RIO/AVANT-PROG

His new cd Famina is something that better remind me more like a tribute to the Modern classical composers like Pierre Boulez or John Cage's Music (and someone said it's sounds like Hildegard von Bingen, Meredith Monk, Simone de Beauvoir, Frida Kahlo, Madame Blavatsky, Isadora Duncan, Hélène Cixous, Gertrude Stein, Abe Sada, Sylvia Plath, Louise Bourgeois, Margaret Mead, Loie Fuller, Dorothy Parker, Yoko Ono and the moon goddess En Hedu'Anna. it seems that he's main reason for calling this album Femina is mainly because the instrumentalists of this album are mainly women . The band consists of Jennifer Choi on violin, Sylvie Courvoisier on piano, Carol Emanuel on harp, Okkyung Lee on cello, Ikue Mori on electronics, Shayna Dunkelman on percussion, with Laurie Anderson opening the album with a few seconds of narration. the style of the music is more Classical and rely on other espects . this is not a regular John Zorn cd . it's seems to be more softy - but at the other hand you still can notice the "Harshy" sound that Zorn use to make . for me this album is very unique because the music seem to affected bu Chinese Traditional music . the on disadvantage that i have on this album that it is very short - just 35 minutes long ... BUT - It's still a fresh , Mystherious , Full of magic and Adventurous album . This album will not dissapoint any enthusiased Fan of Zorn , Nor Experimentalists , Very High recomanded !

The songs themselves are more developed than those on the first two FE albums (which I am more familiar with than the third and fourth), and sound more like traditional prog than quirky ideas stretched into song length. And the songs are generally longer. And so are the song titles, always another bit of entertainment from FE.

So there is a tradeoff from the early albums. Better songwriting, but not as interesting guitar tones. But it's still a great album.

The music here is in exactly the same vein as their debut CD, Artificial Horizons. Most of the songs are short compositions, based around the amplified and sometimes effects laden acoustic guitar of C.W. Vrtacek (Charles O'Meara). The songs, like on the first album, sound like a stripped down version of Discipline-era King Crimson, but with a more RIO thought process behind the writing.

Like the first album, this is a very nice listening album.

There are 24 short tracks on the album ranging from about 1 - 4 minutes in length. The musical styles go from everything between jazz, fusion, classical, black metal, death metal, electronic music and rock. An extremely eclectic album. The album is a sci-fi concept album where the titles of the songs give hints to the scenery. I´ve been listening a lot to another one of David Murray´s projects this last year ( Tholus) and I noticed a funny conceptual continuity detail. The first couple of minutes of Battle Upon The Space Galleon ( from Part III: The Lilac Moon) are also used in the Tholus track Short Forevers from the technical/ progressive sci-fi themed death metal album Constant (2007). An album written by guitarist Mike Johnson who is also credited for additional composing on Part III: The Lilac Moon. Most of the music is composed by David Murray though and given the wide range of styles he is quite a talented guy.

While the music is interesting throughout the album albeit only for the really open minded listener, the production does drag my rating down a bit. It´s a bit homemade if I may use such an expression and it sounds a bit too much like a hobby project for comfort IMO. I´m sure a better sound quality would have meant that I enjoyed the album even more so it´s a bit of a shame really. I´ll give a 3 star rating and warn those who like one type/ style of music on one album, and recommend the album to those who like experiments with many genres within an album. In my world this is truly progressive music ( for better or worse).

The derivation of the item by various musicians and bands had the element exactly revolutionized in the age. The music of Japan of the 80's also exactly faced the time of the revolution. And, musicians were always pulling the kingdom of music with a variegated exchange. The unit and the project that derived in the flow were offering the music uncommonly known as a chemical reaction to some listeners. Of course, this Wha-ha-ha will have been one chemical reaction in the music that had arisen from the performance and the exchange that various musicians had done to which the age had given birth exactly.

Akira Sakata of the Sax player who is acting in the item of Jazz has developed the plan of the band to this Wha-ha-ha in work with Shigetoku Kamiya. And, active Mishio Ogawa in the band that was called "Chakra" was related to this project by chance and it came to participate. And, "Shinutokiwa Bethu" of the album that had been announced on keyboard player's Shuichi Chino was one masterpiece that had arisen exactly in the derivation of various music. It is complex development and a strange part in a variegated sound. And, it is a work still handed down as valuable existence to which variety and different element are taken in the music of Japan.

To finish up the Wha-ha-ha [fu] existence as a more complete part, parties concerned also gave musical help in this 2nd Album. They were hanging originally out "Music is a grand joke" as a slogan that existed in this Wha-ha-ha. However, music was not a joke with low level. An indeed high-quality technology and the calculated composition in 1st album are popular also among an overseas musician.

The impression of the entire tune in addition to a basic part where the methodology of 1st album was shifted to this album as it was will have the part refined further. And, the perfection of the project increases by the performances such as percussionist's Kiyohiko Senba and Bass player's Tamio Kuwabata that participate newly in this album. The tune might be refined if it compares it as an overall impression with 1st album. However, the music that Wha-ha-ha does and the idea are always consistent and offer the listener the originality of this band enough. It is said that Shigetoku Kamiya that satisfies it enough with the content of 1st album was passive to the recording of this album.

"Akatere" has the voice of repeated Mishio Ogawa from the flow of a heavy sound. The melody with unique has an Oriental melody. And, the part of techno is alive and well.

"Chic Tac" is a tune of which the part of the avant-garde of Wha-ha-ha has gone out strongly. The sound of the keyboard that twines intermittently has originality. And, the line and the rhythm of Bass put the impression of the tune. The rhythm of Shuichi Murakami of the participating drum player gives width to the tune of the band as for 1st album. The usage of the wind instrument and the voice will have the unique method.

"Nojari" is a tune that the part in which flamenco twines round an electronic sound. The tune will have the impression and the perfection refined further based on the part of unique to listen in 1st album. However, the avant-garde part has impressions that are the retreats how many as the entire impression of the album.

"Keironohibi" is a tune with the age very much. A variegated sound is given to the theme of the keyboard with unique and original development is shown. It might be a composition in which the impression of the toy chest is given. This tune is a tune that Mishio Ogawa offered Wha-ha-ha for the first time.

"Wha-ha-ha Radio Theatre" might be the compilations of them with whom the music character of Wha-ha-ha is exactly blocked enough. The flow of the tune that breaks the concept of music based on radio programs and is composed might be one part that depends in a merry sport to which Wha-ha-ha exactly went. And, the repeated conversation doesn't make sense from first to last. Speech by Akira Sakata and Mishio Ogawa that twines element of techno and pop and is done. And, the repeated theme. Continuousness of conversation not to do meaning that depends in a merry sport. Part where broadcasting radio was imitated. Voice of traditional festival of Japan. Song with unique by Mishio Ogawa. These elements might already have exceeded the concept of music. Of course, only they will make the tune.

Fred Frith and Chris Cutler also evaluate the music that this Wha-ha-ha did high. And, it is partial where this Wha-ha-ha had a coincidence and inevitability. And, works of men who catch all music as a joke might be one of the chemical reactions to which Japan gave birth exactly.

I first saw this band when they opened for the aforementioned Doctor Nerve at a Cuneiforms Records tour. I was immediately taken by the group's deceptively simple compositions masking much more complex ideas.

Guitarist Chuck Vrtacek (Charles O'Meara) plays acoustic guitar through a few effects, and manages to come up with an interesting array of sounds. From basic acoustic guitar to fuzzed out simulated electric (on a quirky but cool cover of Jimi Hendrix's Manic Depression), Vrtacek plays seemingly simply, but actually somewhat complex tapestries.

As I mentioned above, the song structures remind me quite a bit of Discipline, while the chords and tones often evoke early Dr. Nerve. And the sparseness with intermittent ferocity brings to mind The Residents. (BTW, if you can find Vrtacek's Residents parody, Now Available, get it. It's right on the mark.)

No one person or instrument dominates, nor does any particular style or theme as near as I can tell. Some of the lyrics are silly (“I know your feathers are wet!”), others unintelligible, and still others seem cerebrally wise and thoughtful. Just about everyone gets in on the singing (which is more plentiful here than on any of their previous records); at times it seems like just about all of them are singing at once, although not necessarily the same song or even in the same key. Some stand out, in particular Colleen Kinsella who hadn’t been with the group very long when they first recorded these tracks in 2000 (although the record itself wouldn’t be released until 2003). Her voice varies at times from a rather pleasant, easy canter to shrill freak folk, and is usually rather flat but not so much as to impinge on the power of the music. Chriss Sutherland, who plays bass in addition to chortling a convincing David Byrne imitation is the other somewhat dominant voice (especially on “Bogart the Change”), but none of the members take center-stage to the detriment of the others.

And this is part of the problem and the providence of this band. All of them seem to actively contribute to every album and every song, but sort of like every bee-member contributes to stitching a quilt: the results may be beautiful, but may just as easily end up displaying an egregious flaw due to the lack of central direction. For those who like their music well- organized and neat, Cerberus Shoal will prove beyond maddening. For avant-garde/RIO nuts, these guys are just this side of Henry Cow, and have been described as ‘a 3rd-rate Sleepytime Gorilla Museum. I can buy that comparison, but could just as easily bundle them in the same loose collective of acts like Faun Fables, Larkin Grimm or Tunng (check out “Baby Gal” for the best example of the latter two).

Ms. Kinsella appears to be the biggest influence on the band’s eventual veering off into freak folk territory, as that side of the group was nonexistent before she landed a gig with them. Again “Baby Gal” is the best evidence of this, as well as “Tekel Upharsin” and the vaguely Eastern European-sounding “Train Car Nursery”.

The band also continues their habit of marginally clever song titles, including “A Cloud No Bigger Than a Man's Head” combined with the closing “A Head No Bigger Than a Man's Cloud” and the somehow appropriately-titled “Shaky Bull”. Check out any album after this for plenty more examples.

Also get ready for plenty of drone, loads of words (some of which are actual singing), liberal use of ebow and oud (like you don’t get that combination every day!), and bizarre deployment of a Jew’s harp that reminds me a bit of Reverend Glasseye and His Wooden Legs’ “One More Smoke”. Throw in the faint presence of melody when the mood suits them (not often, by the way) and a ubiquitous and varied rhythm section and you have an interesting though incongruous collection of songs that will definitely challenge your music- listening skills. When all is said and done I suppose that’s a good thing, unless of course you prefer music that requires nothing of the listener. If that’s the case head on over to the Pop/Dance aisle at your local mega-chain store; otherwise take some time to hunt this thing down and give it a try; if nothing else it’ll give you a sense of accomplishment when (if) you manage to get through the whole thing. Three stars.

peace

A strong argument could be made for this being their most artistically pristine and impressive album. The very tight melding of improvisational electronica, classical music and modern rock rhythms is nowhere as easy to accomplish as it sounds in a finished product. The group clearly spent quite a bit of rehearsal and production time in the studio before convincing themselves these two lengthy songs were ready for prime-time.

But at the same time I’m not as excited by the almost too-prefect, smooth jazz-like glossy sheen here. The band shows they can hang with the most accomplished ‘serious’ musicians of their day, but somehow for a Cerberus Shoal fan the absence of anything even remotely raw, experimental or occasionally in-your-face leaves a hole in the musical experience. This kind of reminds me of a couple projects former PiL Jah Wobble put out after he sobered up in the early nineties: musically adroit but lacking in body fluids or the tense expectation of an awkward explosion at the most inappropriate time. You know – the sort of thing that separates Chopin from Cobain.

To be fair these two songs were both written as film soundtracks, so the themes and, to a certain extent the moods, were somewhat dictated by the subject matter they were designed to accompany. Some consideration has to be made for this fact. But as a full- fledged Cerberus Shoal studio work I find the final product to be a bit lacking in light of my personally considerable expectations.

Given the technical outstanding delivery I can’t quite conscience giving the CD only two stars, but I also doubt very many progressive music aficionados will find this to be a very appealing album, unless maybe you find Phillip Glass or Robert Fripp’s solo stuff appealing. So I’m going to go with three stars, but with only a mild recommendation for those interested in the whole of the band’s body of work.

peace

The difference here of course is the melding of cerebral post-rock and electronic drone with the grungier stuff – none of the bands mentioned above did anything like that (except maybe Bauhaus a little, but I really never got into them much back in the day). Also, Cerberus Shoal made a habit of regularly reinventing themselves through endless experimentation and collaboration in their ten-plus years, so this album isn’t any more representative of their ‘sound’ than anything else they recorded. Listening to a Cerberus Shoal album is more about trying to understand their trip than it is about discovering (or necessarily even enjoying) their music.

That said, I was surprised to find that this quickly became one of my favorite of their albums once I finally picked it up a while back. It’s kind of funny really – I love this (their first) and ‘The Land We All Believe In’ (their last) most of all, even though the two records have as diametrically opposing sounds as you’d think is possible from the same band. While the latter is heavily inspired by American folk and late-90s Mile End music, this one seems to owe a debt to Kurt Cobain and Slint as much as it does to Efrim Menuck or Mike Moya. The blend of sounds is both intriguing and at times baffling, but like the best art it definitely inspires thought and conjecture.

The highlight of the album is the lengthy and sonically brilliant “Daddy as Seen from Bar Harbor” with its thundering guitar forays and unrestrained feedback creeping out sporadically amid plodding drums and several band members offering conversational dialog in the background. I’m not sure what the point of the lyrics are, and don’t really care – the mood is what’s important here and not the message. I’ve played this one sitting in an airport people-watching, and get the same vibe as I do from playing f#a# ∞ in the same setting. A real trip for sure.

The remastered version includes a 39 minute rendition of “Rain”, which isn’t really related to the brief opening track “Rain” as near as I can tell. Instead, this one starts off with some laid-back guitar and quiet vocals before exploding into shouted singing and grunge-like guitar distortion, only to fade to almost silence before repeating the cycle several times with slightly different riffs and tempos. While I think this was included on the CD more as filler than anything else it does give a glimpse into the creative process of the band and foreshadows a lot of the music they would release late in the decade.

The other three tracks are more of the same really, with only “Breakway Cable Terminal” standing out for its extended jamming vocal/guitar dirge that would have been right at home in many clubs circa 1992 or so. I get the impression these guys had plenty of ideas and creative talent, but no real sense of where to take it. The raw energy combined with clear evidence of musical talent is palpable. Their later album ‘Homb’, while more restrained, gives off some of the same force and would be a great lead-in to this album for anyone wishing to explore the band’s music.

I may be a little generous here, but for the time being this CD is still getting a fair amount of play on my Blackberry so I’m giving it four stars for being able to keep my attention for several months despite a number of other discs landing in my lap during that time. I may tire of it after a while, but four sounds right for now so that’s what I’ll go with. Recommended for anyone who got into grunge and then outgrew it, but would enjoy that same rush but with music played by seriously talented musicians. Enjoy.

peace

I would describe their sound as half Univers Zero and half Philip Glass. You can hardly call them innovative but they make great compositions. Especially the first half of the album is breathtaking: energetic pieces heavy on pulsating bass guitar, sharp violins and splendid accordion playing. Also the flutes are very prominent. The acoustic guitar and piano play second fiddle and are used to add details and rhythm to the pieces.

I have seen two live concerts from Aranis and I must conclude that a live setting must be the environment they feel most comfortable in. This album is really excellent but does not fully capture their overwhelming live experience which would deserve 5 stars from me.