Reviews

Weekly Reviews For November 1, 2004

Review Index

I am also Assistant Editor & reviewer at MetalUK.

I also contribute reviews to getreadytorock

Recent reviews include
Rush - Chronicles (The Video Collection)
Deep Purple - The Early Years
Damageplan - New Found Power
Whitesnake - The Early Years

You will also find some reviews at spacerock.co.uk

The Rocker
New releases from;
Superczar - Pop Art
Various - Further Adventures of the Telepathic Explorers
When's The Future - Then
And many more....

 

New Reviews

Ron Davis Trio - Mungle Music

Ron Davis and his Trio take their influences from the great trios of Oscar Peterson and Andre Previn, and still manage to make their mark. However, they are not immune to the ravages of the last few decades and have a contemporary flavour as well, although never too far away from swing and post-bop jazz. Filled out by virtuoso performances from Drew Birston on bass, and Ted Warren on drums, this is a pure delight.

A true renaissance man, Ron Davis is also a poet, short story writer, a Ph.D. in French Linguistics, and a once-upon-a-time lawyer, who has been performing since 1970. The original material is an absolute delight with “Blues For Suze” (courtesy of special guest Richard Underhill), a particular highlight. Although there are constant musical references to Art Tatum, this only adds to an enthralling CD.

The other gem is Léon Durocher and Gustave Goubliers, “Hymne à l’amour” a remarkable love song, which simply leaves you gasping, wishing and wondering. A fabulous release.

Garfield's Birthday - Famous When Dead

Effectively a best of the early days compilation, this is melodic pop music at its very best. There are 20 short songs here some of which just cry out for a fuller treatment. I don't recommend listening to the album all at once to start with and, accordingly, have picked out some tracks some of which I consider classics of their genre.

The first one is 'Thick Ear', a Byrdsian concoction with a tune that'll get into your head and stay there. Then, a heavier moment that sounds like some long lost sixties classic 'Better Things', a song that Oasis would have been exceedingly proud of! 'Eye to Eye' is surprisingly 'dark' in the context of this collection and all the better for it, a nice counterpoint to ditties that might be a little saccharine if taken in too large a dose. (An initial perception that proves quite false on repeated listenings). Adrian Payne proves on this, and 'Eye to Eye' that he can be a pretty heavy drummer! Alas the song fades out too soon and Garfield's Birthday, despite their song writing prowess and delightful multi-part harmonies (Simon Felton and James Lassing who also plays bass) shy away from instrumental breaks. I was reminded very much of the approach of Creation indie bands like Teenage Fanclub and 18 Wheeler. The hand of The Beatles is writ everywhere of course and reminds us, as if we needed reminding, of the legacy they have bequeathed to the aforementioned bands and many, many more.

'The Filthy Underground' with its delicious retro organ (Farfisa?), its spoken 'bit part' and the agonised vocal is very much in the Oasis/ Fab four mould (Maybe not the keyboard though!)

'The Norm/ Old England' are two songs joined together. Again the first part is uncharacteristically 'dark' and is rich in political and social commentary with a classic chorus. This is another song that deserves the widest exposure for Garfield's Birthday. Listen also to the words of' 'Armistice Day' and also to the lugubrious harmonica. It's amazing what this band can build on two (12 string?) chords, a testimony to the strength of their storytelling on 'Old England'.

'The Latest Thing' deals with the fickleness of the record industry and as the band explains in their press release Garfield's Birthday, despite some minor successes, are happy to be part of the Global Music Underground. It is revealing that the 'state of the industry' dictates that, in terms of influence and exposure, Simon Felton and friends cannot be much, much more.

'We Know Your Name' is best to west coast American vocal harmony music at its best. Surprisingly the album closes with an uncharacteristically long song 'Cocaine Joe supposedly clocking in at over 6 minutes. This proves deceptive as it is actually a 3 minute number with a short hidden bit at the end, a nice little acoustic song to close a memorable album. Still 'Cocaine Joe' allows the band to have a bit of a thrash and stretch out a bit, a good number for playing live to my ears (I also believe the band is playing at The Cavern around now).

Don't forget the opening track, a love song with a difference 'Ambulance' featuring some vintage bass playing and the acerbic 'Everything'. Darn, forget what I said earlier and play the whole things, there's hardly a dull moment here! Oh, and a bit of Tom Petty influence as well.

There is a lot to take in on this CD and it's well worth cutting through the 'sugar coating' that some reviewers refer to and penetrating the enriching (and sometimes dark) underbelly of the music Garfield's Birthday produce- hidden depths are then revealed in the intelligent lyrics and rich arrangements.

Garfield's Birthday is a welcome addition to a rich crop of sixties influenced indie bands and easily stands up there with the best of them. Why anyone wouldn't want to listen to this album and then listen again and again is beyond me.

Reviewed for Zeitgeist by Phil Jackson

Soniq Theater- This Mortal Coil

In the tradition of fine synth players like Wakeman, Emerson, Vangelis, Moraz and on part of 'Bridge to Eternity' Banks, Alfred Mueller has continued his musical vision already realised on 3 CDs that are, in his own words, 'a bunch of prog rock songs and sonic soundscapes'.

Using e-drums, sampled guitars and basses as well as samples Alfred produces a very full sound that can best be described as symphonic ('virtual orchestral sounds' are used) and at times bombastic and (always) filmic. One of the pieces is called 'Screenplay' after all! The music is consistently good throughout (although the vocals on 'Break the Frame' were not a particularly good idea) but for me the outstanding compositions are 'Flashpoint' (which reminded me in a funny sort of way of 'Sabre Dance' in places) and the two longest pieces 'Bridge to Eternity' featuring some splendid piano and the catchy 'Mariana Rift'.

Reviewed for Zeitgeist by Phil Jackson

The Belial Project – 2/10/04 Barfly, Glasgow

It’s a very jaggy (yes I stole that word), gritty sound with enough individuality to avoid being stereotyped. The Belial Project are entertaining to watch, very theatrical – a bit like Hellboy on speed. Steven has a lush voice and he can also munch the microphone like a trooper, think Phil Anselmo and you get the idea. Lots of pulsing sounds and a full on camp performance, absolutely excellent to watch. There are a variety of influences a bit of Type O Negative, Disturbed and a wee bit of Rammstein. The sounds got heavier and darker as the set progressed. Moods were high all the way through; they went down a storm. The minds of the leaping, moshing crowd were definitely blown away!

Reviewed by Katey J

Chris Gorman – 2/10/04 Barfly, Glasgow

The Barfly was tingling with the anticipation of hearing the beautifully surreal songs Chris is renowned for. He kicked off with some solo numbers and was later joined by Pete, Iain, Joe and Dev on guitars and drums. Chris’s distinctly intense throaty voice soared over the crowd and captivated all in the room. An enigmatic inspiring performance sliding slightly towards the latest tag EMO. There’s a folksy kind of sway to style; the closest comparison is Dashboard confessional. This very talented man is going to be huge, there is lots of interest and damn right there should be! The set concluded with a song much rockier than the previous. Chris played so enthusiastically he briefly blacked out, now that my friends, is passion for the music.

Reviewed by Katey J

Tanya Kalmanovitch - Hut Five

Another extraordinary release from the vibrant Canadian jazz scene, this sees Tanya Kalmanovitch producing some truly wonderful music, unusually, focussing on the viola (with a touch of violin).

Utilising a crossover approach, although this is a classical jazz crossover, rather than a populist blend, there are excursions into fusion ala the Mahavishnu Orchestra, especially when Rick Peckham’s guitar comes shining through.

It's difficult to pick out highlights, but "Hidden Agenda" and a cover of Jimi Hendrix's "Manic Depression" certainly hit the heights. The whole quartet are in touch with each other, musically and spiritually, and this drives them all on to some inspirational moments so hats off to the aforementioned Rick Peckham on guitar, Ronan Guilfoyle on bass and Owen Howard on drums.