Archive for the ‘prog’ Category

Hundred Word Reviews for March 2015, Part 4

Thursday, March 5th, 2015

Prog, jazz, blues: there’s something for most musical tastes in today’s roundup of hundred-word reviews.

Mark Wingfield – Proof of Light
If there’s a common raison d’être among the varied acts signed to Leonardo Pavkovic‘s MoonJune label, it’s to explore the sweet spot at which jazz and rock convene. Wingfield’s disc features a trio format – electric guitar, upright bass and drums – but what you’ll hear suggests the presence of other instruments. Imagine a low-key Joe Satriani with less flash and more of a jazz sensibility — albeit with plenty of skronky electric guitar texture – and you’ll be on the path to what this all-instrumental sounds like. The arrangements are subtle, but listen closely and there’s a lot going on.

Winter in Eden – Court of Conscience
Just when I finish a piece in which I assert that there are pretty much no women in prog, along comes this disc, by a UK symphonic progressive act. Soaring Mellotron-sounding keyboards (on the “choir” setting) are met by thundering bass lines, and the requisite tricky time signature work from the drummer. Lots of sonic light and shade means that graceful piano lines are met by crushing, edge-of-metal arrangements. The one-sheet tells us that the band is popular at “various Femme Metal Festivals.” That such a thing exists is news to me. A worthy purchase for fans of the genre.

Mississippi Heat – Warning Shot
I’m always a little guarded when I stumble across an album that sports of a picture of a really large band. It makes me think of those terrible horror-metal bands like Slipknot: does it take nine people to make that sound? To be fair, while the Warning Shot credits list thirteen players, the photo only shows seven. What we have here is traditional, Chicago-styled electric blues with harmonica and vocals out front. Nothing new, really, but then “new” isn’t what most people want from a blues outfit. It swings, and for fans of the harp-through-the-Green-Bullet vibe, it’s just the ticket.

Tony Joe White – The Complete Warner Bros. Recordings
The early 70s music scene seems to have been filled with white singers who could traffic in a credible southern soul style. Louisiana-born Tony Joe White was one of the best, often outshining guys like Elvis Presley (no slouch himself). With a style that sometimes sounds very much like Creedence Clearwater Revival fronted by Mark Lindsay, White turned out three fine albums for Warner Brothers. His guitar playing is pretty impressive, too, in an understated rhythm-guitarist kinda way. Nearly every track here is a White original. No “Polk Salad Annie” (that was earlier in his career), but many other gems.

The Soft Machine – Tanglewood Tales
Canterbury legends The Soft Machine are one of the genre’s best-loved groups. With their jazz meets rock aesthetic, they were an early bridge between the then-disparate styles. Their first several albums are legendary, and deserve to be part of every serious music lover’s core collection. The 2CD set Tanglewood Tales, however, is really a for-the-faithful set of rarities, outtakes and other lo-fi oddities from the group’s earliest days. Studio tracks (such as the delightful “Clarence in Wonderland”) are cracked pop that will appeal to fans of Syd Barrett, as long as one can overlook the consistently distracting dodgy sound quality.

This series of hundred-word reviews wraps up tomorrow.

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Hundred Word Reviews for March 2015, Part 3

Wednesday, March 4th, 2015

“Rock” is such an all-encompassing term. It can include speedy punk, gothic rockabilly, krautrock, indie rock, and more. So, too, can a selection of my hundred-word reviews. To wit:

Stuyvesant – Shmyvesant
The cover art suggests pop-punk. The band photo shows husky, middle aged white guys. The music says, “We may be from New Jersey, but we look to Minneapolis for at least some of our inspiration.” Stuyvesant are indeed reminiscent of Hüsker Dü, though Sean Adams‘ voice is a lot higher (but just as expressive) as that of Bob Mould. The band does a lot with a small arsenal of instruments, and there’s plenty of stop/start action to keep the songs from getting samey. Think of it as college rock made by guys who’ve long since left the university. Well worth spinning.

The 69 Cats – Transylvanian Tapes
This international (Finland/UK/USA) gothabilly outfit stakes out a sound that’s equal parts Cramps, Cure, and Doors. I’m not sure if it was their goal with this album, but the collection of original and cover tunes points out the aesthetic similarities between Bauhaus (“Bela Lugosi’s Dead”), The Doors (“People Are Strange”) and The Rocky Horror Show (“Sweet Tranvestite”). You’ll either love or hate the yelping vocals of Jyrki 69, who sometimes favors Brian Setzer. Fans of reverb-drenched rockabilly guitar will enjoy this thirteen-song set. Blondie‘s Clem Burke handles the drums, and 77-year-old legend Wanda Jackson guests on Leiber/Pomus/Stoller‘s “She’s Not You.”

Guru Freakout – Mothership
Krautrock never really caught on in any sort of way here in the USA. Even genres like 60s-styled garage rock seem mainstream in comparison to the proggy, borderline ersatz-jazz, droning, fuzzed-out sounds of bands like Birth Control and Grobschnitt. So it’s a bit of a surprise to find modern-day bands mining the genre. But mine they do. This fantastic five-track CD – a thirty-plus minute track plus four shorter but still long numbers – is primarily the brainchild of krautrock legends Guru Guru‘s Mani Neumeier and Die KrupsJürgen Engler, and finds them firing their spacerock rocketship on all cylinders.

Pete Galub – Candy Tears
Some spiky guitar textures applied to catchy melodies gives Candy Tears a feel that’s halfway between powerpop and indierock, 90s version. Galub’s vocal delivery suggests a punk singer who just wants to get his point across – while defiantly chewing gum and sneering – but his skilled way around the fretboard shows that he’s far more artistically ambitious than your average pop-punker. Some angular, almost no-wave guitar lines give his jangly rock songs more bite than they’d otherwise have. Vibraphone on a couple of tracks is wholly unexpected – especially in this musical context – but it works, and well.

Fractal Mirror – Garden of Ghosts
These guys remind me of another band, but for the life of me I can’t figure out which. Unusually strong vocal arrangements, creamy keyboard textures and shimmering guitars suggest a sound not miles removed from – and I’m grasping at straws a bit here – Icehouse, Peter Gabriel, Japan, and Porcupine Tree (the latter’s Richard Barbieri was in Japan). The band is Dutch, but as with many European bands, American listeners will be hard pressed to spot a “foreign” accent. The minor-key melodies are best described as hauntingly beautiful. More keyboard connections: the group is associated with Synergy‘s Larry Fast.

More to come.

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Hundred Word Reviews for March 2015, Part 1

Monday, March 2nd, 2015

Time for some more backlog-clearing hundred-word reviews. All of these are worth my (and your) time in some way, but because of the sheer volume of worthy material in my inbox, I regularly do these short-form reviews to keep them from languishing on my desk. Today’s four are all artists I’ve covered before.


The New Trocaderos – Frenzy in the Hips
Recently I reviewed the recent three-song disc from this Northeastern trio, and while I liked it a lot, I found the stylistic ground covered disparate enough so as to be confusing. This six-song disc repeats three of those cuts. The new three are reminiscent of some quality Southern acts of the 80s — specifically Georgia Satellites and Jason & the Scorchers — and serve better to define the group’s sound. Little Steven (he of the Underground Garage digital radio program) is a fan; he’s bestowed the “Coolest Song in the World” designation to two of the cuts on this disc.


The Well Wishers – A Shattering Sky
Jeff Shelton is one prolific guy; almost like clockwork a CD from him shows up in my mailbox every few months. And even though he’s not high profile, I cover his stuff because it’s good. If you’re the sort who picked up Jordan Oakes‘ peerless Yellow Pills powerpop compilation CDs back in the 90s (or most anything from Bruce Brodeen‘s NotLame label) then this is the stuff you’re looking for circa 2015. Any of the twelve cuts here would be right at home on a Yellow Pills set. Like-minded pals Chuck Lindo and Bradley Skaught help out on some cuts.


Red Jacket Mine – Pure Delight
As with their 2013 long player, on this six-song disc, Lincoln Barr‘s Red Jacket Mine is stylistically varied. Barr’s voice is the centerpiece of these well-assembled tunes, and some interesting keyboard textures (funky 70s-styled clavinet, some really well-recorded piano) plus some tasty synth strings give the disc a vaguely Ben Folds feel (minus the humor), even though Barr’s a guitarist. The soulful “Crow” and the sing/songwriter-flavored “AM” are both a bit of a left turn, departing from the group’s generally upbeat approach. “Nearly Marjorie” is retro in that “(Just Like) Starting Over” kind of way. “Get Paid” is wryly humorous.

Dewa Budjana – Hasta Karma
This Indonesian guitarist is a busy guy; like Jeff Shelton (see above), he seems to always have something new for his listeners. Of course where Shelton’s nominally powerpop, Budjana is progjazz, with a style that’s reminiscent of the better mainstream fusion albums of the 1970s (specifically Jean-Luc Ponty‘s albums). His music is ambitious and intricate while remaining highly melodic and accessible. Joe Locke‘s vibraphones keep things in a jazz vein, as does Ben Williams‘ upright bass (which often sounds like a fretless electric bass guitar). Recommended as a disc to spin for jazz friends who don’t think they like prog.

More capsule reviews to come.

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Album Review: District 97 with John Wetton — One More Red Night

Tuesday, February 17th, 2015

With exceedingly few exceptions, progressive rock is a man’s game. There’s certainly no law against women singing or playing in the style – Julie Slick, for example, is one of the best bassists around these days, irrespective of genre and gender – but the truth is that the progressive rock scene is one in which males vastly outnumber females. (Put another way, straight single guys shouldn’t go to a prog festival hoping to hook up with a nice chick; the competition is likely to be fierce.)

As is so often the case, it’s the exception that proves the rule. District 97 is prog rock’s exception. Fronted by the immeasurably capable Leslie Hunt (yeah, yeah: a 2007 American Idol semi-finalist; hold that against her and it’s your loss), their 2010 debut album Hybrid Child is a dazzling display of prog rock chops wedded to engaging songs and arrangements.

The world being what it is, the group’s success to date is thanks in no small part to having an attractive vocalist out front. But their skill and musical appeal is beyond question, so if a pretty woman who happens to have an excellent voice helps get people to take notice of the band, small or no harm done. District 97 have built a solid reputation on the strength of their studio efforts and their live performances, and they’ve become a fixture at many of North America’s prog festivals. (Compared to other music genres, the progressive rock world is a relatively small community, especially in the USA.)

Not long ago, the band came to the attention of John Wetton, the bassist/vocalist best known from his long tenure as the lead singer in Asia. Among longtime admirers of his work, however, its Wetton’s work with King Crimson that tops his impressive résumé. Wetton handled bass and lead vocals through one of King Crimson’s most creatively fertile periods, appearing on Larks Tongues in Aspic (1973), Starless and Bible Black, the mighty Red (both 1974), and 1975′s live USA album.

Because King Crimson’s subsequent lineups were always possessing of a forward-looking bent, the opportunities to hear songs from Red played at all (much less in arrangements faithful to their studio versions) were all but nonexistent. The closest anything came was the group billing itself as the 21st Century Schizoid Band, populated largely by ex-Crimson members and fronted by Jakko Jakszyk (himself now in the current incarnation of King Crimson, “Mk VIII” as it is commonly known). But the 21CSB was too expensive a proposition to keep alive, and ceased activities after an all-too-brief run (2002-2004).

Luckily for fans of Wetton-era King Crimson (“Mk III” if you’re keeping score), the bassist-vocalist looks fondly upon his work from that period. And who better – who better, I ask – to back him up on a set of classic Crim than this crack midwestern prog band?

None better, as it happens. A brief tour took place in 2013, bringing the music of King Crimson Mk III to modern-day audiences through the musical vehicle of District 97 with John Wetton. And the cleverly-titled One More Red Night (you’ll get it if you’re a fan of Red) documents a single performance from the tour.

The small performance venue Reggie’s Music Joint in the band’s hometown of Chicago hosted the October 2013 set. From the sound of the live recording, one can assume that D97 came out and did a set of their own music first. And then at the show’s midpoint, they were joined by John Wetton at the mic (he doesn’t play bass on this set; that daunting role is ably handled by District 97′s Patrick Mulcahy). The group then proceeds to tear through largely faithful versions of songs from the four Crim albums that featured Wetton.

John Wetton is in fine voice throughout, hitting the notes with power, subtlety and just the right amounts of emotion (when called for). He’s ably assisted by Hunt, who sometimes trades vocal lines with him, and other times provides live accompaniment in places where Wetton had originally overdubbed his voice (she does both on “The Great Deceiver” and several others).

The band is stunning throughout. Playing any King Crimson material requires a level of finesse and precision unachievable by the garden-variety musician, but the members of D97 are clearly up to the task. And while they’re all on fire on this set, guitarist Jim Tashjian deserves special notice for his precise recreation of mid 70s Robert Frippery. Jonathan Schang‘s drum work compares favorably (and sounds a helluva lot like) drum master Bill Bruford, as well. If there’s a criticism of this set – and this really isn’t one – ace keyboardist Rob Clearfield is somewhat underutilized in this show. That’s due, of course, to the relatively minimal amount of keyboards called for on these numbers.

The band stomps through “21st Century Schizoid Man,” a song that dates from King Crimson’s earliest days when Greg Lake was their singer. But the song figured into Mk III sets, so its inclusion makes sense here. And it also gives Clearfield an opportunity to display his abilities within the context of the King Crimson material, making it even more welcome. A truncated arrangement of the malevolent and majestic “Starless” provides another opportunity for dark, Mellotron-flavored keyboard lines; it’s also a showcase for Wetton’s vocal. Serving up a severely abbreviated summary of the dissonant second half of “Starless,” the band segues into “Easy Money,” where Wetton and Hunt engage in some wordless vocal harmony.

With Bruford retired and Fripp otherwise engaged, One More Red Night is as close as modern-day listeners are ever going to get to a Red-era King Crimson reunion. Put this CD on, close your eyes, and you’ve pretty much got one.

Note: I haven’t a clue why the album is going for upwards of US$56 on Amazon (see box). But it’s available from the D97 web site at a vastly more reasonable price.

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Hundred-word Reviews: January 2015, Part 3

Wednesday, January 28th, 2015

There’s a never-ending stream of new music, so it’s time once again for some hundred-worders to work off some of my backlog. As always, these all deserve full reviews, but with limited time and resources, 100 words will have to do. I’ll cut to the chase. Today’s five all feature guitarists, but the styles vary widely.

Udi Levy – A Sudden Transition
A Sudden Transition is melody-forward power trio excursion in the manner of such shredders as Joe Satriani and Eric Johnson. Equal parts technical finesse and dogged determination to keep the melodic quotient high result in a winning album from guitarist Levy. Here he’s joined only by bass and drum, and that’s enough. Occasionally he veers a bit too close to his heroes – the tasty original “The Fast Lane” sounds like an Satriani tune (circa Surfing With the Alien) you just haven’t heard before – but Levy’s chops are undeniable. Fans of Jeff Beck and Steve Vai will enjoy this.

Steve Hunter – Tone Poems Live
For me, Steve Hunter will always be treasured as the guy who – with Dick Wagner – gave us the transcendent live “Intro” to Lou Reed‘s Rock’n'Roll Animal live album. These days he’s in more restrained blues rocker mode. Hunter is backed here by some of the best in the business, including Tony Levin. The album was cut live in the studio, and filmed for a DVD (available separately). Nine sturdy originals sit nicely aside covers of Peter Gabriel (“Solsbury Hill”) and Steve Ray Vaughan (“Riviera Paradise”). Tone Poems Live is a solid collection of flawlessly executed instrumentals with heart.

The Vibrators – Punk Mania: Back to the Roots
One thing about the genuine, authentic punk ethos is that it never, ever relies on nostalgia or looking backward. And that makes a “return to the roots” project by a punk group a bit problematic, perhaps even a bit suspect. The Vibratorslast album collected collaborations with a bunch of their pals; this latest disc attempts to recapture the fore if the band’s early days. The thing is, Punk Mania! is reasonably successful on that score. From the politically incorrect opener (“Retard”) right through the bonus tracks (including a cover of Flamin’ Groovies‘ “Slow Death,” the band still rocks out.

Carl Verheyen – Mustang Run
One can’t ( and shouldn’t) begrudge a musician – or his publicist – for flogging his credits in the press kit; how you got this far is a relevant subject. But the fact that Carl Verheyen had three long-term stints with Supertramp has zero to do sonically with the music on Mustang Run. His work has certainly given him an impressive Rolodex: the album includes instrumental support from Greg Bissonette, Simon Phillips, Chad Wackerman and Bill Evans (the sax player, not the dead jazz pianist). What you’ll find here is Steely Dan-ish instrumental stuff: lots of precision, not much fire.

Marty Walsh – The Total Plan
Here’s another guitarist whose music doesn’t sound like his pedigree. In this case, it’s pop-jazz guitarist Marty Walsh, who was involved with Supertramp (them again!) in the post-hits period. Walsh’s many guests get solo showcases, but it’s still the guitarist’s show all down the line. The Total Plan features more uptempo and rocking tunes than one night expect, and Walsh’s songwriting chops (he wrote or co-wrote all ten cuts) is undeniably impressive. The melodies – mostly but not exclusively in the form of guitar licks – stay in the listener’s head after the songs end. This one’s worth seeking out.

Yet more capsule reviews to come.

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Album Review: Son of Kraut: The Next Generation of Krautrock

Friday, January 16th, 2015

Though it might seem otherwise to the casual observer, the term krautrock is neither pejorative nor disparaging. In its classic sense, the label refers to improvisationally-based rock with spare musical foundation. As the word suggests (in an undeniably gauche manner), the form originated in Germany.

When one thinks of krautrock, the first bands that often come to mind are Can, Tangerine Dream, and Kraftwerk (the latter’s hypnotic, album-length “Autobahn” is an exemplar of the genre).

The style reached its apex in the 1970s; today when one sees or hears the term, it’s nearly always I nthe context of music form the past. But – depending on how the term is understood – the krautrock label can be applied to modern-day music. Especially if a strictly literal interpretation is used (in other words, German rock), all manner of musical artists fit under the umbrella.

Certainly garage/psych revival bands like The Roaring 420s don’t fit into this discussion. Nor, of course, do some fantastic American expat artists who have made Berlin their base of operations (Anton Barbeau, The Fuzztones, and Brian Jonestown Massacre‘s Anton Newcombe, to name but three). But a number of interesting artists do fit the bill, and while they’re made barely a ripple on the musical consciousness of American listeners, collectively they’ve created a body of work that bears further investigation.

But how to do so? One could start by reading Krautrocksampler, the 1995 book by the genre’s most prominent champion, Julian Cope. But there are two problems with that idea: first off, the book is now twenty years old, so it can’t address, y’know, current acts. More problematic is the going rate for the long out-of-print title: currently upwards of $230 for a used copy on Amazon.

With that option off the table (PDF scans of Cope’s book do circulate online, and as of summer 2014 there’s “talk” of reissuing it), we turn instead to a compilation CD. The German label Sireena released a fine overview of “classic” krautrock not long ago: Live Kraut: Live Rock Explosions from the Heyday of Krautrock! focused on what one might call the first wave of the genre. Band names like Grobschnitt, Guru Guru and Jane will be wholly unfamiliar to American audiences, but for the most part, their music isn’t so out-there as to be unintelligible to American ears. (The same can’t be said for some of krautrock’s more adventurous acts: Kraan and Birth Control are pretty freaky; I have a few vinyl albums by each, and hope to find more later this year when I visit Germany.)

Happily, Sireena has filled this niche by releasing another compilation, Son of Kraut: The Next Generation of Krautrock (never let it be said that the Germans don’t spell it right out for you in their titles). Once again, here is a disc (with twelve tracks) filled with artists who are virtually unknown in the USA. RPWL might be familiar to those who regularly visit this blog; I’ve both reviewed their music and interviewed the group’s Yogi Lang. RPWL are featured on this set with “World Through My Eyes,” the title track off their 2005 album. It’s fine enough, but doesn’t show the group at their best, and isn’t truly representative of the band’s oft-displayed appealing characteristics.

The other eleven tracks are a varied lot. Some do explicitly build on the motorik textures of older krautrock: Ear Tranceport‘s “Lock In (Namby Pamby)” has that chugging, mechanical beat applied to a melody that’s largely driven by acoustic guitar. And the one-chord “Stranded” from Space Debris will delight fans of Pink Floyd‘s Ummagumma, as it meanders purposefully though similar sonic territory over the course of its nearly ten minutes.

Sankt Otten‘s vaguely sinister instrumental “Nach Dir Die Sinnseflut” will remind listeners of Tangerine Dream at their soundtrackiest. Electric Moon deliver a deeply textured vibe on “Madrigal Meridian,” sounding like a Teutonic (and at times, more tuneful) Nine Inch Nails. One man band Level Pi engages in some evocative krautrock that features some straightforward rock guitar riffage; it too wouldn’t be out of place in a film soundtrack.

The Perc Meets the Hidden Gentleman is a wholly different affair. Seemingly taking its sonic inspiration from former Berlin resident David Bowie, “The Moon of Both Sides” is perhaps the track on Son of Kraut most likely to connect with the casual listener. The brooding, dreamy “I Can’t Walk My Floor” by Tarwater is cut from similar cloth as the music of Austin’s Black Angels.

“Psysomsyl” from Electric Orange features seven minutes’ workout on a single chord; the track grows in intensity, not unlike some of Glenn Branca‘s work, or classic-period Godspeed You! Black Emperor. Things take a decidedly more tuneful direction with “On Stranger Tides” from Fantasyy Factoryy. The hand drumming and repetitve electric guitar riff suggest a campfire version of Pink Floyd, as does the track’s Roger Waters-like vocal.

The intriguing instrumental “”O.M.E.N.” from Le Mur initially heads back into the psych revival region, but some treated saxophone riffage suggest what Black Sabbath might sound like with some added brass instrumentation.

Son of Kraut wraps up with some prog-metal, a genre heretofore unexplored on the set. Both the band name (Panzerballet) and the song title (“Vulgar Display of Sauerkraut”) provide hints as to where this Teutonic Metallica are headed. Some tenor sax will throw metalhead for a loop, but otherwise, the genre’s hallmarks – blindingly fast guitar licks, thundering rhythm semitone – are all here. Overall, it’s a bit jarring in the context of Son of Kraut‘s mostly moody atmosphere, but it gets better as it goes along.

The poster-styled liner notes (in both German and a chuckle-eliciting English translation) provide enough information to help those wishing to investigate the bands further. For listeners interested in a sampler that is both adventurous and not music not a million musical miles away form their comfort zone, Son of Kraut is recommended. It’s a safe bet that you’ll find something you enjoy in this album field with unfamiliar names.

N.B.: There’s an additional title in this series, a disc called Jazzkruat: Teutonal Jazz Rock Excursions. It features the aforementioned Kraan and Volker Kriegel; I will do my best to score a copy and review it here when I can.

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Best of 2014: Concerts

Wednesday, December 24th, 2014

One of the many pleasures associated with living in the small mountain city of Asheville NC is access to great live music. I grew up in the 70s and 80s in Atlanta, where going to a concert often meant traveling to a sports arena, and watching the tiny performers from the nosebleed seats (where you’d get a “contact high” from the pot smoke).

Here in Asheville, I go to shows that have anywhere from a few dozen to just over a thousand people in the audience, and the bands are up close and personal (especially when I have a photo pass). Because my town is such a go-to destination for touring acts, I get the pleasure of seeing high profile performances in small venues. That just wouldn’t happen in other cities.

I go to a lot of shows here in town. That said, I travel to regional festivals fairly often as well. Looking back on 2014 – an especially eventful year for me all ’round – three of my four favorite concert events were festivals.

Big Ears
Designed as a relatively small-scale festival with a decided emphasis on the edgy, this Knoxville TN festival presented a long list of fascinating acts, few of whom do the festival circuit as a rule. The scale of the event meant that it felt almost like a series of house concerts. Highlights included Marc Ribot, David Greenberger, Steve Reich, Television, Dean Wareham, Rachel Grimes, and Radiohead‘s Jonny Greenwood.

Moogfest
This one’s a sentimental favorite: it takes place in my hometown; it honors the late, great Robert A. Moog (a man whom I was lucky enough to meet a number of times), and it features some great music. Without a doubt the highlight of 2014′s Moogfest for me was meeting and interviewing Keith Emerson, but the three-day event (all within walking distance of my home) was packed with memorable experiences.

Musical Box
For me, Genesis lost their magic not long after the departures of Peter Gabriel and Steve Hackett. This Canadian tribute group recreates said magic in a most authentic fashion, both visually and aurally. It’s a total experience, and from the packed house at The Orange Peel that night, I’d say that classic 70s progressive rock still has a significant following.

Transfigurations
In celebration of ten years of success, Asheville’s Harvest Records staged a festival that leaned toward the delightfully eclectic. For me the highlights were Quilt (modern psych), The Clean (Antipodean janglepop), Reigning Sound (garage rock), and Lee Fields & the Expressions (soul). Transfigurations featured all of the best things about a festival, and none of the negatives.

I’d be remiss if I didn’t make note of the Zombies show here in Asheville as well. Four decades on, Rod Argent and Colin Blunstone (and their bandmates) have still got it.

More 2014 best-ofs to come.

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Best of 2014: Videos

Monday, December 22nd, 2014

With 1/1/15 mere days away, it’s time for Musoscribe’s annual best-of lists. These are – of course — wholly subjective, and reflect my tastes and interests. I viewed quite a few music-related DVDs this year, and while quite a few were excellent (and none truly awful), four stood out. As it happens, all four concern music of the past, but remain sturdily tooted in the present.

Ian Anderson – Thick as a Brick Live in Iceland
I’ve written a fair amount about Anderson and Jethro Tull on this blog, and have interacted with the man in two (#1 and #2) wide-ranging interviews. This DVD documents a night on his celebrated and successful 2012 tour. I’ve written about Anderson’s strengths and limitations; this tour (and by extension, this DVD/Blu-Ray) makes the best of the former and deal creatively with the latter. Recommended. (Watch for my review of the four-disc WarChild set, coming soon.)

Money for Nothing
This fast-past documentary is tailor-made for the ADD generation: thought it’s packed with images, ideas and information, nothing stays on the screen for more than a few seconds. As such, it suits its subject matter: the rise and fall of the music video as an artistic and commercial medium – exceedingly well.

I Dream of Wires
Speaking or rise and fall, this documentary – presented in a “hardcore edition” that appends the original film with hours of fascinating bonus material – charts the history of the analog modular synthesizer. The film had a premier at a recent Moogfest here in my hometown of Asheville; it received a warm welcome. If you’re at all interested in the electronic side of music where technology and creativity meet, you’ll enjoy this. Note that because of the breadth and depth of its subject, the DVD is best digested in small portions.

The Doors – R-Evolution
These Los Angeles-based legends might not be the first 60s rock act one thinks of when considering intelligent use of the visual medium, but since both Jim Morrison and Ray Manzarek had backgrounds in film, it makes sense. A passel of rare video clips show the group wriggling free of convention and creating enduring audiovisual works of their own. The quality of the clips here is nothing short of amazing.

Stay tuned for best-of lists covering 2014′s music-related books; concerts; archival and compilation releases; and new music.

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Album Review: Landmarq — Origins

Thursday, December 18th, 2014

It’s a bit of a head-scratcher when a collection like this crosses my desk: a retrospective of a band I’d never heard of. Origins is a career-spanning look at two distinct eras. The second (covered on the first disc) features a Clare Torry-sounding Tracy Hitchings fronting a band that sounds a bit like Spock’s Beard. The early material on the second disc features vocalist Damian Wilson. Only two members stuck around the whole time. Lots of Peter Bansk-ish keyboard work, which is always welcome in these parts. The D&D motif of the album is goofy, but the music is solid.

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Album Review: Antoine Fafard — Ad Perpetuum

Wednesday, December 17th, 2014

One doesn’t often think of melding progressive rock elements with jazz fusion; at least not if one wants to break even on an album release. But that’s the approach favored by bassist Antoine Fafard. Combining the best of (dare I say) smooth jazz with rock’s muscularity, Fafard is aided in his efforts by drummer Vinnie Colaiuta (Frank Zappa, Missing Persons) and, on one track, the multifarious Gary Husband (a frequent John McLaughlin collaborator and a jazz star in his own right). If Joe Satriani played keyboards and leaned a bit more in a jazz direction, he might sound like this.

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