Cuneiform Rec.  Beat Circus : Boy from Black Mountain (US,2009)***°

This is the second part of  beat Circus stage trilogy. From a carnivale setting, the story visions continue  by old time train into rural old American stories, having used some Southern Gothic literature tradition of William Faulkner and Flannery O’Connor, family inherited farm related stories, and incorporating the story of Brian's son who conquered autism. In these stories musically we meet old America into a chamber /brass : communal music / contemporary rock setting of new Americana, exploiting songwriter music with old Americana folk, honky stomps and hill-billies with brass, folk violins and  bluegrass influences into new arrangements with vision. The first couple of songs didn't really grab me, with that distance of a real and direct life setting and experience, then quickly the band opened up a new world, a near-theatrical colourful musical cabaret with some musical anomalies, like some surprising interesting vocal arrangements and crafty combinations with brass and chamber-music. 

The core of Beat Circus is Brian Carpenter on lead vocals, pump organ, harmonica, trumpet ; Käthe Hosletter on violin, viola ;  Julia Kent on cello ;  Alec K. Redfearn on accordion, jawharp ; Ronn Caswell on tuba ; Curtis Hasselbring on trombone ; Brandon Seabrook on tenor banjo, mandolin, slide guitar ; Briggan Krauss on saxophones ; Matt McLaren on drums and percussion. Many guest appearances like Paran Amirinazari on violin and Jordan Voelker on violin and background vocals, Larkin Grimm on vocals and vocal arrangements, Doug LaRosa on trombone, Paul Dilley on the rockabilly-style rhythm upright bass, on guitar and banjo, and Gavin McCarthy on drum, and a few others.
Produced and engineered by Bryce Goggin.

Info & audio : http://www.myspace.com/beatcircus
Description & audio : http://www.squidco.com/..
Release info with audio : http://www.beatcircus.net/bfbm.html
Label info : http://www.cuneiformrecords.com/bandshtml/beatcircus.html
Other reviews: http://www.digitalisindustries.com/foxyd/reviews.php?which=5171
& http://thephoenix.com/providence/music/89186-beat-circus-boy-from-black-mountain-2009/
& http://www.blurt-online.com/reviews/view/1513/
& http://www.acousticmusic.com/fame/p05816.htm
& http://www.popmatters.com/pm/review/116388-beat-cicrus-boy-from-black-mountain/
& http://www.sepiachord.com/beatcircus.htm
& http://thephoenix.com/Boston/Music/74605-Southern-exposure/
Altrock                    Mirthkon : Vehicle (US,rec.2005-2009)****'

The “story” itself, which unfolds over almost 70 minutes is still a bit unclear to me as to what it’s all about, perhaps it’s just a dramatised stage-related occasion, musically the band succeeds to keep the attention focused the whole way through thanks to certain formulas of change. A big part of it is the expression of a well composed contemporary jazzrock nature with saxes/clarinet arrangements with lots of rhythmical changes of electric bass/drums and some guitars, including a few more distorted metal-like guitar riffs which add extra bass energy tensions here and there. Almost each track starts and ends with a more filmic expression with surreal mixed sounds including cats, dogs, flies and human cries, or other bewildering sounds, as well as an announcing old gramophone voice of spoken word as if being inside a circus act (the first track even has an orchestral part as if introducing some Walt Disney classic adventure movie), and some piano. Before you get a chance of saturation, there are also some songs which have vocal arrangements, reminding me a bit of the Yes area and its specific way of singing, with more fluent rock rhythms, and an occasional rocking electric guitar solo, while in general also this part is a bit more complex than that, while being influenced by the jazzrock core. It is this combination of contemporary elements, jazzrock with touches of heavier bass guitar mostly, with filmic strangeness in between, that gives the impression of a close to Rock In Opposition sensitive theatre experience in different parts. Another great release from this extraordinary label.

The music was a close cooperation with composer/writer/video artist Jarred McAdams. On live occasions there is an elaborate video projection program to accompany live performances.

Audio : "Flashbulb of Orgasm","Banana","Kharms Way","The Black Fruit"
Live video's on http://www.youtube.com/...
Info & audio : http://www.myspace.com/mirthkon
Homepage : http://www.mirthkon.com/
Label : http://production.altrock.it/.. & http://www.myspace.com/altrockproductions
with info on this band here
Other reviews on http://www.waysidemusic.com/...
Debute on http://cdbaby.com/cd/nastycan
With Sarah Kenchington at Three Blows
Leo Rec.        Yacheslav Guyvoronsky :
  Interventions into Bach & Mozart (RU,rec.1996-1997,2008;pub.2009)****

Yyacheslav had a dream some 30 years ago about a conversation with Mozart who asked him to compose two more parts of an existing Mozart piece to commemorate the meeting. Years later he wrote a piece for trumpet and bass to be played with the original recording of 10th C-dur. Years later he recorded this replacing the trumpet and bass by violin and cello. The duo composition was supposed to coexist and still counterpoint with the original. The same was done for Bach’s French Partita with parts for accordion, flute and trumpet. When he was recording the last mentioned piece, flutist Eric Ovelyan who had stayed overnight in the theatre to compose some music for plays, was murdered by a gang of thugs, the results of the project were layed down for a while. But here they are complete. 

The Bach piece shows a respectful fundament of the Barroque classical music piece played with some jazzy improvisation techniques with classical instruments (double bass, flute, soprano voice) with the addition of accordeon and trumpet. In the soprano parts it breaks interestingly with the traditions while keeping the Barroque structure, which is an interesting idea. On “Courante” the singer becomes like a bird singing rhythmically on top of of the old structure. Also elsewhere I hear how a nu-vision is added on top of old music, which I think is very good, and renewing the contemporary feeling of the piece. Also “Passpiec” adds different more modernised formats of singing. Different in intention is “Intervention I” with a more improvisational structure. The sounds of violin and trumpet interact nicely. At some stage with dog-alike mumbling sounds on trumpet followed by the violin before the violin returns to Bach, with new trumpet improvisation. Lots of brilliant violin improvisation can be heard, creating new contemporary classical music out of a freer world. In the third intervention, on Mozart, improvisation and classical structure are perfectly melted into one another, seriously and only partly classical.

Info : http://www.leorecords.com/?m=select&id=CD_LR_534
Cuneiform Rec. Lars Hollmer : Viandra (S,2008)***°
Disk Union/

Lars Hollmer had a term time career with one of the only folk-flavoured R.I.O./chamber-rock groups, Samla Mammas Manna (1969-1976), which evolved after a while to more R.I.O.-elements, when changing the name to Zamla Mammas Manna (1977-1980), and in its offshoot Von Zamla (1981-1983), a period where Lars Hollmer also already performed as a lead solo artist. In the meanwhile he has already released 12 solo releases, including this one.

This album is in fact a collection of compositions that were made during but didn’t fit perfectly into his many cooperative projects since 2001 (Utsikter, Sola, Miriodor,..), while it still gave him an idea it presented well the cooperative periods (‘Viandra’ meaning “we-others”). Apparently the music still gives a logical listen from start to finish.

You can clearly hear the music is composed by starting from the accordion. The most melodic and also happy pieces seem to be born out of ideas of mostly Swedish folk music (an occasional klezmer/jazzy flavour is also noticeable). These pieces sound a bit like instrumental “songs”. Occasionally, on such a fun and happiness part, I heard a baby singing along in the background,. The arrangements (specially on the early tracks) often are rather a bit linear (he must have had a rushing life) and stay close to the same melody, just texturing some depth into it (sax, violin, bass, keyboards,..), or extra colours (mellotron). But they’re more often leaning to a slightly classical flavour. Sometimes there’s one additional “voice” of arrangement but never as a more independent contribution. A few attempts are made for a more classical-chamber/“symphonic” approach of a Rock In Opposition nature (like with Samla Mammas Manna), without doing too much with it. And then there are also the more dramatic or melancholic parts, with orchestra, as if performing something of funeral music, with a baroque Mass (Bach or so) droning in the back of his mind along with it’s inspirations...(the few passages I actually began to like the most).

Audio : "Prozesscrik"
Label info : http://www.cuneiformrecords.com/bandshtml/hollmer.html
Biography : http://www.cmt.com/artists/az/hollmer_lars/bio.jhtml
Other reviews : http://www.audaud.com/article.php?ArticleID=4409
& http://www.abstractlogix.com/xcart/product.php?productid=23797
& http://shopping.yahoo.com/p:Viandra%20[Japanese%20Bonus%20Track]:1922949473
& http://www.waysidemusic.com/ProductInfo.aspx?productid=RUNE%20271


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(avant-psych)
or go back to progressive music index
or go back to general music index




Cuneiform Rec.  Beat Circus : Dreamland (US,2008)****

Beat Circus with some references is going back to the days of wonder in some of (not only) America’s big cities like New York, with it’s huge music halls, and in this case also more specific, to the turn-of-the-century Coney Island ‘dreamland’ theme park, which burned down in 1911, revealing something like the ultimate fantasy of wild escapism, with entry halls comparable to circus, or even better, fairground attractions. Already the attractive dance halls and some theatre houses were already urban versions of a so called more cultivated society, which were in image contrasting as the wildest dreams, compared to the country folk ball meetings. Its music was soon going to welcome the Berlin’s School with Brecht’s Kurt Weill’s cabaret opera’s made for all levels of society (like with The Threepenny Opera from the 30s, which moved to New York in the 40s, with hits like “Whiskey bar” and such). The great surreal idea of the Beat Circus is that they bring the whole area of associations, of the city live experiences especially, back to some of its folk origins, by letting it melt with i.e. Balkan brass band festivity music, a form of real people’s enjoyment with music. Also old time American folk with washboard, banjo and mandolin adds more of such an association, bridging and completing with a more American old time context, without forgetting the fairground attraction themes and sounds now and then (and an at times, a freaks show presentation, with backing band). There are also more dramatic associations, almost rock, like modern chamber-music rock driven cabaret with horn voices and wordless backing vocalists. Alec K.Redfearn also participates (Eyesores), and leads a few moments with accordion themes. And we heard also an occasional bar piano, of course. The booklet shows many old photographs to support the imagination the music provokes.

'Dreamland' is the first part of Brian Carpenter's Weird American Gothic trilogy, a 160-page score for 12 musicians and macabre narratives loosely based on historical figures from the surreal turn-of-the century theme park of the same name.

Audio : http://www.myspace.com/beatcircusdreamland
More info on the band's homepage : http://www.beatcircus.net/music.html
Label info & review : http://www.waysidemusic.com/...
Other reviews on http://www.fakejazz.com/fake/archives/2008/06/beat_circus_-_d.php
& http://adequacy.net/review.php?reviewID=8888
German review : http://www.babyblaue-seiten.de/album_8762.html

Websites about the 'Dreamland' park :
http://history.amusement-parks.com/Dreamland.html
& http://www.westland.net/coneyisland/articles/dreamland.htm
& http://en.wikipedia.org/wiki/Dreamland_(amusement_park)
& http://www.wm.edu/americanstudies/370/2007/sp8/history_dreamland.html
& http://www.pbs.org/wgbh/amex/coney/peopleevents/pande02.html
& http://www.chickenopolis.com/dreamland/history/
& http://excitingny.com/oldconey/DreamlandParkView.shtml
& http://www.harpercollins.com/...
& http://sideshowworld.com/TSBWAC.html
& http://invinciblearmor.blogspot.com/2008/01/coney-islands-dreamland.html
& http://www.mentalfloss.com/blogs/archives/12341
& http://cooperator.com/articles/1036/1/Mermaids-in-Dreamland/Page1.html
& http://www.fortunecity.com/victorian/moma/166/id21.htm
& http://www.flickr.com/photos/library_of_congress/2163473632/--next album--:
THEATRICAL CHAMBER-MUSIC ROCK &
CONTEMPORARY CHAMBER ROCK
review page 5

Beat Circus ('08,'09)
Daniel Padden ('07)
Jack Dupon ('09)
Lars Hollmer ('08)
Matti Bye ('08)
Mirthkon ('09)
The One Ensemble ('09)
Pillars And Tongues ('08)
The Raspoutine Smoked Band ('08)
Yacheslav Guyvoronsky ('98,'08/'09)

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(R.I.O. / Chamber Music Rock)
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Contraphonic     Pillars and Tongues : Protection (US,2008)****'

There’s a very interesting subtle tension with which the group/composer builds the compositions/improvisations. Some chamber instruments (cello, bass, but also flute,..) like vocal contributions use rather series of levels of creating harmony, deliberately limited by range, as if tuning in to one harmony, then doubling, then freeing itself with a group’s improvisation (clarinet, melodica,..) and rhythm (percussion), or even with a song. With this idea the sections slowly develop itself to the next level and then back to its origins, naturally, from harmony to melody, improvisation to composition. Beautiful to listen to.

Audio & info : http://www.myspace.com/pillarsandtongues
Label info : http://www.contraphonic.com/con/bisi.php
Info on band : http://forum.mondosonoro.com/Default.aspx?g=posts&t=7077
Other reviews : http://www.theaggie.org/article/1582
& http://www.digitalisindustries.com/foxyd/reviews.php?which=3783
Suisa     The Raspoutine Smoked Band : Travel Agency (CH,2008)****

Some members of Vagalatschk are featured in The Raspoutine Smoked Band. This last band is led by a rock singer (introducing the first track like a cabaret story teller), to which the band plays a mixture of Balkan folk and rock with just here and there a touch of blues (French lyrics mostly). The rock part has here and there heavy guitars, and heavy playing, then as suddenly some Balkan folkrock arrangements lead some other parts, with never a dull moment or only just one direction. Very good and well arranged !

Homepage : http://www.theraspoutinesmokedband.ch/
French info : http://www.mx3.ch/artist/theraspoutinesmokedband
French review : http://www.newzik.ch/articles/index.php?page=article&id=251

Related band Vagalatschk is reviewed on http://www.psychemusic.org/Balkan.html
Rotor Rec.    Matti Bye : Drömt (S,2008)****

Multiple keyboard player (=piano, pump organ, Hammond organ, Tack piano, Wurlitzer piano) and multi-instrumentalist (=glockenspiel, double bass, electric bass, trumpet, cornet) and composer Matti Bye who was already formerly active composing lots of film music projects (like for a box of silent film classics, as for director Jan Troell), and participating in some psych-folk bands (like Maailma with Lau Nau singer Laura Naukkarinen, or Vinter) now with the help of co-arranger and producer Johan Berthling (Tape, Häpna), also on double bass and electric bass, have a whole orchestra behind from the folktronica and (psych) folk (pop/rock) scene mostly, like Goran Kaifes on trumpet, cornet, Nicolai Dungr, Laura Naukkarinen (from psych-folk band Lau Nau & Maailma) and Elle-Kari Larsson (from acoustic folkpop band the Tiny) on voice, Jari Haapalainen on tambourine, castanets, Mikael Marin (from folkrock band Väsen) on viola, Leo Svensson (the Tiny) on cello and musical saw, Lars Warnstad on violin, Lars Skoglundon drums, timpani, marimba, vibraphone, Staffan Lundén-Welden on French horn, Thomas Bodin on English horn, oboe, Andreas Berthling on live electronics, for such an ambitious project he could only have dreamt off (like the title says). You can hear his approach to film music, near the end a Gymnopedie (Satie)-alike piano theme walks a path like in a forest, the orchestrations. Most often the music takes off in a rather minimal moody classical music style, but sets off like a dance, improvises and takes it to heights of tension so that this almost feels like electric music (especially around “uppbrott”). A singing saw sings like an air. A Swedish folk theme also suddenly appears (“Midsommermarnatt”), with an interesting sharp sound of keyboard arrangement backdrop against the violin leads. The music has moments of passionate tensions which hang in the air, and different moods of continuation, just like in a movie.

Audio : "Det Var En Gang", "Uppbrott", "Klosterhage"
Homepage : http://www.mattibye.com/
Label info : http://www.rotorrecords.com/rotorcd007.html
Other review on http://www.dotshop.se/ds/release.php?code=ROTORCD007
Gazul Rec.       Jack Dupon : L'Échelle Du Désir (F,2009)****

I skip a lot of so called progressive rock wishing to be reviewed or airplayed because in reality it is polished pop music or shines only from brushed ambitions but with a lack of background talent. Jack Dupon however shows brilliance with TALENT.

Influences include Zappa (the theatrical manner of presentation), Phish, Morphine (don’t know this band well really, should I?), King Crimson (the attention to guitar driven compositions), Caravan (the composed evolutions) and Primus (noticeable in some small funky bass effects now and then and in the song based approaches, with more rocking effects of the guitars).

Basically the guitars speak a lot, in duets and with harmonies, or with more layers, with large compositions divided in sections, themes, with different rhythmical ideas in each section, always well structured in the evolution. But even when the guitar compositions lead the ‘middle core’ section mostly, it is in fact the theatrical content that gives those a reason to live. With theatrically expressed vocals, solo or grouped, this sounds like a stage performance of people building up the more semi-improvised attention which are in fact always well composed sections. Most tracks are very long (the first track nearly 30 minutes) without feeling that way, because it feels that they are structured like theatre. On the fourth track there is some moodier guitar work and therefore this sounds more psychedelic than “progressive”. The last track seems to have hints to the Magma-cloned Kunjihyakkei (so a bit more R.I.O.), like a more technical progressive rock, but still evolves to a much calmer version than that.

For progressive and R.I.O. fans : highly recommended !

Audio on http://jack-dupon-rock-progressif.net/album.html & http://www.mindawn.com/...
Videos on http://vids.myspace.com/... & http://www.ourstage.com/...
Homepage : http://www.jackdupon.net/
& http://jack-dupon-rock-progressif.net/groupe-angl.html
& with audio on www.myspace.com/jackdupon
Intro : http://www.transitmusicgroup.com/jack_dupon.htm
Other review on http://www.proggnosis.com/PGRelease.asp?RID=28157
No-Fi Rec.      The One Ensemble Orchestra : Other Thunders (UK,2009)**°

I was becoming a fan of the One Ensemble, so I tried their latest one too. Because they mostly hold the middle between traditional melodies and free improvisation with it their sound had become attractively challenging. For this release Daniel padden assembled a septet : Giles Bailey : percussion, voice ; Becky Milne (nee Smith) : clarinet, bass clarinet, baritone sax, voice ; Peter Nicholson : cello, voice; Daniel Padden : guitar, piano, percussion, clarinet, voice ; Alex South : clarinet, bass clarinet, voice ; Aby Vulliamy : viola, accordian, voice and Thom Walker : percussion, voice. More contemporary elements this time and more freedom, for my taste already a bit too free because, at least after one listen only I don't feel any subject, or any conceptual direction other than improvised parts with slightly off key slow improvements of compositions, and communual singing which sometimes dominates the orchestra, or the solo cello. For the more advanced listener.. who also accepts a certain looseness in the melodic qualities of the playing.

Audio on http://digital.othermusic.com/... & with info : www.myspace.com/oneensemble 
Info : http://brainwashed.com/index.php?option=com_content&task=view&id=7440&Itemid=90
& http://brainwashed.com/common/htdocs/discog/neu013.php?site=padden08
or http://www.fortedistribution.co.uk/title.php?id=4944
& http://www.danielpadden.com/?page_id=8
Description : http://www.boomkat.com/item.cfm?id=166161
Previous releases reviewed on http://psychemusic.org/prog18.html#anchor_237
& http://psychemusic.org/prog11.html#anchor_166
& http://www.psychedelicfolk.com/acidfolkreview27.html#anchor_957see also next item ->
Dekorder Rec.      Daniel Padden : Pause For The Jet (UK,2007)***

What a strange but remarkable world. I guess this is also The One Ensemble but more focused on Daniel Padden’s leadership in the forming of ideas. 17 short but hanging well together tracks reveal a world of a different sort of expression, free but crawling towards melody, inventing sounds and finding a rhythm, repeating the found expressions a few times before moving forwards to something else, in song (distorted voice mostly) or with well assembled collage sounds around polyphonic frictions, at first greatly staying between electric distortion and acoustic bowed and plucked movements. Except the cello/violin, distinctive also is a bass clarinet, some kling klang percussion and bass drum, and just some group singing into the organic formings of melody. Special.

Audio : "Marseille Tape","Crow Crow Growth","English Again" & on http://www.juno.co.uk/...
Info & audio : http://www.myspace.com/danielpadden
Info : http://www.danielpadden.com/?page_id=10
& http://brainwashed.com/index.php?option=com_content&task=view&id=7077&Itemid=64
Label info : http://www.dekorder.com/026.html
& http://brainwashed.com/common/htdocs/discog/dekorder026.php?site=padden08
Review with audio : http://www.boomkat.com/item.cfm?id=114421
Other review : http://www.digitalisindustries.com/foxyd/reviews.php?which=3850
& label info http://www.soundohm.com/daniel-padden/pause-for-the-jet/dekorder/