Issue 2024-050
Collapse Under The Empire — Non-Album Singles & Bonus Tracks
Coinciding with the release of their album Recurring, Collapse Under The Empire (CUTE) started a pre-order campaign for their giant box set Works. A strictly limited 200 copies-only vinyl box set containing their complete discography plus unreleased tracks and various special treats.
A word of caution towards the advertised "completeness" is in order, for a quick survey shows that at least nine previously released songs (Certainty, Deep Under, Calm Before The Storm, Drop In The Ocean, Last Stand, Crushed, Stare At The Sky, Recover, and The Silent Death) are still missing from its contents. But all things considered it's a massively impressive set that compiles a whopping 114 tracks for a purchase price that fairly exceeds my spending limit.
Considerably less expensive, thankfully, is the now also available Works 08-24. An 11-CD bundle that in full track replica of the vinyl box-set houses every (but those nine...) CUTE release from 2008 to 2024. The difference being that all "non-album singles and bonus tracks" are now conveniently gathered on one single CD. The aptly titled and here addressed Non Album Singles & Bonus Tracks.
The accompanying press statement is a little unclear on whether the compilation Non Album Singles & Bonus Tracks will actually be sold individually. Yet in light of the physical digipak copy received I do consider this to be the case. Which is all for the better for like on Recurring CUTE present a delightfully diverse array of atmospheric post-rock compositions which complemented by elements of ambient, trip-hop, synth-pop and shoegaze are fully worth a release on their own.
Trying to avoid a repeat of my words for Recurring, this comes down musically to well-executed and meticulously arranged melody-focussed instrumental songs that like Oudeziel speak to the imagination with cinematic allure (e.g. Anthem Of 44, Low, Beyond Us). Compositions that embrace emotionally through symphonic grace (Drowning) and melancholic romanticism (Everything Disappears). A track that in a Jarre EM setting confidently marches with military rhythmic precision through atmospheres alternating in intensity (Abstracted). And calm soothing soundscapes that in spirit of Michel Héroux provide beautiful transporting moments of self reflection (Section I, Echoes).
Within this excellent collection there's two tracks I slightly favour. The first one being Dragonfly, a song that resonates gracefully with imagery of flight, while wobbly Twelfth Night guitars lift melodies into an explosive finale. The second is Arise, a composition that gently shifts from dusky atmospheres illuminated by elegantly twinkling synths into carefully construed post rock atmospheres aglow with intensifying energy and invigorating melodic enchantment.
What struck me the most as I engaged the songs, besides the overall enjoyability and wonderful structural conciseness of them, is the relative timelessness of the music. By which I mean that although songs randomly shift through the years as the album progresses, this in no way can be made out and pinpointed to a specific phase in CUTE's relatively short career.
This together with an overall showcased sublime consistency in both sound and strength of song material on a whole makes Non Album Singles & Bonus Tracks an excellent must-have for fans and a great point of entry for newbies to CUTE. Hopefully a completing sequel will follow.
Coma Rossi — Void
Bangalore-based project Coma Rossi debuted on the international prog scene in 2018, releasing a self-titled album to a solid applause from the fans' crowd. India's rock scene was growing rapidly (still is, actually), with new talents appearing every year, and Coma Rossi — quite in relevance to the band's title — belonged to the “porcupinest” league there. DPRP's own Alan Weston joined the overall support with a generally favourable review, comparing the band to Opeth and Steven Wilson's projects.
Six years after the debut, the mastermind Gaurav Govilkar relocated to Germany and took the name of the band with him to continue making music on Düsseldorf grounds. As of 2024 he is supported by Diane Galen on the drums (also from Prefers To Hide In The Dark, you can read Andy's review here on DPRP), seemingly keeping the weight of writing and arrangements on his shoulders.
It is the country clichés working mischievously or just natural evolution of Govilkar's style, but the music has changed as much as the climate of Germany is different from that of India. Gone is the full-band's approach, with influences from Anathema, Steven Wilson and alternative rock. Enter the continental post-everything music (i.e. post-doom, post-grunge, post-rock, post-metal, post-black — shaken-and-stirred), heavier, more depressive and less rhythmically intricate. Time for me to pick and place landmarks. It seems convenient to mention such bands as recent Lantlos & Alcest (thickness of guitar effects), If These Trees Could Talk, Downfall Of Gaia (leanings towards crust sound), and Long Distance Calling (mixing post-rock with vocals).
Oh, yes, the vocals... I cannot imagine what made Govilkar to take the vocal duties, besides the conjecture that he's the sole master of the band's destiny. His voice sounds as a rather unconfident, timid falsetto, not always hitting the proper notes. Final result leaves an impression as if Robert Wyatt guests on an Alcest record (which is odd, because fans of Neige and Wyatt are probably not even aware of each other's existence). Moreover, the vocal approach, suitable to acid folk, comes into sharp conflict with the music, which is plunged into minor harmonies, vast, post-rockishly gigantic and post-doomily overwhelming. The worst example is the track Oblivion that loads, takes aim, charges and completely misses the goal.
However, it would be unfair to say that the album is completely skippable and without strong points. All the right ingredients for the fans are here, including tremolo guitars, reverb, down-tuned riffs and crescendos. Check, for instance, This Red Sky, the longest, mostly instrumental track and centerpiece of Void, or Small Ideas, which, if left as an instrumental, could have been the strongest and emotionally best charged composition here. Farm Of Lights provides a nice rest from the depressive weight of an album, echoing the more optimistic sound of Sigur Ros.
Even though I love post-rock, it seems that Void is a bit late to the party, offering music that lost its freshness a decade ago. Weak vocal performance and repeating ideas of the golden days of the genre make me see this record as a step down in comparison with the debut. Let's hope the new record will prevail over these problems.
Kaipa — Sommargryningsljus
For those unfamiliar with Kaipa, they are a Swedish band led by Hans Lundin (keyboards, vocals), Per Nilsson (guitars), Jonas Reingold (bass), Darby Todd (drums), Patrik Lundström (vocals), Aleena Gibson (vocals) with a few special guests providing violin, saxophone, recorders, and whistles. Kaipa were formed in 1973 and despite a two-decade hiatus, previous guitarist, Roine Stolt and Hans Lundin joined forces again to create the second and equally competent iteration of the band. Although Roine left in 2005, the remaining members of the band have generally remained much the same.
As a long time fan of much of the progressive musical offerings from Sweden, I always look forward to anything by bands such as Kaipa, Black Bonzo, Isuldur's Bane, Moon Safari, The Flower Kings, A.C.T., Agusa, Introitus, Maze Of Time, Karmakanic, Brighteye Brison, Par Lindh Project, Carptree, Paatos, Cross, HFMC, Galleon, Anekdoten, Ritual, Anglagard, Violent Silence, Anima Morte, Beardfish and even the rather unique progressive / folk outfit, In The Labyrinth. While some of these bands may have not released anything for some time or may even be in a permanent state of retirement, their impact and influence on the kind of music I enjoy is ably demonstrated on this short list. For that reason if any of these bands are amongst your favourites, then listen up.
Kaipa, who for more years than I can recall, have been delivering some of the best progressive music that emanates from Scandinavia. Apart from two missteps, Hander from 1980 and Nattdjurstid from 1982, the band have been responsible for producing a very consistent level of output for decades. Their latest offering is certainly no exception. As is so often the case with the Swedes, they firmly believe in giving their fans more than they bargained for and in this case, we find they have squeezed over 82 minutes of excellent music onto one platter. This includes four lengthy tracks and two marathon epics around the 13 - 15 minute mark.
Kaipa are a band who have discovered a formula that seems to have worked for them for many years and despite some suggesting that unless the formula is updated or modified in some way, the output could be considered a little stale or repetitive. I don't find that as Kaipa's music allows one to dive right in and enjoy all the subtle nuances that accompany most of their material. The band are well-known for constructing seriously good, mature and intelligent music that encapsulates just about all the requirements that we as the music buying public expect from professional musicians who have been at their craft for so long. Many bands from the 70's including our all-time favourites, (Genesis, Yes, Camel, E.L.P., Gentle Giant, Strawbs, Renaissance etc), came unstuck part way throughout their careers and produced some diabolical albums that should have been left on the cutting room floor. Thankfully, Kaipa have defied that trend along with other compatriots, The Flower Kings, Carptree, Agusa and others so your enjoyment of their latest offering should follow a similar path as their previous albums have done.
After a brief introductory track which is softly sung by Aleena (in Swedish), the band begin their journey with melancholy keyboards which open further with heavier synth, bass and drums and introduces a very pleasant melody similar to what the Swedes are renowned for. Vocals are shared between Hans, Patrik and Aleena and are infused with some delicate guitar that shifts into a higher gear and brings in swirls of synth and lead guitar. This allows the band to open up and accompany you on a very adventurous and engaging sojourn that simply gets better each time you play the album. Whether you are smitten by the gorgeous keyboards, the propulsive drumming, the folkish influences here and there or simply the depth and creativity from the guitars, violin and bass, it's all here in spades.
Anyone familiar with Kaipa's music will be accustomed to the very dexterous and imaginative keyboard talents of band leader, Hans Lundin. His legendary skills as a consummate composer and writer of some truly remarkable music is further advanced by the very creative and absorbing music he and his bandmates have offered with their latest album. This is further enhanced by the useful inclusion of Elin Rubinsztein's violin as she easily emulates the distinctive Kansas sound only in a more adventurous way. Her talents are easily on par with Bobby Steinhardt or David Ragsdale and help make this album the masterpiece that it is. Adding in the folkish / Celtic snippets here and there from recorders and whistles from Fredrik Lindqvist and you have a very versatile and thoroughly absorbing suite of excellent songs to really savour.
The production on the album is extremely crisp and as the playing is so incredibly tight, savouring this album through a decent set of headphones will ensure you don't miss anything on the way through. This is simply a marvellous body of work that must surely stand as one of the best albums from 2024 and certainly one of the best albums Kaipa have released in years. This will probably be within the top 3 to 5 albums of the year for me. Run, don't walk and grab a copy today. Highly recommended.
OU — 蘇醒 II: Frailty
From Bejing, OU (pronounced "O") are the InsideOut record label's first signing from China. OU released their debut one in 2022 and have now released the follow-up 蘇醒 II: Frailty. Founded by drummer and composer Anthony Vanacore with guitarist Jing Zhang and Chris Cui on bass. They rounded off their sound by recruiting singer Lynn Wu to their ranks.
OU's soundworld is one of female fronted progressive metal with solid doses of electronica and ambient textures. The melodies are in the Western musical tradition and don't have the complex harmonies and dissonances that Western ears generally find difficult in traditional Chinese music. The lyrics, and I am making an assumption here, are sung in Mandarin Chinese. Apologies if this is wrong as no information on this was provided. Though handily a pdf of the lyrics in English accompanied the press pack.
OU (promo photo)
This album was produced and mixed by Canadian prog-metal maestro Devin Townsend, and if you are familiar with his work then it should give you some idea of the music on 蘇醒 II: Frailty. It has the densely layered keyboards (no keyboard player is credited) that feature in Townsend's own work. Upon which OU have layered guitars, fierce bass and a drum battery that, on the first three tracks, tends to dominate the sound. Shaping and differentiating OU's sound from other prog-metal providers is the ethereal vocals of Lynn Wu. She can, at first, seem a little underpowered for the mayhem around her but repeated listens allows her melodically subtle approach to shine through.
The opening three tacks are dominated by a complex djent sound that is alleviated by synths, piano and on 海 Ocean a jazzy twist. Things get more interesting for me as the music moves into more electronica and ambient influenced areas, such as on Redemption where they let some light and air in, and the lovely solo vocal and ambient keyboard washes of 輪迴 Reborn.
The best track, for me, is 衍生 Capture and Elongate (Serenity) that mixes electronica with off-the-beat percussion, before evolving into a heavy prog monster and Lyn Wu shows she has the power to match it and is not just reliant on a whispery vocal style.
For a not really a prog-metal fan, OU's 蘇醒 II: Frailty is a surprisingly enjoyable, as well as challenging, listen that has grown on me with repeated plays.
Saqqarah — The Runaway
Saqqarah is an important ancient Egyptian burial site that is thought to date back to around 3000 BC. The French band Saqqarah, which comes from Vannes in Brittany and was founded there in 1992, has not been active for quite as long as the site of the same name, but still for quite some time. In more than thirty years, however, they have only recorded four albums. The debut EP Peti tra eref su (1994) and the first album Genèse (1996) were both in French. Then after a long break, The Awakening (2005) marks a comeback in English. Singer Lou Van Der Cruyssen (who is said to have been drawn to Egypt of all places) was replaced by Jack Feys. And now, after a break of almost another twenty years, we are presented with the new disc The Runaway, again in English. This time even with two personnel changes: Jean-Luc Le Pogam (vocals, guitar, percussion) has replaced Feys and Louis Mira has replaced Herve Juguet on bass. Patrice Mauvieux (guitars, synths) and Dominique Renault (drums) remain the band's constants.
"The Runaway is like the soundtrack to a [film], but the images are only in your head," write Saqqarah about the new album. The French cite bands such as Pink Floyd (whose songs they have played live), Genesis, Camel, and Marillion as influences for their music – all apt examples, to which one could perhaps add the comparison with Pendragon (up to Not Of This World, so without the heavier phase). In terms of content, the disc is about war in its entirety ("la guerre dans son universalité", as the band originally puts it), that means all aspects connected with it.
Pink Floyd were obviously also the inspiration for the opening of The Runaway, as the first sounds of the opening song Never Care – 1 are blatantly reminiscent of Pigs on the Wing (Animals, 1977). A calm, almost relaxed ballad follows with Departure. Only with Dog Tag does the tone become rockier, the tempo increases and Mauvieux's guitar sets the tone. A great song, with real pressure that goes down well. Return Home is then more light-footed, relaxed and at times more cheerful, although a reflective note also resonates. What is annoying here is the sometimes rather thick accent of singer Jean-Luc Le Pogam. Traders of Death, in keeping with the title, is more melancholy again, but has a great guitar solo. Mood swings seem to be the programme: Funerals is reminiscent of the lighter moments of Pink Floyd with its acoustic guitar and melodious sound, but without any real cheerfulness. The church bells, or perhaps even death bells in view of the title, spread a devoutly solemn mood – unfortunately, the singer's accent is again rather distracting here.
Ghost Plane offers the typical dramatic moments, which you would expect in a prog song, and again beautiful guitar parts. Crazy is clearly more rocking, driving, but one would wish the vocals were more expressive, the voice remains too pale, which doesn't do justice to the music, which is now really picking up speed. French musician Pat O'May (who has already worked with Martin Barre) contributes a strong guitar solo as a guest. The five-part The Mirror takes us back to prog in a very varied way, after which Never Care – 2 seems to close the circle. But far from it: in the final track The Watcher, Saqqarah once again bring out everything that characterises their music in almost ten minutes: the atmospheric, the playful, but also the straight rock and the tempo, which they push once again towards the end – a successful conclusion that really makes you want to return to the beginning and complete the journey a second time. Incidentally, the individual parts of the thirteen-minute song The Mirror can be selected individually, which is why the CD has eleven titles but fifteen tracks.
Overall, the album is musically good, but unfortunately too rarely very good; it is pleasant to listen to, with some weaknesses in the vocals, but you still wish for that last bit of wit or perhaps even genius that turns a good song into a very special one. Unfortunately, Saqqarah don't reach this level. This is perhaps almost too harsh a judgement, because the songs certainly convey atmosphere and are always worth listening to and because there is a lot of passion in the vocals, too, despite their shortcomings. Nevertheless, a brief look into the past: Lou Van Der Cruyssen's French vocals on Genèse suit the band's music very well, giving it a less arbitrary and more independent character. And Le Pogam's direct predecessor Jack Feys also sings in English on The Awakening, but without an accent. A visit to Saqqarah's Bandcamp page is recommended, especially for fans of the bands mentioned at the beginning. You can listen to all the French band's albums there. It's well worth it.
Soft Machine — Høvikodden 1971
CD 2, February 27, 1971, second set: intro (0:36), Neo-Caliban Grides (9:05), Out-Bloody-Rageous (9:56), Vocal Improvisation (4:18), Eamonn Andrews (1:11), All White (2:40), Kings and Queens (6:17), Teeth (8:59), Pigling Bland (4:31)
CD 3, February 28, 1971, first set: Facelift (10:06), Virtually (10:11), Slightly All The Time (9:43), Fletcher's Blemish (7:59)
CD 4, February 28, 1971, second set: Neo-Caliban Grides (8:02), Out-Bloody-Rageous (8:43), Vocal Improvisation (4:56), Eamonn Andrews (1:08), All White (2:38), Kings and Queens (6:08), Teeth (11:09), Pigling Bland (4:38), Slightly All The Time (6:53)
I was never lucky enough to see Soft Machine in the early 1970's. I have made up for that in the last decade or so though and have seen the bands more recent incarnations on numerous occasions. Høvikodden 1971 gives some sense of what it might have been like to limb-sway, ear-wiggle, nose-twitch, and eye-shuffle as an audience member. It captures the band in outstanding form.
The Soft Machine line up in this live recording from Henie Onstad Art Centre, Oslo on Feb 27th and Feb 28th 1971 is Elton Dean — alto sax, saxello, Hohner pianet, Hugh Hopper — bass, Mike Ratledge — Hohner pianet, Lowrey Holiday Deluxe organ, Fender Rhodes, Robert Wyatt — drums, vocals. The Feb 28th performance has been released before. However, the overall sound in the Høvikodden release is far superior. Ian Beabout has done an excellent job mixing and mastering and has brought the performance to life. Given the limitations of the source material, it sounds great.
It is obvious from the bands freedom of expression in this performance recorded over the course of four sets in two days, that the ensemble had both the courage to innovate and the ability to improvise. This makes for a fascinating and intriguing listen. However, in all fairness, I probably prefer the streamlined and precise versions of these tunes to be found on the bands 3rd , 4th , and 5th studio albums.
Nevertheless, its great fun to compare the differences between the studio and the live renditions. It is also equally interesting to observe how the bands interpretations of tunes such as, Out-Bloody-Rageous, Neo-Caliban Grides and Teeth differ over the course of the concerts.
The Oslo performance unequivocally reinforces the notion that Soft Machine were the type of band that liked to push the boundaries and had the confidence that they could take their audience with them.
When this works well, as in the performance of Teeth on CD 3, the results are simply mesmerising. When this approach works less well, as in the meandering free form ambience of Facelift and stridently off-piste tones of Fletchers Blemish, or during the gradual unfurling of Virtually on CD 1, the results are sometimes underwhelming and occasionally frustrating.
The bands ever evolving free approach to performance at this stage of their career is perhaps unsurprising. Elton Dean's influence was certainly becoming more to the fore and his saxello and alto-sax improvised blowing is often predominant throughout this release.
Nonetheless, there are several occasions during Høvikodden when the band successfully tread a successful and balanced path between what is improvised and what is composed. That balance is shown to great effect during the bands inspired performance of Kings And Queens on CD 4. It is a tune that has always had a lot of space for the players to express themselves and in this rendition they certainly do just that.
Kings and Queens' memorable and insistent motif sticks stubbornly to the senses and to the memory, so that any free styled blowing interludes never overstay their welcome, or detract from the main direction of travel of the tune. In fact, Deans imperious playing sparkles brightly and creates a glistening and inventively moulded jewelled coronet to garnish and adorn this regal piece.
The best of the four sets is probably the second one which occurred on Feb 28th. The performances on CD 4 are just that little bit more cohesive than the ones that preceded it. No, doubt this was due in part that the band had gone through the set on the previous evening and were also used to the ambience of the venue.
From my point of view, CD 4 also contains some of the strongest tunes from the bands early 70's repertoire. The series of tunes which begin with All White and conclude with Pigling Bland are particularly impressive.
All the members of the band excel as soloists and as a collective throughout the four performances. The chugging groove that is established during a part of Neo Calibran Grides exemplifies what a fine collective this incarnation of the band was. Robert Wyatt's , subtle kit work is a highlight of many of the tunes. His style works well in the context of the band and his timely interventions give lots of space for the music to breathe when required.
This release is beautifully packaged. It contains an array of contemporary photos from the gig and there are extensive and informative sleeve notes written by Aymeric Leroy about the context of the recording and its place within the history of Soft Machine.
If you enjoy the music of this era of Soft Machine Høvikodden is an essential release.
It's also pretty darn good!