Tag: Plato

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

Grace Perfecting Nature: A Tenth Anniversary Toast to Kate Bush’s “An Endless Sky of Honey”

On By bradbirzerIn progressive rock music6 Comments

Most proggers regard side two of Hounds of Love as Kate Bush’s greatest work.  I love it as well, and I have since I first heard it thirty years ago this coming autumn.  Who wouldn’t be moved by the invocation of Tennyson’s Ninth Wave, by Kate as an ice witch, and by the observation of it all from orbit?  The entire album, but especially side two, is a thing of beauty.

A vision of the Natural Law itself: Kate Bush, ca. 2005
A vision of the Natural Law itself: Kate Bush, ca. 2005

Equally gorgeous to me, though, is Bush’s 2005 album, Aerial, and, in particular, side two, “An Endless Sky of Honey.”

No one, no one is here

No one, no one is here

We stand in the Atlantic

We become panoramic

The stars are caught in our hair

The stars are on our fingers

A veil of diamond dust

Just reach up and touch it

The sky’s above our heads

The sea’s around our legs

In milky, silky water

We swim further and further

–Kate Bush, “Nocturn”

Indeed, let me blunt, it’s not only my favorite Bush song, it’s probably one of my top ten songs of all time.  All 42 minutes of it—an examination of the beauties and creativities in one twenty-four hour period.

Birdsong.
Birdsong.

The song is without a flaw, to be sure, and it’s the interplay of Bush’s ethereal vocals, the adventuresome grand piano, and the tasteful upright bass that makes this song such a gem even with nothing more than a superficial listen.  The drumming, too, does much for the music.  It’s not varied, it’s consistent in a Lee Harris fashion.  In it’s consistency, it allows every other instrument to swirl in a varied menagerie.

But, even more than this, it’s Bush’s use of birdsong that makes this song nothing less than precious in the history of music.  If music at its highest reflects the turning of the spheres, as Plato believed, then Bush has mimicked nature with perfection.  It’s as though Bush embraced the Natural Law in all of its mysterious rhythms and held the entire delicate thing in a shaft of sunlight, that moment when the twilight sun peers into stained glass revealing not just the spectrum and the mote of light, but the unpredictable oceanic dance of freed dust particles.

Not atypical for prog epics, Bush broke the song in multiple parts: Prelude; Prologue; An Architect’s Dream; The Painter’s Link; Sunset; Aerial Tal; Somewhere in Between; Nocturn; and Aerial.  Again, not atypically, there exist no moments of silence between the parts, each part lushly flowing into what follows.

Whose shadow, long and low

Is slipping out of wet clothes?

And changes into the most beautiful iridescent blue

Who knows who wrote that song of Summer

That blackbirds sing at dusk

This is a song of color

Where sands sing in crimson, red and rust

Then climb into bed and turn to dust

Every sleepy light must say goodbye

To the day before it dies

In a sea of honey, a sky of honey

Keep us close to your heart

So if the skies turn dark

We may live on in comets and stars

Who knows who wrote that song of Summer

That blackbirds sing at dusk

This is a song of color

Where sands sing in crimson, red and rust

Then climb into bed and turn to dust

–Kate Bush, “Sunset”

If side two of Hounds of Love, “The Ninth Wave,” reached deeply into Celtic myth, disk two of Aerial, an “Endless Sky of Honey,” reifies the thoughts of Aristotle, Cicero, Thomas Aquinas, and Thomas More, calling upon the rigorous reflection of creation itself.

Nature makes nothing in vain, but only grace perfects nature.

In 2005, Kate Bush was that agent of Grace.