TRACKLISTING:
1. Knee (5:05)
2. Oom Pah (5:09)
3. Missing the Train (3:41)
4. Rainbro (5:02)
5. Too Good To Be True (4:11)
6. Somnambulist Subversion (4:34)
7. Nut Job (3:12)
8. Forgotten Planet (6:00)
9. Dirty Spoons (5:12)
10. 25 Miles to Freedom (10:30)

LINEUP:
Melody Ferris – vocals
Ivor Holloway – tenor and alto saxophone, clarinet
Pat Moran – electric bass
Nick Peck – Hammond B-3 organ, clavinet, Fender Rhodes electric piano, minimoog Voyager, mellotron, piano, Arp String Ensemble, Wurlitzer 200A electric piano
Doug Port – drums
David Shaff – trumpet
Ryder Shelly – vibraphone
David Slusser – Slussomatic, electronics
Andrew Vernon – keyboards, Farfisa organ
Bill Wolter -  electric and acoustic guitars, keyboards, electronics

Line-up on # 10:
Shayna Dunkelman – vibes, crotales
Melody Ferris – vocals
Jordan Glenn- drums
Ivor Holloway – tenor saxophone
Curtis McKinney – electric bass
Charith Premawardhana – viola
Max Stoffregen -  piano, synth
Bill Wolter – guitar, keyboards

The high level of quality offered by AltrOck Productions and its subsidiary label, Fading Records, will no longer come as a surprise for progressive rock fans. However, there are times when an album released on the Milan-based label will exceed expectations – and this is definitely the case with Rainbro, Inner Ear Brigade’s debut album.  Formed in 2005 in Oakland (California) by multi-instrumentalist and composer Bill Wolter, the band  was originally a quartet; then, in the following years, the lineup grew into a 7-piece, with a number of honorary members participating in the recording of the album. Rainbro was recorded in the summer of 2010, and released on the international market in January 2012.

The Bay Area city of Oakland has long been a hotbed of cutting-edge music, being home to such highly acclaimed outfits as Sleepytime Gorilla Museum and  miRthkon (also on the AltrOck roster), as well as legendary guitarist/composer Fred Frith. However, Inner Ear Brigade have something that sets them apart from other bands that fall under the avant-progressive umbrella, and makes them more easily approachable by “mainstream” prog fans. With their extended lineup and intriguing instrumentation – featuring a healthy mix of vintage keyboards, state-of-the-art electronics and conventional rock gear, augmented by reeds, horns and vibraphone – they produce a lush, fluid sound that suggests the understated elegance of Canterbury bands such as Hatfield and the North or National Health rather than the austere beauty of Univers Zéro or the martial grandeur of Magma.

In quintessentially eclectic fashion, Inner Ear Brigade throw many diverse influences into their musical melting pot, straddling the divide between reverence towards past glories and a genuinely forward-thinking attitude. While the progressive rock scene suffers from a glut of acts often hopelessly rooted in the past and seemingly unable to go beyond reproducing the classic Seventies sound, Inner Ear Brigade use the influences drawn from the rich treasure trove of the golden age of prog as a springboard for creating their own sound, rather than as an exercise in nostalgia.

Though all of the band members are remarkably talented, Inner Ear Brigade’s ace in the hole is Melody Ferris’ voice, which at a superficial listen might recall the distinctive style associated with avant-prog and represented by Thinking Plague’s Deborah Perry and Elaine DiFalco. Indeed, the demanding vocal lines tackled by Ferris in opening track “Knee” sound like a textbook example of the subgenre’s conventions. However, as the album progresses, Ferris’ vocals become increasingly more versatile, engaging in singing and wordless vocalizing with equal effectiveness, and often  “playing” along the other instruments rather than acting as a separate entity (a fine example of this is the atmospheric “Too Good to Be True”).  The quirky lyrics enhance the album’s overall playful mood and emphasize its Zappa and Canterbury references, which the band share with their fellow Oaklanders miRthkon.

The first half of the album displays the strongest avant-prog imprint, effortlessly blending accessibility and experimentalism, catchy tunes and whooshing, spacey electronic effects.  A sunny California vibe tempers the bouts of dissonance in tracks such as “Missing the Train”, while saxes and trumpet add a buoyantly jazzy note. In some of the tracks – notably the trio of instrumentals that precede the album’s “epic”, the 10-minute “25 Miles to Freedom” (recorded in 2009 with a different lineup) – the two souls of the band seem to coexist, with melodic, laid-back passages alternating with more energetic, upbeat ones, and short yet effective forays into more experimental terrain, duly bolstered by liberally used electronics. The title-track is powered by harsh guitar riffs and blaring horns; while the closing track takes the band deep into Canterbury territory, with Ferris’ splendid vocal performance bringing to mind the incomparable Northettes, and the viola adding a wistful, lyrical touch to a rich, almost symphonic texture. Varied yet cohesive, “25 Miles to Freedom” wraps up the album with a bang, conveying a palpable sense of enjoyment on the part of the band that listeners will be hard put not to share.

With a well-balanced running time of about 52 minutes, Rainbro never overstays its welcome, in spite of the undeniable complexity of the music. The album’s ebullient yet intricate nature will attract lovers of quirky, eclectic progressive rock, while the presence of vintage instruments typical of traditional prog may encourage the more conservative set of fans to give Inner Ear Brigade’s music a try. All in all, Rainbro is an outstanding debut for a band that is definitely going places, and a strong contender for my personal “best of 2012”.

Links:
http://innerearbrigade.com/

http://innerearbrigade.bandcamp.com/

http://production.altrock.it/prod2.asp?lang=ita_&id=182&id2=183

TRACKLISTING:
1. Infinicheese (1:35)
2. Clacos Zero (0:35)
3.Untung Untungan 2.0 (11:13)
4. Clacos 1 : Notre Mère à Tous (1:58)
5. El Ruotuav Ed Sram (8:16)
6. Clacos 2 : Die Experimente von Dr Frankenschnörgl (0:48)
7. Le Meurtrier Volant (9:01)
8. La Danse du Chameau:
a) Batifolade  (5:29)
b) Soif! (1:17)
c) La Tempête De Sable (4:51)
d) Rêveries Lubriques Sous une Dune (1:09)
e) The Final Run  (5:01)

LINEUP:
Fabrice Toussaint – tenor trombone, xybraphone, congas, tam-tam, triangle, other percussionBernard Eber – trumpet, didgeridoo, cowbell, whistle, voices
Pierre Wawrzyniak – bass, acoustic guitar, voices
Philémon Walter – drums
Guillaume Gravelin – harp
Vincent Sexauer – electric guitar

 With:
Julien Travelletti – bass trombone (3, 5, 7, 8), tuba (7)
Francesco Zago – electric guitar (3)

When coming across a French band named Camembert, and an album title featuring the word “Attahk”, most progressive rock fans will inevitably think of two illustrious outfits such as Magma and Gong – both of whom have also ties with France. Add to that a rather left-field story about the Earth being invaded by small, gelatin-like beings from outer space called Schnörgl, led by a mad scientist researching weapons of mass destruction, and involving a giant spaceship made of intergalactic cheese – and the resemblance will steadily grow, so that a first-time listener might wonder if they are being confronted with the new frontier of “retro-prog”. However, there is very little “retro-anything” about Camembert, whose thoroughly modern brand of jazz-rock proudly sports that strongly absurdist streak that is one of the distinctive traits of French prog.

Camembert are a six-piece hailing from the city of Strasbourg in north-eastern France, where they formed in 2005.  Schnörgl Attahk, their first full-length CD, which marks the beginning of the band’s collaboration with Milan-based label AltrOck Productions, was preceded in 2009 by the release of the 6-track EP Clacosmique. Most of the material that had originally appeared on the EP has been included on the album, though in almost completely rearranged form. Camembert members Fabrice Toussaint and Pierre Wawrzyniak had also appeared on another noteworthy 2011 release, Ske’s 1000 Autunni – and Ske mainman Paolo Botta (who also plays keyboards with Yugen, and is a gifted graphic artist) returned the favour by providing suitably wacky artwork for Camembert’s debut.

As previously hinted, Schnörgl Attahk manages the remarkable feat of combining an amazing level of complexity with an upbeat, ebullient mood that will provide the perfect antidote to the excess of earnestness of far too much prog. The outrageous tale of Dr Frankenschnörgl and his dastardly plans for a global takeover is told through the artwork and detailed liner notes, as the album is completely instrumental. On the other hand, while no actual singing is involved, the music suggests the events in strikingly effective manner, appealing to the listener’s powers of imagination.

Like the best examples of progressive rock (modern or otherwise), Schnörgl Attahk is a quintessentially eclectic effort. The band’s handling of their main sources of inspiration eschews derivativeness, moving rather along the lines of incorporating those sources into the fabric of their own original sound – whose foundation is a sinuously intricate brand of jazz-rock with roots in Frank Zappa’s output circa Apostrophe, as well as Shamal/Gazeuse!-era Gong (incidentally, both Pierre Moerlen and Mireille Bauer were originally from the Strasbourg area – perhaps something in the water?). However, the many pieces of Camembert’s musical mosaic are extremely variegated, supported by a very distinctive instrumentation that rules out keyboards, but hinges primarily on an unusual combination of horns, mallet percussion and harp. The gentle, liquid voice of the latter, blending harmoniously with the rippling tinkle of Fabrice Toussaint’s xybraphone and the warm, organic sound of various percussion instruments, gives Camembert’s sound a unique imprint.

While the two short, consecutive openers, “Infinicheese” and “Clacos Zero”, set the scene in textbook-spacey fashion, with swishing electronics and occasional guitar touches, the 11-minute “Untung Untungan 2.0” makes a bold entrance with its lively avant-fusion allure, then unfolds in a myriad of dazzling twists and turns, to which Francesco Zago’s guitar lends some extra bite. The easy, natural flow of the music, whose melodic flair almost belies its inherent complexity, brings to mind Canterbury acts like Hatfield and the North, and the energetic presence of the horns, coupled with Pierre Wawrzyniak’s solid bass lines, lend a funky swagger to tracks like “El Ruotuav ed Sram” (“Le Vautour de Mars” spelled backwards). Shades of Magma and Univers Zéro lurk in the imperious, martial pace of  the intense “Le Meurtrier Volant”, while in the 5-part suite, “La Danse du Chameau”, sprightly Latin-tinged rhythms in the style of early Santana, weird voices and dense, faintly dissonant passages coexist, held together by the lush yet unconventional instrumentation.

An exciting slice of sparkling eclecticism, combining melody, complexity and zany humour in an irresistible mixture, Schnörgl Attahk is almost mandatory listening for fans of modern jazz-rock and RIO/Avant prog, and will particularly appeal to fans of genre-straddling bands such as Frogg Café, miRthkon or Miriodor, as well as newer outfits like Calomito or Slivovitz. With all-round outstanding performances, excellent production values (courtesy of Udi Koomran and Eric Gauthier-Lafaye), and a genuinely positive attitude that will put a smile on your face (as well as a very restrained running time, which allows the music to be absorbed without weariness setting in), Schnörgl Attahk  proves that it is fully possible to pay homage to the trailblazers of the past without turning into a nostalgia act.

Links:
http://www.myspace.com/camembert67

http://production.altrock.it/home.asp?lang=ita_&id=9&id2=9

TRACKLISTING:
1. Ludiche Ecchimosi  (5 Danze Immaginarie) (9:42):
a) Ludiche Ecchimosi # 1 (1:44)
b) Ludiche Ecchimosi # 2 (2:30)
c) Ludiche Ecchimosi # 3 (3:04)
d) Ludiche Ecchimosi # 4 (0:51)
e) Ludiche Ecchimosi # 5 (1:33)
2. Il Folletto di Cera (4:31):
a) Miniatura # 1 (0:28)
b) Il Folletto di Cera (4:03)
3. Inseguito dai Creditori (6:01)
4. Tre Pezzi Brevi (7:46):
a) Flutter (5:50)
b) In Mezzo (0:15)
c) Snappy (1:41)
5. L’Onda Vertebrata (20:08):
a) Ouverture (1:55)
b) … Tra le Gocce Che Verso l’Alto Guardano… (2:03)
c) Tu… Onda Vertebrata (1:57)
d) …di un’Ombra… (1:00)
e) Intermezzo (1:44)
f) In Bilico (2:13)
g) Passaggio (2:00)
h) … Addomestico il Sogno (2:21)
i) Non Credere Più (2:25)
l) Coda con Fanfara (2:30)

Bonus tracks:
6. La Follia del Mimo Azoto (3:41):
a) The Breznev Funk Club
b) La Follia del Mimo Azoto
c) The Breznev Funk Club (Reprise)
7. Il Folletto di Cera (instrumental version) (4:30):
a) Miniatura # 1 (0:29)
b) Il Folletto di Cera (4:01)

LINEUP:
Franco Sciscio – voice, Sprechgesang
Giuliana Di Mitrio – mezzosoprano
Maria Mianulli – flute
Francesco Manfredi – clarinet in B flat
Michele Motola – soprano and alto sax
Gianfranco Menzella – alto, tenor and baritone sax
Francesco Panico – trumpet in B flat
Francesco Tritto – trombone
Tommaso De Vito Francesco – bass guitar, contrabass, oboe
Michele Fracchiolla – drums, percussion, vibraphone, marimba
Pino Manfredi – piano, keyboards
Rocco Lomonaco – classical, acoustic and electric guitar, banjo, mandolin, quatro, harmonica
Duilio Maci – violin
Angela Schiralli – cello

Breznev Fun Club’s cleverly amusing name, which hinges on the common mispronunciation of the words fan and fun on the part of English-speaking Italians, may not be very familiar to most progressive rock listeners, but it is certainly a secret worth learning about.  As the album’s subtitle of Lost and Found implies, L’Onda Vertebrata is a collection of music written in the years 1990-1997 by multi-instrumentalist and composer Rocco Lomonaco (based in Milan, but hailing from the southern Italian region of Basilicata) and singer/lyricist Francesco Sciscio, and performed by an extended line-up of guest musicians, most of them members of chamber and symphonic orchestras. Though Breznev Fun Club was originally born as a trio, the evolution of their music in a more experimental direction required a looser configuration. However, Lomonaco is planning to put together a smaller group in order to perform on stage the music included on this album and its follow-up, titled Il Misantropo Felice, scheduled for a 2012 release on AltrOck Productions.

For an album that can be quite comfortably placed under the capacious RIO/Avant umbrella, L’Onda Vertebrata is a surprisingly melodic and accessible effort, sophisticated yet not needlessly daunting. Indeed, despite the undeniably complex and “highbrow” nature of the music,  the album as a whole never tries to hit the listener over the head with its cleverness and supposed superiority to “mainstream” prog. Even Franco Sciscio’s half-sung, half-recited vocals (a technique called by the German word of Sprechgesang) do not sound as overdone as in other albums that employ a similar style – though obviously they can be much of an acquired taste, and a deterrent for those who prefer a more traditional approach to singing.

L’Onda Vertebrata shares a number of features with contemporary classical and chamber music, and at times– as is the case with other similar outfits, such as Aranis or Factor Burzaco – it may strike the listener as rather far removed from the directness of rock. However, there are also moments in which the whole range of rock instruments is effectively employed, emphasizing the eclecticism of Breznev Fun Club’s approach.  Though, as the liner notes point out, the individual numbers are pieced together from parts composed in different moments of the band’s activity – reflected by their structure of “mini-suites” in various movements – they come across as much more cohesive than one might expect.

As suggested in the previous paragraphs, the music on display on L’Onda Vertebrata offers a lot of variety, though in an elegantly understated way. Echoes of Canterbury (especially Hatfield and the North and National Health) surface in opener “Ludiche Ecchimosi”, introduced by the lovely vocalizing of mezzosoprano Giuliana Di Mitrio, who also appears in the final part of the sparse, Debussy-like “Tre Pezzi Brevi”, accented by the clear, lilting sound of mallet percussion; while the lively “Inseguito dai Creditori”, whose choppy, Hammond-driven first half turns solemn, almost austere towards the end, might be effectively described as “Canterbury with a bite”. “Il Folletto di Cera” is a textbook example of how avant-garde does not necessarily mean noisy or jarring, with Sciscio’s theatrical vocals (reminiscent of Nichelodeon’s Claudio Milano) offset by the gentle, romantic flow of the melodies seamlessly woven by the lush instrumentation.

More than a conventional prog “epic”, the 20-minute title-track is a mini-opera divided in 10 parts that offers a wide range of modes of expression – from the airy, slow-paced opening to heavier, dramatic passages which brought to my mind Italian Seventies cult outfit Pholas Dactylus, from solemn church organ to fluid, jazzy moments enhanced by a rich fabric of horns and reeds. The first of the two bonus tracks, “La Follia del Mimo Azoto”, harks back to the time when Breznev Fun Club were heavily funk-oriented, at times reminding me of New York-based outfit Afroskull with their powerful horn section; while the Canterbury influence emerges again in the instrumental-only version of “Il Folletto di Cera”.

In spite of its rather intellectual vibe, L’Onda Vertebrata is a surprisingly accessible album, which is sure to win over lovers of both “chamber rock” and contemporary academic music, but that may even appeal to those of more mainstream tastes – especially on account of its high melodic quotient (quite revealing of its Italian matrix). An excellent, classy testimony of Rocco Lomonaco’s over two decades of activity as a musician and composer, the album will also whet the appetite of devoted followers of AltrOck Production’s roster in anticipation of the release of Il Misantropo Felice. The very detailed liner notes (unfortunately only in Italian), illustrating the history of the band as well as of each of the tracks, and the striking green hues of the cover artwork also deserve a special mention.

Links:
http://www.myspace.com/roccolomonaco

https://www.facebook.com/pages/Breznev-Fun-Club/122126211199607?sk=wall

TRACKLISTING:

1. Where Are They Now? (20:38)
2. The Mind’s Eye (8:15)
3. Perdu Dans Paris (10:47)
4. Paroxetine 20mg (7:15)
5. A Sale of Two Souls (7:51)
6. GPS Culture (7:00)
7. The Music That Died Alone (7:51)
8. In Darkest Dreams (including “After Phaedra”) (21:25)**

** on DVD disc only

LINEUP:
Andy Tillison – lead vocals, keyboards
Jonathan Barrett – bass
Luke Machin – guitar, vocals
Tony Latham – drums
Theo Travis – saxophones, flute

Just like Phideaux, The Tangent are one of those bands that do not need to be introduced to prog fans – unless they are the kind that adamantly refuses to listen to anything produced later than 1989. In spite of their frequent line-up changes, the fiercely independent outfit, based in an artistically fertile area like the north of England, has always been much more than just a vehicle for the undisputed talent of Andy Tillison – keyboardist, singer and songwriter with a a passion for the making of progressive rock with a keen edge of social and political awareness. Straddling the line between vintage and modernity, The Tangent have established a reputation for thought-provoking music with a healthy dose of dry British wit, and the kind of technical brilliance that is put at the service of the music rather than the other way around.

As the title indicates, Going Off on Two is the logical follow-up to the band’s first live album and DVD, released in 2007 and titled Going Off on One – though the line-up has undergone yet another overhaul (and, at the time of writing, has further changed, with drummer Nick Rickwood replacing Tony Latham). However, while the 2007 set was based on actual concerts, for Going Off on Two The Tangent have chosen a bold, unusual format that may well set a trend within the prog scene. Making full use of a live-in-the studio situation, the band are playing, to all intents and purposes, before a worldwide audience: the numerous fans from over 40 countries that have helped the DVD happen through their financial support. Recorded over a period of five days in December 2010 in a converted abattoir in the town of Stockport (on the outskirts of Manchester), it was inspired by popular Seventies TV programmes such as the legendary “The Old Grey Whistle Test”, whose performances often resulted in much sought-after recordings. The “gig” brings together the best of two worlds, the immediacy of a live performance and the relative comfort of the studio surroundings.

The polar opposite of the shallow, image-driven acts that command the attention of modern audiences, the band members are five refreshingly ordinary men of various ages that look as if they are genuinely having fun, in spite of the high level of complexity of their music – they are even shown dancing outside the studio in the end credits of the DVD. Dressed in comfortable, everyday clothes, obviously at ease with each other, they certainly do not deserve the vicious jibes flung at them by some alleged music journalist with a shockingly unprofessional attitude. Thankfully, progressive rock is not the sole prerogative of young, good-looking hipsters, and prog artists have every right to look like “accountants and sheep farmers” instead of posing as something they are not.

The 90-minute DVD, filmed by experienced documentary director Paul Brow, comes strikingly packaged with stunning cover artwork by renowned artist Ed Unitsky (a longtime collaborator of the band). While it contains few extras, they will definitely be of interest to fans of the band, or even to those who are getting acquainted with them. The images are crisp and clean, and the excellent photo gallery depicts the band members in various, often humorous situations, emphasizing their endearingly down-to-earth attitude. Though mostly focused on technical matters, the interviews are liberally laced with humour, and can be enjoyed even by those who (like myself) are not practising musicians. I especially liked the part in which Tillison explains his use of computers to generate all sorts of keyboard sounds, pointing out that Seventies icons like Emerson and Wakeman were ground-breaking because they made use of cutting-edge technology. So much for the current obsession with anything analog!

The 8 tracks chosen for this landmark performance span all of The Tangent’s almost 10-year career, bearing witness to the band’s remarkable skill in quality control. Indeed, The Tangent bridge the gap between classic prog of the symphonic persuasion and the elegant jazz-rock of the Canterbury scene, with a sound that is at the same time sleek and intricate, melodic and edgy, with plenty of wit thrown into soften the blow of the often barbed social commentary. While Andy Tillison’s voice may be a bit of an acquired taste, and it is definitely not you would call conventionally “beautiful”, its wry, understated tone blends surprising well with the music. And then, in spite of the obvious collective talent involved, The Tangent are not interested in bludgeoning the listener over the head with their technical prowess, even if their obvious dedication to their craft is highlighted in the brief interviews included in the Extras. While the current members of the band may not be as well-known as some of its former members (which, especially in the early days of the band’s activity, led critics to label them as a “supergroup”), they are certainly no less talented. In particular, Tony “Funkytoe” Latham’s drumming is nothing short of stunning, and Jonathan Barrett’s fretless bass delivers the kind of fat, slinky lines that prog fans have come to treasure.

The setlist offers a nicely balanced selection of material, bookended by two 20-minute epics dating from different stages of The Tangent’s career – “Where Are They Now?”, from 2009’s Down and Out in Paris and London,  and “In Darkest Dreams” from their 2003 debut, The Music That Died Alone. Two particularly tasty tidbits for the band’s fans appear in the shape of “The Mind’s Eye”, from the forthcoming album COMM (to be released in the fall of 2011), and Andy Tillison’s homage to German Seventies electro-prog masters Tangerine Dream, “After Phaedra” (which is only featured on the DVD). The former is a tense, edgy number driven by Tillison’s powerfully expressive keyboard work and fresh-faced new guitarist Luke Machin’s sharp yet fluid guitar; while the latter is accompanied by striking psychedelic visuals reminiscent of the Seventies, yet also amazingly modern.The occasional use of split, parallel frames (which in “Where Are They Now?” show idyllic views of England’s “green and pleasant land”) adds further interest to the “concert” footage. However the highlight of the DVD , in visual terms lies in the stunning images of Paris by night that are seamlessly integrated into the band’s performance of “Perdu Dans Paris” – which in the second half of the song, in order to complement the lyrical matter, turn into heart-wrenching shots of homeless people, in stark contrast with the beauty and allure of the Ville Lumière.

The stripped-down setting – so unglamorous to trendy so-called journalists, but perfectly in character with the reality of things for most prog artists (as illustrated in my reviews of gigs at Baltimore’s Orion Studios) – sets off the band’s unassuming, yet dedicated attitude, the undeniable intricacy of the music tempered by humour and level-headedness. The members of The Tangent may not look like rockstars (as none of us thankfully do), but they obviously love every minute of what they do, and the very format of the DVD celebrates the nowadays indispensable synergy between artists and their followers. The Tangent represent a voice of strong integrity in today’s music world, proving to the sceptics that progressive rock in the 21st century is not merely a vehicle for dazzling instrumental performances and lyrical escapism, but can foster social awareness and create a genuine bond between providers and users of art.

Links:

http://www.thetangent.org

http://www.paulbrow.co.uk

www.edunitsky.com

TRACKLISTING:
1. G.B. Evidence (5:19)
2. Arabesque (12:32)
3. Dark Magus (9:00)
4. L’Ombra di un Sogno (6:55)
5. Più Limpida e Chiara di Ogni Impressione Vissuta, Part I (5:08)
6. Battery Park (6:37)

LINEUP:
Giovanni Parmeggiani – Hammond organ, acoustic and electric piano, Arp Odyssey, Minimoog
Cristian Franchi – drums
Daniele Piccinini – bass
Marco Marzo Maracas – guitar, oud

With:
Richard Sinclair – vocals (4)
Antonio “Cooper” Cupertino – percussion (4)

Hailing from the historic Italian city of Bologna, home to the oldest university in the world, Accordo dei Contrari (Italian for “Agreement of the Opposites”) started out their career in as a trio; then, after a number of line-up changes, recorded their debut album, Kinesis (released in 2007) as a quartet. The same line-up is featured on Kublai, their sophomore effort, released in the spring of 2011 – an album that is sure to put them on the map of even the most demanding lovers of progressive rock. Sadly, the band was one of the “innocent victims”, so to speak, of the unfortunate cancellation of the 2011 edition of NEARfest, which deprived American prog fans of the opportunity to witness a number of exciting modern bands.

While the album’s title may bring to mind the fabled character of the Mongolian emperor celebrated by the likes of Marco Polo and S.T. Coleridge, in this case the name Kublai is meant to  represent “the most distant point in an imaginary landscape. It represents ordered chaos, light and dark, the balance between written and improvised music.” A clear statement of intent that accurately sums up the musical content of Accordo dei Contrari’s second album. With its stylishly minimalistic cover artwork, Kublai is a supremely classy package that shows a band whose compositional and instrumental mastery is growing by leaps and bounds.

Running at a compact, perfectly balanced 45 minutes, the album sounds fresh and original even when the band’s main sources of inspiration are referenced. While Accordo dei Contrari do not choose to employ as extensive an array of instruments as other modern bands, they manage to create an impressive volume of sound with a rather restrained instrumentation, dispensing with the violin and saxophone featured on their debut, and therefore perfecting the “electric quartet” format. For an album that might be tagged as jazz-rock, Kublai seems to revolve a lot around Giovanni Parmeggiani’s stunning keyboard work. Indeed, the keyboards are definitely the driving force of the disc, with the distinctive rumble of the Hammond organ lending a touch of unbridled hard rock passion to the overall sound: there are moments on Kublai in which Parmeggiani sounds as if he was channeling Jon Lord.

Opener “G.B. Evidence”, a variation on a Thelonious Monk composition, immediately introduces the listener to the fascinating world of Accordo dei Contrari, with Cristian Franci’s crisp, inventive drumming, bolstered by Daniele Piccinini’s sleek, versatile bass lines, sparring with Marco Marzo’s simmering guitar and Parmeggiani’s subtly layered keyboards. In the second half, guitar and organ engage in a sort of dialogue that conjures images of Deep Purple jamming with Mahavishnu Orchestra. Clocking in at 12 minutes “Arabesque” presents Accordo dei Contrari’s own twist on the obligatory prog ‘epic’, making effective use of a steady electronic drone to create a faintly ominous atmosphere underlying the stately beauty of the Eastern-flavoured acoustic guitar arpeggios in the first part of the track. The overall loose, somewhat rarefied texture, the flow of the music broken by frequent pauses and surges in volume, occasionally gains intensity in bursts of energy that bring to mind the revolutionary sonic melting pot of Area circa Arbeit Macht Frei. Bookended by sonorous gong. “Dark Magus” (a nod to Miles Davis’ 1974 album of the same title) reinforces the impression of classic jazz rock coupled with the intensity of vintage hard rock. Parmeggiani attacks his Hammond with unadulterated abandon, while Franci’s stellar drumming propels the whole of the composition along, with Marco Marzo’s guitar in an invaluable supporting role.

Strategically placed at the opening of the album’s second half, “L’Ombra di un Sogno (Shadow of a Dream)” is the only track with vocals, provided by none other than the ‘voice of Canterbury’, Richard Sinclair, who also wrote the gentle, moving lyrics in memory of his dog. Centred around Sinclair’s subdued yet emotional interpretation, his velvety baritone bending the music to its will, the song – somewhat sparse at first, with a hauntingly insistent guitar line, then taking a jazzier turn towards the end – brings the the sound of iconic Canterbury bands such as Hatfield and the North and National Health into the 21st century. On the other hand, “Piu’ Limpida e Chiara di Ogni Espressione Vissuta, Pt. 1”  steers towards a more symphonic direction, with organ and guitar alternating in the lead role, and an overall solemn, meditative feel even when the pace picks up. The album ends with the “Battery Park” (inspired by a windy, sunny February day by the Hudson River in New York City), a lovely, piano-led  piece based around a main theme developed in a stop-start movement, the various sections climaxing and then subsiding like the natural flow of a water course.

A perfect marriage of formal elegance and emotion, rich with diverse influences but always cohesive, Kublai clearly proves that Accordo dei Contrari are ready to take their rightful place alongside D.F.A. as purveyors of impeccably executed, yet warm and emotional jazz-rock in which keyboards play a prominent role. The band have amply fulfilled the promise shown by their debut, Kinesis, and the compositional and technical maturity shown on their sophomore effort bodes extremely well for their future career. A must for fans of the Canterbury scene and classic jazz-rock in general, Kublai will delight anyone who loves great music – whatever the label attached to it.

Links:

http://www.accordodeicontrari.com/

TRACKLISTING:
1. Bella Lee (3:34)
2. Parliamone (5:43)
3. Infraditi (7:36)
4. Fungo (6:42)
5 Cane di Schiena (6:32)
6. Pappa Irreale (2:27)
7. Antenna (7:59)
8. Klez (4:16)
9. Max Dembo (8:47)

LINEUP:
Filippo Cantarella – violin, viola
Marco Ravera – electric and acoustic guitar, synthesizer
Tommaso Rolando  – acoustic bass, electric bass, acoustic guitar, synthesizer, sampler, trumpet
Nando Magni – trombone
Nicola Magri – drums

With:
Cosimo Francavilla – soprano saxophone (2)
Antonio Carletti – weird vocals (7)

In my writings I have often mentioned the lively music scene of the great port of Genoa – not surprising for a city that, throughout its long history, has been one of the many melting pots of the Mediterranean region, bringing together East and West, North and South in a heady mixture of tradition and modernity. This is the kind of fertile ground from where Fabrizio De André’s Creuza de Ma, one of the undisputed masterpieces of the whole ‘world music’ scene, originated. Five-piece Calomito, a relatively recent addition to the variegated Italian music scene, bring an unique twist to the time-honoured musical heritage of their home town, with a sound that marries the warmth of the Mediterranean with a strong international bent.

Calomito have been around since the mid-2000, releasing their debut album, Inaudito, in 2005. After a five-year hiatus and some line-up changes, the band have made a comeback with Cane di Schiena, issued in the first half of 2011 by Milan-based label AltrOck Productions (also responsible for outstanding, cutting-edge releases such as Yugen’s three albums and mirRthkon’s Vehicle). Though they have been almost forcibly placed under the RIO/Avant umbrella, Calomito are one of those bands that – luckily for fans of genuinely interesting music, much less so for those who delight in labelling everything – are extremely hard to pigeonhole, due to their boldly eclectic approach to music-making.

As a fellow Italian reviewer  jokingly stated at the beginning of his own review of the album, you may want to consider taking a couple of days off in order to listen to Cane di Schiena properly. Indeed, though clocking in at a mere 53 minutes, the album presents an  incredibly dense (though never claustrophobic) amount of music which unfolds with each successive listen, and therefore devoid of any immediately digestible tunes. On the other hand, unlike what many believe about any kind of music that bears even a faint whiff of ‘avant-garde’, there is nothing discordant, abrasive or random about Calomito’s sound. Each of the tracks is clearly very carefully structured, as it is nearly always the case with ‘chamber rock’ outfits – a definition that, in my view, fits Calomito to a T. Like their label mates Yugen, they transcend the boundaries of the RIO/Avant classification, and should rather be seen as purveyors of eclectic yet oddly intimate music tha requires all of the listener’s attention to be fully appreciated.

This does not imply that Cane di Schiena is one of those deadly serious albums that command a quasi-religious devotion. Calomito’s humorous disposition, which descends directly from the likes of Stormy Six and Picchio dal Pozzo (as well as the Canterbury scene, which is also a clear musical influence), immediately comes across from titles such as “Pappa Irreale”(a pun on pappa reale, the Italian for “royal jelly”) or “Infraditi” (an intentionally ungrammatical spelling of the  word meaning “flip-flops”). The music itself, while quite light-hearted at times, can on occasion reach for a more subdued, sober tone. On the whole, Cane di Schiena comes across as a flawlessly executed album that never descends into a depressing or overly involved tone.

As is the case of other ‘chamber prog’ ensembles, Calomito employ a number of other instruments alongside the traditional rock trinity of bass, guitar and drums, assisted by various synthesizers. The substantial contribution of the horns evokes parallels with bands such as Miriodor, which emerge quite clearly right from the album’s opening track, “Bella Lee” – an incredibly dense 3 minutes of music; while the equally important role played by strings (violin and viola) brings instead to mind one of the best modern‘chamber rock’ outfits,  Seattle-based band Moraine, as well as vintage Frank Zappa. The more upbeat passages, suggesting a jazz-rock or Canterbury matrix, made me think of Forgas Band Phenomena, though Calomito sound slightly more angular than the French band. Furthermore, while Univers Zéro’s broodingly apocalyptic production seems to be the polar opposite in tone to Calomito’s essentially cheerful approach, Nicola Magri’s stunning, beyond-merely-propulsive drumming style cannot but evoke the way in which Daniel Denis supports the whole fabric of the Belgian outfit’s sound.

Trying to describe any of the nine tracks in detail would not do any of them justice. While “Infraditi” is probably the one track with the strongest connections to the RIO/Avant school of progressive rock – an astoundingly complex, 7-minute rollercoaster ride apparently throwing in anything but the proverbial kitchen sink, from carnival-like music to jazzy touches to jagged, almost dissonant passages – the somewhat low-key “Parliamone”, true to its title (meaning “let’s talk about it”) seems to reproduce a dialogue between two persons, with horns and synthesizers in the role of human voices. The choppy, dynamic “Fungo” exemplifies the way in which Calomito use pauses to create interest, rather than produce an impression of patchiness; while the title-track’s slow, meditative mood, some passages so low as to be barely audible, produces an intense, almost mesmerizing effect.

Especially in the second half of the album some intriguingly exotic influences show up, which bring to mind comparisons with Slivovitz, another über-eclectic Italian outfit hailing from Naples, my home country’s second biggest port (and musical capital). “ Pappa Irreale”’s lilting, dance-like pace punctuated by violin is sharply redolent of Irish folk, or even American country; and the upbeat, drum-driven “Klez”, as the title points out, contains elements of klezmer and Eastern European gypsy music. A folksy also tone emerges in parts of the initially low-key “Antenna”, possibly the most complex number on the album (and the only one briefly featuring ‘weird vocals’), ending with an exhilarating crescendo in which guitar, trombone and violin seem to engage in a sort of conversation. Closing track “Max Dembo” introduces some new elements, such as spacey sound effects that  enhance the powerful, rolling tone of the drums and the echoing guitar lines, as well as shades of Brazil in the relaxed, almost sultry pace of first half of the track.

In spite of the density of its musical content, Cane di Schiena is far from inaccessible, and – while undoubtedly a challenging listen – does not rely on spiky, jarring sounds to make its impact. There is plenty of melody to be found on the album, and the music possesses a natural flow and easy elegance that make listening a pleasure rather than a chore. Even though fans of traditional symphonic prog may be daunted by anything bearing the label of ‘avant-garde’, I would encourage everyone who loves progressive music to give Calomito a try. With their successful blend of technical skill, seemingly boundless creativity, eclectic influences and keen sense of humour, they are one of the most interesting bands heard in the past couple of years, and definitely one to watch.

Links:

http://www.calomito.com/

http://www.myspace.com/calomito

http://production.altrock.it/start.asp

TRACKLISTING:
1. A Visit to Newport Hospital (8:25)
2. Contrasong (4:21)
3. Boilk (9:23)
4. Long Piece No. 3 –  Part One (5:06)
5. Long Piece No. 3 –  Part Two (7:39)
6. Long Piece No. 3 –  Part Three (8:01)
7. Long Piece No. 3 –  Part Four (2:51)

LINEUP:
Mont Campbell – bass, vocals, organ, piano, French horn
Dave Stewart – organ, piano, tone generator
Clive Brooks – drums

With:
Henry Lowther – trumpet (2)
Mike Davis – trumpet (2)
Bob Downes – tenor sax (2)
Tony Roberts – tenor sax (2)

Released in 1971, Egg’s sophomore effort is one of those albums that, in a way, can be said to be representative of a whole movement, though they rarely get the appreciation they deserve. Though “Canterbury scene” may sound rather vague as a definition, being more about a place than an actual musical style, it is nonetheless undeniable that most of the bands and artists associated with this most peculiar subgenre do share a number of features that go beyond their somewhat ‘incestuous’ sharing of personnel. Many see the output of the  “Canterbury scene” as a subsection of jazz-rock with poppy leanings and occasional excursions into more avant-garde territory; however, to these ears at least, the best Canterbury outfits offer a complete progressive package of humour, sophistication, diverse influences, and remarkable musical chops. Quintessentially English,  with a timeless feel that often eludes the more stereotyped instances of symphonic prog, the Canterbury sound commands fierce devotion, though its quirky nature can also leave listeners somewhat cold.

To all intents and purposes, Egg was a continuation of Uriel, the psychedelic progressive quartet that also included guitarist Steve Hillage (later with Khan and Gong), whose only album was released in 1969 under the name of Arzachel.  After Hillage left, the three remaining members took a different, more experimental route, pushing the keyboards at the forefront, and dabbling in those genre-defining contaminations between rock and classical music – as witnessed by “Fugue in D Minor” and “Symphony No.2”, both featured on their 1970 self-titled debut album.

In spite of its cult status among true-blue Canterbury fans, The Polite Force is generally not rated as highly as the likes of Third or In the Land of Grey and Pink. Some reviewers have even hinted at comparisons with the much-reviled ELP – owing to the similar configuration of both bands – which, unfortunately, does not do the album any favours. Now, though I consider ELP one of the most influential bands in the history of progressive rock, and rate their first five studio albums quite highly, I do not find the connection between their sound and Egg’s as evident as some maintain. While The Polite Force is very much a showcase for Dave Stewart’s distinctive style, and therefore a real delight for keyboard fans, it would also be unfair to state that the band is dominated by him. In fact,  bassist/vocalist Monty Campbell and drummer Clive Brooks (who joined blues-rock trio The Groundhogs after Egg’s demise) do not just function as supporting cast for Stewart’s keyboard antics, but drive the band’s sound along with their impressive, though understated, skills. Campbell is also a vocalist very much in the classic Canterbury mould, with a polite (pun unintended), pleasant voice that is the perfect complement to the band’s quirky, complex sound.

TRACKLISTING:
1. Baltasaurus (14:18)
2. Flying Trip (7:51)
3. Vietato Generalizzare (6:38)
4. Mosoq Runa (18:58)
5. The Mirror (10:16)
6. La Ballata de s’Isposa ‘e Mannorri (10:16)

LINEUP:
Alberto De Grandis – drums, percussion, vocals (5)
Alberto Bonomi – Hammond A-100 organ with Leslie 760, Fender Rhodes electric piano, Steinway acoustic piano, synthesizers, flute
Silvio Minella – electric guitars
Luca Baldassari – bass guitar

With:
Andhira (Elena Nulchis, Cristina Lanzi, Egidiana Carta) -  vocals (6)
Zoltan Szabo – cello (4, 6)
Maria Vicentini – violin, viola (4, 6)

Hailing from Shakespeare’s own ‘fair Verona’ (one of the most beautiful cities in Italy), where they formed in the mid-Nineties, D.F.A. (acronym of Duty Free Area) are living proof of the old Latin saying that a prophet has no honour in his own country. Hailed as one of the best progressive rock bands of the past decade, they took the NEARfest audience by storm in 2000, and offered a stunning repeat performance in 2009 – when I first saw them, and was floored right from the opening strains of  their set. However, as seems to happen all too frequently, they are barely known in their home country, where their extremely elegant yet punchy brand of Canterbury-tinged jazz-rock starkly contrasts with worship of all things Genesis that is still widespread in Italy. That historic first NEARfest performance was captured on the band’s 2001 live album, Work in Progress, which for over seven years remained the last testimony of the band’s activity.

D.F.A. are nothing but pure class. A quartet reproducing the configuration of bands such as Hatfield and the North and National Health – with both keyboards and guitar in a prominent role,  and the occasional contribution of other instruments – they are one of those rare outfits where each member’s contribution is essential to the band’s overall sound. Even if drummer Alberto De Grandis –  a drummer that, like Christian Vander or Daniel Denis, is much more than a simple timekeeper – gets most of the composing credits, all of the instruments get their chance to shine and create a tightly woven mesh of sound. Alberto Bonomi’s multilayered keyboards lay a lush tapestry for Silvio Minella’s brilliantly expressive guitar work; while Luca Baldassarri’s bass provides ever-reliable bottom end, adding fullness and texture to De Grandis’ propulsive drumming. D.F.A.’s music is effortlessly fluid, yet complex enough to please the most demanding jazz-rock fans – striking a perfect balance between technical skill and genuine emotion, breathless dynamics and captivating atmospheres.

Taking a leaf out of Soft Machine’s book, the album’s title is a simple numeral – not surprising, in the light of their affiliation with Leonardo Pavkovic’s far-sighted MoonJune label. Though it runs at almost 70 minutes, unlike the majority of albums running at over an hour it never outstays its welcome, and always manages to hold the listener’s attention. Most of the six tracks are instrumental, with one notable exception (on which more later). Interestingly, though D.F.A. do not sound as typically ‘Italian’ as those bands who opt for a more traditionally symphonic sound, they possess the inimitable flair for melody that seems to be ingrained in most Italian musicians. Their music is never harsh or needlessly convoluted, yet it also manages to eschew that somewhat overblown theatricality that can turn people off Italian progressive rock. It would be unfair to the band, however, to imply that they are mere Canterbury imitators. While D.F.A have a definitely international appeal (as proved by their choice of giving their composition titles both in Italian and in English), their Mediterranean inspiration – even if thankfully untainted by the overly sentimental excesses of Italian melodic pop – can be often keenly felt. This is one aspect that D.F.A. share with historic jazz-rock outfits such as Area, Il Baricentro and Napoli Centrale.

Chosen to accompany the opening images of the documentary film Romantic Warriors, “Baltasaurus” introduces the album in charmingly subdued mode, a feature shared by most of the tracks. Elegant guitar licks and flawless rhythm section lead the way for a splendid, mid-paced development, in which keyboards and guitar seamlessly interact, bolstered by De Grandis’ stunning drum work – never overwhelming, but very much a protagonist. Gently atmospheric sections alternate with more energetic ones, and the many tempo changes do not break up the smooth flow of the music. The following number, “Flying Trip”,  picks up the Canterbury references with a wistful mid-tempo spiced up by occasional jazzy, Latin-flavoured passages, and featuring some stunningly beautiful organ passages and delicate flute; while the barnstorming “Vietato Generalizzare” (It Is Forbidden to Generalize – the track with which D.F.A. opened their set at NEARfest 2009) barges in, propelled by a vertiginous synth riff and high-energy drumming. Very much guitar-driven, it allows Silvio Minella to display his considerable chops in an intense, expressive solo reminiscent of Gary Moore during his Colosseum II tenure. “The Mirror”, on the other hand, is a classic jazz-rock workout, with the instruments creating a keen, somewhat darker-hued sense of tension – though eased by snippets of muted singing at the beginning and in the middle of the track – and climaxing with an arresting, yet subtle drum ‘solo’.

That leaves the album’s epic, the almost 19-minute “Mosoq Runa” (Quechua for “new human being”), which, not surprisingly, displays a definitely more symphonic bent – thanks also to the presence of strings, as well as a recurring main theme. The amazing interplay between the instruments is nowhere more evident than here, and – in spite of its running time – the track never once feels overlong or overdone; as usual, both the guitar and the keyboards get their chance to shine, with Minella’s soloing at its most soulful. However, 4^th’s most distinctive track is strategically placed at the close of the disc. Sung entirely in the ancient Sardinian language (the most archaic of Romance languages) by the heavenly voices of the folk trio Andhira, “La Ballata de s’Isposa ‘e Mannorri” (The Ballad of the Bride of Mannorri) is a tale of love, betrayal and vengeance that would be perfectly at home on a Pentangle album – in spite of the frequent comparisons between Andhira and Canterbury’s own trio of female vocalists, The Northettes. The three Sardinian vocalists, though, are less operatic and more emotional; the resonant contralto timbre of one of them lends even more depth to their performance. The minimalistic instrumental accompaniment does not divert the attention from the sheer beauty of the vocal interplay – though the bridge features a lovely, touching guitar solo that seems to echo the profound sadness of the story.

At the time of writing, D.F.A. are reported to be on indefinite hiatus, due to the all too familiar pressures of ‘real life’ (i.e. family and work) on any non-professional musician. It may even be that the band has reached the end of the road – which would obviously result in a great loss for the whole progressive rock scene. However, even if they indeed decide to call it a day, they will have left a lasting legacy in the history of progressive rock, both for the beauty and power of their music and their genuinely down-to-earth attitude – as captured in the aforementioned Romantic Warriors.. Needless to say, 4^th is a must-listen for devotees of the Canterbury scene and classic jazz-rock, and very highly recommended to prog fans of every persuasion. This is one of the landmark albums of the first decade of the 21^st century, and one of the very best productions to ever come out of the Italian progressive music scene.

Links:

http://www.andhira.com

Tracklisting:

1. If I Could Do It All Over Again, I’d Do It All Over You (3:07)
2. And I Wish I Were Stoned – Don’t Worry (8:21)
3. As I Feel I Die (5:17)
4. With an Ear to the Ground You Can Make It / Martinian / Only Cox /     Reprise (9:56)
5. Hello Hello (3:46)
6. Asforteri 25 (1:21)
7. Can’t Be Long Now / Françoise / For Richard / Warlock (14:18)
8. Limits (1:34)

Lineup:

Pye Hastings – vocals, guitars, claves
David Sinclair – keyboards
Richard Sinclair – vocals, bass, tambourine
Richard Coughlan – drums, congas, bongos, maracas, finger cymbals

With:
Jimmy Hastings -  sax, flute

In keeping with my intention of offering a wide range of musical styles to the readers of my reviews, my next pick is one of the greatest albums to ever come out of the so-called ‘Canterbury scene’. Though for most people the most obvious choice would be the band’s most celebrated work, its follow-up In the Land of Grey and Pink, I have always found this one to be, in some ways, an even better effort – though, unlike … Grey and Pink, it is  less immediate and more of a steady grower.

The best way to listen to this album is to put on your headphones and wallow in the beautiful vocal harmonies, intricate bass lines and splendid  keyboard work. The opening title-track is an infectious, ’60s-style ditty sung by both vocalists, the deeper-voiced Richard Sinclair repeating the line “Who do you think you are?”, with the higher-pitched, graceful voice of guitarist Pye Hastings singing the verse. Most of the following tracks, though varying in length, are structured as mini-suites, with at least two movements (and accordingly long, hard-to-remember titles). “And I Wish I Were Stoned” starts off as a wistful melody, then becomes increasingly jazzy and dynamic. “As I Feel I Die”, one of the highpoints of the album, has much the same structure, with a slow intro featuring great vocals from Hastings, then culminating in a rousing instrumental duel between the two Sinclair cousins, Dave’s incendiary keyboards and Richard’s complex, fluid bass. “With an Ear to the Ground”, the second longest track on the album, sees more spectacular work from Dave Sinclair,  backed by a very tight, yet understated rhythm section.

“Hello Hello” is a lesson in how to write a song that’s both hummable and intelligent, with the added bonus of one of the strangest percussive accompaniments this side of King Crimson’s Jamie Muir – a pair of hedge clippers wielded by  Richard Sinclair himself, who also sings lead vocals. In fact, if I were to name one flaw of this otherwise flawless album, is that Sinclair does not sing often enough…  The short, delightful “Asforteri” leads the way for the album’s pièce de resistance, the 14-minute-plus “For Richard”, one of the band’s undisputed classic, and a constant presence in their live sets.  David S. gives a stunning demonstration of his impressive skills as an organ player, while Richard S. provides a solid yet intricate rhythmic background. The track ends with a brief yet tasteful guitar solo by Pye Hastings  – perhaps unlikely as a guitar hero,  but also very effective.

The remastered version (featuring the unreleased gem “A Day in the Life of Maurice Haylett”) sounds as fresh as it had been recorded last year, and not 40  years ago. This is vintage prog at its best – impeccably performed, complex and challenging, yet at the same time witty and light-hearted, devoid of the pretentiousness that can occasionally mar the output of some of the better-known bands.

Though, to some people’s ears,  If I Could Do… might sound a tad lightweight,  it is nevertheless a magnificent album by a band who, in their heyday, were able to effortlessly combine accessibility with progressive potential. Highly recommended indeed – unless you are one of those people who will shy away from anything that sounds too conventionally ‘poppy’.

Beautiful, melodic progressive sound, at times a bit CAMELesque, sometimes the odd lines recall even a little Mothers Of Invention.

Here’s one:

Robert Wyatt, Brit singer with pioneering Canterbury Scene act, Soft Machine

Let’s start with Hugh Hopper’s Jazzloops. It was recorded by Hugh in 2001-2002 using smoking hot technology (i e Steinberg Cubase VST!). As the title implies, the music is loop-based. This is not uncharted area for Hugh who used to work a lot with tape loops back in the 70s (listen to his solo album 1984 or it’s sibling piece, 1983, on Soft Machine’s Six) but with the new technology it is propably techincally very easy too make a record like Jazzlopps. The thing is, you must find something good to loop. But instead of raiding sampling libraries and old vinyl records Hugh called some of his old muso friends from the Soft Machine days to record original material for him from which to sample, and that is why even old close-minded Canterbury scene fans will warm instantly to tracks like ”Acloop” and “Calmozart”, the latter almost sounding like a whole band performance if it wasn’t for the repetetive nature of the drum track. Other tracks (like “t3″ and “Afrik”) are minimal in nature and despite being loop-driven they create a womb-like sense of isolation. “Aintpo” and “1212″ leaves room for the saxophone to fly solo and these solos are propably one of the things that keep Jazzloops from becoming too computerized”. There’s also a track called “L4″ that sounds like a drunk rehearsal gone wrong, without being funny or anything. What’s that all about?
Jazzloops is a CDR that arrives in a very simple brown cardboard envelope with a stamp on it. A black and white inlay card and the disc itself is placed inside. It’s well worth the money and I’ve been playing it a lot since I got it. It doesn’t blow exactly blow your mind, but as usual with Hugh Hopper’s music, it’s oddly sympathetic and has a low-key charm that makes you come back for more. And more of the same did I get with “The Stolen Hour”.

“The Stolen hour” is credited to Hugh Hopper and Matt Howarth. Hugh does the music and Matt Howarth draws the cartoon. Apparently the music is made to match the cartoon, which is provided as a pdf file on the disc. Actually I haven’t checked if it’s there because I have absolutely no interest in cartoons (Sorry Matt). But Hugh’s music is very nice, but I’d say it’s not as good as jazzloops. The two records sound very similiar and that’s why it comes naturally to compare the two.  ”Craig’s Distended Train Raid” opens with a fantastic percussive loop that one wish would go on forever. But it doesn’t. Instead, several of the tracks are based on a vaguely clock-like rhythm (which propably corresponds with something in that Cartoon, which I still refuse to read) and a there’s sense of anticipation (or possibly impending doom) about much of the music. Somewhere I recall seing “The Stolen Hour” being referred to as part of the “Jazzloops series” and it’s very much “more of the same” when listened to together with “Jazzloops”. I’d recommend you’d get both, but if you have to chose, go with “Jazzloops”.

“The Swimmer” is a different story. I guess I was too quick to order it. I read somewhere that the music was improvised in a day with a full band. It sounded good to me; hugh hooper plus full band improvises. But there really should be a sticker on this one saying “Warning! The line-up on this record features a female jazz vocalist!”. It’s like the third track on Nucleus’ 1973 ”Labyrinth” where Norma Winstone is brought in to jazz things up a bit. I cringe. I reach for the skip button. I’m sure that both Ponsford and Winstone are super at doing what they do, but it’s not for me. I’m feeling very narrow-minded and I still listen to “The Swimmer” every now and then in hope of getting used to Jon Ponsford’s vocals, because the music is plain amazing (and it sounds very structured for being improvised) but sadly it’s reduced to a backing track. Or maby that’s just in my head. Jon’s vocals are wordless but they’re omnipresent. From start to finish. I will post again about this album if I change my mind about it. I hope I will, but I’m just not sure.

Related links:

Hugh hopper’s homepage

Burning Shed Records

Biography by Richie Unterberger
[Bio & Info © allmusic.com]

Soft Machine were never a commercial enterprise and indeed still remain unknown even to many listeners who came of age during the late ’60s, when the group was at its peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground ones. One of the original British psychedelic groups, they were also instrumental in the birth of both progressive rock and jazz-rock. They were also the central foundation of the family tree of the “Canterbury Scene” of British progressive rock acts, a movement that also included Caravan, Gong, Matching Mole, and National Health, not to mention the distinguished solo careers of founding members Robert Wyatt and … Read More…