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The Kentish Spires - Sprezzatura CD (album) cover


The Kentish Spires


Canterbury Scene

3.08 | 17 ratings

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3 stars THE KENTISH SPIRES is an English out his second CD Group genre almost forgotten today, but very used namely Canterbury. The groups had to bathe their children can call CARAVAN, JETHRO TULL, ELP, SOFT MACHINE, more recently it's side WOBBLER, FLOWER KINGS of the notes may have been stolen, just to remove the very substance . Otherwise, mostly PINK FLOYD giving prog and psychedelic returns to this extraordinary group. Do not forget a jazzy overtones, and Irish folk and you will have some all ingredients. The use of clarinet and flutes, saxophones and violins others also occupies an important place.

Knots (A Trilogy) on hand with an instrumental "Overture" and lets see where the group drew its sources: jazzy, folk, clarinet and festive background dinosaur, until the coming of the votes for the second sub- entitled "A Sea Shanty" deuce beautiful voice! A calm, laid starting on the doors of Canterbury in effect, flute, Hammond, psychedelic guitar to get inside us our plays of yore, lively atmosphere and also seaside end to move to "Do not Shoot the Albatross "closing this first triptych that combines reminiscences of oldfieldiennes and caravaniennes, floydiennes surely is singular and amazing juggling as many notes on various trends; in texts, stories and legends! "Horsa From Beyond The Grave" continues on the evocation of a story of the King of Kent and his brother Horsa. It is a warm way, captivating, singular with the prominence of that sublime voice giving the creeps, you almost forget the instruments yet the tone of great lyrical epic.

Second triptych on the story of three lovers and "Wishing Well" which opens the track, surrounded by crows (listen!) We start on a quiet ballad, again to give pride to Lucia operator voice in multiple aspects ; the instrumental development in the end song is chilling in the use of the proposed instruments, like what it's not just the synth and bass to vibrate in the prog; "You Better Shut Your Mouth" comes with a bass clarinet sax energetic guitar flirting interaction with a free jazz or irritating side innovative, voice soft spoken Lucie giving progressive atmosphere in that capacity; these instruments jealously guarded by jazz musicians back on stage in front of it and remind me of the use by bands like XTC there is already a long time. "Never Tell On Me" finished the triptych by a decidedly pop song that could have OLDFIELD himself compound, it is simple, catchy, it's just beautiful, a development tool restores the thrill wind up a guitar synth development that takes me there squarely in large MANFRED MANN'S EARTH BAND back to the refrain like a wave that comes crashing down the cliff. Here comes "The Long Goodbye" coming this close academic album on a title a bit cliché, taking phrasing typically PINK FLOYD, rather then after Roger Waters 'The Wall'; Here again, it is the wind instrument that gives the sensation gradually from the second part of the title. Note a "Horsa" remix with Robert Reed as a guest (like when I was talking to Mike OLDFIELD I was close I think!

Well, no need to tell you that I am not Canterbury in the soul, but it allows me to work my musical ear of fact. So, what to say, except that I am somewhat disillusioned: their first album was an even more resolved, but at least we knew what to expect. Here the melodies are somewhat disparate, a little touch everything and may even surprise the listener. Paradoxically, with voice and wind instruments that I felt the most prog evolution in this album, leaving the rest in full of anachronistic view dismantle the directions, perhaps was it the purpose too. So, to get an idea, forget some all genres and open your ears, your ears, because yes I admit, I liked.

alainPP | 3/5 |


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