FELLINI DAYS

"So Fellini Dance your dance" emotes Derek Dick aka FISH on his 2001 release written in memory and in concept of the imagination of abstract Italian film director Federico Fellini. This is another excellent album written by the ex-MARIILION lead singer who has a number of solid albums in his discography. Along with FISH's poignant lyrics and vocal strains he is joined by a great band of musicians as usual (John Wesley - guitars, John Young - keyboards, Steve Vantis - bass and Dave "Squeeky" Stewart on the drums). In classic FISH style this album ranges from dark progressive strokes to lighter more colourful semi-pop influenced songs. "Fellini Days" provides narration throughout this concept album with short in between song dialogues providing a real mystical feeling as one makes their way thru this album. Tiki 4 will definitely make you hit the repeat button on your CD player as it is just a simply killer track bringing back memories of songs like "Credo Goldfish" & "Clowns" for me. A truly remarkable album full of some excellent song writing and musicianship... So Fellini !

Dark, lascivious, sophisticated, 'chic' are a few words that come to mind when you hear this album, where snippets from old films pop up here and there, making the album sound 'oh so urbane'. FISH spews his venom with his legendary cynicism and successfully conveys the sophisticated Fellini aura. Even the musicianship (the strong point of the album) is flawless, managing to incorporate some psychedelia to the Fellini mystique. So why don't I like this album?

Basically, it is the music of "Fellini Days" that fails to move me. Impeccable musicianship can only dress up 3-chord tunes to a point. For example, the first track, a 9-minute laid-back tune with a hip-hop groove and slurring vocals conveys the right admosphere; but once you remove the 'special effects' (sounds of Federico Fellini's voice in the background, among others) what's left is very blah. The album also suffers from a couple of insipid "Obligatory Ballad"s (title of track 8, by the way). The only tracks that save the day are "Dancing in Fog", another hip-hop sound-alike with some neat arrangements, and the truly inspired closer "Clock Moves Sideways", a hypnotic scorcher with a strong flavour of Abbey Road's "I Want You (She's So Heavy)". Let's face it: FISH is a unique and talented artist; the man's a genius, in my books. And I wish he had shown more musical originality with "Fellini Days" instead of indulging in some kind of lustful fantasy. Perhaps he'll snap out of it - the sooner, the better.

Always fun to review an underrated record and this one definitely is. "Fellini Days" came after "Raingods with Zippos" which was more or less a return to progressive form. I wouldn't call FD a progressive record. It has some symphonic flavours but the compositions are far too simplified. Moreover the guitar chords are too much on the fore. The good news is : it doesn't spoil the fun. In fact I gave "Fellini days" more spins than "Raingods". The guitar chords of John Wesley are pretty dominant and seems to carry most of the songs. The atmospheric keyboard parts are adding a foggy atmosphere. This must be the advantage of a solo artist. Every new album, different people are lending their skills and musical input. John Wesley and John Young contributed to the song writing and the result is more than satisfying.

The atmospheric "3D" takes some time to reveal its beauty. Gradually the sound get broadened by a mixture of orchestral keys and wonderful guitar chords. There're some similarities between the sound of this track and the sound you'll find on "sunsets on empire". Only the sound of Fish' voice is more quiet. On lots of moments during this album, Fish is rather whispering than singing. It suits the idea for this album well but I suppose his voice wasn't in good shape when this was recorded.

The production of "Fellini Days" is good but maybe Steve Wilson could have made it even better. Between the tracks there's the sound of a movie spinning. This is referring to the fact that Fellini was a famous director. Still this is not a concept album. The lyrical subjects are very different from one track to another.

The title track has the most harmonic chorus on the disc. It's astonishing, probably due to the excellent samples of a choir and a couple of backing vocalists. Since long Fish' vocals are accompanied by a couple of female vocals and as always, it works quite well. In fact with it has become a necessity with a voice that keeps eroding during the years.

The highlight of this album is most definitely "Long cold day" ; a powerful track. The main guitar chord that forms the basic melody is awesome !! Here, Fish is finding the power in his singing again, the sound of his vocal parts vary from calm to aggressive. Great to hear how the atmosphere slowly turns to calm near the end of the track. It ends with a great lyric line : ".as I hit the water, the ship sails on" which means that the influence of one individual should never be over-estimated. "Dancing in fog" is another intriguing track ; there's a gorgeous atmosphere, crossed by a haunting Fripp/Wilson like guitar line throughout the track. The sound of this song benefits from the exotic percussion and the trumpet line at the end. Nice one ! Even though this can't be called a ballad in any way, this track is most romantic. Maybe the composition could have been developed one step further on. When other musical parts and sections should be added, this would be an unforgettable prog track !

The closing track "the clock moves sideways" is another major gem in the same vein of the opening track. It sums up all the qualities of the band. Again the sound has some resemblances with Porcupine Tree. Here the weak points of most of Fish' music is showing again. The excellent melodies are repeated over and over again till it bores the listener..

It took me some time to get in to this album but in the end it has become one of my favourite Fish records. "Fellini days" was well worth the effort of repeated listens. The sound of this album breaths mystery even though the meaning of the messages in the lyrics is clear. When compared to Fish' back catalogue, "Fellini days" is one of a kind. 3,75 stars

Fish is someone I appreciate. In his long career, he never released a poor work. Few artists might say so.

This album follows the good pattern. Not the great one of his debut ("Vigil", my fave of his albums) but a decent one. Full of darkness like during the opener "3D". Harrowing and weird. The middle paced and heavy beat are oppressive and there is even a guitar solo in the last third of this long song.

The finale is very poignant and bombastic. The track as a whole reminds me somehow of his suite available on his previous album ("Plague of Ghosts"). Same sort of end of the world atmosphere. A very good start I must say.

The whole work is an homage to Fellini. One can hear the voice of this important Italian film director in the background of several songs.

The harder attack is also well present on this album (but so has it been already). "So Fellini" is such a track but the final vocal part adds again a fine harmonious touch to it. And it is rather pleasant to listen to a more optimistic song like "Our Smile" after the difficult and noisy "Tiki 4". A gentle ballad full of romanticism.

The next couple of tracks are made of the same mould. Atmospheric, simple, very accessible but they lack of the grandeur of the opener. This album is very much on the melancholic and sad mood. But this conveys a feeling of little variety while listening to it. Too much of the same IMHHO.

Things get better again with "The Pilgrim's Address" even if Fish is keeping on the same style. Rock ballads seem to be his leitmotiv in this album. The closing "Clock Moves Sideways" is another very good songs. Slow paced, repetitive, very dark. Fish's vocal work is excellent and performing.

This album starts and ends on a high note, but what's in between cannot really compete with. As a whole, this is an average album. Five out of ten, upgraded to three stars.

Fellini Days continues the enormously artistically successful phase of Fish's solo career that began with Sunsets on Empire. As on Sunsets, the secret is that Fish teams up with a talented musical partner who can craft a evocative musical backing for the lyrical themes Fish wants to explore. On Sunsets, that was Steven Wilson of Porcupine Tree; here, Fish has John Wesley, and often has contributions from John Young sparking things up too.

This album revolves around Fish's admiration of the movies of Fellini, and uses that as a jumping-off point to play with some of the themes tackled in those films. As far as thematic concepts go, it's an odd niche to go for, but Fish and the two Johns manage to make it work wonderfully. The album has a sunny, relaxing, Mediterranean aura about it which you wouldn't think would work with Fish's latter-day crossover/neo sound, but it actually works remarkably well - think the musical approach of Raingods with Zippos as reimagined by French sophisti- pop auteurs like Air, and perhaps sprinkle a little Stupid Dream/Lightbulb Sun/Recordings-era Porcupine Tree into the mix for good measure.

And as for Fish's performance itself? Once again, Fish seems fully engaged with the material and delivers a marvellous performance. I suppose from Sunsets On Empire onwards Fish realised that to get the best out of his performances he needs to work with material which he loves rather than casting about for material he thinks a mass audience might get into - and the success of this album just proves that. Fish might be talking about his tastes in movies, but his enthusiasm is infectious - and it certainly helps that the lyrical themes he plays with engage usefully with ideas ranging beyond the narrow concept. Film night with Fish must be an entertaining and memorable experience, if this album's anything to go by.