Akron/Family & Angels of Light
(Young God, YG30, 2005 CD)
Meek Warrior
Young God, YG33, 2006 CD
Peaceful droplets emerge to deposit us on a plane of squeezing voices gently chiding a plane of aberrant existence. There is quite a bit of hubbub about this agglomeration of miscreants and it must be due to their far-reaching attempts at varied aesthetics within the context of their recordings. I smell snatches of attempts to touch the canons of John Fahey, Big Star, John Cage, David Axelrod, Elliot Smith, and Sondre Lerche (a little too much rippage in the vocal department styling and not pulling it off very successfully, sorry, no, not at all endearing, too breathy and nasal). The stuff is decently played and certainly adventurous, yet mainly serves as fodder for the cost of being hip in the mid-2000s: being aware of New Weird America as a musical movement. Unfortunately, I found myself continually waiting for their work with the Angels of Light to lift off the ground and get really interesting, to little reward. At best it is pleasant enough, and cloying at worst. Turns out that the 2005 split-album is in reality the compositions of Michael Gira (father to Angels of Light and owner of the Young God label) for one half and then having Akron/Family backing him for the rest of the sessions, without adding much of their own personality. In comparison, their second solo effort, without Gira, Meek Warrior, is much more compelling. Punching up the gasohol quotient and out-and-out rocking is more the mode there, with a bit of mild-mannered alternative cum rockabilly with a progressive pallor; twining its branches on free jazz expressionism. The eclectics of Ornette Coleman and John Zorn come to the fore in the second half of the opening cut. After that squonking outburst, they slip into tribal-esque commune hippie jam style. Hand drums, harmonium, muted elongated horn tones, and acoustic guitar to the fore, reveals an initially sophomoric attempt at delivering mantras proper. After a few songs, though, it begins to gel and they get into a richly interwoven dirge-like trance with chanted multiple vocal parts in a rollicking tumult for a spell. Shortly therafter, they fall apart again, intensity-wise, as they felt the need to tear into an a cappella Appalachian devotional ditty for the closer, repeating "love and space" at the end of a hackneyed musing. These cats are from the sticks, it shows, nonetheless they are breaking into city living and stateside touring minstrelsy alright. — Cesar Montesano
Eleven Theatres
(Hector Stentor hs04, 2006, CD)
Hailing from Oakland (always a good thing!), ABA is essentially an instrumental g/b/d trio with each member playing various additional instruments (electric sitar, Theremin, samplers, organ, synth, piano guts, etc.) plus a fourth member dedicated to signal processing, sound manipulation, and such. The latter is a most important element, as there are sections where much of the sound is heavily processed into a chaotic organic swirl, yet still recognizable by the instruments that produced it. Theremin makes its first appearance early on, followed by an aggressive, snarly, almost-punk piece in odd time, completely saturated in heavy distortion. "Apocalypse Dove Song" slows the pace down a bit and brings back the heavy processing. At that point one realizes there's a lot more than the basic three at work here, when saxes and trumpet make their entrance, capably supplied by guest musicians, and it becomes clear how bizarre sounding this band can get, occasionally even reminding of The Residents in their heyday, although Mr.Bungle is a more obvious reference point. All of the writing is very unconventional. Eight minutes of "Banda Aceh" underscore this also, from its take on surf beat to the siren-like Theremin musings over squeaks and found sounds. But eventually some ideas start repeating, and just because you can make a 72-minute CD doesn't mean you should; as the disc plays on past the 40 minute mark, one realizes that much of this could have been presented more concisely. Still, a very promising debut. — Peter Thelen
[www.theatomicbombaudition.com]
Evasioni & Fughe
(NBB Records NBB-11, 2003, CD)
La Contrabbassata
NBB Records NBB-14, 2005, CD
Alberto Pocini is a double-bass player from Italy who's played extensively in his homeland as well as with the London Symphony Orchestra. Pocini's After Genesis project (also in this issue) attests to his varied musical interests, with his strongest passion being for his instrument. He founded NBB Records as a vehicle to promote the contrabass in varying capacities, from its use in traditional roles to the most creative use of the instrument, limited only by the imagination of the performer in question. The Bass Gang is one such vehicle, offering the bass as supportive and lead instrument in a concise, popular type format. Its core is a group of four musicians using the double-bass exclusively to render familiar works from many genres. Pieces from Glenn Miller, Gershwin, and Van Halen are included alongside popular and lesser known classical pieces. Evasioni & Fughe includes Weather Report's "Birdland", while on La Contrabbassata we find a piece that arranges snippets from Tchaikovsky, Brubeck, and Webber into a seamless jaunt in 5/4. There's a limited range of colors available in such a project, but listeners might be surprised at the flexibility of the instrument when removed from the confines of its usual role. The musicians are free to elicit dynamic or tender solos, along with the occasional use of percussive tapping to help fuel the fire in some of the more animated pieces. The considerable classical lineage of the group is no impediment to their finding a groove. Band member Andrea Pighi is mostly responsible for the impressive transcriptions and arrangements, ranging from the nearly aggressive to the lovingly gentle, with a variety that prevents a play by play review. The Bass Gang is unlike much of Exposé material, wildly varying though that may be, yet it's a uniquely pleasant diversion. Readers may prefer to start with Evasioni & Fughe to avoid their most blatant pop exercise of Van Halen's "Jump", a truncated version of which opens the second disc. However, La Contrabbassata does have the added interest of being recorded live with added guest bassists, though the recording does not include audience reaction. — Mac Beaulieu
Hands Without Shadows
(M.A.C.E. Records 1-11-11-11, CD, 2005)
Chicago's Michael Angelo Batio is a big name in heavy metal guitar, though he's never risen to the level of a Steve Vai or Joe Satriani. His claims to fame include patents and awards, though the distinguishing feature about him is his speed-I've never heard a faster player-plus the ability to play two guitar necks simultaneously. For this he's had a special instrument built and in the past he even demonstrated his abilities on a 4-necked guitar! Hands Without Shadows (the title comes from fans commenting on the speed of Batio's over and under the neck hand moves) is like Steve Morse's recent Major Impacts in that it largely pays homage to Batio's influences (Jimmy Hendrix, Led Zeppelin, Randy Rhodes, Metallica, etc.) while providing vehicles to display his guitar prowess. Most tracks feature Batio, usually multi-tracked, supported by William Kopecky on bass and Bobby Rock on drums with guest guitarists sitting in on a few songs. Both originals on the disk will appeal to prog metal heads with enough complexity in the arranging and variety of stylings to keep things interesting, though I preferred "Pray On, Prey" where guitar leads are more coherently wedded to the rhythmic foundations. For the majority of Exposé readers, the incessant wailing, shredding, and general circus-freak displays of finger speed on this CD won't take long to get under the skin so I'd not recommend it. While Batio is certainly a badass player, metal guitar-heads need only apply for this one. — Paul Hightower
Play Again
(Musea, FGBG 4661.AR, 2006 CD)
Thick and chunky spacerock mannerisms assault unsuspecting onlookers before settling into the interactive stylistic conflagrations that expansive progressive rock is known for. This is classic symphonic veering out of the same cavernous recesses as Pink Floyd, sections of classic Genesis, a less dramatic Van Der Graaf Generator, and the softer moments in early King Crimson. Hailing from the seventies' British school of the genre and they show that they have learned the lessons of their ancestors well. Taking full advantage of modern production techniques, they bring a sharp crispness that adds a great deal of sheen and detail to their presentation. Halfway through, it advances the sound to a more mid-nineties slant of extended alternative rock, but not post-rock. It is well mastered and very competently played throughout. Good stereo separation adds depth to this recording. The only thing one could ask in a release such as this is a little less aping of the form in general and taking a few leaps to establish an identity for themselves as a singular unit. In essence, fusing in more of their own personality. All in all, a good album that will not fail to impress most listeners. — Cesar Montesano
Native Lands
(Half Note HN4525, 2005, CD/DVD)
Drummer Will Calhoun is best known for his work in Living Colour with guitarist Vernon Reid. Native Lands is a release showcasing the influences of jazz, rap, and world music on Calhoun's approach, and the perspective he brought to Living Colour. It's not unlike listening to ex-Zeppelin John Paul Jones albums where secrets of the band are revealed in the work of the solo artist. This album strikes a balance between the music where the artist plays all the instruments and those with his fine band (pianist Orrin Evans, trumpeter Wallace Roney, tenor player Pharaoh Sanders, and bass player Buster Williams). Guest Kevin Eubanks plays blistering guitar on "Pyramids" while a version of Wayne Shorter's "Nefertiti" is reminiscent of Teo Macero's and Bill Laswell's Miles manipulations. "Umoja" is a tour de force for the ensemble, with a memorable solo from Williams. "Three-Card Molly" features Antoine Roney (Wallace's brother) on soprano sax, and a superb solo in the jazz tradition by Calhoun. The duo of Nana Vasconcelos and Calhoun serenely craft the title track. The DVD portion of the release provides a series of presentations pertaining to Calhoun's world travels. The best of these is "Tigris and Euphrates", featuring Stanley Jordan in a much more aggressive performance than anything we've heard on his own records. Overall it's clear that Calhoun is a master of many styles and how to use those influences in his own efforts. If his work in Living Colour made you curious, by all means give this one a try. — Jeff Melton and Scott Steele
Nostalghia – Song for Tarkovsky
(ECM ECM-1979, 2006, CD)
The films of the late Russian filmmaker Andrei Tarkovsky have been widely acclaimed in international circles for over thirty years. Pianist François Couturier has taken as inspiration characters, themes and specific actors from many of Tarkovsky's best known works for twelve tracks of spacious sound poems created late last year as an homage to the empathic icon. In a similar fashion to Jan Garbarek's "All Those Born with Wings" and Arvo Pärt's efforts, the challenge of the composer is to capture the essence of mood and theme and transform them into a meaningful juxtaposition of melody and cadence. Couturier's best conceived ideas draw from Tarkovsky's best known imagery as heard on "Crépusculaire (for Sven Nykvist)" (who was one of Ingmar Bergman's actors in Winter Light) and "Stalker (for Edouard Artemiev)" (who composed accompaniment for Tarkovsky's three best known works). The former piece is a moody excursion into a fog of forlorn mystery with Anja Lechner's cello embodying the main theme of the piece. The latter track recreates tension and release well with Jean Marc Larché imparting a serene soprano sax line. Overall the subtle performances of the small ensemble carefully extract empathy for the unique subject matter rather than just inform. — Jeff Melton
Ships
(Secretly Canadian SC-103, 2006 CD)
An erstwhile aberrant choir of miscreants, stumbling over themselves to get their operatic avant-garde leaning message out, might seem daunting at first. Sure, initially there will be a short sharp uptick to accustom and accept the fact that this is how the thing is done at the outset. Once strapped in, though, it's like a ferry ride through a carnival. Freaked vocals in a higher register bumble unabashedly down a bed of acoustic-led tumult. Niche like the kitsch of Tiny Tim, loads more palatable, yet no less nutty. If you like bouncing off the walls with glee and revelry as a time-shifting escape, this is the stuff for you. High spirits abound through the tracks being played with the reckless abandon of childhood. It is easy to say that nothing else sounds quite like this vacillating anomaly. It is continuously darting back and forth from one fellow setting his tunes to the ground to him being joined by a gaggle of others to relish the feisty conditions of romper room and succeed with the pride of young adults making coherent songs together. This is happy music and there is no doubt whatsoever that the bunch is having a grand time in producing and presenting it. A swollen cavalcade of humorous smiles shall forever accompany the playing of this album. A friend, encountering the unruly creature of Danielson, sprawling across his speakers, paid it little mind. A couple weeks later, he was totally hooked. Could happen to you too, total grower. — Cesar Montesano
Ded Ahead
(private release, 2006, CD)
Life in the past lane. Call it retro, but rock music like this just isn't made anymore. On their fifth full-length disc this Bay Area trio dishes it up with enough credibility and authenticity to make you believe you're really there again. I'm talking classic rock, of course, from that wonderful slice of time between the late '70s and around 1982, that which emanated from your car radio as you whiled away your misspent youth and searched the world for a greater truth. This is one to crank up as loud as it'll go, one that'll make your foot connect with the accelerator, and one that'll make your body move, but we ain't talking "dance" or "new wave" music here, folks. Consider this: They would be right at home on a bill opening for Bad Company, Foreigner, Foghat, Utopia, or ZZ in the pre-video age. Chief instigator and ringleader is guitarist, lead vocalist and main songwriter Bob Maddoux, the grand architect of all this retro-madness who capably incorporates a synthesis of all the better days of album rock radio into his adroit compositions, replete with a command of the melody, rhythms and hooks that made that music so enduring. And did I mention some great guitar playing? The potent rhythm section of Steve Lafond and Julio Garcia, playing drums and bass respectively, constructs the framework for it all, with both providing supporting lead and harmony vocals. All said, Ded Ringer is a mirror of classic rock's finest hour. — Peter Thelen
[www.geocities.com/ded_ringer_rocks]
The Getty Address
(Western Vinyl WEST032, 2005, LP/CD)
Dopamine on crutches flying straight to the heart of freak-folk Americana. Welcome to the song cycle of a cloth cut from the same material as Van Dyke Parks' most evangelized piece of work, updated to mix in with the contemporaries in this burgeoning branching tree waving its arms about like a herd of bearded goats. Acolytes of Devendra Banhart, Joanna Newsom, and the bevy of others that make up the multicolored strip of this new hoisting flag sweeping across the nation and some parts of the globe. Total resurgence of the much maligned sixties and seventies Wyrd-Folk genre is afoot. The Dirty Projectors are merely dusting off the lenses from that sordid overlooking and incorporating a bit more electronics than those forethought folkies had access to. Overall, it is an acoustic affair with a host of string and percussion instruments to round out the sound. Vocals are seemingly slightly overdubbed. Perhaps a lick of Tea & Symphony streaks though behind the curtains. As a sign of the times, this affectation in stylistic mood takes an upswing down the beat-oriented inflection as well. A very soothing section comes to a head about forty-odd minutes later whereupon massed voices pair up next to where a wafting violin lies in wait for periodic rhythmic emancipation. — Cesar Montesano
Rock It to the Moon
(Too Pure PUREL196, 2001 CD)
The Power Out
(Too Pure PUREL142, 2004 CD)
Axes
(Too Pure PUREL162, 2005 CD)
Contortions for dirigible apoplexy flex muscular curvatures in modern sound passing raiment unto itself, ballooning into monsoon walls with torque and cresting on a fine knacker. Galloping seesaw manacles bind the inner ear to Electrelane impulse throttling to tilt a bend of trip-hop indie-prog. These women fly a tough-hewn composited-from-scratch rocket through impenetrable black matter as if knifing butter. Warping across temporal lobes is mere child's play, swimming with well-thought ideas that build and feed off one another suitably in form, brimming with synergistic frenzy. Most ventures exhibit so many spots of styles on the debut that there are likely still scalpers lollygagging about the outskirts of the cutting room, hawking trick tickets for the farther moonscape. Waning on drone ascent makes the preceding proceedings seem to have been a figment of rumination. Versatility is a clutch for prowess, yet the downturn in tempo is so drastic and sharp to the minimalist that the effect comes off as slightly psychotic on the literal shifting point at track nine. Immediately following that muffling display of listlessness, their attack shifts to full-on metronomic krautrock vestibule felled from strains of La Düsseldorf and solo Michael Rother which are further salted by cries of Can, Neu!, Amon Düül and then peppered by the influence of Gunther Schickert, Achim Reichel, early Ash Ra Tempel, and the Velvet Underground's "White Light/White Heat" to close out with an eleven minute magnum opus. Moving a few years forward, we get an amalgam of direct post-punk aesthetic and the hip swanksterism from the freewheeling sixties. An unexpected meeting at the crossroads of Polyphonic Spree Avenue and Raincoats Street with a whiff of Flying Lizards' breath busking out of a mouth that has flecks of Mazzy Star in its teeth. Spanish travel lea, minimal piano and drum duet, sly and dulcet, sliding into a new wave finale. At this point, you would expect another whole turn of events to transpire on their third album; a new veering into something totally different. Not the case, exactly. This time they chose convention and directions heretofore successful for them up until that point. Combining prior methods into an agile combustible hole through the speakers, their wailing indie spirit is woven into a bed of heady krautrock, straddling a trapeze line between Stereolab and live Polvo. Adding in a fire. For the most part, they remain true to this formula, until, as per usual, it comes time to move the playing field. This time it is strictly experimental improvisation tactics from the Derek Bailey school, then transmuting itself into a hodgepodge of arrhythmic outbursts and tomfoolery. Eleven minutes later, they return to the previous form with a vengeance, looking to channel energies of Siouxsie Sioux napping on Pavement. A fitful thing. To finish, out come the robes and choral work again. Best to investigate these chronologically. — Cesar Montesano
Gallowsbird's Bark
(Rough Trade/Sanctuary RTA-83226, 2003, LP/CD)
Blueberry Boat
(Rough Trade/Sanctuary RTA-83239, 2004, CD)
Rehearsing My Choir
(Rough Trade/Sanctuary RTA-30060, 2005, 2LP/CD)
EP
(Rough Trade/Sanctuary RTA-83256, 2005, CD)
Bitter Tea
(Fat Possum FP-1033, 2006, CD)
A circus medley of distinct musical apparitions like a non-nasal Holy Modal Rounders of the twenty-first century with equal parts Jonathan Richman, The Velvet Underground, and Grease! Hey, Rizzo! Listening to these two maniacs is a rollicking frenzy of traipsing through some homemade musical mobiles. A blaring soundtrack to being happy with all that life throws you can be a whole hootenanny's worth of fun. The fact that this brother and sister duo have half a pork chop each, ingenuity, and a wild sense of jumbled humor, kicks the proceeding aural pleasures into high gear. Put button-downs on the Ween camp, jump into your favorite Jimi Hendrix go-go boots, and saddle up next to a computer to make up your own ditties, infectious and inspiring is their main à la mode. The Fiery Furnaces' attitude is certainly to be commended and lauded alike, there are too few bands willing to take risks to be a fraction of this unique. Some of it is certifiably genial. Idiosyncratic as they may be, the allusions and references to Captain Beefheart and the Residents which are being bandied about are only applicable when seeing though a limited and skewed looking glass. The missing ingredients are: maniacal genius and the calculated madness of the exactitude from crudeness exhibited by these past masters of insanity in their output. Any mention of Slapp Happy, Art Bears, News from Babel, or any of their many axes is downright blasphemy — don't believe it. There are more prevalent influences present in their catalogue. Spates of Roger Powell keyboard arpeggios, snatches in Mort Garson-speak, and Duncan Browne-isms, or is that Elton John? Maybe a little of both. All these random mumblings aside, this is a hot new band with lots of spunk and spirit. Consistently awe-inducing? Not necessarily, but there are many flashes of brilliance. Regularly astonishing? Sometimes they even manage to blow you out of your chair with inventive ditties and abstruse stylistics. Super-catchy every so often? Gosh, yes! This is the next wave of the DIY movement that began in the late seventies and flowered into full force through the eighties. Here we have heralds, intermingling the tempestuousness of the mid-nineties burgeoning indie scene with its natural predecessor on a catwalk, strolling. Being somewhat at the vanguard of the left-field neo-indie-freak politic, they have a cult following, of sorts, ready to gobble up every morsel and call it ambrosia. I have yet to be inducted into such a morass of acquiescing characters, although I can surely attest that they have talent and verve, in equal parts, quite a bit of each. This portends well for their future recorded career even if it does not reflect into what is presented from their stage performances. Amateurism has its place, leading to many a breath-taking result when all care and worry is flung to the far winds. This pair do that in spades and come up with pieces that are analogous to so many platters of buffet sandwiches. I used to buy fine Italian cold cuts, crusty breads, tangy mustards, and varied cheeses from an old world style market. After some time I found that they taste of all this deliciousness was not as fresh as it once was. It took me a while to realize where my folly was stemming from. In my eagerness to enjoy all and every flavor, without delay, I had summarily been making what basically amounts to the same combination ad infinitum: an "everything" hoagie. Once I recognized this folly, the true experiments of expression began by my making significant choices and decisions on what to include and what to leave out. This sort of jurisprudence with regard to the kitchen-sink aesthetic dominating the body of their releases should net many a catch. Listening to all of their albums in a row is exhausting. It can be likened to a storytelling defibrillator engulfed in acts of non-sequitur editorial. They could use a healthy dose of curtail prowess to match their notational wits and nestle these sprawling albums into tidily whittled and concisely expurgated ephemera. But that is what everyone else is saying anyway. Start with EP, it's their most cohesive and controlled. Then proceed to Blueberry Boat for addled zaniness, Bitter Tea for a logical conclusion, Gallowsbird's Bark to get into how it all began, and then, only then, when you are ready to be fully immersed in their familial world, grab the last piece of the puzzle with their grandmother in tow: Rehearsing My Choir. — Cesar Montesano
On an Island
(Sony/Columbia 1CK680280, 2006, CD)
Longtime Pink Floyd Guitarist Dave Gilmour is living the perfect rock star dream. Having completed the unlikely Live 8 reunion and sidestepped label pressure to restart the band, the guitarist enlisted the same studio and friends who have been playing music together over the last few years to come up with his third solo record. Still on display is the man's trademark Stratocaster which has lost none of its sting, as heard across the entire disc. His songwriting has justifiably mellowed over the years which is also to be expected, but there is also still a strong sense of compositional purpose and delivery. Pulling in Crosby and Nash to lend well-crafted backing vocals for the title track was a smart move considering their work together on notable hits such as Jackson Browne's "Doctor My Eyes". Much of the recording is pretty sleepy but evenly paced ("The Blue", "Red Sky at Night" and the closing track "Where We Start") giving a mood like an exotic Caribbean vacation, much like the pictures on the sleeve. Long-time friend Robert Wyatt also plays a friendly cornet outro solo to "Then I Close My Eyes" which paints a distinctly pastoral watercolor scenario. In summary, On an Island finds the veteran blues man in comfortable form without any angry axe to grind, having replaced it with a well earned serenity. — Jeff Melton
Sundiving
(Faith Strange Recordings FS-6, 2005, CD)
Introducing a world where standard sci-fi is just too darn human to be plausible. If there are any advanced life forms out there taking joy rides through post-supernoval remnants or losing the space police through the Fornax Dwarf Galaxy then surely this is their Muzak. I can easily imagine a gathering of bizarre extraterrestrial freak forms listening to this and doing something entirely unlike... ok, fine, maybe I can't imagine it quite so easily. Mike Fazio is the brain behind this project, utilizing among other things, "granular and modular synthesis technology at the software level," while percussionist Thomas Hamlin contributes effected percussion and percussive effects. I'm sure he contributes brains too, but you know what I mean. It's an interesting extragalactic world they've come up with, but the strident electronic percussion that repeats through the 38 minute opener annoys. Elsewhere the rhythms can be prominently monotonous as well, but they aren't as electronically brusque. "Slick-O-Phonic" opens like a futuristic "Tomorrow Never Knows", complete with a simulated sitar drone and Starr stuttered drumming, while the following track's trance beat probably finds our alien freaks space-moshing. Real instruments used are altered through analog and digital processing, generally beyond recognition. The occasional organic sounds make one sit up and take notice. They're inventing sounds to make music, a concept that to be honest is not entirely unlike what Kraftwerk did years ago, except GoE are not aiming so much for musicality. — Mac Beaulieu
Tombstone Wax
(Pug, 2005, CD)
And now for something completely different... How about a new surf-rock album from the Midwest? Guitarist Bill Bulinksi started his recording career in the mid-60s with a band called The Electras, and formed this band in the 80s. He brings them back together every now and then (their debut CD dates from 1997), and this time they recorded a set of 17 instrumental rock tunes. And while it might be said that a whole new album of tunes reminiscent of Dick Dale, Link Wray, or the Ventures is redundant, well, you only have to listen to get caught up in the peculiar magic of this kind of rock. It's just so darn much fun. And to be fair, the Greaseballs do mix things up by featuring an acoustic guitar on the rhythm parts on many of the tunes. The melodies are catchy all around, often bordering on the familiar, with sly nods to some classics like "Walk Don't Run" tossed in for good measure. The key to being successful in a relatively restricted genre like this is balancing variety with familiarity, and they manage that by giving us the occasional slow song, or mixing in Middle Eastern modes, or giving a nod to Roy Clark like electric country picking. Plus, you have to bend the notes in just the right way, and Bulinski has that down pat. I can think of a lot worse ways to spend forty minutes than bobbing your head to fun stuff like this. — Jon Davis
Himalia II
(Great Winds GW-3110.AR, 2006, CD)
As the title suggests, this is the second album by this French jazz-rock unit based in Burgundy, although the very existence of a first album is somewhat sketchy. All of the elements required for greatness are here: five excellent players on drums, tenor sax, Fender Rhodes, electric bass, and guitars; a skillful composition set rich in melody and rhythmic sophistication that still allows for plenty of improvisation; musicians who know when and when not to play, and the blessing of influence from great ones who have traveled this road before them — among them Nucleus, later Soft Machine, Weather Report, and others. So what gives? Most of what we have on this disc is certainly excellent, if a bit generic at times, but that fire — the raw burning energy and passion that moves this sort of material out of the excellent category and over the top into the sphere of greatness is often hinted at, but only achieved in places. Too often the band finds a comfortable groove where instrumental perfection substitutes for the all-out mania that cuts loose from the shackles of flawlessness. Still, these guys come pretty close to the target, and that's good enough to warrant a listen or two. A lot of promise here. — Peter Thelen
Live
(Classic Pictures DVD7044X, 2005, DVD)
The live DVD documenting Howe's touring band featuring two of his talented sons is a testament to the guitarist's artistry and identity. Howe had hinted many times in the past how much he would like to take his own music on the road and showcase the various elements of his songwriting and arrangements. Additional guitarist Ray Fenwick adds a much needed foil to Howe's solo passages along with layered chordal backing from Virgil Howe. Best performances include "Sensitive Chaos" where Howe spends much of his time riffing on Stratocaster. The guitarist's classy country leanings are also evident from "Country Viper", "Pennants" and "Diary of Man Who Vanished". From pedal steel guitar to short rags and flights of fancy it's a well thought out vehicle. Yes fans will also be pleased by the inclusion of his excerpts from "Close to the Edge", "Würm" and "America" as well as his rare solo renditions of "The Ancient" and "To Be Over". The solo acoustic guitar performance section spans seven pieces including the passive "J's Theme" and his version of "Intersection Blues" that leads into his signature piece, "Clap". The interview portion of the disc is also sweet if only to hear the two sons gushing about working with dear old dad. The tour diary section also shows the group playing intimate settings with a good crowd response. Overall this is the best representative film of where Howe is at this stage at his career and it's a must see for guitarists. — Jeff Melton
Into the Loud
(Atom 0604, 2005, CD)
If you ever wondered what's up in Dayton, Ohio, Nick Kizirnis may be able to offer some clues with his first solo release Into the Loud. A veteran of numerous other Dayton area bands (Cage, Eyesinweasel, Mulchmen, Nicky Kay and His Fabulous Kay Tones), this is more than anything a very fun and rockin' disc of fifteen songs that range from post-punk new wave rock to singer-songwriter to modern alternative, informed by surf rock, rockabilly, and even British invasion. The aggressive and catchy, hook laden nature of many of these tunes, as well as the vocal delivery often recalls late '70s Pure Pop for Now People-era Nick Lowe; these are the kind of songs that quickly get inside your head and keep playing there for days. A talented guitarist as well, Kizirnis often laces his material with electronics (squeaky-boxes, Theremins, harmonizers and such) giving it all a bit of a carefree experimental edge. He does much of his own bass work, but works with two supporting bassists and two drummers on most, and a backing female vocalist on a handful of tracks. This may be too straight-ahead for the prog-rock purists, but for those not afraid to cut loose and rawk a bit, this disc hits the spot. — Peter Thelen
Lilith: The Rock Opera
(True Classical TCCD-020, 2005, 2CD)
Based on the play by Remy de Gourmont, this rock opera adaptation is composed by Kugler. It features God, Satan, Adam, Eve, Lilith, and various angels and assorted baddies. Instrumental backing is mostly guitar, bass, drums, although a tiny army of musicians on piano, horns, strings, winds, are available to help here and there. Some musical motifs recur over the length of the album, a technique borrowed from composers such as Wagner, who fittingly was operating in the same period as de Gourmont. Generally speaking, however, the music exists as a complement to the singing and does not have strong standalone qualities. The concept is grander than the lyrical execution, which is more or less de rigueur for rock operas. The vocal delivery is a bit clumsy too: "conscience" is stretched to three syllables in one case, then on the very next line is reduced to two. Sierra Rein (Lilith) and Jeffrey Stackhouse (Satan) are capable vocalists, Stackhouse is actually pretty strong, while Rein only occasionally goes outside her natural range. Some of the minor role vocalists are clearly not up to the task, with weaker and nondescript voices. The mix is uneven, often burying the vocals too far beneath the instruments. The packaging is nice, with a thick booklet and nice artwork. It is not uncommon in art for the reach to exceed the grasp; it's almost necessary. Lilith: The Rock Opera is no doubt the result of much sweat and hard work, but is severely compromised by lame lyrics and a paucity of memorable themes, and is thus difficult to endorse. — Sean McFee
Layers
(self-released, 2005, CD)
Layers is the second album by Bruce Main, a mostly DIY one-man-album type thing that Main wrote, recorded, and has made available on CD Baby. Brian Phraner from Phreeworld, for those who remember him, plays bass on the whole album. The drums appear to be programmed, or if not they sound that way at any rate. There are eight tracks, mixing songs and instrumentals (which are basically field recordings). As a songwriter Main is about average or below-average; the lyrics are trite, the social commentary boilerplate. The guitar work sounds alright, although if that is your main axe it would seem to make sense to make it more prominent in the mix. The vocals are flat. And for a recording billing itself as progressive rock, it might have served Main well to stray out of 4/4, although that might have required learning how to program more complicated drum parts. As it is this is just a collection of songs, sometimes OK, sometimes lame. I don't want to be any meaner than necessary about this review, but somebody has to be truthful about the quality if this guy's friends won't. It's just part and parcel with the self-released CD era, typos in the booklet and all. Layers should have been subject to the scrutiny of a producer or independent outside voice who could have helped identify the good bits and send the rest back for rework. — Sean McFee
Undivided
(private release, 2005, CD)
With a overweight sense of self-importance, Mojow (Moriah-Melin and John Whoolilurie) embark on their crusade to change the world, political-hard-preaching to the listeners via the absolutely naïve new-agey come-on-people peace-and-love lyrics of nearly every song — usually sung, but occasionally delivered via rapping (a few instrumental tracks here and there provide some relief), most blanketed in the most generic and cheesy seventies-sounding lite-jazz-pop. To be fair, the two are competent multi-instrumentalists playing acoustic and electric guitars, bass, a variety of keyboards and saxes, clarinet, bass clarinet, drums, whistles, accordion, and more, and several of the instrumental tracks (like the folk tune "The Passage" or the progressively tasty "There Is No Spoon") do bear this out. If they could only keep their mouths shut! On and on they go with their cringe-worthy lyrics, delivered with all the subtlety of a drill sergeant yelling in your face. One has to wonder, do they actually believe their own propaganda? God, this is unbearable shite. Enough words wasted on this. Painful with a capital P. — Peter Thelen
Deep Horizon
(The Ambient Mind, 2006, CD)
Progressive metal has been around long enough now that a new release has to have something different about it in order to catch my interest. Scott Mosher does a good job doing that with the first track of this album. Instead of the kind of keyboard playing you usually find in the genre, layers of synths lay down a background similar to Peter Gabriel's "San Jacinto". The rest of the track is more or less standard fare, but that little hook is enough, at least initially. In general, I find the guitar work to be acceptable — we're so used to this kind of playing that it's virtually impossible to make an impression — but the keyboard work strikes me as full of nice touches, providing sweeping ambience rather than recycled Keith Emerson licks. There are also some bits of percolating sequences reminiscent of classic Tangerine Dream. Keyboards aside, much of it reminds me of Arjen Lucassen, both good points and bad, though Mosher is a little less over-the-top both musically and conceptually, therefore easier to take seriously. Singer Scott Olivia is good, with the kind of power and vibrato you expect in prog metal. Another surprise comes from the drums, as it's all programmed, but without reading the credits you might not notice. Well done on that, Mr. Mosher. Perhaps someone else has previously combined space rock with prog metal, but I haven't heard them, so it's fresh to these ears. — Jon Davis
NoVox
(Musea FGBG-4577.AR, 2005, CD)
First off, this disc has to have one of the weirdest and most provocative cover images ever! Go take a look on Musea's website. Now beyond the graphics and on to the music. Some may remember the Dutch quartet Cliffhanger who put out a series of good to excellent albums during the 90s; well, 3/4 of Cliffhanger are now 3/5 of NoVox, the primary difference being — as their name suggests — no vocals. Keyboardist Dick Heijboer. bassist Gijs Koopman, and drummer Hans Boonk have teamed up with two new guitarists to produce this disc of instrumental gems. The twelve pieces here cover a lot of territory, but generally stay within the confines of the traditional realms of progressive rock. The guitarists seem a bit underutilized throughout, and if I'm understanding the liner notes correctly, both guitarists never play together on the same track. Indeed, on most of the cuts this sounds more like a keyboardist's solo album, as the keys have the upper hand in all the arrangements and solo parts. When the guitarists do show up, the band's sound bears a certain similarity to the instrumental work of early Camel (think Mirage). Like Cliffhanger before them, these guys bring a lot of great ideas to the table, work them cleverly into arrangements, and follow up with an immaculate and energetic execution. Fans of Camel, Happy the Man, and similar bands would do well to check this one out. — Peter Thelen
[aud-io-port.freewebspace.com/novox]
Link AWOL — note that there is also a Greek electronic project with
the same name, as well as an American New Age artist.
Zarah – A Teartown Story
(Private release, 2005, CD)
Gradually over the last few years, with the help of Progrock Records distribution, Ricochet is gaining word-of-mouth momentum on the prog metal scene. From the outset the Hamburg band has all the standard goods of a band ready to make an international break out. The group is lead by the powerful vocal range of Christian Heise who can belt it out with the best over the top singers and also convincingly deliver an emotive ballad (as heard on "Silent Retriever" or "Final Curtain"). Symphonic metal is clearly of the styles the quintet has also mastered with "Teartown" and "Cincinnati Road" clearly making dominant statements. The former piece is characterized by blazing guitar riffs and precision drumming. The band can also get a bit slinky with guitarist Hieko Holler at times casting the shadow of the great Michael Schenker, showing economy as well as the right placement for a shredding solo passage (as heard on "Cincinnati Road"). The epic track "A New Day Rising" indicates good song craft and pacing for a multi-theme song in an approach informed by Dark Side of the Moon. The group has done well to shed their influences such as Dream Theater and Marillion to derive a hybrid identity that is all their own. The group's new CD Director's Cut of Life is due to hit in early 2007 and samples of the next step in their evolution are available on their MySpace site. — Jeff Melton
[www.myspace.com/welcometoteartown]
Surprise
(Warner Bros. 49982-2, 2006, CD)
It should come as no big shock that singer-songwriter Paul Simon would be seeking a new sonic vehicle for his well-established career. Given the international success of Graceland it's clear that Simon can distill varying influences into his songs and deliver on high quality efforts that continue to distinguish his career. Enlisting audio sculptor Brian Eno to further extend his lyrical reach has given the composer an edgy outlook that fits the times. Starting out with the riffing guitars on "How Can You Live in the Northeast?", Eno is fully engaged, providing suitable backwards guitar loops to a CD brimming with adventure. In contrast, "Outrageous" is a funky ode to growing older that works as a well crafted dance track due to the rock solid drumming of Robin Dimagio. Jazz luminaries Bill Frisell and Herbie Hancock also make memorable cameos on "Everything About It Is a Love Song" and "War Time Prayers", Frisell's airy leads fluttering over Steve Gadd's incendiary drumming on the former piece; on the latter, Hancock's piano graces an ambient song showcasing Simon's lyrics imparting family hardships. For a 60s artist to create such a vital recording is a testament to close collaboration with Eno. Overall the sound quality on the disc is first rate and a credit to the engineering team for the multiple sessions. — Jeff Melton
Misterioso (Music of Silvestrov, Pärt, Utvolskaya)
(ECM New Series 1959, 2006, CD)
As part of ECM's continuing new music series, enter a semi-classical trio who embrace the quietudes of modern compositional expression with a keen sense of space and beauty by focusing on modern Russian based composers. Alexei Lubimov's piano playing drives much of the duet and trio performances with both his melodic and rhythmic abilities across the nine pieces. His sensitive reading of composer Alexei Silvestrov's "Post Scriptum" excels in the Allegro section, purposefully withdraws in the "Andantino" section and ends pensively in the final "Allegro Vivace, Con Moto" part. Lubimov displays a foundational approached needed to anchor Kyril Rybakov's solo clarinet performance by Arvo Pärt. Pärt's music is well known in the classical realm for his mastery of large ensemble arrangements to render poignant sweeping themes and a somber but graceful delivery. In this context the sparse arrangement gives way to a different kind of openness instilled with dense mystery and tension. On the lighter side, Utvolskaya's pieces have a childlike sense of playfulness and resolution which the trio easily embraces in the first "Espressivo" opening part. The countermelodies played in the "Dolce" section are a bit obtuse by plan, thus creating a natural discomfort but retaining a careful structure. The nineteen minute "Sonata for Violin and Piano" closes the disc with both Lubimov and Trostiansky leveraging individual skill with favorable adaptation delivering an amicable ending. Overall the trio clearly demonstrates mastery and purpose in performance of the composer's material. — Jeff Melton
Lontano
(ECM B0007152-02, 2006, CD)
Piano tinkling in the moonlight of a muted trumpet stutter, Miles Davis' lighter moments. Very easygoing and mellow music, perhaps best served with a fine cognac and some throw pillows in front of a warm cedar log fire. Romantic and sensual without surprises nor much in the way of adventurousness. For the most part, a slew of sweet ballads here to soothe the nerves and calm the addled workday world's effects. Slink onto your most comfortable sofa, dim the lights, and kick your feet up to take a well-deserved load off because it's time to relax in an old world jazz style. A very conventional outing here, so much so that half of it would not be out of place in the early to mid-sixties Blue Note and Prestige catalogs, the other parts are just a bit too smooth around the edges for such a fabled inclusionary mention of stylistics. These are advanced students of straight-ahead jazz heuristics. If you want to find out who is following in the wide-brimmed footsteps of the past masters, it is Tomasz Stanko paying the dues with his present day quartet. Any improvising is subdued and reflexive, providing rich counterpoint to the traditional modes exhibited herein. — Cesar Montesano
Resolution
(Favored Nations 2560, 2006, CD)
Andy Timmons is a guitarist along the lines of Steve Vai, Eric Johnson, and Joe Satriani, though to my ear maybe a little more enjoyable because of the variety of styles he covers. His technique is impeccable, and aside from a few obligatory flurries of notes, he seems to focus more on musicality than flash. The album is a pure instrumental trio effort, the ultimate format for a guitarist to test his mettle, having to cover both melodies and harmonies. Co-producer Mike Daane handles bass; Mitch Marine plays drums. But it's the guitar that's in the spotlight. Ranging from restrained and subtle quiet moments (almost like Bill Frisell with a touch of blues added) to soaring solos, he covers many bases with aplomb, and is never predictable. After his beginnings in an 80s hair metal band, he's earned his stripes working with artists as diverse as Simon Phillips, Olivia Newton-John, and LeAnn Rimes. What really stands out are his melodies, which are beautiful and full of unexpected notes. I'd call this a guitar hero album for people who like guitar but not guitar heroes, if you take my meaning. He throws in an amped-up electric bluegrass workout as a bonus track, displaying even more range. — Jon Davis
Nostimon Hemar
(Musea FGBG-4635.AR, 2006, CD)
This Greek quintet has been around since the mid-90s, this being their fourth release, a concept album about Homer's Odyssey. The best thing about this band are the idiosyncratic vocals of lead singer Ima (most of the band members just go by one name — must be a Greek thing), who is commanding and powerful in a Les Dougan (Aragon) sort of way; she delivers the goods with incisive passion and a full range of emotional dynamics. Sadly, the rest of the band is no match for her. The music itself is the most hackneyed brand of neo-progressive, full of pointless and abrupt changes, typical prog-metal guitar stylings that buzz and chug along under excessive layers of keyboards with ear-piercing digital tones, and predictable moves at every turn. A bassist and drummer are credited, but to be honest, all the bass and drum parts sound like they are programmed, the latter with that clicky gated sound that annoyed me back in the 80s when it was prevalent, and annoys me even more now. The overall approach reminds of the earliest albums by Asgard and Final Conflict, with all the cheesy melodrama and self-indulgent bombast that naïve young musicians could come up with as they attempted to emulate and outdo their only heroes, Marillion. It's all been done before, way too many times. There are few satisfying instrumental moments herein, surely not enough to save this from bogging down under its own weight. — Peter Thelen
Songs from Tsongas – Yes 35th Anniversary Concert
(Image Entertainment ID2754YEDVD, 2005, 2DVD)
Yes' management has done a pretty good job documenting the various incarnations of the group since the botched Keys to Ascension reunion shows from 1996. Ensuring the classic line-up was intact was of topmost importance as well, with Rick Wakeman back in the keyboard chair to play rarities and little performed pieces. This well-edited Soundstage PBS concert from the end of an 18 city tour shows the well-oiled touring machine playing a balanced top notch set of pieces from the 70's such as "Going for the One", "Ritual", and "South Side of the Sky". Leading off the concert with a kick ass rock tune was a smart choice as Howe's pedal steel playing sets the tone for the entire show. New pieces in the set included the fan-requested "Mind Drive", which works well on the live stage with its unison riff leading into one of the better pieces written by the band in mid 90s. Re-arranged versions of pieces include a Chicago blues styled "Roundabout" and "The Meeting Room/The Meeting" the latter track pulled from the ABWH self titled recording. Flat out surprise songs include "Sweet Dreams" introduced by an Alan White drum fill, "Turn of the Century" and the first encore of the Beatles "Every Little Thing" which likely had not been played since the first band first formed. Overall it's the best video and sound quality for a complete Yes show available on DVD. — Jeff Melton
Back Against the Wall
(Purple Pyramid CLP-1535, 2005, 2CD)
Billy Sherwood has certainly found a comfortable niche to show his knowledge and appreciation of classic 70s rock. Gathering an all-star cast to re-create the second most well known Pink Floyd recording may seem like a tiring retread but this faithful two disc collection has all the bells and whistles of the original and a few surprises to boot. Beginning with Ian Anderson's familiar flute and lead vocal adding additional melodic interest to "The Thin Ice", Sherwood has crafted a competent set of performances that is his best executed tribute effort yet. Yes alumni are present with 4/5's of the classic line up adding their respective talents across the disc. Chris Squire's lead vocal and prominent bass lines drive a rocking version of "Comfortably Numb" that demonstrates keen knowledge of the original arrangement. Glenn Hughes' singing is also convincing on "Young Lust", where his vocal works nicely against the Cars' Eliot Easton's lead guitar. Not to be outshone, experienced session man Adrian Belew adds a new shine to "Mother", "Is There Anybody Out There?" and "The Show Must Go On". Surprisingly John Wetton's lead vocals on "Mother" and "Hey You" are as persuasive as they are fitting. Possibly the best group performance is on "Run Like Hell", with a rare Tony Kaye keyboard solo. Overall the new performances hold up well against their originals for fans that aren't afraid to embrace competent versions of their classic Floyd. — Jeff Melton