Album number 3 for this US outfit from Richmond Virginia. Although the various members live all over the place. But since the band is founded by Mike Visaggio (keyboards), who still writes the majority of the music, Richmond it is. After the success of previous album Travelog, they have now expanded to a quintet, with St. John Coleman on vocals, Mark Tupko on bass, Michael Murray still on drums and Peter Matuchniak on guitar.
Some may be tempted to write the band off as a Yes / Genesis clone, but I don’t think that would be very fair. Yes it is obvious those bands are at the root and heart of KE’s sound. But especially in the epic tracks like All Open Eyes and The Face Of Life, they manage to add their own music identity. Let alone that both Yes and (old) Genesis have a distinct style, so a melting pot of those ingredients would already be something different.
Anyway, to me it is clear that the guys put their heart and soul into the music. And in doing so, create an album that will appeal to those stuck in the Seventies as well as those that keep track of everything that is going on in today’s scene. I really like that despite that these 2 epics form 70% of the album, it still feels song based. No ego tripping and self indulgent technical wizardry. But songs that have a story to tell.
Oh man, where to start? From their bandcamp page comes this: “Heartscore sets the dark poems of the famous American author Stephen Crane (1871-1900) to music. A daring combination of Metal with electronic drums and dramatic clear vocals lead to a mixture, which sound like a cross of Captain Beefheart, Black Metal and Wagner.”
Built around the musicianship of Dirk Radloff (all instruments) with the assistance of Chris on lead vocals and Gdaliy Garmiza playing saxophone on “In the desert”, this is not so much a standard song oriented album, but more of an overall music experience. Maybe it’s a concept album in the most truest of senses? By no means it is a simple experience. Yet, on the other hand I have found it to be very interesting and also attractive. It is a mix of a tad strange, a bunch of weird and lots of beautiful.
But above all this has a unique signature and identity. Something that is awfully hard to achieve and thus should be met with tons of applause. And as is often the case, the more you listen to it, the more you get sucked into the magical world that is this Heartscore release.
For me they can bring on part 2, this is outstanding!
One should never underestimate the power of building a good track order for one’s release. But when your album covers a pretty wide range of styles, how you go about? I guess Cumbrian artists John Wiseman has had something to think about after completing the recording of his third album…
Because this is an album that is all over the place. From pop, to rock, to jazzy, to electronic and back. Now I do not mind experimentation or variation. It’s the spice of life. But I can also understand that an artist is asking a lot from his (would be) audience when the output is so diverse. Many critics love to put a certain tag on a release and making things difficult for them is often not appreciated.
So you understand I have been struggling a bit to find the words to describe my listening experience. Many tracks on this release are catchy, like On Your Side or Grow Up. This type of tracks has a bit of Eighties pop vibe that many people still appreciate. Won’t Last or Calling Out sound more modern, even when their backbone is not unlike the ones mentioned before. But then comes the kick in the teeth; after listening to this album back to back a couple of times, these difference seem to iron out a bit. In a weird kind of way it all starts to make sense! So where I was first tempted to say that John might consider grouping his songs and releasing them under different names to attract a specific audience, now I am not longer sure. Even when I do think there is room here and there for improvement as not everything sounds convincing.
Make up your own mind, but the more often I heard it, the better it got.
I was amazed to discover that this is actually the first time a RPWL album has made it to the pages. Not that this has prohibited them from having a career of course, phew.. 😉 And rest assured, it is definitely not the first time hearing them for me!
As is easy to tell from the front cover, Tales From Outer Space contains 7 tracks that deal with science fiction, without this turning into a concept album in a strict sense. If you already are familiar with the band, I guess their melodic song approach is already known and enjoyed. Should you be new to the band and consider yourself a fan of progressive rock, where have you been?
All kidding aside, with a sound sitting somewhere between Pink Floyd (Yogi Lang could easy pass as a young Gilmour with his voice), Steven Wilson / Porcupine Tree and a tad of Manfred Mann (keyboard solos), this is another album showcasing their knack for songs that are as catchy as they are intricate. All is done with great taste and finesse, without ego’s getting in the way. For me no need to talk more about songs or album, I can listen to this all day.
From Japan comes F-uki, who was pretty adamant I’d write about this album. So I will. Self described as “Pursuit of balance between universality and originality. Various types of songs”. And stating The Beatles / Paul McCartney and Yellow Magic Orchestra as influences.
So what does that leave us with? Well, there is no denying that part of the songs seem influenced by the Beatles. And maybe even a bit of Beach Boys too. Not sure about YMO, but some tracks definitely fare more into electronic territory.
And while I think there are some good ideas presented on this 10 track album, for me that desired balance has not yet resulted in songs I am dying to hear more often. Some of that is because the difference in styles does not sit well with me. Some of that is because the execution of especially the rhythm parts (drumcomputer) is not on par with the melodies. And maybe even some is down to using lots of production tricks that seem out of place in my ears. All this creates a certain nervousness that makes it hard for me to hear it back to back.
So I applaud the ideas and the effort but for me, if the Beatles inspired work was done more true to style, or kept modern, albeit with less experimentation, this would have been a much more enjoyable result. Also, more attention to drums and bass, will also help in getting the message across.
Maybe it is just me, so give it a try if the thought of this pursuit excites you.
Third Moonjune release in a relative short time for me and still very different than other artists on the label. As is fairly usual for Moonjune, this release incorporates many other musicians. Markus Reuter is one of them, and a busy one. Other names are David Torn, Matt Tate, Jon Durant, etc. Thelen himself provides guitar, organ and samples.
Recorded over a 3 year period all over Europe and North America, this album is based around recurring themes over which layers and layers of guitars have been recorded. The drums (excellent sound by the way) lay down a groove and add fills, but this is all about guitar. I think the bass is coming from the 8 string guitars. Because of the constant repeating of especially the bass / base, a kind of hypnotic feel is created. The guitars are used in many different ways. Some sound are highly processed, with tons of reverb and echo, thus creating a certain mood. Other parts add colour, lightness, percussive elements and of course solos and or melodies.
After repeated listen I am still asking myself how I feel about the album. Main problem for me is that the constant repeating of the bass riff seems a bit one dimensional. Especially since the 5 tracks together generate 67 minutes of music. On the other hand, the drums and guitars often create nice moods and make me enjoy the tracks.
Fans of King Crimson (especially their instrumental side) will enjoy this. Fans of intelligent instrumental music should also listen in. I am curious how this will develop in the future.
Second album from Canadian singer / guitar player Doug Harrison (Fen). The first one was released a couple years ago and I loved that one to bits. After that, Doug started releasing a few songs at a time in the form of digital EP’s, until Rock Company came with the plan to combine those with a few extra songs and release them in physical form too. And the result is this!
Opener Exactly What To Do is a meaty rocker that kicks things into gear. Great chorus too. Hyperslump is more mellow, even when the tempo goes up a bit. Let Some Light has a bit of a singer/ songwriter vibe to it. It sounds deceivingly simple! There are several songs on this album that send the shivers up my spine. Fine With It is one of them, same as the killer title track and Beings Far Away. Those last 2 are dedicated to the memory of Eric Rose, Doug’s close friend from whom a painting is used in the front cover. So Ya Got A Great Guitar and One More Step are a return to more rocking territory.
This release proves once more that Harrison is a fabulous songwriter with the ability to sing any type of song with a stunning passion and emotion. Also, the diversity of the tracks means that lots of people will find something to their liking. This is a genre crossing release that you must explore!
From all Moonjune artists, I think Dewa Budjana is one of my favourites. He not only is a gifted guitar player, but he also writes songs that appeal to me because of their fluid melodies and intricate arrangements. And on his new album he surprises with enlisting Marco Minneman on drums, Jordan Rudess on keyboards and the (just as) fabulous Mohini Dey on bass. Also John Frusciante sings on 2 tracks and plays a solo. Other guests are Mike Stern (solo) and Soimah Pancawati (vocal).
Opener Crowded is a bit of a surprise, but of the pleasant kind. A rather rocking track that shows another side. Queen Kanya is a more complex but still melodic gem where Hyang Giri marries East and West in a way that should please both sides too. All musicians also shine in a solo spot here. Well, actually these musicians not really need a special spot to shine, because their talents are unmistakeable. But where several label mates prefer free form improvisations, with Budjana’s music it always seems to be composed. This gives the music a more clear direction and makes it more easy (for me) to enjoy it. So you try listening to Jung Oman and resist the beautiful playing, fuelled with emotion.
Yes, every of the 7 songs on offer highlights different aspects of the mix of progrock and fusion. With releases like this, Budjana firmly remains high on my favourites list.
Spanish maestro drummer Xavi Reija is giving us another insight in his musical world. And if you are familiar with his previous releases, you will already know that his world is one of complex ideas, based on inventive rhythms and jazzy notes and free form jams.
Accompanying him on this album are the ever so wonderful Tony Levin on bass and stick and on (touch) guitars Markus Reuter and Dusan Jevtovic. All of them no stranger to the Moonjune label.
If anything, this is another album that you will have to digest slowly and repeatedly. Well, at least for me that is certainly the case. Should you be familiar with the Three Of A Perfect Pair album from King Crimson, I am getting the same kind of vibe from several of the songs here. So lots of sound and noise things happening in seemingly random order. So where opening track Deep Ocean surprises me with riffs and hooks I can immediately identify with, others like From Darkness make me look over my shoulder to check if I am still alone…
Of course there is no debating the quality of the musicians here. This is just a matter of taste and the willingness to invest a lot of time of getting to know and appreciate the music. Which is too rare a thing sadly in today’s world of fast everything. But if you regard yourself an exception to that rule, enjoy this trip!
After repeated listens to this album, I still was struggling a bit with how to describe it. So I checked the website, and there the answer was: “moving from krautrock to ambiant, from post rock to traditional prog, from edgy to contemplative. Imagine Deep Purple and Camel jamming together with Pink Floyd and Tangerine Dream”.
And I must say, the unique feel of this album hit one of my soft spots. Because you might be lead to believe that all these influences lead to a patched up collection of sounds and ideas. But the reality is, that this is not the case. If anything, the project have managed to deliver an album that keeps you on your toes, anxiously waiting for what will happen next. Ideas develop, and then slowly transform. So you do get all these different genre typicals, but the 3 guys (Hagen Bretschneider; idea, sound concept and bass – Lennart Huper: rhythm guitar and Nico Walser on all other instruments and… sound alchemy) mix and match, transform, evolve and warp everything. So what sounds like an old fashioned obscure and rocking Deep Purple song at first, might end up sounding like an ambient Tangerine Dream like electronic track.
Add to that: this is another example of how to create interesting instrumental music. It is creative and exciting, and is definitely exploring new grounds. Recommended!