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Highlighting in album tracklistings denotes 'contains Mellotron'. On 'multi-part' tracks I've tried to indicate which parts contain 'Tron, although this isn't always possible.
Ratings:
The * rating (½-5) is my personal, entirely subjective and completely partisan rating of the music.
The 'T' ('Tron, of course...) rating (0-5) is an only slightly more objective indicator of an album's Mellotronness.
By the way, if you know of any Mellotron albums that aren't listed here, please look at my albums page first! Thanks.
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The Marshall Brothers Band (1975, 43.25) **½/TTFalcon 1868-1912Bright Light Lady Pioneer Suite Mr 'L' Come Out With Your Hands Up Baby Flying High Summer Love Younger Now |
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The Marshall Brothers Band are lesser-known Aussie proggers, quite possibly due to their lounge-act name, but also quite possibly due to their lounge-act music, certainly when compared to the likes of Aleph or the mighty Sebastian Hardie. The Marshall Brothers Band (produced by noted 'Tronnist Chris Neal) could at best fit into the turn-of-the-'70s UK scene, sounding somewhat out of date in 1975, given that their Aussie contemporaries were actually quite, er, contemporary in comparison. Falcon 1868-1912 is a passable proto-prog piece, but Bright Light Lady is, unsurprisingly, a basic hard rock boogie that no doubt kept 'em happy in the pubs, but can't have sounded that good on record even at the time. Live favourite, no doubt. Pioneer Suite is also pretty dated, and by the time we get to Summer Love we're deep into mainstream territory. Closer Younger Now is a bit of an anomaly, being a lengthy Latin workout, sounding almost like an Antipodean Santana, pre-empting Sebastian Hardie's mutation into Windchase by a couple of years, but more, well, lounge.
As you can see, there's Mellotron (from Robert Scott) all over the place here, technically, with an in-yer-face strings intro to Falcon 1868-1912 (and the album), repeating later in the song, plus flutes, with more of the same on Pioneer Suite. However, the only other 'Tron part of any note at all is the strings on Flying High, but saying 'of any note' is stretching things a bit, I'm afraid. The rest of Scott's work consists of background strings of little consequence, heavily overshadowed by his nippy MiniMoog playing on several tracks, so no 'Tron classic here, sadly.
So; an album of some averageness, to be honest, barely worthy of the 'progressive' tag at all across much of its length. I suspect these guys were the proverbial covers band trying to make their mark, but essentially failing due to an inability to distance themselves sufficiently from their day-job, unlike the various aforementioned. Of course, Australia is renowned for its full-tilt boogie madness, but while such Practitioners Of Rock as Rose Tattoo or the wondrous AC/DC (Bon version, anyway) had only to get their live set onto vinyl to conquer the world (OK, not the Tatts), any outfit having pretensions to sophistication had better be bloody good, and The Marshall Brothers Band weren't. This isn't complete rubbish, but certainly isn't worth splashing out too much for, with only one really decent 'Tron track to its name. Incidentally, although this is on CD, beware: it's on the UK-based Radioactive Records, who are essentially rip-off pirates, so there's absolutely zero chance that any of the band are making an Aussie cent out of this.
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Arena (1971) ****/TTTPrelude to the ArenaPeace of Rome The Arena Time Shadows Spring |
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Marsupilami were a proto-prog outfit who, rather like the more successful Nektar, relocated abroad, though in this case to the Netherlands. Arena is pretty hard-hitting, actually, nearer to Van der Graaf Generator than Genesis, to be honest, with some sort of ancient Rome concept, at least on side one.
Leary Hasson's keyboard work is excellent throughout, with a fair helping of Mellotron on side one, mostly strings, given that there's a flautist also playing. Probably the album's best track, The Arena, also has 'Tron brass parping away at one point, among the general stop-start weirdness going on. So, a damn' good album, though not exactly symphonic prog. Good 'Tron work too, so probably worth it on those grounds alone.
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The Pillory (1978, 44.15) ****/TTTTTPart 1Part 2 |
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Jasun Martz is an American composer/keyboard player who, until 2005, had only ever released this one album, The Pillory, along with a cast of thousands, including Eddie Jobson and Ruth Underwood (Frank Zappa). The nearest description I can find for this is 'modern classical'; it's only on the furthest fringes of experimental progressive or electronic music, with dissonant voices, strings and brass slipping in and out of the piece. Part 2 is, if anything, even more 'out there', with dissonant percussion joining the orchestra in making a right old racket.
You're about twelve minutes into Part 1 before there's any Mellotron at all, at which point it goes completely berserk, with a ten minute Mellotron solo (!) following (real) orchestra and ('Tron) choirs, incorporating mostly string and flute chords, in one of the most full-on 'Tron pieces I've ever heard. How come this is so obscure? For Mellotron aficionados, this is almost the Holy Grail; unaccompanied mournful M400 strings - absolutely gorgeous. After Part 2's percussive weirdness, there's a lengthy church organ section (real, I think), followed by 'Tron choirs and strings in another unaccompanied piece. This is quite superb; I urge you to try to track down a copy. More than worthy of your time.
In 2004, word started circulating of a follow-up, finally released in 2005 as The Pillory/The Battle. Upon its release, however, it became apparent that the two tracks featuring 'Mellotron' actually contained samples, so please go here for a review.
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La Maschera di Cera (2002, 42.11) ****/TTTT |
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| La Maschera di Cera Il Tuo Volto La Tua Gente Il Tuo Rifugio La Tua Irrealtà La Tua Guida La Mia Fine... Del Mio Mondo Che Crolla |
Del Mio Abisso e del Vuoto Il Vuoto L'Abisso E Senza Più Peso Io Salgo Del Mio Volo |
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Il Grande Labirinto (2003, 65.34) ****/TTTTIl Viaggio Nell'Oceano Capovolto (parte 1)Il Grande Labirinto Il Canto Dell'Inverno Ai Confini del Mondo Il Viaggio Nell'Oceano Capovolto (parte 2) La Consunzione |
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LuxAde (2006, 62.25) ****/TTTT |
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| Porta del Cielo Doppia Immagine Un Senso All'impossible Teatro di Follia Il Ricordo Orpheus Nuova Luce Passato Sogno Presente Realtà |
Enciclica 1168 O Scena I: Preludio (Gennaio 17) O Scena II: Caduta/Visione O Scena III: Delitto O Scena IV: Coscienza O Scena V: Canto Pagano/Metamorfosi O Scena VI: Dopo la Pioggia O Scena VII: Sterminio O Scena VIII: Lumen in Coelo O Scena IX: Postludio ("Così in Alto è Come in Basso") Schema (v.s.d.) |
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La Maschera di Cera are a new Italian band who, praise be, act as if the whole '80s neo-prog scene had never happened, playing symphonic progressive rock as she should be (assuming, that is, that you consider the '70s scene to be the genre's peak). This isn't especially surprising, when you consider that the band was put together by Finisterre men Fabio Zuffanti and Agostino Macor, making them another of that outfit's side-projects, along with the excellent Höstsonaten. Their self-titled debut is an 'album-length' album, with four lengthy tracks, utilising all the compositional tricks you could wish for from a band hailing from that country, not to mention a raft of analogue keys. I know La Maschera di Cera will grow on me with repeated plays, given that it's caught my ear on a first hearing; there are so many also-rans out there that it's a joy to hear a band who know how to write for the genre, not just sticking bits together randomly, like a few I've heard recently (tip: avoid American outfit Akacia).
Macor's Mellotron work on the album is quite exemplary, with the first sound you hear being a 'Tron flute part on La Maschera Di Cera itself (originally written in 1991, apparently). After that it's mainly strings, on all four tracks, although with no timings for the individual parts on the relevant tracks, I've no way of knowing which ones have any Mellotronic input. Suffice to say, if your listening remit involves a) complex, melodic progressive rock and b) loads of Mellotron, you won't be even slightly disappointed here.
Il Grande Labirinto, like all good sophomore efforts, develops the band's style, while remaining true to their original intentions. There's a little more dissonance on display here, and they experiment with backwards tapes in a few places, although it's very recognisably the same band. I still can't decide whether or not the longer running time was a good idea; OK, more music, but a long CD can become fatiguing to the ears, especially when it's a 'difficult' listen, and is the quality maintained over the extra length? In this case, despite the album appearing only a year after their debut, it would seem so, which makes a refreshing change.
Anyway, Macor really comes into his own on a couple of tracks, with some fantastic piano work on the brief Il Canto Dell'Inverno, although on reflection, I think the oboes on the track (and on Il Viaggio Nell'Oceano Capovolto (parte 2)) are probably real. On top of the standard strings and flutes, there's some 'Tron choir to be heard, too, with possibly the album's best 'Tron work being on the aforementioned lengthy Il Viaggio Nell'Oceano Capovolto (parte 2) (also possibly the album's best piece). All in all, another Mellotron classic, I think.
2006's LuxAde carries on in similar fashion, featuring a 25-minute concept piece, Enciclica 1168, that does everything you'd expect and want of such a thing. The rest of the album doesn't disappoint, either, although there are places where you hope for something transcendent to happen, only to hear the piece peter out rather than lift the listener to a new level. I have to say, I'm not entirely convinced by the 'Mellotron' here; there's a string note at one point that sustains for an unfeasibly long time, although there are studio tricks that can achieve that effect (and I should know). Macor is credited with 'keyboards', and Zuffanti with 'choirs', so who plays what is hard to say, although the only two 'Tron sounds on the albums are strings and choir. Plenty of both, although I haven't attempted to ascertain exactly which parts of the epic are more Mellotronically inclined. I shall be attempting to discover the truth on this one at some point, anyway, which, of course, also puts the 'Mellotron' on Maschera's various sister bands in doubt, too. Hmmm. Anyway, another great album, 'Tron or no 'Tron.
I think it goes without saying that I wholeheartedly recommend all these albums, particularly if you're already a fan of the Italian '70s scene. Conversely, if you don't like Italian-language vocals, you've come to the wrong place. Great music, great 'Tron; how can you lose?
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Sunrise on the Sufferbus (1992, 42.38) ***½/T½ |
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| She Got Me (When She Got Her Dress on) J.B. Witchdance Jody Sings Rolling Green Ants in the Kitchen V.H.V. Bicycle 100 Years (of Tears on the Wind) |
T.U.S.A. Tilt-a-Whirl Rabbit One Madonna Gimme Water The Moon in Your Pocket |
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The cheekily-named Masters of Reality lurched into view in the late '80s with their debut, Masters of Reality (a.k.a. The Blue Garden) (***½), a total anachronism at the height of heinous hair-metal, and all the better for it. Surprisingly, they were critically well-received, making it all the more strange that it took them four years to follow-up with Sunrise on the Sufferbus, featuring the inimitable Ginger Baker on drums. In fact, if they hadn't been signed to Rick Rubin's estimable Def American label, they probably wouldn't even have got a first chance, never mind a second, so hats off to the man with the beard.
Sunrise on the Sufferbus is a bit of a mixed bag, but includes some great material, although Baker's T.U.S.A., a monologue telling Americans how to make a cup of tea (!), isn't honestly among them. Opener She Got Me (When She Got Her Dress On) rocks nicely, as does V.H.V. and much of the rest of the record. Mainman Chris Goss gets a 'keyboard' credit, so I think we can assume it's him playing what sounds like real Mellotron strings on 100 Years (Of Tears On The Wind), with more of the same on Tilt-A-Whirl. Actually, 'Tron samples weren't widely used until later in the decade, and it's rough enough round the edges to be genuine, so hats off again.
So; if you're into '70s-style hard rock, or possibly stoner stuff, you stand a good chance of being into the Masters. While Sunrise on the Sufferbus is no Mellotron Album, it's still well worth hearing. To my knowledge, Goss has used one on at least two subsequent albums, '99's Welcome to the Western Lodge and 2001's Deep in the Hole; more news when I hear them.
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More Than You Think You Are (2002, 50.11) *½/0 |
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| Feel Disease Bright Lights Unwell Cold All I Need Hand Me Down Could I Be You |
Downfall Soul You're So Real The Difference |
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I'm sorry, but what exactly is the point of this music? I know that's not a very positive way to open a review, but I'm most of the way through this thoroughly depressing album of Rock That Doesn't Rock (see: Train), beginning to wonder why I even bother. Ironically, for music that's often described as 'soulful', More Than You Think You Are has as much soul (and I don't mean stylistically) as... I dunno; I'm lost for words. Huey Lewis and the News? Actually, that's what I'm reminded of here; this is so unremittingly bland that it leaves no trace whatsoever, yet they're HUGE! That really says all I ever need to know about the taste of the general public (I don't mean you, dear reader). So; what do I hate about this? Where shall I start? Rob Thomas' infuriatingly touchy-feely voice, that makes me want to punch him out? The semi-gospel choir (is there such a thing?) on Downfall; why? To try to import some emotion into an utterly clinical effort? Oh, I give up.
Drummer Rob Doucette is supposed to play Mellotron on the album, Hand Me Down and You're So Real being the tracks most frequently referenced. Well, I'll be fucked if I can hear it, even in the 'quiet bit' in the latter. Plenty of Hammond and Rhodes for that all-important '70s credibility (read: sub-Counting Crows, in themselves not exactly an aural joy), but no audible Mellotron whatsoever. Please let me know if you can hear any, 'cos I can't.
So; I don't think anyone has any real idea how many albums have been produced that can loosely be described as 'rock'; a couple of million? Could be way off beam; I wouldn't even know how to find out. Whatever, most of them are better than this; not necessarily more professional, not necessarily with more memorable tunes, not necessarily better played or sung. But almost certainly made with a little more passion, a little less corporate arse-sucking and more genuine SOUL. This is truly horrible, and doesn't even have any audible Mellotron despite a credit. Just don't.
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Matching Mole (1972, 40.04) ****/TTTO CarolineInstant Pussy Signed Curtain Part of the Dance Instant Kitten Dedicated to Hugh, But You Weren't Listening Beer as in Braindeer Immediate Curtain |
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Matching Mole were a Soft Machine offshoot, named as a bastardisation of machine molle, French for 'Soft Machine'. Pretentious? Nous?! They fitted perfectly into the 'Canterbury Scene', such as it was; whimsical, jazzy progressive rock with a rather juvenile sense of humour (see: related artists Hatfield & the North). Matching Mole were, I believe, Robert Wyatt's last pre-accident band, with him presumably singing and drumming and while the style is definitely an acquired taste, Matching Mole is actually a pretty damn' good record.
As far as the Mellotron's concerned, Wyatt (for I believe it was he) switches between 'Tron flutes and cellos on the whimsical (again) O Caroline, then goes for a solo flutes part on Instant Kitten, before drenching Immediate Curtain in strings. This is actually pretty full-on stuff; I hadn't realised quite how much upfront 'Tron work there was on the album, leading me to say... Buy.
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Open Mind (2000, 44.22) ***/TTT |
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| Open Mind Regular Ray of Sunshine Ducking and Diving Sound of Swinging London Idiot Ambition Gimme Gimme Gimme Sad Meal for One |
Mugs Game Speed of Sound Catatonic Rattle Your Cage |
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I listened to the whole of (S)ex Pistol Glen Matlock's Open Mind under the impression it was a Mike Scott album, due to a mix-up on a long drive, and didn't realise my mistake until halfway through Scott's album, thinking it was Matlock. The confusion is understandable, as both records are largely mid-paced dad-rock, concentrating on 'the song', as against the sound, which isn't, to be honest, wildly exciting. Lyrically, the album references London a good deal, and you get the feeling the music's mainly there as a vehicle for the lyrics, although, sadly, Matlock lacks the biting wit of a Richard Thompson or an Elvis Costello.
Surprisingly, Matlock plays Mellotron on most of the album's tracks, with several booklet pics of an M400, just in case you weren't sure. To be honest, it's not the most exciting use you'll ever hear, with vaguely orchestral string parts on all the highlighted titles above, but it's nice to hear a real one used at all these days, so that's enough carping. So; an OK if rather unexciting album, albeit one with halfway decent lyrics. OK 'Tron, too, although also not the most jaw-dropping use you'll ever hear. Given that Matlock was the compositional brains behind the Pistols' best songs, this is a little disappointing, although I fully accept that he's moved on, and rightly so. One for Pistols completists who can't afford an A&M God Save The Queen, I think.
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Lily (1992, 52.23) *½/TT |
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| Friday's Child Walk Away T.K.O. Mother Can't Do Quiet Art The Day You Went Away If Only I Could |
Homecoming Song By Suzannah Castaway Face of Appalachia Naming Names Inexorably Yours |
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Although Canadian-born and raised, Wendy Matthews is usually regarded as Australian, having spent most of her career based in that country. Lily was her second solo album, and although it pains me to say it, it's a pile of shite. This is the sort of bland rubbish that clogs up your musical arteries and kills off your taste, leaving you a hollow, dried husk of a former music-lover... Er, sorry, am I ranting? This is spectacularly horrible, despite the presence on the album of a Chamberlin.
Speaking of which, it's played by Matthews herself, Robert James and producer T Bone Burnett, with strings on opener Friday's Child, a complex flute part on Homecoming Song By Suzannah Castaway, with a simpler one on Naming Names and what sounds like flutes and cellos on Inexorably Yours. Despite the horrors of the album's music, Homecoming Song is actually one of the more inventive tape-replay parts I've heard for a while, although it's rather overshadowed by its utterly insipid setting. So; some interesting Chamby work, but appalling music. If I hadn't, I wouldn't.
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Mauve Sideshow (1993?, 46.19) ***½/TTT½Golden SandBeneath the Rose Barricades Jet Girl Talks in Her Sleep Hide in the Rain Stray Apparitions |
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Mauve Sideshow would appear to be the first incarnation of a linked series of American 'darkwave' outfits, including Mistress of Strands, Torn Curtain, Angel Provocateur, Minus Infinity and Thistle, all of whom are supposed to have used Mellotron at one point or another. It seems they all highlight different aspects of their gothic inclinations, with one being more electronic, one more ambient, one more atonal, etc. The undated Mauve Sideshow, possibly from '93 (no release dates on any of their albums), is apparently a compilation of tracks from two earlier vinyl-only releases, Dark Flowers and Stray Apparitions, plus one new track, but there's absolutely nothing on it to say what came from where, although I'd imagine the original albums are now as rare as rocking-horse poo.
The compilation is probably best described as 'very weird shit indeed'; Mauve Sideshow are most certainly the 'atonal' part of the collective's oeuvre, and unless you're well into avant-garde oddness, you'll find this very hard going indeed. Dusty Lee's Mellotron appears at odd moments throughout the album; a couple of flute chords on Golden Sand, cellos and strings on Beneath The Rose, and strings on Hide In The Rain. Stray Apparitions, though, is the 'Tron classic here; cellos, flutes and strings all duel for the first couple of minutes of the piece, and various sounds (including choirs) dip in and out over the succeeding ten minutes. It's also the most challenging track on the album, but then we all like a nice challenge, don't we? DON'T WE??!
But seriously, folks... Mauve Sideshow are most decidedly uneasy listening, but if you're prepared to persevere with their stuff, it's (probably) worth it, and the 'Tron's good, too. They've made another three albums since; more news if I get to hear any of 'em.
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The Mavericks (2003, 44.13) **½/½ |
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| I Want to Know In My Dreams Shine Your Light I'm Wondering By the Time Would You Believe? Too Lonely Time Goes By |
San José Because of You The Air That I Breathe |
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This is the second eponymous album by Florida's Mavericks, but thankfully, it's the first not to be stuffed to the gills with cheesy mainstream country'n'western. The Mavericks is more mainstream pop/rock, to be honest, with side helpings of Latin (they've been here before, apparently) and, would'ja believe, Sinatra-style crooning? Is doesn't start too badly, with I Want To Know being a breezy, uptempo sort of thing, but by four or five tracks in, they've descended into MOR hell, though at least it isn't bloody country. Many reviewers have detected a strong Roy Orbison influence on mainman Raul Malo's vocals, and I have to say, Too Lonely is a seriously Orbison-lite waltz-time ballad; well, no-one else much is doing it at the moment, are they? And I think we could all have done without a faithful cover of The Air That I Breathe, thank you.
Gordon Mote plays Mellotron, but not a lot; the only things I can hear that even might be the mighty 'Tron are the weird, muted strings on By The Time and The bloody Air That I Breathe. Another 44 minutes of my life flies by. Anyway; while this is along way from the country slop I was expecting, I still wouldn't go too far out of your way to hear it, especially The Air That I Breathe. And now I've got that fucking song stuck in my head.
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Prometheus (2001, 38.42) ****/TT½Prometheus |
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Maxwell's Demon's debut album, Prometheus, is not for the faint-hearted; one 38-minute track, instrumental, angular, ever-changing... This is not an easy listen, and is all the better for it. Of course, music like this generally has to be given time to sink in properly, and a single listen absolutely does not suffice to review it properly, but given time constraints, it's going to have to do for now. Anyway, the facts: Maxwell's Demon are a trio, with Craig Beebe on keyboards, John Galbraith on guitars/bass/pedals/flute and what seems to be a rotating drum stool, so to speak; Dow Draper plays on the album.
Prometheus is all-analogue; analogue synths/electro-mechanical keyboards/'proper' amps (none of that 'modelling' crap here)/tape, although being pressed on CD slightly compromises their integrity, but what's a band to do? Play very difficult music, it would seem, although this isn't as far out as Henry Cow or Univers Zero, say; more like Crimson at their most awkward, or Änglagård being pissy. This is the sort of stuff that sends non-progheads running for the hills, being almost devoid of melody in its usual sense, replacing it with dense, intense arrangements that hold the interest if you're attuned to their style. I can't imagine for the life of me how they would ever expect to play it live; they'd need at least two extra musicians, maybe more. NEARfest 2007?
Anyway, Beebe's keyboard list (this time round) is:
I find it hard to tell which of the three polys he's using at any given time, although the other three 'boards are, of course, easy to spot. Not quite as much Mellotron as you might expect, to be honest, but it would be so easy just to drench the album in the thing that I really quite admire their restraint. The only 'solo' part occurs just before the 30-minute mark, with some stand-alone strings, including a bit of a playing glitch, which proves it's real, on the remote offchance you might not believe them (see pic).
So; if their angularity sounds like it might appeal to you, I'd go for it. It's less 'Tron-stuffed than it could be, but that's actually no bad thing, and there's still enough for the enthusiast. Buy.
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Subliminal Sandwich (1996) ***/T |
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| Sound Innovation Nuclear Bomb (trouble it mix) Long Periods of Time 1979 Future Worlds What's Your Name? She's Unreal Asbestos Lead Asbestos Mass Producing Hate |
Radio Mellotron Assassinator Phone Calls From the Dead Lucid Dream Addiction No Purpose No Design Cancer Transmission We Done |
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I'm not really sure how to best describe Meat Beat Manifesto; sort of proto-techno, maybe. They're certainly nearer to 'dance' than any other musical subdivision; I'm quite honestly not at all up on this field, and (to be honest) don't particularly wish to be, either. I'm told this is fairly good at what it does, and I can't deny there's some clever sample manipulation involved, it's just that I can't connect with the music well enough to accurately review it, which is why it gets my catch-all 'three stars'.
As far as the Mellotron's concerned, MBM main man Jack Dangers plays some Mark II rhythms on the minute-long Radio Mellotron, and that appears to be that. Try to hear the track for a rare outing for the sounds, but I find it difficult to recommend the music one way or the other.
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The Dropper (2000, 51.13) ***½/TTT |
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| We Are Rolling Big Time Felic Partido Alto Illnization Bone Digger Note Bleu The Dropper |
Philly Cheese Blunt Sun Sleigh Tsukemono Shacklyn Knights Norah 6 |
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Uninvisible (2002, 50.25) ***½/T |
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| Uninvisible I Wanna Ride You Your Name is Snake Anthony Pappy Check Take Me Nowhere Retirement Song Ten Dollar High Where Have You Been? |
Reprise Nocturnal Transmission Smoke First Time Long Time The Edge of Night Off the Table |
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Funnily enough, Medeski Martin & Wood are a trio, specialising in weird, Hammond-driven jazz-inflected material. The Dropper is something like their seventh album, and the second to feature John Medeski's Mellotron work (I believe), which is as off-the-wall as just about everything else the band do. Resonant choirs on Partido Alto sound normal in comparison to the discordant strings on Bone Digger, along with (I think) 'Tron saxes, flutes etc. Tsukemono opens with what has to be the world's first attempt to make Mellotron strings sound like seagulls, followed by some seriously radical pitchbend work on flutes and strings, riding over a weird jazz trio backing. All in all, weird shit indeed.
2002's Uninvisible is probably slightly less weird, though there's not much in it; I'm actually at a bit of a loss to know how to describe most of this music, although they do 'normal out' occasionally. Far less 'Tron this time round, unless I'm not spotting some less common sounds; it finally kicks in with a string part on Where Have You Been? that sounds more like someone doing something explicit and probably highly illegal with a guitar, and some background church organ on Off The Table, but I couldn't spot anything else.
So; two very strange albums, with The Dropper being by far the better 'Tron album. Buy if you're feeling adventurous.
