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Boud Deun — The Stolen Bicycle
(Cuneiform Rune 111, 1998, CD)

The Stolen Bicycle Cover art

Boud Deun continues to mature and refine their expansive fusion sound on this, their third studio release. Those already familiar with the band will find plenty of the high-energy jamming, intricate arrangements, and sudden dramatic shifts in style and texture they have come to expect from this quartet. But on the 17-part “Churches” in particular, which at 36 minutes comprises two-thirds of the album, a sophisticated sense of counterpoint and careful, passionate thematic development are revealed in ways only hinted at on the earlier albums. It is almost as if the band has finally gotten the initial surge of ideas out the door, and can now sit back a bit and focus even more intently on the fine craftsmanship that goes into each composition. The concise musical vignettes contained in “Churches” segue through a series of often sharp contrasts which emphasize the exceptional rhythmic, thematic, and stylistic variety Boud Deun assimilates into their music. It takes both chops and a keen ensemble intuition to pull this kind of music off, and Boud Deun clearly has more than enough of both. They also have a seemingly unending supply of catchy to downright sublime melodies and grooves. In fleshing their ideas out, the band has never been afraid of dissonance, and they use it very effectively here to both heighten the tension between the various moods and atmospheres, and to obscure the boundaries between the amalgam of styles they draw upon. From folk to punk, and from a whisper to a scream in no time at all, this is exciting, vibrant, and delightfully unpredictable music. The Stolen Bicycle succeeds as another fantastic and highly recommended release from one of America's best new bands.

by Rob Walker, Published 1999-01-01

Releasing two separate CDs virtually simultaneously may not be the best way to maximize sales, but Boud Deun has never been a band to follow convention. Their new studio album, The Stolen Bicycle, is quite simply the best thing that they’ve ever done. It is also in my estimation the best release of any band thus far in 1998 and is unlikely to be eclipsed this year. While their previous three releases have all been outstanding, neither of the studio albums came close to capturing the power and energy of their live shows. The Stolen Bicycle is a monster recording that combines the excitement of their live show with the excellent fidelity and subtlety of a studio product. The centerpiece of this disc is Shawn Persinger’s epic composition “Churches.” It comprises 17 short song segments that string together into over 35 minutes of continuous music. The pieces are constantly changing direction, tempo, instrumentation, and feel. The songs never stay in one spot too long but rather deliver a delicious case of musical whiplash due to the frequent and often unpredictable destinational shifts. Rarely does one hear such a masterful use of dynamic range which further emphasizes the rapid shifts and changes. This keeps even a lengthy composition such as this one fresh and exciting as one is always guessing where you’ll be transported to next. The other four tunes, by bassist Matt Eiland and drummer Rocky Cancelose (two each), are also excellent and they also showcase the superbly tight-knit ensemble work that distinguishes the band from dozens of others. The musicianship and interplay is consistently outstanding. They generate an almost incredible level of intensity but are also in control enough to allow for breathing room. As a result the disc never becomes tiresome as some “over-the top” fusion bands are guilty of. All four players are in top form although Greg Hiser on violin in particular consistently shines in a solo role and also displays a recorded tonal quality that easily surpasses the previous studio outings. This could be the album that catapults Boud Deun into the uppermost echelon of progressive fusion bands. The only thing that might prevent this, oddly enough, is the packaging. Too many people judge books (and CDs) by their covers, and the cartoon-like drawing on the cover does not convey at all the spectacular and intense music within. It’s too bad because the booklet that accompanies the CD contains a wonderful little children’s story (written by Shawn) with a sweet message of personal responsibility. Don’t let this disc pass you by. It could well be the rare current recording that represents the future of progressive music rather than the past.

by David Ashcraft, Published 1999-01-01

Did they top Astronomy with Bicycle? It's hard to say. I must admit that Boud Deun are closing fast (clearly stated, they are not there yet) on the same symptoms that bands like Tipographica, Ozric Tentacles, and Arsnova have shown, a tendency to excel at a their current style with a seeming reluctance to stretch into new territories. Fortunately, Boud Deun avoided many of these ruts for their third release. The riffing structures of Mahavishnu's Birds of Fire are still here, although some of them not sounding as “new” as you'd hope. On this album, the “guess where the beat will land” predilection is apparent in this music of great difficulty, and there is lots of interplay in the polyrhythmic department. A tendency to more dissonant and unusual melodies brings about some development on Astronomy, much of this apparent in the long Muffins-like suite “Churches” (shades of “Chronometers” here) that dominates most of the CD. Have no doubt that we are dealing with seasoned musicians with a great balance in dynamics and shading. This album will certainly settle safe with most long time admirers, and possibly be of more interest to those with experimental tastes than prior releases, but the next one will certainly be the turning point. I, for one, wish them great success.

by Mike McLatchey, Published 1999-01-01

Filed under: New releases, Issue 16, 1998 releases

Related artist(s): Boud Deun, Shawn Persinger (Prester John)

More info
http://cuneiformrecords.bandcamp.com/album/the-stolen-bicycle

 

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