Tag: philosophy

Album Review – Shades of Plato’s “Malware” – When Plato Met Jethro Tull

On By Bryan MoreyIn glam rock, goth rock, progressive rock, Socratic dialogueLeave a comment

a0998253074_10Shades of Plato, Malware, March 28, 2022
Tracks: Malware (3:57), Death Of Me (4:23), All Women To Me (3:11), Oliver Reed (3:44), Clickbait (3:59), Time Is Not Your Friend (3:49), Ecdysis (3:57), Une Place Au Soleil (5:14), A Little Learning (3:53), She’s Always Hitting On Me (4:41), No Friend To Me (3:35), The Dead Don’t Dance (3:38), Mr. Von Hugo (3:22), People Suck (6:14), Don’t Let Your Dreams Be Shadows (4:54)

Three years in the making and five years after their debut album, UK band Shades of Plato’s sophomore album Malware blends musical and lyrical influences into a compelling and hard-hitting rock album. The result sounds a bit like Jethro Tull minus the folk influence. Sprinkle in a bit of Canterbury scene influence (hey, the album was recorded in Kent) and straight up hard-rock, and you have a pretty good idea of their overall sound. Frank Zappa’s eclecticism also seems to be a pretty strong influence.

The four band members play behind pseudonyms: Ol’ Dirty Flute on vocals and flute, Captain Black on bass and keyboards, Jack Sorrow on guitars and keyboards, and Pandora on drums. Ol’ Dirty Flute’s voice is very reminiscent of Ian Anderson, albeit without the range Anderson had in his prime. His flute make the Tull influence unmistakable, yet it manages to still not sound pastoral at all.

The music itself leans perhaps more classic rock than prog as we might think of it today. The tracks are on the shorter side, and they tend to show off varying influences while still maintaining a cohesive sound across the record. The bass on the title track has a heavy Tool sound, while the opening rhythm of “Death Of Me” reminds me a lot of early Black Sabbath, a sound maintained in the song by a distinct guitar crunch.

The songs contain memorable hooks and melodies, which help serve the quite exceptional lyrics. The band even shows some quirkiness with a track like “Mr. Von Hugo,” which has a catchy repetitive chorus. The vocals on the album could be a bit stronger, as the limited range does seem cause the vocals to fade back into the mix a little bit. Having the lyric sheet included with the digipack CD is a help.

The lyrics really stand out on this record. As the band’s name might suggest, Plato is a big influence here, with his ideas spread throughout the record. The philosophic bend to the lyrics reminds me of Neil Peart’s lyrics at times, especially in the middle period of Rush’s career. Shades of Plato also have a strong grasp on contemporary culture, and as such there are some great critiques of modern ills. “Clickbait” brings up the negative aspects of the internet, such as the ability of it to radicalize people or turn them into virulent “activists” in ways they might not be in real life.

You can be an activist
It takes one finger to enlist
Virtue-signalling your friends
With whatever twitter trends
Share the same ideology
Hash tag haters by decree
Then selfie surfeit Instagram
Like a good Kardashian

“Clickbait”

“Time Is Not Your Friend” is a good reminder that life is fleeting. Things you wanted to tell your loved ones but didn’t should be said when you get the chance. No matter how far away we think the end is, it is indeed there waiting for us, and that should cause us to act.

Counting on your demise
As a far distant event
Well think again, it sits in wait
At every hour you are sent
Time is not your friend
And you’re always close to the end
And you can’t go round again

“Time Is Not Your Friend”

“A Little Learning” is fantastic. Every big-name musician or any actor who decides to use their platform to push beliefs which have nothing to do with how they make their living really should take this song to heart.

I’d put a sock in what you’ve said so far
You ain’t changing shit with your guitar
Keep your polemics to yourself
Your audience, they don’t share your wealth

Don’t proselytize on my timeline
Your diatribes don’t define
My anarchy, it’s not okay
Keep your own counsel, is what I saw

A little learning is a dangerous thing
I’m going to duck you in the Pyrian spring…

“A Little Learning”

Shades of Plato save the best for last: the final track, “Don’t Let Your Dreams Be Shadows,” takes its influence from Plato’s Allegory of the Cave. For those unfamiliar with said allegory, the short version is everyone is living in the darkness of a cave where their reality is limited to shadows cast by a candle. Someone escapes from the cave and discovers the brightness of reality in the outside world. That person (the philosopher) returns to the cave to bring everyone else out into reality, but they refuse to leave their world of shadows. Shades of Plato similarly call the listeners not to “let your dreams be shadows,” choosing instead to “run free through orchid meadows / Unhindered by the hedgerows.” Experience life as it really is, not as the internet projects it to be (see “Clickbait”).

And I’ll be waiting for you
Here on the outside
When light comes streaming through
I’ll be your guide
Until you’re accustomed to
The cosmos in your eyes
And our ascent to the firmament
Is assured; undying; heaven-sent.

“Don’t Let Your Dreams Be Shadows”

Earlier I said this album had more of a classic rock edge, but this is no mere straightforward hard-rock album. The lyrics move far beyond that, and combined with the subtle keyboard washes and the recurring flute, this album begins to take on a progressive edge. While not necessarily a concept album, there are lyrical themes that pop up across the album that connect with each other in subtle ways, some of which I have touched on in this review. The album is worth digging into for the lyrics alone, but you’ll also find the music very rewarding.

The album is available at Bandcamp for download or a CD – both priced at £5.

https://www.facebook.com/shadesofplato/
https://shadesofplato1.bandcamp.com/album/m-a-l-w-a-r-e

Beginning Again – Steven Wilson’s “Pariah”

On By Bryan MoreyIn Atmospheric rock, progressive rock2 Comments

One of the things I appreciate about progressive rock is how brutally honest many of the musicians can be in their art. Steven Wilson and Devin Townsend immediately come to mind in this regard. Townsend has always shown his emotions in his lyrics and music, whether it be in face-melting heaviness of Strapping Young Lad or in his varied solo work. Wilson’s lyrics and the musical soundscapes he creates also reflect deep wells of emotion and even a somewhat philosophical approach to those emotions.

“Pariah” off 2017’s To The Bone is in a long tradition of similar contemplative melancholic and emotional songs by Wilson. Porcupine Tree’s “Lazarus,” Wilson’s “Drive Home” and “Routine,” as well as the more recent “12 Things I Forgot,” come to mind. I think “Pariah” may rise above the aforementioned tracks because of the exquisite duet with Ninet Tayeb.

The term “pariah” has a negative connotation in modern English, but I believe the term is usually used incorrectly to refer to a person who dramatizes their situation and makes a show of being an outcast when they aren’t actually outcast from their community or society. The definition is simply someone who is an outcast. The word comes from India, where it is used to refer to members of the lower order of the caste system.

I’m not quite sure which version of the word (the vernacular use or the correct use) Wilson is using here. Wilson’s character in the song is clearly someone dealing with depression, but we aren’t sure why. I don’t think “pariah” is being used in a derogatory fashion in the song, though.

Steven Wilson – Pariah (Music Video) – YouTube

For some reason I never realized this until yesterday, but Ninet’s inclusion on the song acts as a foil to Wilson’s melancholy. Wilson sings,

I’m tired of weakness, tired of my feet of clay
I’m tired of days to come, I’m tired of yesterday
And all the worn out things that I ever said
Now it’s much too late, the words stay in my head

Ninet responds,

So the day will begin again
Take comfort from me, it’s up to you now
You’re still here, and you’ll dig in again
That’s comfort to you, it’s up to you now

So Pariah, you’ll begin again
Take comfort from me
And I will take comfort from you

Ninet is playing a role often personified by females across thousands of years of philosophy. In the Biblical book of Proverbs, wisdom is personified as a female, and in Boethius’ “Consolation of Philosophy,” philosophy is personified as a woman. Maybe it’s a stretch to compare Wilson to Solomon or Boethius, two of the wisest men who ever lived, but what I’m getting at is “Pariah” is set up in a similar way. Specifically in Boethius we see the author having a conversation with philosophy. In this track we see Wilson (or Wilson’s character) in a depressed state. He’s worn out, tired of his failings, and tired of everyone else, and it’s a woman who sits down to talk with him.

Ninet’s angelic yet slightly gritty voice reminds him that tomorrow is a new day. She reminds him that he’s still alive, still breathing, and that’s something from which to draw comfort. She even offers to give him comfort, and perplexingly she says she will also take comfort from him. Perhaps she finds relief in aiding someone else in their darkness. As I mentioned above, I don’t think pariah is meant to be derogatory here. The lyrics are too gentle and Ninet’s delivery too sincere for that.

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