PTARMIGAN

This is an obscure, very hard to find gem from a short-lived band from British Columbia. The Folk foundations with the classic multi-part male harmonies and acoustic (lute-sounding) guitars are brought into Renaissance world by multiple hand percussives and recorders (as well as the lute sound of Monte Nordstrom's guitars). What earns this its "prog" inclusion is its European and Indian classical music influences and California psychedelia sound (and lyrics) as well as its use of electric bass--all possibly due to the influence of the album's producer, world jazz pioneer, Paul Horn. This album is truly a wonderful musical excursion with some quite complex, shifting and evolving song structures performed quite tightly. Though each song or suite of songs can be listened to in isolation, I prefer to hear the album in one continuous play. Despite the continuous high consistency throughout, there are highlights, most due to either the beautiful two- and three-part male vocal harmonies and the interesting and diverse styles of guitar playing, but also from the floating, hypnotic psychedelic feel of the California hippy and Native American influences.

1. "Rise" (0:24) 2. "Go Dancing" (5:16) one of those extraordinarily beautiful, haunting songs that once heard can never be unheard. The vocal melodies and harmonies as well as the interplay of 12-string guitars and recorders and percussives are astounding. (10/10)

3. "The Island" (9:01) (19.5/20) "Intro" (1:58) dobro-like guitar with recorder "Préambule" (0:37) beautiful "White Rabbit"-like motif "Main Theme" (6:29) what an amazingly beautiful and powerful lead vocal from Glen Dias while Monte Nordstrom proves all his worth on the guitar tracks.

6. "Vancouver" (4:30) (9.75/10) "Reflections" (2:54) solo guitar with reverbed solo male vocal of the power and presence of JESSE COLIN YOUNG or JAMES MORRISON. Ends with flute before: "The City" (2:39) guitar, bass and percussives burst forth, pushing Glen's lead vocals into the back. Two tracks of recorders take over the lead as rhythm section swirls and whirls in support, never letting up, never waning in powerful encirclement.

8. "Night of the Gulls" (11:01) a beautiful study in spaciousness and ocean-like emotion. (18.5/20) "Night of the Gulls: On the Water" (0:51) wooden flute over creaky dock sounds. "Night of the Gulls: On the Wind" (3:10) solo guitar of a classical styling. "An Hymn to the Ocean & The Great Northern Lake: Ocean Song" (6:17) 12-string guitar strumming JOHN McLAUGHLIN-style while bass, percussives and voice of Monte Nordstrom sings, then flute takes over. Flute and vocal sections alternate as tempest and tension rise and fall several times. "An Hymn to the Ocean & The Great Northern Lake: Afternoon Rain" (0:48) tension-filled arpeggio slow-picked by the guitar while a breathy low flute lays down the end of this epic.

12. "Coquihalla (10:02) opens with interesting 12-string guitar riffs soon accompanied by full rock band rhythm section as well as a second guitar and soprano recorder. Turns very jazzy in a kind of Coltrane-kind of way in the second minute. As a matter of fact, the bass, second guitar, drum kit and bowed double bass support feel very rooted in jazz musician approaches and instrumentation.

At 3:20 a kind of classical acoustic guitar section begins over which Amerindian flute plays. DEMETRIO STRATOS-like vocal improvisations join in, taking over for the flute, before unleashing another jazzy classical guitar solo section. Fans of LEO KOTTKE, TOM RUSH, JOHN FAHEY, or even STEVE TIBBETTS will love this. (18.5/20)

Total Time: 50:07

Five stars; a beautiful, intricate masterpiece of progressive rock music with a psychedelic world folk bent to it.