Review: Emanuele Bodo – Unsafe Places

Emanuele Bodo (band)

Progressive-rock and jazz-rock often share a common bond, yet many artists either tilt the scale towards technical gymnastics or focus on strong song-form and fine-tune the balance of justice with judicious soloing spots. “Unsafe Places” marks the first album by Italian guitarist and songwriter Emanuele Bodo, who gathered a line-up of highly skilled musicians to help him with his musical vision.

Emanuele Bodo - Unsafe Places

The musicians uphold a well-defined, group-centric line of attack, consisting of foot-stomping fuzoid rockers, often tempered by Bodo’s sonorous phrasings. His zinging crunch chords and soaring single note leads are contrasted by keyboardist Davide Cristofoli’s fluidly streaming lines. Moreover, the band integrates catchy themes into these impacting works. Thankfully, the group attains an equilibrium, where dynamics are acutely employed among the swirling interludes and off-kilter time signatures that instill a sense of adventure into the grand mix.

A portion of their sound is designed with brief nods to the days of progressive-rock yore, with a manifesto that transmits a hip group-centric disposition, tinged with modernist tendencies. Overall, the material reigns supreme, and it’s easy to discern that this is not an album that was recklessly slapped together. Emanuele Bodo’s self-titled recording debut is a persuasive one, indeed. Get if from here.

Album Review – Garrett N. – “Let’s Get Surreal”

Garrett N., Let’s Get Surreal, 2018

Tracks: Overture (9:04), Avant (3:25), Avant3/Ahip1/Caine (4:47), Bak1 (4:16), The Eternal Laugh (14:20), Quiet (2:19), Saddam/Espace (7:25), Gorf (3:16), Reprise/Bak3/Unknown (10:08), Scorpio/Ramos (1:51), Sinister (1:58), Avant4-Outtro-Epilogue (9:33)

Webster’s Dictionary defines “surreal” as an adjective meaning “marked by the intense irrational reality of a dream.” In other words, something so bizarre that it shouldn’t be real, yet it is. This may be the most accurate name for an album I’ve ever encountered.

Composer, musician, engineer, and producer Garrett N. has a background making music for commercials, films, and documentaries, in addition to a few of his own progressive albums. That background helps explain the non-traditional nature of this album. Garrett performed all the music on the album, displaying wide musical talents. He also sings on the few tracks that have lyrics.

Let’s Get Surreal is extremely synth-heavy in a Pink Floyd sort of way. I’d say Floyd is the biggest rock/psychedelic influence here, and at times it works very well. The first four tracks in particular are quite strong in this regard. There is a sci-fi cinematic feel to some of the synths sounds too, in a sort of 1950s alien sci-fi movie way. With that said, the slightly distorted acoustic guitar on “The Eternal Laugh” is a welcome addition. The next track, “Quiet,” features what sounds like extremely distorted electric guitar… maybe too distorted. Definitely a gritty sound. The blending of different types of synths, drums, and guitars manages to work, however. The bit of flute on “Scorpio/Ramos” is nice, although the song could have used a lot more of it.

Garrett appears to making a bit of a political statement on a few tracks, particularly on “Saddam/Espace.” This song has a remix of former US President George W. Bush giving a speech about Saddam Hussein and all that mess. It is an interesting reworking of the speech, with blurred repetition of Bush saying “terror” playing through the background. The album was recorded between 2013-2017, so this track seems like it is 10-15 years past when it should have been released. That particular moment has past, making this song lose a lot of its punch.

At an hour and thirteen minutes in length, the album kind of drags a bit because a lot of it sounds the same. There are a few songs that could have had a few minutes trimmed out. The album is at its best when other instruments are mixed in with the synths, rather than the lengthy sections that are only synthesizers.

Ultimately, this album sounds more like a tv show soundtrack than it does a rock album. It is mostly instrumental, with synths dominating the instruments being used. As such, it doesn’t sound like a typical instrumental prog album. There’s nothing inherently wrong with that, but it does feel like we are missing a piece of the puzzle. “Let’s Get Surreal” won’t be for everyone, but those into the more psychedelic side of prog should appreciate it.


http://galaxian1.com/index/

https://store.cdbaby.com/cd/garrettn7

In Concert: Three Ways, Progressing

Thank You Scientist with Bent Knee and Entransient at The Pyramid Scheme, Grand Rapids Michigan, June 13, 2019.

“There’s only one way to rock!” — Sammy Hagar

Well, that’s one school of thought.  But after this downtown club triple-header, it struck me that (at least in theory) there can be as many paths to playing progressive music as the number of artists that give it a shot.  On Thursday night, three fine young bands unwittingly tested my hypothesis, approaching their music in three very different, equally valid ways.

Grand Rapids’ own Entransient, fresh from a showcase gig at Florida’s RosFest, kicked things off.  The quintet’s 3-song, 30-minute set of “melodic neo/post-prog rock” refined readily admitted influences (Anathema, Opeth, Porcupine Tree, Pineapple Thief) into their own unique blend, with a rich sound and atmosphere.  While guitarist Doug Murray and drummer Jeremy Hyde were standout players, the group as a whole (fronted by Scott Martin on subtly tasty keys and fierce vocals) was thrillingly tight and professional.  Prog metal bands are a dime a dozen these days, but Entransient has a distinctive, readily appealing touch. As they blaze a fresh trail in a genre that easily collapses into cliche, they’re well worth a listen.

By contrast, Bent Knee dove into their local debut determined to sound like nobody but themselves.  With Courtney Swain’s sweeping synth sounds and bracing, uninhibited singing to the fore, the Boston sextet blew through a clutch of mostly new material, including the recent single “Catch Light”.  Their sound is artful, cinematic and immersive — a unpredictable, unstoppable rollercoaster ride of dynamic, rhythmic and textural contrasts and transitions, underpinning allusive, cryptic lyrics.  You’re pulled in, put through the wringer — then ejected, safe and smiling!  It was a joyful, cathartic set, and the biggest crowd of the night readily caught the vibe; Swain made a lovely announcement about how she doesn’t like to compare audiences, but she loved this one.  Their closer “Lovemenot” launched guitarist Ben Levin and bassist Jessica Kion into full pogo mode, with Levin gleefully diving offstage to cap the evening.  An impressive, enjoyable experience — and a real revelation to me; I’d go see Bent Knee again in a heartbeat! (Photos below by Robert Henry)

 

To wind things up, Thank You Scientist pumped up the energy another level; the heady mix of Snarky Puppy-ish jazz/funk chops and Mars Volta-like whiplash transitions could have come from no other band.  Focusing on the brand new album Terraformer for their 90-minute set, the virtuoso New Jersey septet reeled off complicated riffs, head-spinning solos and breakneck unison lines with awesome precision, with Salvatore Marrano’s idiosyncratic falsetto vocals soaring over the adrenalized counterpoint.  To be honest, I found TYS’ non-stop barrage relentless to the point of exhaustion at times; good thing founder/guitarist Tom Monda whipped out his Chinese shamisen to change the pace on an instrumental rhythm section feature.  Great horn work from Sam Greenfield on sax and Joe Gullace on trumpet then set up a towering version of Terraformer’s title track, with violinist Ben Karas and Monda tearing it up as Marrano’s surreal narrative brought the delighted audience into the home stretch.

So yeah — there’s more than one way to rock — and to progress — and each of these committed, talented bands proved it!  Enjoy them when they hit your town.

 

— Rick Krueger

Setlists:

  • Entransient
    • Sirens
    • Weaker Hearts
    • The Weight of Things
  • Bent Knee
    • Way Too Long
    • Hold Me In
    • Land Animal
    • Catch Light
    • Garbage Shark
    • Golden Hour
    • It Happens
    • Leak Water
    • Lovemenot
  • Thank You Scientist
    • Wrinkle
    • FXMLDR
    • Swarm
    • Blood on the Radio
    • Son of a Serpent
    • [Shamisen/Rhythm Section Feature]
    • Poop Magician
    • Chromology
    • Anchor
    • Mr. Invisible
    • Terraformer
    • Encore: My Famed Disappearing Act

Album Review: IZZ — Don’t Panic @izzmusic

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It’s hard to resist the proggy captatio benevolentiae of the first two tracks on IZZ’s new album, Don’t Panic. Their unmistakable first impression is that the groovy bass guitar sounds exactly like Chris Squire playing for Yes in the 1970s. It’s so good, you’re guaranteed to smile. Trust me!

The multi-vocalist singing is terrific too, and also quite reminiscent of Yes. And, I don’t know whether to attribute it to Anmarie or Laura (or both), but there is a vocal timbre that reminds me of Neko Case singing with The New Pornographers. It’s really fantastic.

“Don’t Panic,” as the first track and as the title track, places front and center the famous phrase from The Hitchhiker’s Guide to the Galaxy. Very, very cool, and also gracing the prog proceedings with the right dose of whimsy.

Track two, “42,” invokes the number that is famously the Answer to the Ultimate Question of Life, the Universe, and Everything (as we also learned from Douglas Adams). Well, the band didn’t give us a 42-minute song, but they pushed it past 18 minutes; so, how can you not help liking this album, only two tracks in?

Wait, it gets even better. While “Six String Theory” gives us yet more Yes nostalgia, by way of a Steve Howe-worthy (early Yes) acoustic solo guitar piece, suddenly things take an interesting turn with track four, “Moment of Inertia.” There are some nice bits in that track that immediately make you think of King Crimson, but eventually the track becomes what I think is IZZ being very strongly original.

Even better, the album ends with with “Age of Stars,” which also vocally invokes the pleasurable “Don’t Panic” life hack catchphrase yet again, as the album rides out to a perfect conclusion.

Thus, while the album’s first three tracks make things completely irresistible for lovers of early Yes, the best part is when IZZ close out the album with two tracks that present their inimitable selves in all their musical fullness.

It’s a total prog thrill ride, and immensely satisfying. You get the best of both worlds: prog nostalgia about yesterdays (see what I did there?), and yet also a remarkably clever and original musical creation for the present day. Well done, IZZ, and thank you for a first class musical experience.

Track Listing:

1. Don’t Panic
2. 42
3. Six String Theory
4. Moment of Inertia
5. Age of Stars

IZZ:

Paul Bremner: Electric & Acoustic Guitars
Anmarie Byrnes: Vocals
Brian Coralian: Electronic & Acoustic Drums and Percussion
Greg DiMiceli: Acoustic Drums and Percussion
John Galgano: Bass Guitar, Electric & Acoustic Guitar, Vocals
Tom Galgano: Keyboards, Vocals
Laura Meade: Vocals

Album Review: IHLO — Union

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Out today is this stunning new release from UK prog metal band IHLO — Union.

Take a long look at that fantastic album cover. With high quality artwork like that, clearly the band values both attention to detail, as well as the art of the album as a coherent artistic whole.

The album has a notably excellent sound to it. Phil Monro did an amazing job on guitars, production, and mix. Andy Robison contributes the top-notch vocals and also the distinctive sound design. Clark McMenemy lays a solid foundation with crisp drum production.

The first five tracks draw you into a unique sonic universe. Surprisingly, the album takes a sharp turn upwards to undeniable prog excellence in its final two tracks, which are the very best on the album. The first five take time to grow on you, but the last two tracks are knockouts from the get-go.

“Parhelion” (7:26) is arguably the standout track, and if you need convincing that this album is worth your time and effort, this is your go-to track. Then again, the closing ambient prog epic of “Coalescence” (15:14) is a fine summation of this band’s widest capabilities. If you are the patient sort, you can enter through that long and winding prog path.

The promise displayed on this album is evident. If the track listing corresponds to the historical order of recording, then the last two tracks hint strongly that the best from IHLO is still to come. We look forward to future releases, while enjoying this delight that we already have at hand.

Canada: Northern Bastion of Heavy Metal

As AMG writes in their review of Riot City’s new disc, “The 80s were the Golden Age of metal. A Pax Romana if you will, and Riot City aim to bring that glorious era back.”

Proof of those glory days, and of their continued existence among the heavy metal Rebel Alliance, is contained in every track of Riot City’s astonishing creation, Burn the Night. So, you better nab it, pronto.

But what AMG fails to note in their otherwise excellent review is that Riot City is from Canada. Location? The mighty West: Calgary, Alberta. And as the band proudly states up-front on Bandcamp: “Screaming Heavy Metal from Canada, recommended for fans of Judas Priest, steel, spikes and leather!

The only flaw I can detect as a critical reviewer lies not in the music, but only in the missing Oxford comma. Oh well, I guess it got burned up in the night.

Indeed, Canada remains a northern bastion of heavy metal. There is no need for me to point out the origin and locale of Rush, is there? In any case, the ongoing ferment yields its riotous rewards, and abundant proof is around for those willing to look for it.

Enjoy Riot City, yes, but be sure not to miss Smoulder’s album, Times of Obscene Evil and Wild Daring, also out this year. It’s an epic combo of doom metal and power metal. Highly recommended, as AMG also affirms. The album art alone should draw you in, never to return for days.

Smoulder began in Calgary back in 2013, and is now based in Toronto. Their sword-and-sorcery narratives are perfectly paired with their chosen musical style. Mark my words, these two bands are headed for my 2019 Top Ten list.

Of course, Canada has no monopoly on the classic heavy metal sound. Also out this year are the truly superb releases from Black Sites (Exile)* and Spirit Adrift (Divided by Darkness)* and Battle Beast (No More Hollywood Endings) and Soen (Lotus).

But that’s why I am content to simply identify Canada as the northern bastion of a classic metal Night’s Watch. Everyone else has their own indispensable international contributions to make. Keep it up, y’all.

Nonetheless I am happy to report that Canada is more than pulling its weight, thanks to the two great bands I have named above. And if you want a third band, how about Unleash the Archers? If you haven’t got Apex yet, add it to your shopping list. Can’t wait to see what they release next.

In the meantime, I have just given you a solid half-dozen of recommendations. So, keep on rockin’ in the free world. Scandinavia is indisputably a northern bastion. But Canada also has your northern flank secure.

*Note for prog lovers: Don’t miss the exceptional musicality on the tracks “Feral Child” and “Cold City” by Black Sites on Exile, and on “Angel and Abyss” by Spirit Adrift on Divided by Darkness. The entire albums are excellent, but these just may be the right introductory tracks for pulling you all the way in.