LAUGHING STOCK

"For the Boys" direct XTC intro fresh orchestral, then air of the BEATLES, well that makes sense since XTC was their spiritual son; solemn and bucolic trumpet at the same time, on a fruity folk pop-rock side with Colin, simple and effective. "Songs for the Future" still sounds from the 80s, I suddenly think of TALKING HEADS, a phrasing voice that stands out from the repetitive musical score; dark atmosphere of a night bar suddenly lit up by the electro-country break where the slide guitar comes to wreak havoc; final spatial cinematic, there at the bottom of space. "Something Happens" for a padded melodic title with ambient acoustic guitar and clarinet; the solo break smells of PINK FLOYD then choirs with trumpet which groove downright funky, borderline with the prog spirit; yet another two-part finale to a bucolic serenade. "The Other Side" soft-spatial intro and the participation of Colin, that of CAMEL; intimate title where the bass is very present, minimalist airy pop frame on a nice crescendo recalling the moderate evolutions of ALAN PARSONS. "December" for the soporific ballad, slow, latent, on piano and sax on the couch; a relaxing digression. "Like Home" sounds Crimsonian in the intro before mounting a European tribal sound. The sound is planing and rock, on an evolving rhythm; very 80 like the SIMPLE MINDS with fat synths and fat solo, superb.

"The Ocean" in rock-folk-pop spirit with Billy bass and vocals for the well-rhythmed, melodic consensual title, for a regression of musical time; its new having nothing to do with their previous album. "Changed" jazzy electro- piano at a slower pace, a striking percussion hit, the guitar solo setting the prog atmosphere and allowing you to escape for a few moments. "Night of a Thousand Stars" on a nursery rhyme with hints of XTC; a lullaby even rising again with a superb solo by Jan. "It is Time" comes to save the album a little by finally offering a longer piece and the sound of their latest creations; there is progressive latency, airy notes, a grandiloquent, orchestral, atmospheric air like on a SIGUR ROS piece; a sound changing from acoustic to electric; the finale with white as during the 90 brings vintage spatial kinematics with keyboards of time and nursery rhyme followed by a bucolic climb à la VANGELIS to close, others would say KRAFTWERK. "Blue Grass" and the title acoustic piano with a solemn atmosphere, two minutes of prog of yesteryear to bathe in the air with voice-over and spleen, the title you would like longer, immersive, the best. "Stay a While" floydian guitar arpeggio before leaving on an agreed rock-folk title.

LAUGHING STOCK released a surprising and confusing album, spreading vintage emotion with recent melodies delving into the past; yes you have to revise and love the sound ideas of TALK TALK and other XTCs to hang on without the risk of getting lost; those who love WATERS the musician or the BARCLAY JAMES HARVEST will be able to enjoy and regress; it's prog but soft-pop fruity, airy and light but intimate enough to think of the musical value in our life.

'Wingless' begins on a melodic prog amplified by the contribution of the piano and violin, an austere intimate piece. 'Lifeboat' where the hints of KING CRIMSON come to light, with a reverberation of dark sounds and a divine solo from Andy all in sensitivity, the type of solo that makes you melt. 'The Call' for a consensual title enhanced by the vocal contribution of Nad, a soft and engaging voice that plunges a little more into neo-prog. 'Free' for the interlude, a dark, moving interlude, which gives letters of nobility to the group, showing the singular warmth of the pop-retro prog fusion. 'All Alone' for one of the two sublime tracks on the album; a shivering symphonic rise and a tearing guitar solo, between melancholy and meditative dreamlike spleen. 'Words' for this intimate moment where the violin comes to give warmth to a dark air, where how to find warm coldness, fast but effective. 'Running Faster' title reminding me of a David GILMOUR concert with his calm, plaintive, catchy voice; where the solo seems to come out of his fingers, credited to Andy, his on the 'Animals' solo. 'Familiar Eyes' and Samantha with vocals that reminds me of Anna BATKO of ALBION for the moving title sequence, the melancholy violin adding a layer. 'Mother' flagship title, fusion of KING CRIMSON, MY DYING BRIDE and OPETH second period, the progressive depressive one; the melodramatic title which sublimates the album, which makes you want to listen to it over and over again like in the good old days of manual replay where you had to get up; the greasy, heavy solo is just gripping. 'Words Pt. 2' for the finale, a dark interlude that rests the atmosphere, the one that makes you think about those ¾ hours of happiness.

Well, LAUGHING STOCK is releasing a great album at the start of the year, full of spleen, emotion and sensitivity, listened to once when it was released, I find it (subjective) improved and I decided to ask myself to leave a personal trace of this opus which settles in my list bis 2022.

The music is listed under Neo-Prog here which is fine but with a name like LAUGHING STOCK we do get a TALK TALK vibe with the music being spacey and drifting and the vocals mostly relaxed and laid back. Lots of atmosphere, this is dreamy. On my first listen I was actually caught off guard with how much I liked it especially that opener which thankfully is reprised as a bonus track to end the album. LIKE WENDY might be a good reference but this band employs more sounds along with several guests contributing as well. Nad Sylvan sings the vocals on "The Call" while we get some really good female vocals on "Familiar Eyes". Violin on a couple of tunes plus guest guitar on "Running Faster". I have a top four!

The opener I already mentioned and it will be one of my favourite tracks from 2022. "Wingless" and this is dreamy and atmospheric with vocals to match. Just an amazingly good song and it does kick in with some power after 1 1/2 minutes. There's that three track run to close out my top four with tracks 7 to 9. "Running Faster" is trippy with sad vocals. An emotional and uplifting tune. There's an interesting guitar solo from our guest then the vocals return. "Familiar Eyes" with those great female vocals. She does vocal melodies as well. Very dreamy once again. Beautiful song.

"Mother" is the longest at 10 1/2 minutes and man I just realized we're 5 minutes from Mother's day and my mom is in the hospital and it doesn't look good. Her mind is going quickly too complicating everything. The song starts out as this incredible rock track. Just so surprising to hear them go in this direction and do it so well. A dark and urgent start. A melancholic calm after 2 minutes and again a minute later but with piano as well. Soaring guitar before 5 minutes as the vocals step aside. A ton of atmosphere follows then it turn powerful before 6 1/2 minutes. It gets even heavier before turning light with some banjo late.

I gotta go 4 stars here. I just like their sound.

I have been struggling to write this review for some months now, not because I can't think of anything positive to say, but simply because I have found it difficult to review the final acts of Laughing Stock's Zero without spoilers. I very much followed the story of Zero in my review of Acts 1 & 2, because in common with the first acts of any tragedy they had a sad inevitability in the way they played out. It didn't feel in any way or at any time that I might be spoiling the experience of anyone listening for the first time, nor revealing anything that might ruin any surprise. There were no surprises. Zero's childhood played out in that sadly predictable way, and it felt right to reflect that in my review. Even though Act 2 ends with quite an impressive climax that sets up the listener for the following acts, it didn't feel wrong to express how that climactic point was reached.

Acts 3 & 4 provide far more mystery. Before listening to a note of Zero, Acts 1 & 2 I had a very good idea of how the story would go, and while I could obviously never know the exact plot and storyline, it did follow the expected tropes. Act 2 had a very open end, though. The childhood of any Zero might be somewhat predictable, but what happens a few years down the line is near impossible to guess. Hence my dilemma, as describing any of the music or vocals for Acts 3 & 4 holds the danger of giving too much away ? and I don't want to give anything away. So apologies if this review feels somewhat vague. It's deliberate, and to my mind, necessary. What I can say is that, like the first parts, Acts 3 & 4 are like a curious and wonderful melange of Talk Talk and Pink Floyd ? both musically and vocally. Now, in the words of Laughing Stock:

"Years have gone by, and Zero has become a young adult. But when you feel like a zero, invisible even to yourself, what does the future have in store for you? A world mostly lived inside his own mind, surrounded by four walls and not much more. All this is about to change the day Zero is woken up by heavy knocking on the door."

ACT 3

Those four walls that surround Zero make up much of Acts 3 & 4, both literally and metaphorically. There is often a sense of claustrophobia in the music, of being locked in, and occasionally longing for freedom. Indeed, in the opening number of Act 3, it is a sort of freedom that Zero seeks, in the manner that he reacts to the person who is knocking at the door. This reaction alone, before anything else had even happened, took me by complete surprise. In a way, it should perhaps not have been entirely unexpected, and it was more the timing than anything else. Even if it were a matter of when, rather than if, I did not expect this in the opening number. Once again, as with Acts 1 & 2, Laughing Stock demonstrate how adept they are in composing a concept album. The outline is clear, even if it is left to the listener to fill in some of the details. In fact, I prefer it this way, and it really provokes involvement in the album, and identification with the characters.

Like Acts 1 & 2, Zero Acts 3 & 4 features guests. The first to appear is Nad Sylvan, and I have to admit when I first heard of his involvement, my stomach lurched. I know Nad has a lot of fans, but I am not one of them. He simply leaves me cold, and I really didn't think I would enjoy his contribution. How wrong I was. Playing the psychiatrist attending Zero, he provides a very minimal and understated vocal that just works. I'm actually quite glad that guest vocals are kept to a minimum, as (just as with Acts 1 & 2) I honestly don't think Laughing Stock need to use them for this story. Not least because the vocals are terrific without needing someone else to play off. They won't be to everyone's taste, but then neither are Mark Hollis and Roger Waters. That said, I have to admit I do like the added flavour, so I'm not complaining ? even when one of those guests is someone I wouldn't normally choose to listen to.

But how does Zero find Nad? Has his meeting been therapeutic? Well, as aforementioned, I don't have any intention of giving anything away, but we next find Zero once again surrounded by four walls and not much more, dreaming of freedom once more. The act ends with Zero alone, and trying to convince himself he is free, although deep down he knows he just wants/wanted to be loved by his mother. At the end of Act 2 we were told that "He will never come back again". Act 4 will reveal if that is the case?

ACT 4

As could be expected, given it is the final act, this is probably the most dramatic and impressive in the story of Zero. After all, everything has been leading to this point. And it's beautifully presented. Act 4 is wonderfully bookended by the two parts of Words, and contains more fantastic guests. Kerstin Willgren provides violin, Samantha Preis reprises her role of Zero's mother, and Andy Glass of Solstice provides a wonderful guitar solo on Running Faster. But as great as these songs are ? and they are great ? they are dwarfed by the awesome penultimate song. Mother is an absolute monster of a song, and the longest by a large margin of any of the acts. It is gloriously overblown and melodramatic. It is climactic and bombastic. It is everything I could want to end the album, and story. Which, of course, it doesn't, as the second part of Words does that instead ? and a more perfect end I could not ask for. Words, Part 2 manages to both explain everything and nothing, and leaves things open for a sequel, if Laughing Stock ever feel the need to revisit this story.

"It's just begun? We'll see?"

In the meantime, Laughing Stock have left us with two beautifully composed and presented albums. If you have Acts 1 & 2 already, you probably need no urging to purchase Acts 3 & 4. But if you're not familiar with Acts 1 & 2, as much as I think this album can be enjoyed by itself, I'm not sure it's possible to appreciate just how good it is without hearing the first two acts. The artwork and layout of the booklets and inlays for both albums complement each other as beautifully as the music. Although released individually, and although they can be listened to separately, the two albums (or four acts) really do come into their own when experienced as one. By all means, I might take time for an intermission, and visit the bar for refreshments, but I find I never want to listen to one of these albums without the other?

Zero, Acts I & II is either Laughing Stock's third or fourth album, depending on how you choose to count (as their previous album was a reimagining of their debut album). The trio of Jan Mikael Sørensen, Jan Erik Kirkevold Nilsen and Håvard Enge are back with another concept album - or, more precisely, two quarters of a new concept album. And it's a phenomenal beast. I have to admit it took a long time for me to come for grips with, in comparison to their previous albums, and a lot of this is down to how Laughing Stock have recreated musically the feelings of the protagonist, which means for much of the album (including all of the first Act) there is a sameness of sound, and the lack of relief is quite disconcerting at first. But over repeated listens, this is no longer so wearing, and I am in Zero's world. I even wonder if I shied away from the material initially because I had similar feelings of loneliness and alienation in my youth. Those feelings are palpable in the music, which doesn't even ease a listener in gently.

ACT I

Welcome begins the album in a most unwelcoming manner. Even when the crashing introductory notes give way to softer acoustic guitar, it is accompanied by a baby's cry, as we are informed of Zero's entry into the world. Melancholy and menace trade passages, and this shortest of introductory songs is a great indicator of the quality of this concept album. There are too many concept albums that are almost incomprehensible, and I've encountered more than a few entirely instrumental concept albums that tell the story better than those with lyrics. Of course, Laughing Stock are no strangers to concept albums, and these first two Acts of Zero are probably their best demonstration of their compositional skill yet.

The rhythm of When Darkness Comes is like a heartbeat that's audible at night when all else is silent, except for thoughts and anxieties that run rampant. There's a tangible sense of loneliness and alienation. Alone, and in the dark. Already, the baby and mother are alienated from each other. Towards the end, the song turns into a mournful march, melodramatic in the best manner of Queen and My Chemical Romance, but somehow more subtle and sombre. Nighttime follows in symphonic glory, with some beautiful harmonies. Zero is no longer a baby, but he still wonders where she is in the night. Suddenly the lush arrangements fall away, and we are left with some sparse Floydian soundscapes. Beautiful yet just a little disconcerting. If this is sleep, it's not an entirely restful one. And this is how Act I plays out - a depressing state of affairs, where even sleep brings no relief. The next day is only going to be more of the same.

I love the cello on Imaginary Friend, as Zero's loneliness (explored in music and lyrics previously) manifests itself in his imaginary friend. A friend to not only provide companionship, but distraction from his mother's dramas. It crescendos beautifully, and takes us into the most positive and upbeat song yet! Zero is going to School, clearly full of the hope and promise of making a real friend. Unfortunately, this soon dissipates, leaving Zero pleading, and the song trailing off into slower, sadder, and ultimately darker music, as Zero begins to feel that it must be something wrong with him. The sadness is conveyed by piano and strings in Child. This is a particularly beautiful song, and reminds me a lot of Bowie. Here ends Act I, and I've become accustomed to giving myself an intermission here. This is unusual for me, as I like to listen to albums in one go, regardless of their length, if possible. And yet, the way this album is constructed, it is almost necessary to take a break. Not a long one, mind you. Five or ten minutes tops. I can easily enough listen to the album in one go, and still find it enjoyable - but I really do find that this short break enhances both acts.

ACT II

And so Act II begins, with Leave Me Alone - the first single to be released ahead of the album, and I guess there's good reason for this. Laughing Stock often remind me of Pink Floyd, but this song is incredibly Floydian, which gives it a great "familiarity", and easy accessibility. I can't imagine a better track to release as a single. The vocals are quite reminiscent of Roger Waters at times, and there's some Great Gig vocalisations. But there's also some very heavy and edgy music - the most so far on the album. It's just a real gem of a song. It also introduces Samantha Preis to the Laughing Stock world as Zero's mother. Leave Me Alone is not quite a duet, though, as the dialogue between mother and son is stilted from Zero's alienation and depression.

The following My Love is split into two parts (the second of which was released as the second single leading up to the album's release). Given this is narrated by Zero there is a certain amount of ambiguity to the story of his love. Was she really a secret love, or just a crush he came close to stalking. The second part is sung by Helene Håberg Allum, and she removes the ambiguity, before Zero reprises his lament. Last Supper is the point where Zero makes his decision to leave his home, never to return. Having made this decision, the music becomes more confidant than at any point up until now. Strident, determined and resolute. Heck, it's jubilant, triumphant, and almost celebratory. It's hard not to be on Zero's side, even as the song dips back into fragility as it ends.

Zero is a more delicate number, but still determined. The knowledge of knowing he's disappearing, and of what he's leaving, but still feeling it is best for him and his family for him to go. And the taking of his identity as Zero. By not being anyone, he can be anyone. The final song is short, like the opening number, but completely different in sound and feeling. Even as tears fill Zero's eyes as he leaves, Curtain Falls is the most optimistic song on the album. Maybe only quietly so, but there, as tinged as it is with sadness, there is a real sense of hope. It leaves me longing to find out what happens in the next act, and sets up a perfect "cliffhanger". Bring on Acts III and IV!

CURTAIN FALLS...

Once upon a time, an English band then comprising three members made an album called Laughing Stock. I don't think it's a coincidence that a Norwegian three piece have named themselves Laughing Stock, as there is definitely some Talk Talk in their music. Indeed, there's a lot in their music. So much so, that it is very difficult to peg them into any one particular hole. The Island is their debut album, previously self-released in 2018, and now given a larger audience through a new release with Apollon Records. The Island is definitely deserving of this larger audience, too. Although it might seem that this is merely a re-release of the original, as far as I can ascertain, it is an entirely new recording, with several of the tracks reworked.

Comparing the track listing I received for review with the original release, the first thing I noticed was the artwork. I actually already liked the artwork, and the way the band made up the shape of an island. What I hadn't realised was that they have used the shape of the island in the original artwork ' very clever! Other than that, there appears to be a slight tweaking in the track order. One track from the original release has become a bonus track appended to the physical version of the re-release. A track not on the original becomes a second bonus track on the CD version of the album. Neither of these two bonus tracks, nor the longest track on the album, were sent to me for review. I'm not particularly perturbed about missing the bonus tracks, though, as they have obviously been decided not to be relevant enough to the concept to be required listening (although I am intrigued as to why one of the songs was included the first time the album was released).

I decided to listen to the album using first the original track order, and then the new. It's not often a concept album would, or even could, be re-ordered. But in this case, it makes a sort of sense, as the concept is that of living in a world in disarray, and the challenges experienced day-to-day as the world falls further and further off its hinges. And, the differences in track order are largely cosmetic, also. Whether it is The Party's Over or The Island which open the album, each provide a beautiful instrumental opening, with a dramatic change halfway through. In both instances of the album, this instrumental album is followed by That Face, which is a truly magnificent number. It's Pink Floyd meets Neil Young meets Black Sabbath. Like the band in general, the song refuses to stick to one style, and flits from light to heavy, and from structured and precise to loose and jamming.

The first major difference in track listing is where Descension is placed, as it's another shorter instrumental track (and a quite beautiful one, too). I have to say I prefer it's placement in the newer track listing, than the original. It effectively bookends That Face nicely, and doesn't let the pace slow as much as Canyon Crawlers did. On both versions, Descension leads very nicely into Vultures, Bats and Reptiles ' the longest track on the album, at around eleven minutes. I love the keening guitar that opens and howls over this track. After three minutes of this extended instrumental introduction, the instrumentation almost all falls away, and what was approaching metal is instead closer to folk. Three minutes later again, and we're back to heavier sounds. The band chop and change without ever sounding forced or abrupt. Indeed, they make such changes sound natural. The sound clips that play over the heavy backing are incredibly effective.

Vultures, I would presume to be the end of the first side of the album, with the second side of the album opening with either The Island, or The Party's Over, depending on which other had opened the first side. As aforementioned, both these tracks are very similar in style, even if they do differ in sound. Both provide perfect openings, and prove to be interchangeable, and equally effective whichever is used.

The first song of the second side of the original album is now one of the two bonus tracks on the physical release of the new album, and so I'm unable to say how it sounds. I do find Canyon Crawlers works far better here, though, than after That Face (as it appeared originally). It's a long and slow dirge in the vein of Neil Young, and it's quite gorgeous. Coming after the relative bombast of That Face originally, its beauty was somewhat overwhelmed. In its new position, it holds its own, and has a lot more impact. This is one time where the re-sequencing of tracks on the re-release of The Island is more than cosmetic. It makes a big difference, and Canyon Crawlers benefits hugely from it. I love the final minute or so, and despite the length of the song already, I'd have loved for that guitar solo to develop rather than fade away.

From here, disregarding bonus tracks, the order remains the same on both the original and the new versions of The Island. First up is the melancholic instrumental Fallen Star, which bookends Canyon Crawlers the way the two instrumentals bookend That Face on the first side. This sense of mirroring didn't exist on the original album release, and is really quite noticeable and effective on the new version. Perhaps the original version portrayed the disarray of modern life better, by not being so symmetrical, but this new sequencing is ultimately far more pleasurable to listen to. (My opinion, of course, and I have no doubt others might prefer the original track order.)

Who We Are is possibly my favourite track on the album, and I honestly can't put my finger on why this is. Other tracks are either more splendidly subtle or spectacular. Who We Are decidedly treads the middle ground. It is, however a track of two parts. The first four minutes remind me of Violent Attitude If Noticed, and the final two of Smashing Pumpkins. I'm sure neither were influences of Laughing Stock, so if they're reading this, they're probably querying my ears. Either way, I really like this song.

30 Years closes the album perfectly. For that reason alone, I'm glad I didn't have the bonus tracks to hear. There's something a little unsettling upon hearing an album finish, and then have another song follow. The final four minutes of 30 Years are some of the most enjoyable on the album. Absolutely sublime! This track is the only thing that prevents me from declaring Who We Are my favourite on the album. Between these two, the album closes out in style. Or, should that be styles. For Laughing Stock is comfortable whether playing pop, rock, folk or metal, or some hybrid of them all. Perhaps a pinch or two of psychedelic and jazz added to the mix for good measure. I couldn't even begin to guess all their influences, so varied is the palette they draw from, but I'd take a stab in the dark, and venture Roxy Music, Brian Eno, Tears for Fears, Talk Talk, XTC, Pink Floyd, Neil Young, Camel, The Beatles and probably at least a couple of dozen others. If you like any, all, or even none of the aforementioned, give The Island a go. It may not be a new album, per se, but it's likely new to most, and it's well worth your time.

While I'm unfamiliar with this band's first album, this second full length production of their is one that I suspect those who are fond of accessible, mainly gentle and melancholic progressive rock should find it intriguing to investigate. Fans of the most accessible parts of later day Pink Floyd strikes me as something of a core audience, but also those favoring the material of fellow Norwegian artist Bjorn Riis may well find "Sunrise" to be a production that merits a check at some point.