skip to main |
skip to sidebar
US act TECHNOLOGY VS HORSE have been around for around a decade now, with four full albums to their name. "Potential Pleasure Device" is the most recent of their efforts, and was self-released as a digital production in 2011.
In style these five musicians explore a kind of alternative rock on this album, with a steady backbeat as the core foundation throughout, staccato guitar textures with occasional distorted, light-toned details and circulating soloing parts as the main flavour. Organs is the main keyboard instrument of choice for supplemental motifs, with occasional use of swirling futuristic sounds. Arrangements and production tend to be subtly lo-fi in sound, and the songs and themes tend to have an orientation towards the dramatic. With the talents of giant frontman Mike adding a certain emphasis to the latter.
And at best this is an intriguing outfit. Their songs can be fairly refined, or at least stretching a bit outside of the confinements one generally will envision when dealing with a band within the indie/alternative scene. For me the most enthralling experience on this occasion comes at the very end, with the creation They'll Kill Us. Initially a nervously echoing, light-toned guitar motif circulating beneath Mike's expressive vocals, nicely backed by organ bursts and steady rhythms, developing into a more majestic, compact theme sporting richly flavoured exotic sounding guitar soloing and organ in majestic combination with a darker toned rumbling bass guitar fleshing out the soundscape, and finally ending up in a harder, darker sequence with heavy distorted bass as an ominous and brooding undercurrent beneath a compact, pace-filled riff construction with more of a punk orientation to it. With occasional noise inserts to boot.
Most of the other songs appear to be of a less sophisticated nature however, and as far as those efforts go it's more of a question of pace and momentum carrying the songs and how well the guitar and keyboards manage to supply intriguing details. The opening efforts works fairly well in doing so, while the least interesting efforts to my ears take up the middle part of the CD. Subtly differences in construction aside, all the songs utilize the subtle differences and partially overlapping harmonics of vocals, keyboards and guitars to form the dominating parts of the themes explored. At one extreme with a slight folk orientation as on Baba Yaga, another represented with the metal and punk-tinged end sequence on aforementioned They'll Kill Us. There's even room for dampened, plucked rhythm guitars in a manner Pink Floyd fans would approve of on One Long Tunnel, but here utilized in a song that doesn't incorporate too many additional details one might associate with that particular band.
Their most straightforward efforts should find good favour amongst a younger audience, with whacky efforts like Idiot and She's My Robot pieces I suspect many teenagers will feel compelled to like. Older listeners may find this album to be a bit too young at heart at times however, with tracks like Electric Eels and They'll Kill Us as the ones I suspect might have a broader appeal for an older audience.
My rating: 60/100
Track list:
1. Electric Eels 4:04
2. Teenage Funk 4:22
3. White Girls 3:37
4. New Lily Pads 5:19
5. She's My Robot 3:36
6. Terrorkeets 2:36
7. Baba Yaga 3:33
8. Idiot 2:22
9. One Long Tunnel 6:24
10. Millions of Songs 0:14
11. They'll Kill Us 7:14
Multinational act COLIN TENCH PROJECT is a new player on the field, but with an interesting back history to it. Main man Colin Tench appeared more or less out of nowhere (also known as Sweden) a couple of years ago, promoting an album by a UK band he had been a member of some 20 odd years ago whose sole album had been refused by major and indie labels alike on a few previous occasions. So he decided to do it all himself, and it turned out that this CD found favour among quite a few people. And while promoting this production and being busy networking, Tench soon established himself as a likeable and popular persona to boot.
And with the relative success of his old recordings, it seems that Tench' creativity was given a boost in between keeping in touch with hundreds of fellow musicians and fans worldwide. And after almost 30 years away from the game he's now a recording artist again, the digital single "Something Old, Something New, Something Borrowed, Something Screwed" the first direct result. An item that most likely came to be dye to Tench' activities on the internets, as he's brought in some additional musicians to this piece: UK bassist Gary Derrick, US drummer Victor Tassone and Italian tangents man Marco Chiappini. With Tench himself residing in Sweden this is a true to life international endeavour, enabled by broadband internet, social networking and file-sharing I presume.
As much as I would have liked to describe this as a perfect comeback by a talented artist flavouring his production with 25 years of unused creativity, this track isn't in that league. It's a pleasant enough item, with layered guitars in general and Gilmouresque soloing in particular as key features, with trons in the first half and a gentle piano in the second half as the main secondary motifs. Dark toned echoing guitar riffs are utilized to good dramatic effect in the first half, and the occasional alteration in pace and arrangements cater for variety quite nicely. The transitional phases tend to drop momentum ever so slightly, perhaps intended for dramatic effect but not quite managing to have that effect on me. One of those details that comes down to personal taste.
But it is an enjoyable piece. Instrumental, dampened in expression and refined in arrangements, with a sound and character to it that should find favour amongst fans of Pink Floyd in general and those fond of The Wall in particular. But with a mood and atmosphere subtly more joyful and positive than the aforementioned band and album referenced.
My rating: 60/100
Track list:
1. Something Old, Something New, Something Borrowed, Something Screwed 7:31
Italian band SISTRA is the creative vehicle of composer and multi-instrumentalist Fabrizio Di Vicino, who has been assembling music for this venture since 2005. "Bearing" is the first album release of this project, and was issued in the fall of 2011 on Vicinio's own and recently formed label Psych Up Melodies.
Looking at the larger picture, you can basically divide artist careers into a few different different categories, of which two appear to be among the most common. You have the ones who have been toiling away for years, honing their craft and their material, and when their debut album eventually appears it is a stunning one. A production they never manage to best again for the rest of their lifetime. And you have those whose first creation is an imperfect one, more or less flawed, and whose subsequent productions steadily rise in quality. And while time will ultimately have to tell in which of these categories an artist is best placed, I think that Sistra may prove to be a case of the latter.
This initial effort of theirs, while not that impressive to my ears as such, does showcase a band with a great deal of talent. A production to be enjoyed by many people less critical than yours truly I suspect, although lacking in the finer qualities that will give them a strong breakthrough I believe. One thing is certain though: This is a band that merits an inspection by those fond of challenging music. The compositions demand the attention of someone with a taste for the quirkier side of music, their weaker aspects by and large ones of a subjective rather than objective nature.
Multiple themes and motifs is a general tendency throughout, and frequent use of distorted instrumentation and effects common features throughout. If you're fond of atonal details and non-harmonic features there are plenty of such to discover and enjoy, albeit mostly of a nuanced and subtle nature rather than up front and dominating. All and sundry wrapped in psych-tinged arrangements. Droning sounds, nervously fluttering fragile motifs and fluctuating patterns. At times perhaps with a touch of space rock of sorts, on some occasions venturing closer to the realms of electronic progressive music, but most times staying well put within a retro-influenced expression. Tight rhythms and excellent bass guitar are central features throughout, distorted guitars a core element on most tracks.
My personal gripes are twofold, and subjective at that. While she has a good and intriguing voice, I don't find the vocals of Gaia Vittozzi to be a good fit on this occasion. Ever so slightly off in the overall picture, in a subtly different tune to whatever theme or motif that is dominating at any given time. The echoing effect given to most vocal parts perhaps a contributing feature to my perception, but most of all I suspect that this is a case of my rather extreme sensibilities as far as vocals are concerned kicking in here. The opening and final parts of Psiche the sole exception to this, as these parts utilize her voice perfectly as far as my own personal taste go. A second aspect that I found to be negative are the case of thematic shifts and alterations, where I found many of the transitional phases to be too crude and the shifts to not quite fit within the overall scope of the compositions, resulting in a subjective perception of some songs loosing momentum and breaking up. The tendency towards a lo fi sounding production not always to my personal taste either, but that is solely a matter of personal taste.
But critical perceptions aside, there's also a lot of talent at display here. Those less critical of certain features than me will most likely find this to be a charming affair anyhow, as long as sophisticated psychedelic music is a style they enjoy, and even spoiled music consumptionists like myself should be able to find the occasional gem on this disc. My personal choices in that department Drunk Flight, an elegant excursion blending a relatively freely wandering bass guitar with various instances of partially broken and twisted electronic sounds and effects. And later there's Oblivion, an initially folk-tinged affair that incorporates an elongated standalone theme with an enchanting, psych-dripping guitar motif as a dominant feature.
"Bearing" is a slightly flawed album as I regard it, although in this case that is a matter of personal taste to a much greater extent than any objective aspect of this production. Musically we're dealing with a fairly sophisticated specimen within the psychedelic rock universe, and those with an interest in such endeavours might want to spend a few minutes of their time to check whether or not this is a disc that appeals to their personal taste. This is a talented band after all, and for the right listeners I suspect that "Bearing" will be perceived as a disc both charming and enticing.
My rating: 52/100
Track list:
1. Paralleli 4:46
2. Una pedina 5:44
3. Chiaroscuri 4:36
4. Onde 5:16
5. Le parole 4:17
6. Ziqqurath 6:11
7. Bearing 4:51
8. Drunk Flight 6:56
9. Living Casket 6:19
10. Psiche 7:03
11. Oblivion 6:57
12. Stasi 6:48
French act CHEVAL FOU was active from 1970 until 1975, with Jean-Max Peteau (guitars, vocals), Stephane Rossini (drums, vocals) and Michel Peteau (guitars, vocals, saxophone) as permanent members and, I assume, at least a couple of guest musicians contributing to the proceedings whose names have been lost in time. They never released anything while active, but in 1994 the short-lived French independent label Legend Music issued a compilation of recordings by the band made back in the early 70's. As the same label reissued Cheval Fou's successor outfit NYL's sole release with additional bonus material at the same time, it is likely to suspect that the label got access to recordings by both these projects at that time. Out of print for a good few years by, this compilation was reissued by new indie label Psych Up Melodies in the fall of 2011.
And this compilation of recordings by Cheval Fou is of a character thaqt makes it a production for the specially interested to seek out. Relatively harsh, slightly primitive psychedelic rock is the name of the game, with a firm emphasis on fireworks drums and tight interwoven guitar constructions with occasional freakout moments. Dual guitar motifs with one dark-toned and a lighter toned contrasting psych-tinged or soloing a common feature, staccato guitar constructions interwoven with the drums another regular feature. In style and expression often closer to the excursions made by German bands at the time, and as such music of a kind and character that might well interest krautrock aficionados.
The backside of the medallion is the quality of the recordings scavenged to assemble this disc. If they are live in studio or live on stage I can't tell, but what's certain is that they weren't made with any thought towards making them commercially available. Most likely time has taken it's toll on the tapes that recorded them too, but at best these recordings corresponds to what you'd get on low quality bootlegs in yesteryear. Two rounds in the studio remastering them to as high a level as possible makes them listenable, some of them even passable, but by and large most people expecting to listen to material at a certain minimum quality will find this album wanting.
That is, apart from final track La fin de la vie. This one exception appears to be a good quality studio recording, and of such quality that I wouldn't be surprised if I learned that at least some of it had been recorded at a much later date. Elegant, repetitive tribal rhythms and spoken words reciting a story of some sort, at first by a child and later by a grown man, with dampened fluctuating instrumental textures placed way back in the arrangements. Some kind of simplistic precursor to later day projects such as Trey Gunn's Quodia project from a few years back. Less refined and in French, but sharing many obvious similarities.
All in all an album for those with a special interest in early 1970's French psychedelic progressive rock, with qualities that should make it an interesting experience for like-minded krautrock fans. As long as they can cope with the rather extreme lo-fi quality that define all but the last track on this disc.
My rating: 68/100
Track list:
1. Mercury Messenger 2:11
2. Kheops 5:34
3. Etna 7:05
4. Hannibal 18:04
5. Meteorites 5:55
6. Isthar 1:48
7. Actreids 2:46
8. Croisades 2:33
9. Dans L'Oeil de L'Oeil 4:45
10. Birth 1:23
11. Marion Dreams 2:31
12. Sunset Laser 8:19
13. La Fin de la Vie 12:44
French project NYL was the creative vehicle for guitarist Michel Peteau and drummer Stéphane Rossini, whose sole album saw the light on a private label in 1976. Small indie label Legend Music reissued this production on CD in 1993, and after many years out of print fledgling label Psych Up Melodies decided that it was time to make this production available again in the fall of 2011.
The original LP contained 9 tracks, of which 8 have been reissued and two of those slightly reworked already on the first reissue of this disc. The missing track, Blue Eyes (Revox Tapes) may possibly be the sound collage appearing at the very end of this reissue version however, as the album has been expanded by a total of 7 tracks. Most of them alternative versions of album tracks admittedly, and as such there isn't too much new music as such to enjoy. But for the avid fans such material is always a treat to encounter anyhow. Still, the original LP's 30 odd minutes playtime has been doubled with all the bonus material, and as these alternative versions and occasional excerpts generally hold good quality they are well worth experiencing also by those who have the original vinyl edition as a treasured keepsake.
The original album appears to be a time-typical partially improvisational effort, perhaps with a foundation in endeavours of this kind more common a few years earlier. Basic themes and motifs serves as a platform for the remaining instruments to play upon, resulting in repetitive circulating psychedelic motifs with occasional freaked out inserts as the most common features. Various guest musicians provide their own special sounds, the bass line of Jannick Top arguably the most distinct of these. Those who enjoy his output will find the sprawling title track to be a delightful experience due to that alone.
Personally I found Nyarlathotep to be the most interesting excursion, a tight and energetic effort with harnessed explosive instrumental features as something of a trademark feature, the dual contrast of light-toned clean and dark-toned distorted guitar motifs on this one a most intriguing aural experience.
If you tend to enjoy 70's psychedelic rock with a distinct improvisational element played on top of tight and planned foundation, and enjoy an album that takes some pride in visiting a number of different moods and arrangements, Nyl's sole production is one you should seek out. Magma completionists might also want to get this one due to Top's guest performance, and he's on good form on the three tracks where he contributes. Not a classic production, but those with a soft spot for this kind of material will most likely be charmed by this CD.
My rating: 70/100
Track list:
1. Nyl 8:04
2. Abery 3:22
3. Nyarlathotep 2:35
4. Shatt 1:24
5. Dromadaire bleu 3:02
6. Ailes d'or 3:08
7. Dervishes 2:39
8. Ibha 3:53
9. Jaguar I 2:19
10. Jaguar II 1:01
11. Nyl II 9:23
12. Surfing Ibha 2:15
13. Nyarlathotep II 2:22
14. Nyl III 9:04
15. Alex 10:50
Swedish act THALAMUS was formed in 2006 by a crew of musicians with past experiences from other bands, experienced hands at their particular craft. One year later they released their debut album "Beneath a Dying Sun", to positive critical acclaim. Since then they have signed to Swedish label Transubstans Records, and in 2011 the band's second production "Subterfuge" was issued on that label.
Some like the mother and some like the daughter a saying goes, and personally I'd like to add that a select few might opt for the grandmother to this phrase. And in this case I find myself as belonging to the latter group of minorities, so to speak, as Thalamus second offering didn't sit too well with my personal tastes. Despute being a production that has a number of fine features, and one made with a high quality in most departments to boot.
Excellent mix and production is a trademark feature of this disc, all instruments balanced to perfection, smooth arrangements and a pleasant mood throughout. The technical aspects is of a quality many artists with a higher budget in this department can envy Thalamus. Instrumentalists and vocalists alike showcase a high degree of ability too, no slouches of any kind will be encountered on this production, with special accolades to lead vocalist Kjell Bergendahl, whose melodic yet powerful vocals would suit any number of bands and whose timbre and delivery in itself might be utilized in ventures of a more commercial orientation with good success if he should ever feel the desire for it. Top notch quality through and through.
As usual for a band issued by Transubstans Records these guys are exploring a retro-oriented brand of rock, in this case hard rock bordering on heavy metal. Black Sabbath is given a few distinct nods throughout, first and foremost on When Goblins Cheer and Still Dancing on My Graves. Some nice instances of dual guitar soloing adds a certain Wishbone Ash tinge to the proceedings, and when taking on a more distinct blues orientation it's hard not to think along the lines of classic Robin Trower. While the ever present Hammond comes with automatic associations to acts like Deep Purple. But rather than staying completely put within a 70's oriented frame of reference, Thalamus incorporates a few touches of 80's metal to the proceedings too, mostly by utilizing riff cascades performed in a classic 80's style but toned down, which alongside the hovering organ motifs succeeds quite nicely in giving these passages a 70's tinge too.
It's in the songwriting department I was less than thrilled in this case. Underlying motifs and dominating themes aren't that interesting in themselves, and without too many instances of nuances nor of variable elements the circulating, repetitive manner of these compositions result in songs the generally comes across as monotone and repetitive to my ears. Pleasant material by and large, but with a tendency for passages and themes to overstay their welcome. The sole exception, to my ears, is the aforementioned Still Dancing on My Graves, the dirty stoner rock theme that opens and close this compositions a fitting companion for the vintage sounding elongated Sabbath style passage contained within.
And while I didn't find "Subterfuge" to be that interesting myself, this is a band that has a lot going for it. My personal taste for sophisticated music is the limiting facot for me I assume, and as such I suspect that others that tend to be most interested in compositions of a slightly more intricate nature might not be the perfect audience for this CD. On the other hand, those with a strong affection for 70's hard rock in general and bands using the Hammond in particular will probably find this album to be a charming one, and comes with my recommendations to that particular audience, with minor reservations as described in some detail.My rating: 55/100Track list:
1. Blues Mary Intro 2:49
2. Bring Down Mary 2:55
3. When Goblins Cheer 5:56
4. Blind 4:09
5. Still Dancing on My Grave 3:48
6. I Hope You Understand 3:42
7. Here Today, Gone Tomorrow 4:47
8. Shot to Hell 5:16
9. She Sells Desolation 4:01
10. Love Is Shining on the Dead Man 5:45
11. Through the Fields 6:32
Five-piece GORDON FIGHTS is yet another young and promising act out of Sweden, formed in 2008 and with an initial EP to their name prior to this full length debut that was released through Transubstans Records in the fall of 2011. And as a label with an orientation towards acts exploring a vintage inspired sound, it should come as no surprise to learn that indeed, this is another trip down memory lane. The target set to sometime in the 1970's.
Blues based hard rock is the name of the game for this act, poaching a few details here and a few details there to create music with a distinct sound that fits the early 1970's concept to perfection. And while not overly familiar with any band in particular, the music tends to be of a character slightly anonymous rather than with a strong identity. Songs that could have been presented as belonging to almost any number of blues based, 70's hard rock acts without anyone finding a reason to protest. Touches that might originate from the likes of The Who, Steppenwolf and The Allman Brothers Band ones I believe I found with relative ease.
As is customary for a person with a taste for sophisticated rock, I do find this act most interesting whenever they take on a sound, approach or arrangement more refined however, or when they truly excel at the difficult art of creating intriguing material with the simplest of ideas. And this is a band that appears to enjoy doing that as well, spreading out to cover a larger stylistic span than many other retro-oriented acts.
Psychedelic tinged opener As I Please opens this production in an enticing manner, with references to Led Zeppelin and Allman Brothers Band as the main ingredients in an effort flirting ever so slightly with progressive rock. Later on Warrior is a tune that should please fans of the latter, a lighter toned calmer excursion with a distinct souther drawl. And final effort Parasite is an aptly named charming acquaintance too, with a dirty bass line used as the foundation for a slow, surging blues rock affair that transforms into a majestic textured creation with a foot or so placed well inside post rock territories with it's grandiose, textured wall of sound guitar display. Just as enticing is their nod to the good, old blues on Brothers & Sisters, and the basic guitar, percussion and vocal theme that opens and ends Little Darling is another item that should find favour among dedicated blues fans. But for pure brilliance, Time Machine is the winner as far as I'm concerned. Perhaps not as innovative as some other tracks, but the perfect blend of dark-toned, dampened blues guitars and fireworks rhythms as a solid foundation for Viktor Persson's powerful vocals is a true joy from the opening note until the very end, and the clever transformation from driving, dampened blues based hard rock to lazy fusion in the final 15 seconds of this composition one that will make most fans of good quality music nod in approval.
70's based blues based hard rock os the name of the game for this self-titled debut album by Swedish band Gordon Fights. And while many tracks doesn't really manage to aspire to anything out of the ordinary, the ones who does take this act to a different level are well worth experiencing. A taste for bands like The Who and Allman Brothers Band might come in handy to be able to enjoy this disc, and if that sounds like something you'd enjoy this is a band to investigate.
My rating: 74/100Track list:
1. As I Please 7:07
2. Birds & Flowers 3:08
3. I'm Gonna Wait 3:36
4. Dance Quite Well 3:46
5. Brothers & Sisters 4:53
6. Time Machine 3:35
7. No Rope Around Me 3:43
8. Little Darling 3:03
9. Warrior 6:36
10. Parasite 8:15
US act TECHNOLOGY VS HORSE have been around for around a decade now, with four full albums to their name. "Potential Pleasure Device" is the most recent of their efforts, and was self-released as a digital production in 2011.
