Posts Tagged ‘prog rock’


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White Willow-Signal To Noise

June 2nd, 2010 No Comments

White Willow-Signal To Noise CD cover

Norwegian art-rock group White Willow takes its name from the tree whose bark contains salicin, from which may be derived the chemical salicylic acid, or aspirin.  While White Willow may not produce the perfect cure for a headache, they are responsible for some of the most original, progressive music that I’ve recently encountered.  My discovery of White Willow comes late in the band’s history with their 5th studio album, Signal To Noise, and their first with singer Trude Eidtang.  The band’s prime mover, however, is guitarist Jacob Holm-Lupo, the author of most of the CD’s lyrics and music.  I’m not sure how Signal To Noise stands up to the rest of the band’s catalog (most of which can be found on the excellent prog-rock label Laser’s Edge Records), but as an introduction, it’s worked quite well to pique my curiosity towards their other releases.

The CD opens with the track “Night Surf,” a slowly building power rocker centered on Eidtang’s angelic voice and a bubbling synthesizer line programmed by keyboardist Lars Fredrick Frøslie.  Each member of the band has a chance to shine, including woodwind player Ketil Einarsen (on mournful flute), bassist Marthe Berger Walthinsen (whose guide line for Eidtang’s voice is featured high in the mix) and percussionist Aage Moltke Schou.  Holm-Lupo is obviously a fan of Rush, and his background fills nod enthusiastically in the direction of Alex Lifeson.  Yet Eidtang is the star of this piece, with a vocal presence that shifts intentionally from a whispery intro to stinging harmonies on the chorus.

The follow-up, “Splinters,” at over 8 ½ minutes begins with Holm-Lupo’s feedback dropping down to a lead line comparable in sound to Marillion’s Steve Rothery or Genesis’ Mike Rutherford.  He’s later providing a heavy metal, crunchy contrast to Eidtang’s shimmering pop.  Frøslie’s synth is the ever-present atmosphere holding the song together as Eidtang sings of Evie, a woman stepping gingerly through the wreckage of her shattered world.

The instrumental “Ghosts” picks up the pieces as Holm-Lupo propels the combo through an odd mechano-Arabic tune with rapidly changing time signatures.  Frøslie contributes the spook factor with an intangible solo leading into Holm-Lupo’s violent turn and back out again with a repetitive machine precision.

Toward the disc’s end, “Dusk City” features Walthinsen in conjunction with Holm-Lupo’s heavy effects before giving way to another star turn from Eidtang, tribal drumming from Schou, and a manic flute solo from Einarsen.  As Eidtang takes the song down to a quiet close, we’re left with the brief, but amazing instrumental, “Ararat.”  Here Holm-Lupo reverts to his Arabic mode with a darkly swirling synthesizer as his lone accompaniment.  His playing here is spellbinding and deserving of more than the minute and a half devoted to the song.

Signal To Noise is notable for leaning closer to art rock than prog and for using the brightly glowing talents of Eidtang to set the contrast to the numerous male voices at the front of so many bands with similar approaches.  With striking cover art from Killustrations and co-production courtesy of semi-legendary European metal figure Tommy Hansen, the entire package is a refreshing alternative to the concept-heavy, sci-fi experiments presented by the marching army of European prog rock clones who think they’re on to something new.  If I get a chance to explore White Willow’s back catalog, I’ll be sure to report what I find there as well.  I’m already certain that there’s more than pain relief in the bargain.

- Mark Polzin

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The Pineapple Thief – 3000 Days

March 1st, 2010 No Comments

The Pineapple Thief 3000 Days The Pineapple Thief 3000 Days
In May 2009, I was privileged to review The Pineapple Thief’s newest studio album, Tightly Unwound for ClassicRockMusicBlog.com.  At that time, I emphasized that the group was well on their way to expanding their fan base by signing to the British record label Kscope, a division of Snapper Records.  Now, in preparation for The Pineapple Thief’s eighth studio album due later this year, Kscope has assembled a career retrospective album in the double-disc 3000 Days.  With song lyrics and notations by group leader/vocalist/guitarist Bruce Soord in a CD booklet containing characteristically beautiful art and photography, this is a package that is meant to both bring a newcomer such as me up to date with all that has gone before and also entice long time fans with alternate and rare versions of TPT songs.  In short, if you’re not familiar with the group, and you’re a fan of music that pushes the prog-rock genre by incorporating a modern alt-rock approach, you need to buy this CD.  TPT’s music is really that good and here’s the proof.

The synopsis of TPT’s history is that Bruce Soord began recording as a solo outfit in 1999 called The Pineapple Thief, but quickly moved to bring in other musicians to expand on his ideas both in the studio and in a live setting.  With minimal alteration of the lineup, TPT is now a solid quartet featuring Soord, bass player John Sykes, drummer Keith Harrison and keyboardist Steve Kitch.  The title of this release, 3000 Days, refers to the length of time TPT has been in existence, starting from Soord’s first release Abducting The Unicorn.  3000 Days does not present the music in chronological order, but does place emphasis on songs that Soord felt he need to include in the collection as well as pieces that he knew he must include or face the wrath of diehard fans.

Some of the more revelatory inclusions on the collection include the closing track from 2006’s Little Man, “We Love You.” That song, at nearly nine minutes in length, begins with the sampled sound of a hospital ventilator and includes very simplistic lyrics dealing with the importance of small towns in a nation’s big picture.  There’s a slightly sinister undercurrent in the line “we need your soul to feed our world,” but that’s merely the beauty of a song that’s left to the interpretation of the listener. Soord’s vocals never rise above the sweet coo that he’s known for and even his monstrously impressive guitar solo is buried within the pulsing chords of a treated electric piano.  The song is a great example of how TPT can impress subtly without paying undue attention to the amazing performances they deliver.

“Kid Chameleon,” a track from TPT’s second release 137, in 2001, appears in a mildly extended version and is another exhibit of how Soord likes to say a lot by keeping everything simple. There are no more than 50 words to the lyrics of this seven-minute song and Soord is essentially the sole performer, singing, playing numerous guitar parts, handling the bass guitar and keeping it up high in the mix, and running an EMU sampler for bell tones.  The slide guitar lain atop his repetitive 6/8 acoustic base sets the scene for a work that’s regularly been performed live.  There’s no clear translation to the direction that Soord was going with the lyrics.  They seem to be about the need for community and personal interaction, but each listener could easily walk away with their own interpretation.  The overall vibe is more akin to something an artier shoe-gaze group would have released than anything performed by a more traditional prog-rock ensemble.

“Tightly Wound” is presented here in an acoustic version that appeared originally on TPT’s Dawn Raids EP in the wake of 2009’s Tightly Unwound.  Soord and I disagree on which version we prefer.  Soord likes the stark acoustic take with its simple guitar strum, piano chords, minimal string arrangement, and his beautiful voice, while I prefer the more bombastic elements of the original.  The lyrics are again cryptic and seem to point to the loss felt following an assassination or murder.  Nonetheless, the stripped back version here reveals that Soord is capable of conveying his emotions whether the song, any of his songs, come densely layered or are left bare.

Disc two ends with the massive 16-minute “Remember Us” from 2003’s Variations on a Dream.  Soord’s liner notes explain that the song is actually four songs that have been joined through a return to the “remember us when we’re gone” chorus.  The piece is primarily an instrumental and its complexity has prevented it from ever being performed live.  Longtime TPT fans would have demanded its inclusion on the collection and Soord felt thus obligated to acquiesce.  It’s not that he’s not proud of what he’s recorded, but he’s not returned to it in over six years and prefers it to speak for itself.  The music includes the craftsmanship that we’ve come to expect from TPT with Soord pulling out all the stops.  Soaring, wordless vocals, cleverly supportive drumming, and stacked synthesizer, piano, and guitar components demonstrate the characteristics that Soord would use with all recordings to follow.

While I could easily comment on each of 3000 Days’ 20 songs, space prohibits.  I can sum up my enjoyment of the second disc’s splendors by remarking that the song “Subside,” in only five minutes, manages to prove that Soord needs only the most basic of ideas to achieve grandeur.  Found first as the opening track on Variations on a Dream, it is perhaps the best introduction to all material presented by TPT.  A simply rendered horn and string section makes way for a chiming, complimentary guitar line and Soord’s swooping voice.  The rhythm section eventually joins and then retreats to strip the song back to its origin.  It’s a raw, beautiful moment in time that should easily lure an inquisitive listener to explore other TPT recordings.

Following Tightly Unwound, I became a devotee of Soord’s creations.  3000 Days serves to strengthen my opinion and whet my appetite for Someone Here Is Missing due later this year.  If you’ve not heard The Pineapple Thief before, this collection will also serve to indoctrinate you into the band’s growing cult.

-Mark Polzin

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Nektar – Down To Earth

February 2nd, 2010 1 Comment

Nektar Down To Earth1 Nektar Down To Earth

For many progressive rock fans, the German band Nektar hit their grand slam with the 1973 concept album Remember The Future – essentially one song spread across two album sides. The band’s 1974 follow-up, Down To Earth, takes a wacked-out circus as its theme; Nektar tighten the song structures and create another prog-rock classic.

The vintage Nektar sound is all over: chiming guitar chords (“Show Me The Way”), lilting harmonies (“Early Morning Clown”), perfect melodies (“Little Boy”), in-your-face-bass (“Astral Man”) and a wonderful sense of play (“Nelly The Elephant” and “Fidgety Queen”). Look for the Eclectic Discs reissue, which includes six alternate versions of Down To Earth songs and outtakes.

In the liner notes, Nektar guitarist and lead vocalist Roye Albrighton writes, “Down To Earth is Nektar’s Magical Mystery Tour…”

What other Magical Mystery Tours are there?

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Factory Of Dreams – A Strange Utopia

January 25th, 2010 No Comments

Factory Of Dreams A Strange Utopia Factory Of Dreams A Strange Utopia
Hugo Flores is a multi-instrumentalist based in Lisbon, Portugal.  He’s a multi-instrumentalist by necessity, that is.  You see, Hugo’s head is filled with many very detailed dreams of distant solar systems, automated replacement of the functions of humanity, and failing experiments related to social engineering.  Hugo has been trying to bring life to these dreams through song and through different musical projects.  The problem is that the dreams come to life at an alarming pace and Hugo must be there to guide these dreams from the corners of his mind and into the world in which he lives.  Each of the projects breathing life to these dreams is named differently from the others, based on Hugo’s collaborators.  Sonic Pulsar sees one configuration, while Project Creation sees another.  Factory of Dreams brings him in contact with vocalist Jessica Lehto.  But behind all of this and the flood of recordings is Flores reaching for any instrument necessary to perfect the new life of his dreams.

Flores has worked with Lehto once before under the name Factory Of Dreams, on their 2008 release Poles.  2009’s meeting resulted in A Strange Utopia, on which Lehto describes Flores’ vision of a seemingly perfect society that actually holds inherent flaws.  These flaws will actually contribute to humanity’s undoing rather than leading towards salvation.  It’s a dream shared by others, but seldom given life as complex as that heard on A Strange Utopia.  Lehto’s voice is rather operatic, and although Factory Of Dreams is often described as having “goth” influence, I suspect this has more to do with Lehto’s choice of wardrobe than with the gloom pervasive on recordings by The Cure, Bauhaus, or Siouxsie and the Banshees.  Utopia is solid prog rock, with metal leanings courtesy of Flores’ guitar sound, and highlighting Lehto’s pure, chilling delivery.  The music has layers upon layers of sound, the best of which are coming from Flores’ guitar amplifiers.  His drum programming and orchestral keyboards are not the best examples of Flores’ virtuosity, but he contributes these performances in order to have more control over the translation of his dreams.

The CD begins with “Voyage To Utopia” and Lehto’s description of an idea, a dream itself, which is really the origin of any city or kingdom.  This idea is becoming real and we are traveling towards it.  The build-up is important as our opening scene is set.  There are problems in this world that must be addressed if we are to bring about perfection.  Flores is in control of the elaborate string arrangement and thundering guitar sounds, all used well to convey the grandeur of the dream.  We begin to understand that these problems can only be addressed if we realistically admit that everything is falling into ruin and we must move on to begin again—elsewhere.

Our search for a place to trigger this new beginning takes us out into the solar system and “The Road Around Saturn.”  As we’re moving through the rings of Saturn, we realize that this new beginning starts not in another position in the universe, but rather within our minds.  This realization actually serves as the passageway to another dimension.  While in this dimension we are able to better understand our inner selves and the destruction we’ve caused, ultimately bringing about a sense of peace within us.  The physical and mental journey is represented through Lehto’s soaring vocals and harmonies alternating with Flores’ ridiculously fast live drums and guitars.

Lehto then describes a walk through a “Garden Of All Seasons” where she’s able to better understand the differences between this perfect place and the impending destruction back at her home.  She realizes that she must allow this destruction to occur while humanity undergoes a transformation into a race of mechanical beings able to withstand the crumbling society.  Only following these chaotic events will mankind actually rise to become the perfect being with the perfect orderly social structure.  She also glimpses a “Dark Utopia,” but the lines between her vision of perfection and that which is being destroyed begin to blur.  Which one is truly the “Dark Utopia”?

The chaotic destruction ensues and is met head on with the determination to force an orderly outcome.  The world and all we know fall into ruin through natural disaster, but a plan has been hatched to allow our race to survive.  Everything changes around us until the destruction itself begins to be destroyed.  What’s happening is referred to as “Destructible Destruction” on a song containing some of Flores’ most impressive playing and a dense construction of dark, echoing synthesizer sounds.  The song ends abruptly and is replaced by the epic “E-Motions” on which we see what humanity was forced to do to prevent such chaos from ever threatening us again.  We are now machines, “organic robots,” with our feelings, thoughts, motives, and even our dreams pre-programmed to keep us orderly and harmless.  Our dreams of perfection have been realized, but at what cost?

A Strange Utopia is likely not the last collaboration between Flores and Lehto.  And while the insular nature of the recording, and its lack of interplay between other musicians, can contribute to the machine precision necessary for part of the story, I would love to see them either expand their roster of contributing musicians or bring in others for additional input into the structure of the project.  There are a few guests on the CD, most notably Kansas’ David Ragsdale who contributes stunning violin parts on two songs, but Flores might just realize that his dreams can be described much more accurately if he can share them with like-minded musicians before proceeding on a project that grants them immortality.  Ultimately, A Strange Utopia is a very rewarding release, but it also leaves the listener craving an even bigger, more perfect concept next time around.

- Mark Polzin

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Ozric Tentacles – The Yumyum Tree

October 8th, 2009 No Comments

Ozric Tentacles Yumyum Tree

I have a great love for the band Ozric Tentacles and have followed their exploits for close to 20 years.  Forming in 1984 in Somerset, England, and naming themselves after a fictitious breakfast cereal, the Ozrics have also been closely followed by the British neo-hippie Crusty movement.  Champions of the U.K. festival circuit, the Ozrics have not found the same love in America, except from those like me who were lucky enough to see them live.  The band is fronted by guitarist/keyboardist Ed Wynne and approached the recording of their latest record, The Yumyum Tree as a foursome with Ed’s wife Brandi on synthesizer, bassist Vinny Shillito and drummer Roy Brosh rounding out Ed’s sound.  The Yumyum Tree is not drastically different in its sound than the Ozric’s first recordings, still a hodgepodge of spacey, instrumental prog rock with hints of jazz and a significant electronica influence.  The main lure of the Ozric Tentacles experience is found in Ed’s brilliant guitar playing and synthesizer programming.  Washes of processed strings purr into and around echoing alien and mechanical computer textures, while the rhythm section deftly navigates complicated and danceable time signatures.  The rush of sonics is conducive to the psychedelic atmosphere surrounding the band and its entourage.  Ed Wynne could easily craft a score for any sci-fi series or film, and his songs have been used successfully in television commercials.  Yet, it’s clear that such work would cut into Ed’s alternative lifestyle and possibly ruin the source of so many perfect musical ideas.

One complaint leveled against Ozric Tentacles is related to their tendency to stick to the same formula for many of their songs.  Synthesizers burbling and swooshing are the ever-present set-up for a dynamic guitar solo from Ed.  Propulsive bass lines and clever kit percussion are also the calling cards of the band.  To fully enjoy the genius of the Ozrics, it’s necessary to focus on the nuances of each song.  That’s the task casual listeners won’t undertake and it’s the reason why Ozric Tentacles isn’t better known to fickle American fans of the quick cut and the soundbite.  Further, songs are typically named with a nonsensical, cosmic pseudo-language.  The fact that this album is named from someone else’s mythological syllables (Lewis Carroll’s “Jabberwocky” as the source) is a bit unusual for the Ozrics.  The song titles aren’t quite as wiggy this time around either.  The nearly 8-minute “Mooncalf,” with its faux dub reggae breakdown and astral synth surges, is classic Ozric and one of the centerpieces of the collection.  Oddly named, true, but not nearly as odd as we’ve seen in the past.

Some other highlights of The Yumyum Tree are found on “Oolong Oolong.”  Shillito and Brosh are the glue on this piece, holding down a complex rhythm when not letting Ed and Brandi apply their magicks to the computer keyboard.  The record’s title track, stretching out over nine minutes, creeps out of the ooze of “Oolong” with a skittering smatter of programmed and live percussion before launching its expedition deeper into the unearthly forest.  Ed’s percussive guitar line augments the darkly tropical feel brought by the propulsive bass and tinkling xylophone.  While we’re feeling that we’ve gone off to explore the nether reaches of some dripping, extraterrestrial jungle, the band launches promptly into “Plant Music” for an electric evocation of life unknown to this or any other world.  Again Shillito is the key to laying down the lines that Ed and Brandi will build upon.  With “Nakuru,” we’ve exited the forest to a clearing where temple monks reflect upon their path to peace.  The synthesizers are approximating an Eastern drone while Brosh is having fun setting tone rather than rhythm.

The Yumyum Tree is a welcome addition to the Ozric catalog and as spectacular a trip as they’ve ever embarked on with their other releases.  I’ve been smitten with this band’s sound for quite some time and it defies logic that they’ve not yet been embraced by the masses.  Too weird?  No lyrics?  Entrenched in the counter culture?  Maybe all of the above have contributed to this situation.  I’ll continue to check out the works of Ed Wynne and company as if they’re my own private garden, revealing the secret only to those who can appreciate Ed’s unconventional botany.

- Mark Polzin

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The Aurora Project – “Shadow Border”

June 16th, 2009 1 Comment

Aurora Project "Shadow Border"
Shadow Border is the second record from Dutch progressive rock band The Aurora Project. Fronted by vocalist Dennis Binnekade, whose vocals at times bear a striking resemblance to those of Live’s Ed Kowalczyk or Marillion’s Steve Hogarth, the band set out to make a straightforward prog record devoid of choirs or narrators. Their success is grounded in two areas especially: their complex, probing lyrics dealing with history, emotion and questions of alien intervention in human development, and their ability to steer clear of a heavy metal sound despite the crunch of guitarists Remco van der Berg and Marc Vooys.

The group, rounded out by drummer Joris Bol, keyboardist Marcel Guyt and bassist Rob Krijsgman, tear it wide open on the disc’s opener “Human Gateway.” The song tells the story of a visitor to Earth (or perhaps to this reality) that has seen the advancement of humanity throughout the eons and offers optimism despite the destructive path that has been trod since the last visit. There’s a cosmic scope to these lyrics that never drops down to specificity while the music is setting its grand backdrop. The vagaries and optimism continue on “Photonic Reunion” which promises an unnamed reward if one follows a path of light in this existence. The words land just shy of Christian dogma and focus more on a rightness of being and its resultant honors. This is not a record that’s exploring questions about God, but one that delves into universal oneness and harmonic balance. In fact, the lyrical theme behind “The Confession” champions the power of human accomplishment in research into self-exploration while both crediting and chastising a higher power. The rhythms and solos of van der Berg and Vooys are the musical elements that pull us back down after ruminating on the words.

“Another Dream” continues with similar themes as the song’s protagonist fears death even while being consoled by angelic beings. And on the disc’s title track, a magnum opus extending over 16 minutes, the song’s subject stands on the verge of achieving oneness with God yet is restrained by the limitations of his humanity. This is the kind of heavy rumination that one looks for in quality prog rock. It offers us numerous listens to the same CD that will reveal different levels of complexity that depend on the amount of time one can devote to active listening. In this way, Shadow Border becomes more of an experience than just a handful of good tunes. While the musicianship remains solid throughout the collection, the payoff is saved until the end where each member of the band is given several moments in which to demonstrate their talents.

After ten years and only two albums, I’m hoping that The Aurora Project can find it in themselves to increase their output. Either that or they can take the time to deliver a record that is an indisputable classic. Shadow Border proves that this is a combo to which we must devote our attention in the coming years. I expect their third record to be the one that cements them completely in the thoughts of fans seeking greater meaning alongside virtuoso performances.

- Mark Polzin

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Parallel Or Ninety Degrees – “A Can Of Worms”

June 1st, 2009 1 Comment

Parallel Or Ninety Degrees \

With recent news that Yorkshire, England’s, unintentionally incognito prog-rock ensemble, Parallel Or Ninety Degrees have reformed for live gigs and studio skullduggery, it’s appropriate that we examine their 2008 collection, A Can Of Worms.  Released on the conveniently named Progrock Records, this double-CD serves as a compilation of highlights from PO90’s five studio albums with previously unreleased material from an aborted experiment named A Kick In The Teeth For Civic Pride.  Although not sequenced chronologically, Worms shows a band blending the best of Dark Side-era Pink Floyd, the least commercial elements of Supertramp, modern drum and bass techno, Radiohead’s dips into electronically enhanced rock, and straight up thrash metal.  It’s as tasty a meal as it reads and warrants not only opening this Can Of Worms but going back for repeated tastes.

Ever a fluid consortium of players, PO90 consistently maintained a unique direction as led by keyboardist/vocalist, Andy Tillison Diskdrive.  His only other bandmate featured on all tracks is fellow keyboardist Sam Baine.  One would think that with two keyboardists at the helm, the music would be a bit airy.  That assumption would be dead wrong; PO90 pushes a sound based around the talents of the various guitarists that have floated in and out of the group.  The complex rhythms and dynamic time changes are not to be discounted either.  PO90 crunches or grooves as necessary behind Diskdrive’s Hammond organ and socially charged lyrics.

Navigating through the two discs (which each max out at around 80 minutes in length), we find the tracks to be mostly longer pieces that never stumble into the regular pitfalls of bad prog — noodling, unnecessary repetition and fantastic lyrical themes.  The good bits are plentiful and come at a pace fast enough to hold attention throughout.  Some that come to mind for this review are found on the title track to their 1999 release, Unbranded.  Guitarist Gareth Harwood deploys in a variety of styles, power-chording atop Diskdrive’s choruses of societal decay, and dropping back in the mix during the verses’ electro-percussion and urgent keyboards.  On 1996’s “The Media Pirates,” from the band’s debut The Corner Of My Room, Diskdrive plays guitar (and likely programs part of the drum track) as he discusses the ongoing battle for control of our information outlets and thought waves.  The recurring vocal theme, “They are watching” fades in and out across the cut’s 10 ½ minutes.  Current guitarist Dan Watts brings the metal down on the set-up to “Petroleum Addicts” from 2001’s More Exotic Ways To Die.  Behind the choruses of discussion regarding the West’s involvement in oil wars, the music is more of a hazy backdrop for Diskdrive.  Watts then transforms unexpectedly into a demonic K.K. Downing/Glenn Tipton hybrid with Pope Iommi II leading us in prayer.  In a puff of smoke, he’s vanished beneath Baine’s electric piano and drummer Alex King’s complications.

Ways To Die was a diverse album as evidenced by the track “Embalmed In Acid”.  More traditional and popular art rock (read: Asia or Genesis) is referenced on this slower, shorter piece.  Diskdrive’s voice is at its peak of emotional delivery.  However, the best may have been saved for last with Disc 2’s closer, “Unforgiving Skies.”  Harwood’s difficult acoustic lines pull from Fragile-era Steve Howe and Robert Fripp’s League Of Crafty Guitarists before revealing a series of stinging electric sections that switch gears like something from a lost Love And Rockets recording.

Just when we think we have mastered our encyclopedic geek knowledge of every dented container on the popular music shelves, we’re surprised to find a brand that’s been lurking way in the back.  I’m not certain how PO90 missed getting its own end cap display, but we’ll be getting a second chance to sample the enigmatic Mr. Diskdrive’s wares with A Can Of Worms and other forthcoming projects.  Have your openers sharpened while you wait.

- Mark Polzin

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Votum – “Time Must Have A Stop”

May 21st, 2009 1 Comment

Votum \

Time Must Have A Stop is the debut CD from Polish prog-rock band Votum released through Progrock/SPV Records. Although the band has received some notice from various American and European metal publications, it’s very difficult to think of Votum’s music as purely metal.  True, guitarists Alek Salamonik and Adam Kaczmarek have a tendency to veer into a crunchier sound when given the opportunity and vocalist/lyricist Maciej Kosinski can sound a bit like Queensryche’s Geoff Tate, but Votum is aiming for variance of their sound on this record.  Keyboardist Zbigniew Szatkowski adds another dimension to the band’s music that prevents them from completely crossing over into metallic terrain. One good example of this is found on the track “The Pun.” Without Szatkowski’s influence, this would be one of the best tunes you’d never heard by the Scorpions (and I love the Scorpions’ work from the early ’80s on back).  The guitarists and rhythm section of bassist Bartek Turkowski and drummer Adam Lukaszek are constantly pushing to turn the song into a balls-out head-banging workout, but Szatkowski denies them.  Kosinski’s voice is all over the map like a young Klaus Meine’s. But on the disc’s third track,“Passing Scars,” Kosinski is also now pulling the band back away from the metal. The keyboards are adding sounds reminiscent of a string section and Kosinski’s voice is heavily altered by a variety of effects. Is it heavy? Yes. Is it metal? No.

The art design for the CD booklet is rather beautiful and makes me long for the heyday of vinyl.  Similarly, the lyrics are far more poetic than most anything else I’ve heard these days. For instance, the symbolism of the train on the song “Train Back Home” is something that’s seldom used with most hard rock bands and never used in combination with such lovely vocals to the effect gained by Votum. In addition, the 6/8 time signature used on “The Hunt Is On” will occasionally be heard on metal songs to give a galloping, driving feel to the piece.  Kosinski does sound like he’s singing at the other end of a long tunnel (another good metal trick), but the guitar strum at the beginning of the song and the breakdown in the middle reminds us more of Rush (not metal!) than Pantera (absolutely metal!).

But…then…comes…”Look At Me Now.” Kosinski is using an occasional bark, but never for more than a syllable. The guitars and drums sure want us to think this is a metal song, but there’s a section in the center where the music sounds more like a trip to another dimension and Kosinski is singing some sort of Eastern-influenced melody complete with high register harmonies.  OK, guys. You stumped me. Are you a metal band, or what? Well, whatever you call your music, it’s smart, artistic and contains very solid performances.

Votum’s biggest challenge will be in cracking into the American market and that’s only because Warsaw is a long way from Los Angeles. But anyone that enjoys a heavy end to their prog rock will definitely become a fan once they’ve heard Time Must Have A Stop.

- Mark Polzin

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The Pineapple Thief – “Tightly Unwound”

May 5th, 2009 No Comments

Pineapple Thief \

Tightly Unwound is the seventh studio release from England’s The Pineapple Thief and their first release for Kscope/Snapper Records.  Led by guitarist/singer/songwriter Bruce Soord, the quartet is rounded out by bassist John Sykes, drummer Keith Harrison and keyboardist Steve Kitch.  After cultivating a following over nearly ten years, the band was encouraged by Porcupine Tree frontman Steven Wilson to join with Kscope in order to bring their music to a wider audience.  Kscope, home to other artists with “post-prog” tendencies is a perfect fit for Soord and company.  Tightly Unwound is a clever amalgam of light, sometimes ornate, indie pop with lengthier pieces that build upon themselves and are obscurely structured in movements with well planned repetition of theme.  This is music for which there is little comparison, but that may actually be pushing the boundaries of a developing movement.

Unwound begins with Soord’s sweet, whispery voice and simple chords for structure on “My Debt To You.” Eventually Soord is gently plucking and strumming his guitar, with bass and keyboards subtly adding form behind Soord’s ode to past generations.  It’s an unassuming start to a record, but that is the genius of The Pineapple Thief.  If you’re not willing to delve into the sound, Soord doesn’t need you along for the ride.  This is a sentiment that he shares with some of the best prog-rock from the days of yore.  Follow Nektar or Gentle Giant or even the deep cuts on Jethro Tull’s Aqualung and you’ll discover gold that is not apparent on the surface.  Just as we’re not exactly sure what to expect of this record, Soord throws us a curveball on track two with “Shoot First.”  The guitar and bass are heavier, the drums come out to play, and the keyboards shift to something more commonly found on a backing track for The Orb.  The only constant is Soord’s mellow voice, as he’s switching back and forth between electric bash and acoustic drive.  The plot thickens.

By the third cut, I was completely hooked.  “Sinners” shows off the skills of Harrison as Soord strolls boldly into shoegazer country.  His acoustic guitar underneath a simple and effective solo is what told me that this wasn’t a lost track from Chapterhouse.  Soord’s fuzz and blur are not turned up to 11; you don’t have to lose your hearing to get what he’s on about.  And after a build up using several turns of tune and phrase on the shorter pieces, the meat of the matter is then found on the disc’s longer pieces, “Different World” and “Too Much To Lose.”  The former tops out over 10 minutes and allows Soord to expand on the elements he’s merely toyed with earlier on.  He lulls us into a state of calm with long stretches of guitar strumming and sampled, chirping birds before using his electric guitar for effect and tone variation.  The band is pushing us along in a heavier direction before everything drops out in favor of singular notes from Kitch’s piano and a lush string arrangement.  Soord’s acoustic strum then brings us back for more brilliant fills from Harrison and Soord’s splendid electric work.  His voice rises above the mix and is at its most beautiful.  Then, at over 15 minutes in length, the disc’s closer “Too Much To Lose” takes a different direction entirely and allows Soord to play with stopping rhythms, distorted and echoed vocals, chilling mellotron and a spectral electric guitar line.  The pace is very slow for the most part, but each band member is given an opportunity to showoff their strengths in a lengthy voiceless midsection.  Nothing feels like it’s jamming for jamming’s sake, but more like a well crafted novella with an extremely tight plot.

The Pineapple Thief have been rather prolific in recent years, as if they’re picking up on a vibe from their audience and are now feeding off of that energy.  They already have another two EPs scheduled for release in the wake of Unwound.  The group is riding the crest of a wave in a prog rock revival.  As the 1970s saw a rich culture of underground artists breaking down the doors to better musicianship and increased complexity of composition, the years to come will see The Pineapple Thief at the forefront of a reclamation to these same sensibilities.

- Mark Polzin

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No-Man “Schoolyard Ghosts”

April 11th, 2009 No Comments

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No-Man’s sixth studio release, Schoolyard Ghosts, is as much a revelation for fans of No-Man’s previous work as it is for fans of the duo’s guitarist, Steven Wilson.  Wilson, who started the No-Man project with vocalist Tim Bowness at more or less the same time that he began his better known group Porcupine Tree, in 1987, has been lauded as a prolific everyman, yet he reins in his prog-rock tendencies on a release that is beautifully subdued and shrouded in mist.  Bowness’ voice is a haunting whisper on “Ghosts” and is best served by textures and treatments rather than cacophony.  Gone are the days of No-Man’s trip-hop and indie rock past.  The future consists of airy lamentation with nary a beat to push us forward.

The term “ambient” also no longer fits what No-Man creates, at least in the sense of it being a danceable cool down.  There’s a sensibility here that may not be grasped by all at first exposure.  Thus, Bowness and Wilson chose their collaborators carefully.  The work has become more orchestral with its use of string arrangements, mellotron, harmonium, and even pedal steel guitar courtesy of former American Music Club member Bruce Kaphan.  The exception to the rule of Ghosts can be found within a brief thrashing section on the cut “Pigeon Drummer.”  Former King Crimson percussionist Pat Mastelotto delivers the necessary bombast while dropping back to chimes and other melodic devices elsewhere in the song.  He’s also responsible for a beat-less rhythm on the piece “Song Of The Surf.”  Wilson’s chords, keyboards and harp swell much like ocean waves along to Bowness’ sad song to the sea.

Throughout the record, Bowness’ words roll as poetry designed to inspire meditation.  He’s intending to describe a scene without negative or positive value associated.  Wilson likewise paints pictures using strings as brushes.  The mood subtly set by key and calm works better to guide our emotions than any syllables crafted to tell us how to feel.  An optimistic glimpse lies within the lyrics to the disc’s lead cut “All Sweet Things.”  Amid descriptions of barren locations and stark humanity, Bowness tells us that “All sweet things will come again.”  As gentle as that phrase falls upon us, it’s as heavy-handed as he gets.  Even the disc’s closer “Mixtaped,” a comparison of losing the sharing of thoughts and emotion once a love dies to being “mixtaped,” serves as a mere description of the mind of the subject in the song. Wilson’s quiet guitar feedback, Bowness’ echoed vocals and Theo Travis’ flute and clarinet merely direct us to our own thoughts rather than forcing us towards them.  Genius!

Schoolyard Ghosts may not grab hold of you at first listen.  At least that was my experience.  I did feel that there was something much deeper happening on Ghosts that required my complete attention.  I was generously rewarded for my efforts.  Kscope/Snapper’s package contains a bonus DVD of videos for the songs “All Sweet Things,” “Truenorth” and “Wherever There Is Light.”  These clips, in black-and-white and devoid of MTV-style fast cuts, are perfect compliments to the music of No-Man.  It was actually when I sat down to watch the DVD that I was pulled into the web No-Man had woven.  I’m now greatly looking forward to increased activity from No-Man in 2009 with promises of further releases and live gigs outside of the U.K.

- Mark Polzin

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