Category: classical

Rick’s Quick Takes for August

On By kruekuttIn art rock, classical, goth rock, Insideout Music, pop, progressive rock, Rock and Roll, southern rock, vernacular music1 Comment

It’s been another excellent month for new music. So let’s just cut to the chase, shall we? Purchase links are embedded in the artist/title listing; playlists or video samplers follow each review.

Dave Kerzner, The Traveler: A third concept album from Kerzner, continuing the through line of New World and Static (with nods to In Continuum’s Acceleration Theory lurking about as well). The opener “Another Lifetime” sets out this record’s remarkable strengths: confident, appealing songwriting with hooky yet sophisticated melodies and structures; Kerzner’s best, widest ranging vocals to date; and the perfectly judged contributions of Fernando Perdomo on guitar, Joe Deninzon on violin, Ruti Celli on cello and Marco Minneman on drums (only a smattering of the stellar guest list here). The dry, forward sound and the copious use of vintage keyboards on tunes like “A Time In Your Mind” evokes early-80s Genesis at times (since Kerzner got those keyboards from Tony Banks, no real surprise there), but the power ballad “Took It For Granted” and the closing suite framed by the two parts of “Here and Now” show Kerzner moving his character’s story forward while striking out in fresh musical directions like the sunshine guitar pop of “A Better Life”. Overall, Kerzner exhibits a lighter touch here, and The Traveler is the better for it; by letting his new songs sell themselves and keeping proceedings to the point, he both satisfies us and leaves us wanting more. After repeated listens, this one’s already on my “favorites of ’22” list!

Lonely Robot, A Model Life: John Mitchell has had a rough last few years, and he doesn’t care who knows it. In the wake of a global pandemic, the collapse of a long-term relationship, and a confrontation with his deepest doubts and fears, Mitchell’s done what he does best: slip into his Lonely Robot persona and pour it all out in a fine set of laterally structured, elegantly crafted, fearlessly emotional songs. Writing, singing and playing (especially in his rekindled relationship with the guitar solo) at peak inspiration, Mitchell lays the ghost of his former love (the nervy “Recalibrating”, the forlorn “Mandalay”), skewers our mad world (“Digital God Machine” and “Island of Misfit Toys”), mourns ways of lives and times now in the rearview mirror (the breathtaking ballad “Species in Transition”, the crunching elegy “Starlit Stardust”), and ponders how and why he became who he is (the brilliant final run of “Rain Kings”, “Duty of Care”, “In Memoriam”). Easily his best work under the Lonely Robot banner, Mitchell wears his heart on his sleeve and plays to the gallery at the same time; this is an outright spectacular effort that’s got both all the feels and all the chops. (Check out our latest interview with John Mitchell here.)

Motorpsycho, Ancient Astronauts: the kings of Norwegian drone-prog continue their enviable hot streak on their fifth album in six years. “We’re all a little bit insane,” Bent Saether chirps on the opener “The Ladder”, and as the track spirals upward, mingling the howl of Hans Magnus Ryan’s guitar and Saether’s darkly glimmering Mellotron, you believe him. The edgily abstract interlude “The Flower of Awareness” cleanses the palette for a Crimsonesque workout on “Mona Lisa/Azrael”; Ryan builds towering edifices of distortion over a trademark Saether riff, as drummer Tomas Jarmyr matches their ebb and flow all the way through the shuddering climax and the slo-mo collapse. Astonishingly, all this just serves as prologue to the “Chariot of the Sun: To Phaeton on the Occasion of the Sunrise (Theme from an Imagined Movie)” It’s as if Motorpsycho’s brief for this 22-minute finale was to rival “La Villa Strangiato” in both range and focus; gentle strumming and wordless vocals give way to more menacing bass riffs, fuzz guitar deployed in duet and counterpoint, feral percussive cross-rhythms. It all mounts to multiple climaxes (a mighty unison riff, ominous post-rock minimalism) that circle back to end with the melancholy lyricism that kicked it all off. Ancient Astronauts is a genuinely thrilling ride; strap in and brace yourself for liftoff.

Muse, Will of the People: they’re baaack!!!!!! And as usual, Matt Bellamy, Chris Wolstenholme and Dominic Howard earn every one of those exclamation points. The guitars and drums are turned up to 12, the classical keyboard licks pack double the bombast (including a Bach “Toccata and Fugue” steal), the electronica wallows in creepshow kitsch, the vacuum-packed harmonies are piled even higher, and the gang chants are bellowed louder than ever. All this sound and fury portrays a world on the brink, an elite obsessed with control, and a populace angry that the game is rigged. Still, it’s hard to know who Bellamy is rooting for; at times, his lyrics and driven singing seem equally repulsed by both the leaders (“Compliance”, Kill or Be Killed”) and the led (the title track and “Euphoria”). But in the end, this is quite the slamming album; if you’re in the mood for existential desperation set to one badass, air-guitarable riff and singalong chorus after another — and these days, who isn’t? — this just may be your ticket. Might want to only play that obscenity-laden final track when no one else is around, though.

Continue reading “Rick’s Quick Takes for August” →

Cleaning the Outhouse: The Gong Farmers’ “Guano Junction”

On By Bryan MoreyIn Atmospheric rock, classical, electronic, progressive rock, psychedelic rockLeave a comment

The Gong Farmers -The Gong Farmers, Guano Junction, Spaceward Records, November 5, 2021
Tracks: As Sunlight Falls 1 (2:26), Drive (6:14), Pip, Squeak and Wilfred 1 (3:56), Guano Junction 3 (2:43), Evergreen (4:24), As Sunlight Falls 2 (2:42), Vista de Toledo (3:22), Guano Junction 2 (3:52), Wednesday Afternoon (4:42), SHAVE! (1:41), Winter Hill (3:32), Dark Skies (4:19), Pip, Squeak and Wilfred 2 (3:28)

I have to start off this review talking about the best band name I’ve heard in a while. Before today I was blissfully unaware of what a gong farmer was, having not heard the term before receiving this CD for review. It’s kind of funny, actually, considering one of my main focuses as a history major in undergrad was early modern Europe, but there’s always more to learn. I looked it up, and a gong farmer was someone in Tudor England tasked with cleaning excrement from outhouses. While that might lead you to believe that Guano Junction is a steaming pile of… gong, nothing could be further from the truth. The album is quite good, with a mature sound and a delightful array of influences.

The Gong Farmers

The Gong Farmers are primarily Mark Graham (vocals, synthesizers) and Andrew Keeling (classical guitar, flute, piano, organ), but they are joined by a very talented cast of supporting musicians, including David Jackson, the saxophonist for Van Der Graaf Generator. Here’s a list of everyone else who played on the album:

  • Alex Che (vocals, synthesizers)
  • Cliff Hewitt (drums, percussion)
  • René van Commenée (drums, percussion)
  • Ricardo Odriozola (violins)
  • Ben Keeling (electric guitar)
  • Martin Walker (electric guitar)
  • Brian Taylor (electric guitar and textures)
  • Noko 440 (viola and string arrangements)

The array of musicians should give you a hint of the variety found in their music, which bears elements of 1960s psychedelic rock (could be why they are on a label called Spaceward Records). Their sound expands beyond that, though, incorporating electronic, symphonic, jazz, and, of course, prog elements.

“Pip, Squeak and Wilfred 1” and “Pip, Squeak and Wilfred 2” are my favorite tracks on the album. They simultaneously have a strong Moody Blues influence and a huge Muse influence. The vocal effects on the song really bring in the Muse sound, reminding me a lot of “Exogenesis,” the three part symphony that ends Muse’s brilliant 2009 album, Resistance. The lyrics on these two tracks are short and simple, but they make you think.

Today I found my father’s medals in a drawer
And I thought of all the sacrifice,
All the sufferings of war

As you can see from the tracklisting, these songs are on the shorter side. They work together to form a cohesive sound, although the songs stand by themselves. “SHAVE!” is a strange track, being more a collection of various sounds and textures, which would be the psychedelic side of things. I suppose it reminds me a bit of the beginning of “The Waiting Room” off Genesis’ The Lamb Lies Down on Broadway. Speaking of Genesis, the inclusion of flute throughout Guano Junction reminds me a bit of them, although “Guano Junction 3” also has some Jethro Tull to it.

Classical guitar plays a fairly prominent role on the album. At times it reminds me of some of Steve Hackett’s more recent solo work. “Evergreen,” for instance, has that world and classical influence, although I hear some Muse-style sounds towards the end. The gentle and melancholic Spanish-style guitar on “Vista de Toledo” has a very warm and contemplative feel. Lyrically the track is a love song reflecting on lovers apart from each other. The melancholy in the music reflects those lyrics rather well.

“Dark Skies” has a sparse Floydian guitar solo that is played over simple plucked strings with vocal effects swirling around. It’s a simple way to frame a guitar solo, but it works in the context of The Gong Farmers’ music.

For me “Pip, Squeak and Wilfred” parts 1 and 2 are worth the price of admission. They stand out on the album with a compelling symphonic melody and atmospheric vocal effects that take you to another dimension. The flute playing in the background makes it that much better. If you listen to anything off this album, make it those two tracks. But do yourself a favor and check out the rest of the record while you’re at it. It has a compelling blend of psychedelic spaciness with symphonic overtones.

https://thegongfarmers.bandcamp.com/releases
https://www.gong-farmers.co.uk
https://www.facebook.com/GongFarmers/

Kruekutt’s 2021 Favorites!

On By kruekuttIn Ambient, art rock, avant-garde, Big Big Train, classical, Discipline, electronic, Insideout Music, jazz, jazz rock, krautrock, Kscope, Neal Morse, progressive metal, progressive rock, Radiant Records, Rock and Roll2 Comments

I thought I didn’t have a big list of favorites from this year’s listening — until I revisited my six-month survey from back in June and added in the good stuff I’ve heard since then! The listing below incorporates links to full or capsule reviews, or other relevant pieces on Progarchy and elsewhere; albums I haven’t written about yet get brief comments, along with my Top Favorites of the year. Most of these are available to check out online in some form; if you find yourself especially enjoying something, use that Christmas cash and support your choice with a purchase! And the winners are . . .

Continue reading “Kruekutt’s 2021 Favorites!” →

2021: My Favorite Albums, Six Months In

On By kruekuttIn Ambient, art rock, avant-garde, classical, electronic, jazz, jazz rock, Neal Morse, pop, progressive rock1 Comment

As life in these United States opens up, my life finally seems to be settling down — at least for the summer. Which means it’s time to make up for the backlog of excellent albums (new and old) that I’ve heard since January, but haven’t written about here! Links to listen (to complete albums or samples) are included whenever possible.

New Albums: The Art of Losing (The Anchoress’ rich meditation on endurance) and the multi-version adrenalin rush of Transatlantic’s The Absolute Universe notwithstanding, most of the new albums I’ve loved so far have migrated towards jazz and classical — frequently with pianists at their center. Vijay Iyer’s Uneasy, made with bassist Linda May Han Oh and drummer Tyshawn Sorey, is a state of the art piano trio effort; blues and abstraction suspended in perfect balance and caught in an intimate, tactile recording. Canadian Bach and Mozart specialist Angela Hewitt shows off her range with Love Songs, a gorgeous confection of orchestral and art song transcriptions assembled in lockdown and performed with undeniable panache. The same goes for Danny Driver’s phenomenal rendition of Gyorgy Ligeti’s hypermodern 18 Etudes — virtuoso pieces whose serene surfaces turn out to be rooted in super-knotty counterpoint and off-kilter rhythmic cells. My favorite new album of 2021 to date? Promises by electronica artist Floating Points, spiritual jazz saxophonist Pharoah Sanders, and The London Symphony Orchestra, which manages to bring all of the above (well, except for the piano!) together in one glorious, 40-minute ambient epic.

Reissues: Big Big Train’s double-disc update of The Underfall Yard has definitely had its share of listening time, between Rob Aubrey’s rich remix/remaster and the welcome bonus disc (featuring fresh recordings of the title track and “Victorian Brickwork” by the full band and brass quintet). With My Bloody Valentine’s catalog back in print, their masterpiece Loveless sounds as incredible as ever; crushing distortion and lush romanticism collide to channel the sublime. And Pete Townshend has masterminded a comprehensive Super Deluxe edition of The Who Sell Out, the band’s pre-Tommy high point. But my favorite reissues thus far have been It Bites’ The Tall Ships (especially the title track — what a power ballad!) and Map of the Past (a favorite of mine since its original release). With the then-unknown John Mitchell taking over from Francis Dunnery, IB sailed into the 21st century with their 1980s pomp intact, killer hooks, head-spinning riffs and all.

Live Albums: Beyond the visceral thrills of Fanfare for the Uncommon Man: The Official Keith Emerson Tribute Concert, I’ve had a blast hearing krautrock legends Can conjure up spellbinding group improvisation on Live in Stuttgart 75, an initial dip into their voluminous concert archives. I’ve been giddy to hear Kansas, bolstered by keyboardist Tom Brislin, get their mojo working on Point of Know Return Live & Beyond. (They’ll be my first post-lockdown rock show next month.) And my journey back into soul music (see below) set me up nicely for the razor-sharp, precision funk of Tower of Power: 50 Years of Funk and Soul Live at the Fox Theater, a deliriously exciting reunion show recorded in 2018.

From the Catalog: All the good new stuff above aside, this is where some of my most fruitful listening has been happening this year — frequently inspired by other media. Watching the movie One Night in Miami led me back to Sam Cooke’s Portrait of a Legend: 1951-1964; the resulting dive into soul music ultimately brought me to Marvin Gaye’s classic concept album What’s Going On — 50 years old in 2021! Perusing various “best of 2020” lists turned me on to the avant-garde jazz of trumpeter Ambrose Akinmusere’s on the tender spot of every calloused moment and Maria McKee’s art-pop song cycle La Vita Nuova (inspired by Dante, no less). Jazz/fusion legend Chick Corea’s death prompted a deep dive into his catalog; new favorites included Return to Forever’s Where Have I Known You Before and the fabulous Five Peace Band Live, Corea’s long-delayed collaboration with guitarist John McLaughlin. And after long years of the album doing nothing for me, Radiohead’s The Bends finally clicked when I read Steven Hyden’s fine band biography This Isn’t Happening. (Curt Bianchi’s wonderful new book, Elegant People: A History of the Band Weather Report, is prompting a similar deep dive into that quintessential jazz/rock band’s catalog; I highly recommend their cutting edge debut album from 1971 and their 1976 masterpiece of groove, Black Market.)

Coming Soon: In addition to Big Big Train’s Common Ground (take it from me, it’s a humdinger), I highly recommend MoonJune Records’ latest release, Indonesian fusion guitarist Dewa Budjana’s incandescent Naurora. I’m also eagerly anticipating new music from the Neal Morse Band (oops, NMB now), Steve Hackett and Isildur’s Bane & Peter Hammill; reissues of BeBop Deluxe’s Live in the Air Age and George Harrison’s All Things Must Pass; and comprehensive box sets from The Beach Boys and Van Der Graaf Generator. Plus live shows from Kansas, Emmylou Harris and Los Lobos, King Crimson with The Zappa Band, and opening night of Genesis’ USA tour.

So, yeah, it’s taken a while — but at least from my point of view, 2021 has already been a solid year for music — and the prospects for it getting even better are looking up!

— Rick Krueger

Four Months, Four Albums – 2021’s Best Thus Far

On By Bryan MoreyIn classical, hard rock, progressive metal, progressive rockLeave a comment

There has been a lot of music to wade through thus far in 2021. Most good. Some not so much, depending on who you ask. Despite the title of this post, I don’t think my four favorite albums of the year thus far represent each month, but who cares. Let’s go!

Atravan - The Grey LineAtravan – The Grey Line 

This album was the biggest surprise of the year, so far. Out of the blue back in January, Shayan Dinati of Iranian prog-metal band Atravan contacted us about a review of their album. I gave it a listen and immediately discovered this was worth spending a lot of time with. They dwell in the area of prog metal perfected by Riverside – atmospheric and brooding with thoughtful lyrics. Sure, they’ve got room for improvement to reach the heights of Riverside, but this is a great album in its own right. I was hooked right away, and I highly recommend the album. The Dutch Progressive Rock Page had similar praise for Atravan: https://www.dprp.net/reviews/2021-032 

Steve Hackett Under A Mediterranean SkySteve Hackett – Under A Mediterranean Sky

When I heard last year that Mr. Hackett was working on an acoustic album, I was very excited. I’ve really enjoyed his recent solo output. His last three rock albums are some of the best from his entire solo career. But I also really like his acoustic moments, and he doesn’t disappoint on Under A Mediterranean Sky. He takes us on a grand instrumental tour of the Mediterranean, something sorely needed in an age of travel restrictions. The combination of his stunning guitar work, Roger King’s masterfully arranged symphonic notes, and various world instrumentation make this a beautiful and contemplative album. It isn’t rock, but it’s gorgeous. Check out Rick Krueger’s review: https://progarchy.com/2021/02/02/steve-hackett-under-a-mediterranean-sky/

Nad Sylvan Spiritus Mundi album_coverNad Sylvan – Spiritus Mundi 

Nad Sylvan’s latest solo album is a slight departure from his last three albums, but it’s just as good an album, if not better. Putting the poetry of William Butler Yeats to music may not be a new idea, but Nad has done a wonderful job with it. The album has its rock moments, but it also has pastoral tones that haven’t been as prevalent in his work. His voice is top notch with a versatility that shows he is so much more than a Gabriel or Collins sound-alike. Check out Rick Krueger’s recent interview with Nad, and check out my review.

And now for my favorite album of the first four months of 2021…

Soen - IMPERIALSoen – Imperial

Swedish prog metal supergroup Soen can do no wrong, it seems. I first became cognitively aware of Soen a couple years ago through one of the editors at the Dutch Progressive Rock Page, who frequently sang their praises in reviews and best-of lists. I quickly became a fan of their last couple of albums, and I was pleasantly surprised when I stumbled across their new release back in January. I was listening to their 2019 album, Lotus, one Friday evening when I wondered if they had any new music coming out soon. It just so happened that they released Imperial that very day, so I dowloaded it and have been happily enjoying it ever since. It’s heavy when it needs to be, but it can recede to quieter moments when necessary.

Joel Ekelöf has one of the best voices in metal, and he really sets Soen apart. They have a heavy guitar crunch that’s more typical of mainstream metal and hard rock bands, but the music is distinctly progressive. Their melodies and lyrics are catchy yet intelligent. My only complaint with the album is that it isn’t longer. It’s 43 minutes, but I could easily listen to much more. Great stuff. 

https://soenmusic.com

Hopefully the rest of 2021 will be full of more excellent music! 

 

 

The Peaceful Beauty of Nad Sylvan’s “Spiritus Mundi”

On By Bryan MoreyIn classical, Insideout Music, progressive rock4 Comments

album_coverNad Sylvan’s latest solo album, Spiritus Mundi, is one of the finest records released thus far in 2021, and I expect it to be one of the top albums of the year come December. Sylvan brought his vampirate trilogy to a close with 2019’s The Regal Bastard. Spiritus Mundi, which is Latin for “spirit of the world,” departs from the more classic prog sound on his previous three albums, but it hasn’t quite set sail for new genres. Rather it explores different musical territories, including classical, folk, acoustic, and rock, all befitting the beautiful poetry of William Butler Yeats which serve as the lyrics. The musical elements from his previous albums are all here, but they are interpreted in a different way. In an interview with Progarchy’s very own Rick Krueger, Nad expands upon the development of the record and his collaboration with Vermont-based musician Andrew Laitres, so I’ll direct you to that for more info about how the album came to be. 

As it should be, Nad’s voice is the centerpiece on the record. All of the musical elements serve to frame his voice and the lyrics, bringing the poems to life through varying sounds. The baroque elements found on Nad’s vampirate trilogy pop up now and again, such as on “Cap and Bells” and “The Realists,” which I think adds a flavor that is uniquely Sylvan. Laitres also provides some lead and backing vocals, which adds some variety.

Musically the album is more open and relaxed than Sylvan’s previous records. It doesn’t have the heavier rock moments that those albums had, but the lyrics don’t call for it. Nad plays most of the keyboards, as well as some of the acoustic, electric, and bass guitars, and the orchestration. Jonas Reingold and Tony Levin also appear on bass, along with Steve Hackett on the 12 string. The Flower Kings’ Mirkko De Maio appears on drums. There are a few other guests too, but this should give you a sample of what to expect. It seems fitting that Nad, who’s become well-known for his work with Steve Hackett’s touring band, releases this sort of more acoustic and classically inspired record soon after Hackett released a beautiful acoustic album, Under a Mediterranean Sky. 

I’ll readily admit I’m frequently skeptical when an artist says they’re going in a new direction on their next album. While I didn’t have particular reservations about this album going into it, I was admittedly curious about what that different sound might be. I didn’t expect him to move into some sort of techno-pop trash like Steven Wilson, and thankfully he didn’t. Instead he leaned more heavily into the folk and classical elements that already existed in his music. At times the music is reminiscent of Big Big Train, and at other times I hear bits that remind me of Jethro Tull. The rock is still there though, with a fantastic bass line and slide guitar on “The Fisherman.”

Spiritus Mundi is a well-rounded album that offers a breath of fresh air in a very dark time in our world. Perhaps that is fitting since many of Yeats’ poems offered a similar freshness to the broken and hurting world of the early twentieth century. Nad Sylvan may have taken an unusual path to rock stardom in his 50s and early 60s, but that seems to have brought a maturity to the music he makes. This album is well-crafted, and it is both a fitting tribute to Yeats’ poetry and a wonderful introduction of that poetry to new audiences a century after it was written.

Sylvan is one of the most creative people working under the broad umbrella of progressive rock today. He seems to get better with each passing record. I only hope he gets the chance to tour his own music someday. Check out Spiritus Mundi along with his other solo albums. You won’t be disappointed. 

https://www.nadsylvan.com
https://www.facebook.com/Nadsylvanartist
https://twitter.com/sylvanofficial

Signed albums available from Nad’s webstore: https://www.nadsylvan.com/cd-shop
Or purchase from Burning Shed: https://burningshed.com/tag/Nad%20Sylvan&filter_category_id=261

Steve Hackett, Under A Mediterranean Sky

On By kruekuttIn classical, Insideout Music, progressive rock5 Comments

Give Steve Hackett credit for grace under pressure. With the 2020 leg of his Genesis Revisited tour stopped in its tracks by COVID-19, Hackett retreated to his London home, pulled out the acoustic guitar ideas he had been accumulating since 2008’s Tribute album, and huddled with wife Jo and keyboardist/musical director Roger King. Under A Mediterranean Sky is the sultry, stirring result, a first-rate blend of the world musics Hackett explored on recent electric albums The Night Siren and At the Edge of Light with the lush orchestral settings of his vintage classical efforts A Midsummer Night’s Dream and Metamorpheus. If you’re currently cooped up inside (whether due to the pandemic, winter in the Northern Hemisphere or both), this welcoming sonic travelogue will transport you to a brighter, better place.

Under A Mediterranean Sky grabs the listener right from the start with “Mdina (The Walled City). King’s opening orchestrations (a rich blend of acoustic instruments and synths throughout) seethe and sprawl, giving way to Hackett’s virtuosic solo work on nylon-string guitar; at the end, it’s a headlong dash to a sprightly finish, the guitar bursting forward as the symphonic storm gives way to sunshine on the coast of Malta. As a mission statement for the album, it could hardly be bettered.

Organically structured to circle the Mediterranean coast, Hackett’s musical portraits are drawn with ever-present grace and appealing variety. The delectable arpeggiated melody of “Adriatic Blue”, the pensive lines that link up with galloping Middle Eastern percussion on “Sirocco”, the folky, almost downhome French vibe of “Joie de Vivre” and the haunting, romantic Grecian portrait “The Memory of Myth” each tantalize in their own unique way. At the heart of the album comes Hackett’s only solo piece, a sonata by Italian composer Domenico Scarlatti (1685-1757) that features both breathtaking technique and a profound feel for melodic line, harmonic depth and rhythmic panache. It’s drop dead gorgeous, a true testimony to his heartfelt love for the classical guitar tradition.

The latter half of the program broadens the musical palette as the voyage continues, with stellar guest turns by brother John Hackett and regular band member Rob Townsend on flutes (a lush duet on “Casa del Fauno”), Azerbaijan tar virtuoso Malik Mansurov and Armenian duduk master Arsen Petrosyan (the dizzying, atmospheric “The Dervish and the Djin”), and oboist Frank Avril and violinist/violist Christine Townsend on “Andalusian Heart” (which also spotlights stunning extended flamenco work by Hackett). The poignant, rhapsodic finale “The Call of the Sea” is the perfect capstone to the album, winding down the journey to leave the listener at peace in heart and spirit.

Under A Mediterranean Sky is not just a welcome detour from Steve Hackett’s familiar sonic paths; it’s also a culmination to his lifetime pursuit of musical excellence. Hackett’s compositions and performances here are filled to the brim with both the fire of the young at heart and the canny craft of the mature, seasoned performer. Making this album obviously refreshed him during a difficult time; if my experience is any indication, hearing it — in fact, returning to it again and again — will refresh you as well.

(You can watch and listen to Steve Hackett talk about the album and selected tracks here.)

— Rick Krueger

Rhiannon Giddens with Francesco Turrisi, There Is No Other

On By kruekuttIn americana, classical, folk music, jazz, vernacular music2 Comments

If you haven’t heard Rhiannon Giddens yet … well, just listen:

Gifted with a glorious, classically trained voice plus extraordinary skills on banjo and fiddle, equally at home with African-American spirituals, Celtic “mouth music” and opera, Giddens is the kind of protean musician that comes along once in a generation.

Founding “postmodern string band” the Carolina Chocolate Drops, writing music for Bob Dylan’s words on The New Basement Tapes, winning a MacArthur Genius fellowship, acting in CMT’s Nashville series — Giddens has gone from strength to strength in a remarkably short time, earning every step up in her meteoric rise.  Seeing her live in the summer of 2015, I walked away giddy, as she and her band effortlessly filled a Cape Cod town hall with irresistible rhythms, utterly committed performances that ran the gamut from a tear-inducing take on Dolly Parton to funked-up Appalachian folk tunes  —  and that powerful, powerful voice.

For her third solo album (after 2015’s Tomorrow Is My Turn and 2017’s Freedom Highway), Giddens has teamed with Italian pianist/percussionist Francesco Turrisi, who  filters early Mediterranean folk music through the prism of jazz.  Recorded in Dublin, Ireland in five days with minimal preparation and few overdubs, There Is No Other soars, sears and astonishes — breaking your heart one instant, healing it and setting off fireworks of exhilaration the next, commanding your attention throughout.

Words can only approximate the sweep of traditions and times woven together here.  Folk ballads from Appalachia, Italy and England, jazz via Hermeto Pascoal (a Brazilian collaborator with Miles Davis) and vocalese pioneer Oscar Brown, classical arias by Carlisle Floyd and Samuel Barber — they’re all subsumed into the spell that Giddens (on banjo, violin and viola) and Turrisi (on piano, accordion, lute, banjo, and percussion) conjure up.  This music is warm, determined, melancholy, driven and delighted by turns, seamlessly flowing from one track to track, each its own thing, each part of a greater unity.

And Giddens’ singing — again, gorgeous beyond words.  On “Gonna Write Me A Letter” and her own “I’m On My Way”, she’s an unstoppable force of nature; on “Pizzica di San Vito” and “Briggs’ Forro”, a rippling vocal breeze above dancing beds of rhythm; on “Wayfaring Stranger” and “The Trees on the Mountains”, the cry of a broken heart devastated by life and love; on “Brown Baby” and her gospel-tinged “He Will See You Through”, the voice of maturity, determination and hard-won belief.  Nothing human is foreign to her — the wisdom of generations and the optimism of youth come together to devastating effect.

I recommend There Is No Other without hesitation — it’s one of those albums that Duke Ellington might have termed “beyond category”, resonating deeply with the core of our shared humanity.  As Giddens and Turrisi put in in their liner notes,

From the beginning of our musical partnership we have been struck with the commonality of the human experience through music; how instruments, modes, and the very functions of songs and tunes are universal from culture to culture.  There are very real and documented yet unheralded historical links between many of the instruments we play; and yet others of the connections we have here arise solely from our artistic instinct; but either way, the overwhelming feeling we have is that there is no Other.

Rhiannon Giddens and Francesco Turrisi tour North America from September to November; tour dates are here.  In the meantime, listen to There Is No Other for yourself:

— Rick Krueger

Lightning Round Reviews: September 7, 2018

On By kruekuttIn classical, progressive rock, Rock and Roll1 Comment

It’s been a busy week at the mailbox and on the doorstep.  With a clear day off, I decided to listen to all the new music I’ve received since Monday.  Capsule reviews follow the jump; albums are reviewed in their descending order on my freshly made up Personal Proggyness Perception (PPP) scale, scored from 0 to 10.

Continue reading “Lightning Round Reviews: September 7, 2018” →

Moody Blues News

On By kruekuttIn classical, progressive rockLeave a comment

From the latest post on my favorite classical music blog (which also regularly includes fascinating insights regarding world music and Sufism), On an Overgrown Path:

Long Distance Voyagers is a 796 page resource book about the Moody Blues rock band. Surprisingly given the high profile of the band – they have sold more than 80 million records and were one of the pioneers of the concept album and of classic rock – this is the first major volume devoted to their oeuvre. The book is the labour of love of Marc Cushman, who is best known for his monumental books analysing Star Trek and Irwin Allen’s Lost in Space series. This latest massive volume is equally monumental – it is only volume one taking the story of the band up to 1979.

Recently I have been impressed and rewarded by several major historical books about art music icons, including the Nick Drake anthology Remembered For A While. This comes from long-established publishing house John Murray, and has commensurate high design values and sharp sub-editing. Long Distance Voyagers comes from new media publisher Jacobs Brown and suffers from the lacklustre design and lightweight sub-editing that are the hallmarks of desktop publishing. But this should not detract from what is a very rewarding document for those who, like me, underwent their musical and other rites of passage in the 1960s to the soundtrack of In Search of a Lost Chord.

Needless to say, this beauty went on my Amazon wish list immediately, with plans to purchase it Very Soon Now.  Blog author “Pliable” is a former EMI classical recording engineer, eclectic in his musical tastes and erudite in his commentary.  His pungent, all-too-sharp observations on the negative effects of social media recently prompted him to sever his links to Facebook and Twitter (a gutsy step I’ll honor by keeping this post off them).  I can’t help but agree with his lament in a previous post on the magnificent Moodies:

Gone are the days when Visconti’s Death in Venice, Ken Russell’s Music Lovers, Martin Scorsese’s The Last Temptation of Christ and Emerson, Lake and Palmer’s Pictures At An Exhibition could add a new diacritic to young lives. Instead the mantra of our digital age is ‘more of the same please’ driven by the insidious dynamic of social media approval.

Do check out On an Overgrown Path — it’s always excellent reading about music that matters — as well as Long Distance Voyagers!

— Rick Krueger