PARTNER

This is a not a brand new band really. They were already working on some material during the years 2014/15. But fortunately in 2020 the PARTNER members virtually reconnected with the intention to refine diverse details. The album is consisting of a few spectacular Canterbury tunes that are wrapped up in a strong eclectic respectively avantgarde package. The wonderful front cover painting, worked out by bass player Alex Nova, references the Tarot card Two Of Cups, symbolizing emotional exchange and harmony. Standing for the successfull working process, I assume. The crew is based in Detroit regularly, driven by drummer Ben Billington and keyboardist Libby Ramer. They both already were members of the experimental psych band Moonrise, also featuring Steve Krakow aka Plastic Crimewave. Ramer additionally delivers the compositions and vocals in this case. On a sidenote, except for the bass, if you will, there's no electric guitar available here. A point to complain a little, when it comes to my taste, in general. But yeah, I actually do not miss anything. Moreover, alternatively saxophone player Chris Woods appears as a pleasant add-on.

The album is concipated as an alchemical journey, with references to the natural world, mysticism and transformation. The eery track Wilds proves that as no other. I mean the meandering electronic kick-off, and then it's all gradually running wild towards the finale. The opening song Drang puts the cherry on the cake, if you'll ask me. The experimental attitude, a dynamic groove, splendid! Including a quirky saxophone the Six A avantgarde flow is a tad Bitches Brew reminscent. Spring on the other hand reminds me at Bent Knee, their former times to make it more concrete. And so one may also recognize glimpses of other bands like Harpo Jarvi or Alco Frisbass in between. Nonetheless PARTNER are providing a unique sound, dominated by Libby Ramer's versatile and lovely keyboard presence and Billington's effective drumming. There is a constant change in direction and time signature available, composition prevails over improvisation. A challenging yet fine listening experience.

Another quirky gem's come to the progressive rock scene in late 2021. A Chicago-based act PARTNER, who were founded in 2013, have already recorded material for their debut album "Green To Gold" from 2014 until 2015 but the material has not seen the light for a long while. No idea what happened around them but we easily guess they should want to make this debut opus elegant and perfect. The essence of this album sounds dry and edgy, on complicated melody lines, weird rhythmic bases, and fruitful but desert-y atmosphere. Such a gorgeous aroma would be produced via Libby's lyrical keyboard plays, I imagine. Her fundamental sound basis might be laid out on authentic avantgarde and Canterbury scenes, but must resemble the vanguards so closely. Additionally, Libby's sensitive, sensible, and slightly sensual vocals remind us of the similarity to Sonja of Curved Air ... incredibly fascinating.

The topnote in the first shot "Drang" should kick our brain violently. The combination of depressive keyboard, inertial saxophone, and flexible drumming, is mysteriously splendid. It sounds like the complexity of the melodic departure would be in the same vein of a Zeuhl combo Noa. Regardless of some improvised attacks in the middle part, their instrumental battles all over the track are diligently uptempo, cool, serious, and tight. "Gold Rush" has, on the contrary, smooth vibes and dreamy beats. Also charming is her echoic voices merged into the critical instrumental hits. In "Six A" we can enjoy bewitching piano cuisines leaning towards Soft Machine. Their sincere sound expression mixed with improvisation and systematization is quite comfortable and impressive. Another Curved Air-y texture is launched via the following "Spring", full of Libby's vocal charms and delightful melodic formations. Alex and Ben's rhythm section support their entity completely. Pretty wonderful. "Night Drift", based upon an ambience filled with deep chorus and slowtempo rhythmic drifts, is one of my favourite songs in this creation. The massive music cultivation involves a slight Krautrock-ish dry-fruity appearance that could not be experienced in general. Wondering why they can launch such a fantasy in an ordinary manner. Also the former part of "Wilds" has a similar nuance to the previous one. And apparent Krauty electronic soundscape gives an electric shock to us. In the latter, a deep, heavy, metallic sound collective is dominant. Pushy precious precise drumming should be predominant, and has done great jobs. The epilogue "Ylangly" sounds much more dramatic and theatrical really. But they do not forget their essential criticism against pop / rock overall. We the audience feel the long aftertaste and the crazy aftereffects via the last run.

Although this album cannot be called so innovative, their critical, improvisational, and simultaneously theoretical creativity should be appreciated. And again mentioned, we are very happy to meet such an energetic creation recorded a couple of years before.