ROSfest 2011 – Prog Is a Battlefield

Since I moved to the USA two and a half years ago, progressive rock festivals have always been one of the highlights of the year for me and my husband. However, we had skipped both of the previous editions of the Rites of Spring Festival (aka ROSfest) – mainly on account the general musical direction of the event, since our tastes tend to lean more towards the more adventurous side of prog. We both pride ourselves on our open-mindedness, though, and the cancellation of this year’s edition of NEARfest was the catalyst that made us decide to take the plunge. As it is often the case in life, a very positive experience came out of a negative (and quite unexpected) occurrence.

The 2011 edition of ROSFest was organized, for the second year in a row, in the small historic town of Gettysburg, Pennsylvania. One of the prime US tourist sites, Gettysburg is known worldwide for one of the bloodiest battles of its time, the clash between the Union and Confederate armies that occurred on July 1-3, 1863, and pretty much decided the final outcome of the Civil War (hence the title of my review). The town itself exudes a quaint, out-of-time vibe, with plenty of antique and craft shops, as well as fine eating and drinking establishments, though hardly any stores catering for everyday needs (such as pharmacies or grocery stores), and no taxis or any public transportation except for some vintage-looking blue buses.  The drive from the official festival hotel to the town centre goes through part of the huge battlefield, a sobering sight dotted with markers commemorating all the different regiments that fought on those fateful three days, said to be haunted by the ghosts of the over 50.000 soldiers who lost their lives there. In the month of May, the countryside is at its very best, the colours fresh and bright, flowers growing by the roadside, the road lined with quaint houses and bright red barns: however, it is hard not to think of the bloodshed and wholesale slaughter, and when driving through the battlefield at night it is easy to imagine ghosts wandering in the misty darkness.

The festival venue was a treat – a gorgeous Art Deco theatre with an excellent seating arrangement, crystal chandeliers and plenty of that old-fashioned charm that seems to have been banished by the spread of modern multiplexes. Though not as spacious as Bethlehem’s Zoellner Arts Centre, and lacking in enough seats for people waiting in the lobby between sets, it offered nicely appointed spaces, with the gallery taken over by vendors and band merchandising (though I think the bands might have used a bit more room), and a nice table set up in the lobby for CD signing after each show. The abundance of eating places in the immediate vicinity, as well as the generous breaks between sets, made it easier for the attendees to take their time without having to rush about in order not to miss anything; the bar was also fairly priced as things go, and manned (or perhaps I should say ‘womanned’) by a couple of very nice ladies. The theatre also employed a group of equally nice ladies as ushers (something I had not seen for a long time), though I have to admit I missed the very convenient wristband system implemented by other events.

Unfortunately, in spite of the NEARfest cancellation having redirected some would-be attendees to ROSfest, there were quite a few empty seats in the theatre. The crowd, however, made up in enthusiasm what was lacking in numbers. Some people had chosen to get tickets only for Saturday and Sunday, but there was still a fair attendance on Friday night, mainly on account of headliners Moon Safari. On the whole, it can be estimated that the Majestic Theatre was 70-75% full – not bad per se, but neither the sell-out that some were anticipating. Times are still tough for many people in the US, and the splintering of the ‘prog community’ in a myriad of sub-groups does not help matters. Not all the NEARfest orphans had  chosen to support ROSfest, and for a very simple reason: as I mentioned in the opening paragraph, ROSfest mainly caters to what I often call the more conservative set of prog fans, those who like melody, vocal-oriented compositions, and, more often than not, anything that seems to recreate the magic of the Seventies (a slant that was reflected by many of the CDs on sale in the vendor area). Nothing wrong with that, of course: there are plenty of bands and artists on the current scene that prefer to look to the past for their main inspiration, and many of them do it very well. Even if my loyal readership might sometimes get the idea that I am biased against ‘retro-prog’, there are quite a few acts falling under this category that I enjoy a lot, as long as their music ‘speaks’ to me somehow.

This year, organizers George Roldan and Krista Phillips and their team had made a somewhat bold move, and dispensed with any nostalgia acts in favour of a rather intriguing range of relatively new bands, about half of them hailing from the US (which, knowing the audience, might have been a factor in the relatively low attendance). In particular, Sunday headliners Quidam, though familiar to devotees of neo-prog and Polish prog in general, did not possess the clout or vintage credentials of last year’s headliners Renaissance. However, judging from what was seen on stage over the past weekend, in musical terms it was a move that paid in spades. Both my husband and I were impressed by the diversity of the acts selected for this year’s edition, and were also pleasantly surprised on several occasions. Needless to say, the sound quality and the lighting were first-rate, and the intimate feel of the venue made for a nice community experience, further enhanced by the warmth and professional attitude of the organizers.

The festival kicked off at 5 p.m. of Friday, May 20, with local band Epiicycle, featuring George’s son Anthony Roldan. A young quartet, though already with three albums under their belt, they sounded somewhat out of synch with the event’s general musical direction, sounding more akin to the likes of Porcupine Tree, Tool and other ‘alt-prog’ bands than Yes or Genesis (though their last song, which featured violin and cello, had a more conventional proggy feel with shades of Anekdoten). In spite of some obvious weaknesses, especially in the vocal department, their enthusiasm was endearing, and the event obviously provided a great chance for them to play in front of a considerable audience, as well as to grow and refine their sound.

Though I was not familiar with Tinyfish’s music, I remembered guitarist/vocalist Simon Godfrey as one of the old-time members of the progressive rock forum where I started my ‘career’, and had often seen the band mentioned there. However, even if I had never had the opportunity to check them out, their set (which, regrettably, we had to leave early due to a prior engagement) was one of the real surprises of the weekend for both of us. Simply put, Simon Godfrey is an incredible vocalist, probably the best heard over the weekend (no mean feat, since there was quite a bunch of fine singers on display), with a strong, passionate voice that adds depth and interest to the band’s classy musical output. With a sound harking back to the glory days of vintage Neo-Prog, clean and melodic yet with a nicely sharp edge – more Pink Floyd than Genesis – immaculate musicianship, a powerhouse of a drummer in Leon Camfield,  and a liberal sprinkling of that wonderful English humour, they delivered a flawless set that left the audience deeply impressed.  The narration (courtesy of lyricist Rob Ramsay) of the background story to their latest album, The Big Red Spark =  an elaborate sci-fi concept that has gained a lot of critical acclaim since its release – also injected a welcome dose of theatrics into the proceedings. Tinyfish would definitely have deserved to play a longer set, and I would love to see them again in the future.

After a two-hour dinner break, the theatre filled up nicely for the eagerly awaited Friday headliners, Swedish six-piece Moon Safari, ROSfest alumni (they had performed at the 2009 edition of the festival) and firm favourites of the audience. A bunch of tall, good-looking young men with impressive stage craft and a bit of a swagger, they were greeted deliriously by the crowd, who seemed to lap up every single note they played and sung. Unfortunately, I have to admit that their set was one of the low points of the event for me, though not due to any lack of talent on the part of the band. Having read reviews of their three albums, I was aware that their music was probably not going to be my cup of tea – and, in spite of my open mind, this time I was not wrong. True, the band members are extremely gifted, and their vocal harmonies – hinting at early Yes, Queen and (obviously) The Beatles and The Beach Boys -  are nothing short of stunning, with some state-of-the-art a cappella parts; while the impeccably executed instrumental passages reminded me of Collins-era Genesis. Even if some might view Moon Safari as purveyors of ‘prog for the ladies’ (a stereotyped definition that I loathe), they seemed to appeal in equal proportion to many of the men in the audience. Their music is a melodic, airy confection, easy on the ear, with a smooth, nearly effortless flow – yet not enough to hold my attention, though I liked the nod to Bruce Springsteen’s “Jungleland” (a rather unlikely artist to be quoted by a prog band). Anyway, even if their optimistic, upbeat set came across to me as rather underwhelming, it was undeniably performed with genuine enthusiasm and flair, and anyone who is into melodic, accessible prog should definitely give Moon Safari a try.

Due to physical tiredness (I was never at my best over the whole weekend, which occasionally affected my enjoyment of the music and the company), we missed Going for the One’s performance at the after-show party, though we heard quite a bit of commotion from our room, which was located close to the party premises. Though I am personally not a big fan of tribute bands, I have read some very positive comments on their show, and I am glad their show went down so well, especially in these times when it seems so hard for bands to find gigs.

The Saturday bill was introduced by Polish quartet Osada Vida, whose latest album, Uninvited Dreams, I had reviewed for the website with which I was previously involved. As was to be expected after the night’s partying, many people skipped their set, which was a pity, because the band – a group of seasoned performers with an interesting contemporary bent to their sound – put up an excellent show. As I pointed out in my review, the closest term of comparison would be their fellow countrymen Riverside, whose outstanding performance I had enjoyed at last year’s edition of NEARfest – though Osada Vida have less of a metallic edge, the occasional bouts of heaviness in their music used as a complement rather than the main event. Obviously overjoyed at having been invited to play in the US in front of a sizable crowd, the band treated the audience to a nice selection of tracks from their back catalogue, interspersed by bassist/vocalist Lukasz Lisiak’s friendly, self-deprecating banter. He was quick to stress that he was not a true singer (something that I had observed when listening to Uninvited Dreams), his voice perhaps more suited to metal than prog. However, he acquitted himself well,  while the instrumental interplay was superb, with searing guitar leads, and hard-hitting drums complementing Lisiak’s fluid bass lines, everything rounded up by Rafal Paluszek’s unobtrusive but essential keyboards. All in all, it was a very enjoyable set from a band that I would not mind seeing again soon.

In the past five years or so, especially owing to their appearance in theRomantic Warriors documentary and the sheer quality of their releases,Phideaux have attracted a lot of attention in the prog world, and – judging from what was seen on the Majestic stage – very deservedly so. As far as I was concerned, they were one of the main draws of the whole event, and they did not disappoint me at all. Led by the volcanic mind and considerable songwriting talent of Renaissance man Phideaux Xavier (an extremely nice, articulate gentleman whom I met at breakfast together with some other members of the band), they are a mini-orchestra of 10 people rather than a conventional band, which makes for a full, genuinely symphonic sound, very melodic but never cheesy or overtly poppy, enhanced by consistently thought-provoking lyrical concepts. Though not necessarily to everyone’s taste, it is hard to deny that they do not really sound like anyone else, which is a rarity in this day and age. While watching their show, I kept being reminded of Roger Waters – not so much for the actual musical content as for the emphasis placed on the creation of veritable concept-based ‘rock operas’, as well as the presence of an extended lineup. With a wonderfully humorous twist on the supposed ‘end of the world’ that was expected to occur at 6 p.m. on that same day, their set revolved around their breakthrough 2006 album, Doomsday Afternoon, and also included a sizable chunk from their most recent release, the critically acclaimedSnowtorch. In any case, Phideaux’s performance was one of the undisputed highlights of the festival. With splendid vocals, top-notch instrumental performances, Phideaux’s set was a big, ambitious achievement with lots of depth, many of the songs driving to exhilarating crescendos and featuring plenty of light and shade. While there are hardly any sharp edges to Phideaux’s music, it comes across as deeply emotional rather than overly sweet, definitely melodic yet powerful, with a nice balance between the acoustic and electric component and a gentle folksy edge tempering the intensity of the more orchestral parts. Definitely one of the high points of the weekend, it was magnificent performance from one of the most distinctive acts on the current prog scene.

After a nice (and much needed) late lunch at a nearby Irish pub, it was time for us to head back to our seats for the following performance – which might have been the biggest surprise of the whole weekend for both of us. Erik Norlanderand his Galactic Collective, a group of fine musicians from the Cleveland area, were introduced by Michelle Moog-Koussa of the Bob Moog Foundation, as Norlander’s appearance was meant as a celebration of what would have been Moog’s 77th birthday on Sunday, May 22. The right side of the stage was taken up by a huge stack of modular synthesizers, affectionately dubbed ‘ the wall of doom’ by Norlander himself (a truly warm and genial host) – which led us to expect an orgy of electronic music in the style of Tangerine Dream or Klaus Schulze. We could not have been more wrong, because, after three rather interesting instrumental tracks, Norlander introduced on stage his wife Lana Lane (as well as another backing vocalist), and things took a decidedly heavy turn. Accompanied by a sci-fi-themed slideshow which complemented the music quite nicely, the musical offer might be described as ‘Pink Floyd on steroids meets ELP backed by an 80’s hair metal band’. It was bombastic, over-the-top, with more than a whiff of cheese, and as subtle as a sledgehammer – the guitarist even played a brief solo spot with his teeth! – but, in some perverse way, hugely entertaining. Though I found the instrumental stuff more captivating in purely musical terms (especially the excellent “Trantor Station”, inspired by Asimov’s Foundation series), as a staunch hard rock/classic metal fan I could not help being impressed by the “Astrology Suite”, a powerful, anthemic number showcasing Lana Lane’s bold yet clear vocals that sounded like something out of the Rainbow/Ronnie James Dio songbook. Pity that the band finished their set some ten minutes late on schedule – the only instance in an event characterized by superb time management.

Led by legendary keyboardist and composer Claudio Simonetti (of Goblin fame),Daemonia might be construed as a tribute band of sorts, with a repertoire based on Simonetti’s iconic horror-movie soundtracks as well as homages to other influential musicians. Mainly a live act, they have a strong progressive metal bias, powered by Titta Tani’s thunderous drums complementing the dramatic sweep of Simonetti’s keyboards. A classically-trained musician, risen to international fame thanks to his movie scores, Simonetti is a very nice, down-to-earth guy who obviously loves his craft, and is genuinely grateful for the success he has achieved over his career. Meeting him and the rest of the band was one of my personal highlights, as all of them hail from my hometown of Rome, and it was great to be able to exchange views and jokes in my native language. Since I was expecting an all-instrumental set, I was somewhat surprised when Simonetti introduced a singer on stage – a petite, very attractive young lady by the name of Silvia Specchio, who proceeded to belt out a few songs (including a Nightwish cover) with a powerful, self-assured voice. As impressive as she was, however, my preference went to the instrumentals, and I particularly appreciated the tributes to Mike Oldfield’s “Tubular Bells” and Keith Emerson’s towering Gothic masterpiece, “Mater Tenebrarum” (from the soundtrack to Dario Argento’s Inferno). The impressively lit show, accompanied by footage of the movies themselves (including a favourite of American audiences, George Romero’s Dawn of the Dead), climaxed with the highly awaited main theme from Dario Argento’s cult thriller, Profondo Rosso, and its sinister, immediately recognizable keyboard riff. As in the case of Galactic Collective, perhaps not the most subtle music around, with a fair amount of bombast and a high heaviness quotient, but very powerful, and a fitting conclusion to the second day of the festival.

The Sunday opening spot – affectionately known as the Church of Prog – was reserved for our most eagerly awaited band, Los Angeles’ very own Mars Hollow. Having followed them right from the release of their debut album one year ago, through their first performance on the East Coast at last year’s edition of ProgDay, we were thrilled to be able to see them again. “Voices”, the preview track posted on the band’s Facebook page, promised great things to come. We had also been impressed by their high level of professionalism – coupled with a truly friendly, level-headed attitude. The Mars Hollow guys (who are all close to me in age, creating an even stronger personal bond) love making music with a passion, and this is very clearly reflected in their overall approach. Their set (which, in my opinion, would have deserved a higher billing) was a flawless combination of first-rate musicianship, gorgeous tunes, warmth and accessibility, showing a band that has grown by leaps and bounds since their already excellent debut. Fronted by the dynamic duo of vocalist/guitarist John Baker and irrepressible bassist/vocalist Kerry Chicoine, with stately yet magnificent keyboard work by Steve Mauk, and powered by Jerry Beller’s tireless, immaculate timekeeping, Mars Hollow treated the audience to a set comprising material from both their debut album and the new one, World in Front of Me. The growth and maturation of their sound was evidently displayed by their new material, definitely more challenging and subtly layered while keeping its listener-friendly quality. I found myself singing along the likes of “Midnight” (a song with serious airplay potential, at least in a perfect world) and the epic “Dawn of Creation”, which wrapped up the set accompanied by Mars-themed images. While Chicoine’s remarkable showmanship and the massive sound of his black-and-white, vintage Rickenbacker captivated the audience’s attention, Baker projected a more sedate presence, his soaring tenor perfectly in control, his lead guitar breaks clear and fluid. All in all, an absolutely superb performance, and the undisputed highlight of the whole event for me.

The presence on the bill of the much-touted District 97 was undeniably one of the biggest draws for a large part of the audience. After months of reading enthusiastic comments about the band being “the future of prog”, their debut album, Hybrid Child, had left me rather underwhelmed, in spite of the obvious talent involved. However, being aware that the live setting often brings out the best in a band or artist, lending more depth and dimension to music all too often emasculated by the recording process, I was looking forward to their set, even if not with the same attitude as their core of die-hard fans. The Chicago-based band, even though unable to avail themselves of the presence of cellist Katinka Kleijn) did not disappoint their followers’ high expectations, and delivered a very strong set that included some new material from their forthcoming second album, as well as excerpts from the “Mindscan” epic, the fast and furious “Termites” and  the superb power-pop tune “I Can’t Take You With Me”. The fresh-faced members of the band are indeed top-notch musicians, with a special mention for powerhouse drummer Jonathan Schang and guitarist Rob Clearfield, and the band as a whole is extremely tight, even if their musical output occasionally gave me the impression of being somewhat overambitious. At times the music suggested the frantic intensity of extreme metal, and it was funny to see the same people who thought Osada Vida were too heavy rave about District 97. The main focus of attention, however, lay in vocalist Leslie Hunt, a diminutive bundle of energy with an impressive stage presence that, in many ways, breaks the mould of the stereotypical female prog singer. I have to admit that, at first, I was a bit annoyed by her constant jumping and dancing about the stage, which seemed somewhat out of synch with the music, but, as the set progressed, the two aspect coalesced with striking results. Odd as it may sound, while watching the band on stage, I could not help thinking that District 97 might very well be considered a 21st-century version of Queen – on account of a very similar, fearlessly genre-bending attitude, blending theatricality, memorable tunes, finely-honed technical skills, melody and sheer heaviness. Like Freddie Mercury, Leslie is a very physical frontwoman, though her performance did not hinge on sex appeal even when wearing just duct tape from the waist up (a matter of comfort rather than titillation). On the whole, even if I cannot say to have been completely converted, now I view District 97 in a much more positive light, and am looking forward to hearing more from them.

Back to the theatre after another visit to the Irish pub, it was time for British band The Reasoning, another act eagerly awaited by quite a few attendees. Formed by bassist Matthew Cohen after his split from Magenta, and fronted by his wife Rachel Cohen (née Jones, formerly with Karnataka), it is one of those bands that I usually tend to bypass in spite of their undeniable talent, and  (as in the case of Moon Safari) their set did nothing to change my views. Though The Reasoning are clearly an accomplished band with plenty of experience under their collective belts, most of their set was marred by the piercingly loud guitar, which felt like having a hole drilled in your brain, and obviously covered the rest of the instruments, as well as the vocals. Rachel Cohen, an attractive young woman with long dark hair and an endearingly witty banter mostly focused on her brainy pursuits, danced around the stage on bare feet, banging her tambourine and delivering an excellent vocal performance, occasionally assisted by keyboardist Tony Turrell. Surely the most typically ‘feminine’ voice heard on stage during the weekend (together with Phideaux’s outstanding Valerie Gracious), her ethereal soprano, though lovely to hear, sounds a bit too similar to a number of other female vocalists. The band’s set hovered between a decidedly heavy direction (sometimes dangerously teetering on the edge of symphonic/Gothic metal) and more subdued, atmospheric numbers with a more melodic bent – skilfully executed and excellently interpreted by Cohen, but ultimately not exciting enough to keep my attention going for two hours. Anyway, even if they are not my cup of tea, The Reasoning are a very proficient outfit whose brand of prog has a dedicated following, and they deserve to find opportunities to perform away from their home turf.

As I already pointed out, Sunday headliners Quidam were not the kind of band that many of the festival regulars would have expected as a fitting conclusion to the event. Though excellent examples of the high level reached by Polish prog bands, as witnessed by their fellow countrymen Osada Vida the previous day, unlike former headliners such as Renaissance, Pendragon or Nektar they are not a household name – and, as proved by the unfortunate NEARfest cancellation, for many fans the names on the bill are the decisive factor, rather than the pleasure of discovery. As with Osada Vida, I had got acquainted with Quidam through my review of their live album, The Fifth Season, a well-rounded, very pleasing effort that had left me much more impressed than I had originally expected. Anyway, any misgivings on the part of some members of the audience notwithstanding, the band played an impressive set, though tinged with special poignancy on account of the news that frontman Bartek Kossowicz had received on the same day from Poland – his wife had lost their first child. With admirable professionalism, Kossowicz – a warm, appealing frontman with a strong voice and a stage presence reminiscent of an old-school metalhead rather than your typical progger – delivered a great performance, doing his best to involve the audience, and conveying the excitement and gratitude of the whole band for having been invited to the event. Their own classy compositions, sung both in English and Polish, blended stylish, Camel-influenced prog, enhanced by the contribution of flutist Jacek Zasada and violinist Tylda Ciołkosz, with classic rock and hard rock undertones in a strongly emotional, melodic package – magnificently embodied by their closing track, the stunning “Alone Together”, a low-key, somewhat somber number featuring a riveting dialogue between keyboards and violin. The band also performed a few covers, as they have been doing for some time during their concerts: King Crimson’s “Red”, The Doors’ magnificent “Riders on the Storm” (very enthusiastically greeted by the crowd), Deep Purple’s “Hush”, and a lovely version of Pink Floyd’s “Wish You Were Here”, with the audience singing along in a very moving ending to a great weekend of music.

Before I wrap up this very long and detailed review, I would like to acknowledge the wealth of female musical talent seen on stage over the weekend. The ladies are really making headway into the progressive world, ad this is also borne out by the increasing number of women in the audience. Next time the old, worn out cliché of “girls don’t listen to prog” comes up, the facts will prove it wrong. I would also like to encourage the organizers to seriously think about having at least one American band as a headliner for the festival’s next edition. There are so many gifted artists in this country that deserve recognition for their tireless work on behalf of progressive music.

Now it is time to mention all the great people I met during the weekend: Chapman stick wizard Rob Martino, James Byron Schoen of Edensong, our dear friends John Fontana and David Bobick of Shadow Circus, Alan Benjamin of Advent and his lovely wife Amy, Mike Visaggio of Kinetic Element, Greg Walker of Syn-Phonic (with whom I talked about his recent visit to Rome), Jim Hoffman,  the lovely ladies Sonya Kukcinovich-Hill (aka Spock’s Babe), Amy V. Simmons, Evelyn Chote and Melissa Palmer, the indefatigable Jose Zegarra Holder and Adele Schmidt (who filmed the whole event, assisted by their daughter Paloma), the members of Phideaux, my fellow Romans of Daemonia, and, of course, our friends of Mars Hollow. Once again, a huge thank you to George, Krista and everyone else who worked hard for months in order to put together such a fantastic event, three unforgettable days of music and fun with like-minded people. We will be sure not to miss ROSfest 2012!

http://www.rosfest.com

Jeff Green

Grayceon – All We Destroy

A band largely defined by their running vocal harmonies and heavy use of cello in their sludge metal sound, Grayceon have certainly turned heads with their self-titled debut, and dramatic follow-up ‘This Grand Show’. With recent collaborations with such bands as Giant Squid and Agalloch under their frontwoman’s belt, the band was already fairly established within post-metal circles before the release of their third, latest work ‘All We Destroy’. Doing what a good follow-up should, the third album builds upon its predecessors by adding a few new layers to their already unique sound. Although the band still has their weaknesses to contend with, it is clear that Grayceon’s strikingly distinctive sound is the best thing they have going for them.

Concise metal drumming, crushing downtuned riffs and organic string sections make up the core of Grayceon’s sound. Instrumentally, the band has always been able to create a very distinct voice for themselves that screams their name almost instantly. In a music world now filled with all too many copycats, it is to the band’s great credit that they have a unique sound to them. When it comes to actually channeling this sound properly however, the results can be mixed at times. Although Grayceon is in no dearth of intelligence when it comes to their keen and surprisingly technical music, there are moments in ‘All We Destroy’ where the talent still feels unharnessed and too raw for its own good. Among these would be the drawn out instrumentations of the seventeen minute sweeping track ‘We Can’, which get a tad too indulgent, almost to the point where the doomy riffs and atmosphere is leading nowhere. Be that as it may, Grayceon remain masters of dynamic, and their contrast between warm post-rock sections and sludgy heaviness has never been stronger. Better yet, each of Grayceon’s members are represented equally here in the mix, which only adds to the existing dimension.

An issue I’ve had with Grayceon that has often kept me at bay from considering myself a fan of the band are the vocals which play overtop the clever musicianship. The dual singing and running male-female harmonies that were so prevalent on the debut really turned me off; while not being necessarily unpleasant, they felt somewhat aimless and did not feel as if they complimented the rest of the music properly. Fortunately, Grayceon’s lead singer (and cellist) Jackie Perez-Gratz has upped her vocal chops here, and the dual singing gimmick has been greatly moderated, to the point where it can actually accentuate parts instead of making the vocal element in Grayceon feel monotonous. She has a distinctive lower female range, and the tone of the voice itself works well in tandem with the downtuned guitars and cello. However, the vocal melodies themselves often feel somewhat lackluster, especially in the heavier moments. The opener ‘Dreamer Deceived’ revolves around a recurring vocal theme by Gratz that holds little weight to it, and can get a little irritating by the end. On the other hand, the vocal moments of the more subtle tracks ‘Once A Shadow’ and ‘War’s End’ are nearly angelic.

The highlight here is- without a doubt- ‘Shellmounds’, which was released a short while before the album itself came out. It features Grayceon at what sounds like their tightest; beautifully intentioned post-rock passages, thrashy riffing, wonderful dynamic, and a sense of moderation that is simply masterful. While much of the album does not reach this level of perfection that ‘Shellmounds’ sets out, it becomes more difficult to ignore the sombre majesty of the band’s sound with each new listen. ‘All We Destroy’ has its fair share of flaws, but it’s the towering strengths of Grayceon’s tact and sound which make the album an excellent one.

Tracklist:

1. Dreamer Deceived (6:21)
2. Shellmounds (8:53)
3. We Can (17:00)
4. Once A Shadow (7:22)
5. A Road Less Traveled (4:11)
6. War’s End (7:09)

Line-up:

* Jackie Perez Gratz – electric cello, vocals
* Max Doyle – guitar, vocals
* Zack Farwell – drums

Links:

http://www.grayceon.com/

Fromuz – Quartus Artifactus

A quick glance at the tracklist of this album from any Fromuz fan will reveal that this is not a “new album”. Quartus Artifactus, or the “fourth work” of Fromuz, is not new, and yet it is. It is an hour and a half plus of reworkings of previously released music from the band’s relatively short career. While previous albums generally utilized electric instruments, this album went for a mostly acoustic, chamber sound, which sought to emphasize the band’s jazz fusion rather than metal roots.

This approach worked very well on most of the album. Tracks such as Stone Salad, Familiarization Results, Harry Heller Theater, Babylon Dreams, and Crashmind were full of repetitive electronic effects on their original albums that generally gave the music an unorganic, but thoroughly modern feel. These effects are obviously gone on Quartus Artifactus, and this makes the tracks, as I said before, much more organic. The change is enough to make the tracks feel fresh and new even if you’ve listened to the tracks on their previous three albums hundreds of times like I have.

I would say the only thing I didn’t particularly enjoy was the new rendition of Parallels, from Seventh Story. I felt like the original droned on a bit long, and this version somehow managed to amplify that. I feel like if a piece of music is going to be twenty minutes long it should be more dynamic to keep things interesting. The other track from Seventh Story, Desert Circle, doesn’t suffer this same problem. It didn’t on the original album, however, so I guess this makes sense. One thing I do appreciate about the new Parallels is that the theme running through it sounds less like the theme for Rush’s YYZ. I love YYZ, it just seemed odd that it sounded so similar, and I’m glad to hear it altered slightly here.

Overall Quartus Artifactus is different enough from earlier Fromuz albums to certainly be worth a purchase by any of their fans. It’s probably a lot more accessible at the same time, so I would highly recommend it to anyone trying to get into the band’s music. They’re a top quality quality prog fusion band for anyone, and certainly worth checking out.

Tracklist:

1. Stone Salad (13:26)
2. Familiarization Results (7:45)
3. Harry Heller Theater (12:11)
4. Perfect Place (1:37)
5. Parallels (20:01)
6. Influence of Time (10:22)
7. Crashmind (9:57)
8. Desert Circle (15:51)
9. Babylon Dreams (9:38)

Line-up:

* Igor Elizov – keyboards, synths, MIDI, grand piano, voice
* Albert Khalmurzaev – keyboards, synths, 12string guitar,flute
* Vitaly Popeloff – acoustic steel & nylon guitars, voice
* Ali Izmailov – drums, percussion
* Sur’at Kasimov – fretless bass

Links:

http://www.fromuzband.com/

Accordo Dei Contrari – Kublai

It’s a shame Accordo Dei Contrari won’t make it to NEARFest this year, but it’s a shame a lot of good bands won’t make it to NEARFest this year. At least we are lucky enough to be graced with their new album, Kublai, after a four year delay from their last one. Just from listening to the music I can deduce that a lot of the time was taken redefining the band’s sound and otherwise improving the songwriting and musicianship. These aspects of Accordo Dei Contrari have progressed leaps and bounds ahead of their previous album, Kinesis.

While their last album was mostly an interesting 45 minute bit of prog-jazz-fusion, and not much more, Kublai is mature, self-aware, and wonderfully coherent. I liked Kinesis for it’s complex musicianship, and this aspect remains in Kublai. Thankfully it’s much more musically interesting too.

One of the interesting features of Kublai is how much Accordo Dei Contrari seek to show their roots in traditional jazz of the 60’s. This is done quite easily: the first track is a reimagining of Thelonious Monk’s jazz standard Evidence. It isn’t simply a new version, as it’s completely unrecognizable compared to the old one. I would know, Thelonious Monk is one of my favorite composers. Instead, they have taken the complexity and beauty of Thelonious Monk and made his music into their own brand of heavy prog fusion. I would also imagine the track “Dark Magus” is named after the Miles Davis live album of the same name, but don’t quote me on this.

Perhaps the most interesting and surprising thing about Kublai is the addition of a guest vocalist in the form of Richard Sinclair, the quintessentially English vocalist of Canterbury bands Hatfield and the North, Caravan, and many more. This inclusion for the track “L’Ombra di un Sogno” (shadow of a dream) is a clear indication of their musical progression. Though the fusion complexity remains, the track is actually a ballad to Sinclair’s beloved dog, who remains nameless. There’s actually picture of Richard with the dog in the album notes, and he looks a lot like my dog, Fudge!

Musically I would say my favorite track is the longest, the twelve minute Arabesque. This piece is an excellent indication of the band’s musical progression – the rhythms and themes present are leaps and bounds ahead of anything on Kinesis.

While Accordo Dei Contrari are clearly a jazz fusion band at heart, there is very little to them that is overtly jazzy. I would recommend them to any average prog rock fan. A track from their previous album was included on our fourth Progstravaganza compilation, so I would recommend you check that track out and imagine music that’s much grander, more complex, more interesting. Having done so, ignore everything you’d just listened to and buy Kublai anyway. It’s worth it.

Tracklist:

1. G.B. Evidence
2. Arabesque
3. Dark Magus
4. L’Ombra di un Sogno*
5. Più Limpida e Chiara di Ogni Impressione Vissuta, part I
6. Battery Park

Links:

http://www.accordodeicontrari.com/

Nemo – R€volu$ion

Nemo is one of the most original “pure prog” bands in recent years. They, along with Beardfish, The Tangent, and a handful of others, are one of the few prog bands (and one of the few ROCK bands) I still listen to nowadays. They have managed to embrace the spirit of prog rock and retain their edge without succumbing to the awful post-modernism of modern prog. I am, of course, referring to the horrible self-awareness of prog, it’s tendency to obsess over itself. Nemo is certainly aware of its genre, but this notion is regarded with ambivalence more than anything else. Yes, for better or for worse, there was ample Dream Theater influence when they were starting out (for example), but Jean-Pierre Louveton has never played in the same soulless, blazingly fast style of Jean Petrucci, or sang with the same Robert Plantesque screeching androgyny as James LeBrie. He sings in thick, guttural French, so uncommonly heard in prog rock or even rock in general. It’s a refereshing change, to say the least, even if prog is not unfamiliar with other Indo-European languages such as the slightly more common Swedish and the much more common Italian (not to mention the ubiquitous English).

Nemo have gone quite far past their beginnings, which, as I said before, were rooted in a great deal of Dream Theater influence.  They’ve progressed subtly from album to album, with the end result of R€volu$ion being much more symphonic, yet retaining a heaviness that Nemo has always managed to attain without being able to be labeled hard rock or metal. They can’t really be described as “symphonic prog” either. Instead they’re much more aptly labeled as “modern prog rock”, playing in the same incredibly complex, high-energy style as bands like The Tangent. This is R€volu$ion in a nutshell, but there are many other elements. There are dreamy flute sections, sweeping symphonic instrumental parts, and even some folksy bagpipes that lend the album a Celtic air at times. Perhaps the band is attempting to connect themselves to their Gallic cousins of ancient times, the Celtic inhabitants of France before Caesar committed his genocide and all but wiped them off of the European mainland.

I’m reaching quite a bit, especially since I don’t speak French, but there is certainly an air of defiance about the album. No doubt this is related to the album’s obvious subject, revolution. The different currency signs in the album’s name make the subject and its inspiration obvious: The Global Economic Crisis. The world is currently in a state of transition, and people across Europe, the Americas, and especially the Middle East are waking up to the problems of their governments. That an album by a French band with such a subject was released now is no coincidence – it is an embodiment of the zeitgeist of the new millennium.

Overall the music does not bring a more aggressive tone to Nemo’s ouvre. If anything the album is more pensive and symphonic than before. Grander, with more thought behind it. This is not a punk albim, calling for an anarchic proletarian revolution without any thought behind it. This is an album about the pain of our times, but with the beautiful inspiration of music to guide us and show us what could be possible if we changed our ways. I hope I’m right about that, I don’t understand the French lyrics, after all!

Tracklist:

1. Liberté, Egalité, Insurrection ! (2:23)
2. Je suis un objet (5:43)
3. Révolu$ion (5:08)
4. Aux portes du paradis (2:21)
5. Seul dans la foule (9:36)
6. Chiens en laisse (5:35)
7. Loins des yeux (Barbares parties VIII a XII) (24:30)
8. Notes pour plus tard..(6:43)

Line-up:

* Guillaume Fontaine – keyboards, vocals
* Lionel B. Guichard – bass, vocals
* Jean Pierre Louveton – guitar, lead vocals
* Jean Babtiste Itier – drums, vocals

Links:

http://www.nemo-world.com/

Altar of Plagues – Mammal

Unless you are into the black metal or post-rock scenes, there’s a good chance you may not have yet heard of this band from the rainy Irish isle. In 2009, a trio called Altar of Plagues released their debut album ‘White Tomb’, which has since gone on to become something of an underground classic for its startling atmosphere, textures and epic take on the black metal style. As can even be heard from each EP, Altar of Plagues continues to take their ambitious style of metal onward, constantly modifying, refining, and emphasizing aspects of their sound. As one would might have been led to believe anyway, Altar of Plague’s eagerly awaited sophomore record ‘Mammal’ takes the band another step in the right direction, finally pushing them to becoming one of the greatest acts the contemporary black or post- metal realms have to offer. While there is bound to be heated debate concerning whether or not this second album is any ‘better’ than the first, Altar of Plagues does give the impression that they seek to topple everything they have done in the past with ‘Mammal’, and while this might be argued by some, the band has found their first masterpiece with this one.

Like ‘White Tomb’, ‘Mammal’ is around fifty minutes long, broken into four long compositions, with a somewhat shorter third track. One can only assume that this similarity is intentional, and it seems as if the band seeks to right some wrongs they had with their first album. There is obviously a sense of continuity here where ‘White Tomb’ left off, but ‘Mammal’ is certainly more than some half-witting sequel. Instead, Altar of Plagues has taken many of the issues I had with their debut and touched them up, giving a more intentioned feel to each texture and sound. Also, the less abrasive post-rock and ambient passages here have been given more depth to them in terms of sound and timbre. Maybe the greatest improvement heard on ‘Mammal’ though is the production, which is still going to cross most people as being raw as hell, but there is an added vastness to the sound here that helps the instruments leap out of their shells. Of particular note, percussionist Johnny King really seems to have stepped up his game here, switching from jazzy cymbal worship to some of the most aggressive drum barrages I have ever heard, seemingly without any effort at all.

Ironically, the thing that seems to have experienced the least amount of development is the songwriting and compositions themselves. The style of Altar of Plagues is left fairly untouched, but that does not rob ‘Mammal’ of any power. The band plays an epic style of post-metal that generally relies on the systematic repetition and buildup of ideas, dynamic between abrasive black metal and post-rock, and interspersed sections of ambient noise. The music is kept within a very dark mood throughout, but it is never malefic in nature, rather instead a musical exploration of human woe. The balance between the band’s three big compositional elements (black metal, post-rock, soundscapes) is done in such a way that each gear of sound compliments the other as they shift. By the end of the record, there is the overbearing sense that these dark emotions have been unraveled and set on display. Suffice to say, there is no surprise why the music of Altar of Plagues has been described as a ’soundtrack to the apocalypse’.

‘Mammal’ may not completely overshadow its predecessor in every way, but for the first time, I am getting the impression from the band that they have largely reached their potential as an act, as is evident from the equally moving moments of heaviness and lighter arrangement. With the runt of the litter here still being a relatively long eight minutes though, there’s plenty of indication that ‘Mammal’ is not an album that will instantly charm with certainty. Rather- much like a sunrise- the brilliance of Altar of Plagues shines clearly over time.

Tracklist:

1. Neptune is Dead 18:44
2. Feather and Bone 11:42
3. When the Sun Drowns in the Ocean 8:18
4. All Life Converges to Some Center 13:15

Line-up:

* Dave Condon – Bass, Vocals
* Johnny King – Drums
* James O’Ceallaigh – Guitar, Vocals, Keyboards

Links:

http://www.myspace.com/altarofplagues

Devin Townsend Project – Deconstruction

Throughout the course of a prospective four album series going by the name of the Devin Townsend Project, musical mastermind Devin Townsend has traversed virtually every corner of his musical vision, from folky ambiance to atmospheric rock, to extreme metal, be it of a poppy, or progressive variety. Long awaited since the first pair of Devin Townsend Project albums dropped in 2009, ‘Deconstruction’ has been hailed as Townsend representing ‘what he was trying to achieve with Strapping Young Lad’, his former flagship band, which was well-known for their antics, crushing heaviness and over-the-top nature. Suffice to say, the Devin Townsend Project has seen some mixed success since its inception, but as far as ‘Deconstruction’ goes, this is the closest thing of the Project to the sort of music that Townsend is best known for; tongue in cheek, bombastic progressive metal. In no shortage of ambition or complexity, ‘Deconstruction’ is Devin Townsend’s crowning achievement in terms of this particular series, but much like the other three albums, it does not compare to the sort of perfection Townsend achieved earlier in his career.

If ‘Ki’ represented Devin’s ability to restrain himself and use moderation, then ‘Deconstruction’ is its direct antithesis; a work that can be considered over-the-top in just about every conceivable way imaginable. Besides being about as long as a single disc will permit, ‘Deconstruction’ shows an almost unrelenting bout into complex arrangements, orchestrations, and- not to mention- a load of guest appearances from some of modern metal’s most recognizable figures. Of these are Paul Masvidal of Cynic, Ihsahn formerly of Emperor, Joe Duplantier of Gojira, Tommy Rogers of Between The Buried And Me and- certainly of note- Oderus Urungus of GWAR, with whom Devin Townsend has had a lasting working relationship with. All of the elements that can be associated with Devin Townsend’s heavier material are here in greater definition than they have ever been; operatic vocals, (bad) humour, incredibly heavy riffs and some rhythmic experimentation. The entire thing is certainly a spectacle, and sounds about as theatrical as I have ever heard Devin’s work. Of another particular mention is the use of a full orchestra and choir here, which got me excited even months before hearing the actual record.

Of course, the album is brimming with promise, even if it was only still on the drawing board. Where the faults in the formula start showing up are not the ingredients themselves, but rather the way Devin Townsend uses them, or in this case, fails to use them. For instance, the full orchestra that Devin employs here can be heard on some of the more dramatic moments of the album, but are almost always drowned out behind the metal instruments, which seemingly never slink out of the spotlight once they are there. The guest cast of vocalists was another major selling point for ‘Deconstruction’, but hearing some of metal’s most recognizable and greatest vocalists only being alloted a single verse or two feels incredibly underwhelming. Of course, Devin Townsend’s vocals here are in top form; his clean operatic vocals are some of the best he has ever recorded.

The biggest joy here is the cheer over-the-top theatrics of it all, as well as the overbearing complexity that never seems to abate. The complexity comes at a fair price though; none of the songs on ‘Deconstruction’ ever feel like they will become classic tracks in Devin’s repertoire. Unlike songs on ‘Terria’ which were able to marry intensity with incredible melodies and memorable moments, it almost always feels as if the intensity is at 100% throughout ‘Deconstruction’, and this can make even the most sweeping passages sound hazy in the context of the album. Even so, ‘Deconstruction’ is certainly an entertaining effort, despite it’s intentional lack of discipline and lack of focus. Of course, this is only an album that will grow with each listen, and while some of Townsend’s lackluster humour here will turn some listeners off from the start, there is a wealth of nooks in ‘Deconstruction’ that should keep an adventurous listener exploring worth many listens.

Tracklist:

1. Praise the Lowered (6:02)
2. Stand (9:36)
3. Juular (3:46)
4. Planet of the Apes (10:59)
5. Sumeria (6:37)
6. The Mighty Masturbator (16:28)
7. Pandemic (3:29)
8. Deconstruction (9:27)
9. Poltergeist (4:25)

Line-up:

* Devin Townsend – vocals, guitars, bass, keyboards, programming
* Ryan Van Poederooyen – drums
* Dirk Verbeuren – drums
* Mikael Åkerfeldt – vocals (Stand)
* Ihsahn – vocals (Juular)
* Tommy Giles Rogers – vocals (Planet of the Apes)
* Joe Duplantier – vocals (Sumeria)
* Paul Masvidal – vocals (Sumeria)
* Greg Puciato – vocals (The Mighty Masturbator)
* Floor Jansen – vocals (Pandemic)
* Oderus Urungus – vocals (Deconstruction)
* Fredrik Thordendal – guitar (Deconstruction)

Links:

http://www.devintownsend.com/

Boris Savoldelli – Biocosmopolitan

At a first glance, Boris Savoldelli’s second solo album does not spell ‘progressive rock’. With 14 songs (plus two bonus tracks) between 1 and 4 minutes in length, and a rather minimalistic instrumental accompaniment, Biocosmopolitan looks light years away from the lushly orchestrated productions of the flag-bearers of the genre. Moreover, even if the output of New York-based MoonJune Records (one of the few authentically forward-thinking labels in the business) is frequently placed under the used-and-abused ‘prog’ umbrella, this album displays a somewhat different approach to music-making, one that tries to offers something genuinely original rather than a more or less successful replica of Seventies modes.

My first encounter with Boris Savoldelli’s music dates back from 2009, when I reviewed his solo debut, Insanology – an album that impressed me for its unique blend of elegance and uncontrived cheerfulness. It was one of those truly enjoyable discs whose apparent simplicity reveals layers of complexity with every successive listen. It is, however, not the complexity for its own sake that can be sometimes encountered in ‘standard’ progressive rock, but is rather achieved with a lightness of  touch, a kind of consummate subtlety that is all too rare on the modern music scene – all accomplished with one main instrument, Savoldelli’s voice, a veritable one-man-orchestra of stunning versatility that has been compared to luminaries like Bobby McFerrin or Demetrio Stratos.

Indeed, Boris Savoldelli is much more than an ordinary singer – to quote our fellow Italians PFM, he is a real maestro della voce, a master of the art of shaping his voice in ways that would sound impossible to most people, replacing most of the conventional instrumentation used in jazz and rock with an array of awe-inspiring effects whose apparently effortless nature belie the years of hard work behind it all. While most of the songs, which blend traditional and unconventional features, have a similar structure – where two or more vocal lines (both percussive and harmonic) intersect and spar with each other – as a whole Biocosmopolitan does not sound monotonous or repetitive. In my view, his unique handling of the linguistic aspects is probably the single most important factor for the album’s success. English and Italian intermingle with astounding naturalness (while on most other albums a mix of languages would sound contrived) that lends the album a truly cosmopolitan feel – with devices such as alliteration and assonance used to bolster the musical content, creating intriguing rhythms and textures.

In the four years between Insanology and Biocosmopolitan, Boris Savoldelli has been quite busy, though on a more decidedly experimental level – releasing the album Protoplasmic in collaboration with Elliott Sharp, as well as three albums with avant-garde outfit S.A.D.O. While Insanology saw the presence of veteran jazz guitarist Marc Ribot on two tracks, this time Savoldelli avails himself of the collaboration of two outstanding musicians – renowned Italian trumpeter Paolo Fresu, and bassist Jimmy Haslip (of Yellowjackets fame). Haslip’s bass adds depth and interest to the title-track, complementing Savoldelli’s bluesy vocals in a song that is much more complex than it short running time would suggest. Fresu’s wistful-sounding trumpet punctuates the cheery, infectious repetition of the line “the corner is dirty” in the pause-laden “Concrete Clima” (the longest track on the album at slightly over 4 minutes), and its sudden bursts of sounds enrich the fabric of the bright, endearingly nonsensical “Kerouac in New York”.

Most of the songs share the same sunny, upbeat nature and exude a genuine sense of warmth, reminding the listener of exotic vocal styles or of the sensuality of Latin rhythms, combining modernity and a charming retro feel (most evident in the Fifties’ doo-wop style of the hugely entertaining “The Miss Kiss”). Boris’s voice ranges from gritty, passionate blues tones to elegant, jazzy smoothness, infused with a genuine sense of humour and enjoyment. The only number that clearly differs from the rest is the melancholy ballad “Biocosmo”, a slow-burner (also present as a bonus track with English-language vocals) accompanied by piano and ending with solemn, choir-like chanting and distant clinking sounds, which one can almost imagine Savoldelli performing in the semi-darkness of a smoky night club. The album is then wrapped up, in cinematic fashion,  by two humorous complementary pieces, “My Barry Lindon “ – basically a series of ‘thank you’, handclaps and assorted sounds with occasional vocal harmonies thrown in – and “Closin’ Theme”, where a voice recites the album’s credits in English with mock seriousness. The second bonus track, a cover of Jimi Hendrix’s “Crosstown Traffic”(already included on Insanology), is the closest the album goes to traditional rock, with Savoldelli offering a more than credible performance as a hard rock vocalist.

Biocosmopolitan is one of those rare albums that are potentially appealing to all music lovers, regardless of genres and labels – though it might disappoint those who require songs to be over 10 minutes in length, or object to the lack of ‘proper’ instruments, or even shun any kind of music that is not dead serious or just plain depressing. Progressive without necessarily being ‘prog’, entertaining and at times even exhilarating, Biocosmopolitan is an ideal showcase for the amazing vocal and compositional talents of an artist whose work proves that impeccably performed music can also be fun.

Tracklist:

1. Aria (2:09)
2. Biocosmopolitan (3:36)
3. Concrete Clima (4:26)
4. The Discordia (3:42)
5. Kerouac in New York City (3:13)
6. Is Difficult to Fly Without Whisky (3:26)
7. Dandy Dog (2:12)
8. Danny Is a Man Now (1:42)
9. Biocosmo (3:39)
10. Lovecity (2:47)
11. Springstorm (3:21)
12. The Miss Kiss (2:57)
13. My Barry Lindon (1:28)
14. Closin’ Theme (2:32)
15. Crosstown Traffic (bonus track) (4:03)
16. Biocosmo (English version – bonus track) (4:14)

Bonus video:
The Miss Kiss

Line-up:

Boris Savoldelli – all vocals and vocal instruments, piano (9, 16)

With:
Jimmy Haslip – bass (2)
Paolo Fresu – trumpet, flugelhorn (3, 5)

Links:

http://www.borisinger.eu

http://www.moonjune.com

Trey Gunn – I’ll Tell What I Saw

Reviewing a compilation obviously involves a rather different process than reviewing an album of completely new material. My readers will forgive me if this write-up is not as detailed as my reviews usually are, and, for instance, does not include information on all the musicians featured on every track. In this particular case, the compilation is a 2-CD package, comprising a total of 36 tracks spanning almost 20 years of the career of one of the most interesting artists on the current music scene – Texas-born touch guitarist, composer and multimedia storyteller  Trey Gunn, known to the majority of prog fans for his 10-year stint in King Crimson.

I have to admit to having been for quite a long time largely unfamiliar with Gunn’s musical output outside Fripp’s legendary band and a handful of scattered tracks from some of his solo projects. However, two years ago I had the opportunity to see him perform live as a guest of Eddie Jobson’s UKZ project, and was highly impressed by his skills and warm stage personality. Later, I found out that he was born exactly two days before me – perhaps not very relevant from a musical point of view, but an interesting bit of trivia nonetheless.

Released in November 2010, I’ll Tell What I Saw is jam-packed with extremely stimulating music taken from the numerous albums recorded by Gunn in the years from 1993 to the present day, both in his own name or with various other projects featuring international artists. Running at over 2 hours, it manages to sustain a consistently high level of quality, with hardly any filler at all, offering a heady mix of musical styles interpreted with flair, skill and soul. Indeed, Trey Gunn’s output might easily be held up as an example of a genuinely progressive approach to music-making, open-minded and eclectic, always looking for new sources of inspiration, and never letting his creative impulse grow stale.

The oldest items included in the compilation date back from Gunn’s debut album One Thousand Years (released in 1993), and (perhaps unsurprisingly) reveal a strong King Crimson influence, with “Kuma” in particular sounding like something out of the magnificent Discipline. As a matter of fact, the Crimsonian vibe can be heard in all of Gunn’s Nineties material, as witnessed by “Hard Winds”, another track characterized by the insistent, interlocking guitar lines and heavy yet intricate drumming typical of Fripp’s crew in their Eighties and Nineties incarnations. Gunn’s two more recent projects involving drummers – TU with fellow KC alum Pat Mastelotto, and Modulator with German-born wunderkind Marco Minnemann (who was also part of Eddie Jobson’s band when I saw them in 2009) – spotlight the marriage between the drums and the stunning versatility of Gunn’s trademark Warr guitar, with dramatic, mesmerizing textures and plenty of driving energy. However, while the TU tracks are more structured, the Modulator stuff (originally conceived as a 51-minute guitar solo) is largely improvisational in nature. Some of these numbers, especially the thunderous “Untamed Chicken”, seem to emphasize the drum-driven heaviness that characterizes compositions like “Level Five” (from King Crimson’s 2003 album The Power to Believe). Italian outfit N.Y.X.’s “Down in the Shadows” carries nuances of ‘alternative prog’ in the dark, industrial-tinged style perfected by Tool; while the bass-powered “Arrakis”, recorded live in 2001, foreshadows the avant-fusion of contemporary bands such as Zevious.

On the other hand, Gunn’s collaboration with Russian singer Inna Zhelennaya on her 2009 album Cocoon and on the eponymous 2005 album by The Farlanders explore the fascinating reaches of world music, injecting a welcome dose of thoroughly un-cheesy melody (also evidenced in gorgeous opening “Hymn”) in the proceedings. Zhelennaya’s hauntingly keening Russian-language vocals, somehow reminiscent of Lisa Gerrard’s otherworldly chanting, blend uncannily well with Gunn’s quicksilver guitar, producing some very distinctive results in the likes of the hypnotic “Maslenitsa” (the longest track on the album at almost 10 minutes, and possibly its highlight), “Well” and “Drunk”. Entrancing ambient tones, coloured with a feel of gentle melancholy, surface in Gunn’s collaboration with Russian clarinetist Sergey Klevezny; while the slow, liquid “9:47 PM Eastern Time” brings to mind KC’s “The Sheltering Sky”. KTU’s accordion-laden ”Jacaranda” and the Middle Eastern-flavoured “The Magnificent Jinn” branch further out in world music territory, though combining those ethnic influences with the angular dynamics typical of King Crimson.

As exciting and eclectic as I’ll Tell What I Saw is, I would not recommend listening to the whole 2-CD set in one take, since music this challenging and edgy might induce a sense of sonic overload, especially in those listeners who are used to more conventionally structured fare. Thankfully, there is enough diversity within those 36 tracks to keep the most demanding listeners happy. It is, however, music with a high level of complexity, even in the case of the shorter compositions, and needs to be approached with the right attitude. All in all, this is an excellent summary of Trey Gunn’s adventurous, ever-changing career, and an outstanding introduction to the work of one of the most intriguing purveyors of genuinely progressive music on the current scene.

Tracklist:

CD1
1. Hymn (4:29)
2. The Joy of Molybdenum (feat. The Trey Gunn Band) (5:29)
3. The Fifth Spin of the Sun (2:04)
4. Val El Diablo (feat. Alonso Arreola) (4:35)
5. Morning Dream (feat. Sergey Klevensky) (6:49)
6. Real Life (5:12)
7. Maslenitsa (feat. The Farlanders) (9:31)
8. Gallina (1:05)
9. Dziban (6:15)
10. Misery, Misery, Die, Die, Die… (feat. TU) (1:55)
11. Pole (0:44)
12. Thick and Thorny (feat. Quodia) (2:35)
13. Down Spin (1:13) 14. Absinthe & A Cracker (feat. TU) (3:17)
15. The Shimmering (2:23)
16. Fandango (feat. TU) (4:05)
17. Well (feat. Inna Zhelannaya) (5:56)

CD2
1. Jacaranda (feat. KTU) (3:57)
2. The Magnificent Jinn (3:24)
3. Contact (3:50)
4. Drunk (feat. Inna Zhelannaya) (6:26)
5. Killing for London (6:32)
6. Kuma (4:29)
7. Single Cell Shark (feat. Matte Henderson) (3:31)
8. Cheeky (feat. matt Chamberlin) (3:33)
9. Make My Grave in the Shape of a Heart (feat. TU) (1:24)
10. Spectra (1:57)
11. Capturing the Beam (1:23)
12. Hard Winds (3:05)
13. Arrakis (feat. The Trey Gunn Band) (6:54)
14. Flood (3:17)
15. Untamed Chicken (feat. TU) (4:15)
16. Down in Shadows (feat. N.Y.X.) (4:44)
17. Californ-a-tron (0:49)
18. Vals (feat. Sergey Klevensky) (3:18)
19. 9:47 P.M. (feat. Saro Cosentina) (5:03)

Links:

http://www.treygunn.com

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