Issue #30 Extra!: New Releases

Aina – “Days Of Rising Doom – The Metal Opera”
American Heritage/Foe/Art of Burning Water – “The Combined Stupidity of Spiteful Men”
Applebaum, Mark – “Intellectual Property”
Atilla, Can – “Omni”
Azazello – “Wings”
Basement 3 – “Rising”
Beck, Jeff – “Jeff”
Bennington, Jimmy – “Midnight Choir”
Beyond Surface – “Destination’s End”
Borishov, Alexander – “Polished Surface of a Table”
Carter, Daniel / Gregg Keplinger / Rueben Radding – “Language”
Centrozoon – “The Scent of Crash and Burn”
Coryell, Larry, Badi Assad, John Abercrombie – “Three Guitars”
Coulais, Bruno – “Winged Migration”
Dalaba Frith Glick Rieman Kihlstedt – "Dalaba Frith Glick Rieman Kihlstedt"
Dyecrest – “The Way of Pain”
Embracing The Glass – “Mandala For Chaos”
eROTic – “…A Million Empty Lives”
The Far Side – “Parallelebiped”
Fastball – “Put Your Wig On”
Frost – “Raise Your Fist to Metal”
Gamma Ray – “Skeletons in the Closet”
Gentry, The – “And Now …”
Gloeckner, Jen – “Miles Away”
Goddard, Jon – “Seunos Estropeados”
Gross, John / Billy Mintz – “Beautiful You”
Heavenly – “Dust to Dust”
Iconoclasta – “Live in France”
 Jackson Band, Joe – “Afterlife”
Johnson Trio, Jeff – “Free”
Johnson, Jeff – “The Art of Falling”
Lake Trout – “Another One Lost”
Like Wendy – “Homeland”
Love – “The Forever Changes Concert”
Love – “GAMH, San Francisco, January 16, 2004”
Mandyck, Rick / Gregg Keplinger – “Tribute”
Melk The G6-49 – “Melk The G6-49”
Nautilus – “In search of Castaways”
Nazarkhan, Sevara – “Yol Bolsin”
Németh Project, Gábor – “Easy Steps”
Outside – “Freedom”
Pietkivitch, Jim – “Inner Worlds”
Presence – “The Sleeper Awakes + Live”
Prime Numbers – “Live at Jazz de Opus”
Ritchie, Brian – “Shakuhachi Club NYC”
S&L – “Time Machine”
Shine – “Heaven and Hell”
Sinclair, Dave – “Full Circle”
Sinclair, Dave – “Into the Sun”
Skillet – “Collide”
Suran Song In Stag – “Kitty Igloo & The Plastic Stereo”
Southern Transfer Band – “Southern Transfer Band”
Terra Amphibia – “Deep In The Jungle”
Test Site – “Test Site”
Various Artists – “Modern Drummer presents Volume One - Drum Nation“
Various Artists – “Rewired: A Tribute to Jeff Beck”
Various Artists – “Shite ‘n’ Onions Volume 1”
Vitous, Miroslav – “Universal Syncopations”

Various Artists – “Rewired: A Tribute to Jeff Beck”

 (Progressive Arts PAM1015, 2003, CD)

If the title of this disk makes you think you’re going to hear some guitar-fueled fusion, then you are correct. In fact, almost every track on this disk is taken from Blow by Blow (1975), Wired (1976), or There and Back (1980), three albums that best represent Beck at his fusion zenith. And for the most part the guitarists paying homage are true to Beck’s style of melodic and evenhanded blending of rock, funk, and blues. The exceptions are Greg Howe’s 80s-shredder solos on “Led Boots” and Dave Martone’s McLaughlin-esque acoustic playing on “Goodbye Pork Pie Hat.” Given the current vogue for all things 70s in pop culture the timing for this collection seems apt. Several tracks even recapture the sound of the era in which they were created, down to funky Fender Rhodes and bass. The weakest offering is Slav Simanic’s expressive, yet oddly treated (the choice of strangled reverb is unfortunate) take on “Where Were You.” For the most part, however, these are faithful renditions of Beck classics like “Star Cycle,” The Pump” and “Since We’ve Ended as Lovers.” The jazzier interpretations are especially good since they allow for greater nuancing of the melodies, though really the entire collection is solid. Exposé readers won’t be familiar with most of the names here, except perhaps The Magic Elf’s Carl Roa, but that doesn’t mean these guitarists are not up to the task. Beck fans will certainly want to check this one out. – Paul Hightower

Various Artists – “Modern Drummer presents Volume One - Drum Nation“

 (Magna Carta MA-9065-2, 2004, CD)

Magna Carta has aligned with Modern Drummer magazine to bring you the best of who’s out there pounding the skins in the music world today. Eleven drummers on twelve tracks give a severe cerebral pounding to their drum kits in pastiches ranging from rock to jazz and outright fusion. Leading the charge is Terry Bozzio who does it all by his little lonesome on the lead track, “A Glimpse into a Deeply Disturbed Mind.” Next up is a new studio version of a “Beelzebub,” done up by Bill Bruford’s newest incarnation of Earthworks. This time out it’s Tim Garland on sax that rips the lead lines for Allan Holdsworth as the quartet embraces the track in a new acoustic, but high-energy approach. It’s also great to hear another Zappa/Holdsworth alumnus Chad Wackerman in a new project between Shakti member Zakir Hussain and Journey/Vital Information drummer Steve Smith results in a cool east meets west jazz intersection. Chad Wackerman serve up some rip roaring fusion with a new quartet featuring Daryl Pratt on vibes. Simon Phillips also delivers the goods on “Manganese” that features Jimmy Johnson on bass that reminds me of the old Billy Cobham band circa my favorite Life and Times. Plus there are several other competent players represented as well. Overall it’s a wide plate of chops and brilliant percussion that succeeds in presenting the best of the best. – Jeff Melton

Terra Amphibia – “Deep In The Jungle”

 (Prudence 398.6686.2, 2003, CD)

Terra Amphibia is the project which occupies Mani Neumeier during time away from Guru Guru. World music and East Asian culture appropriation are Mani’s hobbies, which find him jamming and flirting with the natives and wildlife in Nepal, Bali, and other sundry hot Asian climes. Deep In The Jungle is the latest in this series of recordings that sees him surrounded by a vast percussion array, soaking in ethnic moods and having what seems a genuinely joyful time. While the instruments are native to the region, the compositions usually conform to Western preconceptions of structure and form. Mani shows an admirable sense of orchestration in forming these collages, where just the right cymbal or gong is placed in just the right spot. But there is more than drumming here. Guitarists and flute also add a welcome occidental character, and a very necessary slice of melody (something surprisingly lacking in efforts like this). A few cuts feature chanting as well, and Mani often splices in natural sounds to deepen the sonic scope. It works splendidly. As does his penchant for shaking up the scene by exploring a different rhythmic mood and musical culture on each piece. A well-informed ethno-musical listener might possibly pick out the influences from gamelan, Tibetan chant, and other sources. Some vocals in English tend to be somewhat jarring on a work like this, but they are kept to a limit. Probably not for all ears, this CD is nevertheless a good statement of Neumeier’s craft, and recommended. – Michael Ezzo

Gábor Németh Project – “Easy Steps”

 (Periferic Records, 2003, CD)

Németh is a Hungarian drummer and employs a large number of sidemen on this collection of ten tracks on the Periferic label. The music here is post-bop, or whatever one wishes to call music with a hard bop sensibility but the presence of guitars and keys. Lots of sax on this release, and sax unison lines tend to take a lot of the melody. The best part of this release is Németh, a powerful drummer with a strong groove who reminds me a bit of Tony Williams. The worst part of this release is the soulless soloing and somewhat banal melodic themes of the bigger band pieces. The trio pieces offer more opportunity for interplay, but the frustrating tendency for everyone except the soloist to hold back persists even here. I suspect those who emphasize technique and musicianship in their listening preferences would like this more than I do, and even I can’t deny that Németh is a fun drummer to listen to. The material played could be a bit spicier though. – Sean McFee

Prime Numbers – “Live at Jazz de Opus”

 (Origin 82422, 2004, CD)

I’m not the first critic to observe that improvised music is often more fun to experience live than by recordings. Case in point, this CD by the trio called Prime Numbers. Pianist Doug Haning, bassist Jonas Tauber, and drummer William Thomas work well together, playing imaginatively and responding to cues from each other; they are all proficient players on their respective instruments; and none dominates the others. There is only slight variation in tonality and mood between the nine tracks, with a kind of frenetic, spiky (though not overly dissonant) sound dominating. They stay in highly abstracted areas well away from lasting grooves or tonality and avoid any rote echoing of each other’s lines. Most of the selections wander along without much in the way of development, just occasional peaks and valleys of tension and release. The one track that sets itself apart is called “Russian (3),” which features a long section of moody atonal bowed bass backed by wandering chords from the piano, and hints of a slow tempo from the drums; after about five minutes, there’s some hyperactive noodling like the rest of the tracks. I’m sure the set was an interesting experience for the audience (unless they were expecting Ellington interpretations or something), but most listeners will probably find too little to grab their attention, and nothing much remaining in memory once the sound waves have passed. – Jon Davis
[www.origin-records.com]

John Gross/Billy Mintz – “Beautiful You”

 (Origin 82426, 2004, CD)

Duets are so hard to pull off, especially when neither of the instruments is a piano or guitar. This one, a live set with John Gross on tenor sax and Billy Mintz on drums, is not a completely improvised set, and features tunes written by the drummer. The thing about having compositions arranged with only a melodic voice and no other instruments to alternate with is that a listener unfamiliar with the tunes has no idea where the composition ends and the improvisation begins. It’s a little like wandering around in an unfamiliar city, trying to find your hotel – that building looks familiar…did I cross this bridge before? The whole set seems to float on air, with the high frequencies of the cymbals and snare plus the high register of the sax, and very little in the way of a bottom to ground things. I’m reminded a bit of Coltrane’s duet with Rashied Ali on the aptly named Interstellar Space, though this set is quite a bit more structured. Gross runs the whole spectrum of his instrument’s color, from breathy quiet notes to out-and-out screaming, providing a well-rounded impression, if not a distinctive voice. Mintz loves his cymbals, keeping things on the light side whether he’s laying down a slow swing or letting himself loose from the tempo. Most listeners would probably prefer these players in a larger group setting, and it’s hard to argue the benefits of having more to go on. – Jon Davis
[www.origin-records.com]

Mark Applebaum – “Intellectual Property”

 (Innova 602, 2003, CD)

Applebaum is an American pianist and composer whose credits are mainly commissioned projects in electro-acoustic, sound sculpture, avant-garde acoustic works and jazz, and there’s a little bit of all that on this release. “Plundergraphic” is a five minute workout for noises, squeals and squeaks using piano, cello, transient percussives, flute and piccolo; no real melody or rhythm, just free-form random sounds. If that’s not enough, there’s “Scipio Wakes Up And Smells The Coffee,” a thirteen minute live performance by the Paul Dresher Ensemble of a multi-part sound sculpture piece, involving more electronics, bassoon, percussion, and violin, which overall is a lot more interesting, and certainly more listenable. “Mouseketier Praxis” is a 26 minute, four part electro-acoustic piece utilizing electronics, various home-made percussion instruments (photos of a couple of these interesting looking contraptions in the booklet), tapes and processing, reminiscent of some of the more avant-garde stuff on the Russian Electro-Shock label. The title track starts out with cacophony for solo piano and disklavier; the chaos eventually evolves into a sort of free jazz workout, while the closer “Pre-Composition” is a facetious composition planning session between eight voices in Applebaum’s head, offering some insights into how he develops his material. Applebaum is clearly operating in the realm of music academia; this is no doubt complex stuff to write, challenging to play and interesting to listen to, but it’s probably not meant to be enjoyed. – Peter Thelen
[http://www.markapplebaum.com]

Nautilus – “In search of Castaways”

 (Prudence 398.6691.2, 2004, CD)

The Prudence label based in Germany is well known for their output of more nice, romantic music. This new release by a young band called Nautilus (Ludwig: Keys, synthesizer and sequencer; Strätz: guitars and mandolin; Weiden: sampler, synthesizer and sequencer) has some tracks on it that would fit that description. It contains pieces where guitar plays leading role, though others are full of sequencing and synth-sounds, but not without guitar. The production is crystal clear. Although the overall atmosphere is romantic, sometimes it flees from this impression, like on “Back on Earth” where you can hear some strong guitar chops. The title piece which clocks at almost 22 minutes is a strong effort with restrained, though shiny sequencing, again good guitar and beautiful synth soloing. The building of the piece is very much like good old Schulze. In “The Final Discovery” they even take on Vangelis heights with epic bombast. This album is nothing for listeners who like things rough, but the ones who like it more sweet, romantic and don’t mind an overproduced album should try it. – Roel Steverink

Can Atilla – “Omni”

 (Groove Unlimited GR-103, 2004, CD)

Here we have the new album by Can Atilla from Turkey. But before I go on with the music, I have to mention the again amazing cover made by Pablo Magne. Most albums which this great artist has done, just leave you in wonder or make you think, when you look at them. Back to the music. For the readers who aren’t familiar with his style, it’s definitely music for a bigger audience. And I get the strong impression that he was satisfied too soon. For example there are some very beautiful space passages, but they are too short and too few. Too often you get very commercial rhythms with too catchy melodics on top, other times like on “Sputnik part 1 (part 2),” it’s more Jarre with different layers on top and although derivative, these are the better tracks. When you look into the bonus tracks in the end you know he stands close to modern dance, cause they’re all remixes. No, the result is quite mediocre. – Roel Steverink

American Heritage/Foe/Art of Burning Water – “The Combined Stupidity of Spiteful Men”

 (House of Stairs HOS004, 2003, CD)

Apparently there is a movement in the hardcore community that endeavors to marry their established noisy norms with a newfound complexity, and the House of Stairs label intends to include this as part of their “forward looking” portfolio. Within that context, the three bands featured on this compilation succeed. American Heritage, Foe, and Art of Burning Water are all noise-core bands that actually know how to play their instruments while making a lot of noise. Varying degrees of unusual (for the format) and shifting time signatures, mildly challenging unison riffing, and stops and starts are incorporated into the nearly overwhelming sonic maelstrom, resulting in a compilation that sounds almost as though it were the work of one band. American Heritage and Art of Burning Water both employ vocalists, or drowning, gravely, blood-curdling screamers as it were, while Foe donates one 10 minute instrumental. Frankly, this track doesn’t offer a whole lot other than being a relief from the vocals, though the band puts in an admirable time shifting performance. Art of Burning Water actually manages to slip in some accessible riffing to get my head banging to their manic movements, but American Heritage is stuck a bit too much in a plodding morass to get me interested. There clearly is a market for this music, as anyone who’s migrated from the hardcore music scene may find some new and familiar ground here. As for me, if the mood hits I’ll dig out my Killing Joke albums. – Mac Beaulieu

Basement 3 – “Rising”

 (Independent, 2002, CD)

Basement 3 is the solo project moniker of Bay Area music scene veteran Kenny (just Kenny). Rising, his second solo effort, is a concept album with the tracks broken into two multi-part “acts” and book-ended by an overture and a finale. The material seems informed by the many bands and projects Kenny has been involved with, including punkers Dot 3 and local reggae/ska favorites Neoscoreskin. For someone who enjoys tweaking notions of categorization, Kenny is eager to describe this album as “subterranean world-core.” I’m not sure what that means, though over the course of this disc the listener will confront rap, funk, thrash, Latin jazz, avant-rock, hip-hop, prog and world/ethnic tribalism. It’s a blend that actually suits the experimental, left coast sensibility pervading the songs. The instrumentation employed reflects this diversity as well, including strings, saxes and clarinet, ethnic percussion, along with the standard rock set of guitar, bass, and drums. A folkier, acoustic approach is even explored in places, stretching the album’s eclecticism to the breaking point. Kenny’s singing is decidedly un-pretty (sounding kind of like Weird Al, actually) and, like the rest of the album, goes out of its way to avoid falling into anything resembling popular conventions of “good music.” For something working so hard to be difficult to embrace, I personally enjoyed the results. There’s just no denying the effort behind the arrangements. Rising probably isn’t for everyone, though fans of everything from Zappa to David Byrne and the Red Hot Chili Peppers should check it out. – Paul Hightower

Brian Ritchie – “Shakuhachi Club NYC”

 (Weed 7916, 2004, CD)

The longtime Violent Femmes bassist is certainly out of his usual setting on this one, and an unusual one it is. The Shakuhachi, for those not familiar, is a traditional Japanese bamboo flute-like instrument, played vertically with four fingerholes on the top and a thumb hole on the bottom. Traditionally it is played either in Honkyoku, solo or with other shakuhachi as accompaniment for prayer in a monastic setting, or in Sankyoku, in an ensemble with other shakuhachi, stringed instruments like koto and shamisen, and occasionally percussion. What Ritchie has done here is pull the instrument entirely out of its traditional context and placed it in a free jazz setting, supported by drums and other percussion, tuba, and either banjo or mandolin, track depending; the shakuhachi here (played by Ritchie himself) does the duty that a flute or soprano sax would in the traditional jazz idiom. With this, they take on a number of Ritchie originals, a couple of traditional numbers (one, “Tvottavitsur” sounds strangely familiar), a piece by Albert Ayler, and probably the high point of the entire set – a ten minute rendition of “Living Space” by John Coltrane. On some of the originals, a semblance of the traditional element is still maintained, in that the banjo more or less does similar duty to the stringed shamisen. Overall, this is very well done, but by the end of eleven tracks, due to the limited scope of the instrumentation, it does get a bit samey. – Peter Thelen
[Weed Records: http://www.weedrecords.com]

Suran Song In Stag – “Kitty Igloo & The Plastic Stereo”

 (Cruel Music CM006, 2004, CD)

Suran Song in Stag is centered around the core of singer, lyricist, and performance artist Suran Song and bassist William Weis, joined here by drummer Doug McEachern, and possibly some other uncredited guest musicians. Their trade is in aggressive driving art-rock in the short song format, with thoughtful, seemingly socially conscious lyrics, and strong presentation. First thing that should be mentioned is Suran’s voice: powerful, urgent and expressive, full of passion and aggression, a truly engaging vocalist; I am reminded a bit of Martha Davis of the Motels and in general the ethic of the late seventies / early eighties new wave sound. So what can a band sound like when all you have are a great lead voice and the components of a rhythm section. For his part Weis seems to be using a six-string and is adequately covering the higher registers, while McEachern is a busy man at the kit, and together they make enough racket at the bottom end to keep the sound full. The lack of prominent guitars, keys or other high-end instruments gives further space to Song’s vocal muse, though after six or seven tracks their instrumental approach starts getting a bit samey. Overall, this is a good homegrown effort that I’m sure some will enjoy, but in the final analysis, its strengths notwithstanding, for my tastes this is just too samey, and a little too close to snotty alternative punk. – Peter Thelen
[http://www.cruelmusic.com]

Joe Jackson Band – “Afterlife”

 (Ryko RCD-10665, 2004, CD)

This is not Joe Jackson’s first live album. There was Live 1980/86 and Summer in the City (2000) and (for the really dedicated fans) Joe Jackson Live (aka Two Rainy Nights, 2002). We’ll leave aside Big World, a “studio” album that was actually recorded live. So does he really need another live album? The short answer is no, but certainly Ryko knows Jackson’s fans well enough to know there’s a market for it. Is this one really different from the others? The answer to that is a little more complicated. The last time this four-piece was documented live was the 1980 part of the first live album, and the arrangements have changed dramatically since then. For the three songs that also appeared on Summer in the City, the arrangements are quite similar aside from the addition of guitar. Certainly they play with as much energy as they did in 1980, though with a lot more finesse and cleaner recording. Most phases of Jackson’s career are included, from the first album to the latest (though “Is She Really Going out with Him?” is thankfully absent). And the new songs from Volume Four hold their own in this context, perhaps better than on the studio album. In the end, this live CD will serve as a great souvenir for those who saw the tour, and as a consolation for those who missed it. Fans will be happy; others won’t care. – Jon Davis
[www.rykodisc.com]

Jeff Beck – “Jeff”

 (Epic EK 869941, 2003, CD)

It’s hard to believe that Jeff Beck is pushing sixty. After successful recent endeavors incorporating techno, sampling and tribal rhythms into his grab bag mix of backing tracks, the hillbilly guitar slinger continues to astound and amaze at his vitality and ability when many contemporaries are re-treading past glories. The sixties icon has managed to maintain a positive outlook and associated himself with innovators such as David Torn (under his moniker Splattercell) on two tracks including “Plan B,” a shredding piece of hard rock that showcase’s Beck at his most incendiary. Dean Garcia is another collaborator on the album and he manages to grasp the man’s soloing style over a penetrating backdrop. “Trouble Man” is possibly the most successful piece since it shows the guitar icon with his most Wildman attack atop jungle conga backing as slippery and gritty as ever. “JB’s Blues” is a take on the mid-tempo power ballad with Tony Hymas back on electric piano. Andy Wright and Apollo 440 are the other two prime collaborators on the album; each gives a bit more impetus as on the funky “My Thing.” Much of the premise of the thirteen tracks reminds me of Wired or There and Back when the lead guitar was the main focus and support backing was minimal but effective. In summary, updating your sound to modern dance type rhythms has allowed the ex-Yardbird to overcome typical obstacles and continue to reinforce his long legacy and as a creditable six string king. – Jeff Melton

Dave Sinclair – “Full Circle”

 (D-SINCS CDS1, 2003, CD)

Dave Sinclair – “Into the Sun”

 (D-SINCS CDS2, 2003, CD)

Dave Sinclair has long been known as the main keyboardist in Caravan. During recording for the group’s The Unauthorized Breakfast Item CD, another rift between Sinclair and longtime bandleader Pye Hastings occurred, resulting in a fortunate parting of the ways and subsequently these two Japanese releases. Sinclair is known to craft songs in the singer/songwriter vein as evidenced in Full Circle’s opening cut, “Thru the Night” which follows squarely into 10CC or even Michael McDonald’s, rather his former band’s recordings. Vocalist Roxanne (no last name) provides a sensitive reading on “Forever Through the Years” that also features Theo Travis in one of four saxophone appearances. The most endearing tracks include a slight re-working of the Matching Mole classic “O Caroline” co-written by Sinclair and drummer Robert Wyatt. In this context, Richard Sinclair gives a warm, crooning as part of a duo performance with the co-composer adding a trademark wah-wah organ accompaniment and closing wiry synth solo. The former Hatfield and Camel member also gives a crafted vocal on “That Day” another heartfelt ballad along with “Sancti” that also carries a vocal chorus. A few members of Caravan’s expanded line-up make memorable guest appearances including current bassist Jim Leverton who does lead vocal on two tracks including “Best Life of All,” placing the track squarely into a Fairport Convention framework while the latter piece reminds me of many of Eric Clapton’s ballads. The best keyboard arrangement is present on "Nowhere to Hide” (which also appears on the latest Caravan CD) where Sinclair captures the air of “In the Land of Grey and Pink” with an outstanding fuzz organ solo. Into the Sun is a less realized project containing two demos and a radio edit of songs from Full Circle. Pieces that standout in particular are “Fun” that fits into the blues groove niche and another version of “That Day” sung by the composer himself. Overall it’s two releases that shore up the keyboardist’s ability to compose and arrange tracks on his own. – Jeff Melton

Melk The G6-49 – “Melk The G6-49”

 (Joyful Noise JNR-1, 2003, CD)

The low frequency rumbling that begins the opening track “How Foolish You Are” hints that this may just be something different. There’s no rule that says a band needs guitars and keyboards and horns and flutes and violins and all that high frequency stuff… Ruins have proved it, as is Melk The G6-49, a somewhat anonymous duo of bass and drums from somewhere in the lower 48 (most likely Indianapolis), who seem to tour ceaselessly. Unlike Ruins, who offer a very aggressive composed style with vocals, Melk is more free, open, instrumentally concentrated and explorative; oh sure, they do get snarly, aggressive and full throttle at times, but one can easily get the notion that most of the seven tracks here are just one step beyond pure improvisation, where fluid textures and sonic experimentation reign supreme, where ambient moods and thrashing fragments of metal meet walls of distortion and howling feedback. There are no vocals per se, but sampled spoken voices are used in places which adds an extra dimension. All seven tracks appear to have been recorded live in the studio with no overdubs, giving a rawness and urgency that highlights what the duo is aiming to accomplish. In all, fans of free-metal, post rock and free improv will find plenty here of interest. – Peter Thelen
[http://www.melktheg649.com]

Alexander Borishov – “Polished Surface of a Table”

 (Electroshock ELCD037, 2004, CD)

Alexander Borishov is another in the new breed of Russian experimental artists that the Electroshock label is nurturing. By relying on pitch changing of samples, Borishov has created fourteen pieces of structured noise that occasionally borders on paranoia. By switching on and off static, the composer regulates not only the sound we hear but also the impact it makes as on “Old and Metallic” where a background conversation appears to be short-circuited in the course of a three-minutes. The follow-up track, “Dense Drift” has a low-end frequency that is pretty scary in these headphones as the tension mounts throughout the piece. Although the approach is industrial to many of the songs, there isn’t a lot of found metallic instrumentation used in the pieces. There is some melodic interplay in a few places on the CD even if it is only masked by odd manipulations and quavering tones. When it all comes together well is represented on tracks such as “After the Prime Time” that recall a few of Brian Eno’s sinister pulsings during the Music for Films” era. Angela Manukjan’s lead vocals are severely shredded on “Dew” with the sparks of the electric shocks prevalent in the track. “Zaraza (Volume I)” reminds of a few of Bill Laswell’s scratchy dub experiments gone slightly awry. Overall it’s a violent but restrained sound form that will endear the album to many industrial music fans worldwide. – Jeff Melton

The Far Side – “Parallelebiped”

 (Mellow Records MMP 434, 2002, CD)

The Far Side is an Italian band using Rush instrumentation; bassist who sings and doubles on keys, guitar, and drums. Bassist Simone Montrucchio is the dominant composer with almost all the musical and lyrical writers. The general musical style is soft prog-metal reminiscent of commercial-era Fates Warning (commercial era) with strong AOR tendencies, and the singer sounds like a cross between Ray Alder and Don Henley (actually the really eerie resemblance is IQ’s temporary front man P.L. Menel). The lyrics show a high level of English knowledge but are still sung with an accent; kind of weird, that. The best track is “Smells Like Winter,” which is heavily reminiscent of the title track from IQ’s Nomzamo. All three members execute well, and there is a good album in them. Paralellebiped isn’t it, though. The recording quality screams demo, as the guitar sounds thin, the drums muffled, and the entire mix rather weak. The vocals are portrayed in a rather anemic fashion. The only parts that don’t sound poorly recorded are the keyboard patches, which generally only provide texture anyway; and the kicker is they then get mixed low. There is some good material here (and some only ok material too for that matter), but I don’t think most readers want to buy demo-quality recordings any more than I want to review them. – Sean McFee

Centrozoon – “The Scent of Crash and Burn”

 (Burning Shed (no cat#), 2003, CD-EP)

Centrozoon represents the accumulated talents of singer Tim Bowness together with German duo Markus Reuter and Bernhard Wösteinrich. The trio does a fine job navigating around sophisticated dance tracks such as the EP’s remixed opening cut, “Ten Versions of America” where a persistent bass drives a techno-like tempo. “Make Me Forget” comes down on the ominous side of the house with a dream state washing behind Bowness’ passionate lyric. Reuter’s raucous lead melody soars over the sampled drums that skip across the song making the piece the best in the set recalling Sylvian and Fripp’s brief encounters ten years ago. “The Me I Knew” is a bit more introspective with is serene use of synthesizers with electric piano accompaniment and swelling background feedback. The title track of the EP is even more nebulous in its deliver where Bowness reminds me of mid-period Bowie with his pressing lead vocal. Considering that these five pieces were the precursor to an entire album of pieces, this set stands solidly on its own merits as a hybrid pop refinement that will appear to fans of Japan as well as King Crimson. – Jeff Melton

Iconoclasta – “Live in France”

 (Metropolis Records CDM 6011, 2002, CD)

Is it amazing that the Mexican band Iconoclasta is still around? Yes, but on the other hand with such passion founder member Riccardo Moreno shows, to keep the torch of prog rock in Mexico burning, it’s hardly suprising. Although the band is more than 20 years old, they still try to experiment within their style, daring to make complex music even today. This is a live recording from a concert they gave during the 3rd festival of progressive rock in Poitou-Charente, France. Their line up is Ricardo Moreno (guitars and keys), Victor Baldovinos (drums), Nohemi D’Rubin (bass), Ricardo Ortegon (guitars) and Salvador Gobla (keys). It’s an excellent lively sound and the interplay between guitar and synths is perfect. The audience show their aural appreciation when the drummer juggles with his drumsticks during an intermezzo within the brilliant classic “Suite Mexicana.” Iconoclasta is still a force to be reckoned with live. – Roel Steverink

Outside – “Freedom”

 (Mellow Records MMP423, 2001, CD)

Outside is a French neo-prog band that sings songs about unrequited/unfulfilled love in accented English. Still reading? Their style lies in the Genesis camp, as in a post-pop-Genesis side project such as Mike And The Mechanics, though Outside lacks the imaginative knack of Rutherford’s band. The band knows well enough how to stretch out tracks to 13 and 17 minutes without purposeless self-indulgence, and they’re able to keep it musically engaging with instrumental breaks while keeping a relative pop vocal foundation. The problem is that almost every song is about love, sung in first and second person, and displaying an immature poetic grasp and profundity. Much of this may have to do with lacking linguistic nuance when using a second language, but of course, that’s what first languages are for. Additionally, lines like “I believe it’s you that I need, I know it’s you and only you, I need somebody like everyone, but somebody like you…” Perhaps wouldn’t fare so poorly if they weren’t given such prominence. Ditto for “I love all of you, it’s electricities, let my fingers over your body, you break my mind.” Musically the band supports the lyrical grey color of longing pretty well, though the sappy string synth is overused and the occasional flick-your-bic chorus hurts. If all of these descriptions sound appealing then by all means, this is for you. – Mac Beaulieu

S&L – “Time Machine”

 (Musea FGBG 4485.AR, 2003, CD)

This is a duo project, where the S&L stand for Salvio Schiano (keys/programming) and Lino Esposito (guitar). They are helped by four other musicians on drum, bass and vocals on various tracks. The general musical style is prog-metal in the second-tier Magna Carta vein. There are bands that do this well; S&L is decidedly average. Esposito does a good job sounding like John Petrucci, and Schiano’s style and timbres recall Derek Sherinian on Falling into Infinity. While a drummer is credited, he’s like a low rent Mike Portnoy with the same lack of groove and less speed. I really hate his drum sound too, it makes the snare from Images and Words sound good (actually I think they were INTENTIONALLY aiming for that sound). The vocalist is a dude but he sounds kind of like Lita Ford. He does, at least, know English (the same can’t be said for whoever printed the lyrics). The end result is a pretty mediocre release that I doubt many people beyond prog reviewers will ever hear. – Sean McFee

Presence – “The Sleeper Awakes + Live”

 (Black Widow BWRCD 069-2, 2004, 2CD)

Italy’s Presence is one of the few groups who give the genre of progressive metal a good name. Their latest release is a two-CD set that combines a re-release of the out-of-print The Sleeper Awakes and a collection of live material. The first disk is the reissue of The Sleeper Awakes.. As Exposé reviewed the album when it first came out [see issue #9], I don’t feel the need to say a lot about it here. Readers should be aware, however, that two songs from the original 1994 CD— the bluesy “Wiled” and the jazzy instrumental “Key Days”— have both been edited out. As these tunes were incongruous with the rest of album, I can certainly understand the decision to remove them on artistic grounds. At the same time, they were still decent tunes, a with some excellent jazz guitar on “Key Days.” I would have preferred it if these two cuts had simply been moved to the end of the disk rather than excised altogether. (This reissue was also pressed with an error in track-order: the place of the acoustic guitar solo “Gauntlet” is switched with that of “So Dangerous” on the actual CD.)
The second CD contains seven live tracks that were recorded at various locations between 1994 and 2002. One track is a solid cover of Led Zep classic “Kashmir” on which Sofia Baccini’s powerful vocals do a more-than-creditable Plantish wail. I don’t recognize any of the other six live tunes (all originals) from the three studio albums that the band released on Black Widow. Of these, “Makumba,” “Shadowing,” and “Hellish” share the dark and brooding prog-metal characteristics of The Sleeper Awakes. The remaining three aren’t quite so dark— or so headbanging. They’re much less frantic and breakneck, with fewer metal influences and much more ornate keyboard lines. Bacconi’s vocals on them don’t show the same forceful operatic quality on these either— and there are a few moments during “On Travel” and “The Swear” where she sounds a bit like Kate Bush. As a whole, these live tracks are solid and should appeal to those who like the band’s studio sound— although the sound quality, while perfectly listenable, leaves a bit to be desired. All in all this 2-CD set is a fine release. It’s just a bit of a shame about the two missing songs from Sleeper and the so-so sound on Live. – Jim Chokey

Frost – “Raise Your Fist to Metal”

 (Noise 3620, 2003, CD)

Jack Frost certainly gets around in the metal world. Besides stints in Savatage, Seven Witches, and so on, he has this “solo” project, aided by current and former bandmates, along with members of Armored Saint, Fates Warning, Symphony X and a host of others. By this time in the history of heavy rock, originality is not really a factor, at least not in the circles where Frost moves. You could make a case that the real originality in metal comes from outsiders like King Crimson or various industrial bands, but that kind of innovation has so far had no impact here. This is pretty solidly in the traditions established by the 70s pioneers of metal and the 80s NWOBHM style. While it is well played and produced, there’s nothing here that wouldn’t fit easily in the repertoire of Iron Maiden or Judas Priest. Every note is placed exactly where it should be to conform to the expectations of the metal fan, and there are no surprises to be had anywhere. The only possible appeal for a release like this one is to hard-core fans of the players involved. They’re welcome to it. – Jon Davis
[www.noiserecords.com]

Test Site – “Test Site”

 (private release, 2004, CD)

Ready to be pummeled by an avalanche of brutal and noisy metal slag, occasionally punctuated by screaming death vocals? Oh, and did I mention heavy? The slower paced heavily distorted guitars and dense wall of noise recalls some of the late 60s and early 70s pioneering bands like Black Sabbath and High Tide, but those bands never gave it a hundred percent, always falling back on some blues, jazz or classical moments for repose. Test Site says “screw all that!” More than occasionally a screaming guitar lead or two jumps out of the chaotic fuzz to give their sound some additional definition; the amazing thing is that all this din is the work of just three guys from Milwaukee, bulldozing through nine slabs of bone crushing riffery – and while there ARE vocals (ok, ok… screaming…) this has a mostly instrumental focus. While their intensity and sheer level of high volume distortion are impressive, their sound does stay within some fairly narrow confines, which – if you like stuff like this, won’t matter anyway. – Peter Thelen
[http://www.testsitecontrol.com]

Aina – “Days Of Rising Doom – The Metal Opera”

 (Transmission TM3040, 2004, CD)

Bring on the bombast, baby! A metal opera! I think these guys watched Lord of the Rings waaay too many times. Parts of this really smoke, other parts (like the narration, the boys choir, the angels choirs, and the swishy orchestrated parts) are a little over the top and silly (a-la Days of Future Passed multiplied many times over), although compared to Wakeman’s prog standard Journey To The Centre of the Earth (which this could have very easily become) or anything I’ve heard by Rhapsody (Aina’s leaders are Robert Hunecke-Rizzo and producer Sascha Paeth, who were both members of that abomination), this is far more respectable. Many familiar voices here singing the various parts (Glenn Hughes, Damian Wilson and Candace Night, among others) as well as guest instrumentalists (yep, Erik Norlander got in on this – you knew he would; Derek Sherinian and Jens Johansson too, plus numerous other guests more closely associated with the metal world). At its core, it’s straight metal - with all of the clichés intact, so that doesn’t win any favors with this writer, and some of the add-on stuff gets a little overblown and ridiculous, but one has to admit that overall this is pretty well done for what it attempts to do. Apparently if one buys the “deluxe edition,” there is a second disc of out-takes and demos, plus a third disc that’s a DVD. And of course it’s a maximum length CD so you’ll be climbing the walls by the 45 minute mark. – Peter Thelen

Love – “The Forever Changes Concert”

 (Snapper SMACD869, 2003, CD)

Love – “GAMH, San Francisco, January 16, 2004”

 (Castle Blue (no cat #), 2004, 2CD)

Released at the end of 1967, Love’s Forever Changes was a brilliant coupling of folk-rock, psychedelic pop, unusual songwriting and insightful lyrics; it was also a commercial failure (in the states at least; it did respectably in England), and due to the difficulty presenting it in a live setting posed due to all the string and horn arrangements, it wasn’t toured, and pretty much spelled the end of the original band. The more streamlined Four Sail / Out Here lineup that commenced a year later contained no original members except founder, primary songwriter, singer and guitarist Arthur Lee. Through all the years Lee has kept Love going in one form or another, but it wasn’t until the mid-90s when Lee joined forces with the L.A. psychedelic band Baby Lemonade that a long term stable lineup could provide the kind of foundation necessary to allow Lee to fulfill that goal of presenting Forever Changes in a live setting. Due to some unforeseen delays, it took a few years to make it happen, but In early 2003, Love embarked on a 35th anniversary Forever Changes tour, recruiting a nine-piece Swedish string and horn section, beginning the tour in England where the band has always been more appreciated than at home. This performance at the Royal festival Hall of the entire album plus a handful of additional songs was recorded to multi-track, and meticulously mixed; the results are absolutely phenomenal – anyone who appreciates the original will surely want this live companion release. For the fan who wants to go a step further, there are a series of live shows and DVDs available from Castle Blue Music, of which the January 16, 2004 show at Great American Music Hall is but one. This two-disc set presents basically the same Forever Changes material, again with the participation of a string and horn section, with a full album’s worth of additional tracks on the second disc. While this is a warts-and-all live recording direct to two tracks from the mixing board without the benefit of all the multi-track post-processing used on the Snapper release, the show here definitely benefits from an additional year of performing the material, as the entire band seems a bit more comfortable and energized. In both releases, it’s great to hear the power and imagination of this classic material brought back to life. – Peter Thelen
[www.snappermusic.com, www.castleblue.net]

eROTic – “…A Million Empty Lives”

 (Gestalt GAF 8992, 2003, CD)

This is a four-piece from Colorado, with members Erik Gristle, Dr. K, Tommy Rautic and Stripper Gore. What we have here is a noisy, thrashy, very programmed dark techno-metal hybrid with a lot of noise, treated voices and screaming, four letter words, drum machines, and sequenced synths. As rock or metal, it falls flat, as the singers – even when the voices are treated, tend to be marginally or completely off key all the time, and as techno it’s totally cheesy and repetitive. The band is trying to be dark and mysterious, but it comes off as a joke. The promo label on the disc calls it “Dark Aggro-Tech”; sorry folks, I call it rubbish. This is the worst piece of shite I’ve heard all year. Lyrics like “Put a gun to my head and paint the walls with my brains”; Yeah. Enough space wasted on this already. I just can’t imagine that any Exposé reader would get anything out of this, except for a good laugh or to use it to clear a party. – Peter Thelen
[http://www.gestaltrecords.com]

Bruno Coulais – “Winged Migration”

 (Higher Octave HOSTCD 82505, 2003, CD)

The quasi-documentary film Winged Migration (the English-language version of Le Peuple Migrateur) was filled with stunning close-up footage of birds in flight taken from ultra-light aircraft. As the movie featured no dialogue and little narration, the music was the primary audible element and means of effecting mood. Composed by Bruno Coulais (who previously handled some of Malicorne’s arrangements), the soundtrack draws upon classical, ethnic, and rock styles evocative of the various Cirque du Soleil soundtracks. In creating the film’s music, Coulais called upon the talents of Robert Wyatt, Gabriel Yacoub, Nick Cave, and Bernard Paganotti, among many others. This soundtrack CD’s nineteen tracks begin with the primary ‘songs’ from the film, including two haunting tunes featuring vocals by Wyatt: “Masters of the Field” and “The Highest Gander.” These songs evince a fairly conventional rock structure though the instruments primarily consist of piano, keys, orchestral instruments, and choral vocals, with Bulgarian women’s choirs, children’s choirs, Sardinian singers, and other all-male ensembles being used. There is also a lot of percussion, which is used lightly, almost airily, to create the rhythms and soft timbres of beating wings, which are sometimes accompanied by birdsongs and calls. Motifs from these songs reappear in later tracks, being restated, varied, interwoven in extraordinarily subtle ways. Though some folks might find the music a bit on the new-agey side, it’s a brilliant soundtrack worth listening to on its own merits, independent of the film, and one of the top releases of 2003. – Jim Chokey

Like Wendy – “Homeland”

 (LaBraD’or Records LBD 040016, 2003, CD)

Remember all those British pop groups from the 80s like Simple Minds, Tears For Fears, and The Fixx? I always had a soft spot for their rich production and artsy brand of techno-pop. So it comes as no surprise that I really like this new one from Bert Heinen, aka Like Wendy. And for fans of good neo-prog like IQ and modern psych prog à la Porcupine Tree, Homeland will seem like manna from heaven. On these seven songs, Heinen (who handles all instruments and vocals) delivers catchy refrains, clever hooks, seductive choruses, and all the must-haves of good pop song writing. But he then wraps the songs in layers of rich atmospherics via Mellotron, layered synths, guitar drones, and multi-tracked vocals. Songs like “The Crossing Cloud” or “Live Forever” would make Steven Wilson green with envy while the IQ influence is most strongly seen on the 12 minute “Homeland” with its rhythmically propulsive and grandiose instrumental break. A real drummer would have helped drive the arrangement along even better, though elsewhere the digital percussion actually boosts the production value of the songs, as in the Group 87-esque “Flood.” Lyrically Heinen is a capable wordsmith, especially for a non-native English speaker (and I can’t help thinking he sounds more than a little like the singer from The Alarm), though it’s his sonic creations that are most remarkable. The work here is simply gorgeous and I imagine even the most ardent RIO freaks will find Homeland a pleasant listen. Highly recommended. – Paul Hightower

Jen Gloeckner – “Miles Away”

 (private release (no cat#), 2003, CD)

Miles Away is the debut album by Iowa native Jen Gloeckner. The CD’s fifteen original songs reveal Gloeckner as a folk-pop chanteuse and songwriter in the tradition of Joni Mitchell, Heidi Berry, and Kirsten Hersh. Gloeckner’s voice has a breathy, slightly raspy quality reminiscent of Stevie Nicks, although she occasionally exaggerates her delivery to produce an off-putting nasal snarl (most evident on “Seven Maids”). On the title track, the only instrumental backup is Gloeckner’s acoustic guitar; other songs feature piano (played by Gloeckner) and/or bass, drums, and cello (played by others), although the arrangements of these instruments is often sparse and subdued— at times almost atmospheric. On a few tunes, however, Gloeckner shifts mood and groove by adding unexpected jazzy elements, like the sax solo on “Glimpse,” the flute flutterings on “Clear the Sand,” and the guitar solos in “Spinning Heads.” While my personal preference is for jazzier pieces, I acknowledge that the sparser arrangements seem better suited to the darkly introspective lyrics, which recall those of Tori Amos or early Happy Rhodes despite Gloeckner’s tendency to repeat the most ominous phrasings far too many times in a row, as on “Only I,” where she sings the refrain “I sit here like a loaded gun” again and again and again in every single chorus. Despite the un-subtle lyrical repetitions, this is still a promising debut that should be enjoyed by ectophiles and fans of arty female singer-songwriters. – Jim Chokey
[www.jengloeckner.com]

Larry Coryell, Badi Assad, John Abercrombie – “Three Guitars”

 (Chesky JD248, 2003, CD)

Larry Coryell and John Abercrombie have long been at the forefront of international jazz guitar utilizing both acoustic and electric formats. Badi Assad is a Brazilian ace in the hole performer who had not previously worked in jazz but you certainly can’t tell by the sympathetic results here. At times some of the combinations of work reminds of the best of Ralph Towner’s ECM recordings with Abercrombie as on “New Lute Prelude.” There is an admirable restraint to the overall tone of the thirteen tracks when compared to The Guitar Trio’s work (McLaughlin, Di Meola, De Lucia) that Coryell has been a worthy participant. So it’s song craft that shines as well as guitar chops on Assad’s moody trio piece, “After the Rain.” Another of her moody modal songs, “Metamorphosis” is a perfect foil for Abercrombie to create a friendly interplay against Coryell’s bluesy soloing. Plus the positioning of the players within stereo playback is distinct enough to clearly pick out Coryell on the left, Abercrombie on the right, with Assad in the middle range. Of Abercrombie’s four pieces (including a re-work of “Timeless”), both “Descending Grace” and “Soundtrack” evokes a strong link to the Batik album with Coryell filling a similar role to Towner’s. Assad’s role on former is to add mouth rhythmic accompaniment that more that fits the bill. In closing, musical meetings such as these provide many fruitful interactions with tentative plans for a follow-up. – Jeff Melton

Jon Goddard – “Seunos Estropeados”

 (Ogle Ogle 14 - 300280, 2004, CD)

“Suenos Estropeados” is composer Jon Goddard’s second new solo release this year and is another of the multi-instrumentalist’s homebred concoctions. This time out the guitarist has written a series of pieces that are distinctly south of the border giving way to a Spanish feel. The disc opens with “Donde Estas Ahora?” a romantic slice of Tijuana heat and passion. The second piece, “Como Una Rosa” communicates the appearance of an invitation to dance an intimate tango. Goddard plays both accompanying guitar as well as prime soloist on all tracks. The arranger relies on sampled bass and percussion to help portray a humid setting where you can easily imagine the feel of perspiration dripping off the old small town structures. The moods of many pieces range from relaxed and restrained to easy going, but the delivery is still uncluttered and precious. ‘Pastel de Cereza” is probably the most danceable groove constructed by the composer. Your feet almost want to begin a little shuffle as the bright guitars play against light percussion and metallic tins. “Vestigio” is vintage Mexican balladry at it’s finest: Los Lobos would listen on with respect in particular on this piece. Closing out the collection of eleven songs is “Tango del la Medianoche” that reminds me of a few soundtrack recordings Ry Cooder did in the past. Overall Goddard continues to surprise with the depth of his arrangement abilities. – Jeff Melton

Dalaba Frith Glick Rieman Kihlstedt – "Dalaba Frith Glick Rieman Kihlstedt"

 (Accretions ALP0303CD, 2003, CD)

Another super group of improvisers meet at the crossroads with this collection of seven dialogues. Fred Frith is well known to our readers as a proprietor of real time inspirational chaos while Leslie Dalaba has worked with a wide range of performers from Dennis Rea and Bill Reiflin to members of the downtown New York scene. Carla Kihlstedt is a member of Sleepytime Gorilla Museum while Glick Riemin spends much of his time in the San Diego area working in various experimental projects in the small San Diego scene. The disk can be divided up between short and longer excursions each winding up in a dark alley alone with no explanation. “The Distance that separates Dreams” begins with Frith’s guitar rapidly setting a train-like rhythm for Kihlstedt’s scratchy delivery. “Lucy has a New Kitty” relies on a jumpy riffing rhythm before diving into a bleak setting for Kihlstedt’s sad countermelodies. “Worm Anvils” is the first of the longer vignettes and benefits from a collective approach to generating a mysterious sound collage. Frith appears to be the main catalyst on most pieces with Dalaba adding the occasional haunting trumpet tone. “Shallow Weather” drifts from a Derek Bailey styled introduction into a jazz malaise that makes it the most impressive recording on the disk. Fans who enjoy Frith’s work with Chris Cutler as well as King Crimson’s live group experiments surely will be able to appreciate. – Jeff Melton

Miroslav Vitous – “Universal Syncopations”

 (ECM ECM 1863, 2003, CD)

At first glance it seems that acclaimed bassist Miroslav Vitous was interested in assembling a variation on the Bitches Brew line-up to create a revisitation of that signpost of fusion era with his new album, Universal Syncopations. Instead the heavyweight personnel of Chick Corea, John McLaughlin and Jack DeJohnette (augmented by brilliant saxophonist Jan Garbarek) have built a shelter for acoustic jazz performance on a world scale. On track two (“Univoyage”) is where the ensemble truly applies a subtle handprint of sensitivity and intercommunication augmented by an additional three-piece brass section. “Tramp Blues” could be a standard under any old jazzman’s hat with Garbarek giving a reminiscently sweet delivery to that of Sonny Rollins. McLaughlin’s sparse guitar and DeJohnette’s kit drumming together provide able foils for Vitous prodding bass lines on “Faith Run” with high class comping and restrained percussion. Corea simply shines on “Sun Flower” by using a minimal approach at first before bursting into a spirited interplay between Vitous, DeJohnette, and Garbarek (with McLaughlin sitting out). “Beethoven” contains the best dialogue between Vitous and DeJohnette as the rhythm section creates an adept foil for Garbarek’s inspired soloing. Vitous himself has been a bit in the shadows since his early 70s exposure to world audiences with Weather Report (circa Mysterious Traveler). Given this above ground venture, it is hoped that his work again gains the international attention it richly deserves. – Jeff Melton

Azazello – “Wings”

 (Mellow Records MMP 452, 2003, CD)

Azazello is a Russian metal band, and I’d be lying if I said I anticipated this review with any pleasure. I’ve heard their two previous releases and disliked each. But well, they’ve come a long way. Wings is a nine-part suite totaling 35 minutes. There are two bonus tracks recorded by a previous folk-band involving guitarist Alexandr Kulak, and they’re fine but not the main point here. Wings has a wide variety of styles; there is prog-metal certainly, with that kind of neo-classical guitar soloing Petrucci used to do, and also a healthy dose of 80s cheese metal, but it’s mixed in with some progressive rock moves. These come chiefly from keyboardist Vitos Afanasiev, who also doubles on flute and adds jazzy vamps for even more stylistic variety. Vocals are all in Russian, and to my ignorant ears the delivery is reminiscent of bands like Lizard, who sing in Polish. The suite is heavily instrumental, and there are some female vocals near the end as well, which seem to be in a more traditional style. The styles are all over the map on this, and while I am not sure I like all of them, it’s the ambition reflected in mixing them together which has to be commended. Perhaps it’s because the band is from such a remote part of Russia (the far East), that an original take on music they like comes naturally to them. So color me pleasantly surprised, and prog-metal fans should consider this refreshing, horizon-expanding release. – Sean McFee

Jim Pietkivitch – “Inner Worlds”

 (Electrofine Music EM-JRP03, 2004, CD)

With a title like Inner Worlds the music can move to the depths of the soul, or just hover slightly below the surface. The second description fits this album perfect. It’s new age, but it’s the top of it’s genre. This is no piano noodling, though pieces full of rich atmospheres and good melodies. It’s spacey and ethereal; it crosses the border of Stearns M’ Ocean lightness, but also roams the percussive fields (electronic as well as acoustic) where Roach has found his home, only less complex of course. There’s real flute thanks to Melanie Lunsford, which gives the music a sort of Irish folk turn. Even some sacral fragments which remind a bit of Demby are passing. No track is the same. Although this not my kind of music, it’s ideal music for relaxation and should suit the taste of large audiences. – Roel Steverink
[www.electrofine.com]

Shine – “Heaven and Hell”

 (Innerythmic INR-016, 2004, CD)

Given the list of participants in this recording (Buckethead, Bill Laswell and Shin Terai with Nicky Skopelitis, Bernie Worrell and Robert Musso), several possibilities come to mind. It could be a funky shred-fest, or a chaotic noise-fest, or even an atmospheric dub-fest. The latter is closest to the truth. The seven movements, titled “Movements 1-7,” run together, with Frippertronic-like washes of keyboard (or whatever) notes fading in and out. A programmed drum part often gives the music a mid-tempo groove with hi-hat, rim shots, and a steady thump. Rather simple lines on fretless bass provide both rhythmic and melodic interest, with the higher frequencies equalized out for a deeper tone. A heavily-effected guitar comes and goes with single-note riffs, echoing like the treated backing parts in deep Jamaican dub. From time to time, Buckethead breaks out with a slowly developing solo, a pleasant change from his standard over-the-top hammer-on noodling. There are also episodes of sound effects where mysterious noises of uncertain origin swoop in and out of focus. These elements are combined and recombined in various ways throughout the course of the CD, shifting the mood subtly but never really approaching great intensity – this is more late-late night chill music, when you’re too tired for thrashing and still too awake for ambient. The whole thing sounds like the players recorded a twenty-minute jam in a multi-track studio, then took the parts and reassembled them into the finished product. Laswell is credited with “reconstruction” so maybe that’s not far off. – Jon Davis
[www.innerhythmic.com]

Heavenly – “Dust to Dust”

 (Noise/Sanctuary 74136, 2004, CD)

Sensing the dire worldwide shortage of concept albums about vampires, French prog-metal act Heavenly step up to bat with this effort to save us from...uh, whatever. They ply their trade admirably, fleshing out the genre’s typical qualities and not missing any tricks. Bright melodies on guitar and/or keys soar above throbbing double-bass-drum and staccato rhythm guitar; near-screaming vocals emote about soul-searingly important things like evil and salvation; hordes of backing vocals make everything bigger than life; tempos change on a dime; rapid arpeggios sparkle over massive power chords; occasional acoustic interludes with piano prove that you can be sensitive and macho at the same time, especially if you’re wearing black leather; and it all goes on for a long time, like a Buffy the Vampire Slayer movie without a sense of humor. For fans of this sort of thing, I suppose all the knowledge that’s necessary is the answer to the question “Where can I get it?” For the genre’s detractors, nothing here is likely to change a mind – it’s pretty much interchangeable with Ayreon or most any other band. I can’t deny the technical abilities of the musicians, and there is some imagination in the arrangements, but in spite of the quiet bits, it’s all a bit too relentless for repeated listening. – Jon Davis
[www.noiserecords.com]

Lake Trout – “Another One Lost”

 (Palm Pictures RXCD-8005-2, 2003, CD)

I’ll get the cheap comparisons out of the way right out of the gate: Lake Trout sounds a bit like Phish crossed with Radiohead. This reflects the Baltimore-based band’s origins on the jam band circuit, though I suspect this studio work might not resemble their live sound entirely (if the bonus live MP3 included on the CD is any indication, I’m right). The standard rock instrumentation (guitars, bass, drums, vintage keys) is augmented and warped by any number of tricks, though somehow everything sounds like it’s produced by real humans, not machines, in spite of the technical sophistication. When they settle into a funky groove, it’s real drums, and I wouldn’t be surprised if a lot of the sound manipulation is done real-time as well. The five musicians work their way from ambient improvised atmospheres to intense rhythmic workouts, moving through many moods between the two extremes. All of the players come up with unexpected sounds from their instruments, with the drums often standing out: the patterns work in the context of the songs even when they stray far from typical rock patterns. The vocals are emotive and a little reminiscent of Thom Yorke, though less whiny. In these days of crisp digital recording we may be jaded, but I was struck by the clarity and depth this CD has. Time to revise my Best of 2003 list. – Jon Davis
[www.palmpictures.com]

Sevara Nazarkhan – “Yol Bolsin”

 (RealWorld 7243543206, 2003, CD)

As befits the geography of her native Uzbekistan, Sevara Nazarkhan’s music combines elements of Europe, Asia, and the Middle East. Aside from her beautiful voice, the dominant instrument is the doutar, a two-stringed lute with a tone resembling that of the Arabic oud. Nazarkhan draws from both traditional and modern sources, and the timeless acoustic sounds of doutar, percussion, and other indigenous instruments are contrasted with modern sounds from the well-known French producer Hector Zazou. The electronics are kept subservient to the other elements: this is not a techno dance-fest, though purists might begrudge any synthesizers and effects at all as pollution of the music. But you can’t please everyone. I for one am quite happy with the balance struck – this music is beautiful in any context, and if I’m in the mood for something more “pure” I can seek out Nazarkhan’s other releases. The overall mood is calm and reflective, with heavily ornamented melodies (often with the voice doubled on doutar) atop relatively static backgrounds. The percussion reminds me in a general way of Indian tablas, though not pitched so high, and often lays down a slinky groove. Fans of Nusrat Fateh Ali Khan (especially the collaborations with Michael Brook) should seek this out. European audiences who saw Peter Gabriel’s 2003 tour were treated to Nazarkhan as opening act and guest vocalist on “In Your Eyes” – this CD is a taste of what American audiences missed. – Jon Davis
[www.realworldrecords.com]

Embracing The Glass – “Mandala For Chaos”

 (Burning Shirt Music, ASH 42001, 2002, CD)

Embracing The Glass is Sean Carroll on guitar and synthesizer, and Jeff Sampson on voices and vocal loops. On the first track “Around,” the vocals enhance the ambient relaxed music. Floating synths breath in and out with the vocals – one moves forward as the other recedes. Soothing stuff, a great beginning. Though only electronics are credited, “Chasm Of Faith” has a modern classical feel to it. Jeff’s vocals come forward a bit more in melancholic, almost mournful fashion. The emotions build with the music, as guitars rise over the top of the more atmospheric layers. The next two tracks change from voice as instrument to singing with actual words. “Great Lakes Chain Gang” is as it sounds, like a group of guys singing on a chain gang, with minimal primitive percussion as backing. Not my thing, and it seems out of place to the rest. “After Dark” returns to brooding ambient textures, starting off well. But the vocals are depressing, almost moaning. The title track is much better, with some great fuzzed-out ambient guitar that reminds me of David Tollefson’s fantastic debut CD New Eyes On The Universe from a few years ago on the Hypnos label. All in all, moments of promise here, and if you don’t share my prejudice against vocals in your ambient music, you may well like it from start to finish. - Phil Derby

Jimmy Bennington – “Midnight Choir”

 (OA2 22007, 2003, CD)

The tracks on this release are the work of a trio (drummer Jimmy Bennington and bassist David Klingensmith with sax player Seth Paynter) augmented from time to time by either trombone (Bruce Melville) or piano (John Benjamin). Paynter is the most frequent composer, with a selection each by John Coltrane, Albert Mangelsdorff, and Michel LeGrande. The tracks, recorded in 1996 and 1998 but only released in 2003, are fairly free in sound, but offer contrasting passages of arranged coordination. The ensemble tends towards sparseness in sound rather than all blowing at the same time, and the energy level remains fairly cool, even meditative, never frenetic or frantic. At times Bennington seems to play with his hands rather than sticks or brushes (though maybe I’m being influenced by the picture in the booklet). Paynter’s playing on tenor and soprano saxes is mostly melodic, with some angular lines and occasional use of rough or otherwise mangled tomes. Klingensmith stays mostly to supporting roles, hinting at the tonality, sometimes switching to the bow for an alternate tone. The piano trio reading of LeGrande’s “What Are You Doing the Rest of Your Life?” stands out as much more conventional, with Benjamin’s piano (while well-played) not straying far from established traditions. In all, this releases serves more a sampler of Binnington’s Midnight Choir rather than a coherent album, but he’s definitely a talen to keep an eye on. – Jon Davis
[www.originarts.com]

Southern Transfer Band – “Southern Transfer Band”

 (N/A, 2001, CD)

The Southern Transfer Band is a regional Portland area bluegrass in the tradition of the 1970s style. The group is leads by Gary Thompson on Mandolin and lead vocal duties (shared with wife Cynthia Thompson who plays Dobro bass). As with any traditional all-acoustic group of this genre, choosing the right set of tunes to cover is the key to the upbeat presentation: Familiar songwriters are Jonathan Edwards (known for his early 70s hit, “Sunshine”) and the late Randall Hylton (“Stripped of My Pride” sung by Cynthia). Sean Kelly is the resident banjo player and shows his wares adamantly on “Morristown”. Tom O’Conner is the band’s guitarist and he stirs up a picking frenzy against Thompson’s mandolin on the CD’s closing piece, Ebo Walker’s “Whisper My Name”. One new instrumental piece from Thompson is “Tickle Scratch”, that features a major key picking phrase accompanied by O’Conner’s guitar as well. This disc appears to be the first of three in the quartet’s local catalogue albeit without label support. “Tennessee Bound” is also sung Cynthia as the track captures the best harmony vocals between the husband and wife team. Overal the easily band captures the magic of this now bygone era in bluegrass music. Sample downloads are available from the band website: www.southerntransferband.com - Jeff Melton

The Gentry – “And Now …”

(Independent Release, 2003, CD)

The Gentry is the secret pseudonym for the solo work of a local Portland area artist whom I met briefly one Saturday afternoon at a local used CD store. Across eleven tracks, the composer does his best to create a Robert Smith (The Cure) like backdrop that also contrasts well with early Tears for Fears. The opening cut, “Theme” is a gothic backdrop for moodiness that carries all the dismal baggage of the best Sisters of Mercy with less urgency. “Sex by the Unit” is the follow-up cut that rocks like a monster with a heavy synth driven low end. “The Demon” carries forward angst and depraved delivery that will appear to Goth fans with a preference for metal. The two preview tracks are of interest in that they both incorporate dreamy pulsing landscapes that successfully build tension into the subsequent song. “We Want More” lends itself to a similar mode of Trent Reznor’s Nine Inch Nails with double tracked vocals in each channel offset by some well crafted electric guitar riffing. The second preview is the longest piece on the disc and perhaps the most programmed with plodding sampled drums and a creepy techno mood. The Hawaiian slide guitar that closes it out is a smart transition for easily the best piece on the disc. “Glory” in contrast conjures sinister images of dark ambient techno (not far removed from later, more electronic Hawkwind). Overall the presentation should be familiar to Goth fans that have a consistent craving for one off projects such as this. - Jeff Melton

Gamma Ray – “Skeletons in the Closet”

 (Sanctuary/Metal Is Records 82310-73017-2, 2004, 2CD)

Gamma Ray has been one of the more popular hard rock acts extending the 80s hair metal band phenomenon through to the present day. Skeletons in the Closet is a two-disc concert set representing the quartet’s hard working 2002 tour captured between Barcelona and Strasbourg. The Stetson wearing metal gods have every cliché, guitar harmonizing and hammer-on down as heard on “Garden of the Sinner”. Closest band comparisons come to an aggressive “traditional” rock blend of Judas Priest, Scorpions and Motley Crue with a strong nod to the unison riffing and hard rock nostalgia. Vocalist Kai Hansen has that screamer voice that carries more than a few songs based on his wide range that at time reminds of Dio or an even mix of Ian Gillan and the wailing of Uriah Heep’s David Byron. The twin guitar attack of Kai Henson and second guitarist Henjo Richter blend a balanced assault of melodic phrasing and guitar licks that squeal and scream like the best European metal acts. The group’s live delivery of their semi-prophetic piece such as “All of the Damned” that has nicks a line from the Eagle’s “Hotel California”. “Armageddon” appears to be a well-known power rock track with drummer, Dan Zimmerman’s foot pedal getting a scorching workout. Zimmerman is also credited with a five-minute solo that goes through all the physicality one would expect. Disc two launches into overdrive with one of the best tracks on the disc, “Razorblade Sigh” that captures the essence of Judas Priest’s masterful British Steel era. Overall the group has the chops for international metal domination so what’s it going to take to break these guys stateside? - Jeff Melton

Fastball – “Put Your Wig On”

 (Rykodisc PRCD V10666, 2004, CD)

The modern US rock and roll trio has had to spend a lot of time honing their skills as songwriters first in parallel with being able to rock at a moment’s notice. Austin’s Fastball are no newbies on the block as demonstrated by twelve consistent alternative rock vignettes. Tony Scalzo and Miles Zuniga’s harmony vocals on the lead track “Shortwave” is a serious album opener. “Louie Louie” (a clever variation on the old 60s grunge classic) is the obvious choice of single with the sly lyric and guitar-laden hooks. “I Get High” is probably one of the most honest statements from a composer who obviously has had a few bouts on the downside of the lifestyle. On “’Til I Get it Right,” reminds more that a little of a mesh between Cheap Trick and late 80s popsters Jelly Fish with a quick sax break too. “Someday” is a mid-tempo ballad that has an infectious chorus line and almost certainly a good pick for #2 single on modern rock stations. In contrast, “Mercenary Girl” carries that good old southern twang about a dear departed love interest. Closing out the disc are the two pieces, “Falling Upstairs” and “Red Light”. The former piece has semi-classical based chord changes while the latter track opens with a drum cadenza before jumping into a Latin dance riff and a shimmying brass section. Overall Fastball is clearly trying to regain their footing after a break emphasizing crafted rock and spirited hooks. - Jeff Melton

Jeff Johnson Trio – “Free”

 (Origin 82370, 1999, CD)

Jeff Johnson – “The Art of Falling”

 (Origin 82386, 2001, CD)

Bassist Jeff Johnson is one of the regulars in the Origin Records stable, and these two releases see him as leader, first of a trio with drummer Billy Mintz and reedman Hans Teuber, then with a quartet, adding pianist Randy Porter. Most of the selections on both are Johnson originals, with a few covers (Wayne Shorter, Henry Mancini, even Glenn Miller) thrown in. Johnson seems to favor a relatively free setting, using the composed tunes as springboards for group interplay. His bass playing is fluid and not overly flashy; he can lay down a great walk behind a solo and likes to accent lines with little glissandos. In the trio he often plays two or three notes at a time to fill in for the absent piano. Mintz is what I think of as a fairly “pure” jazz drummer, with no discernable influences from rock, Latin, or other music. He swings very subtly, leaving lots of space between the notes, and never strikes anything with much force. Teuber is a melodic player, very expressive, favoring liquid lines over frenetic flurries of notes, and never stepping outside the standards of his instruments (alto and soprano sax, from the sounds of it, though hearing can be deceiving) to squawk or screech. For these low-key sessions, his subdued voice is perfect. Randy Porter’s piano work seems tailor-made for this setting, though I’m not familiar with him on other recordings to compare. He allows the others plenty of room to explore the tunes in their own ways, and puts in his own quick flourishes from time to time. Tasty rather than outgoing. One thing I find quite intriguing is how these players (especially the trio) manage to maintain forward momentum on the tunes even when none of them performs the typical timekeeping functions. – Jon Davis
[www.origin-records.com]

Rick Mandyck/Gregg Keplinger – “Tribute”

 (Origin 82369, 1999, CD)

The sax/drums duo is not an especially common one in jazz. By its very nature, this combination lends itself to very exploratory playing, even when pre-existing compositions are involved. In this particular case, tenor saxist Mandyck and drummer Keplinger take on a couple of Coltrane tunes, Ellington’s “I Can’t Get Started” and three Mandyck originals. Keplinger uses his full kit, and isn’t afraid to hit the drums, as on the trio recording with Daniel Carter and Reuben Radding, though he favors a bit less activity on much of this. That being said, there are some excellent moments, as on the drums-only first portion of Mandyck’s “Intersection”, which has a hint of Latin flavor. Mandyck alternates between ripping out smooth melodic lines and overblowing for gritty, screechy tones, which luckily don’t dominate the proceedings. His compositions favor slow-moving lines over complex boppish note-fests. While the music is often interesting here, most of it would be better suited as interludes in an expanded setting, where the sax and drums take a little time together and the pianist and bassist take a break. On its own, it’s just a bit much for all but the most devoted listeners. – Jon Davis
[www.origin-records.com]

Daniel Carter/Gregg Keplinger/Rueben Radding – “Language”

 (Origin 82400, 2002, CD)

This set starts out with a mangled bowed sound from Reuben Radding’s bass, more sound effects than notes, joined after a few moments by Daniel Carter’s alto sax and Gregg Keplinger’s drums. The three wander aimlessly for a bit, then the fog clears and a quick swinging tempo emerges, with Radding providing a busy bottom end, Keplinger simultaneously keeping the beat on the ride cymbal and adding unexpected accents on snare and toms, and Carter ranging far afield, balancing melodicism and angst. I don’t know how much planning went into the pieces (all are credited to the trio), but either by design or happenstance, a busy, stuttery drum solo passes by, followed by some fairly chaotic blowing on all parts. The subsequent tracks exhibit a variety of moods, from quiet and mysterious to bouncy and energetic. Keplinger is wide-ranging on the kit, using all resources at his disposal in both conventional and unusual ways, and has a great talent for maintaining a tempo even in the midst of great freedom. Radding really shines on the bass, whether bowed or plucked, and can match the sax’s squealing noises with high harmonics and tremolos. The sax caps it all off very nicely, with melodic and atonal playing. For an apparently improvised set, this is quite an enjoyable listen, balancing many elements skillfully. – Jon Davis
[www.origin-records.com]

Various Artists – “Shite ‘n’ Onions Volume 1”

 (Omnium OMM-2036, 2004, CD)

A compilation of “up-and-coming Celtic/Punk bands” might seem like a bit of a stretch for Exposé, but I’d urge readers to at least consider it. I know many fans of progressive music enjoy a Celtic flavor sometimes, and the folk music of the British Isles has long been fodder for modern interpretation, from Fairport Convention and the Pentangle to Horslips and beyond. With the decline of overt complexity in mainstream music occasioned by the onset of punk, musicians with Celtic leanings naturally followed suit. The most prominent example of this new style, Celtic Punk, was the Pogues, but there have always been others, and now a whole new generation of bands is applying the elements of Celtic folk music to punkish rock. Or perhaps it’s the other way around, and they are folk musicians cranking it up and thrashing through it. Some of both, I suppose. The selections here range from walls of distorted electric guitar with vaguely Irish leanings to recognizably folkish arrangements with fiddle, whistle, and accordion. And there are even occasional elements of ska and 60s surf music. Many of them are virtual Pogues copies, with Shane McGowan style drunken rasping vocals and careening rhythms that threaten to go completely out of control. The recording quality also varies from demo to professional. There’s a lot of fun stuff here, though sometimes you almost forget it’s a “various artists” compilation – the bands sound so much alike. – Jon Davis
[www.omnium.com]

Dyecrest – “The Way of Pain”

 (Sanctuary/Noise LC09066, 2003, CD)

Dyecrest is a new Finnish six piece metal act that has been refining craft in their homeland. Many base comparisons can be made to the Scorpions and Queensryche, but the song writing is a bit more straightforward in these harrowing ten cuts. The group also has taken time to develop a presentation that doesn’t rely on fantasy or science fiction imagery instead focusing on crafted riffs and churning tempos. The group is keen to do up the essential power ballad with “Made Me Believe” that honestly could crack the US metal market. Having been tabbed by Noise records in Europe as a member of the new metal gods, tracks such as “Last Man Standing” rely on a direct approach in putting across harmony laden guitars and potent rhythmic assault. Vocalist Janne Oksanen’s English language delivery is quite smooth (similar to Geoff Tate’s at times) and is convincing on tracks such as the “Lost Faith” which was also the band’s first demo. Guitarist Pirrka Ohlis shows tasteful use of his axe whether holding down unison rhythms or spinning of a middle eight flash solo as heard on “The Game”. Drummer Niko Takala has the double speed bass drumming method down as he pummels his way through many of the songs. The disc closes out with an aggressive rocker that reminds of the best of twin guitar metal. In summary, the group looks to have much success on the horizon given the strength of their freshman release. - Jeff Melton

Skillet – “Collide”

 (Lava PRCD 3014588, 2004, CD)

Skillet is a modern rock quartet who comes from Memphis, Tennessee and is equal mix of male and female camaraderie, considering that half the band is women musicians. This is the group’s sixth release including a live DVD, Alien Youth Invasion Unplugged that dates from 2002. Bassist and lead vocalist, John Cooper together with drummer, Lori Peters create the backdrop for the quartet whom are at the forefront of the soundscape for the MTV generation. Their top radio hit, “Savior” is a heavy rock track that blends an acoustic verse with a heavy riffing chorus plus swirling sampled mellotron and angst. Ben Kasica’s lead guitar is at the core of the band’s sound as his chops and rhythms propel the band into overdrive. The band’s overall sound is consistent with the current marketplace that leverages passionate vocals, blazing guitar riffs and punishing drums (Creed, Linkin Park, POD etc.). The only member of the band who is consistently buried in the mix is Cooper’s wife, Korey who adds brief embellishments to tracks such as the closing piano theme on “Under My Skin”. Lava records has clearly put out the marketing blitz for this band that was formerly on Arden records. Unavailable at review time was “Open Wounds” which has been added as a bonus track. Overall the group appear to be poised for national success opening for Saliva on tour and playing throughout the southwest for the remainder of the year. - Jeff Melton

Beyond Surface – “Destination’s End”

 (Sanctuary/Noise Records NO3842, 2004, CD)

Another winner in the Young Metal Gods competition in Europe has resulted in the signing of Beyond Surface, a capable six-piece act from Denmark. As with any of the groups who sent demos to Noise records, certain basic precepts needed to be present before the band would be considered a viable act. Vocalist, Gerrit is a new mature voice comparable to the late Lane Staley’s (Alice in Chains) on the hard rock airwaves, not necessarily a scream that bodes well for power ballads such as the album’s title track. Songwriting is of a high caliber and much more in the hard rock vein not emphasizing power chops and pummeling unisons that often become tiring. Keyboardist, Sascha is present in the mix whether it’s by adding piano or background synthesizers as on “Feel”, one of the best tracks out of the twelve on the CD. Power ballads such as “Words Burn Down the Fire” remind me of Bon Jovi if only for the song structure and hook laden chorus line. Best rockers on the disc include “Crawling to Myself” where guitarists Marten and Thorsten showcase some of their best lead and rhythm exchanges. ‘One Step” sports the only duel acoustic guitar introduction which I would have preferred for awhile longer before the main verse transitioned. In closing, Beyond Surface shows a young act that obviously is keen on honing their act by doing more live European performances. - Jeff Melton