RIO/AVANT-PROG

An eight piece band this time from a six piece on their debut. The vibes/percussion player from the debut is gone unfortunately replaced by a marimba/toms/bells/gong player. They added a second keyboardist along with a cimbalom or hammered dulcimer player. The debut was 37 1/2 minutes this one is 60 minutes and includes an almost 19 minute opener. That track sort of encapsulates the whole album. I have to say I am disappointed with this one and I know the debut set the bar high but this one pales in comparison.

"Li(Le Feu)" the fifth track is the one that stands out in a positive way. Finally a song I can connect with and some actual depth to the music although mostly late. Still piano/vocal led though. Man that closer is one I cannot listen to. Sounding Spanish it is completely different from the rest and a tough one to get through. I can actually hear the bass on "Ken" but not for long.

This album just isn't as avant or as powerful as the debut and there were so many brilliant ideas on the first one. I can't go 4 stars here.

Surprisingly spacey this record but there's also that Japanese Zeuhl style that POIL do so well featured here at times. This trio is obsessed with Japanese music including their two albums this year with Ueda. And certainly the way the album opens with that explosion of hard and fast outbursts brings the Japanese to mind. Thankfully this album isn't all like this as impressive as all that is they don't over do it. This was released in 2019 and clocks in at 37 1/2 minutes far shorter than their followup album "Furvent" at 60 minutes. I do prefer this debut to the second one for what it's worth.

Man this is a lot to describe and honestly it has to be heard to be believed at times. Again the vocals match the intensity and scope of the music which is saying something. Such an entertaining record and we get five tracks of which four are around the same length of 5 1/2 to 6 1/2 minutes then we get that 12 minute second song. I am blown away by this record! It goes right into my "best of" Avant pile. POIL just seem to come up with these ideas no one else thinks of and then proceeds to compose this incredible music of which the vocals are often key and certainly not an afterthought to their prodigy-like playing. Not perfect but I'm bumping this up to 5 stars for their incredible ideas.

Speaking of ether, our title track, "Living Machine", begins in a most indie-ominous, psychedelic-apparent kind of way. Knowing now, more assuredly, I'm astounded to know that he plays all instruments here. This is a heavier alternative number, happily in the world post-Grunge (I mean, we did get some solid and more-than-effective riffs in the late-90s and early-00s, did we not?). He utilizes a sort of fakeout following each verse, all coming to a total halt after what feels like half a guitar riff. To those who know--and I feel strongly you should--the track sounds a lot like The Posies or Jason Faulkner (for a time of Jellyfish; check The Grays if you're into this stuff). It's progressive in its overall scope and in its sonic eclecticism; but no RIO here, if it even must be said. Up next is "Mr. Lady Gray", approaching something more in line with Roots Rock Alternative (again, you know, of the time, broadly). I will say though, the markedly upbeat nature of the chorus has a very cool effect, if not cooling; we're maybe owing to the Kinks, maybe the Hollies. I definitely sense, weirdly to me, a shared sonic lineage with Beardfish (I don't feel that's pulled out of thin air on my part). "Ray" certainly follows generally in this mode and feel; very easy-breezy Pop Rock. We aren't all over the place yet, but think even Gin Blossoms here, or dare I say Third Eye Blind? Good track; nowhere near Prog.

And as we stray further away from that general mark, the start to "Misery Train" returns us to vaguely post- Grunging Americana, with slinky, chattering acoustic guitar and occasional, simple piano arpeggio. Like, this could have appeared on Alice In Chains' Unplugged performance? Maybe not quite. I don't feel Mark is particular apt at making things sound bad, like this track certainly sounds great and he's very good at what he does, but this is an immediate least favorite; its dark ethos will appeal more to others. In a sort of Elliot Smith kinda way, "Home" sort of continues in this down-and-out Rootsy vibe; some slide guitar and harmonica herein. Smith tended to make these sort of moods a bit more interesting, though. Finally out of that, erh, slump, we're back into finer form on "It's Not Really Me", calling immediately to mind early Mike Keneally, but also early Radiohead? I guess I should know more early Radiohead before claiming anything like this (more complex than anything I know from them). The vocal harmonies are quirky, odd, dissonant. So it's delicious stuff. His guitar work here is likewise mystifying, and that's not where the Mike comparisons could end. Awesome use of synth in the bridge, including a truly f*cked up electronica being summoned, all before he whips out his guitar and shows us his chops for the first time on the EP. Finally, "The Keeper" brings a different side, with light jazzy inflections and changes. So, take a dark Fusion (or even early Steely Dan?) and combine it with adventurous Alternative Pop Rock, if you can picture it.

Prog or not, by my still-ignorant estimation, a fairly good representation to Mark Stanley's sound, at least for a time, can be found here in Living Machine. Certainly was glad to give it another, perhaps more proper spin.

Musical ideas lie somewhere between eclectic, chamber, RIO/Avant, symphonic prog and Jazz. Throughout the music, the band repeatedly combines interesting harmonics, repetitive notes and chord patterns, with very complex ideas, and in this way they get a combination of a very demanding authentic soundscape and an immensely atmospheric, even hypnotic landscape, which is based on a very disciplined approach. Mathematically precise variations of sound patterns produce the desired effect and pieces seem light-footed and intense at the same time. A somber, dark atmosphere is interspersed with more meditative passages, made up of gentle arpeggios, but all that changes and becomes bombastic with a much more sustained and aggressive rhythm section. The amount of work done on keyboards is immense but directly proportional to the wonder that these pieces generate, between dry breaks and interweaving with a guitar and trumpet that create heavy, dreamy, and slightly atmospheric parts. The music is densely layered and tantalizing to decompose and reassemble in one's mind, listening after listening, melodic drawings are clearly intelligible, the atmospheres are enveloping and the symphonic elements are fantastic, rich but unobtrusive or unnecessarily gaudy.

The emotional level through compositions is capable of sudden and passionate outbursts, moments of profound tension and restlessness, as well as unexpected sweetness in evoking confused, distant emotions. The passion, mixed with sweetness and a constant sense of emotional tension runs throughout the entire album. The music gradually twists into a kind of spiral in which we have continuous flows of sounds. All in all, he pieces are expanding every idea to the maximum. The music is introspective and mysterious, but always with a thread of suspense that however preludes more stormy solutions with sounds that begin to roll gradually, increasing their power. Turning melodies into musical phrases, and the small oscillations of the melody around the same axis make the compositions flowing and direct, perfectly outlining that complex and layered ideology that the band wants to show us.

"Premonition" in its nine minutes shows all the power of the band, it begins with a melancholic-chamber motif, which leads its melodic structure very briefly and then comes to the thematic resolution and the band overturns and brings first-class, astounding harmonic solutions and wild escapades that complement each other perfectly, so there are many musical solutions that will leave you amazed with diverse spread of surprises. The album flows through an immense abundance of powerful prog vitalities, there is melancholy, dark harmonies, atmospheric/hypnotic phases, and subliminally bubbling abysses in the powerful instrumental language of this inspired band. Every quiet and loud note is full of passion and this album deserves your time.

1. "Sleep" (2:15) (4.5/5)

2. "Paper Hats" (6:03) amazing bass with crazed Eno/Heads/Belew-like vocal. (9.25/10)

3. "Triumph" (2:56) (9/10)

4. "SPQR" (3:29) group chanting about being Roman over dynamic drums and frenetic rhythm guitar strumming. (8.75/10)

5. "Cenotaph" (4:40) here the band sound like a cross between 1970s BRIAN ENO, TALKING HEADS, GANG OF FOUR, and Bill Laswell's MATERIAL--though perhaps on the bored side due to the affect expressed in the vocal performances. (8.875/10)

6. "Shrink Wrap" (1:41) some traditional tribal African rhythms and chants form the foundation for this. A bit like some of the British bands on Peter Gabriel's first issue of music from his WOMAD (World of Music, Arts and Dance) festivals (like XTC). (4.375/5)

7. "Radio Prague" (2:22) with the in-and-out cuts into the voice tracks the band is perhaps trying to convey how sequestered this (at the time) Communist country was (perceived) existing behind the Iron Curtain. (No rating cuz it is no song.)

8. "Makeshift Swahili" (4:05) more pseudo African rhythms and sounds with English words being screamed over the top open this song. After about 1:50, there is a shift into more British musical form (and then another at 2:30 into more punk-like form). Interesting. And creative. (8.75/10)

9. "Independence" (3:43) an interesting form of expression for the choral reading of American Declaration of Independence. Why the music is so plodding and the affect of vocalists so disinterested and tired is curious. (Perhaps they're meant to sound drunk--singing in a pub as one would a sea shanty.) Clever if bewildering. (8.875/10)

10. "A New Kind Of Water" (4:58) bass drum three-beat heart beat with cymbal play, repeated single stroke bass and guitar chord and weird drunken chanting over the top until the two-minute mark when the music gels into something more akin to a rock 'n' roll song. This is obviously a lyrics-driven song; too bad I don't comprehend lyrics. (8.75/10)

11. "Hi Baku Shyo (Suffer Bomb Disease)" (4:04) creepy-weird monster voice noises beneath which an accordion plays an occasional arpeggio or two. Yes, the human vocalizations could be construed as a person dying some horrifically painful death (with flies buzzing around to eat the decaying flesh) as per someone who'd been bombed, napalmed, or even exposed to radioactive fallout, but, really: is this necessary. (8.66667/10)

Total Time: 40:16

This is my first exposure to the existence of this band much less their sound and discography. My impression is that this is an album that sounds totally like another Brian Eno project--maybe with his own musician friends from the 1970s or with members of Talking Heads' expanded format (e.g. Adrian Belew), very oriented to rhythm and lyric not necessarily melody (though chant is a modality often used herein). I really liked this listening experience: the creators have very similar complaints and worries that I've had over the course of my lifetime. Plus, I really appreciate the passionate forms of expression the trio use to make their pleas known. A very powerful, haunting experience. (I haven't been able to get the moods and ideas out of my head since hearing it.) Though musically this may not be a collection of truly masterful songs, as a piece of art expression the truest emotions of the human experience this is spectacular and much appreciated.

After listening to this album for the second and third times I began getting an appreciation for how creative, dedicated, and influential this band was. I feel as if I have a better read on where "post-punk" bands like black midi and Black Country, New Road are coming from.

B/four stars; some incredibly inventive ideas and expressions occasionally marred by lack of musical familiarity or crudity.

The band calls this their "Kraut-Pop" record and it does groove with some outstanding vocals throughout. We still get some odd ball moments and hey I hear harmonium, bassoon, baritone sax, strings and the like, so there's that. Over 20 artists involved in the making of this. The opener "Done" is not a favourite but I acknowledge it's a great introduction to the type of music you are going to hear and maybe the most commercial sounding of the ten songs as well. High pitched synths don't do a lot for me.

Having said that the next four tracks create a high water mark few have hit when you combine the melodic with the avant. "The Mind-Body Experience" has so much more depth then the opener and so catchy. The depth is heard in the distortion, baritone sax, bass and harmonium. Male vocals before a minute. "Monsters" just grooves and talk about depth. Vocals and insane laughter ends it. "I'm Just Afraid" has the best vocal performance in my opinion by a male named Sacha Mullin. Incredibly smooth vocals, love his tone. Horns too. "Trying To Comfort Mary" is another amazing track. Male vocals, drums and guitar stand out. Just a great tune.

"Art Land" isn't quite as good as the four that proceed it but is a stripped down track done by a trio of vocals, guitar/bass and drums. "Last But Not Lost" is more avant, bassoon too. Intense with pounding drums as vocals come and go. Carla from SLEEPYTIME GORILLA MUSEUM sings on here. "House Of Dowse" is hit and miss for me with those quickly strummed guitars, fast paced vocals and such. I like it better when it slows down after 3 minutes. "Caboose" is incredible after 2 minutes when the vocals step aside. So inventive sounding.

This was voted 9th best album for 2018 by the collaborators here.

Yo[&*!#]sune picks up where PoiL Ueda ended, both lyrically and musically. Taking place after the naval battle described on their last album in "Dan-no-Ura", this album tells the story of Minamoto no Yo[&*!#]sune, a military commander forced into exile.

The album opens with the three-part 13-minute "Kumo". It's got an eerie, unsettling feel, with biwa, distant vocals, and slow-swelling drums. The pace picks up, and soon it's a bizarre, jittery bit with rubbery bass and plinking guitar and biwa as the main elements. Ueda's voice is as striking as ever, and the musicianship is all top-notch. Things do feel less lush than on PoiL Ueda; keyboards are less prominent here. This decision works well though, as it allows the other elements room to breathe.

Around the midpoint of this suite, things slow down a bit. Oddball guitar chords, twangy biwa, and an unusual meter converge to create a distinctive, disorienting atmosphere. Ominous synth pads emerge as the guitar gains some grit, and the tension of Yo[&*!#]sune's flight from Tokyo is palpable. PoiL's backing vocals, serving as the voices of the ghosts pursuing Yo[&*!#]sune, add to the anxiety of it all.

"Omine-san" comes next, and it's a stark shift. "Kumo"'s conclusion is sudden and jarring, and this cut opens on a slow-moving, woozy guitar line. This song develops something of a ritualistic feel, aided by a steady drumbeat and distant chimes.

"Yoshino" opens with some biwa noodling and a distant, sinister synth growl. Momentum builds, and several competing high-energy instrumental lines converge into something twisting, unorthodox, and shockingly groovy. The energy ebbs and flows, and there's a sense of trepidation to much of this song. Synths finally gain some prominence here, and I love the textural variation they provide.

Next comes "Ataka", a solo performance by Ueda. The spare arrangement is attention-grabbing, and it's a great showcase of her biwa playing style. Despite being nearly five minutes long, this piece feels much shorter.

Yo[&*!#]sune ends on the two-part "Koko". A bubbling synth tone underpins Ueda's voice in the opening movement. The first half of this piece is dedicated primarily to a build-up of momentum. There's a sense of barely-restrained kinetic energy, and when it finally bursts free, it reminds me a lot of certain Between the Buried and Me songs, just non-metallic. The playing is technical, speedy, and absolutely dizzying. Everything converges into a beautiful maelstrom of rock instrumentation and Ueda's biwa and voice.

Yo[&*!#]sune is a fantastic record. In the months since PoiL Ueda has come out, I've found myself wanting more, and this delivers exactly what I was craving. It's cohesive, it's weird, and it's exciting.

Review originally posted here: theeliteextremophile.com/2023/11/06/album-review-poil-ueda-yo[&*!#]sune/