SIRENS AND SILENCES/WORK RESUMED ON THE TOWER

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Nice to see the inclusion of this wonderful chapter in the Henry Cow saga.... Naturally, what we have here is the logical continuation from what was once Art Bears (3 superb albums) - similarities to the Bears you will find, but more differences. Multi- instrumentalist virtuoso Fred Frith has left the fold so it seems a name change was in order. Still on board are Chris Cutler, Dagmar Krause, Lindsay Cooper and a new member, the wonderful Zeena Parkins playing Harp (the stringed kind!) along with guests Phil Minton and Georgie Born. The addition of the Harp makes for some exciting listening, especially when applied to the RIO formula. Odd sounds, time sigs, even some ambience, and Dagmar's unique voice are all present, highlights being Klein's Bottle and Arcades (of Glass) with some truly awesome Harp playing and angular rhythms. I've always found Phil Minton's voice a little over-bearing, but it's minimal - just another facet of their sound. Not your usual prog-rock ; hard to recommend it to sympho-maniacs, neo's and harder edged proggers (personally, I am all of these, so it may appeal), but those who go for something really special, well, it should work for you. 5 stars, as there's nothing I've heard that sounds like it, and, it's from 1984. The 80's wasn't such a bad time for adventurous music after-all.

NFB can be consider as Henry Cow Mk4, Slapp Happy Mk3 or Art Bears Mk2, as the continuation between the projects is rather obvious and even constant. Taking off where Art Bears left off, the appearance of Bostonian Zeena Parkins has changed the musical bents as well. With the debut album SAS/WROTT (made from two chapters), Dagmar Krause's voice is a strong reminder and link to art Bears but inevitable Slapp Happy as well. In the second album, Letters Home, Robert Wyatt takes the main vocals duties and is doubled by Sally Potter. But of course this project is yet another spin-off from Henry Cow's wind and keys mistress Lindsey Cooper (the lone composer) and percussion master Chris Cutler (the lyricist). The music is severe yet playful, cacophonous but also unexpectedly sensuous at times, abusing unusual chord progressions and odd-time signatures, shrieky vocal squeals to make haunting chamber music, nicely complemented by Zeena Parkin's harp.

The first part of the album, Sirens And Silences, is relatively difficult of access as NFB develops a somber chamber rock (not too far from Univers Zero) where unusual bassoon and sax-playing along with sometimes dissonant harp are setting the mood as cold and rigid and an almost-medieval tinge, reinforced by the mostly-acoustic instruments. Krause's vocals are not really helping either (especially given Cutler's strongly aware lyrics), as I was never a fan of her timbre as well as the type of singing she chooses. Work Resumed On The Tower is a much better (and more riveting) piece, with a wider musical scope and often brinks on the dissonant, while never really overstepping the borderline. Arcades Of Glass (incredible tension from the harp) and Anno Mirabilis (some finally exciting singing and its extreme sax wind-extracting as background) while Victory uses some greater musical dynamics as they enter Eastern European gypsy folk. This debut album ends much better than it started.

The ReR label has reissued both albums in a 2 on 1 retrospective, gave it illustrations (intriguing and appropriate drawings for the debut and haunting photos for the second) makes it the obvious acquisition. Please read the individual album reviews to get fuller impressions.