THE ARISTOCRATS

Govan is allowed to show off his rock skills, often laying down very heavy material, while Bryan and Marco come to the music from a jazz style, and they meet somewhere in the middle. If that is not enough there is a sense of humour through what they do, and one can just hear the smiles on the faces of all those involved. One might think that when music is as complex as this that it will not be commercial, but it is incredible in the way they combine to produce music which is thoroughly enjoyable the first time it is played. Apparently the concept behind this is about a duck coming to the USA for the first time, and the cover shows a duck looking very much out of water. However, I must confess to thinking that the guys have missed a trick, as one of the greatest cult movies of all time also features a duck ending up in a strange place, and while there is room for "Sittin' with a Duck on a Bay" and "Duck's End" surely we could have had a spoof on the theme of "Howard The Duck"?

Even with that omission, there is no doubt that here is a stunning album where three guys are having fun together in a manner which is structured yet playful, easy to listen but the absolute devil to play, demonstrating it is perfectly fine to have fun while producing some of the most serious music around. Heavy Prog which contains elements of JRF and Canterbury with Eclectic also getting a look in, this is a standout release from the first note to the very last. ProgArchives currently this at #3 in the best albums of 2024, the #1 instrumental release, and rightly so.

The band's sound is a skillful fusion of various musical styles, including progressive rock, fusion, jazz, and elements of metal. The band stands out not only for its complex and sophisticated compositions but also for the relaxed and humorous approach that permeates their music. Their blend of sounds results in a diverse and highly interesting listening experience. The intense moments of metal are balanced by smooth and melodic passages influenced by jazz and fusion, creating a dynamic musical experience.

The Aristocrats are also known for their live shows, which highlight their incredible technical skill and creative spontaneity. Their performances are truly unique and engaging, offering the audience an intense and dynamic musical experience. One of the most striking features of the band's shows is the impressive amount of improvisation among the members. Each musician demonstrates exceptional mastery of their instruments, exploring new musical ideas during live performances.

"Duck," the band's sixth studio album, is a record that truly encapsulates all the greatest and best characteristics of the trio. At nearly 60 minutes long, the album unfolds as a work where not a single second is wasted; everything is worthwhile. Each track is an impressive display of musical solidity and creativity, with sensational production that elevates the listening experience to another level. From intricate, nuanced compositions to moments of pure energy and virtuosity, every song is a carefully crafted piece that contributes to the cohesive and engaging whole of the album.

One of the reasons I find "Duck" such a special album is its ability to offer something new with each listen. As listeners delve into the deep layers and subtle details of the compositions, they discover new elements and gain an even greater appreciation for the complexity and beauty of the record. The production is also wonderful, with each instrument skillfully mixed and balanced, allowing each part of the trio to shine in its moment. The sound quality is impeccable, providing an incredibly immersive listening experience.

This album is a true gem, simple and easy to absorb, yet it possesses a depth and complexity that make it even more captivating. It is highly listenable, meaning it is accessible and engaging for a wide range of listeners, regardless of their familiarity with the genre it delivers. However, it's important to clarify that the album's simplicity should not be confused with superficiality; in fact, it's quite the opposite. Each track is carefully crafted and refined, with melodies that immediately stand out and remain memorable. The music flows naturally and seamlessly, creating a highly cohesive listening experience.

As the listener enjoys the album, it's natural for them to develop a personal inclination towards one of the three musicians, based on their styles and individual contributions to the album's music. However, when we speak of the musical essence of "Duck," it's in the interaction of the three where the most incredible results lie. It's fascinating to witness how they complement each other so well, each bringing their own skill and personality to the creation of the album as a whole.

In conclusion, "Duck" is an exceptional album, full of passion, soul, and a lot of fun, which certainly holds the potential to captivate any lover of masterfully crafted instrumental music. The infectious energy and creativity of the album make it an essential addition to any music collection in the genre. Each track is a unique and engaging experience, reflecting the exceptional skill and dedication of each of these three wizards behind its creation.

Together this trio has been cranking out a series of high quality innovative instrumental albums ever since and with the release of its latest whimsical titled album DUCK, is showing no signs of fatigue or burning out anytime soon. And what an album title! As evidenced by the salacious double-entendre track titles, THE ARISTROCRATS continues to exhibit a sense of playfulness and whimsy not experienced since the classic years of Frank Zappa or England's Canterbury Scene. The concept behind this album was quite a fluke as old demo titled "Sittin' With A Duck On A Bay" suddenly spawned an entire flurry of inspiration that led to the concept of a tale of a DUCK who decidedly takes a trip thousands of miles from his small island home only to find himself in the USA, a tale that emulates Guthrie Govan's own process of relocating from his native England to the sunny coastal region of Southern California.

With a propensity for frisky grooves and waggish syncopations that frolic about under the guise of heavy guitar-based prog rock in cahoots with the wily world of jazz-based fusion, THE ARITROCRATS are seasoned stalwarts of crafting a distinguished potpourri of musical components into a meaningful romp through nine tracks that just miss an hour's run of playing time. While the musical output is quite minimalist with a mere guitar, bass and drums in full creative engagement, DUCK finds a surprise cameo of Moldovan born Rusanda Panfili contributing a violin performance on the closing "This Is Not Scrotum." While known as a captivating and mesmerizing live outfit, THE ARISTOCRATS are equally adept in crafting studio creations that exhibit an exuberant flow of creative prowess that combines the world of jazz, boogie rock, prog and the occasional excursion into a more exotic musical endeavor.

DUCK is the kind of album that sucks you in from the getgo and never let's you drop out for a breather. The creative infusion that these three musicians suffuse through every measure, meter, cadence, motif and decorative musical passage is nothing more than amazing in how it all ties together. Maintaining a firm control of tight grooves, clever interludes, sizzling soloing skills and an above average compositional fortitude, THE ARISTROCATS has miraculously transmogrified a chance performance some 13 years ago into a veritable career of crafty cleverness that finds its imaginative efforts continuing to blossom in ever expanding bouts of plucky stoutheartedness. With a keen sense of keeping things from growing stale, DUCK delivers the ultimate musical anatine migration narrative for an excursion into the world of instrumental heavy jazz-fusion rock.

Great compositions with enough twists and turns to spice things up for an hour's run, DUCK is indeed a testament to a power trio that has staying power and an apparent abundance of resourceful inspiration. DUCK really does deliver a beautiful set of innovative ingenuity that is engaging and best of all vivacious, flirtatious and spirited in ways that keep the band a notch above the competition. From the feisty opening cleverly syncopated "Hey, Where's MY Drink Package?" to the closing Moldovan gypsy folk infused "This Is Not Scrotum" with its savory touch of Eastern exoticism, DUCK is a refreshing slice of primo power trio prog that is uncompromising and instantly endearing.

So, on "Hey, Where's MY Drink Package?" our web-footed hero, a bit tipsy, gets ejected manu-militari from a bar which refuses to serve him. The track begins with drums which set the groove, then the guitar and bass arrive for a heavy riff as desired. The rest, rhythmically complex without seeming as it always is with the group, sometimes evolves towards Funk, Jazz or Metal. It's disconcertingly virtuosic and relaxed, another trademark of the trio.

Head to the entrance of a select club with "Aristoclub". One of my favorite tracks on the record, with its dance/disco rhythm, its guitar intro shot and its singing theme. As with all the tracks on the album, I can't tell if Guthrie Govan 's solo is entirely improvised or written, as it is fluid, technical and melodic at the same time.

And here comes the police penguin in the person of "Sgt. Rockhopper". The piece is very marked Rock and offers a new demonstration by Guthrie Govan who splashes the title of his game as original as it is breathtaking. "Sittin' With A Duck On A Bay", a humorous nod to Otis Redding , is a more sedate and indeed a little more soulful track. The song gains intensity little by little with its Wah-Wah guitar (as if to make the duck talk), its rhythmic breaks and its bass which takes unexpected liberties.

Construction equipment breaks the pastoral atmosphere at the beginning of "Here Come The Builders", before giving way to a kind of Boogie-Blues, with Aristocrats flavor of course. Nocturnal, sweaty and urban atmosphere in the style of "NYPD Blue" for "Muddle Through", a track written by bassist Bryan Beller , even if his instrument is not the most highlighted. "Slideshow" is another one of my favorites. The double tapping on the guitar, the bass which evokes Africa, the beautiful melodic passages, make it an unstoppable success. New humorous nod (to Genesis this time) with "And Then There Were Just Us/Duck's End" ("?and then there were three?"/"Duke's End"). The piece, subject to numerous changes, can indeed evoke the British formation directly or indirectly.

The album ends with the very first collaboration in The Aristocrats discography . "This Is Not Scrotum" (?) welcomes Rusanda Panfili and her violin for a festive track with an Eastern European atmosphere. A final snub for those who would like to lock the group into a very specific style.

Being an admirer of The Aristocrats, this new release perfectly meets my expectations. Even if it is better to be a customer of this type of entirely instrumental music, let us recognize that in this style they are untouchable today. Benefiting from a slightly crazy concept, but very representative of the sense of humor of the members of the group, 'DUCK' displays a beautiful cohesion and a certain unity which make it (for my taste) their best album to date.

Review originally posted on www.progcritique.com.

This is their fifth studio release and it's killer. It clocks in at 59:41 and not one second is wasted. I loved it instantly and "Duck" just gets better after each listen. Not only is it a very lively and playful collection of songs, but I've never heard them tighter or more confident. Every track is solid, the production is excellent, and the artwork is super cool. There is also a guest violinist on the last tune.

"Duck" is an album full of passion, soul, and fun that should be heard by all music lovers. This puts the bar pretty high to top for album of the year. A release worthy of five stars. Thanks guys!

2013's "Culture Clash" sets the mood by showing the symbiosis that an orchestra can bring to a rock band; more syrupy jazzy variation, highlighting the guitar and rhythmic bass juggling with the classical orchestration of the strings; we come back to the psychedelic jazz of the MAHAVISHU ORCHESTRA. The battery sawed by violins and a disconcertingly fresh title. "Stupid 7" follows on a tonic register where nervousness and breaks with the strings hit the mark, perhaps even too much because too short. "The Ballad of Bonnie and Clyde" and its classic intro with killer violins is a good thing, for a meditative journey eyeing intimate blues; the story is indeed that of pigs, to be taken in the 1st or 2nd degree with the legendary bandits; grandiloquent air for that, sinister and jovial as they loved each other before they were renegades. The final fusion makes it a Dantesque musical firework. "Dance of the Aristocrats" revamped synth, electro, vitaminized like a completely crazy VAI and RETURN TO FOREVER fusion; the nervous violins responding to the bass and a guitar solo by Guthrie assassin for the end.

"Through the Flower" masterpiece hard prog bluesy highlighting the three friends with the chamber orchestra 'furnishing' and revisiting the musical score to bring more warmth; long title with a bewitching atmosphere which passes easily like on those of BUCKETHEAD in bluesy-stoner mode; it vibrates and Guthrie blasts the air in a deafening finale of re-creativity.

"All Said and Done" with a pizzicato as an appetizer, a title where PRIMUZ steals the show with its presence, the musicians seeming to step back to show themselves only by solo touches including that of Bryan then Guthrie whirling. "Jack's Back" with twirling wisps of strings, leaping violin and near-perfect osmosis with the rock instruments that come stealthily and surgically; at 5 minutes it is dark and sinister chamber music like on a bald mountain! Yes, this association makes it possible to amplify the titles (I made the effort to re-listen to them originally) and this replay increases the ARISTOCRATS sound tenfold. "Ohhhh Noooo" for the fusion of the different musicians supported by a flight of violins for a long crescendo interspersed with dithyrambic bows; at this moment it is clear that it is indeed hard Rock, prog or bluesy which takes control of the jazzy velvets. "Last Orders" to conclude with the finally progressive bucolic piece in view of this oboe, this clarinet, these violins, this baroque atmosphere of the last title of 2019. Calm, pastoral, moving title declining as a perfect sweetness and a hot break on trumpets before Guthrie's guitar puts on a show; it goes down as if this break had not taken place, am I hypnotized? The second bluesy solo brings its final touch of emotion.

THE ARISTOCRATS have therefore taken the step of falling in love for the time of an album with the association with a classical orchestra; an alchemy that passes perfectly in view of the style they offer, its merged and merging breaker of drawers. Shocking art rock that boosts THE ARISTOCRATS sound, which shows that music is universal, which allows you to review the discography of the said group before ironing this unique album made of magnified covers. Album reminiscent of a new album in fact. Album leading to meditation and daydreaming, with a frantic and alkaline rhythm, a musical paradigm in all its probity.

1. "D-Grade Fuck Movie Jam" (6:31) 70s-ish guitar pyrotechnics with strums and wah pedal while the rhythm section holds steady beneath. Sounds like 1970s Jeff Beck, Alvin Lee, or Rory Gallagher. (9/10)

2. "Spanish Eddie" (6:56) opens with some very fast guitar arpeggiations tightly wound with bass and fairly laid-back though mirroring drums. To my ears, the "Spanish" element has more to do with a similarity of sound and style to some of AL DI MEOLA's work over the years. Turns into a flashy 1960s blues rocker in the middle before using a Spanish chord strum sequence to bridge into an onslaught of heavy Southern rock. (13.5/15)

3. "When We All Come Together" (6:16) opens like an old ADRIAN BELEW and/or MARK KNOPFLER Mississippi blues railroad rock song. Admirable skill (8.25/10)

4. "All Said And Done" (4:43) another display of Guthrie Govan's surprising penchant for southern rock country blues. A Charlie Daniels or LYNNYRD SKYNYRD tribute! (8/10)

5. "Terrible Lizard" (6:30) lumbering, lurching, squealing, screaming music to fulfill the song's title. Nice team work on this technically demanding composition. The second half is more Guthrie's show piece over the restraint of the others. (8.5/10)

6. "Spiritus Cactus" (5:59) last time I heard jazz fusion like this it was in 1977 at the hands of Jeff Beck and Jan Hammer in an antiquated music hall whose ceiling plaster was falling on stage whenever Jan hit some outrageously deep bass note on his shoulder-strapped Lync keyboard. (8.75/10)

7. "The Ballad Of Bonnie And Clyde" (7:37) a rocker in the Steve Vai vein that sounds all-too familiar on many counts: style, sound, rhythm structure, and melody. (12/15)

8. "Burial At Sea" (6:35) very pleasant aquatic opening with strumming guitar, warbling low-end bass, but breaks into full-on heavy prog guitar play at the one minute mark. Microtonal guitar notes separate the full-body of the section in which female vocals seem to sing "fa-fa-fa-fa." Back and forth between heavy and delicate with some nice guitar soloing in the fourth minute. (8.75/10)

9. "Last Orders" (8:32) a gentle blues-jazz piece sounding like something from DIRE STRAITS, HIRAM BULLOCK, or JAN AKKERMAN. Fine craftsmanship from the two strings players over the first three minutes. Then things amp up into more of a display of premier 1980s metal works for a minute before returning to the soft fluid sounds of the opening three. A full-on Mark KNOPFLER display beginning at the end of the fifth minute. Nice! (18/20)

Total time 59:39

The lessons herein are that these are three fine musicians--especially that man of many hats and styles, Guthrie Govan.

Four stars; an excellent collection skillfully performed, wildly varied music that we'll call "progressive rock" for lack of a better term--none of which is really my cup of tea anymore. (World-blues-jazz-rock-metal fusion?)

Musically it feels built and developed from the ground up, with each musician looking out for his mates so that it isn't actually possible to tell from just listening to the songs as to which one came from the guitarist, bassist or drummer. There is funky country with call and reply, jazz fusion, prog, and a whole load of music where they refuse to sit in any sort of pigeonhole and just do whatever the hell they like. It would be easy for any of them to go off and make the album all about them, but this really does feel like a group without any egos among them. It sounds as if the guys are having a blast in the studio, which comes through in the music which is great fun from start to end.

They shift, they flow, they groove, bringing in fretless bass and gentle sounds when the time is right or cranking it up when it needs that little bit more boost. Some instrumental albums can sound the same throughout, or can be boring to the extreme, but here the guys really want you to move, react, and have just as much fun as they are. Now if only someone can explain the chicken and two pigs on the CD cover, but maybe I don't really want to know.

Never abandoning the ironical vein of the musical compositions (as an example listen to 'When we all come together'), this new work (which is composed as the preceding with 9 tracks, 3 for every musician as composer) seems to be more intense and refined. The level is quite near their second album Culture Clash, which many (including me) say it's their best.

Even if the songs show, as always, the influence of different musical styles, from rockabilly to progressive, pasing for jazz and metal, I noticed bass patterns are more groovy and also drumming, while it's always powerful and dynamic, is less obsessive tha in the preceding works. This brings to enhance musicality of the different tracks. About the Guthrie's guitar it's almost useless to spend more words: he is among the best nowadays guitar players for technique, ideas and feeling!

All the song are rousing and excellenty played but in my opinion above all there are 'D grade Fuck Movie Jam' and the wonderful 'Last Orders' and 'Burial at Sea'

You know what?' Highly reccomended!

The humor is evident right in the title of the first track "D-Grade F*ck Movie Jam", a 6 minute opener that starts right off with all the stops open and heavy with a funky guitar with plenty of "wah" effects and quirky rhythm. All three players are up front and personal with their instruments, playing at full bore. The music follows a melody played by the guitar with a lot of embellishment and variation, something a heavy-metal guitar god would be proud of. There is still plenty of room for everyone to shine here however, even with the guitar overpowering the others as the bass lines are amazing and so it the dynamic drumming. "Spanish Eddie" starts with a Spanish style riff playing in the guitar, but as the music settles in, it gets somewhat quirkier, but staying at a moderate pace. The Spanish flair continues even through the more progressive passages as they use the style to create a wild rhythm in which the drums can stand out. It mellows out towards the middle of the track, becoming almost jazz-like for a while. After this section concludes, the Spanish feeling comes right back and the original heaviness returns. This track is an amazing show case for everyone with an amazing sound with that Spanish vibe going for it.

"When We All Come Together" takes on a fast paced guitar finger picking heavy rock/country vibe that will make you feel like you are in the middle of a cowboy movie on steroids. Stomp your feet and yell "Yee-haw", by the end of this one you will feel like doing a drug enhanced line dance. And, holy cow grandma, listen to that high speed base. Love it! After 3 minutes, there is a sudden change of direction as it turns more progressive and leaning towards jazz fusion again. As it reaches 5 minutes, we return to the barn burning music complete with hand claps and I believe I detect a banjo in there too. At the end, the barn burns to the ground with a chaotic, noisy ending. "All Said and Done' gives you a bit of a breather because you'll need to catch your breath after that previous track. A nice melody is established by the guitar and elaborated on until the band kicks in. The tempo is moderate but with a walking lilt to it and the track remains a lot saner than the preceding tracks, but it's still very nice even with its increased accessibility. Cool bass solo too!

"Terrible Lizard" will make the metal heads happy, but will keep those that love a challenge interested too. The loud solidness returns with a vengeance now, evoking the heavy anger that is also prevalent in some of King Crimson's loud metallic solos with some challenging progressive riffs and rhythmic craziness, going places most guitar gods don't want to go. The progressiveness goes up even a notch further with "Spiritus Cactus" with a track that isn't as heavy, yet is so awesome that you won't even notice that. It starts upbeat, and keeps that pace even when nothing else is going on. This is like a stew of progressive styles, things thrown together that shouldn't work together, yet it does in a big way. Orchestral hits, clackers, tango percussion sounds, jazz guitar, driving rhythm, stop start sections, all thrown together into a crazy, entertaining mid- tempo track. Wait, I thought you said up tempo. Yeah I did. Prepare for a lot of styles in this one. Yet it all comes across quite coherent.

Coming up next, we get "The Ballad of Bonnie and Clyde". It all starts out with a soft, loung-y vibe, soft jazz guitar with tinkling, soft percussion and soft bass, which suddenly intensifies bringing everything up a notch. After 2 minutes, everything takes off with a regular rhythmic and melodic style where all instruments stand out well and the guitar taking us into a swirling climax. Things calm down towards the middle again and build to a moderate rhythm while the guitar improvises along, building tension right up to the end where we come to a boiling climax. "Burial at Sea" starts off with bubbly sounds and an atmospheric feel in the chiming guitar. When you think you are in for a more atmospheric flotation device style track, the band suddenly kicks in, but things wander from heavy to soft easily, creating a variety of textures in one song, yet, remaining concise and logical. This track takes us in a lot of different directions, but never tries to drown us in technicality and doesn't compromise the melody for difficult, high-tech solos. There are some cool vocal effects thrown in there too just to keep things interesting and unique.

Just when you've heard it all, the last track comes along. "Last Orders" is the longest track at over 8 minutes. This track begins as a slow burner, a nice mix of tender guitar, strong bass and hesitant, yet soft drums. This is a nice throw back to a more soft Stevie Ray Vaughan style with just the right mix of Frank Zappa which adds just the right jazz feel to it. Just as you think you can settle into this peaceful track, the guitar blows it all wide open for a blistering solo and the band follows suit as it does so, and then leads them back to the softer sound again. After this track is over, you know you have been to pretty much every musical planet you could have a chance to visit in an hour and still remain sane.

You probably wonder how musicians like these three could be kept in hiding so long. Well, surely you've heard of "The Raven Who Refused to Sing", the amazing, excellent work by Steven Wilson, right? Both Gowan and Minnemann were on that album and in Wilson's band. Govan also worked with Asia, GPS, Hans Zimmer and several other bands, Minnemann also works with "The Mute Gods" as their current drummer and part of the prog supergroup "The Sea Within". Beller has also been around playing in Joe Satriani's band and also with Steve Vai, James LaBrie and Dweezil Zappa. So you definitely got quite a pedigree of musicians here, and as this album attests, they are adept in playing any style they want. The best thing about this album is the fact that there is so much variety here, that you never get tired of listening. In fact, the hour flies by before you know what happened. This album is full of surprises, mood swings, and plenty of progressive music that it should keep everyone happy, and these musicians don't fall into the same trap as many of their contemporaries by making music where one song sounds pretty much like the other. Every track here has it's own distinct personality and every song on this album is a highlight. Excellent album!