Tomorrow (or, for those of you not in the western hemisphere, today), Kingbathmat releases its seventh album, OVERCOMING THE MONSTER. Reviewing CDs has its privileges (many, actually), and one of the best is the early arrival of review copies. I don’t want to sound like a gnostic in some mystery cult, but there is something really wonderful about getting to hear these CDs for the first time.
A little over a month ago, I received a copy of OVERCOMING THE MONSTER. I’ve been playing it–along with four or five other cds–pretty much non-stop since it arrived.
As many of you know, I have no musical ability whatsoever. Back in the days of huge stereo systems, I used to joke that I was really good only at hitting play and setting the EQ. So, as always, take my comments as those from one who appreciates the music, but does so with no expertise.
The sum of it: I love this album. Love it. And this in the midst of amazing releases and rereleases: from Big Big Train, Nosound, The Tangent, Cosmograf, Glass Hammer, Sound of Contact, Shineback, etc.
What to Love? The music.
What to love. First, the music, of course. Imagine mid-period Rush, but then prog it up–a lot. Imagine Grace Under Pressure seriousness with Hemisphere song structures.
Or, imagine the Seattle grunge scene of the early 1990s having gone majorly prog. A bit of Soundgarten, a bit of Screaming Trees, etc. This is better. Much better.
Throw in some Tool and maybe some My Bloody Valentine and maybe even a small measure of space rock (Alan Parsons at its most sublime).
If you could put all of this together, you’d start pointing toward the brilliance of Kingbathmat. Last year’s album, TRUTH BUTTON, was really good; OVERCOMING THE MONSTER is exceptional.
What to Love? The lyrics.
What else to love? The lyrics. Ok, admittedly, I’m not at all sure what to make of the lyrics if taken line by line. I have a feeling there’s a lot of stuff going on in the lyrics, probably much of it psychological and deeply intellectual.
For the purposes of this review, I’ll just take them literally. See the Monster–the gorgon, the Medusa? She’s evil, and she needs to be destroyed. It’s that simple. That’s evil, and we’re good. Nail it with all the strength imaginable. Don’t flirt, don’t compromise, and don’t hold hands. Kill it. Now.
Remember your classical myth, though. If you look at it, you turn to stone. So, killing it is no easier for us than it was for Perseus.
Good luck, and may the gods be with you.
What to Love? The band.
Finally, what to love? This band. Here’s how they describe themselves:
KingBathmat are a powered up independent/psychedelic/progressive/alternative rock band, hailing from Hastings in England. Initially started by singer/songwriter John Bassett, KingBathmat have now independently released six albums to date “Son of a Nun” (2003), “Crowning Glory” (2004), “Fantastic Freak Show Carnival”(2005), “Blue Sea, Black Heart” (2008), “Gravity Field” (2009) and “Truth Button” (2012) . The 4 piece band comprises of John Bassett (guitar,vocals), David Georgiou (Keyboards), Rob Watts (bass) and Bernie Smirnoff (drums).
I’ve had a chance to correspond–just a very bit–with Bassett. What a great, intelligent guy. Even if Kingbathmat were mediocre, I’d be interested in following them simply because of how interesting Bassett is. They’re far, far from mediocre, however.
Every time I listen to OVERCOMING THE MONSTER, I think: vocals really make this album. Then, I think: the drums really make this album. Then, I think, the guitars really make this album. And, keyboards. And, bass. Then, about my sixth listen, I realize–now, it’s how perfectly well these instruments play individually while working together so well.
So, I give OVERCOMING THE MONSTER my highest recommendation. It’s prog. Not like Big Big Train, not like The Tangent, not like Nosound, not like Cosmograf. No, it’s Kingbathmat. Just look at the name of the band. These guys do whatever they want. And, I’m going to keep watching and listening.
One last quote for their webpage:
KingBathmat do not align themselves with convention, they have ditched the giblet hustlers and they endeavour to buck the trend and to not take themselves too seriously. For they do not look for, or court approval. KingBathmat are not beholding to a multi-national company, a debt, or a self proposed obligation. They do what they want.
For some bands, I’d think this was pure anti-establishment hype. Look how cool Bono is, etc. Nope, when it comes to avoiding conformity, these guys mean it.
Still, I don’t believe for a split second that they don’t take themselves seriously. They take themselves and their art VERY seriously.
Yes, Howard Roark laughed.
Progarchy 