Issue 2024-059
Circuline — C.O.R.E.
Circuline are a modern crossover prog band from America that has been together since 2014, during which time they have released three albums of mixed quality, inasmuch that none seem to have generated a large following, despite the actual members being of a highly polished and professional level. This observation also takes into consideration, the inclusion of none other than Dave Bainbridge for their 3rd album, C.O.R.E.
After a somewhat difficult beginning, brought about after the collapse of a previous tribute band, Downing Grey, the current members of the band appear to be Andrew Colyer (keyboards, lead & backing vocals), Darin Brannon (drums, percussion, keyboards), Natalie Brown (lead & backing vocals), Shelby Logan Warne (bass) and Dave Bainbridge (guitars, additional keyboards). I am not sure if Dave Bainbridge is a full time member due to his numerous other musical obligations elsewhere, but I am happy to be advised one way or the other. Joe Deninzon (Kansas) contributes violin on one track while Billy Spillane obliges with some backing vocals and Alek Darson contributes additional guitar on track 2.
This was, admittedly a somewhat difficult album to really appreciate as the strength of captivating and memorable song-smithing was lying too deep below the surface to really grab my interest for long periods. Make no mistake, however, the technical ability of the players is excellent and very professional. I particularly like the keyboard and guitar interplay between Andrew and Dave who both possess a very creative style of playing.
The band have tried to cram a lot of ideas into this assortment of songs and whilst it comes across as accomplishing that goal quite well for the majority of the album, there were some sections where I found things required far more attentive listening on my part. This is not always the most encouraging factor if the music requires too much of the listener, before anything makes sense.
Thankfully, there are a number of excellent videos circulating the net which feature songs from their latest album. It was via this method of delivery, I was able to qualify my original thoughts one way or another. Watching the live version of All, for example, gives you a definitive glimpse into how well the band can fuse their ideas together in a very convincing manner. This track is definitely a highlight, both in song structure and delivery, featuring some of Dave Bainbridge's best creativity as a guitarist along with Andrew's as a keyboardist. Their collective skills on this song are perfectly exemplified in a live environment, reinforcing proceedings for the other members to follow with their own contributions.
It's not all that often you see the inclusion of female bass players performing with a progressive rock band, but it's pleasing to see that Shelby has the chops to mix it up with the best in the business and certainly deserves her place amongst her contemporaries. Equally well, Darin's drumming skills, whilst not as visually enthralling or flamboyant as, say Gavin Harrison or Mike Portnoy, one must consider the music does not really call for such inclusions. He is certainly a great player, however and allows the other members to follow his tried and well proven methods of laying down a solid percussive foundation upon which the others can build.
The harmonious synergy between Natalie and Andrew is perfectly demonstrated on the opening song which breaks free after a long 20-second vocal interlude between the 1:25 and 1:45 minute mark. The song builds, layer upon layer and covers plenty of diverse territory before reaching its conclusion. A great song with which to open your innings.
While the band have their own distinctive style and general sound, I detected a slight Renaissance influence on Third Rail (no bad thing). The opening minutes of Temporal Thing, also gave a slight inkling of what a modern take on the acoustic introductory section of Cinema Show by Genesis might sound like, thanks to the special effects used by Dave. Speaking off effects, Andrew employs the use of a midi keyboard instrument called the Roli Seaboard Rise. This amazing device allows the user to create an incredible array of special musical effects that are activated by using hand pressure, touch, sliding motions and other tactile operations. This device is also used by Jordan Rudess (Dream Theater) but I believe the company behind the device has sadly since gone into liquidation.
The remaining songs are all extremely well played but after well over 6 spins, I'm checking to see if any of them have impregnated themselves really well into my memory. Sadly they haven't to any great degree which will affect their replay-ability factor over time. It's by no means a bad album at all and despite having a few high points, particularly with the excellent vocals and guitar, it's not one that has really left me speechless. Your mileage may vary.
Look to Windward — The Last Scattering Surface
Now that the third decade of this century is clocking to its middle, it's time to acknowledge: Australians have established their own, flourishing, prog scene, as dense as RPI was in its golden era and equally distinguishable. This approach, reconciling good old prog with worship of alternative rock giants, fostered by such bands as Karnivool, Caligula's Horse, Voyager, Anubis and the likes, seems to gain more and more followers around the globe. Now it is in its full bloom and by the beginning of the 20-ies became a major force to be reckoned with.
Iain M. Banks-inspired project Look To Windward, run almost single-handedly by Andrew McCully, is based in Auckland, New Zealand and obviously takes a lot from the neighboring country / continent's tradition. Andrew has been active with LTW since 2010, and The Last Scattering Surface is the fourth full-length entry to his discography, with a solid one-hour feast of forward-thinking music. I am often skeptical about over-ambitious one-man bands, which often lose the groove in pursuit of complexity. While LTW is not completely free of this problem (as I see it), it's safe to say that this project has a much better understanding of the need for balance and combining influences (as opposed to piling them up in a heap).
Why Ask? has an early Anubis vibe to it and also is the first time we meet the great “support character” to Andrew. Emily Rice, guesting on female vocals throughout the record, has an incredibly pleasant voice that enriches the album sound in the same way that Lee Douglas did for Anathema. Every time she steps in to sing – not only on this track, but in general - she does some super-quality job, both musically, hitting the right notes, and emotionally, adding extra depth to the lyrics. A true gem, let's hope we hear Emily's voice many more times in future.
Acoustic When You Go Away with applied effects and digital percussion reminds me of Dredg in their experimental aspect, while the next 10-minutes Dance Of The Futile evokes memories of Karnivool circa Asymmetry: heavy large riffs, nervous melodies, falsetto vocals and abundance of breakdowns. And what good is a prog epic if not a prelude to an even larger epic, right? The three-part Mercury Suite, also quite probably an inspiration behind the cover artwork, has a calm part, an alternative part and an epic part. The latter, Theia Arrived One Fateful Day, also the second-longest track on the album, is probably the quickest to like here. Starting as indie-folk, but steadily growing pace to involve more instruments and grandiosity, this is a great piece of music, romantic and inspiring. And yes, Emily once again shines here in both acoustic and heavy parts. Spin drifts back to Anubis territory and serves as a nice candidate for a single. Penultimate track The Condition is an alt-rock feast of nervousness and energy, dissonant, with heavy palm-muted chugs of riffs, somewhat reminding of early Muse and hardcore classics, with extra accent on breakdowns. A bit exhausting and chaotic, but nice.
LTW released a solid alt-prog album that, despite not making revolutions in the genre, broadens it from within. In case you cherish little love to modern “hipster”-prog, this record won't make you post your Yes collection on eBay. But if you do like this creative pattern, make a mental note to look to windward once in a while.
Oresund Space Collective — Orgone Unicorn
Led by the synth wizard known as Dr. Space, Øresund Space Collective is a space rock band in the truest sense of the word. Their 32nd studio album, the double disc Orgone Unicorn, adds another good record to their already large body of work. ØSC does not deal in songs - they are improvisational prog rock, regularly releasing albums of 20-plus minute jams (this release is their 44th album overall since 2006). This is even DPRP's 8th review of the band (our first since 2016). The version of ØSC playing here is the same as on their 2023 release, Everyone Is Evil, which I very much enjoyed. For fans of Ozric Tentacles, long exploratory jams, and maybe enjoying a mind-bending chemical or two.
The record comes strong out of the gate with an at times ferocious jam, Skin Walker. Bassist Hasse Horrigmoe lays down a fat line for the rest of the band to gather around, while Mattias Olsson's drums dance around behind it. Guitar and synth pour down on the rhythm section, like a meteor shower dancing above semi-solid ground. Clocking in at a hefty 25 minutes, the general direction of the jam does not change much, but it is a solid piece of improv.
From this raucous beginning, we move on to the more ambient and synth-heavy Enos Donut. More of a soundscape than a jam, the song glides along on waves of synth, keys, and more synth. It is a stark contrast to the first track and is a vision of things to come for the album. There are Middle Eastern sounds centered around the sitar playing of KG Westman, jams based around German electronic music, and outer world space rock jams that are centered on nothing at all.
There is a great deal of fun to be had listening to a group of musicians who are willing to take chances and make their own way through their music. And after 18 years and 32 studio albums, we have a good idea what to expect from Øresund Space Collective. This includes all the great parts mentioned already, along with enduring some sections, or full songs, that are meandering along without any particular direction. This is, naturally, the gamble of doing what ØSC does - there are going to be moments where you are not interested. Those uninteresting moments occur in Orgone Unicorn, but you will find yourself rewarded by letting them pass by you on your journey.
Orgone Unicorn by Øresund Space Collective is out now on streaming, or their Bandcamp page.
Tusmørke — Dawn Of Oberon
"I really tried Sir, I really tried Miss..."
I used to utter these words to my school teachers when I was unable to complete a task efficiently, or was unable to understand what something was all about. I found myself mouthing similar words after initially listening to Tusmørke's' Dawn Of Oberon. I tried hard to like it and in truth I did enjoy many aspects of it.
Overall, though, after my first listen, I was left with a sense of disappointment and thoughts of trying to understand why I even appreciated so much of it. But of course, first impressions can often be wrong, can't they?
I concluded that a factor in all of this, is related to the conundrum that is associated with Tusmørke's music. Elements of their nuanced style are so predictable, yet so hard to pigeonhole; so easy to criticise; so difficult to understand, yet so easy to enjoy; so entertaining, yet so frustrating. Never hackneyed and always, wonderfully evocative!
Over the years I have had bits of an on/off relationship with the music of Tusmørke. There have been numerous occasions when I have adored what they have created and there have also been several occasions when their music has not connected.
I thoroughly enjoyed Tusmørke's debut Underjordisk Tusmørke; was captivated by Riset Bak Speilet and drawn to Ført Bak Lyset's wonderful flute led psychedelic prog songs of pleasing melodies and an array of memorable choruses. Unfortunately, Hinsides did not infect, or hit the spot, but Fjernsyn i farve certainly did.
The instrumental section of Gamle Aker Kjerke found in the generally very good Osloborgerlig Tusmørke: Vardøger og Utburder vol 1 release was utterly mesmerizing and the various bog body sagas of Nordisk Krim were simply enthralling. The sing-along children albums Bydyra and Leker for barn, Ritualer for voksne and Intetnett did little for me. Although I tried, I was unable to fully appreciate the undoubted qualities of their generally well received 2023 Hestehoven release.
With that in mind, lets delve a little into what Dawn Of Oberon, Tusmørke's twelve album has to offer. The two lengthy compositions Dawn Of Oberon and Midsommernattsdrøm work well and show that Tusmørke are not only accomplished in creating accessible and memorable psych tunes, but are equally adept at crafting longer pieces with interesting instrumental breaks.
For this album Tusmørke had a new drummer Kusken and the jazz influences of this player ensure that several of the compositions are somewhat freer and not as tightly spun as those on Hestehoven. New keyboard player Herjekongen also leaves his mark on the album and this combination of the new and the old ensures that the album wears a different set of colours to Hestehoven. In fact, Herjekongen adds some lovely textures and touches during the impressive title track to complement the vocal and flute melodies that drive the tune along.
However, much of the heavy lifting throughout the album, as you might expect is done by the twins Benediktator and Krizla. They are the principal composers. They share and vocal duties as usual and once again there are an abundance of flavoursome flute passages. The mysteriously robed Krizla weaves a trail of frilled fluted beauty and in conjunction with the necklaced and garlanded Benediktator's insistent bass lines ,which without doubt, gives the band its unique signature sound and striking visual appeal.
The instrumental passages during the title track are enjoyable and engaging. The combination of raspy flute and sweeping organ works well at about the ten-minute work. When combined with some vocal chanting and a touch of afro jazz these musical elements conjure up smoke hazed images of mystic dancing backlit by an open fire. This track has several impressive moments, not least of which is the spontaneous jam like elements that seem to breathe life into the instrumental passages. The vocals did not really work as well for me , but once you sort of accept their quirky nature they sort of fit into place within the scheme of things.
Its perhaps worth noting that Benediktator has stated that Hailu Mergia has influenced some of his approach to songwriting on this album. Certainly, in the title track and in several of the other pieces including prominently in Troll Male the band has used wordless vocals in a melodic "la la la" form. These instances, provide a refreshing sense of melody and work well. In fact, the rather eccentric Born To Be Mild begins in just this fashion.
A few of the keyboard effects on Born To Be Mild and Midsommernattsdrøm and during Troll Male evoke some of the neon disco sounds and sights of the seventies. For a moment, my psych folk attentions were displaced as thoughts of Donna Summer infiltrated my mind.
As you might expect from a band that has a tongue in cheek humour at the heart of much of what they do, the sung lyric "born to be mild" follows a similar melodic pattern to Steppenwolf's well known Born To Be Wild. It is a clever way to reference Mars Bonfire's tune as little else about Born To Be Mild has any other points of reference to the leather-studded Easy Rider hit.
People View is enjoyable. It has a strong melody, and it hints at the influence of number of genres. For some reason, it reminded me something William Drake might have penned. It is an appealing and stirring tune which works particularly well in the albums running order.
Everything about Dwarven Lord suggests that I should not like it. Quirky and cyclical are words that could well be used to describe it. However, its softly announced, plaintively sung recurring lyrics and background wash of whirling synths stir up a hypnotic kaleidoscopic haze that is both uplifting and mournful at the same time.
Repetition has always been an important element in Tusmørke's art and Dwarven Lord certainly uses this technique to good effect. The tune is easily digestible, and it's easy on the ear qualities and entrapping melodies quickly become memorable.
After hearing the album on many occasions, I have finally worked out why I enjoyed it and why I was disappointed by it in equal measures. My disenchantment was largely to do with my perception of the sound quality of the recording. My appreciation was largely due to the overall psychedelic, other worldly yet earthy folky vibe of the release and particularly the entertaining melodies, fine flute work and keyboard textures.
All the music was recorded in Tusmørke's rehearsal space and studio. This explains why much of the music has a lively air and an impressive freshness, but also could explain the somewhat lo-fi murky quality (to my ears at least) of much of the album. I felt that the vocals could have been more clearly defined and that the instruments could have been more distinctive in the mix.
Nevertheless, after many plays most of my less than positive thoughts about the album have dissipated.
I can now declare. Thanks, Tusmørke for your art over the years! It took me a while, but I tried hard. I quite like this album. When all is said and done, first impressions can often be wrong. I am so pleased mine were!