Issue #29 Extra!: New Releases
Ark Brainsold - "Ark Brainsold"
Betweeners, The – “Matador Karma”
Blue Drift – “Cobalt Coast”
Blue Series Continuum, The – “Featuring the Music of Matthew Shipp”
Butler, Ian – “Crème de la Phlegm”
Cheebacabra, The – “Metamorphosis”
Cork – “Out There”
Crowell, Dac - “Harmundum”
Dark Moor – “Dark Moor”
Deserts Of Träun, The – “Part III: The Lilac Moon”
Embracing The Glass – “Mandala For Chaos”
Fletcher, Jo – “Jo Fletcher”
The Flying Aces – “Seashell”
Hanno, Yoshihiro Meets Mick Karn – “Liquid Glass”
Kinzokuebisu – “Hakootoko”
Haverstick, Neil – “If The Earth Was a Woman”
Hidria Spacefolk – “Symbiosis”
Lakveet, John – “Building Sequential Stones vol. 1: Ecclesias cathedrales aedificans”
Men Without Hats – “No Hats Beyond This Point”
Monkman, Francis – “A Harpsichord Sampler”
Onza – “Zona Crepuscular”
Parallel Worlds – “Existence”
Partridge, Stephen, and David Cunningham – “This is a Sentence”
Pineapple Thief – “Variations on a Dream”
Present Music Ensemble – “Haunted America”
SanRenSei – “Ceremony”
Scarlet Thread - “Psykedeelisiä Joutsenlauluja”
Siberry, Jane – “Shushan the Palace (Hymns of Earth)”
Sylvan – “Artificial Paradise"
Thriving Ivory – “Thriving Ivory”
Turilli, Luca – “Prophet of the Last Eclipse”
Ultime Atome – “Dark Visions”
Urban Turbans – “Turban Town”
VA – “The Blue Series Sampler”
Vhäldemar – “I Made My Own Hell”
Wilson, Ray – “Change”
Wono, Satoru – “Sonata For Sine Wave and White Noise”
Zenino, Michel – “Dérive Gauche”
The Deserts Of Träun – “Part III: The Lilac Moon”
(Naked Lotus Productions DM2254, 2003, CD)
The Deserts Of Träun is the musical project of former Estradasphere drummer David Murray. The project name and initial story theme originated from a high school jazz band collaboration between Murray and Joe Willis that was based upon the Disney science-fiction movie Tron. The story later evolved into several pieces of music, but none of it has ever been professionally recorded or released until now. On Part III: The Lilac Moon, Murray plays drums, didgeridoo, guitar, bass, flute, and also sings. He’s joined by a variety of guest musicians who contribute guitar, bass, vocals, mandolin, strings, and sax. The hour-long album is made up of 24 short tracks that flow together as one long piece. Listening to the music, it’s not difficult to hear it as the soundtrack to an imaginary science-fiction post-apocalyptic story. The song titles help guide the listener along the way, but it’s pretty obvious that certain songs represent detective themes, battle themes, and princess themes. Murray’s drumming ability is nothing short of astounding throughout. He plays double bass fluidly and riffs across time signature changes with ease. “Part III: The Lilac Moon is a showcase for Murray’s compositional skills too. Many sections of the songs are orchestral and acoustic-based and don’t even contain percussion. The cross-genre experimentation that he began in Estradasphere continues here. Metal, jazz, classical, lounge, world, and electronic music collide to create an intricate and interesting interplanetary soundscape. Very impressive. – Mike Grimes
The Cheebacabra – “Metamorphosis”
(Mackrosoft MS 0007, 2003, LP/CD)
An instrumental funk outfit from the U.S. west coast, The Cheebacabra is led by a drummer/keyboardist named Cheeba, who is joined by six other musicians on keys, guitar, sax, and percussion. The album’s ten tunes (five on each side) are extremely short. Most average two minutes long; the whole LP takes less than 25 minutes to play all the way through. The group’s approach shows a jazz-fusion pedigree— looking back to Herbie Hancock’s classic jazz-funk album Headhunters, although there’s a big difference between Hancock’s spacious explorations (which allow for lots of soloing) and these brief pieces. There is a distinct retro feel here, as the rhythms, the fusion flourishes, and the classic keyboard timbres (jazz-organ, Moog, Fender Rhodes, wah-wah clavinet) evoke the sounds and flavors of the late 70s. In fact, it would be easy to imagine that these tunes come from the soundtrack of the era— an urban cop drama, a blaxploitation flick, or maybe a porn film. Only the frequent use of unvaried, too-heavy, slightly electronicized drum beats betrays the recentness of this recording and its indebtedness (however slight) to current club sensibilities. Still, readers who enjoy a classic funk sound will find Metamorphosis to be a fun listen that skillfully mimics the sounds and styles of classic jazz-funk. They may, however, wish that the tunes were a little longer so that the musicians could do something a bit more than lay down a quick two-minute groove. – Jim Chokey
[www.mackrosoft.com]
Yoshihiro Hanno Meets Mick Karn – “Liquid Glass”
(Medium Productions MPCD8, 1998, CD)
Mick Karn’s distinctive bass playing has found a number of homes over the years since the demise of Japan. Most notable for readers of this magazine have been his collaborations with David Torn and Terry Bozzio in Polytown and on his own solo albums. For these recordings dating from 1997, he teams up with Japanese electronic wizard Hanno for a varied set of impressionistic pieces ranging from quiet and reflective to upbeat and energetic. Hanno paints his soundscapes with mostly “real” sounds (whether natural or virtual): vibes, trumpet, electric piano, recorded voices and so on rather than the blatantly electronic tones of synthesizers. Drums are both played and programmed, and soprano sax features on two tracks. Atmosphere takes precedence over groove, so tracks sometimes drift into oblivion only to return with a different tempo. At its most up-tempo, I am reminded of Aphex Twin’s hyperactive rhythms sans squelchy blips and bleeps. While Hanno is the main architect of the sound, Karn’s contribution is up to his usual high standard, slinky and melodic, taking full advantage of the lack of frets on his bass to glissando, slide and wobble in ways no one else can. This is a strong entry in the ongoing saga of Life After Japan, not as essential as The Tooth Mother, perhaps, but in no way disappointing. – Jon Davis
[www.mediumproductions.com]
Michel Zenino – “Dérive Gauche”
(Ex-tension EX01, 2002, CD)
Zenino is a double-bassist, bandleader and arranger, working through a set of French “chanson” pieces arranged for an instrumental jazz quartet (bass, drums, piano and sax). His credentials include stints with Simon Goubert and Christian Vander in Welcome, and more recently with the Sophia Domancich trio, and many others dating back to the early 1980s. One not intimately familiar with the source material (and one is likely not to be unless you are from France and familiar with the chanson pop tradition) may well just accept this jazz workout exclusively at face value, at which level it still remains quite satisfying. Zenino’s arrangements incorporate a brisk energy and spirited expressionism, which draws influence from John Coltrane, Sonny Rollins and others. Sax player André Villéger carries most of the lead melodic parts, while the busy rhythm section works with the piano to build strong passages set for tension and release; and of course, with Zenino at the helm there are plenty of great bottom-end solos as well, although probably no more so than in any other jazz quartet. All taken, this is an excellent workout based on solid musicianship and Zenino’s superb arranging skills. – Peter Thelen
The Blue Series Continuum – “Featuring the Music of Matthew Shipp”
(Thirsty Ear THI 57141.2, 2003, CD)
Collisions between jazz and semi-classical music structure is the format for this new collective set of twelve pieces. Each new project is based on lessons learned and best-known methods applied to an experimental set with a new players and external influences. The opening piece, “Pulsar”, indicates a dramatic shift way from other ensemble works and towards free jazz and ambient efforts. Pianist Shipp has reinvigorated his approach to sensitive piano, which has earned him much respect in the downtown jazz revival in NYC. Next up is “Keystroke”, that captures a free form trio between Shipp, clarinetist Evan Ziporyn and FLAM’s computer keyboard clicks that establishes an unusual rhythmic context. Ziporyn is also a Bang on a Can member and here he makes a first appearance adding a noticeable counterpoint and a unique voice to the mix. FLAM is simply the X factor on the album since he occupies a Brian Eno stylized role (as with Roxy Music and U2) where his programming of street dialogues and atmospheric synthesizer swells are a part of the overall arrangement. The rhythm section of William Parker and Gerald Cleaver demonstrate a the grooving riff on “Urban Shadows” while violinist newcomer Daniel Bernard Roumain wails above in the rafters. This album can be viewed as the other bookend of the same story composed with David S. Ware’s latest release on the label. Overall Shipp’s work in this configuration allows for further outgrowth into international recognition. – Jeff Melton
Thriving Ivory – “Thriving Ivory”
(private (no cat#), 2003, CD-EP)
It’s been quite sometime since a solo pianist was credited as an alternative rock band’s key instrument replacing loud, overdriven guitars. Such is the case for Thriving Ivory is a five-piece group who hail from southern California. The group has been touring up and down the state gaining a cult following, with potential for label scouts to scope out. The band’s soulful vocalist Clayton Stroope reminds of a blend of styles between the singer from Train and lead singer from the Black Crowes. On the disc’s opening cut, “Blind” he delivers a passionate lead that carries the entire track. Pianist Scott Jason is surely the grounding melodic foundation of the group as his plaintive parts both propel as on “Overrated” not unlike the best of the Dave Matthews Band. Lyrically the band’s songwriting occupies a safe range from possessive love to love gone wrong. “When the Time Comes” is perhaps the best of the collection of six songs if only for the band’s established groove and additional violin accompaniment. Guitarist Drew Cribley doesn’t step out of Jason’s piano unisons much on any track except for the closing lead on “Sweet Misery” that works well. The album closes in acoustic mode with the ballad “The Long Way Home” that reminds of Marc Bolan making a vocal appearance on David Bowie’s Hunky Dory. The group has since made a newer EP of six songs, which is certain to garner more attention than their first. – Jeff Melton
Satoru Wono – “Sonata For Sine Wave and White Noise”
(Sonore SON-20, 2003, CD)
Click. Shhhhhsshh. Bleep. The first minute of “Overture” sounds something like a couple of malfunctioning cell phones making random sounds. Then the beeps and hiss begin to take shape and find regular patterns, forming a set of basic rhythms, which eventually drives the piece to its conclusion three and a half minutes later, by which time the piece has developed into something along the lines of primitive techno. “Canon” uses sweeping oscillators and sine wave bursts to create another nifty rhythm that’s over in a couple minutes. Then the “Sonata” proper, time for a side-long serious piece in four movements; again the sounds are all what one might find on your typical electronic lab bench – various squeaks, pulses, beeps and wide-band noise form fundamental patterns in sonic textural overlays; sometimes it’s all fairly random and scattered, other times it flat-out grooves with a driving persistence. The second movement “Scherzo” finds a particularly cool rhythmic pattern and almost rocks. Despite the academic sounding title, this is not that far from some of the stuff one might hear on a typical Conrad Schnitzler album. The minimalist “Adagio” is really just one steady repeated note, with varying overtones, harmonics, and the occasional embellishments of a simple sweep oscillator. The disc closes with “Variation in A”, another sidelong minimalist opus that could have benefited from the more succinct treatment of the shorter tracks. All taken it’s an interesting disc, but held back somewhat by the limited sonic palette employed. – Peter Thelen
[http://www.sonore.com]
SanRenSei – “Ceremony”
(Burning Shirt Music ASH 43101, 2003, CDR)
Three players (keyboard synths + voices, guitar synths and hardware sequencer) contribute to the six pieces herein, which fall squarely into the low key floating ambient electro-acoustic zone. The ever-present low frequency bassy drones are a good workout for the subwoofer (but only if you crank the volume), and whatever sounds occur in the higher registers (faint voices, intermittent synth blasts, percussive sounds and other low voltage sonic events) are particularly understated, almost subliminal. To make matters even more understated, the entire disc seems to be recorded at a very low volume level. At times it gets so quiet that the listener may not even be aware that the disc is playing – ambient sound from other sources may conceal it. The whole mood is dark, foreboding and intentionally obscured. Like all good floating ambient music Ceremony drifts effortlessly and floats in a sort of dreamlike space between conscious states over its 40 minutes, trance-like and hypnotic as it drifts deeper and deeper into a dark sonic void. While there are many other examples of this style that I’ve found to be far more engaging and imaginative, SanRenSei has nonetheless produced a solid debut. – Peter Thelen
[http://www.burningshirt.com/]
Embracing The Glass – “Mandala For Chaos”
(Burning Shirt ASH 42001, 2002, CD)
On the opening ten minute track “Around”, repeating cycles of gentle synth washes provide the backdrop for some subtle harmonized vocal loops, one leading the other, blending together, creating a beautiful atmospheric effect that sets the tone for the rest of the disc. We are in floating ambient territory for the most part, music that is intrinsically suitable for low level background listening, relaxation, meditation or slumber. The duo of Sean Carroll and Jeff Sampson (who are also members of the SanRenSei project, reviewed elsewhere in this issue) are the only musicians involved here, using guitars-synthesizers and vocals / vocal loops. Most of the vocal parts involve subtle chanting, though the lyrical content is not clear, obscured by the cyclical synth loops and general atmospheric bliss – but then again it really doesn’t matter; the overall effect is successful. A slow paced bass pulse and gentle understated synth washes on “After Dark” support more chanting, this time seeming almost like some kind of pagan religious ceremony. The trance-like “Great Lakes Chain Gang” is the exception, and probably the disc’s most energetic track, where the multi-tracked voices take center stage, backed by a synthesized pulsating groove resembling didgeridoo accented by hand drums and woodblock. The overall feel is very organic and transcendental, and although generally a bit more understated, should appeal to fans of early Steve Roach, Jorge Reyes, and the like. – Peter Thelen
[http://www.burningshirt.com]
John Lakveet – “Building Sequential Stones vol. 1: Ecclesias cathedrales aedificans”
(Groove Unlimited, GR-094, 2004, CD)
In “Apellatio” (4:57) we push the heavy door of a huge cathedral open and gaze at the bewildering spectacle which lay before our eyes. Fast sequencers reflect the chaotic thoughts in our minds. The luminous sounds lift us up and we float through space and shatter the barrier between earth and heaven. Lakveet surpasses his own genius, when we enter “Exudus 3:14” (8:55) where warm, rapturous solos meander over layers of different pumping, pulsing dark sequencers. In the background incredibly fast tremolos lighting up in the background. Still haven’t told you anything about the crystal clear, bright effects that splash in your ears. And when we have find our destination, we seek contemplation in misty Mellotron flutes (“Prayer”) and slowly sink in to darkness (“Obscuritas”), which is not really darkness more filtered light. After more complex sequence bundles (“North Column”), more reflecting pearls rise up (“Meditace”, “Melancholia”) and before we leave this eternal space again, Lakveet feet us for the last time excellent atmospheres (“Turris” and “Tholus”). Luckily we know there will be more, so we can yearn for vol. 2. – Roel Steverink
[www.groove.nl, www.johnlakveet.com]
Parallel Worlds – “Existence”
(Rubber rubbercd005, 2003, CD)
Everywhere on this planet are places to be found where young hounds bubbling with talent are waiting in the shadows to be discovered. Here we have a young guy from Greece, Bakis Sirros, who hides behind the name Parallel Worlds. Only a couple years of experimenting with electronic gear to his credit, Parallel Worlds is a name to be reckoned with. Like the famous predessors in the 70s, Sirros sculpts his sounds on a huge modular among other analog and digital gear. His debut album consists of no less then 14 tracks. From a nucleus of seemingly simple drum machine rhythms, he weaves an atmosphere of darker complexity, with washes of treated sound of which a recognizable melody sprouts, to be served off with harmonious motives or/and space or other effects. There’s a definite trace of Kraftwerk and 80s synth pop, especially Depeche Mode, but Sirros has a style of his own; fresh, strange sounds and intricate drum machine lines are sonic witnesses. Despite the darkish character, several infectious melodies tend to stick in the head after a couple of spins. Too bad the mastering is sloppy, though the next batch will have a proper one. – Roel Steverink
[www.rubber.gr, or e-mail synth_freak_2000@yahoo.com]
VA – “The Blue Series Sampler”
(Thirsty Ear THI 57138.2, 2003, CD)
Thirsty Ear has singlehandedly rejuvenated the New York downtown jazz scene due in no small part to Matthew Shipp’s Blue series label and the many artists under that banner. Twelve tracks have been culled from as many CDs worth of recent highpoints in multiple artist’s development and current innovations. Shipp’s opening piece from Equilibrium again reminds us as to the interchange happening between modern percussion and jazz motifs led by emotive piano playing. Tim Berne’s track “Jalapeno Diplomacy” hearkens back to a mode of 70s British jazz that is still as fertile and innovative as ever. Plus the incorporation of samples and jungle rhythms as on DJ Wally’s “Out of the Blue” and DJ Spooky’s “That Subliminal Kid vs. The Last Mohican” are representative of the old wave merging with the new. David S. Ware is also a saxophonist on the scene making strong inroads as heard on “Ananda Rotation”, that effectively merges classical overtones into a jazz context. The Blues Series Continuum gets to chances to lure the listener into their collective clutches with “Then Again” and “Mist”; the latter piece being the more mysterious of the two. Bassist William Parker’s Trio with violinist Bill Band is also featured along with a short piece from techno experimentalists, Spring Heel Jack. Overall it is a truly inspiring label of work for these artists and a great introduction to a serious label devoted to jazz futures. – Jeff Melton
Onza – “Zona Crepuscular”
(Mellow Records MMP 437, 2003, CD)
I take no pleasure in criticizing an honest musical effort. But now I’ve hit a dilemma I don’t often run into – just what to say in a review. Well, I’ll start with some information since you can’t go wrong there: Onza is a Spanish band. Are we safe so far? Ok, let’s continue. They sing in Spanish. But as for their music, I have a difficult time latching onto anything that moves me. Don’t mistake; the playing is strong, and accurately accomplished, singing is all done with fine talent, and the recording isn’t bad. But when it comes to the substance of Onza’s output I can only grasp at descriptives, and come up short at that. Allow me to try anyway...a jazzy moment here; an exotic bit there; a slow tune, a couple flashy ones; some jamming sections, some sophisticated arrangements in parts. All well and good but I expect a bit more, something that says, “We are special; give us a listen because you won’t find this elsewhere.” But after five songs I can’t remember anything that stands out. Textbook prog it is, with all the requirements in perfect order. If this is what you are looking for then Zona Crepuscular is Fort Knox. Or if you have never heard anything other than pop music all your life, yes, then Onza will startle you for sure. If you’re reading Exposé you are not in that category. Sorry, but I just cannot do any better than this, folks. – Michael Ezzo
Kinzokuebisu – “Hakootoko”
(Vital Records VR-005, 2003, CD)
Back in the late 1980’s bands like Kinzokueisu were everywhere in Japan, playing a heavy symphonic prog with stylistic nods to a few great british bands of the ‘70s, accented by 80’s stadium rock stylings. Over the course of the ‘90s most of these bands disappeared, but it seems that of late there’s some kind of undercurrent in progress, with younger bands attempting to follow in the style of Novela, Outer Limits, and others. The band is a four-piece of g/k/b/d, heavy on the Mellotron and bass pedals, with guitarist and bandleader Daichi Tagaki and keyboardist Makiko Kusonoki doing double duty as vocalists (lyrics in Japanese). My first reaction to Hakootoko is “I’ve heard this all before”; the Genesis almost-rips, the Crimsoid touches, the Asia bits, and so forth. In fact the band does what they do well, the musicianship is top notch and they are faithful to their influences. On a few tracks (most notably “Kyouli-eno-bolero”, “Yami-ni-ugomeku” and “Jujitsu-suru-koushin”) the band does manage to come up with some seriously original sounding pieces, so in time, with more material under their collective belt, they might well have a bright future ahead of them. – Peter Thelen
[www.musicterm.jp/poseidon]
Blue Drift – “Cobalt Coast”
(Buglefish CARP-786, 2003, CD)
The first couple tracks from this British trio bring to mind some of the instrumental pieces Genesis did in the late 70s – think “Wot Gorilla?”. Guitar takes the lead for the most part, and the playing is a bit like Steve Hackett with a little Allan Holdsworth thrown in. There are a couple moments where Brian May is the influence, with multiple guitars playing individual notes to make up the harmonies. The keyboard backing consists in large part of string synth, and the chords are voiced like Tony Banks might do them, avoiding simple triads in favor of more complex structures. As the album progresses, the Genesis similarity fades away, with some more rock-oriented tunes along the lines of other contemporary non-vocal prog. The caliber of musicianship is high, though not fetishistic like Planet X, and the mood varies enough to keep it interesting. There are some quiet eerie moments, some deliberate anthemic sections, some Middle Eastern flavor. For further variation, both fretted and fretless bass take turns filling out the bottom end. I said “contemporary non-vocal prog,” but there is one decidedly retro track, the electric guitar march called “The Battle of Morton Ridge” which hearkens strongly back to the 70s, when bands did play tunes in march time occasionally. In addition to the string synth, a variety of other keyboard sounds are used, including some classic organ and some burbly envelope-shifting analog sequences, along with New Age type flute and ethereal patches. – Jon Davis
[JLod@supanet.com]
Ultime Atome – “Dark Visions”
(Musea FGBG 4482.AR, 2003, CD)
Ultime Atome is a French five-piece who are firmly entrenched in the neo-progressive genre. The band serves up many familiar prog clichés (IQ, Jadis) that are standard fare. The emphasis again is on rock and roll laced with symphonic arrangements in compositions that show little originality. Despite the fact that the group has been around for ten years, I honestly don’t hear any unique identifying characteristic other than vocalist Jean Marc Tesorio who at times invokes Fish’s (ex-Marillion) best lyrical rantings. Keyboardist Isabella Descamps' role has been relegated to just minor backing vocals and lush foundation keyboards. Guitarist Walter Ginanneschi has the hard rock chops to propel pieces such as the aggressive opener, “Meine Liebe”. The twenty-two minute epic, “Battlefield”, is a dense three-part statement mixing heavy guitars and lush synthesizers to begin the tale. “The Black Elf” section relates a story of your typical oppressed hero who must overcome insurmountable obstacles; does this sound familiar? The last section relates a final conflict ending like a bad Conan movie. “Eternal Warrior” also mines fantasy subject matter that doesn’t really cut it. “Dreamland” closes out the disc on a high note though recalling moments of Fish’s excellent Sunset on Empire. Overall it’s another case of too few high points to discriminate from an already saturated market. – Jeff Melton
Sylvan – “Artificial Paradise"
(private (no cat#), 2002, CD)
There’s lot of music in the land between mainstream and neo-prog, and this is another one. They hail from Germany and this is their third effort. The music is thoroughly composed and produced, still it didn’t move me a lot. Styles range from slow rock to symphonic metal. It’s often even close to catchy mainstream pop, with crisp electronic drums comparable with a lot of top-of-the-pops bands, only the songs are longer mostly. The slow parts are heavily symphonic; wailing guitar upfront and a massive synthesized background. There’s also a big emphasis on piano. One who seeks quick tempos seeks in vain. The musicians are all competent, but musically no one dares to take any risks. The singer is not bad and can reach quite a range of octaves. None of the nine tracks made me jump out of my chair, nothing fresh and gripping here. Even the 20-minute last track with real aggressive guitar can’t save this mediocre album. Maybe neo-prog lovers should check it out – Roel Steverink
[www.sylvan.de]
Luca Turilli – “Prophet of the Last Eclipse”
(LMP 0210-045, 2002, CD)
Progressive metal takes a turn into the cyborg realm for Luca Turilli’s third solo project. Guitarist, composer and visionary, Turilli is a veteran of the Italian metal scene with his band Rhapsody but resides now in France. Full orchestral arrangements support many of the pieces from the album’s opener “Aenigma” that reminds me of a blend of Rick Wakeman with Whitesnake. Vocalist Olaf Hayer is of the eighties hair band genre and at times can carry a tune not unlike David Coverdale or Ian Gillan (Deep Purple’s most notorious lead vocalists). Songwriting varies from outright barbarian slanted power rock to subtle power ballads such as “Zaephyr Skies Theme” where keyboardist Miro gets a shot to show what he can do with lush synths. “Prince of the Starlight” almost sounds like it could be a metal rework of some of Wakeman’s Return to the Center of the Earth. As pompous as the premise sounds, the album is actually has strong moments reminiscent of the best works of more complex works by Dio or Symphony X but less plodding. “Demonheart” personifies this approach well beginning with ominous keys before transitioning into a pummeling rhythmic section propelled by drummer Robert Hunecke-Rizzo. The title track is also the album’s closer has an almost Celtic feel to it before Turilli’s frantic guitar solo big finish. Overall it’s a bombastic album with all the intensity and mysticism that doesn’t disappoint. – Jeff Melton
Vhäldemar – “I Made My Own Hell”
(Arise Records 048CD, 2003, CD)
Forget the Nordic sounding name, like most bands on the Arise label Vhäldemar is a metal band from Spain. They favor a power metal style (no, not prog-metal; power metal) with pseudo-classical guitar soloing sounding a bit like Randy Rhoads but not as good. The band is a quartet with the lead guitarist playing some keys and the singer adding some rhythm guitar. The other main influence besides power metal appears to be early Metallica, in the fast tempo double-bass drumming and rhythmic riffing. The main link to prog-metal is in the choruses when they sometimes use vocal harmonies sounding like Shadow Gallery or the like, but the vocal delivery is still by and large more Master of Puppets than Carved in Stone. This is not to say that Vhäldemar is anywhere near as good as Metallica, but they do a passable job at it. The lyric sheet is all about dungeons and dragons imagery and superfluous exclamation marks. Vhäldemar may also be the first “prog-metal” band I’ve reviewed since Royal Hunt that couldn’t conceive of a time signature other than 4/4. If you only buy one metal album this year, pick up Kayo Dot, or Opeth, or Enslaved, or even Dark Moor. This one is for the barrel-scrapers. – Sean McFee
Dark Moor – “Dark Moor”
(Arise Records 050CD, 2003, CD)
I’m starting to wonder if the Arise label is breeding prog-metal acts to take over the world. Dark Moor are (wait for it) a Spanish prog-metal quintet of g/g/b/d plus vocals, with guests on keys here and there. Hold on to your hats, but a compositionally straightforward metal assault is on deck here, with accented clean vocals reminiscent of Cast moved up half an octave. Most of the music reminds me of Rhapsody, with the fast tempos, choirs, and pseudo-classical airs. The lyric sheet reveals that the band’s English fluency lies somewhere between the level of Vhäldemar and a golden retriever. However in this case a strange double-negation of incompetence takes place, as the lack of clarity in the vocals effectively disguises the broken English. The compositions unfold at a steady clip, with a driving melodic energy that is infectious, and the band is technically quite sound in terms of the vocal harmonies and guitar soloing. The keyboards, when present, favor string-like patches and generally add texture. On the whole Dark Moor has some promising elements, but unless they switch to singing in Spanish it will be absolutely impossible to take them seriously. – Sean McFee
Jane Siberry – “Shushan the Palace (Hymns of Earth)”
(Sheeba SHE011, 2003, CD)
Jane Siberry is no stranger to the quandary of doing holiday recordings. Her two excellent collections from 2001 and 2002 have met with wide acclaim in international critiques. No doubt this inspired the singer to continue forward with a wider scope on her newest collection of nine classical interpretations. Overall the proceedings are a little stuffy but Siberry’s plaintive delivery suits her well to the arrangements of many not well known pieces by Handel, Holst, Bach and others. The set opens with “How Beautiful Are the Feet”, an odd title for a heart-warming, beautiful extract from the Messiah. The next piece, “Sheep May Safely Graze” opens with a baroque theme played by recorders before Siberry’s spry vocal appears both with her own harmonies atop organ and light orchestration. “I Know that my Redeemer Liveth” embraces spiritual subject matter against a sparse piano and clarinet introduction. Orchestration by Peter Kiesewalter helps to strengthen the piece without drowning its plaintive message. “Jesus Christ, the Apple Tree” comes from an 18th century text that makes a profound comparison of life to a tree. Closing out the disc is “If God Be for Us”, which is probably the most somber moment on the disc that still manages to uplift as well as inspire. Overall the collection is subtly elevating without the typical over-production nuances of holiday cheer that can often make a project trite and shallow. – Jeff Melton
Ian Butler – “Crème de la Phlegm”
(private release (no cat#), 2002, CD)
Ian Butler played bass for Tempest before the band joined Magna Carta in the mid-90s. As one might guess from its title, Crème de la Phlegm (Butler’s first solo CD) reflects an off-kilter sense of humor. The disk’s seventeen short tracks (2-3 minutes long) are hilariously funny (in a juvenile sort of way), frequently rude, and occasionally disturbing (think Dr. Demento). About the half the songs are in a late 80s’ college rock / early 90s’ alternapop mode (with guitar, bass, vocals, drums) that probably aren’t of musical interest to most Exposé readers, although even the most serious-minded prog purists would be hard-pressed not to chuckle through “Gonna Eat Your Dog”, “Stinky Dancers”, and “Rush Limbaugh Ate My Dad”. When Butler combines his lyrical dementia with musical parody, as on the country-inflected “Lipstick on Your Dipstick”, the ska-and-mariachi-flavored “Addiction-Go-Round”, and the insincere noise pastiche of “The Shrieking Sphinx’s Shrinking Sphincter Stinks”, the result can be rib-splitting. What makes this disk more than a novelty item is that there’s surprisingly strong songwriting behind all the humor— most impressively on the catchy S&M love ballad, “I’ve Fallen in Love (And I Can’t Get Up)”. Still, I’ve got to be honest and say that Crème de la Phlegm probably won’t get heavy rotation in our readers’ CD players. That said, it’s a lot of fun— and if you’re looking for music to laugh along with, you could do a whole lot worse. – Jim Chokey
[ianbutlermusic.com]
Francis Monkman – “A Harpsichord Sampler”
(Jazzprint VP-252, 2003, CD)
While Monkman may be known to rock audiences for stints with Curved Air and Sky, like many of the keys players in progressive rock, he has an extensive classical background, having come to public notice on harpsichord in the late 60s while attending the Royal Academy of Music. He now returns to his roots, as you might say, presenting a selection of pieces for unaccompanied harpsichord by William Byrd, Jacques Champion de Chambonnières, Jean-Henry d’Anglebert, George Frederic Handel, and Domenico Scarlatti. Note the absence of any composers named Bach. Many of us are used to the sporadic presence of harpsichord (or harpsichord imitations) as accompaniment to delicate passages in psychedelic or symphonic progressive rock, and if you always liked those sections (as I did), it’s nice to have a well-played and well-recorded collection of the instrument’s original repertoire. Certainly there are a number of other harpsichord recordings out there to choose from, but the connection with more modern music (to my mind at least) acts as a recommendation for Monkman. I don’t know how well received his interpretations will be in the classical world, but with my limited knowledge I can say I find him quite enjoyable. His fondness for the material is obvious in his performances, and it is beautiful music. – Jon Davis
[www.voiceprint.co.uk]
Jo Fletcher – “Jo Fletcher”
(Voiceprint VP270CD, 2003, CD)
Jo Fletcher is a singer and composer unknown outside of London. Her co-composer for eight songs is keyboardist Dave Moore who also helped record many of the tracks. Other personnel on her Fletcher’s solo album include backing vocals from Robert Wyatt on the opening cut along with folksy violin courtesy of Charles O’Conner (ex-Horslips). Bassist Ian Maidman (formerly with David Sylvian and Annie Whitehead’s British jazz fusion bands) appears on this disc as primary drummer. Additional pianist Steve Fletcher’s other work is supporting jazz artists, but it’s guitarist Paul Whittaker whom carries many of the arrangements including the funky blues groove of “Treat You Right”. Fletcher’s roles as singer and songwriter capture much of the mood of Shawn Colvin’s early work as on “Drums” that also showcases Whittaker’s prominent tremolo guitar. “Wait for Me” even portrays a mood that Sheryl Crow would have been proud of. “Must Be Love” even sounds like an American adult rock hit in the making, given the right push. One of the disc’s best arrangements is the cover of Van Morrison’s “Crazy Love” that is not far removed from Edie Brickell’s delivery. “Candle” is one of the few tracks where the rhythm section gets a chance to milk a groove. Closing out the album is “Lucky Day” that occupies a bayou blues shuffle tempo and Mitt Gamon’s down home harmonica. Overall it’s another rescued project that adds further creditability to Voiceprints expanding catalogue. – Jeff Melton
Ray Wilson – “Change”
(InsideOut Music IOMACD 2057, CD)
Beside the blatant “hit pop” tunes within the confines of mainstream, lies a whole area that deserves attention. I would say this album from Ray Wilson is one of them. This guy has a real talent for writing catchy tunes with depth. I can’t find a lesser track, they’re all strong and warm sounding. Acoustic guitar is in the forefront with electric guitar glissandi and soft drum strikes on the ballad-like pieces. On the harder tracks like “Goodbye Baby Blue” or “Change”, there’s a doubling of acoustic guitar and electric guitar chops backed by firm drumming. “Yesterday” is a piece where accordion livens up the harmonics. Shimmering organ builds the atmosphere in the background of “Another Day”. The melody of “Beach” is reminiscent of some recent Radiohead. Nothing outrageous here, but I think this album should attract Don Henley and even Neil Young fans. – Roel Steverink
[www.insideout.de]
Cork – “Out There”
(Voiceprint VP 267CD, 2003, CD)
Cork is the project name for drummer Corky Laing (ex-Mountain) and guitarist Eric Schenkman with more than a few nods to the Jimi Hendrix Experience. As far as I am aware this is Laing’s first lead vocal appearance and in this context he sounds like a confident singer in the mode of Molly Hatchett’s old vocalist but without the southern drawl. Schenkman certainly invokes the ghost of Jimi on a few tracks including “Taking Over” where he rocks it up a bit. Alternately “Time to Go to Bed” is a Faces style acoustic rocker that works well. “A Kind of Love” follows a standard ballad format and is the most sensitive moment in the ten tracks. The only other ballad is “Tender in the Night” that sounds like a song Rod Stewart could have sung during the Every Picture Tells a Story era. “My Turn” follows a Robbie Robertson like narrative atop a blues-rock motif along with “Johnny Stick”. Also “She Stands Alone” reminds me of Jimmy Vaughan playing his best with the Fabulous Thunderbirds. Lastly, “Under the Radar” has a Hendrix influenced riff and smoldering solo that will certainly appeal to his fan base. Unfortunately this recording serves as the last for Noel Redding as he appears on that piece as well as the album’s first cut. Overall it’s a strong reminder as to the excellent blues-rock veterans that can still contribute works of merit to the marketplace. – Jeff Melton
The Betweeners – “Matador Karma”
(private release, 2003, CD)
Stephen Couch is the driving force behind this excellent Louisville based progressive bluegrass outfit, handling the bulk of the songwriting, lead vocals, slide guitars and mandolin; the core trio is rounded out by second guitarist & vocalist Eddie Green and Owen Reynolds on bass. Additional musicians provide fiddle, banjo, drums, percussion and backing vocals. Music like this just fills the soul, gets your feet moving, and puts a big old smile on your face – it’s totally infectious, delightfully fun, and absolutely impossible to ignore. Their sound (mostly due to the vocal delivery) is a bit reminiscent of The Band circa the second (self titled) album, but replace their rock with a more lively acoustic based bluegrass vibe and one might have an idea of where Matador Karma is coming from. It’s pure Americana, but expanding well beyond the traditions, effectively doing to bluegrass what bands like Fairport did to British folk. And these guys can play up a storm and deliver some tasty arrangements. The lyrical humor of songs like “Hotel Movies” and “Beanstalk in My Bed” will make you smile, while one can relish the thoughtful social commentary of songs like “Fishers of Men” and “East Kentucky Water”. Countryphobes might want to give this a pass, but listeners fond of The Band, New Riders, early NGDB, Old and In The Way, Garcia, Grisman and similarly inclined artists might do well to check these guys out. – Peter Thelen
[http://www.thebetweeners.com]
Neil Haverstick – “If The Earth Was a Woman”
(private release, 2002, CD)
Haverstick is a pioneering guitarist, known for his work in microtonal scales. The two previous releases we have reviewed in these pages – Acoustic Stick (n.18, p.50), and Other Worlds (n.20, p.48), were each the fruit of singular visions, exploring microtonal registers on Haverstick’s 34 and 19 tone electric and acoustic guitars in a completely instrumental format, with and without other musicians. If The Earth Was a Woman follows a number of different paths, perhaps representing Haverstick’s wider musical interests. To be sure there are plenty of microtonal workouts here, acoustic and electric, plus several pieces featuring vocals and lyrics, explorations in rock, blues and country. “The Train” is a spoken piece with solo improv acoustic microtonal backing, which leads right into “Big Old Train”, a country rocker that might recall the Grateful Dead around 1970 were it not for the strange and magical blistering microtonal guitar solo. One of the discs standouts is the thoughtful and pointed “Sometimes it’s Right (To Kill A Man)” which favors a sort-of muted reggae styling with a solid bass groove, and features vocalist Mark Caldwell. “Microseconds” is a dark and heavy instrumental rock monster that drives along seemingly changing key at will, falling into free ambient improvisation and back again, creating one of the discs most eerie pieces – perhaps this is what King Crimson would sound like if all their frets were taken away! In all, this is Haverstick’s calling card, exploring a number of new and different directions. – Peter Thelen
[http://www.microstick.net/]
The Flying Aces – “Seashell”
(Point PNTVP1222CD, 2002, CD)
Offshoot groups from the pub band, Man in the U.K. are a bit more prevalent nowadays. Seashell is twelve tracks from old friends who got together and had a good old rock and roll revelation in the studio. Martin and his brother George Ace are at the crux of the line-up with keyboardist Phil Ryan adding Hammond organ and bluesy piano on each track. The vibe reminds me of Rockpile’s style of raving it up that works well in a small club. “I Got Beautiful You” is a funky track like Brinsley Schwartz or Nick Lowe’s back catalogue. “Elephant at My Side” is certainly a pub classic with its plain chorus and drunken 70s style rave up. Vyvan Morris adds bluesy female vocals on “Larry” that recapture the late 50s big ballad era (circa Duane Eddy) with tremolo guitars and a lonely guitar lead from Martin. Her plaintive style also transports “Magic Carpet Ride” into a 60s time warp with echoey guitar flashes. At its worst the line-up is a shaky on a few chord changes noticeable on “All the Little Things”, an ode to a modern day supporter. The twin guitar lead style is also prominent on “Real Fantasy” where a Mellotron makes a brief unison appearance. Closing out the album is an alternative version of the compelling title track. Overall the disc is a return to 70s roots that will please Man’s longtime fan base. – Jeff Melton
Urban Turbans – “Turban Town”
(Point PNTV-119, 2003, CD)
OK, I get the fact that this whole album is a joke. It’s a send-up of good ol’ rock ‘n’ roll (of various flavors) with a Middle East or India twist, a concept album if you will about a mythical band of East Asians dreaming of success in the home of Elvis. Right off the bat they hit you with “Back in the Golden Temple of Amritsar” which is close enough to “Back in the USSR” to tempt lawyers (or prompt Lennon-McCartney writing credits in this case). The jokers (I mean that literally) behind this are Micky Jones and Martin Ace of the Welsh group Man along with Paul Durden, and I can only imagine that it sounded like a good idea after too many pints at the local pub, and that they got into the studio before the drunk wore off. Why they actually carried through with the project to release a CD is beyond my imagination. Parts of it are decently done, but the inept Elvis impersonation is tedious, and the attempt at Beach Boys harmonies never gets off the ground. No doubt this CD will be on the want list of hardcore Man collectors, but I suggest putting it towards the bottom, after Martin Ace’s Bathroom Tapes. – Jon Davis
[www.voiceprint.co.uk]
Men Without Hats – “No Hats Beyond This Point”
(Cloud 9 157909604294, 2003, CD)
Anyone who paid attention to pop music in the 80s will surely remember Men Without Hats. “Safety Dance” was a bouncy techno-pop gem that insinuated itself into your brain regardless of your feelings about it. “Pop Goes the World” was essentially a rerun of “Safety Dance” – another catchy chunk of sequenced analog synthesizers, drum machines, and distinctive gruff quavering vocals. After that, most everyone lost track of them. They retreated into the Canadian wilds from whence they had emerged. In actuality they released a total of five albums, the last one in 1991. Does anybody remember Sideways? Didn’t think so. And now they’re back with another set of tunes cut more or less from the same mold as their old hits. Brothers Ivan and Stefan Doroschuk have concocted another set of catchy tunes, mainly using the bright synthesizer tones of their heyday, with a few accents from guitar and violin. While there’s a fair amount of variety in tempo and density of arrangement, all of the tunes are instantly recognizable as MWH due to the combination of Ivan’s voice and the sequenced backing. The melodies are catchy throughout – one of the most memorable is “Telepathy”, with its chant of “Internet killed the video star” – even when the topics turn (a little) serious. I’d like to think there’s a place in the world for music like this, so blatantly anachronistic, but skillfully made with true intentions. – Jon Davis
[www.cloud9records.com]
Ark Brainsold - "Ark Brainsold"
(Urban Pyramid UPY1CD, 2002, CD)
Ark Brainsold is the alternative rock brainchild of bassist Steve Hanley and drummer Paul A. Hanley (both ex-The Fall). Vocalist Pete Keogh formerly of Marc Riley and the Creepers was tabbed as new singer after failed attempts to get the project off the ground. Together with journeyman guitarist Colin Burns (promoted from sound tech role), the basis for a new English group with attitude and a unique identity was created. Comparisons to The Fall and even the Clash persist through out the disc’s eight pieces. In fact “Trophy Wife” lyrically displays the maturity of many a rock and roll ode to lust. “King Solomon’s Mines" contains the kind of riff and groove that would work well in a small club environment. The longest track on the disc is “My Victory” a slice of romance gone sour across a plaintive guitar riff. Closing out the disc is perhaps the best piece on the album propelled by a fuzz guitar that offsets a pulsing bass line. The Multi-media video of “In My Life” shows Keogh going through some standard posturing with the typical panning multi-camera effects. Overall the group could make a higher profile with the proper push, and could make serious inroads into the BBC music scene. - Jeff Melton
Pineapple Thief – “Variations on a Dream”
(Cyclops CYCL 129, 2003, CD)
I have to admit to being behind the curve on Pineapple Thief, though they are clearly the “next big thing” on the prog scene. To my mind, however, they are following a bit too closely in the wake of Porcupine Tree (are the similar names just a coincidence?), even down to the lineup that sports frontman/singer-guitarist Bruce Soord, his brother Adrian on keys, Mark Harris on bass and Nick Lang on drums. This spin-off of Vulgar Unicorn now has several releases under its belt and is starting to make some noise on the other side of the pond where comparisons are being made to major names like Coldplay and Radiohead. On these ten tracks the group cuts an art/prog-pop path of angst, melancholia, and shoegazer sensibility with song titles like “Run Me Through” and “The Bitter Pill.” The ten basic songs are deliberately simplistic, allowing the emotion and drama in the arrangements to give each its power. It’s a well-proven formula, even down to the use of strings and brass, best demonstrated in the opener “We Subside” and the instrumental “Resident Alien.” Keys are sparingly used with voice and acoustic guitar usually providing the core building block of each composition. A range of styles are covered from Smashing Pumpkins edginess in “This Will Remain Unspoken” to P-Tree dreaminess in “Vapour Trails” to Anekdoten’s intensity in the epic “Remember Us.” Though I think others do this kind of thing better, fans of the aforementioned bands should still give this a listen. - Paul Hightower
Scarlet Thread - “Psykedeelisiä Joutsenlauluja”
(Mellow MMP 448, 2004, CD)
I know virtually nothing about Scarlet Thread other than the fact that they are Finnish and appear on the Kalevala epic collection. In spite of the first word of this album’s title, I would not describe them as being a psych band, more favoring a slightly symphonic progressive sound sometimes reminiscent of Genesis and Sinkadus, and sometimes a little like the quieter side of Ånglagärd. The all-instrumental pieces are well written and arranged, with varying sections and generally strong playing. In addition to guitar and keyboards, both violin and flute take lead roles, and there are some nice harmonic and countermelodic parts for the violin. All in all, it is quite pleasant stuff, though a few of the transitions between sections seem a little awkward, and I swear both violin and flute have some moments where intonation is problematic. In spite of the variety of instrumentation, the music is a bit thin at times, though improved production could probably fill out the sound easily. Still, much of the CD feels like backing music for some other lead voice or instrument that is missing. As a first effort, this shows much promise, and I don’t doubt Scarlet Thread can become something very interesting, especially given some good production and sensitive guidance.- Jon Davis
Hidria Spacefolk – “Symbiosis”
(Silence SLC 009, 2003, CD)
In this case, you can judge the book by its cover, so to speak. The overtly stylized artwork and barely-legible lettering of the fold-open cardboard CD cover takes its cue from late-sixties psychedelia, and the music inside seems to have similar root origins, at least in spirit. The nine tracks are lengthy open ended modal instrumental space-rock jams – often with a strong eastern flavor, powered by churning, swirling electric guitar mania, acoustic guitars, beaucoups synthetic special effects, occasional mallets, mandolin, violin, jews harp, flute and sitars, and a repetitive pulsating trance-like groove set up by bass, drums and additional percussion. Sometimes the sound approaches a sort of trance-like techno vibe, though that tends to be the exception, more often staying closer to a tried-and-true space rock character. The sparse liner notes lend no clues, but my guess is that this is a six piece of guitars, bass, drum kit, hand drums/percussion, synth/effects, and a second guitar doubling on all the other stuff (aforementioned). The lead guitarist more than occasionally reminds of Dave Gilmour, with his echoey sliding style soaring over the top of the busy proceedings, while the opening two-part “Terra Hidria” employs some understated female space voices floating amid the chaos. Highly recommended to fans of Hawkwind, Ozrics, and the high-powered psychedelic rave-ups of Hillage era Gong.- Peter Thelen
Dac Crowell - “Harmundum”
(Suilven recordings 003, 2003, CD)
What to say about a nearly hour-long recording of a simple chord progression stretched into a single piece of music? In a word, amazing. Totally captivating, American ambient artist Dac Crowell takes his training from Karlheinz Stockhausen and converts it into something that’s a delectable cross between Steve Reich’s Music For 18 Musicians and the single tone poems of drone artist Jliat. Like Jliat, the music goes for long stretches with little changes, except that the mind hears subtle colorings that may or may not actually be there. Like Reich’s master work, the music has a definite progression, belying the seemingly static nature at any given point. The result is completely hypnotic, causing you to, as Crowell puts it, “listen within.” Words like mesmerizing, alluring, compelling, entrancing, they really don’t do Harmundum justice, so strongly does it pull you in to its unique sound world. Be prepared to be drawn in fully, not wanting to leave. - Phil Derby
Stephen Partridge and David Cunningham – “This is a Sentence”
(Piano Piano 511, 2000/2002, CDROM/DVD)
Every so often an artist releases a work that is difficult to categorize due to the process taken for a desired reaction. This is a Sentence is a commissioned work and a project best seen rather than heard. Stephen Partridge is a multi-media artist specializing in video; his best-known works from the mid 70s are the Video Show and the Installation Show at the Tate gallery. He also occupied the Head of School role at Dundee in 1993. David Cunningham’s punk associations with the Flying Lizards and later with John Greaves (ex Henry Cow and National Health) are just some of the musical endeavors he has undertaken. Together the two pioneers create an inroad into territory that is neither music nor mass media produced. Instead we have a series of images with word association that directs the viewer down a path of mystery, comedy and discovery. As extension of previous video works together, the artists have merged and refined their approach since the publication of There Are Some Things You Can Only Do in Private and the short video, Sentences. Overall the conveyance is meant to generate a perceptible reaction to a series of queries of “Is this a Sentence or Word?” cycling across the screen. Musically, Cunningham’s accompaniment to the imagery is often stark and startling, aiming for recognizable effect. In summary, this CDR is a one of kind project worth investigation at least once. -Jeff Melton
Present Music Ensemble – “Haunted America”
(Innova 590, 2003, CD)
The Present Music Ensemble consists of fifteen musicians, with configurations and line-ups varying on each of the three compositions here, which are by Jerome Kitzke, Michael Torke, and Kimmo Hakola. In Kitzke’s 18-minute “Haunted America”, the instrumentalists, in addition to their regular performances, are encouraged to shout certain phrases or even random gibberish at different intervals. The music, lyrical and playful, with a prominent string presence and a great deal of subtle counterpoint, suffers whenever such outbursts occur. It’s still a good composition but the weakest of the three in my estimation. Torke is the only composer I was previously familiar with, and his fourteen-minute “Song of Isaiah” is the kind of sunny minimalism I remember enjoying so much. It reminds me a bit of Reich’s “Tehillim” with female voice reciting psalms over dual percussion and sinuous string melodies, and the winds and strings often repeating the vocal line in pseudo-canonical fashion. Hakola’s five-movement, half-hour “Chamber Concerto” takes up the remainder of the CD. This is a darker work than the previous two, with an early-20th Century seriousness to it, and the liner notes’ comparison to a Bartók quartet is quite justified, although Hakola makes use of many more tone colors, such as the lone, lonely trumpet in the third movement, the rolling piano, the somber winds. In many ways it’s like early Art Zoyd but more melodic and less chaotic, with its menace manifesting itself more subtly next to the sporadic frenetic outbursts. This is a fine release of contemporary classical music. – Sean McFee