|
|
|
|
|
|
||
|
K2 Karmakanic Katatonia Kayo Dot |
Rose Kemp Keyboards Triangle David Kitt |
Jeff Klein Knight Area Kosmos |
Krux Kula Shaker Miles Kurosky |
 |
Book of the Dead (2005, 46.46) ***½Chapter 1: Infinite VoyageChapter 2: Mirror to the Spirits Chapter 3: The Edge of Light Chapter 4: Aten (Window of Appearances) Chapter 5: Cloak of Antiquity |
Current availability:
The LA-based K2 (to spell their name correctly) are bassist Ken Jaquess' prog project, who have released just the one album so far, 2005's Book of the Dead. Sadly, vocalist Shaun Guerin died soon after recording his parts, although going by their MySpace page, they've found a replacement. The band certainly has more of the feel of a project than a 'regular' band, with Jaquess somehow roping in not only Spock's Beard's Ryo Okumoto, but also legendary Brit fusion guitarist Allan Holdsworth, amusingly referred to as 'ex-UK' on prog reviews sites, although they were really only a blip in his lengthy career. Notably, another guitarist is listed on the aforementioned MySpace page.
So, the album: in some ways, it's a typical modern progressive release, although it has elements of fusion (mostly from Holdsworth) and thankfully lacks the heaviosity of many current bands. However, it also lacks much compositional complexity, clearly written by someone whose chief listening is other progressive bands, so interesting key modulations are notable only by their absence and the material often plods. For those who love prog epics, opener Chapter 1: Infinite Voyage is 23 minutes of, well, prog, although to call it 'a Supper's Ready' of the new millennium', as their wildly over-enthusiastic biographer at ProgArchives has is a little optimistic. Yes, the band utilise elements of Genesis and Yes, particularly in Jaquess' slightly unwelcome bass solos, but the song structures are more '80s neo-prog than classic-era, although Yvette Devereaux's violin makes a welcome change from the usual instrumentation.
The 'Mellotron' is almost instantly obviously sampled, although there's quite a bit of it (strings and choir) on most tracks, particularly Infinite Voyage. Er, there isn't much more to say about the fakeotron, really; it's there and that's it. So; a decent enough modern prog release, but as with so many others, few real chances are taken (that's what made the first couple of Spock's albums so exciting) and even though it's not overlong, it drags in places and finishes fairly abruptly, lacking any kind of musical closure. Reasonable modern prog with plenty of sampled Mellotron, then.
See: Ryo Okumoto
Kaipa (Sweden) see: |
 |
|
 |
Entering the Spectra (2002, 54.04) *** |
|
| The Little Man Entering the Spectra The Spirit Remains the Same Cyberdust From Mars Space Race No.3 The Man in the Moon Cries One Whole Half Is This the End? |
Cello Suite No.1 in G Major Welcome to Paradise |
|
 |
Wheel of Life (2004, 65.33) ***Masterplan, Part 1Alex in Paradise At the Speed of Light Do U Tango? Where the Earth Meets the Sky Hindby Wheel of Life Masterplan, Part 2 |
 |
Who's the Boss in the Factory (2008, 55.40) ***Send a Message From the HeartLet in Hollywood Who's the Boss in the Factory? Two Blocks From the Edge Eternally Part I Eternally Part II |
 |
The Power of Two - Live USA [as Karmakanic & Agents of Mercy] (2010, 70.37) ***The Fading Ghosts of TwilightHeroes and Beacons Jesus on the Barricades Where Earth Meets the Sky Do You Tango? Lalles Solo Eternally Afterglow |
 |
In a Perfect World (2011, 58.09) **½1969Turn it Up The World is Caving in Can't Take it With You There's Nothing Wrong With the World Bite the Grit When Fear Came to Town |
Current availability:
Karmakanic (ho ho) are yet another Flower Kings offshoot, this time led by bassist Jonas Reingold, although so many Flower Kings members play on his/their albums that you sometimes feel you might as well be listening to the parent band. Their 2002 debut, Entering the Spectra, features Roine Stolt, Tomas Bodin and drummers Zoltan Czörz and Jaime Salazar, so it won't come as any great surprise to hear that it sounds like a darker, bass-led Flower Kings, for better or worse. Much of the material on display here is yer standard prog-by-numbers, although, given that it's a bass player's project, we finally get the inevitable (and dreaded) funk jam on One Whole Half; in some ways, it's a relief to get it out of the way, to be honest. Other lesser tracks include Is This The End?, which starts off as a big, cheesy ballad, before switching into 'manic synth solo' mode, while Cello Suite No.1 In G Major is, as you might expect, played on bass. Best track? Possibly closer Welcome To Paradise, bur nothing especially stands out. 'Mellotronically' speaking, Bodin sticks a brief, faint string part on the title track, a flute melody on The Spirit Remains The Same, a snatch of choir on Cyberdust From Mars, slightly more overt flutes on Space Race No.3 and string and choir parts scattered throughout.
Reingold followed up with 2004's Wheel of Life, a more band-orientated effort with less (though far from no) Flower Kings input, typified by the slightly bluesy Hindby and the plinky-plonky likes of the title track. On the samplotron front, we get major flute and cello parts in Do U Tango, one of the album's better tracks and horrible, obviously sampled strings in Where The Earth Meets The Sky and the title track, amongst others. However, the album's overall harmlessness just scrapes three stars, despite the unnecessary material. After a four-year wait, 2008's Who's the Boss in the Factory (no, no question mark; maybe it's referring to someone called 'Who'. Dr. Who?) sounds, if anything, even more like The Flower Kings, although I suspect the vocals have a lot to do with it. Once again, plenty of so-so stuff, although Eternally Part II is, at heart, a(nother) big, sloppy ballad. Samplotron strings and choirs dotted around opener Send A Message From The Heart and a couple of other tracks, although the strings on Eternally sound real.
2010's The Power of Two (that's Nixon's momentous meeting with Mao on the cover) documents a live collaboration between Karmakanic and The Agents of Mercy; an obvious pairing, as the two projects have shared several members at various points. Aside from the obvious Reingold and Stolt, the six-piece lineup featured here is completed by another three members of either or both bands, with Spock's Beard's Nick d'Virgilio on drums. In a nice, even split, the disc contains three tracks from each band, a keyboard solo and a rather perfunctory version of Genesis' Afterglow. Speaking of Genesis, I feel the need to reiterate my comment in my Agents of Mercy review regarding the utterly blatant Broadway Melody Of 1974 rip on The Fading Ghosts Of Twilight. This has to be deliberate, surely? Samplotron in all the expected places, although Lalle Larsson's solo switches between ripping piano and synth work.
2011's In a Perfect World takes a more Spock's Beard direction, although d'Virgilio isn't involved. To be brutally honest, they don't make it work that well; the unusual prog/Latin rumba of Can't Take It With You reminds me of The Light, from the Beard's album of the same name, while closer When Fear Came To Town is particularly dull. I also feel honour-bound to report, with great sadness, that opener 1969 isn't a cover of The Stooges' classic, merely another overblown, unfocussed prog epic. Surprisingly little samplotron this time round, although a string part opens the album.
Determining whether or not you're likely to enjoy Karmakanic albums essentially rests on the answer to one question: do you like The Flower Kings? If yes, then yes. If no, then probably no. I won't try to pretend for a second that writing material of this complexity is easy - it most certainly isn't - but Karmakanic seem to be writing to a formula (ditto TFK) for an audience who expect a particular sound. And I thought prog was supposed to be adventurous. Oh well.
See: The Flower Kings | Tomas Bodin | Roine Stolt | Agents of Mercy
 |
Last Fair Deal Gone Down (2001, 50.39) **½ |
|
| Dispossession Chrome We Must Bury You Teargas I Transpire Tonight's Music Clean Today The Future of Speech |
Passing Bird Sweet Nurse Don't Tell a Soul |
|
Current availability:
Katatonia are a vaguely doom metal bunch from Sweden, who, by their fifth album, 2001's Last Fair Deal Gone Down, seem to've mutated into some kind of unholy metal/indie crossover thing. I've heard heavier bands use programmed percussion and get away with it, but Katatonia are not one of those bands. It's not that the album's terrible, but it is too long (even at fifty minutes) and their 'metal-riffs-by-numbers' thing gets very dull very quickly. Basically, it sort of drones on for a while and then it stops, which is the bit I like.
Anders Nyström is credited with Mellotron, to which I can only say, "You 'avin a larf, then?" OK, I could be wrong (as so often), but the consistently long attack on the strings and the 'too high for the keyboard' notes, particularly noticeable at the beginning of The Future Of Speech, sort of give the game away. Anyway, you get strings on most tracks, plus flutes on a couple, but it all falls a bit flat when you realise it's samples. So; a rather dull album (again) with more fake 'Tron. Next...
 |
Blue Lambency Downward (2008, 43.21) ***½Blue Lambency DownwardClelia Walking Right Hand is the One I Want The Sow Submits The Awkward Wind Wheel The Useless Ladder Symmetrical Arizona |
Current availability:
New Yorkers Kayo Dot, led by Toby Driver, began as an avant-metal outfit in 2003, quickly shedding most of their metal tropes to become an intriguing combination of avant-rock containing elements of more mainstream metal and prog. Their third album, 2008's Blue Lambency Downward, is their furthest yet from their metal origins, which isn't to say that the guitars whisper away gently throughout; they don't, although nor do they actually riff per se very often, either. The only criticisms I'd level at this are 1) drop the vocals and 2) the woodwind's great, but make the arrangements just a touch more cohesive. Mostly, though, the material works well, although it all ends rather inconclusively, at least to my ears.
Driver credits himself with 'laptop Mellotron', instantly making him more honest than about 90% of other sample users, playing background flutes on the title track and strings on The Sow Submits, with maybe one or two other odd parts buried in the mix. Overall, then, an album not afraid to go where not that many have gone before, wilfully putting off all but a few thousand listeners worldwide, but actually creating something new in the process. Not much samplotron, but that's not why you'll buy this.
 |
Unholy Majesty (2008, 49.28) **** |
|
| Dirt Glow Nanny's World Bitter And Sweet Flawless Saturday Night Nature's Hymn Wholeness Sounds Vacancies |
Milky White The Unholy |
|
Current availability:
Rose Kemp is the daughter of UK folk-rock legends Rick Kemp and Maddy Prior of Steeleye Span (Rick has also played with the mighty Gnidrolog) and she's played with the band herself, so you might expect her fourth solo release, Unholy Majesty, despite its title, to be in a similar vein. The sleeve paintings, with their gothic imagery, could be at the darker end of the folk spectrum and you'd think the presence of a violinist pretty much seals the deal. However... What you actually get is a folk-influenced, progressive gothic metal album, that probably sounds a bit like somebody, but I'll be buggered if I can think of whom. Kemp gleefully mixes genres, shifting from acoustic sections to full band arrangements, (real) Hammond blasting away alongside her goth-metal riffs, suddenly switching to dark violin or prog keyboard passages. Best tracks? Probably Wholeness Sounds, with Rose sounding uncannily like her mum, if her mum sang in a goth band and lengthy closer The Unholy.
Fakeotron on one track, with strings all over The Unholy. Do you buy this? In all honesty, it's not for everyone, but I enjoyed it and I'm not that easy to please, so I feel compelled to say: worth a listen. Incidentally, a mate of mine has seen Rose play live, asked her about the 'Tron on my behalf (cheers, Adrian!) and let her know I have one for hire. I certainly do, Rose; my contact link's at the bottom of this page.
 |
Keyboard Trio Tribute (1999, 54.54) ****Toccata (Gerard)Birds Medley (Arsnova) La Conquista della Posizione Eretta (Gerard) Epilogo (Arsnova) Catherine Parr (Gerard) Tarkus (Arsnova) Four Holes in the Ground (Gerard) |
Current availability:
Keyboards Triangle were a one-off collaboration between Japanese keyboard trios Gerard and Arsnova (or Ars Nova), although the bands didn't actually play together on their sole album under this banner, 1999's Keyboard Trio Tribute. The project's entire raison d'être, for better or worse, was to record their own versions of keyboard-heavy prog classics, from both trios and larger lineups, with an unfortunate (but expected) emphasis on the overblown works of Emerson, Lake & Palmer. If any of the titles aren't familiar to your good self, the pieces tackled are ELP's Toccata (from Brain Salad Surgery), Trace's Birds Medley (Birds), Banco (del Mutuo Soccorso)'s La Conquista Della Posizione Eretta (Darwin!), Il Balletto di Bronzo's Epilogo (YS), Rick Wakeman's Catherine Parr (The Six Wives of Henry VIII, of course), ELP's Tarkus (Tarkus, obviously) and PFM's Four Holes In The Ground (L'Isola di Niente/The World Became the World).
So; are they any good? Well, with source material as strong as this, both bands would have trouble cocking it up too royally, Arsnova giving us a blinding version of the mighty Trace's Birds Medley and actually improving on Tarkus by playing it instrumentally. Gerard are particularly overblown, but in a reasonably good way, although they slightly overdo it on Four Holes In The Ground. Both bands use 'Tron samples: Gerard's Toshio Egawa adds samplotron flutes and strings to La Conquista Della Posizione Eretta, giving us a taste of how Banco might have sounded using a Mellotron, choirs on Catherine Parr (wrong chords, guys) and strings on Four Holes In The Ground, while Arsnova's Keiko Kumagai adds rather grungy strings to Il Balletto di Bronzo's Epilogo.
The Japanese seem to be keen on this kind of thing (see: Kings' Boards), so it comes as no great surprise that there was a second volume, performed by Gerard alone, although it appears to be Mellotron sample-free. As far as Keyboard Trio Tribute goes, if you're into either of the contributing artists, you can't really go too far wrong, unless you see absolutely no point in hearing them cover existing material.
See: Arsnova | Gerard | Gerard (samples)
 |
The Big Romance (2001, 55.02) ** |
|
| Song From Hope St. (Brooklyn, N.Y.) You Know What I Want to Know Step Outside in the Morning Light Private Dance Pale Blue Light What I Ask Strange Light in the Evening Whispers Return the Sun, Rest the Moon |
You and the City Into the Breeze |
|
Current availability:
David Kitt is an Irish musician who recorded his first album on his own, after completing a course in music technology, skills he displays on 2001's The Big Romance, an album overflowing with programmed percussion and the like. It doesn't start too badly, in a rather limp singer-songwriter kind of way, but becomes progressively more irritating throughout its length, with overlong tracks like Step Outside In The Morning Light and (especially) Whispers Return The Sun, Rest The Moon stretching the listener's patience to breaking-point.
Kitt as 'Kittser' allegedly plays Mellotron himself, with strings all over Step Outside In The Morning Light and less so on You And The City, but they're quite obviously sampled, particularly on the latter. Well, he does specialise in music technology, doesn't he? This could've been a good album with fifteen minutes trimmed from its length (just shorten every track) and all programming removed, but as it is, it isn't.
 |
The Hustler (2005, 45.01) *** |
|
| The Hustler The 19th Hole Nearly Motionless Suzanne Ironside Stripped All I Want Cobalt Hue |
Pity Put You to Sleep The Red Lantern Nobody's Favourite Girl |
|
Current availability:
Jeff Klein is an American singer-songwriter whose third (and to date, latest) album, 2005's The Hustler, is a bit of a mish-mash of styles, to be honest, veering from a primitive rock'n'roll/indie crossover (Nearly Motionless) through not-especially-mainstream pop/rock (Suzanne) to slightly menacing hushed balladry (closer Nobody's Favourite Girl). I'm not sure about some of the album's production tricks, notably the distorted drums on Cobalt Hue and the programmed percussion on Pity, but I'm sure Klein could always blame it on his producer. The album also features appearances from some of Klein's co-conspirators, not least Ani DiFranco, Mike Napolitano and Afghan Whig/Twilight Singer Greg Dulli, which may explain some of its quirks.
Jacob Schulze (or possibly Schultze) is only credited with Mellotron on one track, Nobody's Favourite Girl, although it's basically inaudible. Ironically, however, it turns up on three other tracks, with strings on The 19th Hole, Nearly Motionless and Pity. Or does it? Not really, no; while the first two just about pass muster, the solo strings at the end of Pity give the game away quite comprehensively. I mean, these aren't even good samples... A partially good effort, then, with too many uptempo tracks that spoil the overall feel.
 |
The Sun Also Rises (2004, 50.05) ** |
|
| Beyond... The Gate of Eternity Conspiracy Forever Now The Sun Also Rises Conviction Mortal Brow Moods Inspiring Clouds |
A New Day at Last Saevis Tranquillis in Undis |
|
 |
Under a New Sign (2007, 55.07) **½A Different ManExit L.U.M.C. Mastermind Under a New Sign Courteous Love Dreamweaver A Different Man - Part II |
 |
Realm of Shadows (2009, 54.34) ***EtherealAntagony Two of a Kind Momentum Awakening Dark Souls Realm of Shadows A Million Lives Occlusion |
 |
Nine Paths (2011, 59.50) **½Eversince You Killed MeSummerland Please Come Home Clueless The River Pride and Joy The Balance Wakerun Angel's Call |
Current availability:
Knight Area began as effectively Gerben Klazinga's solo project, although he brought in a dozen or so friends to help him with their/his debut, 2004's The Sun Also Rises. In what seems to have become the grand Dutch style, it's a typical modern neo-prog album, reference points including Marillion (old and new), IQ and the less adventurous bits of Spock's Beard, all of which adds up to a not-terribly exciting release, full of all the usual neo- clichés. Rather in the way that the album's full of Mellotron strings and choir that aren't actually a Mellotron, it's also full of progressive rock that isn't actually progressive rock at all, merely a pale imitation with all the life sucked out of it. Its worst crime is probably its wholesale cribbing of bits from IQ albums; there's at least one direct rip, although I'm having trouble placing it. Fantastically unoriginal.
By their follow-up, 2007's Under a New Sign, Knight Area had become a septet and it shows; while still deeply in debt to their predecessors, it actually feels like a band playing this time round, with even the occasional innovation (notably the jazz organ part in the title track and the recorder section that opens closer A Different Man - Part II) to show for their new approach. Unfortunately, though, by and large it's still a typical neo-prog album, complete with ex-Cliffhanger bassist Gijs Koopman's Taurus pedals, utilised in true Pallas style, although it's decidedly more listenable than The Sun Also Rises. Plenty of samplotron, including a couple of solo choir parts, although none of it sounds particularly genuine.
A few chinks of light shine through 2009's Realm of Shadows; while mostly typical neo-, it has little moments of invention in places, showing the potential for expansion into the possibility of the band's own sound. The complexities of Antagony are a real step forwards, although there are far too many passages like the attempt at a stately guitar/synth/'Mellotron' choir part in closer Occlusion for the album to do any better than barely scrape three stars. The samplotron use is pretty much as before, with a particularly good string part opening Momentum, although they never use them for anything other than standard chordal parts. Come on, chaps, a little innovation please! 2011's Nine Paths is, sadly, something of a retrograde step, no more exciting than or original than Under a New Sign, the undead ghosts of IQ being summoned forth yet again. Very little samplotron indeed this time round, with minor string usage on Please Come Home, The River and a brief choir part on Wakerun, the only full-on part being the strings on closer Angel's Call.
Knight Area are definitely improving with each record, although they'll have to drop their love of Marillion if they really want to do something different. Maybe they don't. The IQ influence is far less pronounced on their second and third albums, but they've got a way to go before they run the risk of being in any way innovative.
 |
Tarinoita Voimasta (2005, 36.48) ***½Prologi: UniTuhat Elämää Tarinoita Voimasta Seireeni Öisin Luuttomat Salaisuus Seitsemän Planeettaa Epilogi: Maailma Herää |
 |
Polku (2007, 38.42) ****Polku IVieras Kieli Kesä Omini'i Dakakos Lahja vai Kirous Eksyin Ouija Nuoruus Polku II |
Current availability:
Kosmos' debut, 2005's Tarinoita Voimasta, looks like a prog album and gets reviewed on prog websites. It is, however, a slightly progressive Finnish folk album, and probably all the better for it, featuring many traditional instruments alongside the more familiar tools of the trade. Most of the album's much of a muchness, to be honest, although the surprisingly early '70s hard rock of Seven Planets made me sit up and take some notice. The 'Mellotron' on most tracks, largely flutes and strings, is fairly obviously sampled (despite no fewer than three credited players), but nice to hear anyway.
2007's Polku is an improvement on its predecessor, I'd say, although it's hard to pick out 'best tracks'; there's nothing wrong with anything here, assuming you like folk-with-a-touch-of-prog. Although both Kimmo Lähteenmäki and Ismo Virta are credited with 'Mellotron', it's fake, but their samples are used well, with low strings and flutes on Omini'i Dakakos, murky choirs and strings on Eksyin and strings and flutes again on Nuoruus. They clearly aren't acquainted with Esa Kotilainen or I'm sure he'd have lent them his.
Overall, then, two fine albums that'll keep folk-rock types happy as well as appealing to many prog fans. Buy.
 |
Krux (2002, 50.04) ***½ |
|
| Black Room Krux Nimis Sibiria Omfalos Enigma EZB Popocatepetl Evel Rifaz |
Lunochod Sputnik II Ural Space Nation Mother Russia Oceanus Procellarum Moon/Doom Sputnik Bring Me the Head of Nikita Chrusjtjov |
|
Current availability:
Leif Edling from seminal Swede doomsters Candlemass put Krux together in 2002, producing a doom/trad metal crossover classic in their self-titled debut. I only hover on the edge of this world, to be honest, but the quality of the material is fairly evident; comparisons with the ever-improving Spiritual Beggars are decidedly valid. Basically, it's as heavy as fuck, but with sensible vocals (from Mats Levén) and guest keys from Carl Westholm. Now, I've found various sources claiming that he plays 'Mellotron, organ and Moogs', but the whole lot sound decidedly suspect to me, so I'm sticking this in here until/if I find otherwise. Standout tracks? Evel Rifaz seems to be a fuzz bass solo (whether or not you consider that to 'stand out' is entirely up to you), while the seven-part twelve-minute epic Lunochod (about the Russian space programme) is probably the most focussed piece here.
Westholm's 'Mellotron' work consists of string parts added to most tracks, usually in a supporting role to the guitars. On Krux itself, the strings sustain at the end, displaying their deficiencies, although I was already somewhat suspicious as to their origin. As I said, I could be wrong - wouldn't be the first time... Anyway, if you're into that whole Sabbath/doom thing, you stand a good chance of loving Krux and real or not, the keyboards lift the whole thing to another level.
 |
CDS (1997, 19.26) ***½ Hush Raagy One (Waiting for Tomorrow) Under the Hammer Govinda (live) |
 |
Pilgrims Progress (2010, 41.42) *** |
|
| Peter Pan R.I.P. Ophelia Modern Blues Only Love All Dressed Up Cavalry Ruby Figure it Out |
Barbara Ella When a Brave Meets a Maid To Wait Till I Come Winter's Call |
|
Current availability:
One of many singles released by Kula Shaker, or rather, their grasping record label, around the time of their excellent K debut, their cool version of Hush (Joe South via Deep Purple) featured a live b-side track that appeared to feature the mighty 'Tron. I've been informed, however, that Govinda is all samples and they never used one live. Probably never owned one, thinking about it. They're good samples for the time - eMu Vintage Synth? Anyway, a good track, with a 'Mellotron' part not on the studio version, making it worth hearing, assuming you can track a copy down. Old CD singles are a bugger to trace, aren't they? Could've done without Crispian's cringe-inducing intro, though...
Moving on to 2010... Proving that the reformed band weren't just a one-off flash in the pan, they've followed up 2007's Strangefolk with Pilgrims [sic] Progress, a good, if slightly uneven album, highlights including opener Peter Pan R.I.P., Ophelia and cataclysmic prog epic Winter's Call, finishing things off nicely. Unfortunately, despite the album's nice, sensible length, it contains rather too many lightweight, faux-'60s efforts (Cavalry, Ruby), or rather generic indie ones (Modern Blues) for its own good. The only obvious 'Mellotron' is a big string part opening Winter's Call, but the even, long attack on every note gives the sample game away. So; a handful of great tracks, rather too many ordinary ones, probably worth hearing anyway.
See: Kula Shaker
 |
The Desert of Shallow Effects (2010, 39.32) *** |
|
| Notes From the Polish Underground An Apple for an Apple Dead Language Blues I Can't Swim She Was My Dresden Pink Lips, Black Lungs The World Won't Last the Night Housewives and Their Knives |
Dog in the Burning Building West Memphis Skyline |
|
Current availability:
Mellotron used:
Miles Kurosky is Beulah's ex-frontman, his debut solo release, 2010's The Desert of Shallow Effects, carrying on his skewed psych vision. It's not a resounding success, to be honest, with too many songs that favour arrangement over composition, although the overall effect is perfectly listenable, if not that exciting, better tracks including I Can't Swim and The World Won't Last The Night.
There are no fewer than three credited musicians on 'Mellotron' (which almost certainly isn't), Patrick Abernathy, Eli Crews and Nik Freitas. Between them they add flutes to She Was My Dresden and West Memphis Skyline, with flutes and vibes (alongside real ones) on Housewives And Their Knives, and is that church organ in the background on Dog In The Burning Building? The jury's still out on that one, I think. Generally speaking, fans of Beulah will probably like The Desert of Shallow Effects, but I think Kurosky will have to tighten up his songwriting before he's ready to produce any really memorable solo work.
See: Beulah
