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Reviews

Taal — Skymind
(Musea FGBG 4483.AR, 2003, CD)

Skymind Cover art

Taal is a ten-man group that lives up to their medium profile hype by merging high drama with well-crafted semi-classical influences. Guitarist Anthony Guibard and violinist Manu Fournier prove brilliant foils for each other on the album’s opening title track. The group is relentless in its unison assault with percussionist Igor Polisset joining the fray on vibraphone; together the trio jointly exorcises the ghost of Apostrophe era Zappa with some Magma thrown in for good measure. As with many Musea artists they have a distinctly mainland European style reminiscent of PFM or Ange, but also with a tongue in cheek sense of humor. The band rocks aggressively taking a nod from the current metal genre, but shaping into the arrangement as on “Yellow Garden.” Most of the pieces are composed by four of five band members incorporating a gypsy hard rock slant not unlike the classic track “Four Holes in the Ground” from PFM’s The World Became the World. “The Egg-shaped Moon” is the finest arranged piece as a string accompaniment is mixed over a penetrating bass line until acoustic piano comes in. The album’s closing song sounds like Deux Ex Machina before transitioning into an Arabic theme with tabla and strings not unlike Azigza’s stateside presentation. A short vaudevillian theme entitled “The Little Beatle” is incorporated into the piece to close it all out. Overall it’s a triumphant tour de force where expectation is not only met but also surpassed.

by Jeff Melton, Published 2003-12-01

I know it may seem like a glamorous life to be a music critic, getting all those free CDs, getting into shows for free, hobnobbing with the stars. But I assure you, it’s not all it’s cracked up to be. Most of the CDs you get are things you’d rather not listen to, but you buckle down and sacrifice for the readers, trying to separate the gems from the dirt and provide some useful knowledge. Then something like this comes along and makes it all seem worthwhile. It only took a couple of minutes into the first track to hook me – there’s such a marvelous combination of extremes, such a unique combination of disparate things I enjoy, that I couldn’t help but fall in love with it. Parts of it resemble what 5uu’s might sound like if they recruited a guitarist from a metal band; other parts remind me of Procol Harum’s Grand Hotel seen through a warped lens; sometimes it’s like Weill on acid. In general, Taal is the schizophrenic bastard child of a rock band and a chamber orchestra, unwilling to sacrifice the extremes at either of the spectrum in any sort of compromise. But then again, “schizophrenic” implies that the different personalities take turns at the helm, and one of the most intriguing things about Taal is that the string quartet and the winds are fully integrated into even the heavier moments rather than being just the quiet part of a loud-quiet dichotomy.

by Jon Davis, Published 2003-12-01

Taal’s Mister Green (2002) [reviewed in Exposé #23] was an impressive debut disk. I’m happy to report that Skymind, the second album, is just as remarkable. The band’s lineup is unusual, with ten full-time members. Five musicians handle the rock parts (guitar, bass, keys, drums, vocals); the other five comprise a string quartet (two violins, one viola, and a cello) and a flautist. Arrangements often rely upon dramatic contrasts between the two halves of the band: the rock instruments create the angry, raw elements while the orchestral ones provide more emotive parts. Although the six tracks on Skymind stand closest to symphonic rock, metal motifs find their way into the compositions along with elements from carnival music, cabaret showtunes, gypsy folk, and contemporary classical. These elements are skillfully integrated into the symphonic arrangements so as to create an even greater sense of dynamism and drama. I’m tempted to compare Skymind to Devil Doll in terms of its sheer theatricality (although Taal eschews the almost comical sense of evil that Devil Doll celebrates), Taal’s only weakness is vocals. Neither Loie Bernardeau nor Hélène Sonnet are actually bad singers, but their inflections just seem a bit too flat — too undramatic — for such lively and theatrical music. That’s the album’s only real shortcoming, though, and given how distinctive the rest of the album is, I can get over it. This is a sure fire bet for my “Best of 2002” list.

by Jim Chokey, Published 2003-12-01

Filed under: New releases, Issue 28, 2003 releases

Related artist(s): Taal

 

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