Released today on the small but mighty Bad Elephant Music label, All our Yesterdays is Discipline front man and songwriter Matthew Parmenters third solo release, following up 2008’s Horror Express.
Parmenter is a unique talent, and I will put it out there straight away that this album will be a Marmite album to many, there will be people out there who love this work, and people who will find it too idiosyncratic and left field for their tastes.
This however is not a bad thing, it’s wonderful as a reviewer to receive an album that grabs you by the back of the neck from the get go, and if you’re wondering where my tastes fall, I am firmly in the former camp. Basically I love this record.
I will admit now that whilst I’ve heard of Discipline and of Matthew Parmenter, this is the first time I have ever heard any of his music, and when my bank manager hangs their head in despair as I investigate his intensive back catalogue I can only blame David Elliott and BEM for introducing me to this music.
The album itself is performed entirely by Parmenter (with only Discipline drummer Paul Dzendzel playing on 4 tracks) so to all intents and purposes it is a truly solo work, and yet Parmenters virtuoso playing and complex arrangements make it sound like he’s backed by a full band.
There are shades of Peter Hammill/Van Der Graaf Generator on this album, (another artist/band who are uncompromising in their musical vision as Parmenter) particularly on the keyboard and piano driven Digital with some fantastic vocal work which brings mid-seventies Hammill to mind, again not a criticism as Matthew Parmenter is as creative and original musical visionary as Hammill is.
The impressive title track, showcases Parmenters musical talents, with a blistering guitar solo, and his fantastic vocal range is entirely taken from the works of Shakespeare, and I can just visualize him performing this on stage, pouring his heart out into the ether.
The BEM website encourages you to listen in full as this musical work is ‘best experienced as a single, all-encompassing musical odyssey’, normally as I’m a contrary Yorkshireman I ignore all listening instructions and get into the record in my own way, but BEM are right, this is an immersive experience, and whilst it sounds good booming through the stereo, it sounds even better on headphones, sat by a swimming pool in Fuerteventure drinking a cool beer (guess what I listened to on my holidays?)
In all seriousness, the musical dynamics are designed for an intimate listening experience, and the arrangements fall somewhere between the epic sound of early Queen (particularly on dramatic opener Scheherazade, and the powerful I am a Shadow) and the classical music meets rock of Jon Lords 1970’s solo work. Whilst the keyboard and piano driven work on the brooding and sinister All for Nothing acts as a backdrop for Parmenters impassioned and powerful vocals, whilst the sax that kicks in brings Van Der Graaf Generator back to mind.
Meanwhile the piano driven pop of Stuff in the Bag showcases another side to Matthews talent, as he goes from dark to light with a quick mood change that should jar, but fits seamlessly into the record as a whole. Whilst the closing epic Hey for the Dance brings the record to a fantastic close, with Parmenters vocals and the folk influenced closing coda culminating in a genuinely uplifting piece of music, that launches into an extended rock fade.
Listening to the arrangements, the depth and power that is present throughout this epic work, its hard to imagine that there isn’t a full band in the studio and an orchestra hiding out somewhere as well, it’s a testament to Parmenters skill and vision that his concept works throughout from start to finish.
I hesitate to refer to the works on this album as songs, as they are more like movements in a musical symphony, harking back to the days when progressive rock meant moving forward and pushing the recorded form to se how far you could get away with and how creative you could be with the medium,
A lot of contemporary bands on the scene have certainly forgotten the true meaning of progressive rock, Matthew Parmenter hasn’t.
He has released a contemporary concept album, as fresh and original as anything I’ve heard so far this year, and yet clocking in at around the 40 minute mark it never overstays it’s welcome, and would easily fit on one side of a C90 tape to pop in your walkman.
Like I said earlier this Matthew Parmenter is a unique talent, and this album isn’t going to be everybody’s pint of bitter, however I would rather hear a record that is striking, original and polarises opinion than a record that just sits there and you think ‘Well, it’s alright innit?’
This is an astonishing piece of work, and to all of you who’ve pre-ordered it and are waiting for the thump at the letterbox, you are in for a real treat my friends.