INSIDE THE CABLE TEMPLE

泥河 A striking chord opens up a new track that incorporates a string section with jazz influences. That then turns into a folksy. Doesn't let you forget some of those softer chords that postrock loves to use. The vocal melody is spectacular. The break in the middle with the high singing strings and the guitar, horns, and lower strings playing in unison. Yes, more! The song breaks again into what feels like noise music being incorporated and slides into the same motif as earlier but heavier, still holding onto that fiddly violin. The chorus vocal melody is sung again but this time holy sh*t they make it now like something Lynard Skynard would solo over on Freebird! This section is exemplary of how this band ramps up the end of their songs. This idea will be taken to a whole another level in 河北墨麒麟。

平等云雾 Starts with a bell chime that sounds like a Tibetan singing bowl with some overtones from various sources, including the guitar, the whacky bell instrument (vibraslap), and other tuned percussions, while some tremolo chords drone in the background. Gives the piece a nice ambiance leading to...

采石 that jazzy chord progression delicately balances post-rock elements in there. The drums and bass give a slow progression with beats emphasizing the 1 and 3 strongly. The vocal kicks in, and blends all the elements seamlessly. The same section picks up in rhythm strumming in swung 8ths on beats 1 and 3 again. The jazz chords kick in one more time with some piano now! Yes! it keeps the soft texture it had in the beginning and ramps the rhythm to emphasize quarter notes more. Starts to feel like a lo-fi track almost. The chorus and pre-chorus come back in again, but it's a variation. The oo vocal melody accompanied by the trumpet is so sweet. Everything breaks again with an interlude befitting a lofi-drop. There's another interlude but I don't feel it does much, other than having the piano arpeggiate. It's saved after the vocals kick in with trumpets feeling like they came out of a Noir film! Epic. The trumpets get the high note and a free jazz piano solo starts sweeping everywhere. Static and explosions start creeping as a john Coltrane sax solo accompanies the piano's freestyling. Suddenly this rock motif with the snare breaks the pattern just for a brief moment before everything goes back to ramping up in their respective regards. And from the midst of all this chaos is a trumpet line that is singing and piercing through trying to lead us back to safe grounds. But the most chill explosion eventually rumbles over everything and fades out, leaving you rattled.

山雀 While you're still rattled from the previous section, shakers start this track. The vocal melody starts leading to some folky acoustic guitar. The vocal melody is going to be developed further, so make note of it. A folky bass, flute, and percussion section break the repeated vocal section. Something that sounds like a harp or harpsichord introduces everything. An interlude with a beautiful clarinet solo changes harmonically significantly from what we heard so far, but it doesn't take long for them to transition back to the motif, and the vocal melody -- now an octave higher, is accompanied by a classic rock beat. (Damn those vocal harms). I've never heard a humming harmony sound so beautiful. Then a guitar unison riff starts ramping up the intensity of the song in the style of king crimson. It's broken up again with a jazzy interlude with the bass hammering on the quarter notes, the riff is then repeated, and back to that jazzy section, but this time the trumpet gets to solo! After the solo, a weird guitar effect that almost sounds like a midi playback pushes into a rock interlude, which is a segue to what I believe is a tenor or baritone sax solo. This is definitely a jazz jam session. The rock riff returns as they head to this jazz jam session and ends the song.

河北墨麒麟 MY F*CKING FAVOURITE PIECE IN THIS WHOLE ALBUM. Chill ambient intro in 5/4 with the bass and drums dancing together. Guitar, brass, wind, swelling, and the spaces filled with overly processed sound bites. Drums fill hits, and a pan 8th notes guitar tap melody counter punctually fill the stereo space leading to the melodic motif, delivered by strings and brass playing in unison. The section ends on a high, but not its highest, silents out to bring back the same atmosphere as the beginning but this time introducing the vocals. A guitar interlude breaks up the first verse to introduce the second verse with the same intensity, with just a tad bit more vocal harmonies. Then that trumpet starts singing letting us know it's its time. This sends us back to the tapped melody on the guitar leading us to the motif of this album that they will build on, but this time with an overarching vocal melody. The song breaks again the same way it did the first time but subverts our expectation as the trumpet sings a modest line softly thrusting us into what I could only describe as a rock/bebop symphonic brass section. The tap melody again - the rock/bebop symphonic brass section again, ending on a high note. Bass and drums play it chill up until the clarinet now takes over the same part that the trumpet was playing and the strings take over what the brass was doing. The contrast is chiller and stark. Repeats twice. The strings end it again, leading to a slow ramp from something that feels very soft to demonic screeching! This busts us back to the main motif which from here on out is just going to be developed, developed, developed, developed, developed. Please, notice the drums, because it does a lot to make this section come alive. The chorus line is back with a backing vocal melody. Guitar kicks to solo over this beginning dementia. Vocals are back and bigger, the strings start creeping, and a squealing trumpet welcomes what can only be described as black metal growls. The strings become louder and louder as everything else dies away, leaving the strings to bid us a bitter farewell. This song is amazing and should be on your list for one of the best eclectic prog songs you'll ever hear.

郊眠寺 Wind chimes and swelling strings help to relax you again from another devastating journey from the previous tracks. Gives you safety and comfort as the chords are picked and strummed along with those soft strings. Finally, a doubled vocal line feels very reassuring. Like a guardian's voice ensuring your safety. Shifts to a guitar and vocal melody that only cements how safe and happy we are to be here. Ukuleles enter the ensemble, adding another layer of that innocence. I have no idea what he's singing, but it feels like a bitter sweet farewell. For a good while you're comfortable in the warm embrace of the vocals, guitars, and ukulele, then a beautiful string quartet interlude plays to break up everything for a little. The verse comes back again with this delightful whistling sound in the background that feels so playful. The development in this track is never to ramp up, but just to secure this peacefulness that started the song. It also acts as a call back to 泥河 the track that "started" the album. For me felt like they tied the whole thing up in a beautiful bow, a thank you for coming with them, a nod to those who paid attention. The track ends with strings swelling and cutting out with a large bow stroke.

The album is a must. If the intention of the artist was to take you through a walk in the forest of Hebei, then you're in for a ride. Because I believe this walk is not about what he sees, or what he hears, but what develops in his mind while on this journey. It is a classic come-full-circle kind of experience that I would recommend any musically inclined individual to embark.

I will leave this review with some negative comments: the production value is certainly subpar. If you're an audiophile, you will not find this album enjoyable. Maybe there was some sacrifice to the quality to ensure that they could record all the ensembles they had. Personally, I don't mind something that sounds a little raw. However, though the production in audio quality is poorer for its contemporaries at times, there were some sections that felt over-produced to the point where I was left wondering: How will they every perform this live. Admittedly, I had the same concerns listening to other albums like Cardiacs, only to discover that they pretty much perform their crazy recording stunts live. But in the case of this album, I just find it improbable that they'll ever be able to reproduce this in any setting other than the mixing bench.

This album was still an absolute joy to listen to, and that's why I give it a 5/5

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