg whines over Blake Helton’s jazzy time keeping. Three of the pieces have compositional bases to start with, beginning with Bragg’s “Navajo”, featuring trumpet player Jeff Crouch and Rempis ramping it up before segueing into a great solo lead guitar phrase (not unlike pre-Mahavishnu McLaughlin). Rempis returns to solo blowing later (comparable to Evan Parker) as the rest of the group sits out until the free-for-all closing leading. “Ether” provides a relief from the outright chaos with Erik Hinds’ bowed H’arpeggione (a custom upright bass) underpinning Bragg’s acoustic guitar inserts. Disc two is dedicated to smaller combinations rather than the group outing. Rampis’ solo sax excursion leads the disc with a focus on silence overcome by short blaring stabs and abrasive squeals. “Jeff and Dave” is a muted trumpet duet between the two that is both raspy and raucous. Maybe the best ensemble track in the set is “Sludge”, where Hinds begins the improv with an ascending low-end nudge before the entire group takes off again into a sprint. “Blues for Arnold” closes out the disc with Bragg showing a Holdsworth-like solo style across a swift tempo. Overall, the set is a pretty good outing and holds much promise for the label going forward. – Jeff Melton
[www.solponticello.com]
VA – “Innerhythmic Sound System”
(Innerhythmic INR004, 2001, CD)
I had heard about half of the tracks on this compilation before I got it, so I knew what to expect. Innerhythmic is dedicated to a kind of world/jazz/electronic fusion that I generally enjoy, and I was not disappointed. Bill Laswell starts things off with the sparse groove “Babylon Sync” , featuring some spacey electric piano and deep soundscapes. Laswell’s Sacred System follows that with a remix of “X-Zibit-I” off the Nagual Site CD. This track is propelled by tabla drums and some eerie horn samples. Moving a little more to the electronic side, Praxis does “Flux and Reflux”, a quick workout for drums and turntables with some contrasting freer sections. Another Praxis cut comes later, this one a guitar-oriented at times, like a mutated cross between a free noise group and a hip-hop DJ. Suphala contributes a tabla-driven piece called “Psyche” with some interesting electronic interjections, a more experimental counterpart of some of the India/electronica combinations I’ve heard. We also get two tracks off of Blood Ulmer’s Blue Blood [reviewed in #24] and one from Nicky Skopelitis and Raoul Björkenheim’s Revelator [reviewed in #23]. The Ulmer tracks sound a little out of place, being electric blues with a bit of jazz, but variety is sometimes a good thing. If any of this sounds like intriguing stuff to you, this is a good place to start for the label. – Jon Davis
[www.innerhythmic.com]
Robert Andrews – “An Amnesty for Bonny Things on Sunny Days”
(Cyclops CYCL 083, 2000, CD)
Britain’s Robert Andrews plays guitar and bass for Land of Yrx and Aerie, bands with whom he’s released over a dozen albums. An Amnesty for Bonny Things on Sunny Days is his first solo outing. For the most part, this CD’s seven tracks (one of which is untitled) are extended compositions of soothing instrumental music. Acoustic guitar, bass, and keyboards (primarily played by Andrews, although a few friends help out) are the main voices used to express melodies that are slow, sweet and simple. The arrangements are minimal, even sparse, with only one or two instruments typically being played at any given time. The album has an overall pastoral quality— especially on “Earth and Stone” and “Landfall”— that reminds me of Anthony Phillips and the gentler side of Mike Oldfield: a slow-paced, bucolic delicacy that one imagines was composed in a cozy little cottage in the English countryside. That said, there isn’t nearly as much here in the way of thematic development such as one would expect from either Phillips or Oldfield. The tunes are certainly quite pretty, but often they just seem just a bit aimless and meandering. Then again, I think that’s deliberate, as all the music on this album seems intended to float airily and lazily rather than being suborned to a developmental structure. Recommended for those seeking mood music to put on while curling up with a book on a drizzly autumn day. –
Jim Chokey
Ron E. Carter – “Play Hendrix”
(Steady On Records QFM008, 2001, CD)
Covering the Jimi Hendrix catalogue requires skill as well as thought about which arrangements to interpret and which ones not to disturb. Stevie Ray Vaughn’s cover of “Voodoo Chile - Slight Return” and Sting’s “Little Wing” come to mind when the tribute works. Ron E Carter, together with ex-IOU drummer Gary Husband, plays nine tracks on this CD from the Experience songbook. Using “Purple Haze” as the transition into the closing part of Mahasvishnu’s “Dance of the Maya” is a slight stroke of genius. Carter’s Stratocaster leads at times invoke parallel images of Robin Trower and SRV as on “Hear My Train”. “Dolly Dagger”, from Hendrix’s later period, is performed with a spirit of abandon and noticeable restraint as well. There are only a few low marks to consider: Carter’s vocal delivery is a bit light and unobtrusive, which detracts from the strength of the performances. Violinist Sovra Wilson-Dickson appears on Carter’s version of “Little Wing”, and Husband’s own piano adds a jazzier take on the standard. Three of Carter’s own compositions are also included: “Can’t Get Used to You”, “Feel Good” and “All in Your Mind”. The first piece contains the best guitar solo on the disc while “Feel Good” is a linear workout that would have benefited from a Jack Bruce style vocal. Closing out the album is an atmospheric take on “Voodoo Chile” which also stays true to the original version. – Jeff Melton
Zappatistas – “Live in Leeds”
(Jazzprint JPVP122CD, 2001, CD)
What has been rumored to be the greatest Zappa tribute band has come to CD in the form of the Zappatistas: a group led by guitarist John Etheridge and keyboardist Steve Lodder. The group was formed for a one-off live performance calling on the best of the current British jazz community to participate including Annie Whitehead (trombone) and Ben Castle (alto sax). The core of the pieces in this warts-and-all disc originate from Zappa’s late-sixties and early-seventies material. The set includes a blistering version of “Sexual Harassment in the Workplace” where Etheridge gets to shred in a style previously not heard before. Castle gets to show what he’s made of while the rhythm section grooves away on “King Kong”. The brass section itself is very tight as they capture the raucous nature of the material. Maybe the best rendition from the nine tracks is “Big Swifty”, where the ensemble displays a genuine empathy for the composer’s often twisted, but rewarding pieces. Charts for the gigs were put together by Lodder and feature a brass section that Zappa himself or the Brecker Brothers could love. The most current piece is a cover of “I’m the Slime” from Overnite Sensation, which was popularized on the “Saturday Night Live” program. Taken as a whole, this was but one of a series of hot gigs for an ensemble that knows how to do it right and have fun doing it. – Jeff Melton
Honey Barbara – “I-10 & W. Ave.”
(Émigré#60 & ECD020, 2001, Magazine and CD)
Singer/songwriter Ross Marlow’s conventional set of pieces with cohort James Sidlo (DreamLand) is called Honey Barbara. Together with drummer Lisa Kuehl and various guest artists, this trio has crafted a set seventeen pieces that pull on the recent US/UK resurgence of psychedelic pop begun in the late sixties. Honey Barbara take the less traveled mode of indie rock with a swaying twist on T. Rex (Marc Bolan) mutated with groups such as the early Pink Floyd. The album’s opening track, “Famous Animal”, is driven jointly by backwards guitar and tom tom drums and a Syd Barrett vocal delivery. “Beddie-Bye” pursues a danceable groove after a spacious intro that is done well, but less interesting. “Killer Buds” opens with vibes and a steely auto-harp introduction before Marlow croons about how good his threads look at a party. Other notable pieces include “Come Away”, which relies on a lounge lizard style percussion backdrop to softly spoken lyrics regarding loose imagery until the scary solo break section. Closing out the disc is “Renata”, a tribute piece where a subdued mode of operation is at work; the results not far removed from Brian Eno’s work from Another Green World or David Sylvian’s work with pedal steel icon BJ Cole. Overall the work shows a myriad of influences that are both embraced and distilled, thus stamping the band as a modern hybrid not easy to pigeonhole. – Jeff Melton
VA – “Collection 1: Opening”
(Databloem DBCD 001, 2002, CD)
This disc does what all great compilations do, it makes you hunger for more from each artist presented. A globally diverse cross-section of talent is assembled, beginning with one of my current faves, The Circular Ruins (a.k.a. Anthony Paul Kerby) from Canada. Mechanistic and yet organic, the sounds swirl and evolve in entertaining fashion. This track is largely devoid of normal rhythm, melody or other conventional musical structures, yet irresistibly attractive. More conventional sequencing does appear in the last few minutes of it, but it is hardly garden variety Berlin school. Mutagene from Japan moves into sparser territory, hitting truer ambient realms with a deliciously atmospheric drifter. Next up is Spheroid from Germany with a dark, melodramatic piece, “Imbedded Neptune”. Each track is about 15 minutes long, allowing for lots of sonic exploration. “Imbedded Neptune” is a good example of the fun twists and turns the music takes. The most accessible track is Australia’s kwoOk with “Kwookyworld,” an energetic sequencer piece, although there is still a laid back, chill-out feel to it, really mellowing out toward the end. Last but not least is “Encounter (In an Unexplored Nebula),” by The Civilized Electrons from Sweden. This is excellent pure space music, and will have you drifting pleasurably off into the ether to finish things off. – Phil Derby
[http://www.databloem.com]
Ron Boots – “Liquid Structures in Solid Form”
(Groove Unlimited GR-065, 2002, CD)
Ron Boots has firmly established himself as a force in electronic music. His latest release is, as always, accessible top-notch electronic music. The title track gradually unfolds over the disc’s opening 19 minutes, coasting along in effortless stride. A light, mid-tempo sequencer pattern is joined by fine solos, featuring a plethora of classic sounds for vintage synth fans. Just past ten minutes, after only hints of percussion, the drums finally assert themselves at just the right moment. The track shows Boots at his best, finding a comfortable groove that varies just enough to keep things interesting, resisting the urge to build too much into a melodramatic finale. In fact, it just smoothly levels off, knows when it’s time, and then it’s over just like that, without any pretense. “KGM” is mellow yet powerful, with just the right amount of tension. My favorite is “Thunder Road”. It starts with mellow strings and soft chimes, then a chugging bass line brings forth images of Jean-Michel Jarre’s Equinoxe. The key change with the thunder at the 6:00 mark is perfect. Later, it sounds just like TD’s Livemiles CD. But these are only reference points, it is all unmistakably Boots’ own identity. He even sings on the last track, “Soft Skin”. I wasn’t at all sure about this at first, but it is growing on me quickly. More great stuff from Boots. – Phil Derby
Dom F. Scab – “Analogical Confessions”
(Groove Unlimited GR-063, 2002, CD)
Dom F. Scab is Spain’s answer for Tangerine Dream fans who wish they still sounded like they did in 1985 or 1986, right when they transitioned from Johannes Schmoelling to Paul Haslinger. His CDs have been remarkably consistent, always featured tight compositions and razor-sharp, crisp sequencing that bubbles and bounces along. It’s infectious and it’s fun. Dom’s signature sound has changed little, but that’s okay because it continues to sound very good. “After Secrets” is a great opening track title, an apparent reference to his prior CD, Binary Secrets. Effervescent as always, the piece moves along quickly. An even faster sequence is brought to bear in “Insomnia”, as we can feel the restlessness of a sleepless night. Again, Scab’s sequencing is nothing short of fantastic. He keeps the energy high throughout, with occasional divergences into more atmospheric pieces like “Materia Obscura,” a brief but very worthwhile journey. Scab varies the tempo nicely in “Cuerpos Celestes,” starting off mellow and moody but ending up with more sequencing, though a little more laid back than the rest. Another strong offering from Dom F. Scab. – Phil Derby
[www.groove.nl]
Hemisphere – “Attachment X”
(Groove Unlimited GR-067, 2002, CD)
Hemisphere serves up another slab of dark shadowy theatrical ambience. Labeled “A Psychedelic Deep Ambient Soundtrack,” it is, I believe, all seeing light of day on CD for the first time, but is apparently a collection of new and old material mixed into a singular work. Each piece is simply labeled “Point One”, “Point Two” and so on, the fourteen pieces mostly recorded in 2000 and 2001, but a couple are thrown in from years earlier. It all flows seamlessly into a cool gelatinous mass that catches a great groove. Beginning with Gregorian chant and dark flowing music, it shifts into high gear for “Point Two”, with a crushing beat and a variety of cool synth textures and hypnotic loops. “Point Three” shifts back to darkness, with haunting choirs and low, thick synth pads. This one is ominous, sad, with a unique beauty. Stuttering bass and beats start “Point Four”, and some very interesting vocal interplay goes on between two wailing voices, contrasted well with Thorsten Reinhardt’s gritty guitar. The doleful, earthy “Point Six” makes me think of Peter Gabriel’s Passion soundtrack. The emphasis tends toward darker atmospheric pieces, but just when it seems all is dank and musty, a rhythmic piece like “Point Nine” or a downright happy, light one like “Point Twelve” emerges – though the lighthearted beat is offset by the return of male chanting. Suffice to say it is a stirring concoction of darkness and light, floating and rhythmic. Psychedelic? Perhaps. Good? You bet. – Phil Derby
[www.groove.nl]