GREEN TO GOLD

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.