TALES FROM THE ARTICHOKE WOOD

It's 2005, and Lizard show a great dexterity in not breaking up chaotically (or, least of all, confusingly) anymore, once their new album was done, rehearsed and released. Back previously it was 1997, the band released an incredibly unconvincing album, after which they sanded out, seemingly for good, with only three bootleg concerts to hint some extra-activity, but to musically express little. Right now, Lizard follow the same pulse with which they've gotten back on track, and clench their second modern album (and third - studio - overall), exactly an year after the previous one. The detail can only prove the band's new embrace, fittest and steadier if not also stronger. In mix with 2004's Psychopuls, anyone can at least that Tales From Artichoke Wood is just as good, just as relevant, just as promising, just as enticing. But most chronicles actually tell a lot more of it, regarding, at a general or personal impression, this is Lizard's finest.

Me, I like the idea of a masterpiece in this album, but find it a bit unequal throughout the material - in small measures, of course. Thinking again in conjunction and comparison with Psychopuls, Lizard are as bright and interesting as when they rejoined with healthier principles, follow more straightly their big prog influences (Crimson, above anything else) and deliver good music with smashing tones. So happens on Tales From Artichoke Wood, a grand opus if regarded aso, a tonic work also impressing naturally (almost like the band would have balanced everything on creativity and an elegant shape in composition), with something extra: for a first (and so far sole time), Lizard bring out all their musical and progressive ideas - not just dark Crimson jams, not just rushed and crispy retro rock, not just lyrics over a fruity instrumentality, not just emotions over electric measures - creating not a complex, but rich large musical piece. In this alone stands the key to half of the album's greatness, cause otherwise anyone could admire how good it sounds and think it's an easy thing to do.

Whether Tales that are 'made out of' Artichoke Wood or "coming from an" artichoke wood, it doesn't shed some light on why a concept of renown painters: Van Gogh, Dali and Picasso; but it's not a harmful mistery. The lyrics can definitely explain a bit from the tales, but, of course, to advised Polish speakers. The difficulty of the foreign vocals doesn't mean any particular loss either, they do sound in fact good, lubricated. The overshadow comes from the instrumentality, imperially influencing the album's richness (as it reigned in Psychopuls's jam and distorted cerebralness).

The style emphasizes at any moment how complete and good Lizard's concept is, musically. Once power rock-pop, and previously dark-twisted Crimson prog, this time everything flows into prog rock with classic and modern twists, and with decent elements of melodious, abstract, experimental, hard (metal), symphonic or art rock (and lamer elements of folk or excessive, instead of simple, improvisations, rock pretzels). After a powerful long title track (with a middle part made of an extremely kicking rhythm of hard rock and art rock) - a reprise of some sorts, melancholic sounding, ending afterwards the album - everything is about conceptualizing over the three genius painters. Vincent and Salvador have three parts (but their first one is short and focuses on warm-up noises or cold sound-music), while Pablo has two, the first being a mere dynamic/catchy good song, while the second is elaborated. By nuance, the best moment in Vincent are artistic, but also hard-pulsating and fantasy-driven, while Salvador is less proggy, more abstract, then lyricial or veiled in surrounds.

With Tales From Artichoke Wood, Lizard condensate their modern art prog rock to the best high quality notes. As far as my rate goes, I am a bit of a cheater, since I called this album admirable by its best and richest sound of prog rock, plus am subjectively more impressed by the poly-nuclear dark Psychopuls. But, for what can be evened in this issue, this album is very fine, more a master-work than a masterpiece, plus many - but not all - prog fans can agree on liking it. Differently.

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