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THIRTEEN TOLLS AT NOONFloating StateRock Progressivo Italiano2.92 | 41 ratings |
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James Lee
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If this was the late 60s/ early 70s album it pretends to be, I would probably hold it in
much higher esteem. There's something about the psychedelic era recordings that lets
them be ridiculous by today's standards and yet goofily enjoyable (VANILLA FUDGE!),
and you can always trace the effect they've had on later music. Since FLOATING
STATE can't be influential just yet, at least they could try harder to break some new
ground. Michele Moschini's medieval/ folk harmonies and modes are spot on but his
nasal, untamed vibrato and frankly poor lyrics get irritating pretty quick; it's one thing
to sing about medieval fantasies but the recurring political themes are out of place and
inarticulate. The music is performed competently but there is a considerable amount of
repetition and aimless, uninspired jamming (tell me the truth, do even you fans really
enjoy the limp drum solo in "White Flower"?). A sizable chunk of the album is redundant
(much of "White Flower" and at least half of the aptly titled "Pilgramage to Nowhere")
and could be removed without hurting the songs one bit. The 'rock' sections are less
successful than the more pastoral parts, and the electric guitar sounds are usually
garage-band quality, unable to achieve more than a faint mockery of 70s style prog.
There is almost no emotion to be found, and not even much that is impressive
musically.This album was obviously an indulgent pet project, and as such is a curiosity
at best and a waste of time at worst. If you have every other album you ever wanted,
or really love this kind of hybrid, then give it a try- I'll go back to "Songs from the
Wood" when I want medieval-themed prog rock, and when I want to hear the 60s or
70s, I'll find a band who was really there.I really hate giving such a negative review. Just to be fair, if you think I'm totally missing something, email or msg me. I'll be happy to revise my review if someone out there can 'open my eyes' about this album.
James Lee |
1/5 |
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