Issue 2024-079
Tyler Kamen — Cornucopia Modus
One year after his latest album, Tyler Kamen presents the third and final chapter of his Vegetable Gnome trilogy which he started with Artichoke Pythagorum in 2022. Set another 200 years after the deliciously disastrous adventures of the second chapter Bamboozle Tesseract, an exuberantly eventful tale in which Gnome Village and its citizens are forced to go underground in order to survive after having been completely overrun by vegetable mutants. Cornucopia Modus narrates the fantastical tale of a brave new warrior named Jinx Loon (aka Mr. Loon).
With Kamen tying it conceptually all ingeniously to a previous trilogy of thrilling releases, it is our hero Loon who discovers a defect transmitter (aka The Spectacular Machine) which he is able to fix. After which he heads out on a quest which takes him to the Lizard House where he finds a mechanic (The Headmaster) and the Cornucopia Modus. To finally return for an all decisive fight against the mutants, repair the Bamboozle Tesseract and ultimately restore Gnome City to its original splendiferous glory.
What this story translates to in terms of music is as before an opulently overwhelming and turbulent trip within a centrifuge of energetically eclectic, magnificently multi-layered compositions that effortlessly entertain and compellingly comfort. Elements of psychedelic proto-prog and impressions of Yes, Spirit, The Beatles, Klaatu, Pink Floyd and Jethro Tull emerge. Marvellously mapped with plenty of meticulous melodic shifts, contagiously catchy designs, and quirky-voiced broadcasting interludes, it's almost impossible to not have a smile of happiness and contentment once the refreshing fast-paced whirlwind of exhilarating melodies. It finally ends in a Pink Floyd atmosphere with an emotional and uplifting guitar solo in Artichoke Heart.
Besides frequently revisited themes and motifs that are always presented in a somewhat different flow and arrangement, there's a fair amount of lyrics to support the narrative. This all feels completely natural, never overbears, and thanks to the different vocalisations never distracts from the endless stream of 70s-inspired prog that are doused onto the listener in a vividly vibrant of-the-record-splashing way.
If you twist my arm to point out standout tracks from this ever-changing inventive landscape, then the first one would be Cornucopia Modus. This dynamically charged composition launches Kamen's concept most effectively into gear and dashes irresistibly onwards with highly dynamic groovy rhythms in a classic rock vibe, to which a surprising country jig is added.
The second one would be the ecstatic The Vegetable Tribe which in familiar Kamen style tumbles down in a sophisticated way into a happiness carousel of mood-changing melodies which tunefully shines with classic Yes. As a third I'd select Zezop Mountain that offers relentless adventurism with bewildering rhythmic instrumentation and handclaps that gamely activates my Zio memory. And finally the mindbogglingly brilliant Bamboozled!, which elevated by stunning guitar spectaculars fuses rhythmic Gentle Giant sublimity with groovy 70s inspired rock.
Suffice to say, Cornucopia Modus accommodates amazingly in music of the highest order, both in concept and performance. Taste-wise I still prefer the marvellous magnificence of Artichoke Pythagorum. But like all other Kamen's efforts so far reviewed on DPRP this highly recommendable and fabulously fun album is once again totally worth discovering. Can we have the broadway musical next please, Kamen?
Duo Review
Gabriel Keller — Hope Despite Everything
Gabriel Keller is a French composer and guitarist and bassist from the Lyon region of France. Hope Despite Everything is his direct sequel to his debut album, 2022's Clair Obscur. In between, he released an acoustic album called Trio and some songs from that album can also be found on this new one. His music is influenced by The Beatles, Pink Floyd and I can hear some Porcupine Tree and the likes. On Hope Despite Everything a few different female vocalists are present, but most songs are sung by Emi B.
The album starts with some noises and instrumental parts. The Letter - Part 1 opens a bit like Porcupine Tree, but that comparison ends when Gabriel picks up the violin. I do like it when bands incorporate instruments like violin. This song was already released on the acoustic EP Trio. Here, it song has a bit more power, and it has potential, but I feel it never really opens up. Like I am waiting for the punchline that never comes. The Guns Are Approaching has a bit more attitude and a nice Pink Floyd-like guitar solo. The following The Letter - Part 2 even has some Rush sounds. A bit more varied than part 1, though I am still waiting for that spark.
My Son starts with another Floyd-y guitar melody. The centre part feels like a French chanson and it is followed by some jazzy stuff. Where The Letter could use a little more variation, this song has a lot of different things going on. No Surrender has a lot more power and heavier guitars. Oppression has a lot of changes and has a lot more complexity. Here the prog is speaking!
Poussières Eternelles is a gentle French song that was also previous released on the acoustic album. Your Way confuses me a bit, it builds and builds to some folky ending end then just stops. A short song that seems to go somewhere and then hits a wall. If it were the intro to the next song I would understand but next song Change is something completely different. A funky poppy song with a nice singalong chorus. Change does have a nice bluesy guitar solo between all the funky stuff, though. Mahaut closes the album with atmospheric sounds, nice melodies and chanting.
Gabriel Keller shows he is a very good musician, but for some reason Hope Despite Everything failed to grab my attention in a way I was hoping for. The album has all the elements good music needs, but somehow it does not work for me. When I feel like the music is building up, it fades out. The Letter has some nice parts but feels stretched, and songs like Your Way and Change have so much different stuff it confuses me. The album does have its good parts, some interesting violin and especially the Floydian guitar solos are great and can be found all over the album. Maybe this album did not do it for me, I will for sure keep track of Gabriel Keller.
Gabriel Keller's debut Clair Obscur received a lukewarm reception in these pages but this new release is a step-up.
There is a definite two sides to Hope Despite Everything with "Side One" a suite of songs about a young man at war and the letters he sends home to his mother. "Side Two" has a loosely thematic collection of songs that speak poetically of hope.
As befitting the topic of war the songs up to and including No Surrender take a symphonic prog-metal approach with the excellent vocals of Emi B who is a passionate mix of Anne-Marie Helder (Panic Room) and Anneke Van Giersbergen (solo and The Gathering). Keller also collaborates with guitarist Charlie Henry, cellist and vibraphonist Lucie Lacour. The drum stool is occupied by Lucas Biguet-Mermet for all but two tracks, with Simon Rebuffat taking over for those.
The "war" tracks have contrasts between the metal, softer passages and tempo changes, as they explore the melodies. It is all held together by Emi B's vocal melodies. I'll look at a couple of tracks to give you a feel for this music, the ten-minute The Letter – Part 2. It begins with atmospheric reverberant gentle guitars before military sound samples then chugging riffs, bass and drums take over. There is a spectacular guitar solo from Charlie Henry which has hot on its heels a cracking violin solo from Jérôme Aubernon. In the quieter passages the cello adds texture. It is at around the six-minute mark that Emi B's vocal comes in. This is great stuff.
With My Son where the mother is informed of her son's death Emi B's vocal line takes an understandably melancholic turn and the beautiful, slow bluesy guitar solo reminds me of Gary Moore's stint with Thin Lizzy. Weirdly highly enjoyable considering the song's subject.
The second "side" sees a change, not so much in the sound world which becomes more acoustic and choral but rather a dialling back on the blistering metal guitars, which initially feels a bit weak in comparison but taken on its own you soon realise that this is also quality music. Intense music with its own contrasts and power.
This section of Hope Despite Everything starts with two back to back songs sung beautifully in French. Oppression features Manon Coursol and Charlotte Gagnor on lead vocals. The song opens with cello and a heartbeat rhythm before developing into a heavy monster of riffs and thumping drums amongst which the cello finds space. A sparky song. Then featuring Angelina Pelluet and Charlotte Gagnor, Poussières Eternelles is a restrained acoustic guitar and cello song with gentle percussion and vibraphone. This track could be my favourite here. A similar sound pallet on Your Way sees Emi B returning. On the closing track, Mahaut there are delicious harmonies accompanying another acoustic setting. A fine way to end the album.
There are a couple of points where I get bumped out of the album's carefully constructed mood. On the blazing No Surrender the use of Winston Churchill's "We'll fight them on the beaches" speech has, for me, become a bit of a cliché. The Charles de Gaulle sample works better for this extremely limited French speaker. Then there are Emi B's spoken word vocals on the acoustic blues of Change that also pull me out of the mood. These are, however, minor points and may not bother you at all.
Overall, Gabriel Keller's Hope Despite Everything is a great collection of powerful and interesting prog-rock songs with some fabulous playing.
Tyrannosaurus Dimension — Part 2: Primal Nature
Part 2: Primal Nature is the second part (who would have guessed?) of a narrative from Tyrannosaurus Dimension, that picks up where Part 1: The Rift left off, and journeys into the aforementioned rift, and into the primal, prehistoric world of savage beasts. Created by Ross Learn, it is a solo project of instrumental metal, blending both riffs and progressive composition.
Certainly, from the opening of Through The Breach we are treated to a throbbing and heavy assortment of riffs and licks that sound like you would expect a metal journey through bestial and primal lands to be. From here on out, it is a mix of melodic bridges and heavy riffing as we journey through the stonework of the land, with some tranquil moments shining through the Emerald Carvings and intriguing merges of leads and rhythm in the Primordial Garden.
While the YouTube channel has lore videos, I feel that the tracks would be better if they, and the lore, were together rather than separate. Although, the story for each track is also on that track's individual page on Bandcamp. But the story helps add to it a lot.
The music is exciting, fast-paced and aggressive, and at times softer and more intriguing and enticing. Council In The Depths is one such track, with the story leading you through the protagonist finding an underground city and discussions of prophecies, and music suitably twisting and turning through harmonies and solos.
All in all, I enjoyed this. It was just the right length for what it is. The tracks were similar enough to keep an underlying thread throughout, but different enough to keep thins interesting. Both heavy and crushingly so at times, but equally delved into realms of the more cinematic compositions.
If you're a fan of Dream Theater, Red Fang or Caligula's Horse, or are a fan of instrumental metal then this is one to check out.
Zolder Ellipsis — Il libro dei Tropi
From the Netherlands, Zolder Ellipsis has released their second record, Il libro dei Tropi on Italy's Lizard Records. Pianist and composer Tom Aldrich's Dutch-American band has opened up their own "Book of Tropes" to take us through several styles and leaving the reader/listener with a very satisfying ending.
The record is best described as "controlled chaos", with themes and sounds coming at you fast, but always with an underlying melody driving the tracks along. Aldrich and friends are good enough to let us know exactly what we are in for with the leadoff tour de force of Sketch A. A flurry of sound, anchored by the bass. A far out opener with all the players getting involved and sets the tone perfectly for everything that follows.
Each of the players on this record are tremendous. In addition to the great work from Aldrich, I really enjoyed the work of Chad Langford on bass; interesting and well played lines throughout. Also along for this ride is Sean Moran on guitar, Ivo Bol on electronics, and Pierre Aeternus on the kit.
Jazz-heads are going to have much to be pleased with on this record, as even at its most prog rock, this album contains fusion at the core. Feel Like A Man sounds like it could have come out of Medeski, Martin, & Wood-era John Scofield, with Aldrich taking a reduced role to let Sean Moran's guitar fly over a nice laid back, but solid, funk. Passed The Storm is the straightest jazz track on the album; a fun little Rhodes-led jaunt with the core quartet. Not overly ambitious, but it will certainly put you in a right mood and leave you with a smile on your face.
Progressive rock makes a sharp appearance across the record, also. BIP is a track that would feel right at home on a Belew-era King Crimson record, with changing tempos, hard chords, with a fluid bass line. Zolder Ellipsis reaches into Canterbury Scene as a bridge between the worlds of prog and jazz, for which it is a natural fit. The penultimate track, Grid and Meridian is among the best in this category.
Every good reference book needs a solid index at the end, where you can go to find your favorite sections later. If you have read my other reviews on DPRP, you can see that I enjoy a good long track and solid improvisation. Aldrich delivers this on the final 14 and a half minute track, Sketch C (Quell). Notes for this record say that it is more compositional than their first effort, Entropy Override, but improv is used throughout. Without being told exactly where, I would have to assume it is here. This final track brings everything together, combining all the tropes we have heard before, for a very satisfying ending.
A really great fusion record, I recommend all fans of the genre check out Il libro dei Tropi. Out there, for sure, but with enough solid ground for fans of jazz, prog, and that part in between.