RASCAL REPORTERS

Rascal Reporters released their album "Dux in a Row" on November 3rd, which consists of works written in the 70's that were reborn on this album and as such represent an excellent mix of classic and new sound of progressive rock. These reworked compositions exude not only incredible and complex musicality, but also the beauty and care that is woven into them. This album was released by áMARXE, and it is possible to order a physical double CD version which, in addition to this album, also includes the band's latest work "The Strainge Case of Steve". Rascal Reporters take us on a fascinating and engaging journey in which you will be catapulted into a labyrinth with obstacles and moments of suspense, a cascade of sounds that sometimes remains suspended on avant-garde plots and then opens up to fluctuating intertwining of rhythms and melodies , all the way to irony and lightness that is typical of the Canterbury scene. This band launches us into an engaging and epic themes. This is a work of rare beauty, perfect synergy between song format and experimentation. The musical taste is impeccable and there are numerous changes in tones between the various parts of the pieces, which is always in continuous growth thanks to an incredible collaboration of all musicians. A crazy and strangely fascinating album where the boundaries between the instruments and the compositional approach are laying the foundations of something new, music without genre definition and without structural or formal limits, it is a complex architecture that, even in all its extreme approaches, still manages to be accessible. The compositions given to us by these musicians are presented through decidedly complex pieces full of excellent musical moments, which represent quite strong elements of many prog spheres. Through listening you can feel how the band hypnotically shows the incredibly cohesive interpretation of an eclectic approach with a Canterbury vein. Also, the impetuosity of the aforementioned is sometimes set aside, and then we have unmistakable experimental flavor, as well as delicate and dreamy atmospheres. The deep musical passion cultivated by the band is clearly evident, and in their compositions, they show exceptional technical endowment, which does not end only in the mere speed of execution but is also evident in the refined cleanliness of the sound. The compositions are sometimes somewhat schizophrenic but never to the point of losing the sense of direction, given that they are flooded by a lot of influence, as well as with a little chain of movements of an indefinable avant-garde genre. The compositional approach in many moments presents more mysterious folds, the keyboard explores the octaves in an ascending and descending sense, thus creating a psychedelic and obscurely jazzy atmosphere. A fantastic approach of creating atmospheres, where in certain moments we have a combination of positive and dangerous feelings at the same moment. This was achieved with those background sounds that support the main themes that slowly build up. The group has the good taste to diversify its subject and to embrace a good number of atmospheres. There are various electronic inputs for floating and cloudy sounds, rhythmic patterns, sonority, and crazy experimental moments, all united in landscapes that will enchant you. Both albums are assembled precisely and in a fantastic way, the group seems to give little space to improvisation, the point is that everything is fascinating for its changing colors and imaginative games. Beautiful albums, with attention to detail, in which nothing seems to be the result of chance.

The new 2CD release via áMARXE of "The Strainge Case of Steve / Dux in a Row" is an absolute revelation and a true listening pleasure of the highest order. "Dux In A Row" collects both volumes of Redux (70s material), but completely updated from the ground up, incorporating new layers and takes. This reincarnation captures the essence of the original pieces while adding a touch of modern refinement, making it a must-have for both dedicated fans and those new to the world of Rascal Reporters.

This comes alongside a reissue of the band's new work, "The Strainge Case of Steve", which sold out of its initial run of 100 CDs, leaving many without a chance. It's a listening pleasure of the highest level.

Truly extraordinary from the first sound to the last, taking you on a sonic journey that is equal parts haunting and enchanting. The lush textures and intricate layers that characterize the group's distinctive sound are a portal to another world, inviting you to fully immerse yourself in an evocative sonic universe that includes beautiful melodies of the Canterbury sound, complex estructures of Rock In Opposition and experimental occurrences of all type. In an era of disposable music, this double album is a testament to the lasting power of artistic expression.

I'm not sure why, but here we have the Two Steves minus one Steve (Gore), bassist James Strain picking up the place vacated by the missing Steve, yet the music is as happy, quirky, humorous, shifty, melodic, and wonderfully- Canterbury as ever!

1. "Fat Delivered (4:59) As if Dave Newhouse and Dave Stewart melded their Canterbury style musics together with Phil Miller's guitar and, at the end, into the form of some traditional Celtic pop song. (8.875/10)

2. "A Race Against Time" (2:40) piano-based 1980s synthesizer-infused jazz with an old, classic jazz-pop melody line tying it all together. The sound palette is still very much like early HATFIELD AND THE NORTH. (4.5/5)

3. "Papa Norco" (4:57) a bit of a militaristic take on some French street music (because of the strong presence of accordion, no doubt) with a definite Dave Newhouse pace and feel to it. The backing synth sounds like The Northettes! (8.75/10)

4. "Beetle Borscht" (5:15) cool piano opening, soon joined by synth before drums and rhythm section jump in. Really nice, relaxed, melodic HOMUNCULUS RES-like tune. Great melodies and instrumental contributions throughout. A top three song for me. (9.75/10)

5. "Over and Out" (3:05) melodic ZAPPA, Moogy Klingman-and-Homunculus Res-like synth pop sound performing a rigorous sound and skill test. (9/10)

6. "The Odor at Tavistock" (4:33) very pleasant Canterbury Style jazz-pop-rock with many completely different motifs sown into one song with the same sudden twists and turns that Homunculus Res uses\d on their 2012 debut album, Limiti all'eguaglianza della parte con il tutto. I love the percussion and bassoon-dominated second motif. One of the most proggy-sounding songs on the album. A top three song for me. (9.5/10)

7. "How Archontic the Ankle Biters" (8:21) with its dominant piano base and synth-funk sound in the rhythm section, this is the jazziest, most classically-influenced, and most dated sounding song on the album--even during the click and pop motif in the second minute. A clever, humorous song that could have been created or produced by fellow- Detroiter Don Was. (17.5/20)

8. "Lady and the Old Codger" (2:27) an ambivalently malevolent and, at the same time, humorous song that really gets your attention. Like a scene out of an Eminem movie. Powerful! (5/5)

9. "Unknowable" (5:14) synth-o-mania! Interesting, but sounds and feels rather dated and more like an étude than something intended for consumer/listener pleasure. (8.6667/10)

10. "Love Is a Dead Smelly Fish" (4:34) another song on the jazz-side of the musical spectrum--as if Homunculus Res went more toward French street music or straight jazz. (9/10)

11. "I Cries Crimes" (3:56) Fender Rhodes! And, according to the liner notes, a whole host of all-star guests! The rhythm tracks are much more seamless and laid back than many of the other songs. Another favorite. (9.25/10)

12. "Uh Oh (Lait Suspendu Fermenté)" (3:39) Singing! in French! By a female "NORTHETTES"-like choir (all Penelope Lovelace multitracked?)! Such a joyful song! My favorite song on the album! (10/10)

13. "Groom of the Stool" (3:32) lots of sound FX in the opening before a heavier early-DAVE STEWART-like piano chord progression opens up the minor-key song construct. It's like a soundtrack song from an European spy thriller. Interesting but nothing exceptional or ground-breaking. (8.75/10)

14. "Lurking in Shadow Fury" (3:41) piano and accordion and, later, synthesizer trading turns in the lead over staccato stop-and-go jazz foundation. A little hurky-jerky for me, too reliant on an oft-repeated melody line. (8.66667/10)

15. "Guns for Clones" (7:43) one of the more serious-sounding songs on the album, it's quite like the early Canterbury instrumentalists (Hatfield, Gilgamesh, or even National Health). I like the constantly shifting tempo and accordion work. (13.75/15)

16. "People Who Eat People" (8:53) again, there is an undefinable French street musicality to this music--and it's so carefree and happy-go-lucky--like a walk through several of the delightful neighborhoods in Paris' 2nd or 3rd Arrondissement coupled with the occasional encounter with the the Right Bank of the Seine or museum stroll through. (18.25/20)

Total Time 77:29

Being that this all-instrumental album is so long and completely saturated with the crazily complex twist-and-turn compositions, it is a very hard album to review with my usual play-by-play style. Suffice it to say that all 16 of the songs retain a wonderfully high standard of consistency in enjoyable, melodic, quirky-yet-engaging, each feeling fresh and creatively unique. After my first listen I had one clear favorite: "Uh Oh (Lait Suspendu Fermenté)"--for its French lyrics sung by a Northettes-like female choir (I'm a sucker for both female choral vocals-specially when delivered in the French language). But then, after three listens, I have been able to pick out a few other favorites ("Beetle Borscht," "The Odor at Tavistock," "I Cries Crimes," and "People Who Eat People")--and the rest of the album just keeps growing in my esteem.

A-/five stars; an amazingly refreshing collection of mostly "future jazz" songs from these Cuneiform-supported music masters; music every prog lover should hear--and will probably love! (Especially if you love Canterbury Style music.)

If it wasn't for the helpful folk at PA, I would never have known this band existed. This is the first album I've heard by Rascal Reporters and I can enthusiastically report that these rascals have blown me away. I love this album. Mostly instrumental, the music brings something unique to my ears. A Jazzy Canterbury Classical mixture of divine compositions that flow without repetition and are laced with upbeat positive vibes. Engaging and challenging the listener as the music transports you to another dimension. Clocking in at almost 78 minutes you would think there are a few duds on this disc, but there isn't. Every song is amazing. The band on this release consists of Steve Kretzmer (keys, programming, effects, etc.) and James Strain (bass, guitar, drums, etc.). A few friends help to fill in - vocals on one track and some angry spoken words on another track. Beyond that, all other tunes are, insane complex instrumentals that constantly morph into blissfull modern ear candy that only these skilled musicians can pull off. I'm highly impressed that they make this music accessible to us mortals. At the same time I'm embarrassed because they have ten other albums (albeit different personnel) and there is much for me to explore.

An album that should not be missed by any music lover. Easy 4.5 stars... but gotta round up.

4.5 stars. I can't tell you all how excited I am to own this record, and it's such surprise after feeling that "Happy Accidents" the followup to this was just too much for my little brain. Speaking of which that cry from the two Steve's "Does anybody have a brain" from the opening track still makes me laugh. Steve Gore and Steve Kretzmer are the dynamic duo in question here making such an impression in the early 80's with their Avant music that musicians from HENRY COW, THE MUFFINS, UNIVERS ZERO and on and on were thrilled to be part of their recordings. And on top of all this a new album is about to be dropped in 2023 called 'The Strainge case Of Steve".

I get amped up when I discover an album that usually isn't in the style I'm into yet hits the spot big time like "Ridin' On A Bummer". This is all over the place as far as styles go but the collage stuff, the humour, the experimental bits all work for me for the most part. Strainge indeed. MIRIODOR and their circus-like music, Zappa's most out there recordings and MAHOGANY FROG all came to mind then throw in some dissonant horns and certainly Avant jazz and even Free jazz rear their beautiful yet twisted heads. This was released in 1984 and right away becomes a top five for me for that year along with now being included in my "best of" Avant list.

The opener "Elements" really is a concise piece of the whole. All over the place with humour. The epic "RIO" at close to 16 minutes is clearly the tour de force here. Cool to have some guest cello while Fred Frith and Tim Hodgkinson add vocals. The bio here says that these two former HENRY COW members were united on this record for the first time since their band HENRY COW broke up in 1978. Tim will add some inventive sax on "Barrensphere" one of my favourite tracks. Back to "RIO" and I love this piece with how the band touches on the different aspects of the RIO movement including a dark section. I'm so into the intensity late. Early on for maybe the first 5 minutes it's like a RIO haze has enveloped us.

The second half of "Barrensphere" just kills. "Without Passion Or Peace" is another highlight especially how urgent it sounds late with laughter. "Bones Chorale" reminds me of THE RESIDENTS early on and check out "Barrensphere Revisited" with Dave Newhouse from THE MUFFINS ripping it up on his sax. And even the one minute "Dave Newfield" brings something to the table with it's bright and uplifting sound. Avant music has been a tough go for me but at this point in my life I feel such an appreciation for it in all it's different styles. It's rarely boring and almost always challenging. Help!

The first album of this Detroit-based prog duo is appropriately titled indeed, being both sufficiently obscure as a super-rare cassette-only release by an already very niche band, and also certainly being a freak within both the Rascal Reporters' own discography and the wider music world. Released before they had built up a modest reputation for their impeccable intricately composed Canterbury-infused avant-prog, this debut claims a solid place in the wonderfully weird world of D.I.Y. avant-garde tape releases from the early 80s that were seemingly more influenced by the Residents or by Frank Zappa's very early tape experiments.

Hints of the Reporters' future style can be heard in select spots on Freaks Obscure, such as on the chamber-ish "There", the Art Bears-inspired vocal workout "He Is Home", and the excellent "Sent Flying" which manages to hold down a mean groove full of rhythm changes and complicated keyboard parts despite the amateurish production and the multi-tracking that just barely stays in sync. Unfortunately, these highlights are relatively brief and the longer tracks (longer as in five minutes instead of just one or two minutes) generally do not justify their running time, with the possible exception of "Lou's Guilt", a gloriously bleak synth march that is sadly stretched out for a bit too long without enough development. The quirky drum machine-led "Cure For Prohibition" and the messy screamy "Flo's Addiction" both wear out their welcome at varying speeds. The worst part however is how the amount of actual music on the album is balanced by pure nonsense: not-too-inventive sound collages ("Nightmare", "Plastic Natural") and drawn out passages of cartoony and distorted voices arguing with each other, chanting haunted nursery rhymes or just screaming obnoxiously (be sure to turn down your volume a notch before listening to "RIP Birth").

It's all over the place and yet in frustratingly few places, but in my personal opinion the bright spots combined with the endearing strangeness and singularity of this album make it worth experiencing at least once, even if it is probably the least essential entry in the wacky discography of this extraordinary group.

There is a pretty good chance that you haven't heard of the RIO/Avant Prog band 'Rascal Reporters' before, even though they have been around since 1974. The story actually starts with a duo called 'Raw Meat' comprised of Steve Gore and David Johnson, but when Johnson was replaced by his friend Steve Kretzmer, the name changed to Rascal Reporters. Both Gore and Kretzmer play keyboards and drums and they were both composers, making recordings of all of their music which at one point, was being written at a rate of one per day. The band has actually retired because of their huge archive of music already recorded.

After a while, 1980 to be exact, they started releasing a few albums. Since 1980, they have released 8 full length albums, 2 compilations and two EPs. That's really not a lot considering that their latest release, 'Redux, Volume I', released in April of 2019, is their 8th full length album. It consists of archived music that the duo felt was unfinished because the proper equipment didn't exist at the time of the recording, but now it does exist so it has been finished. There will be a 2nd volume that will be released later. This album consists of 6 songs with a total run time of just over 32 minutes.

Through the years, the duo has recruited other musicians to help perform their music. For 'Redux, Vol. 1', there is a third member, James Strain, who also provides keyboards, drums, bass, and guitar. Usually, recordings will consist primarily of compositions from one of the original two members. On this album, most of the tracks are compositions of Kretzmer, with only one being from Gore. Strain shares credits on most of the tracks and he performs on every track.

The music is definitely complex, as you would expect from this genre. The meters are constantly changing, yet the overall feel is bright. There are a lot of jazz elements throughout, with the tracks mostly led by piano and other keyboards, but there are instances of brass, and the drums are very important in helping to anchor the constantly fluctuating tempos and meters. There is also plenty of stylized guitar in there to provide variety. It all starts out with a short, sunny track 'Improv Cost Me My Job', which flows right into the longest track (over 13 minutes), 'Hubert Greenery Peck' which is an ever-changing, dynamic track, somewhat similar to 'Henry Cow', complex, jazzy, and very avant garde.

'One of Our Dogs is Missing' follows a somewhat stately theme, but has so much fast paced improvisation going on around it, that at times it's hard to pick out the theme. It slows down a bit towards the last minute. 'My Three Sounds' is led by the piano and is a more relaxed feel, yet it is still complex. Things soon pick up to reflect the complexity of the previous tracks and then the usual progressive elements run rampant as the piano retains control over the other layers. Listen closely and you'll later hear the 'My Three Sons' theme come in and take everything over. 'Egos Explode' is the only Gore composition on this album. There is definitely a different feel for this track as it is completely awash in synth layers that feel like they are coming in waves over you. After a while, the rhythm section comes in, but don't expect any normalcy as the synths continue to refuse to follow any beat, but the drums finally pull things together a bit. Layers of oddness continue. Last of all, 'Her Kind' has a more accessible feel to it, and, yes, there are actually lyrics and vocals on this one, provided by Kretzmer, which is rare for this band. The vocals are nothing to get excited about, but it is an attempt to make something somewhat accessible, but it is still a bit tricky compared to most music. So, it's not really a throw away track, but it is the least interesting.

This could have easily been a 5 star album if it were a bit longer and if they had substituted something more interesting to end the album on, but it is still excellent, and it also makes me want to explore some of their other music. I will definitely be on the look out for their albums. In spite of those drawbacks, I can still give it a 4 star rating in that the other tracks are great. This is one for the lovers of complex prog similar to Henry Cow and the jazzier side of Zappa.

With a name like RASCAL REPORTERS you know these guys have a sense of humour. The band is actually two guys named Steve who were High School friends and both are multi- instrumentalists. I must admit that I often don't check out specifics of an album I'm listening to until I've spent some time with it, so yes I was very surprised to read the guests helping out here. In fact I really thought this was mostly a keyboard/ drum recording, which I guess it is(haha) but I missed the guitar and horns for some reason. Oh and who knew Steve F. from Cuneiform records was a musician? Not me, but he plays guitar on one track. Also Nick Didkovsky from DR. NERVE also plays guitar on one track, Guy Segers from UNIVERS ZERO plays bass on one track, James Grigsby and Dave Kerman both play percussion on one track, both from 5UU'S and Dave Newhouse from THE MUFFINS is the most prominent guest playing flute and sax and he plays on three tracks.

This is the album many state as RASCAL REPORTERS best and the fact it was released in 1988 a time that was pretty bleak for Prog fans certainly didn't hurt. This album has been a tough one for me to get into, it's divided into two suites and the opening one I quite like but I get annoyed with the second one which certainly affects my rating. It's just not clicking with me. It really sounds like they use a toy keyboard or something and there's some high pitched sounds that make me squint a bit. Yes I'm laughing right now. Hey this is avant music. The album seems to have a theme and that being transport trucks as the first suite is called "Weigh In On The Way- Out" and the second being "Trucks", yes I'm a genius. And the title of the album of course fit this.

"Pilgrim's Pride" has such a feel good intro that will be reprised a couple of times including near the end of the final track of this suite. I like when it suddenly turns melancholic with solo solemn flute. It kicks in a minute later with drums and high pitched keyboards. Another change a minute later as we get some great sounding angular guitar along with organ as percussion and drums support. Lots of more changes follow then that happy intro soundscape is reprised but it settles quickly as we get plenty of pulsating keys until the intro is reprised to end it. "The Chalky Substance Variations" is fast paced and avant before it calms right down with piano. Violin joins in and this is quite pleasant. Drums and distorted keys take over before the piano returns with drums this time. Again lots of changes on this track too.

"Karen's Chalky Pilgrim" opens with keys and shuffling drums before the keys start to pulsate and snapping fingers can be heard along with vocal melodies and bass too. A change 2 1/2 minutes in as drums and keys lead but with a different flavour. Pulsating keys are back along with bass and drums, catchy stuff. The intro from track one is reprised before it turns avant and it ends with some humour as we hear a sample of THE CARPENTERS popular song from back in the day. The "Trucks' suite is next with "Thunderstruck" as we here dual sounds that are off-set in this experimental intro before the drums kick in. Things change often though. It's dark before 2 minutes. Annoying high pitched sounds around 7 minutes pretty much to the end. "Moonstruck" has more high pitched keys with percussion and more. Not a fan. Fast paced high pitched keys after 3 minutes. It settles down before 5 minutes and flute eventually arrives before leading 7 1/2 minutes in as the tempo picks up and stays that way until the end.

Lots of fans of this one but it's just not my cup of tea overall.

From 1985 and for the next two years Rascal Reporters would work occasionally on their fourth album ''Happy accidents'', recorded at Sonic Crayon Studios in Detroit and at the Living Room, which is propably a name for their home recordings.At this point the duo of Gore and Kretzmer had made some good friends within the global Prog/R.I.O. scene, most of which appear on the album: Dave Newhouse from The Muffins, often considered the third member of the band, percussionists David Kerman and James Grigsby, both from U Totem, Present's and Universe Zero's bassist Guy Segers, Steve Feigenbaum played the electric guitar (founder of Cuneiform Records and the Wayside Music disc distribution company), guitarist Nick Didkovsky plus Paul Kretzmer on bass.The album came out on the Hebbardesque label in 1988.

''Happy accidents'' consists of two sidelong pieces, ''Weigh in on the way-out'' and ''Trucks'', both are a little over or under the 20-min. mark and are divided in a few shorter segments.This work finds Rascal Reporters at their creative pinnacle, their music remains quite difficult to follow, often childish and certainly chaotic, but regarding the composing skills the American duo had set series of interesting instrumental work with influences from Jazz, R.I.O. and Classic Prog, while reducing the somewhat annoying experimental passages towards a more tight, still playful and pretty progressive nature.The music relies much on keyboards, bass, piano, effects and drums with sporadic electric guitars, flute, strings and sax, the most impressive characteristic on both pieces is the comfort of the duo to mix some light vibes from Classical Music and Jazz with full-blown keyboard and piano rhythms and the everchanging tempos in a complex and adventurous offering.For the non-mystified their music will be a huge surprise, it's almost like Cartoon Prog with period keyboard programming surfacing next to the physical sounds of instruments and sounding like FRANK ZAPPA, THE MUFFINS and YES sharing a common musical direction.I find ''Weigh in on the way-out'' to be a little more efficient, but both pieces contain excellent parts of keyboard masturbations, Fusion interplays, symphonic breaks and cheap orchestral moves.

ZNR Records reissued the album in CD format in 1995, throwing in a few bonus tracks, of which ''Stabbing at air'' clocks at 25-min. minutes!Where the hell was this one hidden?Anyway, it follows the same vein as the two original lengthy pieces with big time symphonic parts, jazzy interventions and neurotic keyboard flashes, but the production is much cleaner, while some vocal parts and percussion experimentations are present in its second half.

Very good effort on quirky instrumental Prog, some keyboard ideas sounding like cheaptunes are not that rewarding, but these men were flirting with the ''genius'' label, after composing such music with limited techniques.For fans of THE MUFFINS, GENTLE GIANT, FRENCH TV and similar bands of complex Prog.Strongly recommended...3.5 stars.

The two cassettes early in their career draw some publicity for Rascal Reporters, which were slowly becoming more well-known in underground circles.The ''Guns for Jerry's kids / Beatrice'' single was issued in 1981, giving also birth to the group's own Hebbardesque Records, and this was followed in 1984 by Rascal Reporters's first proper release, the ''Ridin' on a bummer'' LP.Steve Gore and Steve Kretzmer are supported by a few guets here, you should notice the presence of Fred Frith, Tim Hodgkinson and The Muffins Dave Newhouse.

Ok, Rascal Reporters' music remained extremely chaotic in this and pretty diverse with numerous influences, but for one strange reason ''Ridin' on a bummer'' sounds a bit more compact and consistent compared to their early material.While the cheesy computer-keyboards and vocal manipulations are still present, the focus now is on composition and actually the Progrssive Rock influence is very strong to the point the guys now even flirt with groups like YES or HANDS at moments.Of course the main comparison is still THE MUFFINS and Rascal Reporters appear to step on the footprints of these veterans, adding their personality and coming up with an incredible mix of Classic Prog, RIO, Fusion and sound effects.No surprise the most complex and musically flexible composition of the album is titled ''RIO'' and spans at over 15 minutes, a unique combination of soft piano interludes, symphonic movements, Fusion terrorism with complex workouts based on percussion, clarinet and synthesizers and frenetic, nervous synth explorations.An intelligent, if not a bit of an excessive display of talent.The rest of the album sounds like a Classic Prog group moving often into MIRIODOR-like grounds, especially when the clarinet takes over and the music becomes jazzier and thus a bit more complex, but there are also some more melodic themes in here, especially during the opening minutes with ''Elements'' and ''The hill'', which contain quirky, symphonic keyboards and romantic singing lines.

Rascal Reporters were on to something good here.Their schizophenic, experimental mix of styles is not for everybody, but fans with open ears can eventually taste some more consistent material by the American duo, which belonged among the most adventurous groups of the 80's.Recommended, the album has been reissued both via the ''Ridin on a lavender freak'' compilation and its celebrating 20th Anniversary Edition with plenty of bonus stuff.