Rating: 9.0
After wowing progressive rock listeners with both their perfect (literally) debut Choirs of the Eye and their almost as good follow-up, Dowsing Anemone With Copper Tongue, Kayo Dot have returned with an EP split with doom metal band Bloody Panda. I am not familiar enough with the Bloody Panda material to review it (though I would recommend checking out their debut full length, Pheromone, as it’s quite good). Thus, I will restrict this review just to the Kayo Dot half, the song “Don’t Touch Dead Animals.”
“Don’t Touch Dead Animals” is split into two parts, each introduced with a short spoken poem by violinist Mia Matsumiya (who is featured on vocals because Bloody Panda also have a female Japanese vocalist). The track marks somewhat of a shift in sound for Toby Driver and co, but it is still recognizable as distinctly Kayo Dot, holding true to Driver’s compositional style and disdain for traditional song structures.
In some sense, this song is a mixture of Choirs and Dowsing; the first part is jazzy in a similar manner to “Aura on an Asylum Wall” from the latter, and the second utilizes heaviness similar to “Marathon” from the former. In the first part, a powerful trumpet duals with dissonant, swirling violin, building up to a semi-climax, then fading away in a seeming anti-climax. Then, however, Mia begins her monologue that opens part two, and the song fairly immediately climaxes with some awesome crazed vocals from Mia and more fantastic trumpet work, as well as some heavy guitar riffing. This relieves the tension of the anti-climax wonderfully, bringing the track to a powerful resolution.
But how does it mark a compositional change for Kayo Dot? Well, the song is far less minimalist than either of their other CDs. For the first time (in a Kayo Dot song), there is a lot happening that all exists in or near the song’s foreground. Sure, on their two full lengths there was generally a lot happening, but it was done in a subtler manner. Here, on the other hand, it is more obvious (though still fairly subtle). While both good on the whole, both the semi-climax and the full climax are simply too full at times, and it’s impossible to comprehend everything at once. That is the one major flaw with this song. However, if Driver can take this style of composing and perfect his technique, he should be able to deliver a third masterpiece.
Showing posts with label Year 2007. Show all posts
Showing posts with label Year 2007. Show all posts
Wednesday, December 26, 2007
Wednesday, December 12, 2007
Straw Factory - Straw Factory (2007)
Rating: 2.4
As a reviewer for Progressive Ears, I occasionally get sent albums to review. Usually, these are albums that I wouldn’t have bought otherwise. Sometimes, I get sent an album that is a real gem; other times, I get sent a dud. In the case of Straw Factory’s eponymous debut, neither of these is the case. Straw Factory is an album that is best described by the phrase “unrealized potential.” I can see the makings of a very good band in this release, but it just doesn’t reach that level.
The music is relaxing and pleasant, focusing on acoustic guitar and soothing vocals. It never really gets to the point where it rocks, and it’s not interesting enough to hold my full attention. The interesting ideas it presents do not tie themselves together into a cohesive whole. Perhaps the best way to sum up the overall effect of these flaws is that this is a very passive album. It’s not going to go out and grab your attention. If you want to enjoy it and sink into the music, you have to put in most of the effort. Because of that, the music suffers from a lack of replay value.
Not everything goes wrong, however. The music is very soothing and pleasant, a very soft type of alternative rock. The vocals are also quite nice (even if the lyrics are bland), relying on one main singer and several backup singers. These good traits are best seen on the songs “Vultures” and “Airplane,” which, not surprisingly, are the songs that do the best job of actually sucking you in, rather than making you do the work. The way I see it, if, on their next release, Straw Factory are able to emphasize these traits on all their songs, they could put together a strong album.
On this release, however, they have not done so. This is the type of album that sounds nice while you’re listening to it, but once it’s over, you have to wonder if it was really worth it. It’s not memorable, in short. While it’s a far cry from being a band album, it’s quite bland overall. A common comment on their Garageband page (which, so far as I can tell, is their only website) is that all the elements are there to make some really good music, except that their music lacks passion. You really can’t say it better than that. I hope these guys improve over time, because this album shows that they have the potential to become a good band. They’re just not there yet.
As a reviewer for Progressive Ears, I occasionally get sent albums to review. Usually, these are albums that I wouldn’t have bought otherwise. Sometimes, I get sent an album that is a real gem; other times, I get sent a dud. In the case of Straw Factory’s eponymous debut, neither of these is the case. Straw Factory is an album that is best described by the phrase “unrealized potential.” I can see the makings of a very good band in this release, but it just doesn’t reach that level.
The music is relaxing and pleasant, focusing on acoustic guitar and soothing vocals. It never really gets to the point where it rocks, and it’s not interesting enough to hold my full attention. The interesting ideas it presents do not tie themselves together into a cohesive whole. Perhaps the best way to sum up the overall effect of these flaws is that this is a very passive album. It’s not going to go out and grab your attention. If you want to enjoy it and sink into the music, you have to put in most of the effort. Because of that, the music suffers from a lack of replay value.
Not everything goes wrong, however. The music is very soothing and pleasant, a very soft type of alternative rock. The vocals are also quite nice (even if the lyrics are bland), relying on one main singer and several backup singers. These good traits are best seen on the songs “Vultures” and “Airplane,” which, not surprisingly, are the songs that do the best job of actually sucking you in, rather than making you do the work. The way I see it, if, on their next release, Straw Factory are able to emphasize these traits on all their songs, they could put together a strong album.
On this release, however, they have not done so. This is the type of album that sounds nice while you’re listening to it, but once it’s over, you have to wonder if it was really worth it. It’s not memorable, in short. While it’s a far cry from being a band album, it’s quite bland overall. A common comment on their Garageband page (which, so far as I can tell, is their only website) is that all the elements are there to make some really good music, except that their music lacks passion. You really can’t say it better than that. I hope these guys improve over time, because this album shows that they have the potential to become a good band. They’re just not there yet.
Tuesday, December 11, 2007
The 1000 Year Plan - In Theory & Practice (2007)
Rating: 6.6
Math rock is one of the genres I have most recently gotten into, to such an extent that I would nominate the album Mirrored by Battles as one of the top candidates for album of the year (2007). Of course, that’s not the only good math rock CD of this year; I know of at least one other, In Theory & Practice by The 1000 Year Plan. While not quite at the level of Mirrored, In Theory & Practice is still a wonderful album without a weak song on it.
In theory, given that it’s math rock, you might expect the music to be cold, impersonal, unwelcoming. In practice, however, the only really unwelcoming thing about this album are the annoyingly long (and somewhat stupid, if you ask me) track titles. Otherwise, the music, while still lower in emotional content than non-math rock, actually does manage to speak to the listener on multiple levels, making for an interesting listen, to say the least.
In theory, again given that it’s math rock, you might expect the music to be technical. In practice, you would be correct. The musicians definitely know what they are doing, and they execute it flawlessly. And thus what is just an “interesting listen” before becomes a captivating listen. While technical skill does not a good album make, it can certainly help, and this is one of those cases.
In theory, you’d expect any band to at least have some clear influences. In practice, that holds true for the 1000 Year Plan. While I can’t namedrop references as I’m still new to the genre, In Theory & Practice sounds like most other math rock I’ve heard. There definitely is a sense of a lack of originality to the album, to be perfectly honest.
In theory, that makes it somewhat unessential, as it’s been done before and it’s been done better. In practice, on the other hand, the strong songwriting means that should appeal to all math rock fans. I can’t see it becoming a landmark of the genre or spreading out into the mainstream of music, but for the realm within which it exists, it is definitely very good and worth hearing.
In theory, music like this would earn fans for itself. In practice, however, I would recommend to the band to use the internet a bit more; a Google search of “the 1000 year plan” and “in theory and practice” came up with zero results.
Math rock is one of the genres I have most recently gotten into, to such an extent that I would nominate the album Mirrored by Battles as one of the top candidates for album of the year (2007). Of course, that’s not the only good math rock CD of this year; I know of at least one other, In Theory & Practice by The 1000 Year Plan. While not quite at the level of Mirrored, In Theory & Practice is still a wonderful album without a weak song on it.
In theory, given that it’s math rock, you might expect the music to be cold, impersonal, unwelcoming. In practice, however, the only really unwelcoming thing about this album are the annoyingly long (and somewhat stupid, if you ask me) track titles. Otherwise, the music, while still lower in emotional content than non-math rock, actually does manage to speak to the listener on multiple levels, making for an interesting listen, to say the least.
In theory, again given that it’s math rock, you might expect the music to be technical. In practice, you would be correct. The musicians definitely know what they are doing, and they execute it flawlessly. And thus what is just an “interesting listen” before becomes a captivating listen. While technical skill does not a good album make, it can certainly help, and this is one of those cases.
In theory, you’d expect any band to at least have some clear influences. In practice, that holds true for the 1000 Year Plan. While I can’t namedrop references as I’m still new to the genre, In Theory & Practice sounds like most other math rock I’ve heard. There definitely is a sense of a lack of originality to the album, to be perfectly honest.
In theory, that makes it somewhat unessential, as it’s been done before and it’s been done better. In practice, on the other hand, the strong songwriting means that should appeal to all math rock fans. I can’t see it becoming a landmark of the genre or spreading out into the mainstream of music, but for the realm within which it exists, it is definitely very good and worth hearing.
In theory, music like this would earn fans for itself. In practice, however, I would recommend to the band to use the internet a bit more; a Google search of “the 1000 year plan” and “in theory and practice” came up with zero results.
Monday, December 10, 2007
John Zorn - Six Litanies for Heliogabalus
Rating: 9.6
In all of avant-garde music, there is nobody quite like John Zorn. His immense discography covers everything from minimalist classical to downright noise, showing each composed with the utmost care and mastery. Never is that clearer than on Six Litanies for Heliogabalus, the third album in his Trevor Dunn/Mike Patton/Joey Baron collaboration. Six Litanies catches Zorn displaying his love for extreme metal, though it goes far beyond the confines of that genre. Because the core of the sound is created by drums and distorted bass (with Patton babbling over the top), it never quite sounds like metal, though it is clearly heavy and loud.
Like so much of his work, Six Litanies blends improvisation and composition in a unique manner. In this case, John Zorn composed some of the music and conveyed the rest of the performers orally, directing their improvisation. This is no different from Moonchild and Astronome (the other two of his works with Patton, Dunn, and Baron), however. So what is it that makes Six Litanies not just a great CD overall, but the best of the three? Well, whereas the other two consisted only of Baron’s drumming, Dunn’s distorted bass, and Patton’s manic vocals, this one sees Zorn expanding the sound, adding Ikue Mori on electronics, Jamie Saft on organ, and a female trio on vocals, in addition to playing the saxophone himself. Thus, whereas on Moonchild and Astronome the softer sections often seemed sparse and occasionally even a tad dead, here they come to life with atmospheric vocals and organ, creating textures that make sure it never gets boring. Also, because this is the third CD in the series, the performers are better able to sustain the improvisations, and Zorn has worked out some of the (admittedly minor) compositional kinks that appeared on the first two in the series.
The end result is a fantastic CD. The heavy riffing sections combine Zorn’s stunning intelligence and critical thinking skills with the sheer bone-crushing power of metal, showcasing the greatest aspects of both. The softer sections, as I have noted, carry themselves perfectly, providing relief for the listener and advancing the “plot” of the music at the same time (a rare yet refreshing combination). The most interesting parts for me, however, are the improvisational sections where the performers really let loose. There’s nothing quite like hearing an organ pounding with the intensity of a guitar whose amp is on 11, drums played by a squid, bass that could replace the guitars in Meshuggah, and a saxophone that’s free-jazzing on acid all going at the same time, with, of course, Patton going apeshit over the top of it all. Of course, it’s not all like that: “Litany IV” is purely a vocal solo for Patton, who showcases his unique vocal stylings in full force, running through the gamut of all the many ways he can manipulate his voice (though forgoing some of the more disgusting ones that made for some awkward moments on Astronome). “Litany IV” is one of those things that so often gets described as “a good idea that just doesn’t sound good,” except that in this case it sounds fantastic. And the rest of the album is just as good, if not better.
There’s really not much more to be said about this release. It’s a masterpiece from start to finish and probably the greatest CD of 2007. In terms of a genre, the only way I can think to classify this is as extreme-free-cool-jazz-metal-with-Mike-Patton, but even that fails to indicate everything this album does so well. It’s probably not a great starting place into the world of John Zorn (I’d recommend IAO for that), but it ultimately stands up as one of his very best works. Only for the very open-minded or lovers of extreme avant-garde. If you are either of those, however, there can be no better CD for you.
In all of avant-garde music, there is nobody quite like John Zorn. His immense discography covers everything from minimalist classical to downright noise, showing each composed with the utmost care and mastery. Never is that clearer than on Six Litanies for Heliogabalus, the third album in his Trevor Dunn/Mike Patton/Joey Baron collaboration. Six Litanies catches Zorn displaying his love for extreme metal, though it goes far beyond the confines of that genre. Because the core of the sound is created by drums and distorted bass (with Patton babbling over the top), it never quite sounds like metal, though it is clearly heavy and loud.
Like so much of his work, Six Litanies blends improvisation and composition in a unique manner. In this case, John Zorn composed some of the music and conveyed the rest of the performers orally, directing their improvisation. This is no different from Moonchild and Astronome (the other two of his works with Patton, Dunn, and Baron), however. So what is it that makes Six Litanies not just a great CD overall, but the best of the three? Well, whereas the other two consisted only of Baron’s drumming, Dunn’s distorted bass, and Patton’s manic vocals, this one sees Zorn expanding the sound, adding Ikue Mori on electronics, Jamie Saft on organ, and a female trio on vocals, in addition to playing the saxophone himself. Thus, whereas on Moonchild and Astronome the softer sections often seemed sparse and occasionally even a tad dead, here they come to life with atmospheric vocals and organ, creating textures that make sure it never gets boring. Also, because this is the third CD in the series, the performers are better able to sustain the improvisations, and Zorn has worked out some of the (admittedly minor) compositional kinks that appeared on the first two in the series.
The end result is a fantastic CD. The heavy riffing sections combine Zorn’s stunning intelligence and critical thinking skills with the sheer bone-crushing power of metal, showcasing the greatest aspects of both. The softer sections, as I have noted, carry themselves perfectly, providing relief for the listener and advancing the “plot” of the music at the same time (a rare yet refreshing combination). The most interesting parts for me, however, are the improvisational sections where the performers really let loose. There’s nothing quite like hearing an organ pounding with the intensity of a guitar whose amp is on 11, drums played by a squid, bass that could replace the guitars in Meshuggah, and a saxophone that’s free-jazzing on acid all going at the same time, with, of course, Patton going apeshit over the top of it all. Of course, it’s not all like that: “Litany IV” is purely a vocal solo for Patton, who showcases his unique vocal stylings in full force, running through the gamut of all the many ways he can manipulate his voice (though forgoing some of the more disgusting ones that made for some awkward moments on Astronome). “Litany IV” is one of those things that so often gets described as “a good idea that just doesn’t sound good,” except that in this case it sounds fantastic. And the rest of the album is just as good, if not better.
There’s really not much more to be said about this release. It’s a masterpiece from start to finish and probably the greatest CD of 2007. In terms of a genre, the only way I can think to classify this is as extreme-free-cool-jazz-metal-with-Mike-Patton, but even that fails to indicate everything this album does so well. It’s probably not a great starting place into the world of John Zorn (I’d recommend IAO for that), but it ultimately stands up as one of his very best works. Only for the very open-minded or lovers of extreme avant-garde. If you are either of those, however, there can be no better CD for you.
Friday, November 30, 2007
Calle Debauche - Potemkin Carnival (2007)
Rating: 7.1
Mohadev, guitarist and keyboardist for Calle Debauche contacted me about reviewing this album, noting that I enjoy the music of the bands that most influenced Calle Debauche (among them Sleepytime Gorilla Museum). Naturally, I couldn't say no, and, as a result, I now have the pleasure of reviewing one of the better CDs of 2007, a real gem of an album.
Right from the start, this album is a success. The cover art is abstract, beautiful, and engaging, three qualities I greatly enjoy in music, and thus, naturally, my interest was immediately piqued. Putting the CD in the player, I was overjoyed to learn that the album lives up to the impression created by the cover art. In short, this is an engaging, beautiful, and somewhat abstract album. It jumps all over the place stylistically, but unlike so many other genre-hopping bands, it really manages to tie everything together, and thus it is also cohesive, perhaps the most important quality a CD can have (and certainly one of the most important). On top of all that, with a running time of only 33:00, there is no room for unnecessary notes, and none are present. Rather than filling a CD for the sake of... filling a CD, Calle Debauche limit Potemkin Carnival to the ideas they have with no excess, and what wonderful ideas they have.
As I said, this album jumps all over the place stylistically, keeping me on my toes throughout. Even within one song, this is true. Take, for example, the track "Adults." It starts out beautiful and relatively soft, then explodes into a hard rocking fun before ending with a short, beautiful outro. All around, it is a well-constructed song. On the next track, however, we're in completely different territory, with a wildly avant-garde burst of instruments that leaves having developed itself fully and just in time so as to not become annoying, once again showing the band's well-developed sense of restraint. On "Hey Hotdogs!" we are once again off in new direction, this time looking towards upbeat, fast-paced jazz-fusion that is sure to delight (it's my favorite on the album). Adorned with silly vocals, this is the type of song that's sure to bring a smile to your face. And so on. Every track on the album is both similar in strengths and different in style, making for a wonderfully varied yet consistent ride.
I'd highly recommend this band to anybody looking for good modern music that holds the prog torch high without any of the stereotypical flaws associated with the 70s giants. By combining just the right amount of everything, Calle Debauche have proven themselves wonderful bakers in cooking up this CD. A highlight of 2007 by all criteria.
Mohadev, guitarist and keyboardist for Calle Debauche contacted me about reviewing this album, noting that I enjoy the music of the bands that most influenced Calle Debauche (among them Sleepytime Gorilla Museum). Naturally, I couldn't say no, and, as a result, I now have the pleasure of reviewing one of the better CDs of 2007, a real gem of an album.
Right from the start, this album is a success. The cover art is abstract, beautiful, and engaging, three qualities I greatly enjoy in music, and thus, naturally, my interest was immediately piqued. Putting the CD in the player, I was overjoyed to learn that the album lives up to the impression created by the cover art. In short, this is an engaging, beautiful, and somewhat abstract album. It jumps all over the place stylistically, but unlike so many other genre-hopping bands, it really manages to tie everything together, and thus it is also cohesive, perhaps the most important quality a CD can have (and certainly one of the most important). On top of all that, with a running time of only 33:00, there is no room for unnecessary notes, and none are present. Rather than filling a CD for the sake of... filling a CD, Calle Debauche limit Potemkin Carnival to the ideas they have with no excess, and what wonderful ideas they have.
As I said, this album jumps all over the place stylistically, keeping me on my toes throughout. Even within one song, this is true. Take, for example, the track "Adults." It starts out beautiful and relatively soft, then explodes into a hard rocking fun before ending with a short, beautiful outro. All around, it is a well-constructed song. On the next track, however, we're in completely different territory, with a wildly avant-garde burst of instruments that leaves having developed itself fully and just in time so as to not become annoying, once again showing the band's well-developed sense of restraint. On "Hey Hotdogs!" we are once again off in new direction, this time looking towards upbeat, fast-paced jazz-fusion that is sure to delight (it's my favorite on the album). Adorned with silly vocals, this is the type of song that's sure to bring a smile to your face. And so on. Every track on the album is both similar in strengths and different in style, making for a wonderfully varied yet consistent ride.
I'd highly recommend this band to anybody looking for good modern music that holds the prog torch high without any of the stereotypical flaws associated with the 70s giants. By combining just the right amount of everything, Calle Debauche have proven themselves wonderful bakers in cooking up this CD. A highlight of 2007 by all criteria.
Thursday, November 29, 2007
Al Di Meola - Diabolic Inventions and Seduction for Solo Guitar (2007)
Rating: 4.8
Having been interested in the music of Al Di Meola for quite some time, when I saw the opportunity to receive one of his CDs to review, I naturally jumped. I might have been better off doing some research, however, as this is not Al Di Meola playing Al Di Meola, but rather Al Di Meola playing Astor Piazzolla, an artist about whom I know nothing. A bit disappointing (as you might imagine), but, on the bright side, it allowed me to be introduced to two new artists.
Sadly, listening to this album, I came away with two major impressions. First, that Al Di Meola is a *really* good guitarist (though I knew that already from what I had read). Second, that Astor Piazzolla's music, while performed wonderfully by Di Meola, simply isn't the type of music I enjoy listening to in general. It's certainly not bad - if you like tango music, you will probably really enjoy this music (from what I gather from the sparse liner notes, Astor's work is fairly highly regarded in the tango loving community). I can safely say that Di Meola does a good job of performing this music, both in the technical and emotional aspects, and thus, as a tribute to Piazzolla, this album probably deserves a higher ranking than what I have given it.
However, there is one key flaw with this album that hinders my enjoyment of it besides the fact that I just am not a fan of this type of music (though I certainly don't dislike it, I'm just not familiar with it). This album is solely for guitar, and thus it feels very much one dimensional. Di Meola does the best he can on guitar, and that's quite a lot, but it still feels somewhat dry and tasteless without any instruments, no matter how subdued they might theoretically be, backing him up. Thus, changes in energy are diminished in effect across the album, among other problems. Now, to be fair, Al Di Meola doesn't just play Piazzolla's music — he throws syncopated rhythms into the mix where they had been absent — but, having not heard the original music, I have no idea how this affects the album as a whole, and therefore cannot allow it to influence my rating.
While certainly not a bad CD, and even a rather pleasant one when I'm in the mood for something different, Diabolic Inventions and Seduction for Solo Guitar is also certainly not the CD that's going to turn me on to Di Meola's music, Astor Piazzolla's music, or tango music in general. In that sense, while a nice tribute to Piazzolla, this album does not succeed in its aim. I certainly haven't given up on Di Meola (or tango), but I came away from this CD wondering if there really was a useful purpose served from it besides satsifying Di Meola's wish to perform the music of a friend.
Having been interested in the music of Al Di Meola for quite some time, when I saw the opportunity to receive one of his CDs to review, I naturally jumped. I might have been better off doing some research, however, as this is not Al Di Meola playing Al Di Meola, but rather Al Di Meola playing Astor Piazzolla, an artist about whom I know nothing. A bit disappointing (as you might imagine), but, on the bright side, it allowed me to be introduced to two new artists.
Sadly, listening to this album, I came away with two major impressions. First, that Al Di Meola is a *really* good guitarist (though I knew that already from what I had read). Second, that Astor Piazzolla's music, while performed wonderfully by Di Meola, simply isn't the type of music I enjoy listening to in general. It's certainly not bad - if you like tango music, you will probably really enjoy this music (from what I gather from the sparse liner notes, Astor's work is fairly highly regarded in the tango loving community). I can safely say that Di Meola does a good job of performing this music, both in the technical and emotional aspects, and thus, as a tribute to Piazzolla, this album probably deserves a higher ranking than what I have given it.
However, there is one key flaw with this album that hinders my enjoyment of it besides the fact that I just am not a fan of this type of music (though I certainly don't dislike it, I'm just not familiar with it). This album is solely for guitar, and thus it feels very much one dimensional. Di Meola does the best he can on guitar, and that's quite a lot, but it still feels somewhat dry and tasteless without any instruments, no matter how subdued they might theoretically be, backing him up. Thus, changes in energy are diminished in effect across the album, among other problems. Now, to be fair, Al Di Meola doesn't just play Piazzolla's music — he throws syncopated rhythms into the mix where they had been absent — but, having not heard the original music, I have no idea how this affects the album as a whole, and therefore cannot allow it to influence my rating.
While certainly not a bad CD, and even a rather pleasant one when I'm in the mood for something different, Diabolic Inventions and Seduction for Solo Guitar is also certainly not the CD that's going to turn me on to Di Meola's music, Astor Piazzolla's music, or tango music in general. In that sense, while a nice tribute to Piazzolla, this album does not succeed in its aim. I certainly haven't given up on Di Meola (or tango), but I came away from this CD wondering if there really was a useful purpose served from it besides satsifying Di Meola's wish to perform the music of a friend.
Sunday, November 4, 2007
Jannick Top - Soleil D'Ork (2001)
Rating: 8.7
Jannick Top is probably not given the credit he deserves for his influence within the zeuhl genre of music. While it is true that zeuhl was mostly Christian Vander’s brainchild, it is worth noting that Magma’s glory years did not start until Jannick Top joined the band (before Mekanik Destructiw Kommandoh) and that they ended when Top left the band (after Udu Wudu). His visionary bass work, focusing on low, throbbing pulses of pure energy, became one of the key characteristics of the zeuhl sound. He even composed some of Magma’s greatest songs, including “Ork Alarm” from Kohntarkosz and much of the Udu Wudu album, especially the epic “De Futura.”
Soleil D’Ork is the collection of assorted Zeuhl compositions from Top’s time with Magma, and, as such, many of the songs on here can be found on Magma CDs, particularly Udu Wudu. On those albums, however, Jannick Top is really a part of a single functioning unit, and, as such, his contributions are somewhat limited by that need to fit within the zeuhl framework laid out by Christian Vander. Not so on Soleil D’Ork. This album is purely Jannick Top’s baby, and it should come as no surprise that it features his strongest bass playing. The musicians backing him are certainly capable enough, but Jannick Top let’s us know that this is his show.
And what a show it is. The first two tracks, which are taken from a 1975 EP by Top, are similar to Udu Wudu, but with Top’s bass emphasized. They are of excellent quality, dark and yet groovy – classic Magma, in other words (though you should remember that this is not really Magma). With “La Musique Des Spheres,” we have a moody, atmospheric piece that is the closest thing to a group effort this album features, but it doesn’t feel out of place amidst the Top-centric pieces that dominate the rest of the album. These first three songs, while of excellent quality, are only the tip of the iceberg, however. They prepare us for the explosion that is about to come in the form of “Mekanik Machine.”
“Mekanik Machine” is, like the tracks before it, not featured on any Magma studio album, though it has found its way onto a live album (or maybe a compilation, I don’t remember). That’s really too bad, since it is one hell of a song. Unlike the dark, tribal chants of Magma’s Udu Wudu, this one will recall the bombastic operatic vocals of Mekanik Destructiw Kommandoh, only more powerful. Add to that a mind-bending performance by Jannick Top on bass and you have yourself a nine-minute epic that stands up with the best Magma ever did. I have no hesitation in claiming this song as reason enough to buy this album. There’s just nothing else like it, not even in Magma’s extensive catalogue. It channels both the otherworldly and transcendental aspects of such majestic pieces as Kohntarkosz and the earthly awesomeness of the bass-freakout “De Futura” from Udu Wudu.
After a song of such magnitude, it’s only natural that Top will let up on the gas, but, as it turns out, the loss of energy is only slight. In addition, “Soleil D’Ork,” a track taken from Udu Wudu and reworked (and made much better, I might add), prepares us for what is about to come next. I don’t mean to discount the worth of this song, but when it’s sandwiched between two tracks like “Mekanik Machine” and “De Futura,” it’s only natural that it will be somewhat overlooked. Anyway, after “Soleil D’Ork” ends, we reach the one song that will probably divide fans the most. For his reworking of “De Futura,” Jannick Top does the unthinkable. He substitutes a drum machine for the amazing drumming of Christian Vander. “Blasphemy!” you think. But, as you think to yourself, “Jannick, how could you go so far astray,” you might miss how this version waltzes all over the original. The simplicity of the drum machine, which actually sounds about as organic as a drum machine can, really allows Jannick Top to shine, because if you know the original version of “De Futura” from Udu Wudu, you know that this song really is Jannick Top’s show. On this version of this classic Magma piece, Jannick Top plays with an intensity that makes the Udu Wudu version seem positively insignificant, Vander drumming or not. Honestly, you don’t really even notice that the drum machine is present, so astounding is Top’s bass playing.
And then we reach what is, for me, at least, the only questionable part of this album. “Glas,” which closes Soleil D’Ork doesn’t seem to fit very well, at least for the first few listens. After the intensity of the six preceding tracks, the comparatively lethargic pace of “Glas,” coupled with a lack of the type of bass playing that makes Top such a revered bassist, left me with serious doubts about the song. Over time, I have come to appreciate it, even like it, but I still wonder how the album would have turned out had Top chosen to end on a slightly more energetic note.
In the end, however, such pondering serves no purpose. Soleil D’Ork is a fantastic album by the second most important man in the zeuhl world, and it leaves little to be desired. This album really is a “lost” Magma work. If you are a budding Magma fan and thinking of buying Udu Wudu, admittedly quite a fine album, I advise you to look here instead, since this CD is more consistent, more alive, and a better feature of Jannick Top’s compositional and instrumental skill. While Udu Wudu is more of a group effort, it suffers from the fact that Jannick Top really is the star, but is forced to share the spotlight with his bandmates. This is not necessarily a bad thing, but, as it turns out, the songs of Udu Wudu work better when presented in solo format focusing on Jannick Top alone.
Jannick Top’s Soleil D’Ork has earned my highest recommendations.
Jannick Top is probably not given the credit he deserves for his influence within the zeuhl genre of music. While it is true that zeuhl was mostly Christian Vander’s brainchild, it is worth noting that Magma’s glory years did not start until Jannick Top joined the band (before Mekanik Destructiw Kommandoh) and that they ended when Top left the band (after Udu Wudu). His visionary bass work, focusing on low, throbbing pulses of pure energy, became one of the key characteristics of the zeuhl sound. He even composed some of Magma’s greatest songs, including “Ork Alarm” from Kohntarkosz and much of the Udu Wudu album, especially the epic “De Futura.”
Soleil D’Ork is the collection of assorted Zeuhl compositions from Top’s time with Magma, and, as such, many of the songs on here can be found on Magma CDs, particularly Udu Wudu. On those albums, however, Jannick Top is really a part of a single functioning unit, and, as such, his contributions are somewhat limited by that need to fit within the zeuhl framework laid out by Christian Vander. Not so on Soleil D’Ork. This album is purely Jannick Top’s baby, and it should come as no surprise that it features his strongest bass playing. The musicians backing him are certainly capable enough, but Jannick Top let’s us know that this is his show.
And what a show it is. The first two tracks, which are taken from a 1975 EP by Top, are similar to Udu Wudu, but with Top’s bass emphasized. They are of excellent quality, dark and yet groovy – classic Magma, in other words (though you should remember that this is not really Magma). With “La Musique Des Spheres,” we have a moody, atmospheric piece that is the closest thing to a group effort this album features, but it doesn’t feel out of place amidst the Top-centric pieces that dominate the rest of the album. These first three songs, while of excellent quality, are only the tip of the iceberg, however. They prepare us for the explosion that is about to come in the form of “Mekanik Machine.”
“Mekanik Machine” is, like the tracks before it, not featured on any Magma studio album, though it has found its way onto a live album (or maybe a compilation, I don’t remember). That’s really too bad, since it is one hell of a song. Unlike the dark, tribal chants of Magma’s Udu Wudu, this one will recall the bombastic operatic vocals of Mekanik Destructiw Kommandoh, only more powerful. Add to that a mind-bending performance by Jannick Top on bass and you have yourself a nine-minute epic that stands up with the best Magma ever did. I have no hesitation in claiming this song as reason enough to buy this album. There’s just nothing else like it, not even in Magma’s extensive catalogue. It channels both the otherworldly and transcendental aspects of such majestic pieces as Kohntarkosz and the earthly awesomeness of the bass-freakout “De Futura” from Udu Wudu.
After a song of such magnitude, it’s only natural that Top will let up on the gas, but, as it turns out, the loss of energy is only slight. In addition, “Soleil D’Ork,” a track taken from Udu Wudu and reworked (and made much better, I might add), prepares us for what is about to come next. I don’t mean to discount the worth of this song, but when it’s sandwiched between two tracks like “Mekanik Machine” and “De Futura,” it’s only natural that it will be somewhat overlooked. Anyway, after “Soleil D’Ork” ends, we reach the one song that will probably divide fans the most. For his reworking of “De Futura,” Jannick Top does the unthinkable. He substitutes a drum machine for the amazing drumming of Christian Vander. “Blasphemy!” you think. But, as you think to yourself, “Jannick, how could you go so far astray,” you might miss how this version waltzes all over the original. The simplicity of the drum machine, which actually sounds about as organic as a drum machine can, really allows Jannick Top to shine, because if you know the original version of “De Futura” from Udu Wudu, you know that this song really is Jannick Top’s show. On this version of this classic Magma piece, Jannick Top plays with an intensity that makes the Udu Wudu version seem positively insignificant, Vander drumming or not. Honestly, you don’t really even notice that the drum machine is present, so astounding is Top’s bass playing.
And then we reach what is, for me, at least, the only questionable part of this album. “Glas,” which closes Soleil D’Ork doesn’t seem to fit very well, at least for the first few listens. After the intensity of the six preceding tracks, the comparatively lethargic pace of “Glas,” coupled with a lack of the type of bass playing that makes Top such a revered bassist, left me with serious doubts about the song. Over time, I have come to appreciate it, even like it, but I still wonder how the album would have turned out had Top chosen to end on a slightly more energetic note.
In the end, however, such pondering serves no purpose. Soleil D’Ork is a fantastic album by the second most important man in the zeuhl world, and it leaves little to be desired. This album really is a “lost” Magma work. If you are a budding Magma fan and thinking of buying Udu Wudu, admittedly quite a fine album, I advise you to look here instead, since this CD is more consistent, more alive, and a better feature of Jannick Top’s compositional and instrumental skill. While Udu Wudu is more of a group effort, it suffers from the fact that Jannick Top really is the star, but is forced to share the spotlight with his bandmates. This is not necessarily a bad thing, but, as it turns out, the songs of Udu Wudu work better when presented in solo format focusing on Jannick Top alone.
Jannick Top’s Soleil D’Ork has earned my highest recommendations.
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