prog rock

Connective Dislocations

Robert Cochrane — Thu, 11 May 2023 20:30:56 +0000

Connective Dislocations Robert Cochrane May 11, 2023 - 16:30

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TIM ARNOLD: Super Connected (TA Music)

Where a projects arrives at can often be somewhat beyond the initial spark of inspiration. An audio transcript of the journey. Such is the case with Tim Arnold's slab of sexy prog funk Super Connected, a superbly realised concept album that gives that much maligned term a new good name. Initially his swipe at humanity and its oversubscription to digital convenience and reliance, Arnold has delivered an eloquent statement without ever descending into a diatribe. Subtle and accomplished this is a a work of timely warning. A message and plea for consideration and restraint, it is also a soundtrack to his film of the same name.

Things begin with the appropriately named "Start With The Sound," a startlingly, slightly giddy polka that develops into a mesmeric mantra of considered joy. Think Peter Gabriel in cahoots with Vaughan Williams.

"Committed and speechless

Viewing time has recommenced

What's the difference?

Useless feelings we don't fight against"

A song of muscular elegance, dynamic and soaring yet incessantly catchy.

"Super Connected" reeks of mid period Prefab Sprout with elements of Bowie in Nile Rogers guise. Iggy Pop has compared Arnold to his old mentor, a consideration that is shrewdly on point as this song so perfectly proves.

"You Like My Pictures" is a laconic swipe at the vacuous need implicit in much social media neediness. Again there's a casual Peter Gabriel conceit. Think "Sledgehammer" with a twist in its tail. Commercial but with qualified quality.

An electro pop vibe in collusion with Talking Heads and the largely forgotten 'M'. A jittery sermon or a plea for cool funky fun.

"You like my pictures. I know you do

And so do all your funny friends

They like my pictures too"

"The Touch Of A Screen" is a mesmeric ballad suggestive of Porcupine Tree and Japan. A moody madrigal crossed with a hymn in psych folk melancholy which shows Arnold at his plaintive best. A plea from the soul to the heart of the matter in blessed sublimation and grief. A song with the epic sweep of early Radiohead.

"Still you don't feel anything

Now that you're touching everything"

"Start A Conversation" wears a haunting guitar motif and a husky intimate vocal. A prayer and a plea it possesses an innate grace and power. The musical equivalent of arms outstretched to the sky.

"Do you remember how we locked eyes

From spring to summer to fall

And all of the winter?"

The dulcet tones of Stephen Fry is suggestive of a rather spooky magician referencing Homer in "A Commercial Break" which resembles a hypnotist's preamble.

"Everything Entertains" has a surreal chamber baroque sixties confection as its heart. Stridently eloquent like The Left Banke on speed. Amphetamine sunshine bottled and preserved. Pure and perfect pop effortlessly crafted and realised

"Send More Light" deploys a plaintive piano sourced ballad drenched in pathos and reminiscent of early Elton John. Perfectly captured it builds to a soaring crescendo that Adele would kill for.

Mr Fry again appears at the start of "The Complete Solution" as a shrewdly commercial MC before disappearing under an insistent pattern of drums that would render it and all its jagged guitars brokenly at home on the soundtrack of Trainspotting it closes with a strangely militaristic rap.

"Where Am I In All Of This?" combines a driven piano and drum battle and a alienated Sargent Pepper vibe. An extraordinarily masterful slice of songcraft that almost leaves the rails as it chainsaws aspects of "Mind Games" -- Lennon at his angst angry best.

"Sell a kidney to get into Disney World

Where am I in all of this?"

The dystopian edge gets sharper in "Finally Everybody's Talking" in which spooky sophistication pervades this blip embellished tone poem that references those Kraut Rock emissaries Faust and Can.

"Finally everybody's talking

But they're talking all at once"

A perfect little couplet that grows in wisdom via its insistent repetition. A paranoid but eloquent surmising.

Uptempo and chatty with a sensuous flexibility of jaunty moments "Make Me All Right" is underscored by an infectious beat that flies out of the speakers and ends with a nonchalant choir.

"What if all the systems disappeared forever?

What if all our messages were swept away?

Would you remember me

Without a selfie?"

Tim Arnold has created the perfect zealot's tract for the modern world. Crafted largely via Zoom during lockdown, this testament of despair flies in the face of the delusion of being connected via screens and images. It is also proof that artistry can be maintained with limited means. A work of eloquence, elegance and grace that should conquer the world it rails against by allowing it into the eyes and ears of others whilst using the means it derides to do so.

Out now - (https://ditto.fm/super-connected-tim-arnold_)

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Song of the Week: "C'est La Vie"

Ian Alterman — Mon, 19 Dec 2022 13:48:26 +0000

Song of the Week: "C'est La Vie" Ian Alterman December 19, 2022 - 08:48

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My recent review of the first single (title song) from The Church's new album, The Hypnogogue, explains my long and deep connection to the band and its music.

The Church has had three "periods" since their debut album in 1981: the first period covered their first three albums (pre-prog); the second period covered their next three albums (proto-prog); and the final (and continuing) period began with their seventh album, Priest=Aura (1992), which began their extraordinary foray into progressive rock, and their quickly becoming a standard-bearer of the neo-prog movement.

Their two most well-known songs, "Under the Milky Way" and "Reptile," both come from their fifth album, Starfish, the second of their proto-prog albums.

In trying to "locate" the sound of this second release from The Hypnogogue within the band's history, I realized that it is not "progressive" in the same sense as "The Hypnogogue" or songs from their many progressive albums. Rather, it harkens back (brilliantly) to the band's proto-prog years. It is as if the band has taken its now fully-developed prog sensibilities and overlaid them on one of their proto-prog (or even pre-prog) songs. And this is by no means a rebuff or criticism. In fact, "C'est Le Vie" would have been quite comfortable on Starfish -- and maybe even equaled "Under the Milky Way" in popularity.

The song opens with a straight rock beat, and is quickly joined by the jangly guitar work that they have become known for. Founder-songwriter-bassist-lyricist-singer Steve Kilbey then launches into one of his trademark talk-sung vocals, as the song becomes increasingly "present" (increased guitar work and atmosphere). A nice, if too brief, instrumental break occurs about halfway through. The song ends with a gorgeous arpeggiated acoustic guitar duet.

"C'est La Vie" is probably the "simplest" song the band has written in quite some time. But it is all the more interesting (and fun) for that. And it makes a perfect foil for the progressiveness of the title track. I have not looked forward to a Church album this much in quite some time.

The album is out on February 24, 2023, with a tour to follow. The band will be at the Gramercy Theater in NYC on March 30^th.

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Ian v. Ian

Ian Alterman — Tue, 15 Nov 2022 02:30:12 +0000

Ian v. Ian Ian Alterman November 14, 2022 - 21:30

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Jethro Tull: Thick As A Brick (Rhino/Parlophone)

This year marks the 50^th anniversary of an album that is near and dear to my heart, an album that is considered among the most important and even influential progressive rock albums ever created. I am talking about Jethro Tull's brilliant 1972 release, Thick As A Brick. So I still have a few weeks before the anniversary is over to weigh in on something that has been bothering me. It has to do with comments made by Jethro Tull's founder, singer/flautist Ian Anderson.

First, on a personal note, the album holds unique significance to me since it was, coincidentally, the first album I smoked pot to, the first album I tripped to, and the album that was playing the first time I made love. A true trifecta.

But I have been bothered by the following comments Mr. Anderson made about the album: that the album was intended to "satirize the progressive rock genre that was popular at the time"; that it was "a spoof to the albums of Yes and Emerson, Lake & Palmer…"; and that the album was a "bit of a satire about the whole concept of grand rock-based concept albums."

Now, it may seem a bit more than cheeky for me to gainsay Mr. Anderson's comments about his own work. But then, I have never been one to back down from a light-hearted rowdy-dow.

Having literally "written the book" (or in this case, the multi-part article) on concept albums, and having been a progressive rock historian and semi-professional writer on that genre for well over two decades, I believe I have some standing to address this matter.

With regard to the claim that Thick As A Brick is a "satire about the whole concept of grand rock-based concept albums," this is actually a somewhat bizarre, and easily "refutable," claim since the timing doesn't work. Thick as a Brick was written during the second half of 1971, recorded in late 1971, and released in early 1972. By mid-1971 (as Mr. Anderson was still writing the album), precious few concept albums had been released. The most significant of these would have been Frank Zappa's debut album, Freak Out! (1966) and most of The Moody Blues' albums up to that point, particularly their sophomore album, Days of Future Passed (1967) -- arguably the first concept album to be broadly acknowledged as such. (I have discussed the status of Sgt. Pepper as a "concept album" elsewhere. Ultimately, it is only marginally a "concept" album.)

Other artists who would become known for producing concept albums (specifically including "Yes and Emerson, Lake & Palmer," but also including Genesis, Gentle Giant, Nektar, and Pink Floyd) would not release their first concept albums until well after Thick As A Brick. There were a couple of concept "suites" (i.e., one side of an LP) that had been created, including Pink Floyd's "Atom Heart Mother" (1970), ELP's "Tarkus" (1971), and even Iron Butterfly's "In-A-Gadda-Da-Vida" (1968). But given that the music and overall concept of Thick As a Brick has little or nothing in common with Freak Out! (which was not widely known at the time), Days of Future Passed, or the three "suites" mentioned above, what, exactly, was Mr. Anderson "satirizing?" Mr. Anderson admits that he was a bit taken aback when some reviewers and fans called Tull's previous album, Aqualung, a concept album. Perhaps Thick As A Brick was actually satirizing his own work?

With regard to satirizing "the progressive rock genre that was popular at the time," "the time" would have had to be prior to mid-1971. Yet here, again, the timing doesn't entirely work. "Progressive rock," as that genre is now widely understood, may have begun with early albums by Frank Zappa, The Moody Blues, Pink Floyd, Nektar, Yes, ELP, Gentle Giant, Genesis, and others, but the album that has come to be acknowledged as the true "beginning" of progressive rock is King Crimson's In the Court of the Crimson King (1969). Between In the Court and Thick As A Brick (which came out a little over two years later), many "progressive rock" albums had in fact been released. But even given all of those albums, progressive rock was hardly "popular" at the time -- particularly compared to, well, every other genre of rock. In fact, it may be that Mr. Anderson is simply too humble to admit that Thick As a Brick -- "parody" that he may believe he was writing -- ironically may have done more to popularize progressive rock than any other album. Indeed, it became something of an early standard-bearer for the genre, and one of the most beloved progressive rock concept albums of all time.

As for "spoofing" Yes and ELP, this claim that has the most basis for support. Personally, I do not hear the album as a "spoof" of these two bands (just as I do not hear the album as a general "satire" on progressive rock). But I do get that the music on Thick As a Brick has a combination of the elements associated with Yes (and, in fact, most progressive rock; e.g., shifting time signatures, lengthy instrumental sections, use of non-standard instrumentation) and the "bombast" and "theatricality" of ELP.

Mr. Anderson also noted that, in writing Thick As a Brick as a "satire" and a "parody," he also wanted to "come up with something that really is the mother of all concept albums." In this regard, he succeeded beyond his wildest expectations, given the place the album holds in the pantheon of both progressive rock and concept albums.

So, Mr. Anderson, that is my thrust: I look forward to your parry!

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50 Years on "The Edge"

Ian Alterman — Tue, 13 Sep 2022 11:46:44 +0000

50 Years on "The Edge" Ian Alterman September 13, 2022 - 07:46

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50 Years on "The Edge": Yes' Close to the Edge at 50

With all the hullabaloo (and gallons of ink) spent on the 50^th anniversary of Joni Mitchell's Blue (with which this reviewer, while loving and admiring the album, did not share the same sense of "history" that most others did -- see my review here), I felt it was just as (if not more) important to give some richly deserved ink to the 50^th anniversary of Yes' Close to the Edge -- which is among the three or four most important albums in progressive rock. The album was released on September 13, 1972.

In fact, the very first article I ever wrote for Culture Catch -- "The Absolutely Essential Progressive Rock Listening Guide" -- was essentially a "desert island disc" list of the dozen most important progressive rock albums of all time. Close to the Edge is on that list. And while the album also appears on Rolling Stone's "500 Greatest Rock Albums of All Time," at a criminally low #445, it appears in the Top 10 of every single list of the greatest progressive rock albums of all time. (Eat that, Joni...lol)

Although some important, even seminal, progressive rock albums appeared before it -- including King Crimson's In the Court of the Crimson King (1969), The Moody Blues' Days of Future Passed (1967), On the Threshold of a Dream (1969), and A Question of Balance (1970), Jethro Tull's Aqualung (1971), Pink Floyd's Atom Heart Mother (1970), and Yes' own The Yes Album (1971) and Fragile (1971) -- Close to the Edge marked a few significant turning points for progressive rock.

It was only the third album to feature a side-length composition (Floyd's Atom Heart Mother and Tull's Thick As A Brick came earlier), something that terrified Atlantic Records at the time. And featuring only three "songs" total only added to their fears: no one had ever attempted this (again, other than Tull). Even the band was not entirely certain how the public would respond, but they were far too busy experimenting and creating extraordinary music to worry about that.

The album also had the most sophisticated production ever attempted at the time (though The Moody Blues were doing some radical things as well). Just the opening minute of the title track took two days to record. And the producer built a near-full-sized stage inside the studio so the band could simulate the way they sounded live: Yes would become experts at this, creating and recording their music with the live experience in mind. (Genesis would eventually follow suit, and beginning with Wind and Wuthering had also built a stage -- with concert lighting -- in their recording studio.) The sheer depth and density of the production on Close to the Edge has rarely been equaled.

According to Wiki and several articles I found, influences on the album ranged far and wide, and included Lord of the Rings, Siddhartha, Sibelius' Symphonies #6 and #7, Holst's The Planets, Wendy Carlos, and Mahavishnu Orchestra. I would add contemporaries including Genesis, Frank Zappa, The Moody Blues, and Pink Floyd.

Perhaps most importantly, Close to the Edge arguably influenced more progressive rock groups and albums after its release than anything since In the Court of the Crimson King. Along with Thick as a Brick, it made it safe for others to create much lengthier compositions, and along with The Moody Blues and Pink Floyd, it focused progressive rock groups on the possibilities of production, particularly sonics (i.e., atmospheres). It is probably no coincidence that, shortly after its release, we got Genesis' Foxtrot and Gentle Giant's Octopus, among many others.

The composition of the "songs" on Close to the Edge is also noteworthy, as they are far more complex than anything that Yes -- and even most other progressive rock groups -- had done before. "Orchestration" -- i.e., a more "classical" approach to composition -- had come to progressive rock with the advent of The Moody Blues' Days of Future Passed (the first commercial album to feature a classical orchestra) and had been picked up by others, including Pink Floyd and ELP (though the latter was applying rock sensibilities to classical works -- both properly attributed and not). Yes took that approach to a whole new level with Close to the Edge.

In the late 1970s, I fronted a progressive rock cover band. And among many other things, we played the entirety of Close to the Edge (i.e., all three compositions). It was by far the most intricate music we (or I) ever learned, both technically and sonically. And although I had the pipes then to hit Jon Anderson's notes, it was also the most difficult music to sing (the complex, and often bizarre, lyrics added to the complexity). But it was a true joy to perform: I would do it again in a heartbeat.

Having listened to the album again recently, I was reminded of just what a tour-de-force it is. And the power that it holds has not waned in the 50 years since its release.

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Cutting "Edge"

From the title I thought it would be about U2.... Best Concert Experience Ever: "I Get Up, I Get Down", MSG 1977 I agree, the RS rating at #445 is off by a few hundred points. #5 post-1969 would be a little closer. Unfortunately, albums like this had their unintended negative influence too, as dozens of less talented bands tried to imitate them and created a deprecated "prog rock" that was ripe for a punk takedown. But Close to the Edge still stands as a monument of creative and technical achievement, well worth a 50th anniversary tribute. And a 100th, though perhaps not by us!

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Song of the Week: "Fannie"

Ian Alterman — Tue, 10 May 2022 20:53:24 +0000

Song of the Week: "Fannie" Ian Alterman May 10, 2022 - 16:53

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It is rare that both Dusty and I would never have heard of a group, particularly a successful one: between us, we know almost every artist in almost every genre. For my part, I am particularly familiar with rock, progressive rock and neo-progressive rock, as well as many "world music" artists. As for Dusty, he basically knows every group in every genre. In fact, we have even been trying to stump each other lately to see if the other person has heard of a particular artist. We are tied right now.

And we remain tied, since neither of us had heard of Dopapod before Dusty received this wonderful song from one of his contacts. I am particularly embarrassed, since Dopapod is a neo-progressive band -- and a remarkably good one. Indeed, I can tell that they will quickly become my favorite "new" band.

As their name suggests, Dopapod loves palindromes. Most of their album titles are such: Emit Time, Megagem, Never Odd or Even, Redivider, Drawn Onward, Radar, even the somewhat tortuous I Saw Live Dopapod Evil Was I. It is the kind of quirk you would expect from this group of highly accomplished musicians, and their quirky approach to progressive rock.

Indeed, the two influences I hear most overall (not on "Fannie," but after listening to several of their compositions available on YouTube) are Frank Zappa and Gentle Giant (both of whom have a humorous quality to their writing), with a little bit of King Crimson in some of the heavier songs.

"Fannie," from their upcoming self-titled seventh album, is actually among the band's less progressive tracks, being built around a somewhat simple blues guitar figure, a slow walking beat, and some nice atmospherics, including a "twinkling" keyboard. It is nevertheless a well-written, nicely arranged, and plain-out fun piece of songwriting. The lyrics are about the title character, and all the things the narrator would love to give her. (In some cases, he cannot -- for humorous reasons.)

It should be noted that the video for "Fannie" is the fourth nicely animated video in an ongoing series called Building a Time Machine.

Whether or not you like this particular song (and I do!), I highly recommend looking into Dopapod if you like your progressive rock music with a touch of humor.

Check them out on tour this summer. They'll be opening for George Clinton at Central Park SummerStage on June 15th.

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Song of the Week: "Starship Trooper"

Ian Alterman — Thu, 21 Apr 2022 01:02:22 +0000

Song of the Week: "Starship Trooper" Ian Alterman April 20, 2022 - 21:02

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Like so many other support staff, from bartenders to theater ushers, roadies were hard hit during the height of the pandemic, since concerts could not be held. Roadie Relief (via GoFundMe) is the brainchild of Chad Ward (roadie and Foo Fighters drummer Taylor Hawkins' drum tech). To support the effort, several things have occurred or are occurring. One is a series of songs recorded by well-known rock personalities and others, done in the "pandemic" split screen style, with each person in a different location. Last year, there was a recording of "We Care A Lot" (Faith No More), by members of Anthrax, Korn, Mastadon, Men Without Hats, Run DMC and others, and a recording of "Mountain Song" (Jane's Addiction) by members of Slaves on Dope, Limp Bizkit, Veruca Salt, The Used and others.

A third live recording is the brainchild of guitarist Mike Squires (Duff McKagan's Loaded, Harvey Danger, The Long Winters), who has been doing a series called Couch Riffs -- a music performance video series and audio podcast creating full-band quarantine videos. The Roadie Relief recording, of Yes' iconic "Starship Trooper" (produced and edited by Squires, and mixed by Don Gunn), features (in various segments) Greg Gilmore (Mother Love Bone), Janet Weiss (Quasi/Sleater Kenney), and Don Gunn (producer/engineer) on drums; Jeff Pilson (Dokken/Dio/Foreigner), Tony Reed (MOS Generator/Big Scenic Nowhere) and Nate Mendel (Foo Fighters) on bass; Ty Bailie (Katie Perry), Per Wiberg (Candlemass/Opeth) and Loren Gold (The Who) on keys; and Brandon Yeagley (Crobot), Amanda Hardy (Bexley) and Kirk Douglas (The Roots) on vocals; and Kurt Bloch (Fastbacks/The Minus 5), Steve Stevens (Billy Idol, Alex Skolnick (Testament), Richard Fortus (Guns N' Roses), and Mr. Squires on guitar.

Progressive rock would seem, and turns out, to be much more difficult to record in this milieu (recorded live with the musicians in far-flung places) than any other type of rock. But the musicians comport themselves well, and although mildly "strained" at times, the song comes off brilliantly -- particularly the middle section (Mr. Stevens nails the acoustic guitar part, and Ms. Hardy's joy is infectious), and the final jam segment (Mr. Squires, Mr. Gunn, Mr. Gold, and Mr. Fortus). Mr. Fortus absolutely shreds the ending guitar solo, and Mr. Gunn may have missed his calling: he is a superb drummer!

Please consider donating to Roadie Relief. The website is: https://www.roadierelief.org/. And there is an exciting offer from Mr. Squires:

"Attached to this part of the Roadie Relief benefit is a Rock n' Roll Fantasy Camp style buy-in for fans to support Roadie Relief and be in the video. We have five slots available at $1,000 each. The first five donors at that level will receive all of the assets and instruction necessary to participate in recording a single part of a single section of Starship Trooper like the other performers in the video did. After they send those to me, Don and I do our thing. Each of the five donors will receive a new mix of the song and a new edit of the video with them in it. It is theirs to do with as they please!"

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Song of the Week: "Harridan"

Ian Alterman — Tue, 02 Nov 2021 17:16:58 +0000

Song of the Week: "Harridan" Ian Alterman November 2, 2021 - 13:16

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Porcupine Tree is back! After a hiatus of over a decade (during which PT founder Steven Wilson was involved in solo and other projects), the band is back as a trio (for now). And they are in fine form with their first single release, which follows in the musical vein of their last three albums, particularly their brilliant 2005 album Deadwing.

With a propulsive, bass-heavy rhythm and textured atmospheres that move from 10/8 to 6/8, bookending a lovely, calmer middle section in 5/4 (the song never stoops to such pedestrian time signatures as 3/4, 4/4 or even 7/8), this is PT at their finest. The lyrics are expectedly impenetrable (a harridan is "a strict, bossy or belligerent old woman…a shrew, witch, nag, scold.") And the video for the song is a schizoid psychedelic video being shown on a video screen. (I'm sure there is a self-referential meaning there somewhere.) If this song is an accurate harbinger of the rest of their 11th album -- Closure / Continuation (Music for Nations/Megaforce Records), it is going to be a monster.

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A Splendid New Beginning

Robert Cochrane — Fri, 24 Jul 2020 00:19:16 +0000

A Splendid New Beginning Robert Cochrane July 23, 2020 - 20:19

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By Name. By Nature - THAT JOE PAYNE (TJP 001)

Joe Payne a.k.a. THAT JOE PAYNE is a man whose vision and ambition is in equal measure with his talent, which is a good thing as few acts could create and sustain his opulent and mannered tapestry of delights. He makes Coldplay sound like a scratch orchestra with his first offering since departing from Prog Institution that is, and remains The Enid. Their first resident vocalist during their forty-five plus years, after six albums it was time to go solo.

Two and a half years in the making, and the evidence of his recovery from a breakdown, By Name. By Nature is a dizzyingly varied stab at immortality. An autobiographical extravaganza from a richly embellished portfolio, his is a perfect collision between theatrical sensibilty and the world of song. The collection has a neat archness. At times a self-regarding exercise, it is as critical as it is honest. Far from shy and retiring it makes a bigger splash than anything you'll encounter this year. A gaudy rainbow of audacity and doubt, it twitches with ideas and delivers and develops a variety of moods from his rich interior world. As lyrically honest as it is a total BIG production, a glitzy roller-coaster of a record.

Opening with "The Thing About Me Is" Payne reveals:

"The thing about me is

I'm too insecure

No wonder no-one likes me

I guess I'm all yours"

A brutally honest, yet rather witty put down, isn't how most artists would introduce their debut. It neatly slides into "By Name. By Nature" a choir drenched collision of Barry Manilow in bed with Electric Light Orchestra and Peter Gabriel-era Genesis. Plainly deranged, it is a busy, frantic burst into being and alerts the listener to fact that are in the presence of a musical eccentric with a wide array of influences. Baton down the hatches a ton of glitter balls are spinning and cascading. The lyrics betray his sense of self-dismantling

"That Joe Payne

Is a real bad loser

He's a Payne by name

And he'll only use you"

The laddie as a tramp, and a thoroughly disreputable one in his opinion. West End meets East End with a dose of old Hollywood and a fizz of immodest panache. It keeps spiralling long after it has disappeared along with its "Sparky's Magic Piano" motif. The late lamented Jobriath attempted such a stab at rock and theatrical panache almost a half century ago and was immolated by the critics. Payne won't suffer the same fate. Times have fortunately changed, and he is an open book who isn't apologising for being himself. Jobriath antagonised. Payne simply mesmerises as is apparent with "Nice Boy," a piece of Hip Hop backbeat and Steinski-like blips and electronic hiccups and blasts it all with a choir to boot.

"They tell me I'm worthless.

They tell me I'm dumb...

They tell me I'd be nothing

Without someone...

They tell me I'm a bad boy.

They say that I'm gay,

They say I don't belong here...

O.K."

A breathlessly manic but totally inspired outburst instilled with wry lyrical dissections.

"In My Head" is a perfect taking down of the frenetic tone. An almost monastic array of voices are the trampoline from which Payne arcs and soars and betrays the rich tonality of his voice, it suggests the refined baroque elements of Japan and Talk Talk. Again the lyrics belie a certain honesty of spirit.

"Nothing's under the bed....

You shouldn't be upset

They say it's all in your mind

It's all in your head"

The song also suggests Freddie Mercury at his most reflective best, and Rufus Wainwright devoid of the showiness that sometimes spoils the impact of his songs. "With What Is The World Coming To" Payne shines with all his song-craft and sense of intense melody. Think Keith West's maverick "Excerpt From A Teenage Opera."

"I keep feeling lo-loneliness

I keep feeling low

I keep feeling lo-loneliness

Never needed nothing to believe in"

Melancholy with a plethora of power chords, and choral beauty. An ear-worm of a song that wakes one up in the morning running around your brain. A jaunty and confident masterpiece, visionary and extraordinary and possessed with a subtle confidence and a cushion of choirs. The presence of Celine Dion's drama pervades, but without ever descending into Maria Carey's warbling histrionics. Payne is also the possessor of a four octave range. He pipes it at the conclusion with the grace of the caged bird that sings. "Love (Not The Same)" is a perfect collision of old standards like "Anyone Who Had A Heart" and "Love Letters." An extraordinary power ballad to weep into your gin, a song about loving someone simply because you fancy them, and that's you sole source of commonality.

"And love

I would love to be through with it

But I cannot tear away from it

It's a funny thing."

The song is neatly aided and abetted by the perfectly pitched Ms Amy Birks who is a neat counterpoint to Payne's brilliant bombast. The song that exits in a screech of frustration. all perfectly pitched of-course, and alone, well worth purchasing the album for. It flies so high it is in danger of entering another world.

A perfectly honest ballad with a churning melody to die for "I Need A Change" has had all its drama pills as it weaves its way along Payne's descent into a nervous breakdown. A goodbye cruel world malady and one he was lucky to survive just as we are privy to experience the artistry he has distilled from it. Sad, destructive, and dangerous experiences can be transfigured to become things of grace, but only in the right hands where it is transcended by an opulence of touch. His wounded soul is our reward, but comes at a price from the muse that gifts accordingly.

"Dear life I'm leaving you

Cos I have no reason to stay...

The black dog bites

He puts up quite a fight

He looks at me with those sad eyes."

A perfect transcendent journey of a tune.

"End Of The Tunnel" is a work whose deeply personal nature has kept it in the shadows, and out of the limelight for more than a decade.

"Tears are your protection

Let the rivers flow

Opposite directions

Are the way to go."

A considered slice of exposed reflection which has a poignancy laced with subdued angst and occasional flourishes of Tori Amos at her most hauntingly sorrowful, and yet it builds into some of the best epic flourishes that Pink Floyd would distill and deliver. A song that deserves to soar and fly along the arches and cloisters of a cathedral, and hopefully one day in the becoming future it will. "I Need A Change" is a bass-driven piece of pop flexibility and grace with an underlying operatic aria at play. A baroque elegance with a casual finesse it has a shuffle and bop vibe that works well with its inherent classicism. All draws to an end with "Moonlit Love" a torch song that weaves a "Moonlight Sonata" progression with the string driven opulence of Tomaso Albinoni and Samuel Barber. Dramatic and lilting it reaches high and then descends in a slow dive and goodbye; a piece that simply wanders away, quietly, understated and haunting.

Clever without being irritating. Pomp devoid of pompousness, this is an album imbued with honesty, ambition and good humour. It is also an indication that THAT JOE PAYNE has arrived with a wealth of magical ideas. A splendid progression towards a new beginning.

The album is released on August 7, 2020.

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Prog Me Two Times!

Ian Alterman — Sat, 07 Dec 2019 02:02:52 +0000

Prog Me Two Times! Ian Alterman December 6, 2019 - 21:02

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prog rock

In the category of "better late than never," here, finally, is the follow-up to my original article on Culture Catch from 2007. In that article, I noted that "as punishment for the insane level of angst this is causing me, I have blackmailed Dusty: if he wants me to do this, he has to accept two lists: one of 'classic' prog, and one of 'neo-prog,' since the latter is a major subset all to itself." I added (a bit too hopefully it seems) that "the latter list will follow in a few weeks." I don't know if 624 can be considered "a few," but that is how many weeks it has been.

In order to get some sense of what I am about to offer, it would help (a lot) to read the introduction to my original article, in which I offer a working definition of "progressive rock."

That said, let me get to it.

Obviously, "neo-progressive" rock is of a time period sometime after seminal or "classic" progressive rock. And while it may seem odd, there is even less agreement on when neo--prog began than on when classic prog began. Classic prog initially developed out of the early and mid-period efforts of artists such as Frank Zappa, The Moody Blues, Pink Floyd, and a few others in the mid-1960s. Sgt. Pepper is also cited (correctly, in my opinion) as being a proto-prog album, though I would argue that parts of The Beatles' Revolver may qualify as well. It is important to note that another "thread" of prog was being developed simultaneously by what became known as the Canterbury School in England. And there are additional threads that came out of Germany and Italy in particular. In any case, classic prog developed during the mid-to-late 1960s, and is generally agreed to have had its "absolute" beginning with King Crimson's debut album, In the Court of the Crimson King.

"Neo-prog" is not as easy to pin down. Classic prog reached its apotheosis in the early to mid 1970s, but died a heinous death at the hands of disco beginning in the mid-1970s and boy bands and corporately manufactured music (including many solo female arists) in the late 1970s and early 1980s. True, some of the classic prog bands were still out there, putting out albums (some of them superb and highly important and influential) and playing concerts (some among the highest-grossing concerts of all time). And at least two "new" prog bands arose during this period, Canada's Rush (who were highly influential in at least one or two subgenres of neo-prog), and, to a somewhat lesser degree, Kansas. As well, bands such as Pallas, Twelfth Night, Solstice, Quasar and Pendragon had begun putting out what would later come to be considered the beginnings of neo-prog. But neo-prog is usually said to have begun in earnest in 1983 with the near-simultaneous release of Marillion's Script for a Jester's Tear and IQ's Tales From the Lush Attic. These were quickly followed by a wealth of new progressive, or "neo-prog" bands, including Arena, Spock's Beard, Flower Kings, Dream Theater, Porcupine Tree, Echolyn, and Transatlantic, as well as a wealth of non-English and non-American bands, such as PFM and Deus ex Machina (Italy), Anglagard (Sweden), Ark (Norway), Magma and Gong (France), and Tangerine Dream and Can (Germany), among many, many others.

One interesting fact about neo-prog is that a great many of the bands were influenced specifically by Genesis, Pink Floyd, Yes, The Moody Blues and Gentle Giant (in that order). Even more interesting is that the "sound" that many of the Genesis-influenced bands adopted came from two specific albums, Trick of the Tail and, especially, Wind & Wuthering. Not even my truly brilliant colleagues at prograrchives.com can figure out why that is. (Although it is true that the "sound" Genesis achieves on Wind & Wuthering is extraordinary.)

One issue with choosing an "absolute" list for neo-prog, as opposed to classic prog, is the sheer number of subcategories of the genre. In choosing my list, I have kept to the same philosophy as I did in my classic prog list: "Imagine yourself -- a progressive rock aficionado -- on that hypothetical desert island to which you can only take a given number of albums (usually around a dozen). Now imagine that you are going to share that island with someone who has a keen interest in, but little real knowledge of, neo-progressive rock music, and you are looking to choose the dozen or so absolutely essential albums that will not only serve to give this person a fairly broad perspective of neo-prog. but will not become tedious after a few hundred listenings: i.e, the cream of the genre." That last part is critical. So that was my goal.

Finally, as before, I have derived my list by choosing what I believe to be the dozen or so most “essential” neo-prog bands, and choosing what I believe to be their most important or representative works. This time, however, the albums are listed in alphabetical order by artist. So, off we go: the dozen neo-prog “Desert Island Discs” -- some of the absolutely essential neo-progressive rock albums. And even more so than last time, I expect to have lots of CDs by unchosen bands and albums thrown violently at my head. But that's okay, I am at peace with my choices, and will enjoy them whether you do or not.

I. Neo-Prog (1983-?)

The Church Priest=Aura (1992)

:Although The Chruch had been putting out albums since 1981, and their 1983 album Séance had definite elements of neo-prog, it was not until this, their seventh album, that they entered the realm of neo-prog -- with a vengeance. With bassist-songwriter Steve Kilbey's amazing lyrics and chord progressions, and a new highly atmospheric sound that simply envelopes the listener, The Church would go on to become a driving force in neo-prog from this point on. (2^nd choice: Forget Yourself, 2003)

Deus ex Machina: Equilibrismo da Insofferenza (1998)

I simply had to include at least one of the non-English, non-American neo-prog bands. And it doesn't get much more non-English-speaking than an Italian singer almost screaming lyrics in Latin. But don't be fooled. This quintet is among the most musically and technically accomplished groups you are ever likely to hear (their drummer, Claudio Trotta, may well be among the best drummers in the world), and their writing is as ultra-progressive as anything ever written. This is complicated, sophisticated stuff, and their catalogue is well worth delving into. (2^nd choice: Cinque, 2002)

Dream Theater: Metropolis Pt. 2: Scenes From a Memory (1999)

I never thought I would like "metal" music in any form. Yet Dream Theater, almost unarguably the leader in the subgenre of metal neo-prog, is something different: a truly "musical" metal band. Even guitarist John Petrucci's speed metal guitar is more melodic than anything I have ever heard in the genre. And Mike Portnoy (now sadly gone from the group) is definitely the most melodic speed metal drummer ever. This album is not simply a brilliant concept album, but is included in another list I hope to present, the greatest concept albums of all time. It ranks up there with Pink Floyd's Dark Side of the Moon and The Wall, Jethro Tull's Thick as a Brick, Genesis' The Lamb Lies Down on Broadway, and Marillion's Brave (see entry below). (2^nd choice: Systematic Chaos, 2007)

IQ: Dark Matter (2004)

As noted in my introduction, IQ was one of the progenitors of neo-prog. So this was among my two most difficult choices by far. Every album beginning with Seventh House (2000) is worthy of inclusion. I chose Dark Matter because I think it respectably represents what IQ was and is about. A somewhat "darker" view, and a "heavier" sound, occasionally even approaching "metal." They remain one of my three favorite currently active progressive bands. And Peter Nicholls is my favorite neo-prog vocalist. (2^nd choice: The Road of Bones, 2014)

Marillion: Misplaced Childhood (1985)

I am giving myself two picks here (both of them difficult, for the same reason as my pick for IQ), since Marillion has had two very separate lives. The first one included their original lead singer and songwriter, Fish. Of the four albums he recorded with them, this is the one that I believe does him the most justice as a songwriter, lyricist, and singer. It is a quasi-concept album, and shows off Marillion's early style of Genesis influence, filtered through their own prog sensibilities. (2^nd choice: Clutching at Straws, 1987)

Marillion: Brave (1994)

Marillion's second life began with the departure of Fish and the arrival of singer-songwriter Steve Hogarth (simply referred to as "h"). And it took just three albums for him to come up with not only Marillion's best mid-period album, but one of the greatest concept albums ever written. Taking off on the true-life news story about a girl found wandering on an English bridge, who did not know who she was or where she came from, and otherwise refused to speak on her own behalf, Hogarth wrote a back story that is simply one of the most spine-tingling and sometimes breath-taking quasi-musicals you will ever hear. The album is filled with lyrical, musical and sonic brilliance. (2^nd choice: Marbles, 2004)

Mars Volta: Amputecture (2006)

When Mars Volta released their first album, De-Loused in the Crematorium (2003), the response from critics and prog fans alike was, one either loves it or hates it, there is no in between. It was among the most unexpected and (to many) unintelligible neo-prog debuts ever. But for those who "got it," it signaled the entry of a formidable new progressive band, and sound. Their approach had more in common with King Crimson than with Genesis, and their sonics were among the most dissonant and innovative in quite some time. Led by singer-songwriter Cedric Bixler-Zavala and guitarist-songwriter-producer Omar Alfredo Rodriguez-Lopez, the band took an unapologetically uber-progressive approach to their music, which shows in both the often schizoid lyrical and songwriting style, and the extremely technical virtuosity required of every player who recorded with them, not least the frighteningly brilliant guitarist John Frusciante. (2^nd choice: Octahedron, 2009)

Neal Morse: Sola Scriptura (2007)

Neal Morse is the busiest progressive rock artist out there. In addition to his own output, he was a founding member of Spock's Beard (see below), a founding member of Transatlantic (see below), and has recorded with his own band (The Neal Morse Band) and with Flying Colors. Both Transatlantic and Flying Colors are "super groups" of some of the top currently active progressive rock artists. Morse is a Christian minister, and his solo output is what could be classified as Christian progressive rock. However, it is completely approachable by anyone. Among those albums, this is the most interesting and exciting. Morse is uncompromising in his approach to progressive writing, and his solo work is among the best prog out there today. (2^nd choice: Momentum, 2012)

Pendragon: The Masquerade Overture (1996)

As noted, Pendragon is among the earliest of the neo-prog bands. Their 1985 album, The Jewel, is considered almost as seminal as the debut albums of Marillion and IQ. However, although some of their other albums were also critical in building their reputation, it was The Masquerade Overture that cemented their standing as a standard-bearer of neo-prog. A concept album, many progressive rock fans consider this among the best neo-prog albums of all time. Given the range of musical motifs and emotions the album covers, it is difficult to argue with that assessment. (2^nd choice: The Window of Life, 1993)

Porcupine Tree: Deadwing (2005).

Steven Wilson may be the second busiest progressive rock artist after Neal Morse. In addition to founding Porcupine Tree, which, like The Church, has become a standard-bearer for neo-prog, Wilson is also the founder of Blackfield and Opeth, and somehow also finds time to produce and/or remix albums by many other artists, most notably King Crimson. And although Wilson had put Porcupine Tree through a number of style iterations, from its early experimental albums to its heavier, even quasi-metal style, Deadwing is the album that probably did the most to bring them to the masses. It is uncompromising in its strength and heavy atmospheric rock style, and every song is a gem. (2^nd choice: In Absentia, 2002)

Spock's Beard: The Light (1995)

Although it is true of many neo-prog bands, with Spock's Beard the best place to begin really is the beginning, with their debut album, which sets out their style perfectly. The album includes not just one but two extended conceptual compositions, "The Light," and "The Water." As noted above, the driving force in Spock's Beard for at least its first few albums was co-founder Neal Morse (see entry above). But Spock's Beard was truly a group effort, and each member contributes his own stylistic approach to the whole. (2^nd choice: Snow, 2002)

Transatlantic: The Whirlwind (2009)

Transatlantic is a neo-progressive rock "supergroup" comprised of keyboardist Neal Morse (Spock's Beard), bassist Pete Trewavas (Marillion), guitarist Roine Stolt (Flower Kings), and drummer Mike Portnoy (Dream Theater). Almost needless to say, everything they have done is great neo-prog and worth a listen. However, it was their third album that really brought everything together. Working from a Christian concept (care of minister Neal Morse, but fully endorsed by the other members, all of whom are Christians of one ilk or another), the writing on Whirlwind is the strongest they have done, unrelenting in its refusal to be pinned down within progressive rock. Some passages are absolutely breath-taking in their complexity and technical virtuosity. (2^nd choice: SMPT:e, 2000)

And there you have it. As noted, I realize that many people will argue with my choices, and I fully admit that I have left much out. Maybe I will do follow-ups to both of my lists. Watch this space.

Peace.

Mr. Alterman is a Senior Writer and a founding moderator of Progarchives.com, the number one progressive rock website in the world. He writes there under the name Maani. (Don’t ask.) He has been a contributor to Culture Catch since 2007.

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The Return Of The Modern Masquerades

Robert Cochrane — Sun, 20 Oct 2019 19:56:00 +0000

The Return Of The Modern Masquerades Robert Cochrane October 20, 2019 - 15:56

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Fruupp - Wise As Wisdom: The Dawn Albums 1973-1975 (Esoteric Recordings)

Fruupp always were a strange confection with an odd name. Depending on which story suits your taste the best, it was either the left-over letters from a sheet of Letraset or the moniker of the female ghost that haunted the crumbling house in Belfast in which they rehearsed. An inspired and eclectic sound. A fusion of folk, an underlying jazziness, with subtle classical shades they embodied the diversity at large in the early '70s, but they also packed a formidable punch both live and in the studio. Lilting and haunting they shared the stage with Queen, Genesis, and King Crimson, but despite consistent touring they never stepped beyond a cult following, and were finally eclipsed by the advent of punk. Formed in Belfast in 1970 the band that finally hit London had matured from rock covers into sophisticated and symphonic combo that could stir the heart, yet rock the soul.

Their debut album Future Legends arrived in October 1973. Dynamic and blindingly original it showcased the strength and diversity they embodied, that rather put them against the grain of their contemporaries. Vocalist and bassist Peter Farrelly proved a charismatic interpreter of their songs. His voice had a restrained yet subtle theatricality that never dominates the drama of the music. The album has an inherent folk element that sets it apart, and yet is driven on by the dynamic drumming of former circus percussionist Martin Foye, the intricate guitar meanderings of Vincent McCusker which threads along neatly with Stephen Houston's exquisite classical keyboards, a boy from the Malone Road in Belfast on whom piano lessons were never wasted, even if they weren't necessarily utilised as his teachers might have desired. Entirely written by McCusker it is a perfect indicator of what lay ahead.

The title track is a winsome Irish instrumental, steeped in strings and sentimentality, but is briefly and exquisitely beautiful. "Decision" has an odd jazziness that wanders through the song giving it an unusual edge whilst "As Day Breaks With Dawn" rattles along with a rumbling intensity and heavy organ interspersed with lilting oboe. "Graveyard Epistle" is another hefty exercise in sublime vocals and driving rock. Heavy but definitely far from humble, and with an almost Indian element lurking.

"Lord Of The Incubus" is altogether more catchy and instantly memorable, with a bit of cod rock 'n' roll thrown if for good measure, whilst "Olde Tyme Future" could almost be a patriot's lament and betrays some of the band's members prior showband histories. "Song For A Thought" is a combination of discreet classicism and a manic Irish jig which Farrelly delivers with sublime, leisurely confidence. A pastoral facet slips between the symphonic aspects and builds to a manic and crazed crescendo signed off with a wilful guitar screech. Exhilarating and almost exhausting it is an utter masterclass of a song. "Future Legends" closes things in a sad sing song way. They had also intended to feature "On A Clear Day" on this album and it snuck onto initial pressings before objections from the Holst estate meant it had to be removed since it borrows heavily from his "Jupiter" one of the movements from the "Planet Suite." It can now be included with the lapse of copyright, and it is a valuable addition to proceedings.

A mere seven months later they delivered Seven Secrets in April 1974. Produced by former Andwella's Dream maestro David Lewis it is a more fluid and restrained affair. The opening track "Faced With Shekinah" beguiles via an ethereal aspect of voices in the opening track neatly underscored by Farrelly's pulsating bass lines ending as a baroque dance piece. This neat elegance is followed via picked and plucked strings and oboe in "White Eyes" an elegant ghostly song that again has an almost medieval theme, underscored by a certain off-kilter folk motif. The album seems deceptively effortless but is complex and and confident. Despite the beauty it contains it is less commercial in feel than Future Legends but is none the worse for that. More pastoral than symphonic "White Eyes" is a masterclass in restraint with Chopin-like piano that descends into a jaunty easy listening lounge-core of an ending. "Garden Lady" has a cohesive jazzy conceit with crazed organ and ethereal passages, meditative and flowing with some perfect guitar work from Vincent McCusker and perfectly understated piano from Stephen Houston, it builds to a swirling, dizzying conclusion. In "Three Spires," the most restrained cut on the album, a chamber baroque delight that merges and reminds of Clifford T. Ward at his most eloquent and wistful, and the end refrain is catchy enough to have seen it emerge as a strong if somewhat unlikely single. "Elizabeth" is a baroque hoe-down all strings and sparkling piano, Liberace meets Liszt, with Farrelly signing off at his most intimately mournful, a true and beautiful closer rather spoiled by the irritating whimsy of the ditty at the end "The Seventh Secret." A Jackanory-like travesty that mars slighty the sophisticated nature of things.

Not resting on their laurels they delivered The Prince of Heaven's Eyes in November 1974. Widely viewed as their masterpiece I find it something of a curate's egg. The cover isn't one of Peter Farrelly's fetchingly mystical servings, but a rather heavy-handed cartoon that doesn't best serve the project There are moments of stupendous beauty and delight but the production, their own alas, has a muffled dullness about it that deadens the majestic elements that it contains. Much of the music sparkles whilst most of the production fails to. "It's All Up Now" is a perfect example of Fruupp at their most hauntingly eloquent best, building to a symphonic delight interrupted by "Hold on! Hold on! What'll I do? I don't want to end up in a pot of stew!" which still sounds irritatingly cringeworthy as lyrics go, yet the song transcends that carried by the spirited aspects of Farrelly's delivery and Foye's delightful drum fuelled ending.

"Prince Of Darkness" sounds laboured and twee, a nursery story set to music with a Beatles-esque undercurrent. Opaque and irritating. I recall a review in the NME that said the album reminded the reviewer of the theme music to a Czech cartoon and this track belies that opinion perfectly, as indeed does the kitschy sounding "Jaunting Car" that appropriately ended up as the radio theme to a show in Northern Ireland by Gloria Hunniford. Things improve with 'Annie Austere' a dynamic piano driven epic perfectly embellished by some fine guitar adornments by Vincent McCusker, and again Foye spars manfully with Houston's sparkling piano. 'Knowing You' has all the melody and aching eloquence one expects from Fruupp. A beautiful vocal it pulls at the heart strings till it builds to an epic ending of pure dynamic fury and melancholy.

"Crystal Brook" continues the upward turn in proceedings and 'Seaward Sunset' is a delightful piece of piano prettiness that perfectly preludes "The Perfect Wish" which really brings to the fore Fruupp at their sophisticated best. Fleeting, effortless and strident it is seamlessly sophisticated with Houston delivering glittering piano crescendos and motifs whilst Farrelly indulges his finest Cleo Laine jazziness. The closing embers of the song is about as magical as it gets, and builds from nowhere to an exquisite moment of pure grace, beauty Dynamism and poise combine to leave the listener sad, beguiled and longing for something more.

February 1975 saw the release of Modern Masquerades completed in the wake of Stephen Houston's departure to enter the business of bothering God. His leaving also scuppered their audition for Seymour Stein at Sire Records, which in his absence proved a disastrous affair. Their fourth opus was a marked change of direction. Houston's replacement John Mason gave the band a more warm and enveloping feel, a shimmer of sublime sophistication aided and abetted by the production duties being transferred to the capable hands of former King Crimson member, and future stalwart of Foreigner Ian MacDonald. It opens with "Misty Morning Way" a delightful slab of mystical meandering. Mason's keyboards have a shimmering sheen and blends perfectly with the guitar dynamics of Mc Cusker. It resembles European proggers Nova and PFM, with elements of Greenslade to boot. 'Masquerading With Dawn' skips and dives with effortless ease. This is Fruupp at a more cohesive and strengthened level, refined via a freshened lightness of touch but delivering a calculated symphonic punch. Mason composed the Mervyn Peake inspired 'Gormenghast' again a sweepingly assured palette of textures and poignancy that wends well with Farrelly's sensitive vocal delivery via the implicit fluidity of the backdrop, perfectly abetted by some sublime sax from Ian McDonald. 'Mystery Might' lives up to the title, a forceful slab of driven sophistication, yet sensitively interspersed with achingly eloquent vocals and sense of exceptional drama driven furiously along by Martin Foye's relentless drumming. With 'Why' we can see the bare subtle refinement of Vincent McCusker's song-craft and the precise beauty implicit in Peter Farrelly's voice. A beautiful piano track underscores the simple sentiment of wondering about making a phone call. It has more in common with piano drenched maladies of the late Jobriath. A tender and exceptional masterpiece of a song.

"Janet Planet" -- a single in Ireland and a lost opportunity elsewhere -- is a wonderful ditty about Van Morrison's muse and lover. It skips along like an utter gem that reminds me of the Beatles and and the effortlessly whimsical nature of many of the songs of John Howard. Proceedings swerve to a resplendent conclusion with "Sheba's Song" a searing and glinting fantasy about a big cat, it shows the band at the height of their powers, full of distinctive riffs and a wonderful dynamic effortlessness, A cinematic aspect, it hints at much more in the future, but the future can rapidly change, and often sadly does.

Fruupp ground to a halt in September 1976 after a final gig at The Roundhouse. John Mason had already departed and despite recruiting a new member and recording a fifth album Dr Wilde's Twilight Adventure they called it a day after a fire at their flat in London almost killed Vincent McCusker and Paul Charles, destroying the master tapes for their new album, and the recordings for a projected live one. John Mason died a few years ago, but the original members remain. With this re-issue they might regroup for a final masquerade whilst time and health prevails. One can only dream. They had a strange revival of sorts in 2007 when Talib Kweli sampled "Sheba's Song" featuring Norah Jones for "Soon The New Day" on his Eardrum album which hit number 2 on the Billboard chart.

Despite the prettiness of the package, there are numerous faults and flaws afoot. Bar the release dates and recording details there are scant biographical details. The whole enterprise has the air of an a swiftly assembled repackage, and yet previous re-issues had copious informative liner note from Paul Charles their former manager and occasional lyricist. These could have been easily utilized to make Wise As Wisdom the tribute it deserves to be. There is nothing here that hasn't been previously available yet there are numerous quality live recordings out there that are calling out to be compiled, and deservedly so. There is also a plethora of ephemera concerning them that would have better served this re-issue than the instantly available stuff that has been lazily appropriated. It is perfectly imperfect primer for the uninitiated, but is far from definitive nor an improvement on prior re-issues.

Still, as was once said, "Best to be looked over than be overlooked" and Fruupp remain a band worthy of remembering or discovering afresh, even if on this modern masquerade they are not best served, they still have a future from their extraordinary past.