KRÁSNÁ HORA

Trust or No?

Do we open ourselves to love?

Or do we stay 'safe' in a womb, shielded from pain and rejection? Blank Manuskript- an Austrian band founded in 2007- creates an entrancing, spooky, at times heartbreaking experience in this latest release, "Krasna Hora" ('beautiful mountain'), a tiny town in Czech Republic.

In this album Blank Manuskript uses spoken word, mood, orchestral passages, wily saxophone, heavy avant-jazz, wistful progressive folk, and majestic glory to evoke these difficult questions and force us to answer for ourselves.

'Art Rock/Progressive Rock

The line is difficult; certainly it is beyond my ken.

But for me, this album has certain aims and hopes that push the listener toward an all-encompassing experience. For instance, the first track, "Overture", does what an overture ought to do: it reveals over-arching themes and blends these into an introductory passage that teases what is to follow.

The lush organ tones invite the listener to ponder the central question- and the sound is rich and full. Alone? Or in relationship? Agile guitar work, and saxophone dancing point the way.

"Foetus" suggests what we believe to be true- even in utero we learn, feel, grow. We sense what our host parent is feeling, whether calm and loving, or in this case, insensate. The music is foreboding. Music and lyrics work to set the stage.

And if it's true that the host parent is perhaps comatose, what does the foetus perceive, and how will that provide a basis for its full humanity?

The album unfolds

Themes of fear of darkness, and use of tinkling chimes, palm-muted guitar work that sways and flies and grows, the lyrics that suggest and paint mind pictures-

and moving into inventive vocal passages including choral work, lovely harmonies, staccato recitatives pierced by jazzy instrumental accents-

And we land with a thud

The institution- which seems so safe, so predictable, so secure...yet what is the price? Here we encounter almost chamber-music, complex jazz lines as the saxophone wails and the music skitters into avant-jazz territory.

It is here, in "Silent Departure", that we reach the emotional center of this album.

It is set simply, almost as a progressive-folk presentation- the use of violin, and a gentle, lonely, heartbroken tone.

Yet it holds deep resonance, and delivers what for me is the 'money lines'- "time for sure is no healer...and so fractured, cracked and broken/ we stumble towards the light."

Finally, the return

"The Last Journey", of return to the great unknown from which the foetus emerged, uses spoken voice, gorgeous vocal work, and then a held note that builds tension as it slowly blossoms, grows, becomes wilder and more dissonant and disturbing...then deliberately fades into nothingness.

I found this a gripping, entrancing experience, and highly recommend it.

My rating: 4 solemn luminous stars.

A powerful album of provocative art from this socially conscious band of Austrians. Akin to the spirit of communal prog from which sprouted the likes of bands like Amon Düül and Faust.

1. "Overture" (6:49) the first half of this deep thrombosis is a set up for a major Hammond solo. A break at the half way point allows an electric guitar to assert its gentle leadership over a competing piano before a stripped down guitar-supported vocal section--one that become very interesting and engaging when multiple voices join together toward a crescendo into a saxophone solo. (12.75/15)

2. "Foetus" (6:10) computer/radio/effected (muted) guitar, synth, and singing noises open this one. Oh! I get it! It's what music would sound like to a foetus from inside the mother's uterus! At the two minute mark the minor key arpeggio of a creepy nursery music box and bass drum weave together for a while before giving way to abrasive power chord strums from an electric guitar. Organ, drums and synth join in during the fifth minute. The final minute is instrumental mayhem broken up by the crying of the baby, arrived. Interesting conceptually but not musically. (8.25/10)

3. "Achluphobia" (15:35) The clinical name for the fear of darkness opens with gentle, quiet, spacious guitar picking and percussion play sounding like the spacious part of King Crimson's "Moonchild." This continues, though it slowly builds over a ANEKDOTEN "Hole"-like motif with additional instruments joining in and increased volume and intensity (and structure) from the electric guitar. High piercing synth also joins in, until at 5:30 their is a glottal stop before the guitar becomes more bluesy and Fender Rhodes electric piano throws in a few flourishes. I'm reminded of Alvin Lee and Ronnie Montrose, for some reason. Bluesy guitar continues to thrash around with gradually increasing intensity unitl 8:45 when it begins to strum a dirty four-chord pattern over which a male voice begins to sing sounding like a 1970s Heavy Metal British rock song. Full blues-rock guitar solo fills the eleventh minute as the bass and drums amp up in support. In the thirteenth minute an eerie but hopeful piano chord progression takes over. Acoustic guitar, percussion, and bass join in to make a nice AEROSMITH "Dream On" weave before church-like choir voices take over for a few seconds. Piano-based weave picks back up with drummer crashing cymbals every which way until the end arrives. (25/30)

4. "Pressure Of Pride" (3:38) horns and flutes help open this one establishing a nice nu-jazzy groove before chorus vocals ejaculate their message within. At the end of the second minute the groove smooths out and fills the soundscape as a full on jazz-rock onslaught ensues. This song reminds me of Catalan band ZA! and Finnish UTOPIANISTI project of Markus Pajakkala. (9/10)

5. "Shared Isolation" (9:55) opens with Spanish guitar and then flute in a duet before stopping to restart (using the established melody) as a full horn-supported jazz rock fusion instrumental at the 0:51 mark. Using the same melody, the keys, electric guitar, and horns all play with, within, and without the line and chord progression over the next two minutes with a solo or two from the guitar. Then a hi-speed sequenced synth arpeggio takes over before being joined by drums, bass, and slowly strummed electric guitar in a slow, plodding blues-rock foundation. A couple of guitars and synths take turns adding to or soloing over the top of this funereal groove. A bit of a ROBIN TROWER feel to this. In the beginning of the sixth minute the blues rock groove pauses for a PINK FLOYD "Time"-like vocal fill. These two motifs alternate twice over the course of the next two minutes--there's even a David Gilmour screaming guitar solo in there--before a bit of YES guitar bridges us into a chunky bass-driven section of blues-rock jazz jamming with wailing synth soloing over the top. (17/20)

6. "Alone At The Institution" (9:21) opening with an intricate multi-instrument full bad weave that takes on a bit of a feel of a Romani or klezmer folk feel to it--rhythmically as well as melodically. Like a Django and Stéphane song taken to a big band format. The horns, bass, and drums get to shine here (the keys would too were they not mixed a bit into the back) until delicately plucked jazz guitar takes the fore at the 4:00 mark. Bursting back into full band explosiveness, we end the guitar solo and bridge to a stripped down pulsing Mellotron flute chord over which a very soft, sensitive section is constructed--one which, it turns out, is just preparing us for a vocal. The vocal performance here is of a much higher skill level--sounding like early Jon Anderson with John Wetton's tibre and range in a Godspell setting. At 8:20 we transition back into a heavy recapitulation of the klezmer theme for the finish. Easily the best song on the album. (18.5/20)

7. "Silent Departure" (3:37) opens as a romantic chamber folk piece with viola proclaiming the melody over a picked electric guitar. Breathy male voice enters quickly to take over the lead from the viola as bass and percussion join guitar. Voice and viola trade leads while joining forces for the choruses over the course of the remainder of the song. Pretty folk tune but nothing to shout about.(8.5/10)

8. "The Last Journey" (8:34) A JEFFERSON AIRPLANE-like musical foundation with the breathy male singer over the top allows the band to stretch out into an almost beer-hall feel of freedom and mischievousness. The instrumental jam section in the middle is dull and lacking--and made worse by the long-held single chord sustained over the sixth, seventh, and eighth minutes. Do they think they're classical composers of the Minimalist movement? It does somehow end well. I'm not sure how. It's a mystery. (16/20)

Total time 63:39

While I found myself intrigued with this album upon first listen due to its wide varieties of styles and sounds, repeated listens have tempered my enthusiasm. Though full of interesting and nostalgic sounds and music, ultimately, the band's skills as instrumentalists and composers leads me to feel as if they have an album or two to go before they reach any kind of masterpiece status. Also, the vocal talents of the most oft-used lead singer sound too raw and untrained. Effects might help.

B/four stars; an excellent and welcomed addition to Prog World--recommended for your own determination.

BLANK MANUSKRIPT is an Austrian group started composing in 2007, here finalizing his third opus. The title means "beautiful mountain", written in the Czech eponymous village, telling him the album of hard human condition at the time of the company; each title will try to transcribe sound, music that fact. This group is extraordinary, a laboratory group, say it away with symphony connections, atmospheres in healthy climate all torn riffs from brass by moment and decorated with psychedelic sounds, dense polyphonic structures in the key; BLANK Manuskript does well to art-rock and produced here a concept album in all its forms; References ginned during the critical pieces are only partial and fleeting, the own group is too complex to be hung just a former group label even if it is worth its weight in gold. Note also the art-baroque side to her makeup and work effort of his scene. Slip us in its pleasures, it's gone.

« Overture » débute par un air-trip (titre musical avec plein de souvenirs qui suintent, excusez ça vient de moi!) flirtant dangereusement avec la grande période psyché des PINK FLOYD, l'orgue tenant la dragée haute à la batterie, l'air de la guitare sombre, puis l'arpège de piano amenant un air solennel du plus bel effet et les réminiscences musicales atteignent leur paroxysme avec l'apport du sax et une pointe du KING CRIMSON; la voix arrive douce pour calmer un peu les similitudes; « F?tus » enchaîne par une intro déroutante sombre, jouant sur l'enregistrement; on se croirait retourné dans le passé avec une bande coincée dans le magnétophone! On peut aussi imaginer tout simplement le son provenant de l'intérieur! La montée en crescendo symbolise la sortie difficile de l'accouchement, un titre onirique, intimiste et expulsif. « Achluphobia » ,3e titre enchaîné, vient jouer sur les peurs et autres terreurs que l'enfant que nous sommes avons pu vivre; l'ambiance est purement jazz-fusion intimiste avec une touche Canterbury, on est à la limite de l'expérimental comme aux grandes heures du prog des 70's, KING CRIMSON et PINK FLOYD ne sont pas loin, j'ai même cru entendre un peu d'AL DI MEOLA; la dernière partie de cette pièce vaut le détour pour l'air de toute beauté qui s'en dégage, ça monte en volume, en intensité, Steve WILSON aimerait à mon sens; les 3 dernières minutes sont dangereuses pour l'air qui s'en dégage et risque de rester dans votre tête; une pièce à réécouter pour parvenir à la dompter un petit peu, une pièce progressiste majeure que les puristes des 70s vont faire tourner en boucle. « Pressure of Pride » avec son saxo limite doux- discordant vient indiquer la colère, l'insatisfaction d'essayer de se faufiler dans la vie active; clin d'?il à mon avis sur PANZERBALLETT.

"Shared Isolation" for the second part of the album and one of the problems of our society, communication or rather lack direct and isolation, a confusing title by its convolutions between GENESIS HACKETT and KING CRIMSON, it goes on the rock opera "Starmania" (according to my wife that I had promised myself to include chronic, personally I saw more of the FRO French series "Vidocq" as what music can travel far! ) musical part and a search arpeggio fruity guitar, synth strings dark and saturated vintage discordant and climate spacerock "Meddle" and "Atom heart mother"; sound from the bowels of the artists who manage to bring out the dinosaurs melodies buried in their gray substances in the impregnating their personal emotions. "Alone at the Institution" arrives at that moment, a little Japanese ambiance, festive jazz on Panzerballett connotation to me, and gypsy jazz, jazz hat, more complicated as personally when you know my aversion to the brass! This is incisive, aggressive, I can do nothing, even if it is supposed to represent the struggle to fight against loneliness. Part 2 with a pompous air limit, bombastic, calmer, spleen refers to the KING CRIMSON somewhere, guitar and voice then combine perfectly. "Silent Departure" to a ballad, a rhyme violin that does the most good. "The Last Journey" as a hymn to life with choirs, enjoyable pace, furious, mixing a tune I think back on "The Fountain of Salmacis" at times; a musical soaring as defining the flight to the beyond that we have to cross alone. The end also brings me to the magical notes and intense as Mike OLDFIELD on "Hergest Ridge" I put in crib to sleep my little angels, a sign that reminds me of his cult film "2001 Space Odyssey" after life, there may be something else, even up there.

To put a few words, I would say in the end that these five musicians came to create this album with a new concept to swallow music before, to digest it, then spit it out on a partition in order to play in the transformed notes. This allows you to listen to a new sound with bits of old sounds without there being too much resemblance or "copy / paste. This also helps to unify a major musical movements remaining in the background, jazz, with rock out to this innovative album.

Blank Manuskript are yet another of those bands who have been happily going around releasing albums and somehow never making it into my orbit until now. Formed in Austria in 2007, this is their third album, and I really am not sure what to say about it, apart from I really like it! The quintet are Jakob Aistleitner (saxophone, flute, electric guitar, glockenspiel, percussion, vocals), Peter Baxrainer (electric and acoustic guitar, percussion, vocals), Jakob Sigl (drums, percussion, viola, tape, vocals), Dominik Wallner (piano, electric piano, organ, synthesizer, vocals) and Alfons Wohlmuth (electric bass, flute, bottles, vocals). It was Alfons who contacted me, and I am both pleased and dismayed he did , as while I have really enjoyed it, I have no idea how to truly describe it and get across in words what it is like to listen to.

Lyrically it deals with the concept of loneliness versus the concept of community and works around that theme using various scenarios from birth to death and musically it can be very delicate, at others almost overpowering: there were times when I found myself checking the player to see if I was still on the same album or if it has moved onto the next one on my list. It is incredibly diverse, and there is the impression that these guys like to use a studio almost as a laboratory, adding and refining what they are doing. They are like a mini orchestra, but while some may think this means they are being symphonic (and they can be) this is way more experimental, with certain instruments taking key roles in certain songs and not being used at all in others. It is incredibly diverse as they move from RIO to experimental and avant garde though art rock and multiple other styles. They are very removed indeed to what I normally think of as European progressive rock, and if someone had asked me to guess the country of origin I would have definitely said the band was Russian as it has far more in common with the music I hear from there, which is far removed from the normal Western progressive influences.

It is timeless music which is very much of the present, but also invokes the days when the British progressive scene was exploding and the idea was for each band to push boundaries in their own way as opposed to all becoming clones of each other. It is refreshing, joyous and progressive in its' very truest sense. This is not for those who want their progressive rock to fit in certain constraints and styles but is one for those who remember when the term was a truism as opposed to a name to describe a genre. Definitely one which progheads need to discover.