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Saturday, August 19, 2017

Steven Wilson - To The Bone


Steven Wilson whether you love him or hate him, he is for me one of the artists I championed since re-discovering his work back with his time with Porcupine Tree in 2006 on Classic Rock Magazine and then as a solo artist in 2009 from the first issue of PROG Magazine. Not to mention his work with Aviv Geffen on Blackfield and with Opeth’s Mikael Akerfeldt on Storm Corrosion. And the 5.1 mixes with XTC, Gentle Giant, King Crimson, Chicago, and Jethro Tull to name a few. With four studio albums in the can, he releases in what his known as a “pop” album entitled, To The Bone.

Now, mind you, this was not an easy album to review. After a few listens of To The Bone, I find this to be a very interesting release. There’s a mixture of inspirations that he mentioned including Tears For Fears' The Seeds of Love, Kate Bush's Hounds of Love, and Peter Gabriel’s So album. He’s not going to be a gigantic phenomenon, nor going to hit the mainstream, but it’s a diverse release so far he’s unleashed. But, he’s moving forward to challenge new ideas. Same thing with bands and artists including David Bowie, Prince, Genesis, and Pink Floyd.

Walt Disney once said about moving forwards is that “Around here we don’t look backwards for very long. We keep moving forward, opening up new doors and doing new things because we’re curious and curiosity keeps leading us down new paths.” That’s is what Wilson is doing, he’s moving on, and seeing what new ideas he will come up next for the years to come.

The follow up to his previous work, Hand.Cannot.Erase is not just a crowning achievement, but again in my opinion another return from the master himself. Again Permanating which will one day become a live favorite, crosses the barriers between Talk Talk, ABBA’s Dancing Queen, and Electric Light Orchestra’s Discovery-era, has this catchy melody with the major and minor chords on the piano with some emotional chorus and rising beats.

The opening title-track and Nowhere Now both co-written by XTC’s Andy Partridge showcases some of the powerful lyrics he helped Steven with. The first track features a blaring Harmonica sound done by Mark Feltham as the lyrics deal with opening the door as the truth has finally come out of the rubble and it’s not a pleasant site. I love how it brings this nod to Pink Floyd’s The Division Bell track, Keep Talking as if it was continuing the form.

Nowhere Now deals with that once for the hope of peace below has suddenly gone. But up above in the afterlife and living in the clouds of Heaven of what happening down there and being free from the violence and danger, makes you wonder that you’re no longer part of the hard and difficult situation. Wilson channels the essence of Pete Townshend-sque guitar styles and lyrics that gives you a tug with sliding guitars and punching riffs.

It segues into the beautiful Pariah. This is the second collaboration that Steven has worked with Ninet Tayeb since 2015’s Hand.Cannot.Erase. Tayeb’s vocals will give you chills and kick you right in the gut on her arrangements of her singing. The duet between her and Steven, brings essence to both Peter Gabriel and Kate Bush’s Another Day and Don’t Give Up.

While the song deals with depression, giving up, and renewal, the blaring eruptive roar after Tinyeb sings “It will take time.” You can imagine yourself falling into space and knowing that your time has come before someone grabbing your arm and looking at your loved-one pulling you to the surface and knowing there is hope for a second chance.

The intense heavy riffs on The Same Asylum as Before gives the situation on a gigantic reality check and being back in the same hell you were in before, is come to you and karma has come. And it is letting the listener know, that once you’re in, you can’t get out after pulling the same crap you did over and over again by becoming the worst enemy you are now.

And the chance of getting out is zero. Steven is describing to the character by asking the questions of “Was it really worth it? Do you need another reality check to be in the same shit? Or are you proud of becoming your own worst nightmare?” Elsewhere, People Who Eat Darkness has this very Space-Rock guitar riff that is almost a nod to Hawkwind’s In Search of Space-era and essence of NEU’s Michael Rother.

The opening line “I live in the flat next door/And I can hear you fuck your girlfriend through the wall.” That is very intense and knowing the subject of terrorism and danger lurking behind those hallways is not going to be a pleasant by giving a 5 minute chance of escaping, but it is too late. Blank Tapes is an ominous haunting acoustic ballad featuring the Mellotron with another duet between Tayeb and Wilson.

You can close your eyes and imagine yourself walking through an empty house through the rubble and there’s nothing left. Detonation presents Wilson returning back to 2009 from his solo debut with Insurgentes. The first 2 minutes and 20 seconds becomes this eerie atmosphere before it changes into these darken yet hidden corridors. It is an intense mid-section rumble as you run towards the door after you feel the creeps behind you.

The moment you open the door, The character’s eyes are in disbelief and seeing now what is the Divided States of America and seeing the violence, betrayal, and unexpected view and blaming the three gods; Greater, Pale, and Whining. Now is To The Bone, Steven Wilson’s finest? No. But it shows the textures and craft he brings to the forefront with his fifth album.

Some will love this album, some won’t and want Steven to return to his Prog roots, which is understandable. Again, it's a diverse album. But for me, as I’ve mentioned in my introduction of this review, I had a very interesting yet growing experience with To The Bone.

Sunday, August 13, 2017

Mumpbeak - Tooth


I know right from the moment I put a CD on my old portable CD player from the RareNoise label, I can expect some amazing “holy shit!” moments that will take me to another scenario. And believe me, this is a label that has been on my map since 2016 and thanks to Sid Smith’s Podcasts from the Yellow Room that have opened my eyes more to the label. One of those bands is Mumpbeak.

This is their second album released this year entitled Tooth. It is their follow up to their sole self-titled debut album which was unleashed back in 2013. Roy Powell is the brainchild behind Mumpbeak. He had studied piano and avant-garde composition at the Royal Northern College of Music in Manchester, England. He released his debut album back 23 years ago with A Big Sky.

He moved to Norway and worked with Terje Gewelt and Jarle Vespestad with the release of Holus which was an album of free improvisational music back in 1999. Now I’m very new to Powell’s music and along with Mumpbeak, but Tooth is one of the most challenging albums I’ve embarked on from start to finish. With Naked Truth bassist Lorenzo Feliciati and taking over Stick Men and King Crimson drummer Pat Mastelotto is Elephant9 and Shining drummer Torstein Lofthus.

There is some sonic and eruptive compositions that will take you on a journey towards the light. I was completely blown away by not just Roy’s keyboards and not just because he’s a killer musician, but he’s very much like a conductor and giving both Lorenzo and Torstein some ideas and where to come in and where to come out. For example like going to Point A to Point B.

The first 4 minutes of Caboose is arrangement between Roy and Lorenzo as it becomes this electronic Vangelis-sque 1980s atmosphere. You can imagine yourself walking across the wastelands and hearing some deafening alarms thanks to the Synths that Powell does. It then, suddenly changes with some intense bass lines and Torstein’s drumming along with Roy’s clavinet chords following each of the ghost-town hallways and no sign of life to be found.

The reverb heavenly clavinet improvisation, brings to mind a cross-over as if George Gershwin had teamed up with Gentle Giant’s Kerry Minnear as if they did an album together during the In a Glass House sessions. Torstein for me, is like rapid machine gun fire that is sweating bullets. It’s shown on Saw as he goes all around the kit including the tom-toms and snare. Roy and Lorenzo follow suit as Powell goes into uncharted waters with a fuzztone wah-wah tightrope.

His textures are in a way by reigning the essence of Mike Ratledge as if he is in awe of his insane but mind-blowing work on the keyboards. At times, when he plays the clavinet, it sounds like powder-keg riffs before he and Torstein go into a climatic end as it abruptly comes to a halt. Opener, Boot brings to mind a film-noir-sque score that Mumpbeak does knowing that the killer is still on the loose.

I love how Roy goes to the Moog Little Phatty improvisation that he does and it shows that the clues the detectives found just got even challenging, bigger, and difficult to know the killer left ginormous tracks for them to follow. They go from one door to another closing it off with a tidal wave ending crescendo.

Stone, which closes the album, sees Roy heading towards the Hammond Organ. It begins with a Koto-sque intro and bass lines before the wah-wah door comes open and the intense groove between Lorenzo, Roy, and Torstein is like jet engines ready for take-off all around the room. There at times stop-and-go moments as the Organ is rising from the grave. I always imagine Lorenzo brings the goods and carry the torch for both Jaco Pastorius and Geddy Lee into one giant blender.

It this little nod to CAN’s Vernal Equinox and then the finale comes right in as Mumpbeak delve into the waters of Van Der Graaf Generator’s The Least We Can Do Is Wave to Each Other-era for an alarming crescendo climatic finale that brings everything into a gigantic circle.

I’ve been waiting for something like this to come out. RareNoise Records have scored another home run for me with Tooth. I hope one day to discover more of Roy Powell’s music, but this here’s a start with their second album. They are on my watch list to see what they’ll come up with next. Little advice, play this mo-fo up to a notch!

Jane Weaver - Modern Kosmology


Jane Weaver, married to DJ Andy Votel, founder of Finders Keepers Records, visualizes the future sound of hypnotic cosmic-space-electro rock. Now, mind you, I’m very new to Weaver’s music since hearing her 2014 album, The Silver Globe album. This year she’s released her follow up to The Amber Light with Modern Kosmology. Released on the Fire records label, Jane takes you beyond the stratosphere with pop, surrealism, shoegaze, post-rock, and the Krautrock sound.

It has these late ‘70s/early ‘80s vibration the moment I put the CD on. And I knew right from the get-go, she was taking me to a whole new infinite world. The six centerpieces throughout the journey from the outer limits of space have taken me not just by surprise, but making my eyes open to discover more of Jane’s music. Loops in the Secret Society closes your eyes that takes you back to the golden-era between the experimental scene in Germany and the Motorik rhythm sound which is evidential with the essence of NEU and Michael Karoli-sque guitars.

Then, everything sets into a mysterious driving beat as if you were looking through the various doors to decide which one to open and see where it will lead us to with the futuristic trip on The Architect while Jane dives into the river of the psych-folk ballad on Valley. You can feel her voice behind you as if she’s giving you goosebumps down your spine as if she is hypnotizing you by walking through an abandoned forest.

The music itself brings to mind between Pink Floyd’s Atom Heart Mother-era and the Beatlesque textures from the rhythm guitar that fits well on the composition. Jane herself honors the Krautrock sound. I could tell from listening to this from start to finish, she’s done a lot of research and whether you like her music or not, Weaver herself has been around from day one from her work with both Kill Laura, Misty Dixon, and her solo career.

Is there a stop sign for her? Absolutely not. She is definitely going to keep going and knowing what brainstorm she will come up with next. The homework she did is incredible between the essences of CAN’s Ege Bamyasi and Agitation Free’s 2nd as the synths set the location of the wasteland as if you as a listener walk through the rubble between the Bass, Drums, Guitar and Echoing effects from the percussion on Did You See Butterflies?

CAN’s Malcolm Mooney does this mourning spoken introduction that is almost poetic before the double-track reverb/effect vocalizations that Jane does as it comes across an Avant-Pop electro vibe as if CAN sessions between 1968 and 1970 on Ravenspoint as it segues to the closing track I Wish. The track continues with the Motorik sound from the drum machine as if to say the listener that a new day, a new beginning will happen to move forward.

I always imagine Klaus Schulze helping Jane out on the arrangements on here and giving some advice on where the piece needs to start and where it would end. You can always imagine a scene inside your head where the layers would go to next with the eerie synthesizers and explore what will happen next into the following pages after that.

This has been my second to third time listening to Modern Kosmology and I have to say I was very impressed from what I’ve listened from beginning to end. It’s mixtures again as I’ve mentioned before; New Wave, Krautrock, and Shoegaze music, it’s all there. And I hope to see and imagine what will Jane Weaver think of next. Modern Kosmology may not be everyone’s cup of coffee, but this may be in my albums of this year.

Monday, August 7, 2017

Saturn - Beyond Spectra


In the 2005 documentary of Sam Dunn’s Metal: A Headbanger’s Journey, Tour manager Joey Severance said, “Metal is a brotherhood. That’s what keeps it alive. It’s in your blood. It’s the air you breathe.” And he’s 100% right. For me, Metal has been with me since I was a kid, teens, and through College. One of the labels that have always peaked my interest since 2009 after reading about them in PROG Magazine is Lee Dorrian’s label, Rise Above Records.

One of the new bands alongside discovering Blood Ceremony, ASTRA, Diagonal, Beastmaker, and Galley Beggar is a new band from Sweden called Saturn. They have released their second album this year entitled, Beyond Spectra which is a follow up to their 2014 debut Ascending (Live in Space). I’m new to Saturn’s music, but holy shit! These guys are very good.

The band considers Robin Tidebrink and Linkan Lindgren on Electric Guitars, Ted Carlsen on Drums, and Oscar Pehrson on Lead Vocals and Bass Guitar. The album cover which is done by Maldo Illustration to pay nod to Marvel’s own Steve Ditko and Jack Kirby as if it’s done right to give Sci-Fi a real kick in the gut. But let’s get to the music. Saturn honors the New Wave of British Heavy Metal as if the album was recorded between the late ‘70s and early ‘80s.

You can tell Saturn shows the inspirations between Judas Priest, UFO, Iron Maiden, and Angel Witch. You can imagine both Sounds and KERRANG in the early ‘80s had reviewed an album like this during the heyday of the NWOBHM movement and the album got reviewed, they would have gotten some word-of-mouth. Now in the year of our lord 2017, Saturn honors the legacy of the movement with Space and Hard Rock at it’s finest.

The guitars from Tidebrink and Lindgren are lightning rods to raise the thunder between the minds of K.K. Downing and Glenn Tipton; Dave Murray and Adrian Smith; and UFO’s Michael Schenker and Paul Raymond. Oscar’s voice has eye-lifting momentum and at times jaw-dropping for me. You can hear the essence of Rob Halford, Bruce Dickinson and King Diamond combined into a gigantic solar system in a parallel universe.

Listening to Beyond Spectra, you can close your eyes and imagine the ship is ready for ignition to be lifted off in space as if the band is receiving to prepare to hurtle through the cosmos with four centerpieces (reference to Ren & Stimpy’s Space Madness). The rumbling guitar riffs is riding down the highway with some revving rhythm sections on Still Young. The shuffling moments and duo guitar structures both rhythm and lead that makes it fucking good, is a nod to both Maiden and Angel Witch.

Opener, Orbital Command starts off with a classical spacey introduction for the first 39 seconds before setting the controls for the spaceship ready to make the jump to light speed and fly off into the outer limits. The double guitars are again eye-opening and in the 3 minute and 25 second mark, there is a melodic midsection, shows that they have landed into another planet and discovering that the aftermath of the battle is a gruesome mess and knowing they won’t come back from this.

Helmet Man features almost as if Saturn were doing a score for a Video Game as they continue to rev down the highway. It could almost be a theme to Marvel’s own Ghost Rider’s Johnny Blaze. He knows that the danger is near. And he has a plan ahead of everyone and doing whatever he can to stop the badness that is happening around and do justice his way and not the law.

It has this epic and militant sound thanks to Carlsen’s drumming as the guitars become a feeling essence between Ritchie Blackmore and Glenn Tipton while it becomes a warning with a terrorizing effect that are lurking behind their prey on Nighttime Badger. You can imagine the victim is tied up and knowing that their time is up and the lyric; “If you have seen the things that I’ve seen/You wouldn’t sleep at nighttime/If you had heard a word that I’ve said/You would not laugh at all.” 

It’s a chilling and disturbing lyric. This character in the story, I can imagine is an outsider and never fitting in with the cool crowd in School as he plans his revenge to those who’ve hurt, bullied, and tortured him through the rough years in High School. Not only that situation, but there’s also another moment of selling you soul for fame and glory and the heavy price you pay for to the bitter end. I’ve adored this album from day one. It is worth listening to if you admire Saturn’s influences. 

They’re not ripping off the NWOBHM movement, but they're honoring it and keeping the flames alive of the genre by making sure it is alive and well. For me in my opinion, Beyond Spectra is right in your alley. And to close out with the back cover disclaimer of David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars, “To Be Played at Maximum Volume.”

Corciolli - Ilusia


With his 25-year career and 2 million albums sold, Corciolli is a unique artist in the instrumental music scene in Brazil. He’s opened doors to see which landscape he would embark on between Tibetan, Middle Eastern, Celtic, and Classical Music. He would take these genres with his arranging and composition to find infinite universes for the listener to see what is behind these various doors that are about to be open. His new album released this year is called, Ilusia and it shows his origins of the rock influences he grew up listening to.

Listening to llusia, it has this crossover between Jean-Michel Jarre, Mike Oldfield, Steve Vai, Vangelis, and Tangerine Dream. With eight instrumental compositions, Corciolli brings layers and textures of the arrangements by a little help with drummer Ramon Montagner and bassist Mauricio Oliveira and the guitar sampled keyboards by Corciolli himself setting the atmospheres that what is about to happen in the five centerpieces on the new album.

You can close your eyes and imagine a Movie inside your head. Distant Living Memories has this sci-fi film noir featuring dystopian landscapes as you go towards the ghost-town deserted city that what once was, is in dust all of it. You can imagine the memories of the glorious city that was in which there was a time that was so beautiful, turned horrible.

The Man Who Disappeared in the Painting features an introduction between the synth and classical guitar introduction and it has this nod between the New Wave/Atmospheric mysterious arrangement between Acqua Fragile’s Mass Media-Stars, the Halo franchise, and late ‘70s Genesis coming to mind with the Fugazi-era of Marillion as Secrets of the Invisible is a haunting composition.

It feels like this early ‘80s film score as if both Mike Oldfield and Tangerine Dream did the score to the 1985 film, The Emerald Forest as the action sequences start on to attack before the piano and heavy guitar lines knows that the danger ahead of the outskirts as if something terrible is about to happen with some dramatic string sections. 

The nod to both the movie, TV series, and the book with Light Spheres in a Stephen King Mist imagines yourself as if you were trapped inside with an un-natural mist of these monsters waiting for the prey to come with some intensive danger outside of the heavy clouds along with alarming jazzy background from the piano and an eerie ending of a nightmarish lullaby. The Hans Zimmer and Vangelis approach has an epic approach for Midnight of the World at the End of Time.

You can imagine the two of them writing the score for the continuation of Blade Runner as if they wanted make a conceptual piece of the mystery surrounding of the disappearance of Rick Deckard as it has this futuristic setting for the end credits. I have to admit, I’m not crazy about this album, but it is a very interesting release that Corciolli has released and it may or may not appear on my top 30 albums of 2017, but he’s got something special with this. 

Colosseum - Those Who Are About To Die Salute You


Originally released in the spring of 1969, Colosseum’s debut album entitled, Those Who Are About to Die Salute You which was originally released on the Fontana label and reissued this year by Esoteric Recordings, is an eruptive debut that came out of the same year King Crimson released In The Court of the Crimson King, Captain Beefheart’s Trout Mask Replica, The Who’s rock opera Tommy, and Miles Davis’ controversial classic, Bitches Brew.

Colosseum was different. They mixed Jazz, Blues, and Soul into a giant blender and creating these textures that were both Progressive and Hard Rock into one. Formed 49 years ago by drummer Jon Hiseman and saxophonist Dick Heckstall-Smith in which they were a part of the Graham Bond Organization, Hiseman replaced Baker as both of them appeared on John Mayall’s Bluesbreakers album, Bare Wires released in the summer of that same year.

I’ve first heard Colosseum’s music when I bought the 3-CD compilation which was released in 2005 entitled Time Machine: A Vertigo Retrospective after hearing their explosive heavy riff powder-keg rocker, The Kettle. And I was hooked. It was like unleashing the beast right from the get-go. They brought along Dave Greenslade on Organ, Bassist Tony Reeves, and James Litherland on Lead Vocals and Guitar.

Not to mention guest musician trumpeter Henry Lowther who appears on the album. He appears on the opening track with a walking blues/jazz shuffle down the highway entitled, Walking in the Park. It’s one of Graham’s composition as you can imagine it being blared inside the train for the band to have an amazing time. Litherland can really sing his heart out and doing some killer guitar work.

Even though Henry appears on the album as a guest musician, he nails those trumpet parts down for that intro section in the beginning. He and Dick Heckstall-Smith work like a team blaring those moments bringing the roofs down on both Trumpet and Sax. Mandarin which is based on the Japanese soft scale, Tony’s arrangement on the Bass, sends chills down on my spine.

His bass playing shines well as it resembles between Jimmy Garrison and East of Eden’s Steve York with some fuzz and wah-wah moments between going from one to the other while the blues standard Backwater Blues he plays some of the amazing bass lines and comes into the forefront which shows his talent and power. Not to mention Dick’s blaring sax and Greenslade channeling Graham Bond’s organ work.

The Road She Walked Before features some of this Ray Charles-sque arrangement by Heckstall-Smith. The vocalization between Litherland’s vocals, Smith’s sax, and Greenslade’s organ and piano, delves into this Brazilian samba jazz groove into the sunset as the title-track is a nod to The Nice, James Brown, and George Gershwin. Greenslade plays a mean organ in the 12-bar blues and featuring the militant section for the Climatic battlefield in the Rome Amphitheatre.

Beware the Ides of March is essence to Procol Harum’s A Whiter Shade of Pale which is also inspired by Bach, Heckstall-Smith’s sax blares into night sky channeling both Classical Music and Jazz along with Dave’s Wah-Wah Organ which almost has this Canterbury psychedelic feel and a soulful crunch to it. It then suddenly delves deep into the darker tunnels of the ominous piano, galloping drums, intense bass work, organ and sax improve before coming back to the warmth sun rising end.

The three bonus tracks which the band recorded at PYE studios in November of 1968 containing a demo version of the title track, a rockin’ composition of I Can’t Live Without You with some killer wah-wah guitar work and bass sharing a duel between each other and it feels like it was something straight out of the sessions between The Beatles White Album and Jimi Hendrix’s Electric Ladyland.

Their take of Quincy Jones’ In The Heat of the Night which was sung by Ray Charles, is a strong take from the classic opening of the 1967 film. You can close your eyes being on the train close to dawn heading to the station with Mister Tibbs to start the next case following after the events of the first film and knowing that the next case, will be intense situation that the danger comes around.

The name of the title comes from a Latin phrase which is well known as Ave Caesar, Morituri te Salutant. Which means Hail Emperor, Those About to Die Salute You. Which the gladiators greeted Vitellius and it’s a well-known quote. Esoteric Recordings have never disappointed me and when they announced some of the reissues of the Colosseum catalog on their website from Cherry Red Records, I knew it was going to be on my wish list.

It contains the original and new sleeve notes and interviews with Jon Hiseman about the origins of the band’s formation. The album reached number 15 in the UK charts and gave Colosseum word-of-mouth including a performance promo which is in the booklet, they did on March 20th at Ronnie Scott’s Jazz Club. Worth checking out? Absolutely!

Wednesday, July 19, 2017

Anthony Phillips - Slow Dance


This 2-CD/DVD set consists of Anthony Phillips release of Slow Dance. Originally released on the Virgin label, this showed his orchestral side to him. And it is a very interesting release that embarked on. Reissued this year by Esoteric Recordings, it is time to give Slow Dance another chance and give Anthony the recognition he deserves. He’s been overlooked from the history of his time with Genesis as an original founder.

Anthony Phillips appeared in the first two Genesis albums which were the 1969 debut of From Genesis to Revelation which showed their psychedelic-pop, Bee Gees, and pastoral baroque music. But it wasn’t until they released their second album and signed to a new label with Charisma Records in 1970 with Trespass that showed their beginnings of their progressive rock roots digging deep into of complex music with a story that had a beginning, middle, and end.

Anthony left the band to pursue studying Classical Music. While he lacked Theory-based music, he practiced eight hours. But let’s get straight to Slow Dance. It started back in June of 1988 when he worked on the album. He wrote the pieces for the material very quickly. Just as Slow Dance was almost done, Ant went to the States for a few days to be with his family. And then the news came to him that Passport Records in which they released his solo albums, ceased.

This wasn’t good news. Not only Anthony was without a record company, but he had to pay a debt to management of repaying the money. Now he had no idea whether or not he wanted to delay the album and look for other work, but he decided to plow on. After Tarka was completed with guitarist Harry Williamson, Engineer Simon Heyworth who worked with him since The Geese and the Ghost, helped him out on the Slow Dance project.

He also used a real string section on his album during the recording at CBS studios in February of 1989. And then, he signed to Richard Branson’s Virgin label at the spring of 1990 as the album was released in September of that year. It was a long process in the making to bring it to life. As I’ve mentioned, Anthony Phillips’ music is different from his time with Genesis.

It was very different from his previous albums on Sides, The Geese and the Ghost, Wise After the Event, and 1984. It showed Anthony’s orchestral side that showed elements between Mike Oldfield, Vangelis, and Jean-Michel Jarre. It took me a few listens to delve deep into Slow Dance, but it grabbed me more and more to understand why he was ahead of his time. It may not be everyone’s cup of coffee, but it grows on you.

The first movement begins with ambient strings coming in with a heavenly introduction. Ant’s classical guitar sets gentle tones along with wind instruments. It feels that you have walked through the forest of lost hope as the images come through your head of what’s happening. There are some moments of early Genesis and bits of The Enid’s In The Region of Summer Stars.

Phillips takes you for a ride towards scenes for a fantasy film that’s been done right. The synths delve deep, deep into the watery tunnels with no chance of escaping. There is some alarming organ notes, percussion, and clapping rhythm sections. Along with the vocalizations from the keyboards and fanfare sections, Phillips brings the sombering electric-classical guitar for this melancholic sound.

It’s almost at times from the first movement. set to a scene of the continuation of Disney’s Fantasia. The last three minutes of the pieces shows Anthony giving the listener a chance of hope of knowing that a new day will happen and it will start over again to be back of where you were.

The second movement starts to open doors to another parallel infinite universe as if you can imagine something terrible has happened with ascending and descending guitars and militant drums. But all of a sudden, it rises up from the ashes of the electronic drum pads. There is this very interesting Jazz section for a little bit as Anthony shows a teensy-weensy bit of a Allan Holdsworth-sque vibe into the mix.

It changes at the 14 minute and 17 second mark as it becomes a battlefield featuring the string section. It’s a bloody uphill battle. Epic fanfare horns and knowing its going to be hard, difficult, and brutal and thanks to the drum program it is again an epic moment in the second act. You can imagine Ant is a conductor at heart to create this scenario of what’s happening.

Now let’s be honest Anthony is not Leopold Stokowski, but he is bringing the magic and ideas in his head come to life. You can imagine the men who are making the sacrifices in the battle sequence, knowing whether or not it is going to be their last goodbyes they say to their families. It then changes into an aftermath of what has happened. The strings come forth near the end of watery effects to give the second movement, a mourning farewell.

The second disc which is Slow Dance Vignettes. It contains nine pieces during the making of the album. And three of them stood out for me. The Guitar Adagio from Slow Dance is a penultimate section from the first movement that has the gentle tone. You can close your eyes and imagine a sun rising through the west as Anthony channels Black Sabbath’s Tony Iommi’s acoustic side with both Laguna Sunrise and Fluff.

With Clarinet Sleigh Ride, Ant delves into the waters between both Tangerine Dream and Kraftwerk in the background. It’s an unearthed track from the sessions that I’ve never heard before and it’s very interesting to have some of these melodic rising pieces as if Anthony Phillips was doing a score in the late ‘80s for a special on PBS.

Then, there’s this newly mixed version of the string parts with an emotional heart-tugging stir between the crossover of Stravinsky’s Firebird Suite and Bach’s Air on the G String with Lenta Chorum. There’s also a DVD containing a 5.1 mix of the album by also. When Slow Dance was released in that year in the UK on September 24th, it was the last album to be released on Vinyl, Cassette, and CD. It’s been considered a fan favorite along with Ant himself.

I hope one day Anthony Phillips goes back and revisits this album and moving from the electronic parts he used on the album and bring a real orchestra to give Slow Dance a chance to be reborn. The package is amazing. It contains the 2-CDs and the DVD, followed by a replica poster, a 16-page booklet containing promos of the album in Japan, original master tape, liner notes by Jonathan Dann interviewing Phillips about the origins, making, and release of the album, and a note written on manuscript paper that says “NO WAY OUT. PIECE V”.

If you love the music of Anthony Phillips, then Slow Dance is really worth exploring and highly recommended to show again Anthony’s orchestral, new age, and symphonic side to him.

Friday, July 14, 2017

Rachel Flowers - Listen


Rachel Flowers is for me one of the most brilliant composers and multi-instrumentalist I’ve discovered. I first became aware of Rachel after discovering one of her interpretations on YouTube of Emerson, Lake & Palmer’s Tarkus, The Endless Enigma, and Trilogy. And I was blown away by her. This was mind-blowing of her to take on a huge challenge of playing their material and not to mention playing Keith Emerson’s modular moog which I can imagine it was an honor of her to play it by getting permission.

For her, it is a blessing. She’s performed with Dweezil Zappa with Zappa Plays Zappa in April of 2015 in honor of the 40th anniversary of Frank Zappa’s album, One Size Fits All. There are clips of her performing on keyboards with Inca Roads, Evelyn, A Modified Dog, and on guitar with Montana. She played when she was 10 years old, for the late great Ray Charles, and meeting people including Stevie Wonder, Greg Lake, and of course, Keith Emerson.

Rachel lost her eyesight when she was very young, but she never gave up. She has an amazing ear, and a perfect pitch. That and her debut album entitled, Listen, Rachel has created her own sound, beauty, and textures. The genres of classical, jazz, and progressive rock is all here on Listen. It is at times an emotional journey that Flowers herself will take you on.

Greg’s Favorite which is a tribute to the late great Greg Lake, has this 3/4 time signature of a ballad and waltz. It has some symphonic touches. Her vocalizations at times brings to mind of the Canterbury scene with The Northettes who appeared on Egg’s The Civil Surface and Hatfield and the North’s sole self-titled debut album. She plays beautifully on the piano and rising sounds from both the strings and drums.

The spirit of Keith Emerson is flowing in her and is letting Rachel know that he will always be with her wherever the yellow brick road will take her into. You can imagine Flowers is doing her own style of doing a score to the follow up of The Peanuts Movie showing some essence of Vince Guaraldi.

Goes To Eleven is almost a nod to the 1984 cult classic, This Is Spinal Tap’sMarshal Amps going up to 11 spoken by Nigel Tufnel. This is a cross between Jazz, Fusion, and Prog-Rock. With melodic elements between guitars, horn sections, and string section, Rachel playing guitar is jaw-dropping. She is a virtuosic master carrying the styles between Frank Zappa, Allan Holdsworth, and Steve Vai rolled into one.

The two-part suite Aloha is an orchestral jazz atmosphere. The first part has this classical touch and you can imagine the sun coming over the horizon for a brand new day. With glowing moments from the symphony between the fanfare and its epic touch. You can imagine Rachel bringing Disney’s Fantasia back from the dead and making sure they were continuing a follow up to Fantasia 2000.

It then moves onto the second part in the Jazz world with a Bass playing a simple line. It is this cross between Miles Davis and John Coltrane if he hadn’t passed away as if the two of them were working together and creating something that was beyond their Bebop Jazz roots and delivering the spirituality journey to continue. Rachel is taking the listener to the spiritual adventure that is special and finding their inner selves.

She is very much like a painter drawing a simple line and never knowing she will stop. And the bass improvisations that reminisce between Stanley Clarke and Jaco Pastorius followed by a flute improvisation she does. And then there’s, Run For Miles. Rachel shows her nod to the late great Miles Davis. You can hear the howling of the trumpet calling for a sign.

You can hear some Holdsworth-sque improvisation on the keyboards. Not only it is a nod to Miles, but she pays a nod to Kind of Blue as if Rachel was using the SynthAxe to carry the torch for Allan Holdsworth and keeping his legacy alive. I had an amazing time listening to Rachel Flowers’ Listen. This is a very good release that unleashed last year.

She will be performing near the end of July in Birmingham, England entitled, Keith Emerson – A Musical Celebration of his Life and in October 13th to the 15th of this year for the three-day ProgStock festival in New Jersey with Echolyn, Glass Hammer, Karmakanic, EchoTest (featuring Julie Slick), The Tea Club, and Rani Chatoorgoon to name a few. She is going to be very busy this year. So please check out her debut album, Listen. 

Thursday, July 13, 2017

Magma - Wurdah Itah


In 1974, after the release of their mind-blowing concept album, Mekanik Destruktiw Kommandoh, Magma went back into the studio and released their fourth studio album entitled, Wurdah Itah. Originally released on the Egg label, and reissued this year on the Seventh Records label, it was initially released as a Christian Vander album in the late ‘70s as the film score to Yvan Lagrange’s Tristan & Iseult, but it’s considered as a Magma album.

It was recorded in one month just as the band were getting ready to work on their fifth album entitled, Kohntarkosz. And it is also their second movement of the Theusz Hamtaahk. When translated in Kobaian, Wurdah Itah means “Dead Earth.” It has this dystopian atmosphere of Earth now turned into a nightmarish planet that has gone straight to hell and no chance of finding peace. Now since I’ve mentioned this as a film score of Yvan’s take of the tragic tale between Tristan and Iseult.

I’ve seen some clips of the film on YouTube. It is bizarre and surreal take. Imagine Ken Russell teaming up with Alejandro Jodorowsky and creating this tale and blaring the sounds of the story up to 100. Believe me, when you watch the clips, it is not the best adaptation of the story, but the music which features some of the core members of the band, it’s gothic, surreal, avant-garde, classical, operatic, and jazz like no other.

Christian Vander, Stella Vander, Jannick Top, and Klaus Blasquiz are at their best. While they are singing in the Kobaian language, they have given the intensity and the power to perform at maximum volume. While Christian not only plays drums and sings, he plays piano brilliantly. Following in the steps of Coltrane’s pianist McCoy Tyner, Christian plays some menacing chords.

At times he goes from mid-tempo speed to relaxing moments throughout the sections of the second movement. You can hear the aspects of the third movement which would be Mekanik Destruktiw Kommandoh and parts of their Kobaia album thrown in there. You can imagine feeling the tense moments of listening to Wurdah Itah as if you, the listener, are on a tightrope and you can never tell if the rope is about to be cut or not.

Christian himself is very much a composer and conductor and giving cues for Klaus, Stella, and Jannick knowing when they are coming in for the right moment. The bonus track in which is a 25-minute rough version of the suite. It is an early development of the movement. It’s rough, raw, sinister, weird, and brilliant. This is also the original demo that was used in the Yves’ bizarre film.

Wurdah Itah is not for the faint of heart. Again when you listen to Magma’s music whether you love it or hate it, it is challenging music. For me, admiring the Magma machine, their fourth album reissued this year and hearing the raw demo, it’s spellbinding. And I had goose bumps all over my arms hearing the 25-minute piece. Again, I recommend checking out Wurdah Itah. 

Friday, July 7, 2017

Top 20 Albums So Far and the Update

To everyone, I deeply apologize for being in shutdown mode due to family emergencies. My family is more important right now. I will be back, I just don't know when. It will be either late July or in August of when I will come back. But it's been rough for me since of what's been going on. Again, I.Will.Be.Back. It will probably be in August when I'll come back to review. Again, I'm deeply sorry for the long delays.

I will be back on the review train, when I'm ready. I just have to find when the time's right. But, as I've mentioned, Family comes first. Anyway, here's my top 20 albums so far of 2017. I know it's early before December's top 30 albums of 2017, but here's my picks of the top 20 albums so far of 2017.

1. Schooltree – Heterotopia (Self-Released)
2. Bent Knee – Land Animal (InsideOut)
3. White Willow – Future Hopes (Laser’s Edge)
4. EchoTest – From Two Balconies (Self-Released)
5. Magenta – We Are Legend (Tigermoth Productions)
6. Gentle Knife – Clock Unwound (Bajkal Records)
7. Galley Beggar – Heathen Hymns (Rise Above Records)
8. Richard Barbieri – Planets + Persona (Kscope)
9. Tohpati Bertiga – Faces (deMajors Records)
10. Ayreon – The Source (Mascot Label Group)
11. Wingfield Reuter Stavi Sirkis – The Stone House (MoonJune Records)
12. Led Bib – Umbrella Weather (RareNoise Records)
13. Blackfield – Blackfield V (Kscope)
14. Kevin Kastning – A Connection of Secrets (Greydisc)
15. Bullet Height – No Atonement (Superball Music)
16. Cheer-Accident – Putting Off Death (Cuneiform)
17. il Tempio Delle Clessidre – il-Ludere (Black Widow Records)
18. Hedersleben – Orbit (Purple Pyramid)
19. Pixie Ninja – Ultrasound (Apollon Records) 
20. Ides of Gemini – Women (Rise Above Records) 

Sunday, June 25, 2017

Cheer-Accident - Putting Off Death


It’s been a good while since I’ve done a review from the Cuneiform label. And it’s about time to do a review for one of the most interesting bands that have peaked my ears more and more since discovering them in the 2010 documentary, Romantic Warriors: A Progressive Music Saga. That band is Chicago’s own Cheer-Accident. Since their formation back in 1981 and despite line-up changes, they blew me away right from the moment I watched the documentary and I was hooked right from the get-go.

I have one of their albums which is 2009’s Fear Draws Misfortune. And then they took a six-year hiatus after the release of 2011’s No Ifs, Ands or Dogs. This year, it’s almost to let the listener that they are still here and they have the batteries all charged up and ready to go with the release of their new album entitled, Putting Off Death. The album title suggests that while death is approaching it’s a game of chess with the Grim Reaper.

But for me, it’s almost along with the album cover done by Jeff Libersher’s art deco 1940s look, the idea of Chess feels very much essence of Ingmar Bergman’s 1957 classic, The Seventh Seal. The opening track, Language Is begins with this lovely melodic piano ballad and Thymme Jones’ vocal arrangements. The first 3 minutes and 40 seconds have these lyrical aspects between Robert Wyatt and unsung singer-songwriter John Howard (Kid in a Big World-era) that brings to mind of his classic, Goodbye Suzie.

It suddenly transforms into an aggressive yet alarming movement with a mid-fast ramming speed segment before it changes near the end into a heavenly atmospheric Blade Runner-sque scenario of Brian Eno’s Here Come the Warm Jets-era. The Avant-Pop catchy melody featuring the piano and keyboards with some nice percussion sounds as Carmen Armillas’ soothing vocals describe of the scenario and where the lyrics gave the album’s title from on Immanence.

But then Thymme himself brings his essence of the psychedelic-era of The Beatles with some trippy effects between the vibes of Tomorrow Never Knows and Frank Zappa’s The Return of the Son of Monster Magnet. Not to mention the trippy effects on the vocalizations and menacing acoustic guitar sounds with Wishful Breathing while everything goes into an apocalyptic hellish introduction to Falling World.

Guitars go through a mysterious opening door to the essence of William S. Burroughs’ Naked Lunch. There’s this crossover essence between David Bowie’s Hallo Spaceboy and Radiohead’s The Bends sessions featuring some mid-operatic vocal arrangements. But then, Jazz Trumpets goes head towards the howling mix improvisation and then ending with an electronica doom finale guitar chords.

Lifetime Guarantee is probably going to be one of Cheer-Accident’s favorites. And it is for me one of my favorites that is on Putting Off Death. It has the ingredients of Prog-Pop, standalone rock anthem, Frank Zappa arrangements of odd-time changes near the closing sequences, memorable grooves with some fanfare trumpet movements, the vocalizations rise for life lasting voyage, and little bits and pieces of the AOR sound (Album Orientated Rock).

Hymn closes the album. The echoing reverb effects of the piano brings to mind a piece of music delving into the pool of a genre into the dreamy pop city. Jones sends you into the sky that there one day might be hope for a new day along with an eerie nightmarish string section for a brief few seconds. It is a gripping way to close the album and fade off into the sunset.

Putting Off Death in which Thymme Jones suggested that it might ask the listener that it will ask you some questions that can be answered through the mind of a receiver. Now for me, I always like a mystery. It is of course, a mysterious album that might give you some clues to the piece of Cheer-Accident’s piece of the puzzle as if they are following in David Lynch's footsteps. I have embarked more rides with album than ever before, and Putting Off Death is one of them. 

Saturday, June 24, 2017

Bent Knee - Land Animal


For me, they are still one of the most mind-blowing and eruptive bands to come out of Boston with a volcanic roar that the lava itself flows rapidly quick of showing no sign of stopping to raise hell. That band is Bent Knee. With three albums in the can, they still keep going for more. And with them being on the road with bands such as Thank You Scientist and with The Dillinger Escape Plan for their farewell tour, they have come a long, long, long way. And the six-piece show that they can take their music higher with their fourth album, Land Animal.

They are on a new label with InsideOut Music. To me, that’s very interesting to be on a label with bands such as Knifeworld, Haken, Karmakanic, Beardfish, and Ayreon. I wouldn’t say it’s like winning the Super Bowl, but it’s a big leap forward from moving from one label to another. But let’s get straight into Land Animal. I’m going to say this right now, but this is one of the most powerful and scariest album I’ve ever listened to. It shows that Bent Knee will keep on going for more of the long and winding roads ahead.

Terror Bird kicks the door open with Gavin’s intensive drumbeats along with Ben’s guitar making it sound like a clock ticking followed by an eerie quick second of the synths going into a lullaby. And then Ben hits you in the gut as he channels the vibes of Radiohead’s Jonny Greenwood. He then takes you into the heavens with some of his psychedelic moments on Hole.

It is an electronic alternative arrangement with some pumping sounds as Courtney Swain’s vocals go on high alert for a brief second as the lyrics deal of finding the strength to keep going while the stand-out track Holy Ghost gives Baum makes the violin pluck as if the pin has already dropped. This is a very killer composition because Courtney takes you beyond of the reflections of the mirror as if Beauty is showing their dark side by taking the mask off.

The lyrics are raw, tight and front of your face by giving you the facts; “Oh nothing charges me like the night/It is like good god/I was born to write hey, wait/What about my body though?/I got to find a way to get more glitter/more sass/more time/wine and dining/kissing ass.” You can’t write amazing lyrics like that. You just can’t. But now you can. And again, it hits you right in the face as if they are giving you a gigantic reality check.

The mid-section becomes a cat-and-mouse sequence between Ben Levin, Jessica Kion’s Bass, Vince’s ‘80s video games synth, and Gavin setting up the mysterious case of the grizzly crime scene on the drums. Courtney isn’t trying to be center of attention, but she wants to make sure the band are a team and keeping the machine alive. She pours her heart and soul in her vocals as if the character is ready to break out of this madness.

Bent Knee take a break on the first three minutes and fifty-seven seconds on Insides In. This shows their softer side with a mellowing jazz ballad as it has these Tori Amos lyrical structures. The classical string section has this ‘50s romantic sound before the last couple of minutes become a booming nightmare as synths become harp sounds, Ben’s guitar chords are explosive, and it sets up the tone that is happening with an unexpected twist by ending with a chilling drone.

Jessica Kion comes on center stage as her Bass line on Those Hands, sets up the scenario of the character’s life becoming more worried, depressed, being in danger, and all alone. And while they aren’t around to help you, you have to deal with the facts of growing up and facing family life. It is walking towards the deeper tunnels between classical music and alternative post-rock.

The title-track begins with some string sections straight out of the 1960s TV series, The Fugitive that blares out of nowhere as if it was done by the great Bernard Herrmann. It’s almost at times that the lyrics are dealt through the mind of a little mouse sneaking through the house for some crumbs in those sections through Courtney’s vocals. You can absolutely feel the vocals, stirring sections, and the band going on a dangerous tight rope.

Time Deer feels as if it is the third installment of the continuation of the tracks between Way Too Long and Leak Water. It has this Roy Orbison-sque punch of early to mid-‘60s vibe featuring some action-packed/dramatic sequence in the last minute and thirty-two seconds featuring Gavin’s galloping drums. Stomping intro, has this ‘60s girl’s group essence in the sound of going into parallel universes.

And then Courtney almost goes into the vocal arrangements through the Dalek-sque arrangement as the finale Boxes features dooming bass synths and drums as if its straight out of Alex Proyas 1998 film, Dark City featuring a haunting abrupt end as there’s dead silence for the last seven minutes to close the album. The two bonus tracks contain the title track going through a surreal ‘50s house of a dystopian effect going into a haywire effect as if it is all over the place done by the remix of Ben Levin.

The Sylvia Massy mix of Way Too Long which sounds like it was recorded on a tape recorder, is a different take. It’s menacing, punchy, and volcanic than what was on the original version on Shiny Eyed Babies. It may divide a line in the sand whether they will admire Bent Knee’s new album or not, but it grows on you. However, Land Animal is definitely on my soon to be top 25 albums of the year so far.

There’s going to be some gigantic competition on which albums will be on there. This one is definitely going to be on there. Bent Knee never disappoints me. Again, Land Animal is one of the scariest and eruptive albums I’ve listened to. And you need to check it out. Worth recommending.

Friday, June 23, 2017

Pixie Ninja - Ultrasound


Whenever something special my ears would come around for a piece of music that might peak my interest, I know it would hit me at the right moment. One of those moments is a band called Pixie Ninja. Now mind you, it sounds like an Anime series or a Video Game, but the title of the band’s name as I’ve mentioned a second ago, peak my interest. They’ve released their debut release this year on the Apollon Records label entitled, Ultrasound.

The band came around with two individuals who have a love of the Scandinavian Progressive scene. Now, again, I admire the Scandinavian scene, and this band is going to be up on my list that is up there with Anglagard, White Willow, Motorpsycho, and Beardfish to name a few. Jostein Haugen and Marius Leiranes started to work on the album back in 2015 and then recorded the album a year later.

And bringing Mattias Olsson to the score by mixing the album and producing it along with the overdubs and drumming, that’s a combination. And throw in people like Johan Hals Jorgensen and guest musician Ketil Vestrum Einarsen (White Willow, Wobbler, and Motorpsycho) to the mix, you’ve got yourself a weekend. But let’s go ahead and get straight to the album.

The album itself has this dark futuristic setting. It always has this reminisce at times as if Pixie Ninja were doing the score for the 2017 video game, Prey. Now for me as a Geek, I would love to see them one day do something like that in the near future. The album with six compositions that both Haugen and Leiranes wrote and arranged, takes you into the darker areas that you've never seen before. It’s almost at times that you can feel as if a pin dropped and knowing that trouble is brewing.

And getting out is the hard part. There are elements between Goblin, Anima Morte and the Sorcerer-era of Tangerine Dream thrown into the mix. Whenever an album I mentioned before as if the movie inside your head, well think of this like an extended director’s cut of a sci-fi dystopian movie. It blends well of the past, present, and future. It’s creepy, deep, and vast, but it is an interesting release this year.

I have listened to Ultrasound five times now. It’s not an easy album to listen to, but I will hope they continue to do more in the years and years and years to come. Ultrasound is one of the scariest and compelling releases I’ve listened to.

Friday, June 16, 2017

Gentle Knife - Clock Unwound


Howard Roark, a character from Ayn Rand’s 1943 novel, The Fountainhead says to Peter Keating on the way he lives his life is, “To sell your soul is the easiest thing in the world. That’s what everybody does every hour of his life. If I asked you to keep your soul, would you understand why that’s much harder?” What Roark is saying to Keating is, that while the second-hander fails on the authority, it loses their hope of sensibility.

But it nurtures your own body and soul by freeing the control from the outside by demanding ideas and accomplishments. We are living in a society where something might go horribly wrong and lived in a world one day will be in a dystopian underground. That and Gentle Knife’s second release which is a follow up to their sole self-titled debut release entitled, Clock Unwound released on the Bajkal label shows that the Norway ensemble is back.

The themes deal with the situation I mentioned, was once a paradise that everyone can live in and bring their dreams to life, but it goes awry and the price it comes with it. But there’s hope of a glimpse of beauty underneath the ruins. Gentle Knife themselves have never done me wrong and their second album is a dark, beautiful, and haunting release I’ve listened to.

Opener, Prelude: Incipit starts off with a jazz piano chord in an ominous tone, followed by echoing reverb effects of the Trumpet done in a mournful sound a-la Miles Davis style. And it shows us, the listener, the wasteland that is like something straight out of either Blade Runner or Aldous Huxley’s Brave New World. And then, it segues into the title track.

With its hard riffs essence to both Procol Harum’s In Held ‘Twas in I and Rush’s Permanent Waves, the synths represent what is about to describe in the story structure as the composition feels almost like a mini-opera as if Arjen “Ayreon” Lucassen conducted and wrote the piece and got it done right. Increasing levels before the vocalizations and metal riffs pour in.

The flutes come pouring in with some Crimson-sque guitar lines as if you are walking through the rubble, hearing some pleas of help, but you can’t hear them and imagine hearing a pin drop in the area followed by a sax improvisation. With Fade Away, it’s almost as if it’s the mellowing pieces turned into volcanic rhythms. The first 2 minutes and 13 seconds start off honoring essences of King Crimson’s THRAK-era.

You can hear mellow guitar structures, mellotrons, flutes, and trumpets rolled together in a gigantic blender. And featuring the roaring horns erupt and wah-wah grooves and flute improvisations and then it heads back in the last 2 minutes of the mellowing arrangements. Plans Askew starts off in the first minute and seven seconds of a Hackett-sque classical guitar intro as the singing kicks in as if they are in an abandoned stage singing folk-like lyrics.

It then boosts up the instruments by coming in knowing hopefully that tomorrow will be a new day. The guitars go through a double-edge sword sharing the same melody with the same lines. It’s almost as if crying to the gods through the rubble with no one to hear as the characters know that death has come upon them.

The closing track, Resignation starts off with some video game haunting chords as if’s through the 16-bit Sega Genesis. And then, eerie Jazz flutes and atmospheric waves come in with the spoken dialogue done by a poet through the minds of between Allen Ginsberg, Jim Morrison and George Orwell. There’s some heavier tones by in a mid-speed journey to the unknown with a church organ behind you.

The characters I can imagine in the finale are letting the listener know, not to follow and not come looking for them. Because they aren’t going to like what they find. I really enjoyed listening to Clock Unwound. This is my fifth time listening to Gentle Knife’s second album. And the mastering done by Stick Men’s Markus Reuter and Benjamin Schafer from Unsung Productions, for me it’s a perfect combination for them to work on this album.

I hope Gentle Knife continues to do more for years and years to come. They are one of my favorite ensembles to come out of the genre. And I hope they won’t stop. The journey has just begun for them with Clock Unwound.