ESCAPADE
- "Rule #3"
While
Escapade's music might be described as 'difficult' or even inaccessible
to the untrained ear it can also be deceptively simple like the ingenuous
three note bass pattern played by Russell Giffen on the outstanding
19 minute opener to 'Rule #3', 'A Symphony of Sirens'. Aside from Giffen's
significant contribution, we have modulation, sustain, Hadley Kahn's
influential glockenspiel and drums, backwards loops on 'Mysterious Utterances',
a Kahn/ Casanova excursion on synths, sequencer and guitar and- sandwiched
in between- a version of Pink Floyd's 'Interstellar Overdrive' that
keeps faith with the spirit of the original (like the Floyd's version
it has an opening and closing riff with improvisation in the middle).
'Circumference' is almost monotonic in a rhythmic and melodic sense
but is strangely engaging and fascinating with the guitars flitting
in and out disarmingly like bats in a cave (Sorry it's the only image
I can think of at the moment!)- one is not really prepared for the surprise
ending here! Drummer and producer Kahn is absent on 'Eclipse in Carbon'
which has the guitarist holding onto one note at times (getting back
to what I was saying at the beginning- examples of the 'repetitive structures
and drones' in the press release presumably) and John Ortega this time
on 'processed piccolo bass'. There is the impression here of Holstian
apocalyptic Martian landscapes with an approximation to early Pink Floyd.
We are taken out with another of Escapade's finest moments in the 12
minute 'And Then All Silence Was Crushed' with two guitars giving the
impression at times of violins a la 'Larks Tongues in Aspic', drumming
heavily redolent of Nick Mason, a cornucopia of synth sweeps and swirls
(Paul Hilzinger), Casanova's marimba, the music threatening to conclude
with a guitar solo but of course that would be too obvious for this
innovative band.
I apologise if my descriptions of the music seem extravagant or even
inaccurate in describing certain tracks but what one is left with when
listening to Escapade's music are soundscapes and atmospheres that leave
a deep and lasting impression. I cannot really eulogize enough about
what Escapade has achieved on 'Rule #3' an achievement already promised
on 'Remembrance of Things Unknown' and 'Due To a Faulty Premonition'.
Some experimental/ improvised music leaves me cold- not Escapade though-
'Rule #3' is one of the most significant releases of 2002.
Contact: www.motherwest.com/escapade
(Submergence 5004)
(Phil
Jackson)
THE MORRIGAN
- 'Hidden Agenda' / COLIN MASSON - 'Isle of Eight'
This
is The Morrigan's fourth release on the 'English Garden Records' branch
of Hi-Note Music (Pardon the pun!) Described in the press release as
'another awesome collection' from 'this extraordinary progressive folk-rock
band' does 'Hidden Agenda' live up to expectations? You bet!
'Swallow's Tail' is a rousing instrumental with a fluid guitar break
and great rhythm work. 'In The End' is classic melodic prog with a reflective
lyric and some excellent guitar and classic synth lines. Both the opening
tracks incorporate arrangements of traditional pieces, 'Tristan's Lament'
in the case of 'In the End'. The third track combines Praetorius's 'Volta'
with 16th century composer Suzato's 'Basse Danse'. I'm not familiar
with either composer so it was interesting to hear this and I scribbled
in my notes 'evokes a Maypole in my mind- sorry for the cliché-
but it does make me think of a medieval fair!' (Maybe I wasn't so far
off the mark after all!)
'South Australia/ Roaring Forties' starts off like an old whaling song
but of course has nothing to do with whales (although some may have
been met on the way to colonisation), very folk rocky in the way of
Steeleye Span with an infectious chorus.
The highlight of the CD for me was the 10 minute prog rock epic 'A Night
To Remember' named after the original (and best) 'Titanic' film. There
are some big chords, synth strings and heavy guitar and the Latin chorus
of 'Dies irae, Dominus, Sabbaot' is suitably portentous as the 'unsinkable'
ship and all its opulence approaches its watery end. I was intrigued
by the reference to the engineer preparing for the end with a bottle
of whisky for company as this is the scene that sticks in my mind from
the film. Cathy Alexander sounds very much like Annie Haslam here.
'The Other' is an Alexander original, a balladic opening with a rocky
chorus and some nice piano, dealing with deep, dark matters like insanity
and the multiple existences within each of us. 'Joe Cooley's Reel',
yet another traditional instrumental arrangement, is as good an example
as any of the phenomenal musicianship on this album with the soundtrack
to 'River Dance' and The Corrs in full flow springing to mind. The album
has a tranquil ending with Cathy Alexander sounding more like Sandy
Denny this time on the beautiful 'The Parting Glass'.
Four of the band sing and the use of recorders, flute, shared bass,
guitar and keyboard duties (3 of each!), mandolin and banjo make for
a very full sound.
'Hidden Agenda' is my belated introduction to The Morrigan and I shall
certainly be investigating their music more fully in the near future
if this brilliant CD is anything to go by.
I know it's a bit naughty but I crave the reader's (and the band's/
Colin's) indulgence to review The Morrigan musician, writer and producer
Colin Masson's solo CD 'Isle of Eight' alongside 'Hidden Agenda'. Although
recorded in 1999 the Headline release came out in 2001 and although
it contains passages very much in the vein of The Morrigan reveals Colin
as a gifted composer and musician in his own right. There are only three
tracks on 'Isle of Eight'. The opening title track lasts for a full
25½ minutes and is a dream for lovers of skilfully conceived
and executed progressive rock with guitar playing matching Camel's Andy
Latimer in expressiveness and also reminiscent of Mike Oldfield. There
is an orchestral feel near the end of this epic track but even this
is eclipsed (!) by the 27 minute long 'Total Eclipse'- this starts in
gentle traditional style but Colin shows he can also rock- witness the
blazing guitar riff 20 minutes in! 'Return to the Northern Wasteland'
seems so short- it's only 13 minutes long for goodness sake! This has
a superb pulsing bass line and a memorable mandolin like guitar riff.
Colin plays all the instruments himself on this remarkable album (various
guitars, recorders, keyboards, percussion, trombone and drum programming)
assisted on the first two tracks by The Morrigan's Cathy Alexander and
by Ryan Masson on the final track (random noises)
He is also a talented artist of a different kind judging by the fetching
cover artwork.
Highly recommended.
Contact: www.hinotemusic.com
(Cat No. ENG 1024 and HDL 505 respectively)
(Phil
Jackson)
JOHN
TAGLIERI - Angels Among Us
Now
I've made a point of avoiding the whole September 11 issue in public.
I've lived through two bomb attacks in Manchester and London but prefer
to leave the commentary on global terrorism to the terrorists on both
sides.
I've also tried to avoid reviewing music alluding to September 11, but
finally made an exception for this heartfelt power ballad. Of the three
versions on ofer it's the acoustic version which highlights the strong
vocals of Mr Taglieri.
Music
made the way it used to be when AOR ruled the airwaves but this manges
to have a freshness about it, that removes it from the cloying melodrama
many go for. regardless of your views, this is a quality perfomance.
It is a tad unfortunate that the record company is called Maximum Velocity,
but this had much to commend it.
http://johntaglieri.com
http://www.maximumvelocityrecords.com
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