Issue #22 Extra!: New Releases

Steve Baltes/Harald Grosskopf/Axel Manrick Heilhecker – “Viermal Drei”
Joshua Charles – “A Positive Flow”
Lindsay Cooper and Charles Gray - "Pia Mater"
Chris Cutler/Fred Frith – “2 Gentlemen in Verona”
Paul Dunmall Octet - "Great Divide"
Elton Dean - "Into the Nierika"
Dose – “Dose”
Paul Ellis – “Appears to Vanish”
Finisterre – “Live at Progday ‘97”
God Speed You Black Emperor - "Lift Yr. Skinny Fists Like Antennas to Heaven"
Hawkwind – “Spacebrock”
Kent Heckaman – “Transitions”
Holy Lamb – “Salt of The Earth”
Keller & Schönwälder – “The Reason Why…Part Two”
King Crimson - "Heavy Construkction"
Leo Kupper – “Ways of the Voice”
Mind Over Matter – “Under the Stars”
moe. - "Dither"
Mujician and the Georgian Ensemble - "The Bristol Concert"
Rainbow Serpent – “Voices of the First Day”
Rick Ray – “Guitarsenal”
Rick Ray – “Living in an Insane World”
Jonn Serrie – “Century Seasons”
Talvin Singh – “Ha”
Tranquillity – “Core”
Lutz Ulbrich – “Kurzmusiken”
VA - "Thousand Days of Yesterdays"
Valinor's Tree - "And Then There is Silence"
VA – “Un Voyage en Progressif Vol. 5”
C.W. Vrtacek- “Fifteen Mnemonic Devices”

Dose – “Dose”

 (self released CD1018, 1999, CD)

Not sure what to make of this one. Instrumental five-piece of guitar, bass, keys, and drums with flute and sax. All musicians very talented. No original compositions, just covers of Joe Satriani, Steve Vai, Steve Morse, Eric Johnson, and Kenso, plus four songs by Isildurs Bane. Setting aside the issue of comparing these versions with the originals, Dose makes for pretty good listening as a jazz-fusion band, with all members acquitting themselves admirably. Greg Gammon’s guitar and Joe Morris’ winds take the majority of the leads, though Joe Welch gets in a few great moments on keyboards. Larry Lang (bass) and Richard Mazzara (drums) kick butt as a rhythm section, and the arrangements are all tight, allowing room for solos without too much self-indulgent overplaying. Gammon is certainly up to the material, though he doesn’t actually sound that much like any of the original guitarists whose music the band plays. But I just keep coming back to the thought that with some original material, these guys could really be something. As it is, they’re just, well, a cover band. – Jon Davis
[702-658-LANG]

Leo Kupper – “Ways of the Voice”

 (Pogus P21018-2, 1999, CD)

Leo Kupper is a Belgian musicologist and vocal theorist and with Ways of the Voice he furthers his 35-year study of the sonic capabilities of the human voice. His partner for this collection is Brazilian singer Anna Maria Kieffer who has spent most of her career exploring the works of modern composers such as John Cage as well as South American composers. On this disc, Kupper has recorded Kieffer in a number of ways, sometimes randomly vocalizing and also imitating the sounds of creatures of the Brazilian rainforest. On “Rezas Populares Do Brazil” Brazilian hymn is the context, with two voices being recorded, synthesized, and then mixed back together in a variety of ways. At times the voices sound like a harmonica, at others like a moaning wind. On “Anamak” and “Annazone” Kieffer’s voice is used to sound like a forest of tropical birds or the Amazonian rain forest, parts of which sound interestingly like Sammi singers from Scandinavia. Finally, there is “Amkea” where Kieffer’s mezzo-soprano is recorded four times and then mixed together. There is no actual song, just random vocalizations for 20 minutes. If you’re wondering if it all begins to drag on a bit, all I can say is it did for me. I got my fill after the first seven or eight minutes, though I’d say that’s a minor complaint. The overall results are fascinating. I’d highly recommend Ways of the Voice for those interested in the unexplored possibilities of the human voice. – Paul Hightower

C.W. Vrtacek- “Fifteen Mnemonic Devices”

 (Odd Size Records CD OS18, 1996, CD)

Better known as the leader for the wonderfully tuneful instrumental trio Forever Einstein, C.W. “Chuck” Vrtacek also has a darker side. His solo album fifteen mnemonic devices is about as far from the upbeat Einstein tunes as can be. The music consists of strange, atmospheric soundscapes with heavily processed instruments. Although one can hear acoustic and electric guitar, piano, bass, and some violin it often isn’t easy to identify the instruments at times. All of this doesn’t matter; however, as Vrtacek (with occasional assistance from Dr. Nerve’s Nick Didkovsky) weaves an otherworldly tapestry of sounds on the album’s fifteen short pieces. Recorded at home over an eight year period, the album has an eerie vibe to it that is the expression of Vrtacek’s more experimental side. Only two of the pieces have anything resembling a conventional sound, but there is some percussion or rhythmic content to a few other tracks. There are also some ambient “found sounds” blended into four of the pieces that incorporate everything from the birds and windchimes in Chuck’s garden to the choir at Notre Dame cathedral. While this release is clearly not for everyone, it does contain some fascinating sounds for those adventurous enough to seek it out. – David Ashcraft

Various Artists – “Thousand Days of Yesterdays”

 (Record Heaven RHCD19, 1999, CD)

For most of us, Captain Beyond are a sort of footnote in the history of progressive rock, having achieved little apparent success or recognition for the three records they released between 1971 and 1977. But even 25 years after its release, the band’s debut album has a life of its own, and quite a few fans, at least among the rock musicians of Scandinavia. Michael Ivarsson of Record Heaven has assembled a tribute to that album, with different bands recording the tracks. Most of the bands represented are Swedish, with the addition two American, one Italian, and one German. I’m only vaguely familiar with the original album, so I have to judge this tribute on its own, rather than by comparison. Musically, many of the songs are based on heavy riffs, sort of like Led Zeppelin in odd meters, and several have quieter acoustic sections with a psychedelic sound. Interestingly enough, the album consists of a number of songs that link together, mutate, and then come back in reprises or second parts, and on the tribute, sometimes these second takes on a song are done by a different band, sometimes by the same one. Highlights include Flower Kings doing “Raging River of Fear”, Five Fifteen’s title cut, “Mesmerization Eclipse” by Lotus with Brian Robertson, and Qoph’s Swedish version of that same song. But all of it is of consistent high quality, and provides good advertising for both the bands involved and for reissues of Captain Beyond’s first album. – Jon Davis
[Record Heaven, Box 25, 230 42 Tygelsjö, Sweden, www.recordheaven.net]

Kent Heckaman – “Transitions”

 (mp3.com 37384, 1999, CD)

Tony Gerber of Spacecraft sent me this CD, and with it he continues to show me that I need to expand my musical horizons. I figured it would be something along space and ambient music lines, especially since he and fellow Spacecraft member Giles Reaves play on a couple of tracks. But they are clearly a small part of the ensemble, which includes big names from the new age market, such as Michael Manring on fretless bass, David Darling on cello, and Matt Oakes on trumpet. To list all the players would take up the rest of the review. Suffice to say, it is a largely acoustic outing, with smatterings of synthesizers the exception rather than the rule. Wordless female vocals are used to good effect in “October Leaf” and “April Leaf”, lending an ethereal air to the proceedings. But all of it is a backdrop for Heckaman’s piano playing. Even though Oakes’ trumpet figures prominently in “Miles To Go”, Heckaman’s keys form the backbone of the song. All songs were composed and arranged by him, with the exception of one collaboration with Tony Gerber and Kevin Heckaman. This CD would sit comfortably alongside the strongest material Windham Hill and Narada have to offer. Guys, your spouse/girlfriend/significant other will love it. Music with a heart. – Phil Derby
[Contact: P.O. Box 347, Indiana, 46550]

Holy Lamb – “Salt of The Earth”

 (Mellow MMP 378, 1999)

What’s a prog band from Latvia doing on Mellow singing in fluent English? Looking for an international piece of the pie I guess and it looks like to some degree they may get it. I sometimes get it too but sometimes I just don’t get it. Guitarist/vocalist Aigers Cervinskis’ lyrics are full of metaphorical imagery, generally dealing with escape from earthly troubles. His voice is rich yet fragile, and rather than hide his shortcomings he exploits them, accentuating the lyrical themes in the process. Musically the band inhabits dramatic neo-progressive territory with a modern sound, with dual guitars taking the fore and keyboards (often piano) right behind them. The structures are not overly complex and melodies lean toward the approachable, though some of the instrumental lines can drag a bit. This works pretty well, especially on the shorter tracks where some grand and lovely instrumental breaks can be found, but when they attempt to stretch it to epic proportions it seems forced. This is not too much of a problem on the 12 minute “My Star Untouchable”, even if the occasional break doesn’t seem fully realized. The 16 minute “The Sea” is the problem, where much attention has been paid to the lyrics, and melody given a second thought. Using Biblical quotes as a springboard is promising enough inspirationally, but the melodies are too oblique to maintain my interest. Ultimately Holy Lamb may be the kind of band that can attract newcomers to prog if only they could be heard. – Mac Beaulieu
[http://www.mellowrecords.com]

Joshua Charles – “A Positive Flow”

 (Carealot Productions CARE01CD, 1998, CD)

Hailing from New York City, Joshua Charles is the driving force behind this entire disc, compositionally as well as handling most of the instruments and the production. This is most definitely one of those “songwriter’s” albums, with people like Brian Wilson and Harry Nilsson coming quickly to mind. A hint of Beatles can also be heard, including a cover of “Here There and Everywhere.” On the surface the songs lack pretension and are not overly complicated though a deeper study reveals considerable effort and care in their creation. Charles is also unafraid to add in odd or quirky twists to keep things just a little unbalanced. Subtle bits of humor (much of the disc seems to be a paean to Bosco chocolate flavored syrup!) and Charles’ undoubtedly interesting personality permeate the songs and I applaud him for having the confidence to create such a personal statement. It’s as if Josh Charles is looking out through these songs and speaking to the listener, inviting them to get to know him. The understated, almost quiet production job reinforces this friendliness without seeming forced. For those seeking intense instrumental workouts this is not the place to go, though for personal and sincere songwriting, I’d rate A Positive Flow a success. – Paul Hightower

Rick Ray – “Living in an Insane World”

 (Neurosis, 2000, CD)

Rick Ray – “Guitarsenal”

(Neurosis, 2000, CD)

When I first put on a Rick Ray CD (I don’t remember which one of these it was), my first reaction was, “Do I have to listen to the whole thing?” An endless series of fairly stock rock songs with continual noodling on guitar, out of tune vocals, and annoying programmed drums was the last thing I needed. And check out those lyrics! “I see your brain has turned to mush / It’s like a toilet that can’t be flushed.” Ah, the pain of being a music critic! But I forced myself to endure both discs, and counted myself lucky that I only had two of Ray’s hundred and fifty or so releases. On his web site (communities.msn.com/GuitaristRickRay), Ray describes himself as a “Prog Rock Musician” but honestly there’s little progressive about his music aside from a few quick unison licks between guitar and bass. It’s pretty standard 70s issue guitar rock, and while I can’t fault his skill as a guitarist, his continual soloing gets quite tiresome. The songs occasionally flirt with Beatle-esque melodies, acoustic picking, and spooky quiet sections, but virtually all of it could pass for outtakes from BeBop Deluxe’s Axe Victim – the songs Bill Nelson rejected as too ordinary. A real drummer and a decent singer would help Ray’s music immeasurably, but I’m still not sure how many songs I need to hear about conspiracies of government, media, and big business. – Jon Davis

Jonn Serrie – “Century Seasons”

 (Miramar 23151, 2000, CD)

Fear not the ethereal, new-age looking girl on the front. This set is subtitled The Space Music of Jonn Serrie, and that is an accurate reflection of this excellent retrospective. Gone are the strong New Age leanings of his recent works, with the single exception of a track from his Native American-influenced Spirit Keepers CD. That it stands out like a sore thumb goes to show how far astray Serrie has moved from his planetarium roots. The rest of the set is a testament to what he accomplished when he became a rising star, pardon the pun, on the space music scene, and deservedly so. Serrie carefully selected the best deep space journeys from his back catalog, rearranging them and flowing them together as a single piece of music. Though only two new tracks are added, even the old ones have new life in this arrangement. There is an unfortunate error in the CD mastering near the end of “Gentle the Night” which lasts a couple of seconds, but otherwise the sound quality is top notch. The music is delicate, serene, and full of musical visions of things otherworldly. The new material, consisting of “Deep Mystery” and “Andromeda Dream”, shows that Serrie can still compose true space music when he wants to. For those who wish he hadn’t left this genre quite so quickly, here’s a chance to get reacquainted. – Phil Derby
[Contact: Miramar Recordings, 2601 4th Ave, Suite 320, Seattle, WA 98121]

Steve Baltes/Harald Grosskopf/Axel Manrick Heilhecker – “Viermal Drei”

 (Manikin Records MRCD 7056, 2001, CD)

Having been associated with the likes of Ashra and Klaus Schulze, these three guys decided to venture out on their own and see what they could come up with. The result forms a highly successful outing of four long jam sessions of electric guitars, aggressive rhythms, and electronic loops and samples. It’s like Berlin school mixed with rock and maybe even the sensibilities of long freeform jazz, at least in terms of the way the musicians just open it up and play off of each other, feeling the musical moment. Though I’ve heard Baltes has a penchant for precision, the result feels spontaneous and visceral. The emphasis is on long tracks that captivate with hypnotic beats and circular musical patterns that repeat into infinity. “Blue Lake” sounds like an Ashra track with pumped-up drums. “Crazy Snake” mixes lots of beats and samples into a more concentrated burst of energy. “White Deer Skin Dance” makes very good use of a Manuel Göttsching sample, the end result being even more Ashra-like than “Blue Lake”. Finally, the disc hits its peak with “The Long Walk” as strong electric guitar plays to powerful but slightly more restrained rhythms, and rhythmic structure gives way to texture and sonic exploration. Great stuff. – Phil Derby
[Contact: Mario Schönwälder Musikproduction, Postbox 450274, D-12172 Berlin, Germany]

Mind Over Matter – “Under the Stars”

 (IC 87 2345-2, 2000, CD)

Klaus Hoffman-Hoock is one of my favorite guitarist/synthesists, and this series of live recordings does little to dispel that perception. Recording either as Cosmic Hoffman or Mind Over Matter, Klaus’ recordings always are a great combination of retro Krautrock analog heaven and mind-expanding space music. As the title suggests, this is music of the more floating, spacy variety. Each track runs about ten minutes, allowing just enough time for it to germinate before the next one ensues. The light guitar echoes in “A Night in Mogul’s Garden” perfectly augment the floating synthesizers and distant wailing wordless vocals. Soft percussion appears as layers develop. This is so peaceful and calm. Delicate, bright sequencing carries “Mello(w) Kathmandu” along, as well as light tribal percussion, flute, and more fine guitar playing. Klaus has such a deft hand at knowing when to play and when to pull back, and it really shows here. Eastern-tinged sounds and themes continue with “Mahatma Gandi”, again featuring occasional male vocals which never detract from the atmospheric quality of the music. On the other hand, “Vive la Vie” features French recitation very much in the forefront. It’s a rather abrupt change from the rest of the disc, but even this works somehow. One spacy and one retro track full of Mellotron finish off the disc in fine form. Highly recommended. – Phil Derby
[Contact: IC/DigItMusic GmbH, Auf dem Esch 8, D-49356, Diepholz]

Tranquillity – “Core”

 (Invisible Shadows ISCD040114, 2001, CD)

The release of Frank Makowski’s latest work under the Tranquillity moniker was originally anticipated last year. It was worth the wait until spring. Makowski presents a vast array of electronic music styles, from artful ambient to boisterous Berlin school. The latter style is evident on “Well Known Territories”, a real cooker to start things off. The energy percolates and permeates, with excellent rhythms and strong electronic sounds. But this is far from a traditional Teutonic outing, which we discover in short order upon hearing “Overtones”, an aptly named number that is little more than layered drone tones, but it is still captivating and dramatic. This lead to a real high point, “Aural Sediments”, which features classic rhythmic sequencing that builds intensity in spectacular fashion. The mood shifts again with “Harbinger”. Here, one can tell that Frank got his inspiration from Johannes Schmoelling’s Zoo of Tranquillity album. Distant voice samples are sprinkled about, surrounded by minimal sounds and ethereal textures. It is subtle and engaging. This leads to the clincher, “State Of Hysteria”, which is very much like Makowski’s work with [‘ramp]. It’s what I’ve referred to in the past as industrial Berlin school on steroids. Dark atmospherics lend power to the already strong sequencing. It’s a powerful finish to a highly successful electronic experience. – Phil Derby
[Contact: Invisible Shadows, Heerstr.66 40764 Langenfeld, Germany]

Lutz Ulbrich – “Kurzmusiken”

 (Manikin Records MRCD 7058, 2001, CD)

Inspired by the success of Ash Ra Tempel’s retrospective collection, The Private Tapes, Ulbrich decided to mine his solo archives as well, and the result is this 2-CD assortment. Mostly in bite-sized chunks of a minute or two, the collection covers a wide array of material, from minimal electronic experimentations to straightforward guitar-based tracks. There are 50 tracks in all, each seamlessly fading into the next, like a series of short stories. Though many of the segments seem like undeveloped ideas, there is a charm in the simplicity of it. Nicely detailed liner notes tell the history behind selected tracks, with lots of interesting photos. Whereas The Private Tapes serves as a time capsule for the seventies, Kurzmusiken is from 1985 forward. Though Ulbrich says he chose tracks for musical character over sound quality, the quality is generally solid. Trying to describe individual tracks could fill pages. Everything from guitar to vintage synths and even banjo is featured. The style ranges from quirky catchy tuneful songs like “Moabit”, which runs right into “Mystisch”, a textural, unstructured, atmospheric piece of space music. This then runs into the aforementioned banjo in “Passant”, a light, playful tune. These three tracks to open the second disc give a good example of the wide range of material presented, all with a certain panache that make this thoroughly fun to sit back and experience. – Phil Derby
[Mario Schönwälder Musikproduction, Postbox 450274, D-12172 Berlin, Germany]

Keller & Schönwälder – “The Reason Why…Part Two”

 (Manikin Records MRCD 7057, CD, 2001)

I already thought that “The Reason Why…” from Keller & Schönwälder’s 3-CD box set was excellent. But then I kept reading reviews of people who had attended the show, claiming that, as good as this CD was, it left off some of the best bits from their performance at Jodrell Bank. Well, this pudding is the proof. Packaged in a clean blue plastic jewel case, the music is razor-sharp electronics presented in stellar fashion. High, shimmering metallic synths crest over the top of wonderful, classic Berlin school sequencing. The 31-minute “Da Capo” is trademark Teutonics, beginning with light, atmospheric synths and bells, not taking too long before the first sequence begins. Infinitely swirling loops seem to grow and multiply, no doubt making the fan of classic Tangerine Dream or Klaus Schulze swoon from the excitement and sheer pleasure of hearing this. Layers keep on adding to the mix just right, from percussion to piano, from kicking beats to dramatic choirs. As strong an opener as this is, the last two tracks are equally solid. “Tanz der Elfen” rips a page out of Schulze’s book of classic hypnotic sequences with just the right dark touches from synth strings and choirs. The stuttering rhythm pattern works especially well. Again it builds very, very nicely, reaching dizzying heights of interlacing sequences. This is reminiscent of some of their best work from their Loops and Beats CD. The aptly named “Chill Out” brings things to a wonderfully mellow conclusion. Simply a must-have. – Phil Derby
[Contact: Mario Schönwälder Musikproduction, Postbox 450274, D- 12172 Berlin, Germany]

Rainbow Serpent – “Voices of the First Day”

 (Manikin Records, MRCD 7059, CD, 2001)

Rainbow Serpent has really caught on among Teutonic enthusiasts, and it’s easy to see why on their latest release, a great blend of pinpoint sequencing and strong melodies. Bright piano is featured on the opening track, along with classic Moog-like leads. A rapid, bubbling undercurrent keeps it all moving at a rapid pace. Highs and lows are well-placed, as “Long Distance Light” demonstrates, a light, airy, formless piece devoid of traditional beats or melody, at least at first. Eventually a beat emerges, but mostly it is about sonic textures and warmth. “Echoes From Shooting Stars” has silky smooth electric piano, lending an almost jazzy feel, except that it is also loaded with dance- techno beats. “Population and…” shifts into pure drift mode, the stuff of dreams. It transitions seamlessly into “…Evolution”, another great example of melding the 1970s with the 2000s. This sounds a lot like another German synthesist, Spyra. As much as they draw on other influences, Rainbow Serpent is developing their own sound, as “Jodrell Bank Mark II” doesn’t quite sound like anyone else but, well, Rainbow Serpent. Very rapid sequencing and light quick beats blend with synth strings and interesting electronically augmented vocals by Frank Specht. My favorite track might be “Descent To The Black Sun”, a great mix of electronics and pseudo-tribal rhythms. The disc closes with a majestic Jarre-like piece, a fitting finale. – Phil Derby
[Mario Schönwälder Musikproduction, Postbox 450274, D-12172 Berlin, Germany]

Hawkwind – “Spacebrock”

 (Hawk Records HAWKVP18CD, 2000, CD)

Is this ever going to stop? My first thought on this was it’s a Dave Brock solo record, but on further examination it appears to be a Hawkwind album. It opens with more re-recordings of previous Hawkwind songs. And while “Some People Never Die” is a great track, is this endless recycling of their material ever going to stop? Spacebrock suffers from the same problem as the last album, Distant Horizons, a lack of cohesion; this sounds like they were fucking around in the studio and recorded it. Yes, some of these spacy little intros are very cool but they are used as songs, not intros. Earth Breath is an awesome little snippet of swelling harmonic keys and would be really great if it led into something. In fact all the synth on this album is outstanding, loud swelling sounds and oscillations. The patented Hawkwind sound. And maybe that’s what is getting to me here; the same themes seem to be trotted out and mixed around so you end up with a song you swear you’ve heard but can’t place it. I really miss the days of a cohesive, song oriented, group arranged Hawkwind album, where the instrumental tracks and the vocal tracks would meld and blend from to the other. One saving grace here is the apparent lack of vocalist Ron Tree. – Dane Carlson

Chris Cutler/Fred Frith – “2 Gentlemen in Verona”

 (ReR CCFF 3, 2000, CD)

I have a tremendous amount of respect for both guitarist Fred Frith and percussionist Chris Cutler. They have both been involved in some tremendous music that dates from the Henry Cow days to Massacre to Frith’s fabulous solo albums and beyond. 2 Gentlemen in Verona showcases the improvisational talents of these two titans, but it has its share of hits and misses. The album documents a 1999 concert in Italy (you can guess the city) that features Frith and Cutler in a continuous duet for the entire length of the CD. They achieve some sublime moments of melody and emotion, but the listener must also endure plenty of meandering and some dissonant sounds. Overall this is a release that is strictly for the hardcore fan of improvised exploration. – David Ashcraft

VA – “Un Voyage en Progressif Vol. 5”

 (Musea FBGB 4374.AR, 2000, CD)

We all know that one cut off of a sampler can’t possibly give an accurate picture of a band’s full breadth and quality. But if the purpose of a sampler slot is to shine positive light on a group in order to lure the listener into purchasing one a release of their own then this has to be Musea’s best one to date. What’s fueling the strength of this collection is the recent burst of quality and creativity from Japan, namely from veterans Kenso and newcomers KBB. The latter (plus three other Japanese bands) is represented here with an incendiary prog rock instrumental taken from Lost and Found, a disc that every Exposé reader should own. This approach is revisited in Cafeïne’s “Hubble”, Six North’s “Kundabuffer” and Decadence’s “The Dancing Bells”. Each track serves up exciting and supercharged rock instrumentals featuring fierce soloing (typically from the guitars and keys) with virtuoso backing from the rhythm sections. What’s especially nice about this style is that it achieves what prog metal bands like Shadow Gallery and Dream Theater are after without the adolescent sentimentality and grandiose theatrics. For those wishing for something a bit more calming, tracks from Jean-Pascal Boffo and Germany’s Versus X are both simultaneously dynamic and restrained, demonstrating superior control and precision. On the whole there’s a maturity and intelligence to this collection that could just about restore respect to the prog genre and I heartily recommend it for those wishing to glimpse the best that today’s progressive rock has to offer. – Paul Hightower

Finisterre – “Live at Progday ‘97”

 (Proglodite Records PDAY003, 2000, CD)

Let me open by saying BUY THIS! Why? Well Finisterre is a great band and it would be great way to say thank you to Peter Renfro. This album has been released on Peter’s Proglodite Records label. If you were lucky enough to attend one of his festivals, you know the guy is solid and a true devotee of progressive rock. With that out of the way: how is the music? Excellent. I really have to hand it to the sound guys, this recording is great. My experience with Storybook Farm was wind swirling around and speakers covered with plastic to stay dry; the sound was far from ideal. But here we have a solid set by a very good band. If you have not heard Finisterre before this is a great place to start. They play a very symphonic, traditional style of Italian Prog; beautiful arrangements and highly skilled playing. The band can deliver a mellow folkiness then pound out a multi-part jazz assault. Long instrumental passages with occasional vocals. The set here is comprised of their first two releases; and if you possess the band’s live album already this isn’t much different. What’s amazing is how well the band has adapted these songs to the five-man line-up. I think I tend to like this performance over the previous live album – Dane Carlson

Paul Ellis – “Appears to Vanish”

 (Neu Harmony NHO16, 2000, CD)

This is the first solo effort by Paul Ellis, one of the two brains behind Dweller at the Threshold. It’s immediately clear that this is a professional musician who knows what he’s doing from the way the fragments are glued together, smoothly leaving no trace. The sounds he uses are perfect for the atmosphere he has in mind— and there are a lot of atmospheres on this album. The title is divided into three parts, all clocking in at around 15 minutes. The way the three parts float together is very listener-friendly; no fear for disturbance of a break in the special atmosphere Ellis has left you in. Whatever you want, it’s here; heavenly choirs, broad outstretched symphonic planes, cosmic fascination and killer sequencers. At times Jarre-esque, but with more effects, at others surging Dweller-patterns full of wondrous complexity. Although part one and two are already fascinating and full of invention, part three is just amazing. This is Ellis at the height of his abilities. The very dark, surrealistic intro of the bells is superb. This track rides the waves like only a dolphin can. Ellis switches sequencers on and off at such a rate it leaves one gasping for breath. The density of sounds is beyond comprehension. One can’t complain with a bonus track of 25 minutes, even if it’s not nearly as good as the rest. The electronic music on this album folds around you like a bubble and it’s such a shame that it bursts in the end. – Roel Steverink

Talvin Singh – “Ha”

 (Universal Island 3145484962, 2001, CD)

The emerging electronica scene has been a source of many innovative and progressive talents, such as Squarepusher and Aphex Twin, and one of the highlights of this scene would have to be Talvin Singh. Singh’s energetic and innovative fusion of Indian musical elements and the possibilities of technology serves as a symbol of an emerging, hip and modern India. While his previous release, Ok, was nothing short of astounding, Ha, if not a step back, seems to at least be running on a treadmill. This album was recorded almost entirely in India and features mostly Indian artists on vocals, string instruments, percussion and the obligatory keyboard effects and programming (mostly by Singh himself). The twelve-minute opener “One” already shows a more ethereal mood, with the emphasis on atmosphere rather than driving pulse. While this can be taken many ways, I find it somewhat reined-in and restrained, at times bordering on mundane techno with superficial exoticisms. I often found myself wishing the metronomically perfect beat would dissipate to better illustrate the other musical elements. Not to be overly negative, however; “Uphold”, which strips things back to only Singh and Brad Somatik on keys and programming, is the most successful reproduction of Ok’s fresh eclecticism. Probably enough here to interest Singh fans, but neophytes should start with his earlier work. – Sean McFee

moe. - "Dither"

 (Fatboy Records, FB6634, 2000, CD)

moe. returns to the studio to find a new collection of tunes, rejuvenation and even a notch forward into jam stardom. 1999 saw the band extend the grooves of their live stage persona about as far as they could go with "L" so it's good to see the band return to shorter, crafted songs. "Dither" kicks off with a set of accessible rhythmic tracks and soulful R&B based pieces such as "Captain America". The bulk of the songwriting is split between seven tracks from bassist, Rob Derhak and four from guitarist, Al Schnier. A few ballads balance the song mix including the country-fried, "Faker" with supporting slide guitar and violin and the acoustic based "New York City". The band used many US recording location to assemble the disc including San Francisco's Coast Recorders and up state New York's Bearsville studios. Thus the recording environment server to give the band an equal footing to Phish's recent "Farmhouse" and has some potential radio airplay tracks, such as "Water" and "tgorm" with blistering guitar solo. The most unusual track is the cover of Big Country's anthem track from 1983, "In a Big Country". Without the dated keyboards, it serves up a high energy level for the group to schedule a year of endless touring in support. Look for the quintet on the road across the US this year - an endless groove is promised indeed. - Jeff Melton

Lindsay Cooper and Charles Gray - "Pia Mater"

 (Resurgence, RES1244CD, 1997, CD)

Lindsay Cooper has been well known for her obtuse compositions (including the acclaimed " The Gold Diggers" and "Oh Moscow" projects) as well as her groundbreaking work with Henry Cow. Charles Gray is lesser known for his production and artist management among many other roles he's assumed. Musically he's been an acquaintance of Cooper's for some time and has worked with artists as diverse as Harold Budd and Talvin Singh. "Pia Mater" (subtitled, "Tender Mother") refers to the purported location of the soul within the human body and thus the theme for these two ambient pieces, which cover a swelling sound terrain. Cooper provides bassoon and saxophone, offering a somber melodic tone and many tranquil moments of serenity. Her role is one of passive soloist with only slight delicate interjections. Imagine a mood of temporal displacement intermittently interrupted by flourishes of beauty and ethereal moment. Gray provides all keyboard foundation. Track two (also untitled) is a bit more rhythmically interesting to start off. Gray's backing becomes more wash as the piece closes making it more of a backdrop than foreground setting or totally sleepy drone. Overall, I'd say this work approaches the pastoral settings of Jade Warrior's most sedate album, "At Peace" or the soothing vibe of David Sylvian's "Approaching Silence". Hopefully this will not be Lindsay's last release since being stricken with MS in 1998. A support group has been setup for any donations to further assist the artist. - Jeff Melton
http://www.musart.co.uk/org/cooper/

Mujician and the Georgian Ensemble - "The Bristol Concert"

 (What Disc, What7CD, 2000, CD)

Flashback to 1989, KeithTippett had traveled to the remains of the Soviet Union to recruit some local talent for the prestigious Bath International Music Festival. Little did he expect at the time that the pianist would encounter a set of eleven capable Georgian conspirators which would start the seed of what would become a brilliant live collaboration recorded by the BBC. Why this recording has remained dormant for nearly ten years is an outrage since the quality of the individual performances is simply transcendent. Tippett sifted through his musical compositions to select a set of pieces not necessarily free-based to interact with an eight-piece brass section along with additional electric guitar and voice. Mujician is firmly based on inspired improvisation and it's stirring to hear the fused ensemble interact on such a sympathetic level. At times I was surprised how much the presentation resembled portions of a finely hewn Magma gig and could later evolve into the hard bop of "A Loose Kite". Also included is a Mingus inspired track along with a reprise of Tippett's British jazz classic, "Septober Energy". Notable performances include Enver Khmirev and Paul Roger's opening dialogue between trumpet and upright bass on "Brass Wind Bells". David Masternov's restrained lead guitar on "The Irish Girl's Tears" is also noteworthy for warmth and length. The definitive track in the show must be "Cider Dance" where the Russian brass section's free section deteriorates into a strong theme with Julie Tippetts paralleling the melody line. Special thanks must be given to the perseverance of the producer for making this essential recording available to an appreciative public. - Jeff Melton

Elton Dean - "Into the Nierika"

 (Blueprint BP292CD, 1998, CD)

"Into the Nierika" is saxophonist, Elton Dean's first trio album with drummer Mark Sanders and Italian bassist Roberto Bellatalla. Sanders has a resume which extends from his work in Dean's re-incarnated version of the big band Ninesense (entitled, "Newsense") as well as stints with Elton on albums with Howard Riley, and the acclaimed, "QED" (which also featured Bellatalla). Bellatalla has a twenty-year plus tenure in the UK improvising music scene playing with Keith Tippett (in Dreamtime), Paul Dunmall, Don Cherry and drummer Louis Moholo. The album is divided into three pieces, the first excursion is entitled "Following Through" and it's a doozy. Dean begins the conversation with Bellatalla driving the tempo in the distance. Sanders comes in after a minute or so of injecting a few contrary pulses. By the time group gets mid-way through their friendly discussion, Dean has dropped in and out several times leaving room for solo drum chops. "To Rahel and Back" is the second track and the most mysterious of the three pieces. It succeeds to build interest through Dean's moody introduction that transcends into a linear dialogue. "Growing the Light" is the album's closer and it exhibits a different development as the trio focuses on textural backdrop. What makes this disc different than noisy works such as "If Dubois Only Knew", is that the interplay is careful and under some control. No rhythmic center can lead to chaos in my book and then to my trusty bottle of Tylenol. - Jeff Melton

King Crimson - "Heavy Construkction"

 (DGM DGM0013, 2000, 3CD)

According to many accounts, the European tour for "The Construkction of Light" has been nothing short of a major success. A large number of gigs sold out across Germany, and women were seen attending gigs! To top that off, inspired playing by that muse in the driver's seat, Robert Fripp is also happening at an elevated level too. This special edition three CD set contains most of the current album recorded at various parts of the continent with the last disc detailing variant improvs from different nights. When contrasted to recent live US shows, some of these versions are a bit tame by my birds eye account. It's not from lack of energy or prowess, but instead from the ensemble paying live dues and allowing the live persona of these tracks to mature and find their own weakness and empathy. The shortcomings of the new line-up are revealed on some of the "Thrak" pieces in particular on "One Time" or "Dinosaur" with less crafted rhythmic backing, but this is a minor point. The reason to own this collection is for disc three. Since this quartet varies dramatically from a rhythmic perspective, it's insightful to scrutinize Pat Mastelloto's electronic sound map as the other three scramble to compensate. Closing out the live chronicle is an animated live dialogue regarding "a dreaded flash photo incident". Although amusing after the fact, I'm certain it was annoying to the performers at the time. Regardless, this live document is the best representation of where the new quartet started out on the path to what promises to be at least memorable if not hopelessly inspired. - Jeff Melton

God Speed You Black Emperor - "Lift Yr. Skinny Fists Like Antennas to Heaven"

 (Kranky Krank043, 2000, CD)

Despite the recent hyped press, which this Canadian performance group has received, there is still a large dose of mystery, which surrounds them. In fact, after about three plays from start to finish through this two disc, four-track set, the group sonically owes an implied debt to "Ummagumma" era Pink Floyd with a resident string section. Not many credits are given to individual personnel, but the lead guitarist stirs up shredding soundscapes that leads equally to industrial chaos and crafted drone. Plus the group spreads the arrangements wide enough to include brass and tuned percussion, blurring the dividing line between rock group and orchestra. An example piece from disc two opens with "Terrible Canyons of Static" that begins with a narrative from an old timer recalling the days of New York's "Old Coney Island". Then the song transitions into "broken windows locks of love part iii", which is characterized by a slowly building theme further developed by a supporting violin passage. Sadly without the live presentation of the troupe to refer to, the visual element is missing and cannot be commented on. Now if we could just get some one to go see them in Quebec, maybe they would tell us what in the world it all really means. But then again, maybe not... Highly Recommended. - Jeff Melton

Paul Dunmall Octet - "Great Divide"

 (Cuneiform Rune 142, 2001, CD)

Tenor saxophonist, Paul Dunmall has followed his acclaimed release from 1999, "Bebop Stardust" with the next logical step, "Great Divide". As a jazz composer, it's a challenge to clarify the boundaries surrounding your composition by allowing a large ensemble to break into planned cacophony and return to a melodic haven. By relying on Keith Tippett's Mujician ensemble (with the rhythm section of Paul Rogers and Tony Levin), Dunmall has found rooting for the five sections of the title track as well as the grand finale-closing piece, "A Passage Through the Great Divide". Tippett's piano interlude with Levin's drumming on Part one is notable for the melodic relief as well as smooth transition point in the track. Rogers' upright bass is also exemplary on Part three where the brass section is supportingly somber. When compared to Elton Dean's own big band endeavors, the last track matches much of the intensity of "Oh For the Edge" or "Ninesense" with emphasis on long notes amongst controlled chaos. In fact Dean and Evan Parker participate in the session making it a full sixteen piece endeavor, full of the what the free Brit jazz has personified: a large improvisation of merit. Considering the joint intricacy and bedlam that inherits these tracks, it's a miracle that the joyful expression doesn't spill out over the place by dwelling on subtle details. This album is a fine addition to the UK jazz tradition that is still alive and well. - Jeff Melton

Valinor's Tree - "And Then There is Silence"

 (Record Heaven RHCD29, 2001, CD)

Sweden's Valinor's Tree has come a long way since their last album, "Kingdom of Sadness" which I reviewed in Exposé issue nineteen. The quartet still walks a high wire between balls-out modern hard rock and the neo progressive genre. But that doesn't mean they have difficulty deciding which base to emphasize. Arrangements have become more complex as shown for example by the combination of acoustic guitar with clarinet on "Come Home". I don't think the group bears close comparison to Marillion or IQ just because the Swedes can sing melodic English language phrases. Vocally the band has progressed, as singer Ola Sivefaldt is more confident as the group exhibits more dynamic control during his upper range delivery. The best tracks on the disc are "Reaching for Angels" with its mechanized dance driven rhythm (possible a single) and "Silence Within" with the ominous bass intro that leads into a powerful lead guitar and synth theme. John Lönmyr has added space with his backing piano and flute-mellotron adding the right amount of foundation as on the epic "Tell Me a Story". The most out of place track is "She Will Dance No More" with its nightclub jazz lounge motif. Without a doubt, the group is on the verge of mainland European breaking if they can find their live audience. I have confidence that the band could easily land a Nearfest gig if they continue to play their cards right. - Jeff Melton