Issue #33 Extra!: New Releases

Art Rock Circus – “A Passage To Clear”
Art Rock Circus – “Tell A Vision”
Bendian, Greg, Jeff Gauthier Steuart Liebig G.E. Stinson – “Bone Structure”
Brainstorm– “Liquid Monster”
Crasdant – “Nos Sadwrn Bach”
Doddy, Fritz - “The Feeling of Far”
Distant Dream – “A New Beginning”
East of Eden - “Graffito”
Electropolis – “Electropolis”
Embrase – “Dreamworld”
Enya – “Amarantine”
Farpoint – “From Dreaming to Dreaming”
Förträngt Hushållsarbete – “Offret Om Att Älska…”
Frameshift– “An Absence of Empathy”
Frisell, Bill – “Ghost Town”
Frisell, Bill – “Unspeakable”
Froom, Mitchell – “A Thousand Days”
Gentry, The – “Sweet Gossip TV”
Glass Hammer - "The Inconsolable Secret"
Gogglesphere – “Babies In Hell”
Gordon, Martin – “God’s on his Lunchbreak (Please Call Back)”
Grand Trick, The – “The Decadent Session”
Hill, Walter – “Popjazz”
House of Not – “The Walkabout Part 1: Off the Path”
House of Not – “The Walkabout Part 2: Sexus”
 K2 – “The Book of the Dead”
Kurgan’s Bane – “Camouflaged in Static”
Lafcadio – “Sham Duvet”
Make a Rising – “Rip through the Hawk Black Night”
Marsalis, Ellis – “Ruminations in New York”
McLaughlin, John – “Thieves and Poets”
Meat Beat Manifesto - “At the Center”
Myriad – “Natural Elements”
Pack, David – “The Secret of Movin’ On”
Roberts, Eric – “In a Silent Place”
Royal Hunt – “Paper Blood”
Scenes – “Call us Now at the Number You Provide”
Schrader, Barry – “Beyond”
Schroeder, Robert – “Brainchips (Vocal Version)”
Sigur Rós – “Takk”
Spaced Out – “Live in 2000”
Steckler, Matt – “Persiflage”
Stinkhorn – “Stinkhorn”
Stinkhorn – “Tunguska”
Symphorce – “Godspeed”
Trio Fattoruso – “Trio Fattoruso”
Turning Point - “Matador”
Van Allen Belt – “Lactator Tots”
Weston, Ray – “This is My Halo”
Wigwam – “Some Several Moons”
Hector Zazou – “Sonora Portraits 2”

Brainstorm– “Liquid Monster”

 (Metal Blade Records 3984-14526-2, CD, 2005)

This is German metal quintet Brainstorm’s seventh release to date and finds them in a more traditional frame of mind than most metal coming out of Europe these days. It seems that everyone else has added keyboards, new-fangled production tricks, or epic 8-part sci-fi concepts to their albums, but not these guys. Fans of old-school and speed metal a-la Judas Priest, Iron Maiden and older Metallica will no doubt enjoy tracks like “Worlds Are Comin’ Through”, the made-for-radio “Inside the Monster”, or the relentless assault of “Painside”. The sound focuses on front man Andy Franck’s rock-solid vocal delivery and the dual guitar attack of Torsten Ihlenfeld and Milan Loncaric. Drummer Dieter Bernert is adept at blasting out double bass drum fusillades to keep heads keep a-bangin’ till the sun comes up, and bassist Andreas Mailänder never leaves the pocket, welding his parts firmly to the bass drum. The songwriting favors simplistic arrangements and vocals, almost to a fault, though it does keep everything tightly focused. The only departure is the quasi-ballad “Heavenly”; not a great song, though a welcome change of pace. For my money the last two tracks, the speed metal workout “Even Higher” and the metal waltz “Burns My Soul”, worked best, smacking of genuine authenticity devoid of the lowest-common-denominator weight affecting the rest of the album. Needless to say, Exposé readers should tread carefully when dealing with bands such as this, unless you’re eager to relive the glory days of 80s heavy metal. – Paul Hightower

David Pack – “The Secret of Movin’ On”

 (Peak Records PKD-8519-2, 2005, CD)

Former Ambrosia guitarist and vocalist David Pack has become the quintessential example of L.A. pop music roadkill. Well past his peak of commercial success and fame and ten years since his last solo release, he now labors to keep his name and music in front of the public. So when it comes time to release a new album, he and his management deal the Suck-up-to-Clear Channel card: call in favors from every other big name you know and make sure everything fits easily into pre-packaged categories that will appeal to the lowest common denominator. Unfortunately, guest appearances by Ann Wilson, Timothy B. Schmidt, Steve Perry, David Benoit, and a bazillion others do little to lift the songs (including two Ambrosia re-makes) from the shallow end of the smooth jazz and adult contemporary gene pool. Nor does the assistance of ace L.A. session players, slick production values, or a big time marketing and PR campaign. Even Bernie Taupin’s abstract artwork reproduced on the sleeve can’t save this heap of crap. No, what we have here is a grab for commercial paydirt aimed at aging baby boomers whose idea of rockin’ out is seeing Michael McDonald at Harrah’s in Reno. I will say this for the man, even at 50-something years old his voice hasn’t lost a step. That’s little comfort, though, since totally missing on this disk is any evidence of Pack’s considerable prowess on the guitar. And to think this is the guy who helped write “Nice, Nice, Very Nice”. – Paul Hightower

Enya – “Amarantine”

 (Reprise 49474-2, CD, 2005)

In reality the name Enya is almost a group moniker encompassing the Irish singer/musician as well as her collaborators, producer Nicky Ryan and his wife lyricist Roma Ryan. This collection echoes past efforts (2001’s A Day Without Rain her most recent), though several tracks stand out. These include the majestic opener “Less Than a Pearl”, the Celtic-tribal romp “The River Sings”, the insanely beautiful “Sumiregusa” (sung in Japanese), and the sublime closer “Water Shows the Hidden Heart”. Several tracks are delivered in Loxian, a made-up fantasy language of Roma Ryan’s that sounds like a cross between Gaelic and the Elven language Enya employed on The Fellowship of the Ring soundtrack. No doubt Enya’s participation in the LotR project was some sort of creative catalyst, and it seems to have been a good one. In fact, fans of Jon Anderson’s Olias of Sunhillow really need to hear this. The album has a few low points when the creative process seemed to have been asleep at the wheel, though for the most part this collection is firing on all cylinders with several moments that recall Enya’s best work on her debut The Celts (1986) and 1988’s Watermark. A bit more diversity in the instrumental arrangements and some risk-taking would help Enya, though clearly she and the Ryans are all too happy to mine a very lucrative and fruitful musical tree for all it’s worth. At least with this album there’s a spark of magic that’s been missing for some time. – Paul Hightower

Eric Roberts– “In a Silent Place”

 (Independent release, 2001, CD)

Eric Roberts is a bassist who has logged many hours supporting big name acts over the years and this is his recorded debut as a guitarist. Although largely a solo effort, he does get help from a few guests, most notably cellist David Darling, who may be a familiar name via his work with the Paul Winter Consort, Ralph Towner, and through his solo projects on the ECM label. For the most part, however, this is Roberts’ show, and his guitar playing is far and away the main event on every piece. Besides classical acoustic guitar, he wields guitar synthesizer, keyboards and bass to good effect, further building color and enhancing the mood of the pieces as required. Roberts is a fine player with a warm and delicate touch, though there are better instrumentalists out there as several instances of muffed intonation will attest. Where the album really succeeds, however, is in the songs’ emotional effects on the listener. In this respect I found the album to be a solid collection of light, atmospheric jazz in the vein of Paul Winter, Eberhard Weber, and Pat Metheny, as well as classic Brazilian jazz. Some of the tracks are therapeutic and relaxing while others go for a more impressionistic treatment. Some (“Reflections”) even have an improvisational edge and a commendable sense of adventure. “The River Runs” garnered a finalist slot at the Independent Music Awards and demonstrates impressive potential from a relative newcomer to the acoustic guitar. We’ll be watching. – Paul Hightower
[www.dmamusic.org/roberts]

Symphorce – “Godspeed”

 (Metal Blade 3984-14547-2, 2005, CD)

Both symphonic and forceful, Symphorce is a German power metal quintet with double guitar, bass, drums, and a singer. Their compositions follow a fairly typical verse-chorus structure, and stay squarely in 4/4 time, which are usually two good ways to differentiate groups like this and Royal Hunt from more sophisticated progressive metal groups. I’ve also noticed a lot of power metal groups take pain to tell you which of the multiple guitarists is soloing at which time; I’m not going anywhere with that observation, it just fills space. Although you really have to wonder how much space ought to be used on music that reminds me of later Ozzy with lesser musicians. Far from innovative, power metal like this has taken metal as close to commercial radio as it can get, with almost bubblegum devotion to conventional structures and the requisite substitution of angst for reflection. Nobody in this band is poor; Andy Franck has a strong voice, the rhythm section is capable, and the guitar solos shred. It’s just so formulaic that I can’t think most Exposé readers will get into it. – Sean McFee

House of Not – “The Walkabout Part 1: Off the Path”

 (FreakStreet Productions FSP-CDA01, 2003, CD)

House of Not – “The Walkabout Part 2: Sexus”

 (FreakStreet Productions FSP-CDA02, 2005, CD)

The brainchild of Brian Erikson (vocals and lyrics), House of Not appears to be some sort of concept project, with Lou Roppoli and Ken O’Gorman providing guitars and a host of guests on other instruments depending on the track. The music reminds me a lot of Division Bell era Pink Floyd, fairly slow tempo commercial rock highlighted mainly by strong guitar parts. The songwriting doesn’t even really shoot that high, though, mainly age-old classic rock themes delivered in serviceable fashion. Sexus features more female vocals but apart from that isn’t much different. The end result is not actively bad, but definitely bland, and has nothing to do with the focus of Exposé. – Sean McFee

Electropolis – “Electropolis”

 (Innova 642, 2005, CD)

A quartet of bass, percussion, electrosax and electrumpet, Electropolis produces eleven tracks of interesting jazzy rock on what I believe is their debut. The amplified instruments produce some odd effects; on first hearing I was sure they had a guitarist. Fuzz, distortion, phased-type noises, and other modifications on typical jazz timbres are to be heard. There are no overdubs on this recording, however. What’s more impressive is that five of the eleven tracks are improvised, a challenge not only for the usual reasons of mutual listening and playing off each other, but because there are more and varied tones that can be used as well. There are some reminders of 70s Miles Davis here, both in the often ambient/soundscapeish nature of the compositions, and of course the trumpet sound which often approximates Miles’ sound of the period. Groovy, nimble, and succinct, Electropolis produces a fresh brand of jazz that is worthy of Innova but still approachable and direct. Fun stuff. – Sean McFee

Matt Steckler – “Persiflage”

 (Innova 644, 2005, CD)

Matt Steckler is a woodwind player (alto sax, flute) who previously has played in the group Dead Cat Bounce. Persiflage is his debut solo release with a group of fine New York City jazzers on trombone, piano, bass, and drums. He definitely picks his friends well, as these guys are more than able to keep up with and compete with him. All compositions are Steckler’s, and my favorite sections involve expressive punctuations of sound from the flute supported by the trombone and piano. Stylistically this is all over the map, often recalling the mid-60s Miles Quintet but with a strong taste of the blues, and even a bit of ragtime in the piano to my ears. “Episodo pa’ Osmany”, with a guest on congas, has a real Afro-Cuban feel to it. A surprisingly traditional recording to appear on Innova, Persiflage demonstrates how jazz can stay fresh without clearing the room, in the spirit of Steve Coleman and similar artists. – Sean McFee

Barry Schrader – “Beyond”

 (Innova 640, 2005, CD)

One of the many modern American composers whose work is featured by the Innova label, Barry Schrader appears most at home in the electro-acoustic realm. Beyond is his third release on Innova. “First Spring” is the busiest track, a continuous swirling barrage of notes to dazzle the synaesthetic. The title track is a musique concrète piece featuring samples of an obscure, custom-built tuned percussion instrument called the waterphone. It is a very minimal, ambient piece, with Schrader’s typical timbral experimentation challenged by the lack of source material (only a harpsichord sample is used to assist the waterphone). It would have fit well on The Ambient Expanse compilation. “Duke’s Tune” is an arrangement of a melody composed on xylophone by a pig named Duke. While I don’t wish to minimize Duke’s contribution, this is very much a Schrader piece in mood and content; the xylophone motif is a melodic snippet in a sometimes ominous, sometimes tranquil world of effects. Finally the three-part, half-hour suite called “Death” is a prolonged, static floating world, again ominous with the key contrasts being due to timbral manipulation. Schrader is clearly challenging both himself and the listener with the avant-ambience of Beyond, and succeeds due to never abandoning coherence or engaging the auto-pilot. – Sean McFee

Ellis Marsalis – “Ruminations in New York”

 (ESP Disk 4000, 2004, CD)

Piano ballads! Whether you are seducing the ladies or getting stone drunk to forget them, a languid piano ballad replete with blue notes, suspended chords, and finger rolls is a perfect tone-setter. Enter Ellis Marsalis, patriarch of the impressive jazz family (yes, including Wynton), and Ruminations in New York, recorded in 2003. I’m not sure what reading a review is going to tell anyone that they don’t already know; Marsalis is a world-renowned jazz pianist with a deft touch and a traditional approach, and while many Exposé readers are admittedly more at home with Cecil Taylor or Satoko Fujii – as am I – Marsalis is as good as anyone for the type of material he chooses to perform. Less renowned for his compositions than his performances, Marsalis acquits himself fine on Ruminations; the pieces lend themselves well to a smooth, seemingly effortless delivery, carefree and joyful. I’m no expert on this type of material, even if I like my Monk; it’s just a nice CD of solo piano jazz, simple as that. – Sean McFee

Sigur Rós – “Takk”

 (Geffen 80005345-02, 2005, CD)

Iceland’s Sigur Rós’ claim to fame appears to be as a European bridge between 70s progressive rock ideas and modern alternative rock. The band has been tabbed by industry magazines such as Mojo and Uncut to spearhead a new kind of progress into alternative rock without all the pretentiousness that saddled classic English groups. Takk is the quintet’s fifth recording characterized by lush orchestral backdrops that serve as elemental foundations for their unique twist of the Cocteau Twins with Beach Boy child like harmonies and U2’s ambient textures. They rely on rather innocent music box instrumentation, sloggy rhythms and passionate performances to make atmospheres that compare with Coldplay’s best songs. At times the eleven well crafted and performed pieces seem to serve as a backdrop for a foreign film drama. Themes range from vibrant to outright precious that shows the band has firm grasp on the scope of their often ambiguous but precious statements. Lead singer Birgisson creates a style akin to Elizabeth Fraser or native homeland star Björk that is just plain surreal. “Sé Lest” is a representative track that features a backward loop introduction that spills into a lush vocal arrangement. Lofty bells are also part of the band’s palette to create a bright penetrating backdrop for the band to explore. I’ve read that the group delivers the goods in a live context and plan to check them out locally soon. Highly recommended. - Jeff Melton

Bill Frisell – “Unspeakable”

 (Nonesuch 7928-2, 2004, CD)

Bill Frisell’s first Grammy winning CD is a major achievement on many fronts. Frisell doesn’t blow you away like many other experienced guitarists — he is the cardinal of understatement, preferring to strum away along side or under a main theme be carried by violin or cautious percussion. As a composer his whimsy is seemingly stamped by a penchant to fuse John Barry stylish soundtracks with modern rhythmic approaches. The guitarist’s flair for the crafted embellishment is evident right from the start on “1968”. Acclaimed violinist Jenny Scheinman is a member of the string trio The 858 Strings alongside Eyvind Kang that supports Frisell’s mindset. “White Fang” pursues a funkier blues-based side of the guitarist work with Hal Wilner adding an infectious dance groove that doesn’t give way to wankery. The rhythm section of Tony Scherr and drummer Kenny Wollesen provide consistent groove interplay. Another focal track is “Gregory C” that relies heavily on sampled cello to build a romantic backdrop for Frisell’s harmonics crossword puzzle and backwards tape loops. “D. Sharpe” is the most unfitting song in the set with its sour melody line and unsettling string intervals. “Old Sugar Bear” is the real oddity on the disk where an ambient pastiche is played on the foreground on top of rhythmic and melodic phrases that sneak and out of the mutable song structure before a strong 4/4 R&B vibe begins. Overall it’s the culmination of thirty years work that composer has come to terms with. - Jeff Melton

East of Eden - “Graffito”

 (Eclectic ECLCD 1020, 2005 CD)

Hot on the heels of Eclectic’s reissue of East of Eden’s first two LPs comes a brand new recording from the founding lead voices of the band: saxophonist Ron Caines and violinist Dave Arbus. Guitarist Geoff Nicholson is the main composer of the first half of CD which is actually the third since the main trio reconvened in 1997. The strains of jazz and world music are prominent in the composer’s palette as heard on “Noir”, where Caines delivers a late night lead that fits the mid tempo track. Nicholson’s solo style needs no distortion as he is comfortable doing clean spirited leads. “Jump the Gun” is a bluesy bouncy jazz piece that reminds me a less slick Crusaders with Caines doubling up on both alto and tenor sax. “Almazán” shows that the band has a handle for more world music based themes with Caines soloing lightly over an even tempo pulse. The closest the band gets to something really challenging is the on “The Cloud” which reminds me a lot of the Yellowjackets. Caine’s four compositions close out the disc with “Southern Hemisphere” creating a charming atmosphere with tenor sax soloing atop acoustic giutar accompaniment. The lush ballad “Hymnal” closes out the disc on somber note. In closing it’s clear that these three friends still enjoy making music in their later years. - Jeff Melton

Make a Rising – “Rip through the Hawk Black Night”

 (High Two HT005, CD, 2005)

Make a Rising is an adventurous Philadelphia quintet cut from the mode of modern alternative experimental bands such as Tortoise and Olivia Trevor Control. Blending jazz and alternative rock elements suits the band well, interspersing somber piano bits and contemplative violin (as on the CD opener, “Look at My Hawk”) help establish their unique outlook. “Song for Dead Nickie” however is much more what I would expect from Wilco or Camper Van Beethoven except for the keyboard arpeggios and swelling violin in the cleverly crafted mid-section. I can’t help but recognize a John Cale cabaret-like veil across the disc as well since much of the band’s work keeps returning to piano-based melodic constructs like much of his best work on Fear. Jesse Moynihan’s childlike lead vocal is also quite purposeful on “When Moving West” which captures some of the essence of Brian Eno’s early pop excursions on Taking Tiger Mountain. In stark contrast pieces such as “Plastic Giant” and “Pun Womb” succeed as ambient drones and joyful noise expressions. The band finally exerts some punishing weight on “Lovely It May Seem” and “Lonesome in the Skiff” with clashing riffs and dynamic thought-out changes. The album closes out with two less successful pop tunes which muddy the waters a bit before ending the disc. In summary the group’s first recording is a bit of a mish-mash and the quintet needs to focus on refining their identity before planning another recording. - Jeff Melton

Fritz Doddy - “The Feeling of Far”

 (Fritz Doddy FD6887, 2004 CD)

Solo artist concept projects were all the rage of 2005 it seems as singer and composer Fritz Doddy follows suit with his second album. Doddy is an exclusive user of Apple computer software specifically Digital Performer and Reason software much in the same approach Todd Rundgren used for his excellent 2004 Liars CD. The end product is a pro-sounding project that doesn’t suffer from bad home demo quality as drum patches, acoustic guitars and sitar parts ring with a strong clarity. Doddy is a modern prog rocker taking nods from Kevin Gilbert and Neal Morse as well as classic Genesis or Yes. It is evident in balanced arrangements that utilize mellotron samples, mandolin and Beach Boys harmonies as heard on the title track. Doddy’s vocal presence comes through on pieces such as “It’s Only a Dream” which could find a home on modern rock radio without a big stretch. Other important pieces include the orchestrated finale, “The Lonely Path” which comes across with a childlike theme much like Jon Anderson’s first post-Yes recording, Song of Seven. Despite the urge to pass over Doddy’s work as light fluff there is strong evidence of a composer who knows his way around modern production techniques as well as how to craft a hook. In summary, I would not be surprised to hear bigger things from Doddy in the not too distant future. - Jeff Melton

Turning Point - “Matador”

 (Native Language NLM 0948ADV, 2005 CD)

Sophisticated jazz and fusion is an art form unto itself having been perfected to a certain degree by acts such as the Crusaders, Yellowjackets and Russ Freeman. Part of Turning Point’s local success has been a strict focus on smooth grooves, tasty licks and upbeat vibes. Their cover of Chick Corea’s “Spain” from My Spanish Heart and the title track are strong indications that the Phoenix quintet is also deeply rooted in Spanish-tinged rhythms from a tight rhythm section. Guitarist Thano Sahnas has a firm grasp on both acoustic and electric leads taking solos that appear seamless and recall the glory days of Larry Carlton, applying restraint where needed. Other notable tracks include “Turn down the Night” which relies on Fender Rhodes to take the mood down a notch. The Kenny G or Dave Koz mode of the piece is possibly a bit too slick for my tastes despite the high production value. Saxophonist Dominic Amato and pianist Steve Culp also carry a bit of the melodic load as heard on “Soldier’s Lullaby” which captures a feel like many of Pat Metheny’s latter day efforts. Closing out the disc is “Here Today, Gone Tomorrow” which serves as a sincere ode to the Columbia Space Shuttle disaster. Overall the group has a keen sense of identity and is tapped for greater things including an upcoming performance on the BET network jazz show. - Jeff Melton

Distant Dream – “A New Beginning”

 (Self-released, 2005, CD)

Here’s something out of left field: a big concept album from a new, unknown band. And in this context, “concept album” should be taken as something more like I, Robot (or even Phantom of the Opera) than The Lamb Lies down on Broadway. The music itself does not aspire to heights of progressive complexity, but to be well-crafted, intelligently written rock that fits an elaborate science fiction story. As such, it is something of a throwback, and you can’t really expect a large degree of originality -- but I know there are lots of music fans who really love this milieu, and who am I to fault them for that? The craft that went into the recording is obvious: every part is well played, every piece is in its place, recorded with immaculate care, the arrangements build tension and release it. Distant Dream is the brainchild of Sujit Srinivas and Deep Banerjee, who recorded it in stages (and by internet collaboration) in both India and the US; other contributors from Europe and New Zealand make it a completely international effort. I’m not going to delve into the story it tells, since this is a music review, and the music certainly functions apart from the concept if the listener doesn’t care to follow along. At its best, as on the title cut, everything comes together for a powerful effect, with a great riff and a soaring guitar solo followed by a pretty coda for female voice and acoustic guitar. – Jon Davis
[www.distantdream.com]

Farpoint – “From Dreaming to Dreaming”

 (Self-released SCM-104, 2004, CD)

When you examine the individual points of this music, there’s plenty to like. The parts are well played for the most part, the voices are fairly appealing, the sound is crisp and clean. But in spite of the length of the tracks, mostly in the six to ten minute range, the writing is very simple and straightforward. This might be a plus in some listeners’ minds, but to me just leaves me wanting more. I’m reminded of an 80s pop band adopting some progressive tropes just because they can, or possibly musicians who want to model themselves after John Wetton’s solo work. I bring up Wetton because Clark Boone, who shares vocal duties with Dana Oxendine, has a bit of the same timbre to his voice, which is a nice change from all the clean tenor tones you normally hear. Oxendine’s voice is pleasant enough as well, though some of the melodies she sings are awkwardly written and she ends up repeating lines that rely on very unnatural phrasing. Keyboards and guitars both stick to very typical tones, and even the organ parts come off as wimpy. The drumming is a curious mixture of overly busy cymbal patterns and slightly botched fills. The 80s pop impression comes to the fore in the song “Universal Light” which sounds like a Missing Persons reject. But the whole effort is so polite sounding that no matter what the tempo the music always seems too meticulously planned to have much real spirit in it. – Jon Davis
[www.farpointband.com]

Art Rock Circus – “A Passage To Clear”

 (Tributary Music 619447000520, 2001, CD)

Art Rock Circus – “Tell A Vision”

 (Tributary Music 619447000728, 2005, 2CD)

Easy to follow narratives within the comfortable confines of a pop progressive melodic framework. Nods to epic classic rock arise here and there. In some places you can hear traces of Genesis, snatches of mid-70s Pink Floyd, a few of the idioms coined by Phish, and spates of muted, less complex, Van Der Graaf Generator. Throughout, vocals are to the fore and the musical accompaniment is an adequate foil for the contextual messages. Stretches of instrumental passages rollick and jump as they rock forth, sonically introducing the next passage or rounding out the end of a song. Singing is mostly handled by John Miner, using the higher registers. Sometimes together with John, but usually on their own, Karyn Anderson or Karen Renée/Wallo contribute a fair dose of their talents as vocalists to the mix. Keyboards are present on most tracks as well as normal rock instrumentation. The drummers make modest use of the basic kit with regular usage of timely cymbals and periodic percussive affectations. The guitar is cleanly plucked with very little added flanging, wah-wah, or effects. Steady and studious, the bass makes it a point to propel the rest of the unit accordingly. The syncopation is balanced amidst selective guitar phrasing on a bed of clear production values. Channel separation and instrument placement play a significant role in bringing the overall effect into fruition. Although theatrical at times, the concepts are hardly overblown nor are they imbued with pomposity. Everything is kept inside of the threshold, allowing the form to entertain and not become bombastic. All in all, inoffensive and unswerving, with universal messages. – Cesar Montesano
[www.tributarymusic.com]

Hector Zazou – “Sonora Portraits 2”

 (Materiali Sonori MASO-90134, 2003, CD)

Zazou has been a prominent producer and instigator of musical projects for many years, having worked with a wide variety of artists. On this collection, we get collaborations with various female vocalists from different nations and backgrounds, all presented in Zazou’s detailed electro-acoustic soundscapes. The brief opening track featuring Laurie Anderson’s spoken delivery sets the tone, kind of quietly artistic in a thoughtful rather than energetic way. Melanie Gabriel, Jane Birkin, Lori Carson, Emma Stow, Nina Hynes, Caroline Lavelle, Sarah-Jane Morris, Catherine Russel, Lisa Germano, Nicola Hitchcock, and Irene Grandi lend their voices to the following tracks, along with a reappearance by Laurie Anderson. In addition to electronic sounds, orchestral instruments add subtle counterpoint to the singing, with oboe, bassoon, trumpet, flute and clarinet all getting moments to shine. Most of the singers tend toward breathy timbres, as befits the gauzy mood, with delicate beauty taking a front seat and leaving any sort of blatant emotion in the back seat, if not the trunk. – Jon Davis
[www.matson.it]

Embrase – “Dreamworld”

 (Groove Unlimited, GR-126, 2005, CD)

Lately new EM artists in the Netherlands are mushrooming and this is the newest offspring. Most of these newcomers know their predecessors very well, no exception here, but they all stay to close to their paragons. Not until track three (“Come On”) does this album spring to life with a beautiful but derivative Patrick Kosmos composition. “Underwater Secrets” is a strong Ron Boots inspired piece. “Time Is Killing” could be located among the Tangerine Dream 80s harvest, but needs spice – it’s very pallidly played. Embrase produces easy-to-grasp pieces full of ear-candy melodies and sequencer and drum rhythms to match. His solos are warm and way above average. Piano is a centerpoint of his music and falls in the romantic category a-la Emmens. The production is crystal clear, too clear actually, but luckily there’s still enough life in the music left. No stuff to prick up your ears, but not bad either – Roel Steverink

Förträngt Hushållsarbete – “Offret Om Att Älska…”

 (Bauta BaR 0201, 2002, CD)

It may seem odd that this turns up in our New Releases section – it is definitely not new; fact is that it’s been out there for four years already but hardly anyone (if anyone at all) knew it was there. Many thanks go to occasional Exposé writer Dave Kerman for bringing this Swedish trio (with guest violinist) and their only release to date to our attention. The three regular members play just about everything imaginable, although it pretty much boils down to guitars, bass+flute and drums, with all sharing keyboards, miscellaneous percussion, and singing as well. A frenetic collision between rock and art, fragments of ideas are juxtaposed creating a sense of disorder and chaos in the compositions, yet the result is completely listenable and refreshing in a sort-of “I’ve never heard anything like this before” kind of way. Over two dozen short to very-short tracks offer a wild rollercoaster ride with more twists and turns than a barber’s pole in a house full of mirrors. Comparisons completely elude me, but they do stand up favorably to countrymen Zamla Mammaz Manna and Kraldjursanstalten, though FH sound like neither. Unless you are Swedish you won’t understand the lyrics, so translations into English have been provided, showing that these guys have a lot to say in their lyrics as well as their music. This one must be heard. – Peter Thelen
[availability: www.rerusa.com]

Gogglesphere – “Babies In Hell”

 (Joyful Noise JNR-4, 2004, CD)

Lafcadio – “Sham Duvet”

 (Joyful Noise JNR-10, 2006, CD)

One might ask why these two discs are being addressed in the same review; it’s because both Gogglesphere and Lafcadio are essentially the same band – or that is to say they have the same five members. Babies In Hell is subtitled A Depiction of Deranged Youth, a concept album of extremely twisted and grotesque imagery and a musical style to match: abrasive and extreme technical thrash-metal full of distortion at every level, with that singer who at one moment sounds like somebody’s trying to strangle him, and the next minute sounds like he’s screaming in pain with a bottle cap stuck up his ass sideways. Not an easy listen, any way you shred it. Fortunately a couple songs turn down the distortion some, slow down the pace, and stop screaming so the lyrics are somewhat understandable. But it’s not long until it slides right back into concussion-driven suicidal mania at the threshold of pain and beyond. Ahem. Some will really dig this, I’m sure. Regrouped as Lafcadio, some elements of the old sound are still present here, but it does seem like a fresh start with a concerted effort to make a more meaningful and interesting musical statement within the boundaries of extreme technical metal. Some screaming, to be sure, but plenty of decent harmonies too, and more importantly one can actually hear what’s being played and sung without the ever-present cloud of distortion engulfing everything. Each piece is distinctly different in some way from all others, and the overall approach is a sort-of punk take on the more brutal elements of contemporary King Crimson mixed with a more adventurous variation of the math rock sound. Sham Duvet is the messianic lead figure in a concept exploring the contradictions and similarities between religious epiphany and schizophrenic hallucination; and this time the lyrics are understandable – but just in case they are all printed in the booklet. In all, this is a far more satisfying disc; here’s to the new start. – Peter Thelen
[www.joyfulnoiserecordings.com]

Crasdant – “Nos Sadwrn Bach”

 (Sain SCD2306, 2001, CD)

Crasdant is an all-instrumental folk band featuring four greats from the Welsh trad scene: harpist Robin Huw Bown, flautist/piper Andy McLauclin, fiddler/accordionist Stephen Rees, and guitarist/clog-dancer Huw Williams. (And, yes, you can hear Williams’ clog-stepping on several tracks). Nos Sadwrn Bach (Welsh for “Not Yet Saturday”) is Crasdant’s second album. Its eleven tracks, unsurprisingly, are all traditional Welsh folktunes. Dances of different sorts -- jigs, hornpipes, polkas -- are most heavily represented. (Among these is “Nos Galan,” the Welsh name for the Christmas carol known as “Deck the Halls,” arranged as a lively folkdance.) The overall feel of the album, therefore, tends to be cheery and up-tempo -- like most folkdances. Only a pair of slow airs break up the mood with a touch of mournful melancholy. The musicianship on the album is top-notch, the arrangements pleasantly diverse (by varying the instruments from track to track), and the tunes themselves have a melodic and rhythmic catchiness that should appeal instantly to anyone who enjoys Celtic music -- or any sort of northern European folk music for that matter. At the same time, Crasdant doesn’t consistently achieve quite the same level of expressivity displayed by other Welsh folk bands out there (e.g. Carreg Lafar, Rag Foundation, and Fernhill). Maybe it’s just my Romantic tastes, but I feel that a bit more passion and expression are needed -- especially on the faster tunes -- to make this a ‘great’ folk album, rather than one that is merely ‘pretty good.’ – Jim Chokey
[www.crasdant.com]

Spaced Out – “Live in 2000”

 (Unicorn Digital UNCDVD-001, 2005, DVD)

Anyone familiar with this hotshot Canadian fusion quartet (and shouldn’t all Exposé readers be?) knows that they are above all a musician’s band – one of those outfits that makes your jaw drop in awe when witnessing their precise execution. So what we have here, in a multi-camera shoot is exactly that: the band shredding at Le Zest in Montreal in October 2000. Launching with the closer from their second album “Jamosphere”, they rip through a 90-minute set of material culled primarily from their first two albums. On the CDs, bassist Antoine Fafard tends to dominate the sound with his percolating 5-string bass work; here on video, one gets a better idea of the interaction and contributions of all four players to the band’s sound, with guitarist Louis Côté turning in some blistering solos on nearly every one of the 13 cuts. Also in the spotlight is drummer Martin Maheux, perhaps a smidgen too high in the mix, but clearly creating that precision framework which drives all of the band’s compositions. All taken, this is an outstanding and virtuosic performance that shows this band in their best light. My only question is why Unicorn waited so many years to release it. – Peter Thelen
[www.unicorndigital.com]

Robert Schroeder – “Brainchips (Vocal Version)”

 (Spheric Music, SMCD 2010, 2005, CD)

Robert Schroeder is back at last. Many years have passed, eleven years even, since Everdreams came out in 1994. After such a while, it’s a rarity that composers haven’t been touched by time. On the one hand the typical Schroeder style still present; on the other hand there have crept some other stylings in as well. There’s something peculiar with this release, it comes in two formats: vocal and instrumental. The vocal album has singing on five tracks from the Moroccan singer Rahal Brimil. He sings, not that good in a typical larmoyantic eastern style. The instrumental version doesn’t differ from the vocal version, just the same tracks, only now without voice. Schroeder works with samples again, in a humorous way, like on “Froggy”. Some electric and acoustic guitar playing can be heard. Still, the big disappointment is, that it hasn’t got the depth of the best Schroeder albums from the past, it’s much more laidback, much more mainstream and as such it’s a perfect album to use when you’re doing other things. I fear we won’t hear that unique typical Schroeder music in the future anymore, so we can only play and treasure the rich legacy (when will Galaxy Cygnus Alpha appear on CD?) from this still great artist. – Roel Steverink

The Grand Trick– “The Decadent Session”

 (Transubstans Trans 010 2005, CD)

To tell you the truth, I have a difficult time getting into this music. I have made several attempts to listen to this CD, but I was never a real big fan of heavy rock music, even in the seventies. Now I guess I am just too old. The Grand Trick is a Swedish band that formed in 2003 and released their first CD The Decadent Session in 2005. They have the look and the sound. The music is well produced and performed. It reminds me a bit of Deep Purple. So, if you yearn for those days of yore and heavy rock, The Grand Trick is the heavy rock band of the new millennium for you. – Henry Schneider
[www.recordheaven.net, www.thegrandtrick.com]

Kurgan’s Bane – “Camouflaged in Static”

 (Independent Release, 2005, CD)

On the basis of this, their third disc, Kurgan’s Bane needs something extra. Perhaps they don’t want it but there it is. Camouflaged in Static seems a somewhat naked disc, occupying a place somewhere in the hard rock realm and flirting with metal. A couple of lengthier tracks veer more firmly into metal, though at that they don’t stand out from the pack to make a defining statement. The core band of guitar, bass, and drums are certainly up to the task technically, but they often drag themselves along for mostly uninspiring vocal sections. Unfortunately, there are plenty of instrumental breaks where they don’t excite either. They do occasionally gather steam, but this could also be a contextual impression formed against the self-similar, paint-by-numbers melodies that appear throughout. “Surface”, with similar tempo and compositional variants, almost seems an inferior job of self-plagiarism when I remember the album opener, “I’m Alive”, which itself turns out to be a good song due to its picking up some passion along the way. Perhaps noting this caused them to change the last refrain of “of the night” to “I’m alive” as an attempt to tie the songs together. Or perhaps vocalist Lisa Francis added it out of habit. It could be that my less than stellar impression could result from a lack of interest in the field in which they’re operating, or it could be that the disc is a bit on the banal side. Take your pick. – Mac Beaulieu

Glass Hammer - "The Inconsolable Secret"

 (Arion Records SR1320, CD, 2005)

One could arguably claim that this release finds American prog band Glass Hammer at the top of their game, which probably explains the scope of this effort. First of all, it s a 2-disk set in a nifty digipack case wrapped in sumptuous artwork from Roger Dean. Secondly, the music and lyrics are based on an epic romantic fantasy poem by bassist/keyboardist Steve Babb, spread across both CDs in two parts (The Knights on disk 1, and The Lady on disk 2). Thirdly, the material is broadly symphonic and epic in style and presentation, heavily influenced by classic Yes and Kansas. Singer Walter Moore vividly recalls Steve Walsh whenever he steps up to the microphone and keyboard player/guitarist Fred Schendel's pedal steel playing (last seen on their 2004 effort Shadowlands) instantly evokes Steve Howe while his keyboard work is a solid blend of Keith Emerson's Hammond muscle and Rick Wakeman's synth flash. What's lacking from this opus, however, are enough bankable musical ideas. While everything sounds like Glass Hammer (which sounds like a lot of other bands) too little of it stands on its own merits. One can appreciate what these guys have produced from the standpoint of sheer hours of labor, though lacking enough solid content the end result is a beautiful yet empty vessel. I know this band has many admirers, but my advice is to do more with less. Oh, and included on the first disk is a Making of& video, the full epic poem, and Roger Dean desktop artwork. Paul Hightower

John McLaughlin – “Thieves and Poets”

 (Verve B0000137-02, 2004, CD)

The solo acoustic works of guitar icon John McLaughlin have always been in a world class category for the past thirty-five years. Thus finding a suitable compatriot in former student Yan Mareze with a similar mindset to arrange orchestral charts fitting for one new three part suite and four covers is an amazing feat in itself. McLaughlin himself describes the three movements to be steeped in the old world, then new, then a merger of the two. Part one is Spanish influenced with military style themes; it’s moody but wide sweeping in scope and enthusiasm. Other pieces include a performance of Chick Corea’s “My Foolish Heart” that comes as a cool relief piece from the outright impassioned drama of the opening of the disc. “The Dolphin” is another song of note as it works for two guitars doing up a piano based track that McLaughlin has singled out. “My Romance” is probably the most familiar piece on the disc as popularized by Carly Simon’s recent rendition. In this form the song easily transcends vocal boundaries. The guitarist nods to Bill Evans’ piano arrangement as the main inspiration for this linear and light performance. Cover art shows the guitarist barefoot at home with his dog in a favorite chair lounging in what looks to be a vast library. At this point in his career there is little doubt that the guitarist has rightfully attained a level most performers can only dream of. - Jeff Melton

Mitchell Froom – “A Thousand Days”

 (Kontext 001, 2004, CD)

Solo piano records can be a strong romantic but minimalist statement depending on the performer and how personal he would like to make it. Froom’s biography reads like a who’s who of modern pop and roots rock from his substantial producer credits supporting Crowded House, Richard Thompson and Los Lobos to his own two solo endeavors. Choosing the small Hamburg label, Kontext to release his third solo album of self-performed piano music is not as much a stretch as it appears on the surface. Subtle ambient segues introduce and exit most of the pieces which gives the set of fourteen pieces a distinct story line within a little under forty minutes. Completely unlike his 1998 all star record, Dopamine, this recording is a timeless statement that could be meshed easily into a classic Ingmar Bergman movie soundtrack. Most of the pieces blur together seamlessly in an ode to classic piano interpreters such as Roger Williams (“Autumn Leaves”). It’s not a piano album of familiar jazz interludes per se; instead it’s introspective and autumnal. At times the performance is desperately brilliant and moody without being overbearing. “Silhouettes” is the single piece that holds more of my attention than others that briefly linger before transitioning onward. Perhaps the most sincere pianist statement is “If” where a distinct empathy is spelled out across the keyboard. At times it feels like there isn’t much to hold onto as the performances seemingly drift and then evaporate. But then on second thought, that may be the specific intent of the composer. - Jeff Melton

Martin Gordon – “God’s on his Lunchbreak (Please Call Back)”

 (Radiant Future RFVP007CD, 2005, CD)

Now that bassist Martin Gordon has established himself across two creditable solo records together with a crackshot band that suits his clever muse, it’s clear that he has some more pop rock damage to inflict on the unsuspecting and wary. Citing Noel Coward as a prime influence is completely recognizable on tracks like the opening cut, “Fickle” with swooning lead vocal and a catchy Spark’s like hook. The overall results are very English camp and recall much of the tomfoolery that Ray Davies somewhat perfected in the Kinks’ heyday. “Miracle Baby” is perhaps that hit single that escaped the clutches of Roy Wood (ex-ELO) with its infectious main verse and sing along chorus. It’s not all over the top pop rock as “How am I doing so far” is my pick for best conceived songwriting with a jazzy interlude opening phrase that builds into a strong warbly chorus line. “Too Many People” is Paul McCartney’s great lead track from Ram and here the band does a respectable cover sounding a bit like Badfinger. The band also presents Gilbert and Sullivan in a very tongue in obviously cheeky fashion that shows just whom Freddie Mercury was listening to for inspiration as well. The CD’s closer track on the surface looks to be a poster boy for political incorrectness with heavy metal riffing leading into a Beach boys vocal phrase but it’s all part of the odd dichotomy of the composer’s musical palette. In closing, Gordon and band continue to spin witticisms that stay in your head much past a fortnight. And that’s a very good thing. - Jeff Melton

Trio Fattoruso – “Trio Fattoruso”

 (Big World BW2025, 2001, CD)

It makes perfect sense that Uruguay would not be just another blip on the radar of finesse jazz and rock players. Brothers Jorge and Hugo Fattoruso have been playing various Latin and jazz styles for over forty years to local fans and also branching out into the New York jazz scene. This trio was formed when Hugo’s son Francisco was added to the keyboards and drums duo adding both lead guitar and bass playing for a well rounded mix based on the needs of each composition. The band’s first recording together is a combination of each of the members’ songs jointly arranged and performed with panache and a telepathy that comes from many years of playing together. The trio pushes audio boundaries that at times recall PFM’s brief flirtation with fusion in the late 70s (Jet Lag) meshed with Pat Metheny Group’s world influenced compositions. The group mostly steers clear from modern happy jazz despite emphasizing lush backdrops (as heard on “Trio Celeste” and “S.T.C. – P.M.”). Francisco is let loose a few times: on “De Igual a Igual” he demonstrates his bass popping prowess against some adept playing by Uncle Jorge and later some racing leads from Hugo. They take it down a few notches for “Corre Niña” that works as a Latin power ballad of sorts. The group is simply at its best when navigating complex chord structures allowing the natural telepathy between players to ebb and flow (“Melodia A Christian”). “Distortion Generator” is a well constructed nod to modern hot fusioneers with Francisco flailing away on some fine fret bending atop a fat moog bass and some excellent top kit drumming. Overall the band appeared at the time to be poised for much deserved international attention. For further information on the Uruguayan music scene refer to www.candombe.com - Jeff Melton

Wigwam – “Some Several Moons”

 (Major Leidén Productions MLCD 017, 2005, CD)

Jim Pembroke and Wigwam were one of those acts who occupied a welcome place between rock and progressive music in Finland. Pembroke’s songwriting style is an easy match to much of Nektar’s mid-period material (circa Down to Earth) as his lyrical phrasing and songwriting structure fit standard rock and roll features with the odd frill hear and there. Guitarist Pekka Rechart is the soul of sorts for the band having been present through many line-up changes and is a strong fit as his solo fills grace power ballads like (“Sandpainting”) and “Bow Lane”. The quintet rocks it up a bit on “Kabul Grill” with some heavy riffs while “Cloudy Dreams” matches up to the long format the group built their European base upon in the 70s. Rechart gets to stretch a bit in the midsection imposed over an evolving theme with Olli Kari on marimba. “Squaw Valley Non-event” is Pembroke’s recited intro leading into a band memory in the US mountain ski-resort. The subtle use of mellotron and strong band delivery make this song the most memorable on the disc. “Tokyo Joe” and “Banging on the Ceiling” actually remind me of Dave Lambert’s songs circa Strawbs Deep Cuts or Burning for You. Closing out the collection of ten pieces is “Cacobe Bar Two-step” where Pembroke evokes a smoky burlesque mood backed by accordion and harmonica. Wigwam were never a huge force with the prog rock community but it’s still good to hear a clever batch of well crafted and executed pieces which fit into the band’s catalogue like an old silk glove. - Jeff Melton

Royal Hunt – “Paper Blood”

 (Magna Carta PR-512, 2005, CD)

Andre Andersen’s goal to make the definitive progressive metal statement comes closer to fruition with his band’s newest undertaking of ten pieces and two bonus tracks. The quintet’s over the top presentation of high drama and hard rock elements mesh the best metal moments of Whitesnake with pounding rhythmic foundation and some great keyboard flash. Vocalist John West is at his best delivering prophetic imagery as on the second song, “Not My Kind”. Anderson’s arrangements and competent synthesizer playing is best compared to the likes of Don Airey (ex-Rainbow and now in Deep Purple). His symphonic and nimble style reinforces rather than chokes high-energy workouts such as the CD’s opener, “Break Your Chains”. The lush opening to “Memory Lane” showcases Anderson’s semi-classical influences best; it’s a bit of digital pomp surrounded by unison guitar riffs evoking highlander epic symbology. Best tracks on the disc include “Seven Days” and “Twice around the World”. The former piece is characterized by a consistent eighth note organ phrase that serves as a fitting counterbalance to Marcus Jidell’s tube effects guitar parts and swelling vocal harmonies. The latter piece is another well-conceived slice of gothic proportions offset by a piano and drums interlude that works well. The two bonus tracks also fit well into the mix too with “Edge of the World” capturing a similar feel to Deep Purple’s 90s reunion era songs. Overall Andersen’s European success has eluded US audiences but with consistently solid recordings such as this it will change in due time. - Jeff Melton

Myriad – “Natural Elements”

 (Myriadtrio Productions MP-01CD, 2004, CD)

Myriad is a power trio who hail from Whitestone New York. Fronted by vocalist and guitarist Fred Moehring, the trio captures a general feel much like Rush’s A Farewell to Kings era due in a large part to Moehring’s open chord electric twelve string guitar playing style which haunts the entire disc. The group has the syncopated guitar bass and drum thing down that many Rush and power trio tribute bands incorporate successfully into their own musical identity. Moehring avoids traditional synthesizer playing traps by triggering samples from his axe as heard on the “Prelude” to the “Natural Elements Suite”. Creating a moody introduction leads into some well crafted arpeggios that the trio creates as a creditable slice of familiar sounding songs that mostly stand on their own merit. At times the band exhibits lightweight songwriting as Moehring’s lead guitar is the main instrument which all the arrangements are built around. The guitarist’s singing works well across the disc as best represented on “Air” and ‘Fire”. Bassist Brian Cohen and drummer Tom Spagna establish a consistent rhythmic foundation and are at their best on “Priority One” where the band rocks it up in a fashion familiar to many fans of Fly by Night. Probably the most memorable track is “Gladiator” for its prominent bolero style opening that segues into a heavy rock Black Sabbath-like section that works quite well. The band did a high profile gig opening for Arena at Rosfest in 2005 to some acclaim so it would suffice to say the trio is still gaining attention from new fans. - Jeff Melton

Bill Frisell – “Ghost Town”

 (Nonesuch 79583-2, 2000, CD)

Despite the fact that this disc is six years old, this all-solo album is a vital indicator in the Bill Frisell catalogue. The guitarist’s penchant to merge Americana stylings with country and traditional folk elements showcases his brilliant muse. Ghost Town is an all solo endeavor that features clever cross choices of covers as well as new pieces. The disc begins with “Tell Your Ma, Tell Your Pa” that creates a mood of a lazy town bayou locale made more alive by use of loops, banjo and acoustic guitar. The follow-on title ballad is also mesh with another piece entitled Poem for Eva. Some of the best songs are deceptively subtle such as “Creep” which is a less than a minute backwards looped introduction into “Theme on a Variation”. Together the two tracks serve as a familiar call and response dialogue; the reply sets a downer mood with an unsettling chord phrase and accompaniment. Frisell’s conflicted lead guitar phrasing is quite emotive on this track. “Follow Your Heart” is a John McLaughlin cover having first appeared on Joe Farrell’s first quartet album from 1970 and My Goal’s Beyond. Frisell retains the bluesy feel of the original and perhaps sheds a varying light on the piece versus the original recordings. Hank Williams Sr. gets treated with an uplifting version of his classic C&W tunes, “I am so Lonesome I could Cry” that simply reeks with down home soulful emotion. “What a World” is more of a typical audio tone poem in the realm of Ralph Towner or Terje Rypdal’s body of work, with high emphasis on atmospherics. Frisell also takes a pass at Gershwin’s “My Man’s Gone Now”, featured in Porgy and Bess, that works well too. “When I Fall in Love” is another cover where the artist chose banjo to carry the melody line with minimal tremolo guitar accompaniment. Overall Frisell’s catalogue bristles with so many strong moments and in this solo setting his sun shines as brightly as with any gifted group configuration. - Jeff Melton

Ray Weston – “This is My Halo”

 (NSG Music 0001, 2003, CD)

Ray Weston is best known as the long time voice of Echolyn. After the band broke up Weston took some time to gather his wits about him, work out his musical demons and prepare himself for the next stage of musical life. This CD is twelve slices of psyche from the singer songwriter point of view, minimally accompanied with emphasis on personal lyrical delivery and emotive impact. There are many outlets for the composer on the disc; for example fans will appreciate “Idle Hands” for the rockier side of his band’s work. “The Evil Almighty” could even be a track on a recent record by alternative rockers the Posies or Jason Falkner despite the quirky organ backing. The grungy chords in the midsection with the whiny lead solo work especially well against Weston’s crooning. The mood across the disc is a bit downer with small windows of optimism (prominent on pieces such as “Lonesome Secrets”. From a lyrical standpoint, Weston’s imagery can be part voyeur (“When I Fall”), brutally intimate (“The Most Violent, the Most Beautiful”) or flat out depressed (“81702) but a strong sense of identity is evident in the organization of his ideas. “Charles Bronson” is probably the most memorable song partly due to Weston’s need to manage aggressive tendencies while Brett Kull provides some great lead guitar wailing. Kull co-produced and engineered the sessions retaining a minimalist approach focusing on sparse sounds of acoustic guitar, piano and the odd sampled backdrop. Closing out the disc is an enduring home recording that serves as a fitting closure to the release. Overall it’s good to hear that the component parts of one of the best modern progressive acts has a viable musical outlet that stands as an firm indicator for the sum being better than the best individual parts. - Jeff Melton

The Gentry – “Sweet Gossip TV”

 (Ninth Wave MW 10034-2, 2005, CD)

Sweet Gossip TV is the second full official recording by the duo of Steve Taylor and Gino Mari, heavily influenced by The Cure and the Psychedelic Furs. The band has come a long way since their first low-fi home recordings emphasizing more techno and looping infrastructures in their compositions and better-constructed songs. The band is now a full-blown quintet and has been doing more live gigs and it shows in the crafted delivery on pieces like “Preview One” where swelling guitars mesh with the band’s blatant bad mouth attitude. “Demons” reveals a Duran Duran influence that could carry the band far into that marketplace partly due to the brilliant driving guitars and snide vocal delivery from main man Gino Mari. The band member’s private DJ list is also pretty informative as to who is putting ideas into the composer’s heads from Soft Cell to Human League and even disparate influences as Kraftwerk or Depeche Mode. The band gets it together completely on “Vague but Accurate” where the group establishes a rock groove with pulsing synths counterbalancing the nightclub dance air. “Preview Two” also occupies the same 80’s jangly rock that the Church defined so well in the day; in this context intertwining guitar parts contrast in to the standard rock tracking. Female vocal chanteuse Damaris Peterson gives the band an alternate slant on “I Have not Morals” that works as a retro duet with Mari’s lead vocal in the main verse. In summary the band appears poised for the right time a larger 80s revival seems imminent. - Jeff Melton

K2 – “The Book of the Dead”

 (Progrock PRR-062, 2005, CD)

Imagine Progrock record’s Shawn Gordon’s surprise when he heard from K2 bassist Ken Jaquess that not only Allan Holdsworth but the late Shaun Guerin had agreed to play on his big time project somewhat in the style of classic UK. The CD’s first track is the simply the key piece where Jaquess captures the ears and imagination of any long time progressive rock fan. Guerin’s lead vocal together with Holdsworth’s dizzying guitar leads create a unique mesh of sounds much like Peter Gabriel (circa Selling England by the Pound) crooning “By the Light of Day” on UK’s self-titled CD from 1979. The ten-minute piece covers all the bases from heavy low end rhythm structures to a passionate solo violin from Veronique Devereaux. With Spock’s Beard’s keyboardist Ryo Okumuto handling several lead parts, the composer himself plays moody string keys unifying the disc in a familiar, yet satisfying approach. The concept of Egyptology is not a new one to progressive rock and Jaquess has done well to avoid many lyrical traps apparent in other attempts to tell the same story. There are very few weak moments in the five long pieces and musician interplay is consistently at a good to high level. The only drawback is that gets a bit samey after the first track and a few more acoustic sections could have balanced out the album. I’d be curious to find out how well this recording stacks up to Eddie Jobson’s aborted Legacy sessions as those as still have yet to see the light of day. A new incarnation of the K2 is set to due some southern California dates which may just be the hot club tickets for spring 2006. - Jeff Melton

Walter Hill – “Popjazz”

 (Pop Jazz/Native Language, PJZ-0951-2 CD, 2005, CD)

There are a few important reasons to consider why slick jazz is still popular, emphasizing passionate sax lines and comfortable grooves. One is that the best session musicians are on tap to record a sexy lead line performing under familiar circumstances with good charts and after a few takes a new marketable platter is ready for play by a mid-day schedule DJ. That’s not quite the case with Hill’s ninth record in fourteen years. Despite the fact the album was done with Apple computers most at home, the cool vibe is still personalized and emotive without being cheesy. Arranging a well known Beatles track such as “Come Together” in a creditable fashion is no mean feat and Hill together with long time colleague Andrè Berry do up a comfortable rendition that stands true. The best pieces on the disc are where the tempo is slowed and a bit more personal performance is allowed to manifest as heard in the acoustic guitar “Interlude” leading into “Under the Covers” which is a classy light romantic ballad that works well. Brian McNight’s hit single “Back at One” scores some bluesy overtones where Hill demonstrates easy mastery of lyrical interpretation. Another strong reason for the continued popularity of pop jazz is the consistent support from fans (comparable to that of country and western fandom). The slower tempo cover of “Play that Funky Music” works as a snaky strut and no doubt would go down well to an endearing summer festival live audience. Walter Hill’s claim to fame may have been long established in the niche against higher profile players such as Dave Koz and Kenny G, but this recording could be the one that puts him into the echelon of the sales bracket. - Jeff Melton

Stinkhorn – “Stinkhorn”

 (Private release, 1997, CD)

Stinkhorn – “Tunguska”

 (Private release, CD002, 2001, CD)

Stinkhorn was one of Seattle’s most challenging modern jazz quartets blending John Zorn style motifs and English fusion approaches. Strong comparisons to George Cartwright and Curlew can be made across the group’s two studio recordings. The band’s first self-released recording is a balanced set of compositions and collaborations by all members of the band. Guitarist Brian Heany was perhaps the most visible presence in the group along with saxophonist Michael Monhart. By navigating between heavy jazz-rock moods and grounded by a capable low end rhythmic structure the band established grooves and allowed for natural improvisation to ooze out. Monhart’s “Spotless Pots” begins with an ambient mode for his tentative free flights before the ensemble gradually adds angst and sonic frustration. Heany’s “Little One” is relies on a prominent bebop phrase and captures an air of British jazz-fusion that many will relate to. Drummer Howard Ouchi’s contribution, “Otamura” is a melodic duet between percussion and sax with sax carrying the weight of the lead line against lead guitar fade ins. Closing out the disc is a funky piece of rock entitled “Reasons” where the group interplay is especially strong with Monhart’s frantic leads recalling the fire of the late Elton Dean’s spirited delivery.
The quartet’s follow-up CD was a strong step forward further consolidating their unique fusion identity. The songwriting is better defined as heard from the opening title track where both Heany and Monhart’s unison lines leads a no holds barred into a class restrained main section. Monhart’s blistering timing is good as the band propels itself into realm occupied by Phil Miller’s In Cahoots. Heany’s piece “Sonny’s Delight” (assumed to be a tribute to Sonny Rollins) contrasts well with Monhart’s compositions such as “Awa Nights” and “Mongolian Pig Driver”. The first track is a lush tone poem while the latter song relies on some overdriven guitar cadenza to phase into some brash woodwind based controlled chaos. Bassist John Morris supplies three memorable pieces as well of which “Summer Salt” and “Ancient Baby” hold my attention. The former composition is characterized by a strong bass line that lays the best ground work for Heany and Monhart to mine on top of. “Ancient Baby” is also an intense piece of angst as the quartet’s improvisational level gets further out but Monhart’s Rollins’ like play keeps the piece in check. In closing, the group was one of the great local discoveries for the first Progman Cometh festival in 2001 performing much of this material. They disbanded to reform as Sunship in 2003 and are still playing in Seattle today. - Jeff Melton

Scenes – “Call us Now at the Number You Provide”

 (Escapi Music AUD009X, 2005, CD)

Swedish prog metal protagonists Scenes are not a well known commodity on the international scene yet but they are making substantial inroads in that direction with this first label release. The platform for any successful prog metal act is rooted in a rock solid foundation based partly on Metallica or Dream Theater like riffing, classic Deep Purple/Uriah Heep/Queensryche influences and something unique and all their own. “My Own Life” personifies best what the band does well: synchronized riffing from twin axe grinders Chris Lorey and Matthias Gamer and well crafted, under control vocalizing from able front man Alex Koch. Koch is a good fit for the band as he stays within song structures, not venturing far from the needs of a specific piece. The two longest, most involved compositions are “Start Again” and “Nothing Left to Say”. The former piece begins with a well mixed synthesizer introduction that blends into a solid piece of group interplay also featuring acoustic piano and an acoustic guitar midsection. The latter track is a blazing piece of metal offset by well fitting organ stabs and percussion and more excellent performances. No metal record would be truly complete without a tricky piece of rock and roll, which is manifested in “You Walk Away”, which would be a certain hit for fans of Dream Theater and Queensryche. Production values and sound mixing by Tommy Newton is exemplary making the disc a real winner across the boards. For current information including tour activities consult the band’s website: www.scenesmusic.de. - Jeff Melton

Van Allen Belt – “Lactator Tots”

 (private, 2004, CDR)

Van Allen Belt is the moniker taken by composer Troy Paiva who composed and performed ten tracks with Apple software packages that emulate basic rock and roll band instrumentation. Initial impressions recall a playful composer’s point of view that invokes works by Devo and They Might be Giants meshed with early Spock’s Beard or Kevin Gilbert’s later work. “Space Junk” opens the collection in a futuristic state where Paiva’s mode of delivery becomes easily apparent. His lead vocal and lyrical content reminds me a lot of Wall of Voodoo’s old singer Stan Ridgway (whatever happened to him?) with a bit of an extended drawl and a bit of tongue in cheek attitude. Following that up, “Creeper” captures a similar essence to many of Billy Currie’s forays into instrumental music after his work with Ultravox that is heavy on lush synthesizers, grand piano and programmed bass. “Suburban Tiki” captures much of the same attack with some creepy layered backing vocals eventually leading into fuzzy organ leads that work well within the private construct of the composer. The enhanced software package capabilities are quite surprising given the insulated scope of the individual performer which Paiva is comfortable to use. Despite a bit of mechanical percussion at times, the composer manages to flex his composer’s skills a lot as heard on trippy pieces such as “Psycho Synchromesh” that gets a bit tiresome due to some of the upfront synthesizers and digital mix. Closing out the disc is “Closer/Plasma” which ends the demo collection on a consistently high note. I’d be curious to hear how a full band arrangement of a few of these pieces would sound with the right supportive instrumentation. - Jeff Melton

Greg Bendian Jeff Gauthier Steuart Liebig G.E. Stinson – “Bone Structure”

(Cryptogramophone CG114, 2003, CD)

Superstar improv jams can be inspired by many attributes including astute listening, profound musicianship and abandoned release. Varying doses of each of these ingredients is found in these twelve pieces recorded across two blistering LA sessions dating from spring 2000. Bendian is the most well known player of the trio having championed modern day jazz fusion across the US while Stinson is perhaps best known for his groundbreaking work with fusion and new age pioneers Shadowfax. In this capacity though it’s two blazing sets of smoking work outs and creepy interludes as the quartet relies on textural backdrops in parallel with tasty chops. Stinson’s palette of audio tools has been enhanced to include sonic trappings and backdrops for much of the twelve pieces. Violinist Gauthier’s style is not far removed from L. Shankhar’s role supporting Peter Gabriel or John McLaughlin in Shakti. The weirdest collaboration occurs when tempo slips and the ensemble slides into a mode of ghostly free jazz as on “Plasma Wave” or the piano/violin conversation on “Toothpick Fantasy”. Ambient lulls are also part of the master jam plan as best represented on “Ether or” and the metallic “Spirit Box”. To state that the disc ends on a barn burner is an understatement. Stinson lets it all out with a barrage of guitar frenzy keeping pace with Gauthier’s violin and Bendian’s adept kit playing. In closing the disc will certainly appeal to jam fans and devotees of the 70s fusion as well. - Jeff Melton

Frameshift– “An Absence of Empathy”

(Progrock N/A, 2005, CD)

Within the network of hard rock musicians there are plenty of opportunities for various players to meet, establish a working partnership and make some new music. Sebastian Bach (former lead singer of Skid Row) would appear to be one of the least likely performers on a casual glance that Chain’s metal brainchild Henning Pauly would enlist to deliver his second CD of bleak lyrical imagery but somehow it credibly works. After a few nods to Queensryche and Dream Theater (re: pummeling unison riffing) the twelve tracks are a competent statement of sophisticated hard rock that is clever enough to ensnare prog metal fans across the board. Bach’s vocal delivery is everything you need from an assertive front man who can carry melodic pieces such as “Just One More”. Pauly is the real workhouse of the project handling equally guitar, bass and keyboard duties as well all arrangement charts. It’s no doubt that his vision of the project as well the in studio execution of powerful tracks such as “I Killed You” and “Blade” represent the key successes of the disc. The former song generates a bit of Whitesnake drama before a well conceived multi-vocal part is performed. The latter track relies on a bagpipe intro before transitioning into a heavy percussion section that reminds me of prime Alice in Chains meshed with a crafted Celtic theme. At times the project is a bit heavy handed but overall it’s well paced and convincingly thought out upon several replays. Closing out the disc is Bach’s controlled lead vocal backed for the first time by a restrained electric piano accompaniment that sums up the disc appropriately. In summary, this is a studio project that needs a live performance to have the broadest impact but sadly it seems unlikely given cost constraints. - Jeff Melton

Meat Beat Manifesto - “At the Center”

(Thirsty Ear thi 57159.2, 2005 CD)

Jack Dangers is in actuality the brainchild and audio menace personified as Meat Beat Manifesto. Previous recordings by the artist ranged from sonic deconstruction and techno experiments that highlighted rave friendly dance tracks in parallel to screeching shreds of noise. Across these twelve pieces the composer’s muse is directed again to a crafted blend of the aforementioned inputs as well as a jazzy intelligent thread (due to keyboardist Craig Taborn’s understated contributions). In fact much of Danger’s incorporation of bass flute gives the CD a smooth delivery and a clever chill that builds on motifs any Jimmy Smith fan can easily appreciate (especially recognizable on the disc opener, “Wild”). That all important second piece, “Flute Thang” is carried by Peter Gordon’s melodic fluttery interjections and soloing (after a brief Arabic recitation). Taborn’s fluid piano playing is also an important showcase performance to single out on “Want Ads One” where a 1957 recitation provides the solo vocal track. The follow-on track later on in the running order is a bit more dreamy and superfluous as per the composer’s mindset. Several of the other pieces occupy the same range of drum backbeats which creates a 50s club mood with bass clarinet holding down the low end. Taborn’s electric piano is also a key element in the minimalist approach where back beats meet grooves head on as heard on “Shotgun”. Closing out the disc is the outright spacey “Granulation 1” that serves as a reminder of Danger’s fascination with the mysterious and the macabre. Overall it’s a distinct jazz tone that the artist has created for his audience which will serve him well in audio and technofile circles. - Jeff Melton