CO ZNAMENÁ VÉSTI KONě

At some point in the Plastic People’s career they relocated from Prague to Vienna, or at least those who were not still in jail back in communist Czechoslovakia did. I believe it was there that ‘Co Znamená Vésti Koně’ was recorded, but I’m not positive.

There is definitely a major shift in the band’s sound with this record in any case. Considering the strong bond these guys had with each other and the relative transparency of how changes in their lineup or circumstances had in corresponding changes to their sound, I’d say it is fairly certain this was a post- exodus record for them.

The overall impression here is of a recording that is far more refined and restrained than anything they had done to that point. At times I’d almost dare use the term symphonic (or maybe arch-symphonic) to describe it. Don’t get me wrong – the penchant for paying regular tribute to Velvet Underground, Zappa and Captain Beefheart is still strong, but the group has reigned in their previously unrestrained enthusiasm a bit and focused on actual arrangements versus the previous tendency to improvise heavily. I must say this new dimension is quite appealing and gives greater credence to their standing.

On songs like “P.F.” and “Samson” where atonal clarinet, madman shouted vocals and feral strings remind us that this is the Plastic People (as opposed to a normal band), the group manages to set the whole thing to a steady cadence with just enough restraint that one feels like this is well thought-out music with an air of worldly wisdom to it.

Elsewhere, like with lengthy and strangely worship-leaning “Fotopneumatická Pamì”, the band shows a new side; reverent, reflective versus angry, and quite focused on exploring the various sounds that are introduced as a part of the overall message in the song (as opposed to just for the sake of exploring sounds for their own sake). This sound would crop up again on ‘Hovězí Porážka’ and even more so with ‘Půlnoční Myš’ before the group would finally fracture.

The transformation isn’t totally complete though; with “Mše” there is a relapse into dirge-like improvisation and dissonance, and while the lengthy “Osip” shows some thought toward arrangement, it is also quite primitive and not very approachable if you haven’t heard the group before.

This is one of the better Plastic People albums in my opinion. They seem to be more focused on their music and less on the emotions and experiences behind the music, which I think in this case results in a more cohesive body of work. I’m still going to recommend that anyone starting off with this band pick up their ‘1997’ live concert release first, but this one wouldn’t make a bad follow-on to that one for those who want to hear more. Four stars and recommended to the adventurous prog fan.

peace

This was a big disappointment after their amazing debut from 1978.This album was released in 1981 and is much more restrained and solemn.The humour and dynamics of the debut that I loved so much are gone leaving us with a dry and melancholic album overall.

"Co Znamena Vest Kone" has this repetitive beat as vocals and viola come and go.There's quite a depressing mood to this one. Get used to it. "Slovo Ma Na Buben" is solemn with mono- toned vocals. It kicks in after 2 minutes with theatrical vocals then it settles again. It's solemn again before 4 1/2 minutes. "Samson" is better as the drums pound with vocals and viola singing and playing over top. Spoken words before 2 minutes are brief then it's back to the singing. "P.F." has a cool rhythm as outbursts of vocals and yelling come and go. "Majova" features viola and clarinet. Some brief vocals then viola and drums lead the rest of the way.

"Delirium" has more viola and drums as vocals come and go. "Fotopneumaticka Pamet" has these almost spoken words and a beat and he speaks out a few hallelujahs along the way. This goes on for way too long. "Rozvaha Neuskodi Ani Kureti" is fairly slow paced with vocals, viola and a beat. "Mse" has some life to start but settles quickly with viola and vocals. Clarinet and drums too. "Osip" is the longest track at over 11 minutes. Almost spoken words over a bleak soundscape until it starts to pick up a little 3 minutes in when the vocals stop. The sax and bass become prominant. I miss the chunky bass that was so out front on the debut, well here it is finally. The song slowly slows right down.

A tough listen but I know i'm comparing it too much to the debut.