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tr-Ond and the Suburban Savages - Demagogue Days CD (album) cover

DEMAGOGUE DAYS

tr-Ond and the Suburban Savages

 

RIO/Avant-Prog

4.13 | 12 ratings

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alainPP
5 stars Attention bomb: Suburban Savages launches into the bath in 2007 with Tr-Ond And The Suburban Savages after having worked on Panzerpappa from the new millennium and played on White Willow. Avant-garde rock; here pop- rock-synth-musical in the lineage of Henry Cow, Lars Hollmer, Happy The Man, Magyar Posse, Brian Eno, the most recent Pure Reason Revolution or even the very controversial Meer; far from the RIO, zeuhl, jazz, Canterbury or crimsonien from the start. An OMNI album.

"Aroused And Confused" on a synth-pop tune, a bit of the Keanes of the time before, Camels for the dancing melody, quadraphonic instrumentation, brit-pop; mid-term change of mood with Japan, Bowie for 'Furyo' BOF, a bit of Oldfield to put in a trance; the pearl piano at the base then orgasmic pleasurable rise, it causes from the start. "Taciturnity" on a syncopated drums, almost military air and melancholic introduction quickly erased by a fresh, cheerful and evolving rhythm; the polyphonic voices bring this more innovative to an extraordinary singular title; a gilmourien solo hooks up with the prog movement at the end for a wavian futuristic retro prog. "Demagogue Days" and an obvious radio-edit; voice, tune, catchy chorus, that of the first title in addition ?; innocence of the instruments and grace of the melody which does not hesitate to leave in such a short time in a mysterious symphonic country as we like them. "Krystle Fox" an instrumental on some basic notes of synthesizers helped by a warm guitar; minimalist tune la Eno which starts in crescendo, dreamlike rise worthy of a Mono on melancholic and dazzling post-rock, an oxymoron that I love you in this troubled year.

"Iconoclast" flows onto the second side, a thunderous intro quickly caught up by energetic choir voices, some would say Gentle Giant, in indelicacy with them I can't find; Camel melody that melts; expressive title, punctuated in the Anglican atmosphere, out of time; be careful, you risk seeing a rabbit in a hat come out of the enclosures; yes the synth is indeed the art-musical instrument of the 2020s. "Let's Talk" and the new-age, airy, ethereal interlude; bucolic, atmospheric atmosphere, voice of goddesses in a meadow by a stream introducing "Under Mirrored Skies" which denotes by the choppy vocal attack of the singers and the synthetic instrumentation; a basic conventional psychedelic or even jazzy, monolithic, a little brit-pop, a little bit about the B-52's; Paf rhythmic break on keyboards coming from heaven or hell, it spins deliciously with the guitar suddenly more present; vocal final as some Scandinavian groups know how to do by bringing a cold and warm atmosphere. "The Silence Afterwards" and the 2nd instrumental with aerial synths and electronic Collins-style drums, a tad Latin; distinct evolution with well-established flourishes of instruments, synths, guitar and drums; symphonic rise then return to the starting and final rhythm as on certain tunes of 'Duke', slowly but surely; be careful, the repeat key starts up again without me having to tell you.

An innovative, catchy, dancing, progressive, eclectic sound, based on synths and classical instruments brings a fresh, innovative post rock tune with catchy and relaxed minimalist melodies, art-rock as I say it. The catchy and frolicking simplicity mixed with the hallucinating complexity of progressive rock for an album talking about altered communication in this crazy pandemic world. A strange, not prog album where the notes plunge into a magnificent avant-garde progressive rendering, Trond, Anders, Mari and Thomas shaping a jewel; just listen, listen and you will be won over. CD, digital and vinyl format.

alainPP | 5/5 |

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