Issue 2024-073
NiMO — Jarre Acoustique
NiMO is the new musical alter-ego of the Dutch, self-taught keyboard-player / composer Jeroen van der Wiel. He has worked with many musicians over the years but is probably best remembered in these pages as a long-time component of the Dutch instrumental progressive rock band Odyssice with which he released three albums, all of which were reviewed here at DPRP.net. After the demise of Odyssice he released his first solo project Thirteen. He then moved on to composing electronic music and from there the idea for this album grew.
His new album Jarre Acoustique are solo grand piano interpretations of a mixture of Jean-Michel Jarre's electronic music. Released fittingly on Jean-Michel Jarre's birthday (24th of August, if you ever want to send a card) with the approval of Jarre and his team.
With this album, Jeroen searches out and finds the melodic nuggets that underpin Jarre's layers of synths and electronics. I found it surprising that the melodies feel like direct descendants of that golden period of French piano music that started with Gabriel Faure and went on through Ravel to Debussy as classical music moved from romanticism into the modernism of the 1920's. Until this album I had never made that connection with Jarre's music.
On Jarre Acoustique, NiMO has produced some quite beautiful piano music and, wisely I think, deliberately avoided the well-know "hits" from Jarre's body of work. The tracks are, in prog terms, mainly concise. Fleshed out with inventive harmonies this mix of the meditative, the romantic and the intriguing is an album to wallow in as it distracts from the hurly-burly of the world.
Not an album for everyone I wouldn't have thought, but I very much enjoyed this deep dive by NiMO into Jarre's back catalogue in such a gorgeous neoclassical way.
Refestramus — Intouríst
Intouríst is the second full album of the band Refestramus. Don't try to look for any meaning of the word, it simply doesn't have one. According to their Bandcamp site they play some hard progressive hard rock, which I love, combining influences from traditional gypsy, flamenco and slavic styles with modern hard rock. Sounds interesting, doesn't it? Let's check if the result of the mixture is satisfactory.
The group is Derek Ferguson's idea and was founded in 2020 during the pandemic. The rest of the band members were found on the internet and through a contact at a Chicago radio station. Derek had played in several progressive rock bands in the city so this type of music is not something new for him. You can appreciate the great variety of instrumentation on this album: mellotron, viola, sax, flute and accordion. The album has four different vocalists who alternate, each contributing a specific touch to each composition. This is usually a good thing because each singer contributes something to the songs. In this case, however, it was something that prevented this album from completely engaging me. I think that perhaps the album would flow better, being more coherent and better assembled if these different voices were supporting a lead vocalist. To me, Craig Cairns would fit best as the lead singer. He does a great job, especially on the opening song DMK.
The seventies rock style of this first song raised my expectations on first listen. Asunción comes next and is also a good song, which at times reminds me of Yes. The Devil Returns sounds great and keeps the progressive flame alive.
But the hype deflated a bit as I progressed. They change the vocals and the next song, or suite as they called it, is a strange mix that I tried but could not get into. It's probably me, but I find the track very difficult to follow. Moreover, when the last part of it, called Zombie Love, appears as an electronic surprise. Not that I don´t like these kind of surprises or combinations of styles, but I'm missing the purpose here.
Side Hustle seems to recover my first feelings of the album, but it's too short to keep it. The remainder of the songs, while not bad, seem to be made by a different band, and that really throws me off. At the end of the album I don't know how Refestramus sounds. Don't get me wrong, I love variety and brave bands that dare to experiment and try new sounds, but I'm missing the point on this album.
I am going to check their previous albums, because it is clear these guys knows how to play and there are many interesting things here. I guess it comes down to finding the right way of putting it all together.
Trilogy — Hidden Mysteries
Good things come to those who wait...
This phrase is commonly used to describe how patience is rewarded. What it doesn't mention is a specific relationship between a level of goodness and the amount of time passed. No exact science this all a matter of perspective, obviously. But to state the obvious: I have to say Trilogy take this correlation to the extreme with what is technically their debut album, Hidden Mysteries, by matching an experience of outright satisfying euphoric joy to that of a waiting period close to forty years.
For those unacquainted to Trilogy, we briefly have to travel back in time onto the glory days of UK's neo-prog movement. A time when bands like Marillion, Twelfth Night, Haze, IQ, Pallas and Solstice gradually forged a name for themselves. Hot on their heels, one finds Trilogy. A highly promising threesome of musicians featuring Paul Dennis (guitar, bass pedals, keyboards, and vocals), Nik Szymanek (drums), and Mark Bloxsidge (bass and keyboards, taking over from original member John Garnett since 1983).
Touring the circuit alongside many household prog-names, most notably their joined tour with Pallas and Solstice under the Brave New World flag comes to mind, they receive their first taste at fame when record company EMI invites them for a contribution to their upcoming Fire In Harmony compilation.
In September 1984 they recorded the stunning Hidden Mysteries, a marvellous composition showcasing a compelling propulsive drive and a towering chorus, completed by intricate arrangements and grand designs in the finest Alex Lifeson tradition. Success seemed only a matter of minutes. But right before Pallas and IQ successfully boarded the ferry to conquer Amsterdam and Europe in 1986, Trilogy somehow missed the boat and folded in 1985. Leaving behind only their demo-tape Arctic Life, the divine Hidden Mysteries, and a couple of fan-treasured live/radio-recordings to show for their highly promising efforts.
Following Trilogy's triumphant return to the stage in 2023, and their simultaneously released The Goldust Tapes EP, the excellent Hidden Mysteries compiles several of these recordings in perfect flowing order.
Thanks to the mastering skills of Bloxsidge, this has resulted in the most pristine and dynamic versions I ever heard. Especially emerged under headphones these long awaited recordings, for which the best available sources were used, reveal excellent depth of sound and the much desired spatiality, clarity and dynamics these fantastic songs so rightfully deserve. Aspects duly witnessed for instance in the superb Different Forms in which individual instrumentation clearly stands out.
Meeting expectancy, these forty-year old recordings evidently do show recording limitations and their age. Messages, a wonderful variegated song blessed by a formidable guitar exercise, nostalgically illustrates this through its occasionally thin keyboard sounds, which nowadays reminds me of Egdon Heath's 1987 debut In The City. But what all of these songs at the same time so brilliantly proof is Trilogy's talented craftsmanship, their masterful songsmithery, chemistry of interplay, and gifted originality in composing.
Apart from an obvious influence which I'll rush into shortly, this in songs like Séance (recorded in the same session as Messages) and Buddha brings an uptempo neo-prog styled sound that closely resembles that of early Pendragon and Liaison. Atmospheric synth-driven performances in the latter's tuneful bridge brings colourful late 70 / early 80s Eloy. The anthemic Arctic Life adds majestic melodies and luxurious synth deeply hints at Rush, thanks to delightful guitar work and rhythmic dexterity in spirit of the professor. Recorded on the same 1983 July dates as Buddha, this song is in every way superior to the already magical version as included on The Goldust Tapes and is perfectly demonstrates Dennis' growth as a strong, expressive and versatile melodic vocalist.
With far fewer words, the near instrumental Break! speaks this captivating Rush language the most. Recorded in December 1984, this entrancing composition is clearly inspired by YYZ and held impressively together by tightly operating and highly combustible rhythm section. Thriving on energetic melodies and a triumphant memorable riff, this magnificent piece of music seamlessly soars through a multitude of awe-inspiring breaks and stunning guitar solos which will undoubtedly set every right-minded Rush fan in raptures and brief sing-along mode.
Joining the amazingly enjoyable compositions that bookend the album is the phenomenal Sahara. Recorded on the same dates as Break! this peerless composition flawlessly shows what Trilogy had in store during those glorious days: an oasis of musical creativity, masterly harmonious interplay, catchy melodic deliveries, fantastic concise songwriting, and a threesome of highly skilled musicians who exhibit a delightful "going for a song" approach. In Sahara, this results in a scorching experience of tightly secured melodies, delectable Taurus pedal movements, and spectacular guitar extravaganza in spirit of the holy Canadian trinity. A musical outcome destined to melt the hearts of many prog enthusiasts if Trilogy had been granted time, IMHO.
After all this it fairly out in the open that I highly recommend everyone to check Hidden Mysteries out. I'm thoroughly convinced that if Trilogy had released this collection of songs way back in 1984/1985 many prog enthusiast would nowadays consider Hidden Mysteries a British neo-prog gem. A breathtaking classic that sits perfectly amongst such delights as The Jewel, The Sentinel, The Wedge, XII, Nomzamo, and Nothing Is Written to name a few other progressive treasures.
I'll leave you with the greatest news of all, which is that all good things come in three. In Trilogy's case this means that following their highly successful return into the limelight, and the much anticipated release of their debut Hidden Mysteries, one can soon look forward to a new collection of songs. Currently recording it is rumoured that the resulting album, to be expected in 2025, will feature newly recorded versions of older songs like Necrosleep, The Unheard Voice, and A Legion In Morocco, plus one or two newly composed songs. I can hardly wait!
Utopianisti — Reason In Motion
If you enjoy a pulsating mixture of limb twisting vibrancy and lots of creative spontaneity, then Utopianisti latest album might fit the bill. It was recorded live in the studio and the band's obvious skill and enthusiasm for their art is brilliantly captured in this glorious sounding and very enjoyable album.
I first came across Utopianisti when I scribbled some thoughts about their second album back in 2014. Since then, DPRP has reviewed two other releases by the band (The Third Frontier, and Brutopianisti).
Over the years, Utopianisti's style and approach to music has been hard to categorise. The one common factor has undoubtedly been the playing and influence of band leader and composer Markus Pajakkala.
The band's first three albums might be loosely described as experimental jazz-fusion. Their fourth album Brutopianisti was somewhat a departure from what was becoming the bands identifiable signature sound. It introduced a sort of experimental metal influence into the projects sound, complete with odd disconcerting effects and growls. Their last album Tango Solo was essentially a solo project by Pajakkala and as the name suggests it explored jazz-fusion through the medium of the tango.
For Reason In Motion, Pajakkala has mixed the throbbing rhythms of Afro-jazz and aspects of the swinging ensemble style of Zappa's Waka Jawaka period with an enchanting psychedelic air. This simmering recipe and mix of styles creates something that is utterly captivating.
There are several standout moments, but guitarist Matti Salo's fiery tone frequently provides an enjoyably aggressive and abrasive edge. This delightfully contrasts with the Afro-jazz tones of Anssi Solismaa keys and the belching of Pajakkala's baritone sax.
Consequently, the album has an intellectual and an emotive pull. The infectious rhythms, exuberant chants and stimulating instrumental passages feed the senses and stimulate the mind. It is a satisfying album on many levels. Most importantly for imaginatively agile listeners with a penchant for rhythmic instrumental Afro-fusion; the energetic performance of the ensemble combined with the easily assimilated nature of the tunes, consistently induces a flurry of knee taps, a Yo - Yo of head rocks and a rotation of wrist shakes.
This largely instrumental release, has some vocalisations. Percussionists Ismaila Sané and Gilbert Kuppusami provide these. Their passionately animated contribution of hollas, chants, sounds, laughter, and words furnish several of the tunes with a naturally impulsive, diverse, and ethnically rich air.
The album begins in blistering fashion with Greenwash. It's overall sound reminded me of Belgian Afro-jazz band Azmari. Recurring themes abound and the percussionists enthusiastic shouts give it an unrestrained energy. However, the expressive guitar solo that ignites the middle part of the tune takes the piece briefly to a different place. This momentarily dispel the spell cast by the pieces recurring motifs and rhythms.
At the conclusion of Greenwash, that overall freshness of approach and stomping stridency, is equally matched by a cheek bulging, belt-breaking sax solo, that threatens to shatter any ornaments that might be left to vibrate, lonely and alone on a high shelf.
I have always loved energetic jazz flute and All Whale Panel has some tremendous silver tube moments. It is a joyously exuberant tune where rock drenched guitar tones joust for dominance with calmer passages and rousing ensemble sections. Vibrant percussion, and buttock shifting bass tones also have a part to play. Everything about All Whale Panel fits together so well. It is probably my favourite piece on the album.
The flute also makes a fluttery appearance in Hit It With The Pinky (which incidentally has a gorgeous synth solo and a wonderful string bending guitar solo reminiscent of Jan Ackermann). Flute tones also delicately clasp the gentle melody of No Culture, No Soul. That track has a slightly minimalist feel during its introductory phase, but as the tune develops and travels towards its conclusion, its cinematic qualities and delightful vocalisations create a larger-than-life soundscape that mistily fills the spaces and swirls around the room.
The tunes all end abruptly, there are no long fade outs or lingering passages. This adds to an overall feeling that you are listening to a live performance. Certainly, the way some pieces unexpectedly end, adds to an overall feeling of excitement.
The release has some magnificent intervals where the ensemble interact with open-mouthed virtuosity. The best example of this is undoubtedly during Cleptocrats. To say that the band is on fire is an understatement. I have rarely heard something so exhilarating and played with such an impressive level of skill. It's that good !
Reason In Motion has far exceeded my expectations. I have played it frequently and despite this , it continues to reveal many appealing things. As its secrets unlock, so my appreciation for its charms grows.
It is album that will almost definitely feature in my best of list for 2024. Who knows, it might even be awarded the gold medal!
Via Modesta Valenti — Suite For The Last Prophet
I don't know if you believe in such thing as karma, but there's really some supernatural irony in the air, teasing yours truly. My usual, long-cherished complaint as a reviewer is that (some) artists tend to record exceedingly long releases with little musical value behind, or value that could easily fit in a 20-minutes EP. Well, now the karma / irony hits me, offering an album for review, which runs less than 25 minutes and very, very tightly stuffed with musical material in all its lush diversity. Let's see if I can digest this one.
Suite For The Last Prophet by Italian quintet Via Modesta Valenti is not an EP or a single. It's an epic of 23 minutes, that easily falls into a category of a full-length statement, despite the relatively short running time. Precisely because the suite manages to tell its listeners quite a lot. The record allows itself to be appreciated in two ways: as a monolith piece of music or as a 12-parts / mini-songs album, structurally not dissimilar to Misplaced Childhood by you-should-know-who. Bizarre enough, the longest “song” here runs 2 minutes and 45 seconds – not what you expect from a prog album. But with each new piece of music, the narrative adds something new, takes untrodden paths and teases listeners.
Musically, however, Suite is quite far from the above-mentioned Childhood. The opening part reminds me of Echolyn, but apart from the American's influences, there's a lot more going on. Jazz pieces, cabaret music, Latin rhythms, epic Hammond parts and, of course, RPI. Although vocally there's not a lot of similarities, I would still compare Via's music to Banco del Mutuo Soccorso (circa Canto di Primavera and Di Terra), rather than to PFM or Le Orme. It maintains the same “sunny”, summer feast mood with light jazzy touches and eschews overusing the heavy organ parts, characteristic to many classic RPI releases.
Suite won't probably end in a lot of annual top-10s, but this should not overshadow the fact that this is a really bold move to make the listening experience both dense (if you want to get into all the narrative) and relaxing (if you just want a good “prog” listen).
Value for money? Yes, absolutely. For me, this record holds more ideas, twists and turns than, for instance, the one-hour-plus The Absolute Universe by Transatlantic, no matter how much we respect the prog titans. Pretty good for a debut, bravissimo, ragazzi!
Historical note in place of a PS: The band's name has a meaning. Modesta Valenti was a real person, a homeless woman and a “martyr of indifference” who died in 1983 due to non-assistance for her medical condition.