Issue #32 Extra!: New Releases

Adair, Brian – “The Final Explosion”
Adair, Brian and Alexander Vogel – “The Sooner is Getting Nearer”
Austin Bridges – “Awake the Day”
Belleli, Avi – “The Power of Balance”
Berne, Tim – “Science Friction”
Black Noodle Project – “And Life Goes On...“
Blow Up Hollywood – “Fake”
Bouchard, Dunaway and Smith – “BDS Live in the Paris”
Bumble B – “Flight of the Bumble B”
Burness, Tim – “Finding New Ways to Love”
Cinematik – “Cinematik”
Cinematik – “One Full Moon Away”
Cornerstone – “Once upon our Yesterdays”
Cuesta, Daniel & Alexander Vogel – “Concealment and Confinement”
Currie, Billy – “Still Movement”
Dean, Elton – “QED”
Fear of Flying – “More Attempts At Perfection”
Ganelin, Slava and Ned Rothenberg – “Falling into Place – Live in Jaffa”
Groovector – “Darklubing at Tavastia”
Hills, N.R. – “Strange, Like A Scented Stone”
 (I Am) One – “The Gates of Industry”
Inquire – “Melancholia”
Kritzer, Herbie – “The Tree Lizard”
Luminos – “Seize the Day”
Mindgames – “International Daylight”
Nell, Bob – “Soft and Bronze”
Nyl – “Nyl”
Phoenix – “Renascent Phenomenon (Archives 4: 1970-1971)”
‘ramp – “Doombient.One, Verbrannte Erde”
Schwartz, Jeff – “Solo Bass 2004”
Sonus Umbra – “Spiritual Vertigo”
Terra Ambient – “The Gate”
The Owl Watches – “Tales from the Inflatable Forest”
Tractor’s Revenge – “Othello”
Trans Siberian Orchestra – “The Lost Christmas Eve”
Vogel, Alexander – “Solo Kazoo”
Vogel, Alexander – “Kazoo and Percussion Pieces”
Vogel, Alexander & Thomas Vogel – “The House: Father and Son Duos”
Vogel, Alexander – “Microphone Pieces for Alto Saxophone”
Walker, Marty – “Dancing on Water”

N.R. Hills – “Strange, Like A Scented Stone”

 (Celeno CEL NK4, 2002, CD)

This is English musician N. R. Hills’ 4th album by my reckoning, and it seems to be along the same lines as previous releases. He’s a tough cookie to track down and his label has no web site so good luck finding this one. Plus, this is not an easy album to get into at first blush. Hills is a practitioner of electronic ambient music and this CD is basically one large work that’s comprised of many individual musical events that have been edited and cross faded together. The 42 minute experience doesn’t have a thematic arc or binding structure, yet you know you are experiencing music the whole way through. The individual passages remind me of everything from early Tangerine Dream and Kraftwerk experiments with analog synth sequences to Philip Glass minimalism to Eno’s ambient experiments. There’s even bits that remind me of Jon Anderson’s Olias of Sunhillow and Vangelis. At the other end of the spectrum are non-melodic pieces that sound like Genesis’ “The Waiting Room” or even qualify as music concréte. Some of the passages exhibit strong melodic content while others are little more than raw tones that have been pushed through myriad synthesizer filters and envelopes. My sense is that by linking these starkly contrasting elements together, Hills is making the point that music exists in many forms, sometimes far beyond conventional notions of timbres or melody. On a certain level it’s all just an academic exercise, but proving the point means a rewarding listening experience. – Paul Hightower

Mindgames – “International Daylight”

 (Musea FGBG 4490.AR, 2002, CD)

Mindgames is yet another new neo-prog band from the Low Countries, Belgium in this case. This is their first full album, following a 1999 demo release (a new release is supposedly on the way). The lineup is the standard vox/gtr/bass/keys/drums and their sound is what I’d call retro-neo-prog, strongly recalling early Pendragon but also conjuring up Twelfth Night, early Marillion, Starcastle and Kraan. In many places singer Bart Schram is a dead ringer for Nick Barrett. He’s perhaps the most noticeable and positive thing about the group since he delivers the lyrics with gusto and rallies the listener to his cause, much like Barrett. The songs are varied, ranging from the warm and acoustic “Beggars Breakfast” that clocks in at a mere 2:35 and swelling to the epic closer “Selling the Moon” that tips the scales at over 17 minutes. The arrangements are multi-faceted with enough thematic twists and turns to keep the listener engaged. More importantly, steps have been taken to ensure that the vocal parts are well constructed and not just “the part between instrumentals.“ The band is light in the rhythm section, though guitarist Rudy Vander Veken and keyboard player Tom Truyers ably pick up the slack. Truyers especially shines throughout with a lead synth sound much like Rick Wright’s and an all around solid command of his position. This is an album that has a lot going for it, as long as your tastes run toward traditional neo-prog. It will be interesting to see where Mindgames goes from here. – Paul Hightower

Luminos – “Seize the Day”

 (Market Square Music MSMCD115, 2003, CD)

Seize the Day is the debut from this quartet from northeastern England. Musically, they fall roughly into the same realm of symphonic- and neo-prog-lite as Guy Manning or Mostly Autumn (sans Celtic influence). Lead vocal duties are shared by Anni Meehan and rhythm guitarist Neville Dean, and though neither is a noteworthy singer in their own right they harmonize very well together. In fact, their harmonies remind me of the 80’s band TPOH. Some may also want to draw comparisons to early Renaissance, though Luminos interestingly lacks a bassist and are more conventionally pop-rock sounding. The real Renaissance similarity is in the group’s creative format. Many of songs were written by lead guitarist Lee Williams and lyricist Emma Higgins, recalling the Dunford / Thatcher partnership. They deal with life, love and happiness from an everyman perspective, or at least an everyman living in a relatively quiet part of England. Accordingly there’s an innocence to the band’s material that verges on folk-rock in places. Williams is the strongest musician in the group and provides most of the instrumental interest, perhaps best seen in his fiery solo in the opener “Inner Self” or in his instrumental “Echoes in a Lonely City.“ I sense this is a popular band on the local club and festival circuit since their uncluttered and honest approach probably makes them very likeable in a live setting. With a bit more seasoning as musicians and experience with the studio, I sense they could do quite well with the Classic Rock Society crowd. – Paul Hightower
[www.luminos.info]

(I Am) One – “The Gates of Industry”

 (LaBraD’or Records LBD 040014S, 2003, CD)

Despite evident talent, this Dutch group has made some unfortunate choices. The first is their name. The second apparently was their original German label, who crashed and burned while this album was originally in production back in the late 90s, causing the whole project to go into hibernation. Fed up with waiting, the group dusted off the demos and with some additional work finally finished it off and handed it over to LaBraD’or, who quietly released the album. Which doesn’t seem to matter since from what I can tell the group has since disbanded. And what of the music? This is one of those guilty pleasure disks, reminiscent of 80’s Saga, Deep Purple or Icehouse at its best, but alas also capable of sounding like Bon Jovi, Europe, or Van Halen. The album offers some proggy suite-like compositional ideas that include extended instrumental arrangements that are the predictable high points. When guitarist Richard Ramaekers and keyboard player Erik Stals lock into some tasty melodic leads and solos you can almost forgive the cringe-worthy 80’s arena rock episodes. Singer Robert Loozen should also be commended, even if bassist Jo Janssen’s English lyrics may send some heading for the exits. Some may also be put off by Paul Heuts’ electronic drumming, particularly the pedestrian 4-in-a-bar boom-bash parts. But like much of the album, though misguided and outdated, there’s a weird logic and sense to it all. (I Am) One may be no more, but based on this album they had their moments. – Paul Hightower

Nyl – “Nyl”

 (Soyez Music SM 724-02, 2003, CD)

This prog rock quartet from Russia aims at two often hefty contrasting concepts: commercialism and ingenuity. It’s amazing how a complex structure flows out in a sing-song refrain. You can’t possibly accuse these guys for not being colourful, but these colors clash badly. There’s nothing wrong with their musicianship, competence is not in question, all players are skilled, and compositions have solid foundations. No, it’s the upbeat, smash hit attitude of the melodies that really annoys, that overly lyrical, bombastic kind of music you normally find in a commercial pop band like Starship. The most ridiculous piece here, I guess an ode to Duke Ellington (what the hell is he doing here?), starts out as jazz and changes into sympho again. When I have heard this album and I look again at the beautfiful cover of the CD where the head of an Egyptian sphinx has transcended into a labyrinth, I fear that they chose this imagery just to show off. Not only in the way of their musical thinking, but also in the lyrics which miss out on complexity and inventiveness. I don’t think that Nyl should continue to strive for complexity, that it would be better if they primely concentrate on commercial music from now on. – Roel Steverink

Billy Currie – “Still Movement”

 (Puzzle PZLCD109, 2004, CD)

Billy Currie’s most recent solo album can be categorized as being squarely in the new age/techno bordering on ambient but within in a slightly more favorable light. Currie has continued to streamline his unified orchestral approach to composition by relying predominantly on digital electronics to emphasize mood with and less human intervention. The delivery is where it all counts as heard on the lead track; “Waving Hands in Crowd” is characterized by a subtle synth wash under a piano based melody. Next up is “Simultaneity” with its bright pulsing disposition that creates some of that old feel he’s known for with some guitar brandishing as well. Currie was previously known with Ultravox for his lush backdrops and searing electric viola and the work here is consistent with older works. Programmed drums saddle modern composing at times making them tiresome if mixed up front in the mix which is not necessarily the case here. When it all works best is on “The Waves Look Sleepy” where Currie’s looped viola solo is backed by a swelling tranquil cloud of synthesizers that simulate a perpetually changing shoreline. Currie enters the realm of the more serene lullaby on the CD’s title track, where much of the main theme compares to that of Brian Eno’s “Music for Films” series. Also of note is the piece, “The Other World” which imparts a precious serene form. Overall Currie’s ability to arrange themes is as competent as ever. – Jeff Melton

Herbie Kritzer – “The Tree Lizard”

 (Independent, 2002, CD)

Californian Herbie Kritzer is clearly someone who enjoys having fun with music. Even his name sounds a bit cartoon-ish, and there’s certainly a streak of sly wit and boy-ish playfulness to many of these eight jazz instrumentals. Kritzer’s main instrument is the piano, through he proves himself equally adept on drums and vibes. What’s even more impressive is how seamlessly the parts are melded together on the album: I could swear I was listening to a small combo playing, not just one guy. Known also as a stick player (though he was also once drummer of an outfit called Tokyo Sex Whale!), Kritzer’s piano playing is impressive, demonstrating a light yet nimble touch and impressive fluidity when it comes to harmonic extensions. Some pieces even develop a harmonic depth that recalls Erik Satie, best seen in “No Friends.“ Elsewhere he imbues the compositions with a springy rhythmic bounce (“Tree Lizard,“ “Corn Ball”) or a sly, feline saunter (“Vashon Scratch,“ “Tree Lizard Betrayed”) that even hint at Dave Brubeck’s creativity with melodic figures. Dashes of blues make their way into the pieces as well, so as you can imagine the album is really a varied experience, though all well within what one would expect from a small pocket jazz trio. I’d encourage the jazzers out there to track this one down, even though it’s very much an independent effort and probably hard to find. My only complaint with the album is its length, a mere 28 plus minutes. Gimme more, Herbie! – Paul Hightower
[herbiekritzer@hotmail.com]

Sonus Umbra – “Spiritual Vertigo”

 (Sound of Shadow SU-5313, 2003, CD)

I really want to like Sonus Umbra. They have so many elements I like – a combination of electric and acoustic instruments, judicious use of modern technologies, complex song structures with varying sections. And many of the individual performances are engaging. There’s some good guitar work, the keyboards are well done, and the rhythm section keeps things on track. But in spite of all this, I’m left cool, or even slightly negative to the album. The main problems involve the singing and the lyrics. Andres Aullet’s voice bugs me; his pronunciation is a bit off, his phrasing is very awkward, and his intonation is sometimes shaky. As for the lyrics, they range from quite acceptable to downright annoying. I’m not put off by the political content (and in fact agree for the most part), but when you get political you run the risk of getting preachy or blatant and turning off even people who are on your side. The best political songs are ones that manage to say their piece without getting bogged down in their own time and achieve a sort of timeless universality. Think of Stephen Stills’ “For What It’s Worth” as a great example. Anyway, Sonus Umbra fails the test miserably, so it’s lucky that the instrumental aspects of this album are very good. Aside from a slightly sterile production, the guitars and keys come off nicely, and many of the songs are well-constructed. But it’s all for naught if the end result is unlistenable. – Jon Davis
[www.sonusumbra.com]

Fear of Flying – “More Attempts At Perfection”

 (private release, 2003, CD)

In 1988, this upstate NY trio (then a quartet with dedicated vocalist) released their debut album Parents Tend To Oxygen First, a fairly typical slab of late-80s keyboard strong progressive pop, not unlike many bands of the time (TFF, Simple Minds, North Star, and Mastermind’s 1st come to mind); sixteen years later, the band has released their long-overdue follow-up. I was curious how this band would sound now, with the passage of time and all; in fact it’s very much the same style as before, now sounding more retro than current – as if this could have been released in '89 or '90, shortly after the first. That’s not meant to be any sort of negative judgement, in fact few bands make music that sounds like this anymore, so their stock in trade is somewhat of a rare commodity these days. At the core of the band are siblings Mark and Tom Ochiogrosso, on keyboards and drums respectively, joined by Tearle Ashby on bass, guitars and lead vocals. The CD booklet welcomes new guitarist Carm Grasso as 4th member, but apparently he’s not featured on the recording. A glance at the band’s website lists some upcoming dates opening for Asia, another band seemingly lost in the time continuum; but make no mistake, FoF eschews all the pomp and bombast of that band, instead focusing on a more streamlined no-nonsense approach. – Peter Thelen
[http://www.fearofflyingmusic.com]

Inquire – “Melancholia”

 (Musea FGBG 4459.AR, 2003, CD)

The second CD on this 2-disk set is devoted to a lively and entertaining rendition of Louis Verne’s 3rd Organ Symphony. Fans of Keith Emerson’s various classical interpretations, or IQ’s better neo-prog instrumentals such as “For Christ’s Sake” will eat it up, despite only clocking in at 18 minutes. But the real object of our attention is the first disk, the concept album Melancholia. It’s interesting that a German band should adopt so very French a source as Jean Paul Sartre’s Nausea for this concept album. Germans are, however, not without their reputation for deeply intellectual art. Based on Melancholia it’s well earned, though what’s also demonstrated is that this is a band with serious muscle. Inquire is (was: they have since apparently disbanded) keyboard player Robert Köhler, guitarist Dieter Cromen and drummer Thomas Kohls. To their credit, this band avoids derivative pitfalls and traps, though Köhler proves himself a player of immense talent in the mold of Keith Emerson. He and Cromen do a good job of sharing key melodic and thematic refrains as well as lead parts and solos. Cromen’s vocals remind me a bit of Versus X’s Arne Schaffer (in English and French) and even Peter Hammill at times, though much of the album also features spoken parts, both male and female in French and English. The songs and arrangements are glued to the narrative context of the story though the band never misses a chance to indulge in some heavy duty progressive rock instrumental heroics as seen in “Nausea,“ “Der Autodidakt,“ and “The Museum.“ As concept albums go, this is one of the best examples I’ve heard in a long time with instrumental workouts that evenly balance out understandably broader arrangements that serve to move the narrative forward and tons of variety to keep the prog from getting stale. Fans of IQ should definitely check this out, though prog fans of all stripes will find much to like about this collection. – Paul Hightower

Trans Siberian Orchestra – “The Lost Christmas Eve”

 (Lava 93146-2, 2004, CD)

It’s hard to imagine that the core members of metal band Savatage would take a musical U-turn and arrive with a huge money-making project that has nothing to do with their previous incarnation. The Lost Christmas Eve is producer and composer Paul O’Neill’s brainchild with four previous releases to date. The “orchestra” has steadily built on the band’s studio and live presentation to create a semi-progressive success that truly mystifies the industry. On first glance, the project appears to be an over-the-top product kind of like Gary Hoey’s cheesy hard-rock recordings with pompous yuletide subject matter. Heavy rocking versions of classic songs are done up with the subtlety of an overstuffed turkey with all the trimmings. As heavy handed as this could have been, pieces such as the disc’s title track are on target with Broadway-style storytelling from various singers who convey a dramatic story line. Several seasonal favorites have a symphonic metal approach such as “What Child is This” and “O Come All Ye Faithful.“ In contrast, James Robert Lewis’s vocal delivery on “Christmas Nights in Blue” is a cross between Randy Newman and Dr. John. “Christmas Jazz” and “Christmas Jam” are bookend pieces that rely on variation and are perhaps the tastiest tracks from the 23 on the disc. Overall, this is the kind of recording that does well as a Christmas gift to the experienced or novice musician. – Jeff Melton

Phoenix – “Renascent Phenomenon (Archives 4: 1970-1971)”

 (Polumnia PO15, 2003, CD)

Supposedly this album of songs was written back in the early 70’s for the original version of Dutch group Phoenix, which included Jos Hustings who, along with partner in crime Mathilda Roza, is responsible for this album. Thanks to modern home recording technology, Hustings and Roza are able to realize their musical visions, though I doubt Hustings’ old band ever pictured the songs sounding like this. The pair have divvied up the instrumental duties that includes vocals, guitar (mainly acoustic), bass, keys and drums with Hustings solely credited for all of the writing. With all of the instruments credited to them, you’d expect these songs to sound pretty big, though just the opposite is the case. Stylistic reference points would have to be Peter Hammill, especially on “Day After Night” or “In Between.“ The arrangements are extremely minimal, a la 70s Eno and often centering on Husting’s distinctive vocal, drums and keys and/or acoustic guitar. The final touch is a synthetic veneer and processing that many of the songs (particularly the heavier or more somber) gets pushed through so that the vocals are strangled, the keys and guitar heavily compressed and most of the other instrumentation a dull roar. I can’t tell if this is intentional or if this is the best that Hustings and Roza can conjure up given their set-up. The gothic electronica crowd will probably enjoy the prevailing somber atmosphere to the album, and fans of songwriters-with-a-twist like Roy Harper might find this to their liking. – Paul Hightower

Groovector – “Darklubing at Tavastia”

 (Mellow MMP-462, 2003, CD)

From time to time I see a band criticized for not realizing what their own strengths are, for moving out of the area where they shine. I’m wary of that kind of reasoning, as it should be the musicians, not listeners, who determine their artistic direction. After all, different listeners will have different ideas about what makes a band special. However, I find myself making exactly that sort of statement about the new Groovector live recording. This band can produce some really wonderful music, instrumental passages that combine symphonic rock with jazzy fusion inclinations, heavy on the flute, with Camel probably the best-known comparison. It is when they incorporate vocals into the mix that things fall apart. Trite lyrics in English combined with a heavy Finnish accent, questionable intonation and awkward delivery make for an instant killer on the quality. I think I have enough objective evidence in this live recording to justify my opinion. Of the seven tracks here (four from a show in 2001, three from 2002), more than half do not appear on the group’s previous studio albums, and five have vocals. During the times when no one is singing, the music is pleasant enough, reminiscent of Camel’s Snow Goose, with good flute, guitar, and keyboard work, but not outstanding enough to overcome the negatives. All in all, this is a disappointing effort from musicians I suspect can do better. – Jon Davis
[www.mellowrecords.com]

Black Noodle Project – “And Life Goes On...“

 (B-Smile Records BS001, 2004, CD)

I’m not above enjoying a good clone band. I quite enjoy a lot of them. And Black Noodle Project may not necessarily be a complete Pink Floyd clone, but in the world of clonedom, some of these songs are about as close as you’ll get whilst still avoiding payments to BMI. Those who can’t get enough of Floyd may like this. The trouble for me is I get more than enough of Floyd from Floyd. So there’s my contextual disclaimer. As might be expected, the music for the most part is on the rather depressing side. I can’t help but think that the baby crying on “Interlude” may have been listening to too much of it. It’s like listening to a band like, say, Foglie di Vetro, or maybe Pink Floyd. Again, I’m not averse to music that dabbles in despondency, but I think some bands may be a bit too good at expressing it. Track after track. After listening to the disc all the way through I either need to watch some Teletubbies or listen to The Flower Kings. Where they don’t measure up at all to Floyd is in the Flourishes Of Grandeur department (henceforth referred to as FOG if I need to bring it up again). I sometimes tend to imagine Pink Floyd embellishing a section with thick orchestral swells because Black Noodle Project didn’t. There are actually some engaging turns to be found here, suggesting these guys may have done themselves a disservice with their idolatry. – Mac Beaulieu

Blow Up Hollywood – “Fake”

 (private release SM-7993, 2004, CD)

I’m sure they intend the band name to be interpreted as a command to attack Hollywood with explosives (sort of like “Kill Your Television”), but I choose to take the other meaning, imagining a hyphen between the first two words: “Inflatable Hollywood.“ You would expect a band declaring such disdain for the entertainment industry to sound angry or at least sarcastic, but this is pretty tame stuff, more along the lines of lushly orchestrated Pink Floyd, Alan Parsons, or even Porcupine Tree without the heavy edge. But for all that, it is a beautiful sounding record, full of lovely production touches and expansive sound, perhaps a bit too slick for some tastes. There’s also a similarity to modern bands like Coldplay, Five for Fighting, and the like: melodic pop with keyboard and guitar foundations and often orchestral backing. All the tracks fall into a narrow range of moderate tempos and feature a similar mood, a sort of melancholy reflection. It’s the kind of thing that, depending on your mood, could strike you as anywhere from very nice to tedious and dull. While there’s something to be said for such consistency, and I really can’t fault the quality of the songwriting or performance, I normally prefer a little more variety in sound. – Jon Davis
[www.blowuphollywood.com]

Terra Ambient – “The Gate”

 (Lotuspike LS-0001, 2004, CD)

The name sums it up – spacious electro/ethnic/ambient soundscapes, complete with moody, Porcupine Tree-like architectural cover imagery. Terra Ambient is Pittsburgh based Jeff Kowal’s solo studio project, and “The Gate” his second album. It is published through Lotuspike, a collective label that also features releases by ambient musicians Ben Cox and Michael Allison. Jeff is trained as a graphic designer and visual artist, and this may inform his approach to tonal coloring and layering. He begins with cavernous electronic and (real) didgeridoo drones, ornamenting with Indian Bansuri, Chinese Pipa lute, overtone vocals and processed guitar, all put through a suitably humongous reverb algorithm. A diversity of (again thankfully real) mainly African hand percussion emerge and recede into the mix to provide a shifting, loose and atmospheric pulse. The music is fairly homogeneous throughout the album, moving fluidly from one soundscape to another, the journey remaining essentially in the same emotional place. The result is too dark for new age, but nevertheless remains safely within a tonal realm. Robert Rich is an obvious comparison, and Kowal credits Rich in his liner notes for friendship and counsel. This may point to my only small reservation with the album; it is understandable that an artist may want to emulate their heroes, but personally I would like to hear more individuality, personality and imagination in this music, especially considering that is a second album. That said, this is hypnotic, spacious, and sensitively composed music that fulfils its intention of providing deep night spaces for drifting. – Andrew Skeoch
[www.terraambient.com]

Austin Bridges – “Awake the Day”

 (private, 2004, CD)

Austin Bridges is a Christian rock band, who use music to contemplate the mysteries of the universe. I also like to contemplate the mysteries of the universe, which include why Austin Bridges sent a copy of Awake the Day to Exposé. It is not that the guitar/guitar/bass/drums quartet cannot play rock adequately, or that they can’t write a tune. It’s not even that I’m offended by religious lyrics, because honestly whatever reason someone has for going through their day not being a total asshole is good enough for me. But, well, this is a rock album, nowhere near the boundaries of rock in any conceivable way. It’s kind of basic, really, with the verses having no variation in delivery and the structures often a bit too formulaic, with pretty heavy chorus repetition to pad out the song lengths. If any reader happens to be a Christian rock fan, definitely give Austin Bridges some consideration, because they do this well enough, but, honestly, c’mon guys... – Sean McFee
[www.austinbridges.com]

Tim Burness – “Finding New Ways to Love”

 (Expanding Consciousness EXPAND 13, 2004, CD)

Tim Burness is an English neo-progressive composer who has existed under the threshold of most music consumers. The childlike toy count into the first piece, “Open Man” is an appropriate platform for Burness’ slant on melodic rock with English roots enmeshed within progressive rock arrangements. The follow-on song is an upbeat slice of rock with the occasional backwards guitar loop and plaintive background vocal. The composer’s looping fascination continues into the introductory piece, “Returning to You” which fades into the ethereal ballad, “Heal Your Soul”. Three instrumental pieces form the centerpiece for the twelve song CD beginning with “Unstoppable Waves of Joy”. The piece relies on a keyboard glissandro and corresponding guitar moan to create a Genesis style jam with Pendragon drummer Fudge Smith on board. In contrast, the brief piano interlude from keyboardist Monty Oxy Moron works as a transitional song dovetailing into the ambient soundscape “Beneath the Surface”. “Love is for Giving” reminds me a lot of Steve Hogarth lead Marillion circa Holidays in Eden where song craft was the forte. “Walk through the Darkness” is the rockiest piece on the entire disc with Burness’ riffing guitar taking a nod from Steve Rothery to build a solid groove and later on a vibe not like Tears for Fears material. The short acoustic ballad, “One Dream” closes out the recording on a lighter note. Overall this set of songs will appeal to fans of early Genesis, IQ and Marillion. – Jeff Melton
[www.timburness.com]

Cornerstone – “Once upon our Yesterdays”

 (NMS/Escapi NMS009, 2004, CD)

Vocalist Dougie White and bassist Steen Morgensen form the songwriting backbone of progressive metal act, Cornerstone who hails from Denmark. White comes from the UK having spent time in local bands while Morgensen and the rest of the band have searched for an appropriate vocalist to fit the front end of their well oiled machine. The quartet fits into the niche held by such assertive metal acts as Deep Purple, Whitesnake and even the occasional nod to heavy rockers Dream Theater. Lead Guitarist Kasper Damgaard really shines on “When the Hammer Falls” much in the same vein as classic Scorpions catalogue. “Man without Reason” occupies the typical power ballad slot with cameo lead guitar from Peter Brander backed by a string section. Engineering and production work is top notch from Steen Morgensen whom has been behind the boards with the band for sometime. The title track relies on a military bolero style tempo create an effective base for Damgaard’s wailing but restrained lead guitar break. “Scream” even reminds me of some Queensryche’s sophisticated metal efforts with a few symphonic keyboards pushing straightforward rock finale. Closing out the disc are two live recordings from the band including a live version of “21st Century Man” that shows how easily the line-up can transport heavy riffing studio tracks onto the live stage. Overall this is a rock solid metal act whose poise and pop sensibilities should be making themselves the big money on the European metal stage. – Jeff Melton

Bumble B – “Flight of the Bumble B”

 (Crawling Chaos no28, 2003, CD)
(Acony Bell AB01, 2003, LP)

Bumble B is the female lead singer for The Smell of Incense. When they performed at the Herzberg Open Air festival in 1999, Bumble B entertained the audience with her un-accompanied Norwegian folk songs during the long breaks between songs. Eva Kohler from September Gurls was in the audience, and based on Bumble B’s performance, asked her to record a full folk song album for the new September Gurls subsidiary label Acony Bell. The result is the 20-song album Flight of the Bumble B. The traditional folk songs cover a variety of subjects including young lovers, milking cows, sagas, Vikings, trolls, werewolves, etc. The insert explains the story behind each song. Some songs are just Bumble B singing, while others have minimal accompaniment (guitar and violin). The Smell of Incense joins Bumble B on “Varulv” to perform a song by the 70s Norwegian folk rock band Folque, a song that would fit in well with any of their releases. Flight of the Bumble B is quite an enjoyable album. It fills a void in today’s music by providing some beautiful folk music. And you don’t have to understand Norwegian to enjoy it! The is the perfect post-psych folk music release of the new millennium. – Henry Schneider
[Contact: Lumpy.davy@c21.net]

Marty Walker – “Dancing on Water”

 (Cold Blue CB0005, 2001, CD)

Marty Walker has been a contributing member to the Cold Blue catalogue for several years. Appearing as the label clarinetist he has added the occasional melodic interval here and there to recordings by Jim Fox and Daniel Lentz among others. Dancing on Water is a sampling of seven pieces where Walker’s playing has been prominent in creating many pastel moments in serene soundscapes. The opening cut sets the tone for the collection: Michael Jon Fink’s “As is Thought/Aurora” where clarinet doubles a vibes line before fading into a quiet solo phrase. On Daniel Lentz’ piece “Song(s) for the Sirens” Walker provides a rooted counterpoint to both Bryan Pezzone’s piano flourishes and Amy Knoles subtle vocal prose. On Jim Fox’s song “Among Simple Shadows” the clarinetist carries a heavy melodic burden in part shared by Wada Leo Smith’s whole note tones. Michael Byron’s “Elegant Detours” provides a freer reign for flitting bass clarinet lines to serpentine across a silent water backdrop. The remaining four pieces comprise “On Tuesday” written by Rick Cox and featuring bass clarinet against contra bass clarinet. Part one drones on in a dreary mode with the two players slowly building a droll setting. Part two is a short transitional track that blends into part three where the duets turn less sour and sad. Part four offers no major resolution however for the two part harmonies. Overall Walker’s contribution to his label mate’s sense of mood and tone has been essential to these songs delivery. - Jeff Melton

Bob Nell – “Soft and Bronze”

 (Plechmo Music PLECHMO 4000, 2003, CD)

Bob Nell has been playing jazz piano for nearly 30 years (mostly with drummer Brad Edwards) supporting jazz icons such as Ray Brown and David ‘Fathead’ Newman. His latest set of eight pieces features a trio that concentrates on the fine attributes of the small acoustic club combo. The opening track, “808 Express” is a blast from the past as Nell delivers chops not unlike those jazz heroes he has emulated. Next up is a the bouncing melodic title piece that serves as a plateau for Nell’s nimble ability at the keys and later on giving space to upright bassist, Mike Bisio. Things heat up a bit for “Triumphant Thoroughfare” which has an alternate theme development than prior songs. “Song for Aria” mines a familiar mode for jazz pianists: nightclub mood soloing with minimal backing and mournful melody. “Steve’s Revenge” in contrast is a full on assault that pushes the trio into a toe-tapping frenzy and one of the best displays of ensemble interplay on the disc. Two alternate extended takes of “Blues for KB” which also appears on Nell’s 1991 recording Why I Like Coffee close out the disc. The former take is one punctuated by fiery improvisation while the latter track is a more linear, straight-up performance. Overall Nell and his trio would be welcome in any jazz nightclub across the country to convey their take on the modern jazz trio. - Jeff Melton

Cinematik – “One Full Moon Away”

 (Kachina NS92347002, 2002, CD)

Cinematik – “Cinematik”

 (Kachina NS92347002, 2001, CD)

Home grown rock and roll products usually have a lifespan of their own which explains in part what Cinematik is about. Drummer Neal Smith’s resume includes stints as the former skin beater for the golden era of the Alice Cooper Band (later with Wendy O. Williams in the Plasmatics). The rest of the trio is guitarist Robert Mitchell and bassist Peter Catucci who hail from previous stints in local Connecticut regional acts. The trio’s most recent studio recording is One Full Moon Away, a collection of esoteric roots rock and attitude. Robert Mitchell’s lead guitar on the disc opener, “Incognito” sets an SRV-like tone for his moody blues outing together with accompaniment from saxophonist Klyph Johnson. Other tracks include “Frozen” which relies on an acoustic guitar setting with a shuffle drum part from Smith. “Digga Doom” uses an open tuning together with a sitar guitar to establish a compelling groove. ‘Murder in the Moon” is the trio’s most ambient endeavor as looped feedback sets the tone for another shuffle groove mode the trio finds easily.
In contrast, the band’s initial recording is a disc of ten songs of straight forward rock evidenced by the moody opener, “Nude Ellie” that owes a lot to Ennio Morricone’s spaghetti western soundtracks. The follow-up slot belongs to “Grace Beach” which is an atmospheric instrumental that propels nicely down a road of tom toms and jangly guitar. “1000 Miles Away” occupies a space in the realm of Dire Straits for empathic delivery and classy blues rock while “African Clay” is perhaps the most ethereal piece on the disc. “Awake” conjures American Indian nuances that are appropriately understated to good effect as well. Closing out the disc is the distinctive song “Sand Script” that relies on a fuzz guitar lead and a linear bass line to navigate a conga drums section. Catucci’s lead vocal bemoans a desert soundscape before Mitchell’s slide guitar tricks are introduced. Overall it’s a different and brooding musical slant the trio has embarked on their first sets of recordings. - Jeff Melton

Tractor’s Revenge – “Othello”

 (Gazul GA 8623.AR, 1999, CD)

Tractor’s Revenge is a four piece act whom embraces the darker side of gothic progressive rock much in the vein of Belgium’s Universe Zero. Led by Avi Bellili, the twelve pieces on this recording serve as a grim adaptation of writer William Shakespeare’s classic tragedy that jointly explore the themes of racism and murder. Guitarist Roger Trigaux even cameos on three pieces giving his unmistakable stamp of paranoia and angst for which he is well known. At times the band’s delivery is more akin to Devil Doll who at times were a bit extreme in their use of horrific subject matter. “Handkerchief” has a particularly dire tone to it placing the song squarely into comparisons with Present’s Certitudes. All vocals are in Israeli which gives additional credence to often brutal and exotic arrangements as heard on “Tis of Aspic Tongues”. “Willow Song” in contrast opens with a ghostly dirge that transcends into a mournful ballad partly sung by female vocalist Maya Moaz. A creepy “Epilog” closes out the disc on unsettled footing which fits in nicely to all the prepared gloom and disaster. Udi Koomran’s first major experience at the sound mixer is a total success as the delicate intricacies of the song’s disturbing textures are well captured. Overall this disc should appeal to most fans of the ReR catalogue that embrace doom laden songs within a bleak musical structure. - Jeff Melton

‘ramp – “Doombient.One, Verbrannte Erde”

 (private release, 2003, CD)

Deep space music has a lot going for it in the modern music world. There are many viable variations to explore and expand on as well. Stephen Parsick and Frank Makowski are composers whom make small barely perceptible changes in a voluminous construct, and then grand results can be detected at higher sound volumes in their work. Following in the same steps as German pioneers such as Cluster and Klaus Schultze, the duo wholly embrace this artistic direction. Track one, “Kaeltekrieg” sets an ominous tone by implying a gentle drift into a sea of stars. Occasional metallic bursts break up the lulling morass of seemingly slow motionless space travel. The tone doesn’t fluctuate much as minor washes and swells overtake the cushion of sound as it moves along. Next up “Antistatik” gets a little more animated with a pulsing Tangerine Dream like rhythm track that skips across the flowing backdrop. Moaning voices serpentine around sampled drums and synthesizer fades create an effective and menacing other worldly quality. The follow up icy composition falls into sonic lumbering but retains a mysterious quality before transitioning into a mesh of slippery juggle rhythms and sonic thunderstorms. Out of the seven pieces, the sixth audio poem, “Reizgas” is perhaps the most distressing; again the composers are eager to pursue further linear experiments. The only real drawback is that much of the overall work can be viewed as sonic wallpaper as much as it is serious art form. The same tenet was put forth from Brian Eno’s ambient series in the 70s as well which was as accepted as much as it was derided. For further information, consult the composer’s website www.dombient.com -Jeff Melton

Bouchard, Dunaway and Smith – “BDS Live in the Paris”

 (private release BDS, 2003, CD)

Take the rhythm section of the 70s Alice Cooper band and the front end lead guitar from Blue Oyster Cult, and what do you have? You get a pretty tight hard rock act that relies on honest riffing and a firm bass and drums pairing. The band’s new material is interspersed between classic rock performances of hits including “Don’t Fear the Reaper” as well as “School’s Out” and “Under My Wheels” from the Alice Cooper catalogue. The former piece is done up in a creditable version despite a weak lead vocal and harmony. Opening the gig is one of six new pieces by the trio and it’s a plain no fills rocker regarding a man’s lustful desire for ménage a trois. "See You on the Other Side” is a power ballad while “Vampire Night” relies on brash riff to push a 4/4 tempo. Dunaway takes a bass solo mid-way through the live gig that reprises pieces such as “Billion Dollar Babies”, complete with extended runs and zoops. Other original pieces such as “The Jokes on You” and “Bad Girl” move along a familiar rock groove. The latter piece is probably the best of the new songs by the lineup with its descending bass line and plaintive lyrics. “Black Juju” is the bassist’s song that comes the closest to establish a linear groove for the trio to push along. Overall it’s not a bad project for these old time rockers to have hatched considering that their glory days are far behind them. - Jeff Melton

Elton Dean – “QED”

 (Blueprint BP339CD, 2000, CD)

Elton Dean’s recent associations with Hammond organ specialist Alex McGuire (as heard on HUX’s excellent release Psychic Warrior) have been gradually building over time. QED is one of the first recording dates with Maguire and drummer Tony Bianco that capture a return of sorts to the inspired signpost of Dean’s Soft Machine days. This trio gets two cuts on the recording: the first song, “Hammond X” is informed by the ghost of Tony Williams Lifetime as Dean spends time on Fender Rhodes against McGuire’s pensive but effective tones. The trio’s other piece ends the disc, “New Roads” which is perhaps a bit more into Brian Auger territory but the trio are playing at break neck speed to end the recordings on a substantial high note. McGuire is retained on piano for two freer excursions with Roberto Bellatalla and Mark Sanders handling the rhythm duties. Their first performance “Quartered” is a loosely structured piece with McGuire comping against Sander’s loose tempo and Bellatalla’s adept anchoring. The latter piece, “Altored Saint” is a saner improvisation with Dean and McGuire introducing an intuitive dialog before the upright bass enters with a few careful brush strokes on the snare. On ‘Sax.com” Dean is joined by three fellow sax men Paul Dunmall, Simon Picard and Jason Yarde for a somber English take on San Francisco’s Rova sax quartet. Jim Dvorak and Nick Evans join Dean and Sanders on the longest improv, “Deep Crease” which is the definitive performance on the disc. In summary Dean has rarely delivered anything but high quality collaborations between various configurations across the years. - Jeff Melton

Tim Berne – “Science Friction”

 (Screwgun SCREWU 013, 2002, CD)

The current direction of modern saxophone icon Tim Berne began in 2002 with this eight piece CD featuring his world class multi-talented quartet. Studio versions of “Huevos”, and “Manatee Woman” (both highlights of the live Thirsty Ear recording from 2003) indicate that the initial quartet’s stance of improvisation is fire-starting but perhaps not quite as intuitive. Short tracks such as “Mikromas” and “The Mallomar Maneuvre” offer much needed relief to the complex dialogue between the performers that requires serious heavy listening. Berne’s playing is central to the success of the disc as he is on top of careful key changes and adept with brash punctuation at key points. Keyboardist Craig Taborn is simply a joy to listen to across the disc on electric piano. His adept accompaniment works in tandem with guitarist Marc Ducret as both players weave in and out of the complex sound map. Ducret himself is especially volatile on the opening cut and acclaimed drummer Tom Rainey shows how he anchors the group’s tempo and embellishes diverging melodic lines. The most effective piece is perhaps “Sigh Fry” which begins from a pastoral ambiguous mood and evolves into an unsettling base for Ducret’s histrionics. David Torn applies his Spattercell alter ego for production work that pushes the collective results into another realm. There is no doubt that these performers were on to something special that is so much greater than the sum of their individual parts. - Jeff Melton

The Owl Watches – “Tales from the Inflatable Forest”

 (OWL, OWL CD 0001, 2002, CD)

Multi-instrumentalist Phil McKenna is The Owl Watches. This is his first sometimes meandering solo endeavor by a composer whom has pro-actively adopted the do it yourself at home option to recording. He is also is a clever drum programmer too as his percussive approaches to heavier sections of his pieces are more assertive and inspired than other demo projects I’m familiar with. McKenna relies on pastoral tones within delicate arrangements that reflect traditional progressive rock instrumentation spaced with piano jazz interludes (as heard in the midsection of the opening title cut). The “fake” mellotron is quite successful too especially during the heavier King Crimson/Hackett closing part of the piece. Overall the guitarist’s songwriting structure appears uneven at the outset although many of his ideas are well played. “There ain’t No Such Thing as Spooks” is another representative piece and it begins in a lurking mode which is surprisingly quite good. The lumbering bass line reminds me of John Wetton’s old fuzz bass lines in particular. Track three “Perfect Picture in Reverse” is nearly a high-speed chase with the composer’s organ and spirited drumming laying a good foundation for a convincing lead guitar break. The uncertain middle piano section forms a needed tempo drop from the beginning part of the song too. The closing piece, “And that’s all he wrote” is a grand final statement from the composer that could have been condensed a bit before the final theme is introduced. In summary I’d say that McKenna is a composer in search of a band and/or collaborators to flesh out his well above average concepts and ideas. - Jeff Melton

Avi Belleli – “The Power of Balance”

 (LA 4 Records, LA-10527, 2002, CD)

Composer Avi Belleli is perhaps best known as the brainchild behind Israeli band Tractor's Revenge and also for his collaborations with drummer Dave Kerman (Present, 5UU’s etc.). Co-produced and engineered by Udi Koomran, this grouping of ten short and distinct pieces presents experiments in rhythmic and audio soundscapes. The album opens within a quiet acoustic guitar atmosphere, but the best example of this experimental approach is on the second track. “Fairys” is grounded by pulsing drum machines that instill a metallic vibe with backwards loops and watery guitar phrasing. “Steam” is also an impressive piece that relies on jumbled rhythmic qualities to create an earthy sound collage. The sixth Israeli named track is the most traditional song relying on guitar harmonics to propel a folk song melody line sounding a bit like synthesized melodica. "Kuru” is the creepiest piece on the recording opening in what sounds like a dark tomb, then a sound window opens to reveal a cacophonous band playing loudly at exaggerated speed. The last two pieces close out the disc on a more somber note. “Zabieba” features a two guitar pastoral arpeggio that underlies a ghostly lead part that is one of the highpoints of the recording. The final piece “Loot” is an acoustic percussion driven song that adds shakers and a spiraling but tribal vocal tracking. In closing, Belleli and Koomran set a comfortable tone of individual audio research with this recording that was the signpost of greater endeavors to come for each of them. - Jeff Melton

Slava Ganelin and Ned Rothenberg – “Falling into Place – Live in Jaffa”

 (Auris Media AUM007, 2005, CD)

Pianist and composer Slava (Vyacheveslav) Ganelin is known for his assertive power trio in Russia and his leadership within the Israeli free jazz scene since emigrating there in 1987. In contrast, New Yorker Ned Rothenberg is known for his work stateside with Catherine Jauniaux and the Double Band (with Harris and Thomas Chapin) among others. Together the two artists have created a multi-directional dialogue between peers of equal stature. Opening the set is a rather contrary solo clarinet accompanied by triggered percussion. The follow on 34 minute keyboard improvisation, begins with a piano interlude and evolves into a masterful tour de force of swirling symphonic keys and digital percussion. The solo piece veers into frantic acoustic piano again and back into further penetrating synthesizer chordal themes. Next Rothenberg returns to the stage for an inspired set of clarinet driven juxtapositions that require a bit of perseverance. On the last four pieces the two players together establish a unique diatribe between alto sax and acoustic piano by allowing melody lines to occasionally intertwine. Reliance on chordal progression is dismissed (much like Tim Berne and Craig Taborn’s interactions). Tempo jumps and the mood frantic, but the synergy created is precious. Engineered live by Udi Koomran, the live set features a wide dynamic range from quiet passages to brash assertions. Overall it’s was hot night at the small venue where this recording originate and it didn’t disappoint the audience or the performers. - Jeff Melton

Alexander Vogel – “Solo Kazoo”

 (Vogel 001 R, 2004, CD)

Alexander Vogel – “Kazoo and Percussion Pieces”

 (Vogel 004 R, 2004, CD)

Alexander and Thomas Vogel – “The House: Father and Son Duos”

 (Vogel 006 R, 2004, CD)

Brian Adair and Alexander Vogel – “The Sooner is Getting Nearer”

 (Vogel 007 R, 2004, CD)

Alexander Vogel – “Microphone Pieces for Alto Saxophone”

 (Vogel 008 R, 2004, CD)

Jeff Schwartz – “Solo Bass 2004”

 (Vogel 009 R, 2004, CD)

Brian Adair – “The Final Explosion”

 (Vogel 010 R, 2004, CD)

Daniel Cuesta and Alexander Vogel – “Concealment and Confinement”

 (Vogel 011 R, 2004, CD)

Alexander Vogel is your atypical teenager with an affinity for percussion and English improvisational icons. In late 2004 he took it upon himself to begin solo home recordings which soon evolved into his own independent Southern California label featuring his father and multiple local artists of varying talents. The first set of Vogel’s experimental recordings is based on eighteen solo kazoo exercises which combine elements of free improvisation, humming and rapid tonguing exercises. Taken together they simultaneously create moments of comedy, angst and introspection. Vogel claims no unique talent on the instrument of choice; it’s more of a collection of spontaneous ideas that somehow elevates the delivery past a goofy soundtrack for a Ren and Stimpy cartoon soundtrack. The longest piece in the set begins with a slow gurgling zoop before transitioning into a sixteenth note run and random melodic phrases and some excited bipps and bops. At times Vogel’s delivery approximates Elton Dean or Paul Dunmall’s alto sax squawks in creating a cacophonous din as per plan.

The next release available for review expands on the kazoo format but also adds miscellaneous percussion to the mix (004 in the catalogue). Vogel is a bit more ambitious and confident with this set of nine untitled pieces. His reliance on random snare drum patterns to create a sense of interlocking rhythms sets a wide open tone for the recording session. Additional kazoo spurt tracks interlace the percussion pieces often adding as much chaos as sonic relief. The third piece is the first marriage of kazoo and standard drum kit with the end results bordering on controlled but enthused bedlam. The two short pieces are effective examples of shrill screams that sound like a combination of amusing smooching and monkey shine.

Vogel then enlisted his Russian born father in a series of inspired audio experiment for volume six in the label series. Similarities can be drawn to Derek Bailey’s work with Tony Oxley and Fred Frith/Chris Cutler by using a slight audio delay to setup an open conversation. The elder Vogel is adept on guitar and the slicing and dicing technique pioneered by Frith. The two follow a path of random interjection that both propels itself and opens a format for further audio journeying. The third improvisation on the disc is perhaps the most ludicrous as the two meander along with kazoo brazenly accompanied by what sounds like fingers on top of a dinner table. The fourth piece is really onto something though with explosive guitar effects chattering away and sampled vibes clashing against clinking bottles and synthesizer runs.

The drummer’s friendship and mutual interest with guitarist Brian Adair fueled the next set of seven recordings ranging from outright formless meandering (cut #1) to spirited interplay (track #5). Adair’s style seems to be influenced by avant garde icon Derek Bailey whom is prone to a dissonant mindset. Piece number three is perhaps the best noisy collaboration by the two sound sculpturers; Vogel’s snare plays off Adair’s distorted chording in a convincing display of turmoil. The duo’s orientation is informed partly by a need to establish interchangeable dialogue rather than focus on tempo and rhythmic emphasis. By adopting this method the two travel two improvisational roads, occasionally intersecting and often diverging with mixed results.

Vogel’s next audio tests show alternate variations to the innovator’s mindset. By transitioning to alto saxophone and forming real time ideas in a full tilt fashion, the short collection of five pieces is more to the point than previous solo efforts. The lead piece is nearly a minute of brittle rattling on par with Dunmall’s work again; the next two quiet interludes show contrast and restraint amidst the squeaks and sonic burps. The fourth excursion is the most reserved performance on disc from the drummer doubling on woodwinds; his deliberate direction allows for space between punctuated accents. The last track in the home live session extends the last piece’s formula a bit further by adding humming and harmonics to the performer’s elaborate bag of tricks.

Jeff Schwartz is also an audio explorer of a slightly more traditional type on upright bass. Across seventeen pieces he approaches the four string beast with a sense of abandon I associate with the likes of vanguard William Parker at times. His tapping of the wood body and bow stroking shows strong familiarity with the textural qualities of the instrument. By scuttling and scratching the hard surface of the strings, the artist embraces the mechanical aspects of the device. Track ten has the most melodic phrase on the recording; Song number fifteen is the longest piece of scratching in the set and indicates a preoccupation with the higher register of the bass. The last two tracks are examples of quiet passages peppered by opened bowed ambient textures.

Brian Adair undertakes his own solo performances on the eleventh release on the indie label. Beginning with some guitar pick slices upon the tuning section of his electric axe, Adair then transitions into some basic garage band riffing that is almost a breath of familiar fresh air. The guitarist’s bar chord barrage could be informed by the Ramones or Sabbath or neither; but it doesn’t prevent him from sustaining a steady metal shredding on track number two. The recording quality again is low-fi which fits into the indie label genre successfully. Two brief tuning exercises lead into longer distorted sound textures that capture the guitarist’s basic guitar grunge sounds. The last piece (track number six) is nearly Derek Bailey meets Chuck Berry with attempted riffs deteriorating into a fuzzy noise collage. Closing out the session is a brutal overdriven din that would do well on any modern grind core horror soundtrack.

The last recording for review is another duet for the drummer, this time enlisting another guitarist (Daniel Cuesta) for two distinct improvisational rows. Vogel begins the unique conversation reprising many of his abrasive sax squalls. Cuesta’s style is less noise centered than Adair’s as he relies on chopping and chords to engage the discourse. At times the communication slacks but later picks up in part by Cuesta’s arpeggios that Vogel chirps over. Their second piece closes the disc riding a channel of random percussion, lulling intonation and plucked twangy strings. The two performers chatter away oblivious of meter but probing instead for a collective nirvana. The proceedings end in a bit of fun cacophony which in this case is a positive note.

With small independent labels like Vogel records springing up in differing sections of the world, it may be easier for novice musical experimentation to be nurtured and shared upon an unknowing populace. Such is the mission and plight of a free improvisational manifesto. – Jeff Melton