To Shatter All Accord: 2011

Something that brings me great joy is when I get to see one of my favorite bands reunited for a concert (exactly three times in this case). What is even better is when they record a new studio album. The shows took place in 2008 so I was beginning to lose hope of new studio material. Especially since they recently released another live album. Thankfully at the end of October, 2011 “To Shatter All Accord” appeared.

Discipline is not exactly a household name. This is true even here on their home turf in Southeastern Michigan. Those who do know view the band one of the finest in prog, and consider 1997’s “Unfolded Like Staircase” a masterpiece. That is a lot to live up to after fourteen-year hiatus. They were great live, but that was pretty much expected. It was all classic material. This time it’s all new, right?

Well, it’s not completely new. Most fans will be familiar with “When the Walls Are Down,” and if you haven’t heard “Circuitry” you aren’t really a fan. These songs have been live staples for a long time. It is nice to finally have studio versions but there really are no surprises.

“Dead City” introduces the new Discipline. The sharp staccato is reminiscent of the “Push and Profit” days and the signature Discipline sound is not diminished. There is just an intangible something that let’s me know this updated. The band is as tight as ever. Matthew pulls out his violin and Jon Bouda shines very brightly on his guitar solo (more on him later). A sound bite of a news report about zombies is inserted, but I can’t help feeling that’s not what this song is really about. They do live in the greater Detroit area.

If Matthew Parmenter’s solo albums are to be seen as a nod to Peter Hammill, then “When She Dreams She Dreams in Color” is the nod to Van Der Graaf Generator. Only instead of David Jackson’s saxophone being the instrument of interest, it is Matthew Parmenter’s violin. Slow and haunting, this is one tasty number.

The previous two tracks would be enough to satisfy your Discipline jones, but the best is yet to come. “Rogue” is the big epic we have been waiting for. All the stops are pulled out. Ups, down, twists, turns, mellotron, unusual time signatures, over the top theatrics, and superb musicianship. There are many parts that remind me of “Unfolded Like Staircase” along with some new dynamics. At 24 minutes it would be easy to get bogged down or lost, but “Rogue” keeps you riveted. It’s one hell of a piece and is worth the price of the album all by itself.

The band has come back and they do not disappoint. The music isn’t vastly different from their old material, but it’s just as good. “To Shatter All Accord” actually seems to blend the approaches of the first two albums. It is part collection of songs and part concept. I also feel it necessary to single out John Preston Bouda. The man has never sounded better, and that is saying something. I have always been impressed with his guitar work and he has now reached another level. From his soft strumming to his blistering solos, it is just plain beautiful (don’t take any offence Paul, Mathew and Matthew, I still hold you guys on a pedestal as well). Do I need to say more? No, just go buy the album.

Matthew Parmenter – vocals, keyboards, violin
Mathew Kennedy – bass
Jon Preston Bouda – guitars
Paul Dzendzel – drums, percussion

*Available at Band Camp, Syn-Phonic and iTunes

Beyond the Shrouded Horizon: 2011

Steve Hackett never ceases to amaze me. He has been steadily recording music for four decades without getting stale. This is not to say everything he does is a masterpiece. There were definitely some serious missteps in the 80’s. His latter output has been consistently high in quality, yet some are definitely better than others. While I enjoyed 2009’s “Out of the Tunnel’s Mouth” I found it to be the weakest of his new millennium albums. This is understandable considering what was going on in Steve’s life at the time, and that he recorded the album at home. The tour however was fantastic.

So two years later we have a new album. Being a stalwart fan, I purchased “Beyond the Shrouded Horizon” without hearing a single note. Even after my modest disappointment with his previous effort, expectations were high. I anticipated some rejuvenation after the extensive touring, and it turned out to be a correct assumption.

What is really interesting is the similarity of feel between the two albums. Now Steve has said that all of the songs were written at the same time but it seems to me as if he decided to take another stab at “Out of the Tunnel’s Mouth.” I liken it to what Robert Fripp did on “In the Wake of Poseidon.” He basically did take two on “In the Court of the Crimson King,” and came up with a better album (I know, I know, I can hear you all screaming while I am typing this, but that is my opinion). In this case it is not so obvious. The format is not directly copied, but the sound is very familiar. I wouldn’t be surprised if Hackett took good look at his most recent work and said, “I can do better.” Throw in a bona fide prog epic, and “Beyond the Shrouded Horizon” is the album “Out of the Tunnel’s Mouth” should have been.

Now because of similarity the album does suffer from one of my previous complaints. I do get a bit of the same stale taste as before. This is especially true on tracks like “Til These Eyes” and “Between the Sunset and the Coconut Palms.” On the first listen you might almost think you have heard these songs before. Good tunes yes, just nothing new. Steve’s overall sound has remained somewhat consistent over the last decade and there really is no straying from form here.

The qualities that make this album superior are revitalized energy and some strong compositions. There are the usual themes such as eastern sounds on “Two Faces of Cairo” and the gut wrenching blues of “Catwalk.” The latter also features the best vocal performance of Hackett’s career. I find “Looking for Fantasy” interesting in that it could be about his ex, Kim Poor (of course that is only speculation). The big treat on disc one is “Turn This Island Earth.” He hasn’t done an epic close to this since “Voyage of the Acolyte.” Don’t be expecting another “Shadow of the Hierophant,” this is modern Hackett prog. Shredding, strings and layered vocals abound.

It may have been a bit misleading to say that the only epic offering is at the end of disc one. Disc two opens with the all instrumental “Four Winds” suite. True they are four separate tracks, but it is obviously one piece. There is a lot more of interest on the second disc as well, which is why I highly recommend the deluxe edition. Additional material, while interesting, is usually additional for a reason. This set could have actually been another album. It could have been a very good independent release with just a couple of tweaks. “Enter the Night” is kind of lame, and sounds like it was written during the dark days of GTR. “Reconditioned Nightmare” is a new recording of what was probably the best song on “Cured,” but that very fact makes it bonus track material. The A material is also where Steve pushes the boundaries of his comfort zone. Granted they aren’t pushed too far, but honest to goodness inspiration was obviously present when this music was written.

There is a lot to love on this album, not to mention the appearance of Chris Squire on several tracks. As I said before there is no ground being broken. Instead we have a collection of very good music from an old friend. Hats off Steve and keep on proggin’!

Nick Beggs – bass, chapman stick, pink ukele

Dick Driver – double bass

John Hackett – flute, vocals

Steve Hackett – guitars, vocals, harmonica

Roger King – keyboards, programming

Amanda Lehmann – vocals, guitar

Gary O’Toole – drums, vocals

Simon Phillips – drums

Chris Squire – bass

Richard Stuart – cello

Christine Townsend – violin, viola

Rob Townsend – sax, whistle, bass clarinet

Benedict Fenner – keyboards, programming

Violent Femmes 1983

If you were conscious in the early to mid 80’s then you remember Violent Femmes. The self-titled debut album was in constant rotation on college campuses across the nation, and everyone knew the lyrics to “Blister in the Sun” and “Add it up.” All this popularity and not one hit made “Violent Femmes” the seminal cult album of the decade.

So what happened? You never hear these songs played anymore. Did we get too old to connect with youthful slacker angst? I say hell no! Spin this disc again and it will all come back. You will be instantly singing right along too because these tunes are forever etched on your brain.

It wasn’t just attitude, the trio from beer town had a lot going on musically too. I’m not just talking about the abundant hooks either. In a simple song like “Blister in the Sun” they employed the use of diminuendo (look it up). Name me one other minimalist act of the era that did that. Brian Ritchie’s bass lines are inventive, and he even played xylophone on “Gone Daddy Gone!” Victor DeLorenzo smacks the drums in a frenzied surf style, and Gordon Gano, when not playing violin, often strays from folk guitar into blues and punk freak-out.

The lyrics, while at times crass, are quite clever. Although it probably shouldn’t, a line like “I hope you know this will go down on your permanent record” still rings true to me and makes me smile. You would think the adolescent sexual frustration of “Add it Up” would seem sophomoric to a man in his 40’s, but no. I have probably made more than a few U of M students say, “what the…” when driving with the top down and bellowing, “Daaay, after daaay, I get angry and I will say…” Lets us not also forget that in the same tune there is such genius wordplay as, “Words to memorize, words hypnotize, words make my mouth exercise.”

Most of what you read about this album will focus on the minimalism, but art is present as well. “Good Feeling” is actually quite touching and features some beautiful piano work by Mark Van Hecke. The almost blues of “Confessions” turns into some well-organized chaos in the end. Don’t let the intentional sloppiness of the guitar and bass obscure the fact that songs like “Kiss Off” and “Promise” are actually very tight. At first glance it may seem like they were just playing around but there was a lot of thought put into this music.

Let’s face it these guys were unique. They combined folk and punk with expert surf/British Invasion hooks. Sadly they were never able to capture the same magic again. They grew as artists and that’s a good thing, but no other Violent Femmes album came close to being the perfect package that is the debut. Every track is a distinctive gem. With the resurgence of raw and ‘punkier’ sounds it doesn’t seem so dated either. Still no one is doing it near the level that the Femmes achieved. You probably still have a copy packed away in a box somewhere, so go find it! If it’s gone forever then go buy a new one. “Violent Femmes” is a staple and your collection needs it.

Gordon Gano – guitar, violin, lead vocals

Brian Ritchie - acoustic bass guitar, electric bass guitar, xylophone, vocals

Victor DeLorenzo - drum set, Scotch marching bass drum, snare drum, vocals

Swimsuit: 2011

I am always interested in checking out new bands, especially when they are local. Oddly enough, I didn’t discover Swimsuit by word of mouth or area venues. One day they just happened to be the featured artist on the AMG home page. I saw they were from the area so I was compelled to investigate.

What I found was a bit unexpected. Sure there has been a revival in the alternative sounds of the 80’s, but this group has done something a bit different. The best way to describe it is if Joy Division had decided to play surf music. The production is minimalist and has a definite garage band sound. Amber Fellows has a vocal style that I can best describe as a cross between Debbie harry and Karen O. Fred Thomas doesn’t really sound like anyone in particular when he is at the mic. It is more an amalgam of  ‘80s new wave/punk singers, with lots of echo. The guitars are jangly and sparsely picked. Avery simple drum kit is used, and there is no holding back on the cymbals.

As I mentioned before, Swimsuit definitely takes their cues from Joy Division and early New order. I know what you are thinking, isn’t that Interpol? The difference here is that the music is much more upbeat. That’s where the surf influence comes in. You would never think of anything penned by Ian Curtis to be happy Summer time music, but Swimsuit sounds just right going down the road in a convertible. So the gloom might not be present, but what isn’t missing is the artistic quality. The songs are simple yet intelligently crafted.

Now don’t expect beyond belief virtuosic playing that is present in a lot of the music I review. I will not be making any comparisons to Steve Hackett, Tony Levin, or Bill Bruford. Just like in days of Swimsuit’s predecessors, less is more. What they do, they do very well. Anything else would be overkill. The instrumental tunes are especially handled with measured subtlety. Don’t get that confused with precision. There is just enough sloppiness to keep it raw.

This is an impressive and very accessible debut by a little band from Ypsilanti Michigan. Should they keep it together, I expect even better releases in the future. My only suggestion would be to stick to one vocalist. While Fred isn’t bad, Amber is far more interesting. She is the one that could stand out the voice of Swimsuit. That aside, it’s still a cool album and available at a very affordable price. They have made becoming a Swimsuit fan very easy.

Fred Thomas – guitar, vocals
Dina Bankole – guitar
Amber Fellows – bass, vocals
Shelley Salant – drums

…I’m back!

After many years of attending concerts, I can still say the best show I ever saw was Peter Gabriel in 1982. The “So” and “Us” tours were pretty damn good too. Unfortunately I missed him last time around, so it might come as a surprise that almost turned down an opportunity to go to the “New Blood” show.

Gabriel’s latest album, “Scratch My Back,” is a collection of covers performed with an orchestra. A very interesting project, but pretty subdued overall. “I bet this would be great live” was not the first thought that came to mind. As big a fan as I am, there were no plans made when the tour was announced. I thought about it again, but still did not commit. On the morning of the June 20^th show in Chicago, there were still tickets available. I had the day off, so I bought a ticket and drove to the windy city. My enthusiasm began to grow with each passing mile. It dawned on me that I was not going to a rock show, but rather a unique concert experience. Peter Gabriel with an orchestra does sound pretty cool when given some thought.

I was a bit surprised that venue was The United Center, where The Chicago Bulls play. A smaller auditorium would seem more likely for an orchestra, and an artist that hasn’t had a hit in almost 20 years. The ease of getting a ticket and the lack of a sizeable crowd at entry had me concerned. By the time the show started however, there weren’t a significant amount of empty seats. I could also immediately tell that Gabriel wasn’t holding back on his renowned stage effects. Bright red designs were being projected on a long rectangular screen at stage level, and there were different things being shown on two elevated screens at the sides. These consisted of more “New Blood” artwork and promotional videos for WITNESS.

The lights dimmed and the crowd screamed as Peter took the stage. He introduced his vocalist Ane Brun, who performed as an opening act. The talented Norwegian singer/songwriter surprisingly only did two of her folk-style numbers. After Ane’s exit the intro to David Bowie’s “Heroe’s” started almost immediately. The crowd screamed, Gabriel took the stage, and the long screen rose to reveal the orchestra.

After “Heroe’s” came “Wallflower” and Regina Spektor’s “Apre Moi.” I believe this is when trouble started for some in the audience. I don’t know if they hadn’t heard “Scratch My Back,” or didn’t realize that it was an actual orchestra performing. Maybe they weren’t paying attention when Peter described how the project started and the decision was made to eliminate the rock band. The shouts of, “You’re boring the hell out of me!” indicated that certain people had missed the point. This wasn’t supposed to be a rowdy, beer drinkin’ rock show. Sorry folks.

Gabriel is a storyteller. In the old days it used to be only introductory tales to the songs. That night he was talking about human rights, musical inspirations and the artist exchange that led to “Scratch my Back.” When talk about a tour came up it was realized that they didn’t have enough material from just the one album. So the decision was made to compose arrangements of his material as well. It seems they liked this idea the most since only four cover songs were performed. That didn’t bother me a bit. Don’t misunderstand, because the interpretations of other people’s work are fascinating. Especially when he told how much he liked the African Rhythms of Paul Simon’s “Graceland,” and pain of breaking it to Paul that all the Africa was going to be drained out of “Boy in the Bubble.” The simple fact is that the true emotional power was in Gabriel’s own work.

Emotional power is what this concert was all about. Sure we all tapped our feet to “Solsbury Hill” and raised our arms during “In Your Eyes,” but orchestral productions of songs like “Wallflower” and “San Jacinto” reach into your soul. Peter was on point as well, using only his voice and face to get the message across. Of course he did have substantial help from Ane Brun and his daughter Melanie. The music drew me in and held me captive. The spell only being occasionally interrupted by the shouts of the poor saps that just didn’t get it.

The only negative aspect was the same complaint I have about “Scratch My Back.” Both on the album and many times during the show it seems as if the orchestra was being held back. I can understand pulling back for effect every now and then, but if you are going to have an orchestra, use it! That is one heavy-duty musical arsenal just waiting to be accessed. “Rhythm of the Heat” is a prime example. There are so many opportunities to let loose in that number, but they didn’t until the very end of the song. I would also recommend not doing this type of thing in an arena. An auditorium/concert hall would have been much more appropriate.

The slight criticism aside, it was a wonderful evening. The length of the performance required an intermission, and explains why Ane Brun only had time for two songs. Even with a three song encore I was still left wanting more. It was beautiful, captivating and moving. As I said before, one of the most unique concert experiences of my life. If you get a chance, don’t hesitate like I did. It almost passed me by. There is also a DVD coming out, so check that out if you can’t do it in person.

Thanks Peter. Once again you have blown me away, and reinforced why you are one of my all time favorite artists.

H.T.

I guess I should have done a little more research, but I thought I bought tickets to a Jeff Beck show with Imelda May as the opening act. What I saw was exactly what it said on the ticket, Jeff Beck with the Imelda May Band.

I am sure that others people with the same assumption may have been disappointed, but it was actually an unexpected treat. They combined their talents to stage an old time rock and roll show. There was no Jeff beck or Imelda May material performed. The set list was comprised of classics by the likes of Duane Eddy, Bill Haley, and Elvis. The music was given authenticity by the Imelda May Band (rockabilly is their oeuvre anyway) and mastery from Mr. Beck.

One of the highlights was and entire section devoted to Les Paul and Mary Ford. Imelda prerecorded backing tracks just like Mary used to do, and Jeff channeled Les without losing any of his own personality. The tribute also explained why Imelda had chosen to wear a classic ’50′s style gown. The performances were exhilarating and a great homage. Les and Mary would have pleased.

I was almost fooled again when Imelda left the stage and Jeff picked up his Strat. Perhaps he was going to play some his stuff after all. The answer came as the horn players arrived and the bass line started for “The Peter Gunn Theme.” As may be expected he also put his stamp on the much covered “Sleepwalk.” Hey, it wouldn’t have been a golden age rock show without it.

The next big highlight was when Imelda returned in a tight cat dress to perform “Please Mr. Jailer.” Okay, that one is from the John Waters film “Crybaby,” and not a classic. Well so what? It was a perfect number for the band, and especially Imelda. This was the first time in the show where she was really able to let loose. Let me tell you, the woman has some serious pipes.

The band was called out for multiple encores, and they were well deserved. It wasn’t the show I thought I would see. In fact I probably wouldn’t have bought tickets for a rock revival like this, but I am glad I did. I think the difference is the relevance of the musicians performing (yes Jeff Beck is still relevant). They could of have chosen not to stray form the standard concert format. Both Jeff and Imelda have recent albums to promote. It is the love of the music that led to this collaboration. Catch this act if you get a chance. I doubt it will happen again.

Someone Here is Missing: 2010

I was a fan of bands like Nirvana, Alice in Chains and Smashing Pumpkins back in the ’90s, but I never thought of combining that sound with prog. The Pineapple Thief has a better imagination because that is exactly what they have been doing since 2001. I had heard of them but never took the time to investigate until I was absolutely blown away by their live performance at NEARfest 2010. Getting their latest release was the next logical step.

Sometimes when you are introduced to a band live, the studio work pales in comparison. Definitely not the case with “Someone Here is Missing.” This is not to say that both are identical. Live is all about the energy, and the studio is where subtle intricacies have a chance to shine. Actually this album has both in spades.

The Pineapple Thief pulls off something of a magic act by composing hook laden heavy rock with elements of techno jam band (ala Ozric Tentacles), and a progressive sensibility. A band like this could slide prog past the mainstream listeners without them even realizing it. There have also been many comparisons made to Radiohead, Porcupine Tree and Smashing Pumpkins. I get the Pumpkins aspect, but the only Radiohead I see is a similarity Thom Yorke’s vocal style. I often even get a Muse feel from some of the songs.

So yes, there are familiar sounds, but when it’s all put together the sound is their own. The swirling electronics and whispered vocals that begin “Nothing at best” lead into a frenzied fuzz guitar chorus. “Wake up the dead” would be almost danceable if it wasn’t so dark. Indie reigns on “The State We’re In.” “Preparation for Meltdown” sounds like it’s going to be pure techno until it starts changing from low interlude to metal jam (very prog). There is even a ballad called “Barely Breathing.” There is a bit of repetition, but the hooks keep my attention. The guys just seem to live in this realm where indie, grunge, jam and extended art flow continuously.

Now the prog purists may have a hard time with this one because it doesn’t really sound like what we are used to. The band even pulled back on the mellotron (prog’s most notable instrument) this time out. I could get into a discussion about what is or is not prog, but that isn’t what this review is about. What is important is what The Pineapple thief has done. The have created music of high quality and mass appeal. The casual listeners and people who long for complexity will all find satisfaction with “Someone Here is Missing.” This is a talented group of musicians and composers. I believe The Pineapple Thief still has more to offer. In other words, they haven’t done their masterwork yet. That does not however stop “Someone Here is Missing” from being one of the best releases of 2010.

Bruce Soord – guitar, vocals and programming
Jon Sykes – electric and acoustic bass, backing vocals
Steve Kitch – keyboards
Keith Harrison – drums and backing vocals

1. Tom Jones: Praise & Blame

Tom Jones has been releasing quality music late in career for a while now, but most of it has been what you would expect from him. This is the album of his career, and my pick for best of 2010.

2. Jeff Beck: Emotion and Commotion

Mr. Beck came out of hiding about a decade ago and released three powerful, hard rocking albums. Then he stepped back again. He reemerged last year with an unexpected return to the subdued, jazzier Jeff. Oh it still rocks, but sensitivity rises to the top. Bonus, he is using vocalists again! The last three albums were really good but this one is great.

3. The Pineapple Thief: Someone Here is Missing

If you have ever wondered if you could mix indie, grunge and prog, the answer is yes. Apparently you have to be British to do it. This band writes beautifully crafted, complex songs with the edge of youthful angst. Keep it up boys. You are contenders for mainstream acceptance.

4. Stick Men: Soup

Tony Levin will probably end up playing with every musician on the planet before he dies, but he is not as well known for his own stuff. This time out he formed a trio of “stick” players (two on Chapman Stick and a drummer). Since two of these guys are also members of King Crimson, it has a similar feel. It’s experimental, melodic and wonderful.

5. Imelda May: Mayhem

Not really mayhem, just probably the most fun album of the year. The lady has pipes, and the band rocks. Mass appeal on this one too, so everybody should check it out.

6. P.F.M.: A.D. 2010 – La Buona Novella

It’s a remake of the classic 1970 album by Fabrizio De André, done in total Premiata Forneria Marconi style. It may pale a bit compared to their original works, but I doubt any other interpretation could have been better.

7. Vampire Weekend: Contra

If an indie band was supposed to have album of the year, this is it. An obvious love of Paul Simon and the Beatles combined with alternative ethos makes fertile ground. This album is full of surprises and remains exquisitely charming from start to finish.

8. Frogg Cafe: Bateless Edge

This band started out pretty solidly in classic Genesis territory. Each album has brought them closer to defining their own identity. On “Bateless Edge” Genesis has been left far behind. Avant-garde and Zeuhl influences have inspired the band to create their best album to date.

9. Spoon: Transference

This may not be Spoon’s best album, but it is very good. A little different approach this time around also makes it unique in their catalogue.

10. Hot Hot Heat: Future Breeds

The band remains as accessible as ever but somehow improved on its own art. They haven’t been this good since “Make Up the Breakdown” and may have finally found the right way to improve on the formula.

As I said, this wasn’t the best year for music. Some of my top ten wouldn’t have even come close other years. There was however quite a few very enjoyable albums. I will give honorable mention to some that fell just short of making the list, but are still worth taking note of. The albums that you should also be checking out are; Iron Maiden “The Final Frontier,” Paul Weller “Wake Up the Nation,” The Morning Benders “Big Echo,” Moon Safari “Lover’s End,” La Maschera di Cera “Petali di Fuoco,” Jon Anderson and Rick Wakeman “The Living Tree,” Gorillaz “Plastic Beach” and Neil Young “Le Noise.”

Mayhem: 2010

In planning to see Jeff Beck on March 31^st, checking out the opening act seemed like a good idea. What a welcome surprise the Imelda May Band, and the album “Mayhem” turned out to be. Not to say this isn’t my style of music, I was just unfamiliar with the artist.

Nailing down an exact description is difficult. It lies somewhere around rockabilly, Dixieland and big band (emphasis on rockabilly). Which is really something because Imelda is from Dublin, and has a vocal quality similar to Karen O from Yeah Yeah Yeahs. She has more depth of voice than Karen, but uses some of the same alternative shriek and warble.

What you end up with is some rockin’ and swingin’ tunes with a just a touch of alternative ethos. That is truly borne out on a cover of “Tainted Love.” Only this version sounds less like Soft Cell than it does Stray Cats. “Psycho” may be another with a strong alternative feel, but the guitars are right from the Link Wray school. Other tunes have country crooning and bluesy groans. The band is tight and provides the perfect accompaniment for Imelda’s style and sensibility. From ballads to rockers, every mood satisfies. The most concise way to put it is that “Mayhem” is a very good time.

I don’t feel the need to do a breakdown because there really isn’t a weak track on the album. This is extremely fun, but also very well executed music. You can enjoy it both on face value and with deeper scrutiny. Yes this is a short review, but there is nothing more to say that the album itself won’t do better. In other words, get it!

Not to fear. I will have more on Imelda in the concert review.

Imelda May – vocals, bodhran
Darrell Higham – guitar
Dave Priseman – trumpet, flugelhorn, percussion
Al Gare – double bass, upright bass, bass guitar
Steve Rushton – drums