BONE IDOL

It's four years later, has Moom perfected their sound?

Bone Idols song are a bit shorter then the debuts which a definite plus, the arrangement is a bit denser with less focus on guitar and more attention to the keyboard which is good. On the other hand the vocals continue to be bland Everyman vocals, now turning into that generic male modern prog voice instead of Richard Sinclair imitation, meh. The guitar lines have also gotten better, they flow with music better, no longer seeming like barrage of pointless notes. Still, the music is pretty repetitive, arrangement has improved but I don't think composition has.

Overall this album is a step in the right direction, I think Moom showed legitimate improvement, alas they called it quits after this [(pretty sure they didn't become Japanese and start releasing singles lol) there's a Japanese artist filed under their Spotify]

If one wishes to try this band I recommend this album over the debut, yes it's less Canterbury esque now that the vocals have changed but it's become more authentic. These guys were clearly more comfortable in a more rocking style, the music grown some confidence. If you like psych or pop prog rock then don't forget Bone Idol ^.^

Canterbury Sound Score 2/5

The 1999 sophomore and final release by UK's Canterbury-inspired[?] Moom, Bone Idol, which starts off with a surprisingly twangy spacy Fusion on "I, Structure". It unexpectedly reminds me of jam band Widespread Panic. Most notable to me is the bass playing. Melodic and complex. The more modern, funky Fusion elements remind me specifically of Dopapod, formed in Boston some 9 years after. Perhaps [but not really] where I first hear something like 'Canterbury Sound' in this is on "Rusty Can", but Kentish quirk is not anything like this sort of silliness... I'm not into it.

"Non-Specific Highway" feels a bit more confident. The vocals are not a highlight, but the melodies are nice. More twangy guitar over cool, fun playing. This is truly the first bit that sounds like Kent, most reminiscent of the free, hippie vibe of Caravan. Another fun track is what follows in "Petrol", which strangely reminded of George Harrison early on. But if he was more daring.

"Gideon's Pier" feels like some more modern Jamming. Twangy Dead vibes galore. This will appeal to a... very special kind of Canterbury fan...

"Ship to Harbour" (hello, Brits haha) is soft and sweet. As well as the soloing itself in the second half. "What's a Little Sunshine" didn't have much to offer me (decent solo at the end).

"Rooftops" on the other hand has some great rhythm to start. The vocals and the lyrics... not so great. Weird, but not charming haha. I disliked it for a different reason entirely, then. It's followed by the acoustic "I've Been Grown". It existed. And that's how they 'end' the album, hidden track aside?! I'm not so sure...

"Woodland" is said hidden track, a boisterous UK Jam, for sure. Things pick up in the second half for the better. But nothing could have saved the weaker tracks throughout to really pick this album up. Too bad. I'm working backwards, so we'll see how their first is (some day; I'm in no rush).

True Rate: 2.5/5.0