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Ratings:
The * rating (½-5) is my personal, entirely subjective and completely partisan rating of the music.
There is, of course, no 'Tron rating.
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Acuity Ad Infinitum Alon |
Amarok Tori Amos Anti-Depressive Delivery |
Arti & Mestieri Kevin Bartlett Big Big Train |
Blackfield Cibo Matto |
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Skyward (2004, 67.56) *** |
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| Vector State of the Art Love Song Transcendence (Culture of Hospice) Milwaukee Tick Not One of My Better Days The Milwaukee Song Tock Pages That's Entertainment |
Shit-Eating Grin Titan Olympus Rising/Denouement Cul-de-Sacs of Venus Voyager Curvature Skyward Go Forth, Son of Mother Earth Ever Weightless (including The Cosmic Waltz) |
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Acuity are not so much a band as a solo project; Bradley Styles plays and sings almost everything on his debut, Skyward, with the exception of a violin solo by Matthew Parmenter, ex-Discipline. Styles' talents vary in different areas, from perfectly good guitar, bass and keyboard work to so-so drumming and, to be honest, pretty poor vocals. The album draws heavily on the progressive metal genre, although it reminds the listener of Rush and their ilk in places, too, particularly on one of the album's finest moments, the closing riff in Voyager. Unfortunately, Styles' ambitions rather outweigh his talents, with whole sections that, if excised, would actually improve the album. Like many similar efforts, it's also far too long, and should probably have been capped somewhere in the three quarter-hour zone.
There's no 'Tron input until track three, Milwaukee, and it sounds OK until a high-speed flute part suddenly cuts in, obviously sequenced. In other words... Clearly samples. Unlike many similar efforts, Styles doesn't over-use them, and plays them sympathetically, making them sound pretty authentic in the mix. The usual strings and choir can also be heard on Cul-De-Sacs Of Venus (alongside Parmenter's contribution) and Voyager, particularly nicely on the former, possibly the best piece on the album. In fact, it's a shame Styles feels he has to riff so hard so often, as his compositional talents seem to lie more in the progressive area. Sorry to be so hard on this album, as he's obviously operating on a tight budget, but listening to less Dream Theater would improve his style no end, as would a healthy dose of self-editing.
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Ad Infinitum (1998, 77.34) **½Ad InfinitumImmortality Waterline Physician Heal Thyself A Winter's Tale Rain Down Overland All Hallows Eve Neither Here Nor There Ad Infinitum (Reprise) |
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Ad Infinitum's sole, eponymous album, was one of US neo- kings Kinesis' last releases, and fits firmly into the label's standard remit, being unimaginative, by-numbers neo-prog, although not as bad as some I've heard, chiefly other albums on Kinesis. In fairness, they do try to be interesting, but there are far too many bland, bog-standard chord sequences played for several minutes on end to actually hold the attention of the discerning prog fan for long. Then there's Todd Braverman's voice... I'm not exaggerating when I say that it's the chief reason I couldn't listen to this album in one sitting. His strained, whiny tones grate on the (or at least my) ear, and when combined with lyrics like, "Awaken in a mystic land/beyond the edge of time." Ouch... Fewer histrionics might've been nice, Mr.Braverman. Anyway, All Hallows Eve is about the best thing here, sounding an awful lot like (guess who) early Genesis, right down to Braverman's cod-Gabriel tones.
The band's one real coup was to secure the services of a little-known British illustrator by the name of Roger Dean to paint them a typically-Deanlike cover; the end result looks a bit like one of his backgrounds before he does something interesting to it, and was probably knocked out on a rainy Sunday afternoon, in the knowledge that the band would be ecstatic with almost anything he chose to throw at them. I'm reminded of Paul Whitehead's recent work (Submarine Silence, Colossus/Musea's Colossus of Rhodes project), where pale shadows of his early-'70s covers are treated like the second coming.
To clear up a persistent misunderstanding, there is NO Mellotron on this album. OK, I know the thanks list says, "Jim Rezek of Iluvatar for the Mellotron M400", but I've no idea why, as upon close scrutiny of the equipment list, despite several bits of decent vintage kit (Prophet, ARP Pro-Soloist, MiniMoog, Taurus), there's no mention of either a Hammond or a Mellotron, but every mention of the E-mu Vintage Keys and a Roland JV-1080 with both vintage synth cards. These are quite clearly what can be heard on a few tracks; in fact, I don't think Braverman or Ilan Goldman use anything other than the E-mu module, as the 'Mellotron' sounds have that awful murky, muted sound to them that seems to be the hallmark of those particular samples. So no, no 'Tron, just some highly unimaginative sample use.
So; do you buy Ad Infinitum? No. It's overlong, boring, and the singer makes me want to hit him. Fairly grotty sampled 'Tron, too.
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CDS (2005) ***½ Time Will Tell (Radio Mix Edition) Time Will Tell |
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Alon produces an interestingly arty type of laid-back pop; an American Coldplay with less angst, maybe? Going by his current press release, he seems to be aligning himself with the US progressive scene, strangely, and is actually going to appear at NEARfest 2005. Anyway, Time Will Tell is a taster for his forthcoming album, The Artist Manifesto: Document 1, and despite having been fairly obviously Pro-Tooled into oblivion, actually features real playing from real musicians, with largish helpings of acoustic guitar, real drums etc., along with the ubiquitous programmed variety. Alon's voice is quite affecting, too, and if all his material is up to this standard, and if the world were a fairer place, he'd stand as good a chance as any of invading bedsitland over the coming months, which is where his loyalties should really lie, I suspect.
Rather than the usual 'cheats', Alon openly credits himself with 'M-Tron', and indeed, 'Tron strings are splashed all over the single in a fairly pleasing manner. Of course, the rise of computer-based Mellotron sample packages means that you no longer even have to make the effort to buy a module containing said sounds, and it seems there's been an explosion in their use recently. You can just about tell the 'Tron here isn't real (too clean and even), but a well-maintained machine wouldn't sound that different, making 'Tron-spotting an increasingly difficult game, so thank you Alon for coming clean.
If the album's up to the quality of the single, and if Coldplay/'art-rock' are your bag, you could do a great deal worse than to invest in The Artist Manifesto: Document 1, although a less pretentious title might've been welcome.
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Tierra de Especias (2000, 53.19) **** |
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| Dioses El Torrent de Colobres M'Gour Chenini El Caramillo del Alba Naki Naki Els Millors Bufons El Sran Bazar |
Danza de Samotracia Azabel Cuentacuentos |
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Mujer Luna (2002, 51.49) ****Mujer LunaEn el Parque Arabesca en 4 Mov. Sueño Sueños Duo Para Tabla y Saz N.1 Nana Para el Hijo de la Tierra Donde Estas Mi Amor Tierra Austral Donde Estas Mi Amor (Conclusion) |
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Quentadharkën (2004, 71.17) ***½ |
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| Hsieh La Ultima Expedicion Encantamiento Tierra Boreal La Espiral Alumbrado Quentadharkën Los Origenes Los Hechos |
La Batalla Final Coda Labirintos de Piedra Bocins de l'Emporda Venus Antigua Amos del Aire |
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Amarok (the Inuit word for 'wolf', also used as an album title by Mike Oldfield) are an extremely pleasant surprise; a modern progressive band who don't sound like either a poor cousin of Arena or an unholy cross between Dream Theater and Spock's Beard. They mix old-school symphonic progressive rock with Spanish and 'World' influences, incorporating any number of unusual acoustic instruments (saz, dulcimer, kalimba, and many neither you nor I have ever heard of) into their sound, making for a wonderful hybrid of prog and folk, sounding like no-one else. They are apparently heavily into the environment, going as far as to record 2000's Tierra de Especias (their fourth album overall) entirely using solar power. That album and its follow-up, 2002's Mujer Luna, are recommended to everyone looking for something a little different in their prog, with great material and a genuinely original sound. Sadly, their latest release reviewed here, 2004's Quentadharkën, is also their weakest, suffering from the twin handicaps of over-length and not enough top-notch material, leading them to even include a brief and unnecessary drum solo in the rather average Labirintos De Piedra, but is still worth hearing compared to the bulk of the current scene.
All three albums feature sampled 'Tron, far too 'smooth' to be the real thing; listen to Tierra Boreal from Quentadharkën to hear a classic example of 'stretched' choir. None of them over-use it, which is good to hear, compared with any number of bands I've heard slathering samples over their album like an overly-thick layer of cheap margarine on a horrid white-bread sandwich. Individual performances are sort of irrelevant; suffice to say, they're used with taste throughout, in keeping with the excellent music.
I haven't heard Amarok's latest, 2007's Sol de Medianoche, but I'm hoping it's a step back towards their best work. Decent sampled 'Tron throughout, but as always, don't blame me if you don't like its inauthenticity.
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From the Choirgirl Hotel (1998, 54.13) ***½ |
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| Spark Cruel Black-Dove (January) Raspberry Swirl Jackie's Strength i i e e e Liquid Diamonds She's Your Cocaine |
Northern Lad Hotel Playboy Mommy Pandora's Aquarium |
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If you've never heard Tori Amos, think 'American Kate Bush' and you can't go too far wrong. After several releases, she's developed something of her own style, but her voice is still a dead ringer for Kate's, with no obvious American inflections whatsoever, not helped by her admittedly excellent piano playing. Mind you, top marks for inventing the concept of 'rock'n'roll harpsichord' on a previous album...
From what I've heard of Tori's music, From the Choirgirl Hotel is fairly typical, with the vocals right up in the mix and quite dry, to give that 'intimate' feel. The musicianship's excellent all round, and the songs are well-constructed, and I get the feeling that if I gave them the chance, many of them would worm their way into my subconscious for ever more. She's credited with 'Mellotron' on two tracks, i i e e e (strings) and She's Your Cocaine (flutes), but has admitted in an interview that they're samples. Naughty. Actually, the strings sound pretty awful, but the flutes are good enough to fool moi, for what it's worth.
Anyway, if you're a fan, you'll like From the Choirgirl Hotel, but then you've probably got it anyway, and if you're not, it's unlikely to convert you. Either way, don't bother for the fake 'Tron.
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Feel. Melt. Release. Escape. (2004, 59.40) ***½End of DaysCoward Voyage of No Brain Discovery Path of Sorrow Penny is a Slut Machine Feel. Melt. Release. Escape. O The Anti-Depressive Delivery Bones & Money |
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Anti-Depressive Delivery's oddly titled Feel. Melt. Release. Escape. looks like it could be some variety of indie nonsense, going by the sleeve, but turns out to be sort-of progressive metal, sounding not dissimilar to fellow Scandinavians Opeth, or maybe Spiritual Beggars. Actually, ADD have something in common with the latter, being a 'supergroup', in a not-especially-super kind of way, being made up of members of other bands on a busman's holiday. The album's material varies from the more metallic through keyboard soundscapes to the closer, Bones & Money, a 15-minute epic that bravely enters pomp territory towards the end, although I'm not convinced the experiment works.
Keys man Haakon-Marius Pettersen isn't credited with Mellotron specifically, and it doesn't take more than a fairly cursory listen to ascertain that he's using samples. They still sound pretty good, mind, but a couple of solo sections give the game away properly, although none of it really sounds that authentic. Most of his use is the ubiquitous strings, although the choirs pop up in a couple of places, with the two sounds layered together at one point, though, as usual with samples, it's all just a little bit too clean. Most tracks feature at least a little, though, so if you're just after the sound, you can't go too far wrong here.
I believe ADD's various members have gone their separate ways now, which is a shame, as a second album could've been really interesting. As it is, you'll have to make do with their sole release, sampled 'Tron and all. Not bad, not great, worth hearing if you're into the heavier end of things.
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First Live in Japan (2007, 75.32) **** |
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| Gravitá 9.81 Strips Corrosione Positivo/Negativo In Cammino Valzer per Domani Mirafiori Nove Lune Prima Mescali/Mescalero |
Nove Lune Dopo Aria Pesante Dimensione Terra Kawasaki Glory Marilyn Arcansiel Alba Mediterranea 2000 |
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A revitalised Arti & Mestieri appeared around 2000, and began gigging again, including their first visit to Japan in 2005. The 'can't argue with that'-titled First Live in Japan is a document of their Tokyo date on June 12th; the playing from the seven-piece ensemble is faultless, their fusion/prog crossover working well in a live context, without sounding cluttered, largely due to band members knowing when to shut up. The bulk of the album is divided into two 'suites', beginning with side one of Tilt played straight, following with an edited version of Giro di Valzer per Domani and winding up with a handful of more recent tracks. It's pretty obvious in this context how much jazzier their second album was than their debut, although the last Tilt track here, In Cammino, is almost straight jazz, leaving only a handful of tracks that fall more to the progressive side of the spectrum.
Now, I have to say that despite being assured that Beppe Crovella's credited Mellotron is real, there's no sign of it on either the CD sleeve or the pics from the trip on the band's own site. In fact, there's no sign of the Rhodes either, never mind the acoustic piano (which clearly isn't), although a B3 sits proudly at the front of his rig. The choirs at the beginning of Strips sound particularly authentic, key-click and all, so they're damn' good samples, but I'm quite certain that no Mellotrons were hurt during this recording. The rest of his 'Mellotron' use is split between the strings and choirs, switching deftly between the two on Glory, although he only uses it on a handful of tracks, sadly.
So; an excellent live album, showing that the ageing band have lost none of their chops. Fake 'Tron, but buy this and support the chaps at MoonJune.
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Glow in the Dark (2008, 77.37) *** |
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| Nothing Really The Sorrow, the Fish, and Glastonbury Hill God's Little Do-Over Chauncey Saucer Survives 2012 Moon v. Moon Stethoscope Resuscitation |
Glow in the Dark Something Probably Next Life... Let's Just Wave to Each Other |
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Kevin Bartlett has been around since the '80s, acting as musician, producer, label boss... A general mover'n'shaker then, it seems. It's difficult to tell how many solo albums he's released over the years, but 2008's Glow in the Dark is around the 30th on which he's worked, which isn't bad going by anyone's standards. I can't tell you anything about its predecessors, but this release falls into the new age/prog category, with drifitng, ambient material (Nothing Really, Stethoscope) shaking hands with tracks in more upbeat, almost AOR territory (The Sorrow, the Fish, And Glastonbury Hill, Moon V. Moon), with even a Celtic influence in places. Vocals, such as they are, are confined to wordless male and female voices, while Bartlett's Hackettesque guitar work does that sustained thing as well as anyone. Think: a gutsier Gandalf, maybe, and you won't be too far off the mark.
Now, I was told this album contains 'Mellotron', but Bartlett's booklet credit for 'GForce for the killer M-Tron Mellotron' rather gives the game away, as do the sounds; it might be possible to make a real Mellotron sound like this, given enough reverb, but the strings and choirs lack the immediacy of the real thing. His chief sample use is the choirs on choirs on Moon V. Moon, although several other tracks feature it too. So; the symphonic prog fan may not find enough to keep him/herself interested, but for those looking for a more relaxed ride, Glow in the Dark may be exactly what you're looking for.
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The Difference Machine (2007, 54.57) ****Hope This Finds YouPerfect Cosmic Storm Breathing Space Pick Up if You're There From the Wide Open Sea Saltwater Falling on Uneven Ground Summer's Lease |
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Well, Big Big Train have come a long way from their '90s sub-Grey Lady Down (yes, really) neo-prog incarnation. I haven't heard their two previous 'Tron-sampled releases, 2002's Bard and 2004's Gathering Speed, but 2007's The Difference Machine is quite startling in its scope, being an excellent modern prog album, like a less dour and more inventive Pineapple Thief, say. Long, slow pieces that develop over ten minutes or more are this album's stock in trade, with the occasional almost pop moment to catch you off guard, and more unusual instrumentation (viola and sax) than you might expect. It's actually quite difficult to describe this music; symphonic yet modern, without slipping into the neo-prog clichés of some bands I could name but shan't.
Famous guest spots from members of Marillion and Spock's Beard may help to sell this album, but are musically unnecessary; I'd forgotten they were on there, and didn't realise until I looked at the credits afterwards, but if they help to get this music to a wider audience... The 'Tron sounds (the now ubiquitous M-Tron) are used very nicely; enhancing without swamping, although a high choir note at one point lets you know they're fakes. Next time, chaps, you can use mine, OK? So; a very pleasant surprise. Like their contemporaries Galahad, Big Big Train have moved on from their copyist past into new and more interesting areas. Long may they carry on doing so.
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Blackfield (2004, 36.59/47.40) **** |
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| Open Mind Blackfield Glow Scars Lullaby Pain Summer Cloudy Now |
The Hole in Me Hello [bonus disc adds: Perfect World Where is My Love? Cloudy Now (live)] |
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Blackfield is a collaboration between Israeli musician Aviv Geffen and Porcupine Tree's inimitable Steven Wilson and, rather unsurprisingly, sounds a lot like the 'Porkies', as they're often appallingly known. The songwriting is of the type that grows on you with familiarity, while the sound is towards the darker end of the Porcupine Tree spectrum, without the metal edge they've developed over their last couple of releases. It's difficult to pick standout tracks on only a listen or two, but, basically, everything sounds good, in a melancholy singer-songwriterish kind of way, with plenty of Steven Wilson touches.
With real strings on several tracks, it's difficult to spot the sampled Mellotron, although there's a high, warbly string line on Glow that's a definite, as are the flutes throughout The Hole In Me. So; a very good album indeed that's bound to be a 'grower', although pretty low on the fake 'Tron front, along with most Porcupine Tree efforts. Buy anyway.
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Stereo Type A (1999, 57.07) *** |
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| Working for Vacation Spoon Flowers Lint of Love Moonchild Sci-Fi Wasabi Clouds Speechless |
King of Silence Blue Train Sunday Part I Sunday Part II Stone Mortming |
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The New York-based Cibo Matto consisted of Miho Hatori and Yuka Honda; the band name translates loosely from the Italian for 'food madness', reflected in the gastronomically-related titles of most of the tracks on their 1996 debut, Viva! La Woman. Musically, they incorporated hip-hop, various Latin styles and mainstream pop, amongst other things, creating a veritable smorgasbord of sound, with considerable variety on their second and last album, '99's Stereo Type A.
NYC resident Sean Lennon was a band member at the time, though it has to be said that his influence isn't that discernable, unless you count what have to be sampled Mellotron strings on Clouds and choir on Mortming (from Yumiko Ohno and 'Zak'), although he used a 'some real, some sampled' approach on his '98 solo album, Into the Sun, also featuring Yuka Honda. So; if you're feeling eclectic, in a hip-hop/Latin kind of way, you may well go for this, but it's really not worth it for some sampled 'Tron.
