Highly-acclaimed jazz-rock fusion from a British quartet of seasoned musicians--including Hugh Hopper.

1. "Illusion" (3:54) nicely-partitioned jazz-oriented rock music, drummer Nigel Morris and mutli-keyboard-playing Laurence Scott seem more deeply connected in keeping the rhythm track on a tightly-formed course while the disturbingly-distorted bass of Hugh Hopper and wah-wah-ed rhythmic guitar play of Gary Boyle seem to be the more adventurous and experimental explorers on top. I think I'm most impressed with Mr. Scott on this one. (8.875/10)

2. "Rangoon Creeper" (6:01) weird boring funk. Laurence Scott again gets the chance to show off his tow-handed skills. (8.5/10)

3. "Spanish Sun" (7:50) great display of Gary Boyle's technical skill on the John McLaughlin-like guitars (especially the electric). I like the minimal support from the other band members; the song could probably even exist without them but they add something (besides their solos). (13.5/15) 4. "Edorian" (2:01) seems like a reprise of the two opening songs--especially in the sound palette choices. I like the doubling up of the keys and guitars while Hugh Hopper just wanders off on his own--apparently as tripping and his fuzz-tone bass. (4.3333/5)

5. "Frog" (2:31) a MAHAVISHNU'/"Vashkar"-like song with more drugged-out bass but nice lead guitar over the tight rhythm section of Nigel and Laurence. (I guess I'd better get used to the fact that Hugh Hopper will never contribute to the rhythmic structure and linear pacing of any of these songs, that it is, in fact, keyboard player Laurence Scott that will be playing the role usually expected/relegated to the bass player in tandem/association with the drummer.) (8.75/10)

6. "Sliding Dogs / Lion Sandwich" (5:58) I can see the draw to this one: for the fine execution of its mathematical structure--especially as it gets complicated with multiple tracks moving in off-set rondo--but it's not my favorite style of jazz-rock fusion. (Plus, Hugh Hopper's bass sound is already driving me to distraction and dislike.) (9/10)

7. "Golden Section" (5:15) at least on this song Hugh Hopper is able to show off some skills despite his fuzz-tone bass as he mirrors Gary's melody lines over the opening 1:20. After that, there's really nothing very special here: just over extended Fender Rhodes play with some sometimes-interesting bass exploration beneath. Even the song's main theme is nothing to write home about. (8.75/10)

8. "Marin Country Girl "(2:10) delicate interplay between piano and guitar with minimal support from bass and drums. The bass play may even be a second guitar, not Hugh Hopper's bass (which is highly likely due to the fact that it is not electric). Very nice. (4.5/5)

9. "Lily Kong" (2:32) what starts out rather simply, as a fairly straightforward weave, turns more complex until it is rudely faded away from our listening capabilities. Foul! (4.5/5)

10. "Temper Tantrum" (3:46) two tracks dedicated to electric guitar, bass and drums mixed kind of to the rear, with panning/reverberating keys floating in the in-between, Gary establishes quite an awesome little duel/battle with himself--between the two guitars (one that reminds me quite a bit of the amazing future duel between Al Di Meola and Larry Coryell on Lenny White's "Prince of the Sea"). Now this is Jazz-Rock Fusion! Easily the best song on the album! (9.5/10)

Total Time: 51:58

The music here is definitely not connecting with me the way it has for many other music lovers. I am impressed with the sound and with the guitar playing of band leader Gary Boyle, but I do not find the compositions as substantive or dynamic as I like. And I absolutely do not understand the affinity to or allegiance to Hugh Hopper--whose obsession with the abhorrent sound created by the singular bass effect he seems so stubbornly attached to over the album's first seven songs is almost enough to drive me away; a keyboard could (and should) do the work that he is so praised for! Kudos to Laurence Scott for coming in from relative obscurity and holding his own next to these other giants.

B/four stars; an excellent if totally confusing and sometimes off-putting example of experimentation within the fairly- new Jazz-Rock Fusion genre of music.

The sophomore album release by the German guitar genius. All tracks are Volker Kriegel compositions except where noted.

1. "Slums on Wheels" (13:24) John Marshall is a beast on the drums from the get go on this J-RF rocker. Guitarist and band leader Volker Kriegel uses a DANNY KORTCHMAR "It's Too Late, Baby" style acoustic guitar solo in the Alan Skidmore's soprano sax play in the second movement is so dynamic and exciting! And let's not forget the extraordinary drum playing of Nucleus' own John Marshall! Eberhard Weber's bass play is fairly standard until the seventh minute when the band clears out and he's given solo time--then you know this is the one and only Eberhard Weber--two minutes he's given before the band slowly re- matriculates. The section that follows the bass solo is a bit odd--feeling meandering and out of place, and then Heinz Sauer's saxophone solo feels like it goes nowhere and never gels with the rest of the band, but at 12:15 there's a bit of a restart that helps the band to get back on track for the final minute. A truly remarkable multi-part song (or suite)! (28/30)

2. "The "E" Again" (6:36) tediously repetitious rhythm track over which everybody seems to get a turn to solo (except the bass and drummer). The loose, laid-back feeling coming from all of the song's performers is kind of cool, but then, after six minutes it proves to be overdone. (8.70/10)

3. "Zanzibar" (10:22) penned by Edu Lobo, this is a very catchy, melodic song that feels as if it's led by the big band-like horns. Great jazz funk bass play (in a style that I've never heard before from Eberhard) leads in over John Marshall's solid drumming over which Volker, then, takes the first extended solo on his jazz guitar. It's very GEROGE BENSON and Wes MONTGOMERY-like. From the 3:00 mark two tenor saxophones trade off the next solos. Again, these guys are very engaging and compelling (which is exceedingly rare for me: I am not nor have I ever been a fan of the saxophone). The grooving JAMES BROWN-like high-energy R&B jazz-rock fusion is so infectious! Amazing performances top to bottom! (19/20)

4. "Missing Link" (12:03) some wild and crazy sounds being emitted here from all the band members but I ultimately reject this song for its overly-repeated foundation and 1960s-sounding guitar solo. Great, creative performances on top, but way too simplistic and repetitive--even in the suite's different motifs. (21.75/25)

5. "Für Hector" (5:45) another hard-drivin' song based on a fairly rudimentary JAME BROWN-like rhythm track (and "Shaft"-like introductory hi-hat play) that somehow inspires stellar performances from all soloists as well as the rhythm-makers. It's like they're pretending to be the JBs only at 45rpm speed instead of 33! Has there ever been a rhythm section as tight as these guys? Eberhard Weber and John Marshall are extraordinary! (9.25/10)

6. "Remis" (4:26) a more Latin-based song that feels as if it came out of the Latin/Caribbean-crazed 1960s: 1960s hippie game show music! But so tightly performed! Very smooth, fluid jazz guitar play over acoustic rhythm section (and electric piano). (9/10)

7. "Tarang" (10:00) a composition credited to Eberhard Weber, it opens up sounding like something from the Far East (not quite Indian, perhaps SouthEast Asian). The sound palette is very cool; not what one would expect on an album that presented those first six very Western songs. It's not until the second half of the third minute that we begin to hear any instruments familiar to the Western ear: double bass, drums, acoustic guitar, and electric piano. The sixth and seventh minutes present a long nearly-alone Eberhard Weber solo with clay hand drums before Fender Rhodes and drums start to reinforce both the pace and the harmonic structure. Interesting and definitely engaging despite a kind of lack of melody and harmony. I like it! (17.75/20)

8. "Lastic Plemon" (5:21) another rampant-flowing R&B-based song in the James Brown tradition that flies along with everyone playing their 1960s parts. Well-orchestrated impeccably-performed song that never really grabs me. (8.875/10)

9. "Janellas Abertas" (4:09) a short little four-part Caetano Veloso composition with double bass and symphonic percussion beneath Volker's extraordinary Spanish-style nylon-string acoustic guitar play. John Taylor also gets some time in the spotlight with his electric piano in the third movement, but everything returns to Volker's lap for the final beautiful section. (8.875/10)

10. "Plonk Whenever" (4:06) another song that sends the musicians off to the races from the very start, arranged in some very complex "old jazz" forms and streams, sounding a lot like pre- or proto-Fusion Herbie, Wayne, Miles, Johnny Mac, and Tony. (8.875/10)

11. "Definitely Suspicious" (5:55) acoustic guitar and gang come up with a rock/pop like construct with a bit of Latin and psych flavor over which Volker's simple rock/psychedelic electric and acoustic guitars take turns soloing for the first three minutes. The styles seem to move fairly cleanly between rock, psych-rock, and blues-rock. Fender Rhodes solo from John Taylor in the fourth minute before we return to Eberhard excels in a Danny Thompson kind of way while this song makes it clear that John Marshall is really meant to be a Jazz-Rock Fusion guitarist (not pop or jazz). Catchy enough melodies that I could see this getting some radio air time (back in the day). (9/10)

12. "Finale" (0:10) Volker's cartoonish finish.

Total Time: 81:77

A much more jazz- and jazz-rock representative. The question is: How much of this album's superlatives are due to the guitarist, composer, and band leader and how much to the amazing all-star lineup he's enlisted in support? I mean, these collaborators keep performing at such a high level throughout the album (despite some weaker song foundations) that it's hard not to credit them, but could it also be the band leader's brilliant instruction and inspiring example motivating these amazing performances? Also, I must mention and commend the great sound the engineers and producers got out of this album. Also, I'm very much appreciative for this opportunity of seeing/hearing bass virtuoso Eberhard Weber in a far different light than anything I'd ever heard from him.

A-/five stars; a minor masterpiece of eclectic jazz, R&B, and Jazz-Rock Fusion pieces from a band of multiple virtuosi.

All I knew about 10CC back in the 70's was the songs I heard by them on the radio. So it was very surprising to listen this one for the first time. The witty lyrics, the quirky sounds, the vocal arrangements all bringing to mind either Frank Zappa or QUEEN much of the time. There are some inappropriate lyrics for sure and silliness rules the day here.

I don't remember hearing any of these songs back in the 70's although apparently "The Wall Street Shuffle" and "Silly Love" were released as singles. Honestly I will repeat myself a lot if I describe each track. Lots of piano, plenty of guitar, both upped by the vocals and silliness. "The Worst Band In The World" is a sarcastic track with the focus on the vocals and Zappa came to mind.

My least favourite song is "Hotel" for the lyrics and silliness. "Old Wise Men" isn't much better. I thought of QUEEN on "Somewhere In Hollywood" the longest track at over 6 minutes. "Baron Samedi" is a nervous sounding piece, quite jittery. Rough vocals at times. Zappa came to mind in spades on "The Sacro-Lliac" with those vocal arrangements. The closer has a country vibe to it and is a catchy vocal driven tune.

Not my music at all but I enjoyed spending time with it, a talented band. They were Neil Sedaka's backing band? Lol.

Swedish experimental Jazz-Rock Fusion with the help of Quartermass keyboard player Pete Robinson (later with Brand X).

1. "Bluegaloo" (6:25) a B+ funk track in a Herbie Hancock Headhunters style with successive solos from flute, electric guitar, drums and percussion, and electric piano (with flute and horn accents and embellishmnts). Nice jam with nice sound but there's really nothing very innovative from the soloists in terms of the sound or styles. (8.75/10)

2. "Woodchurch Sorceress "(1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)

3. "Kokt Tvätt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)

4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)

5. "Equator" (5:51) a quick-out-of-the-gate percussive sprint leads into a section of frenzy before the band finally settle into a still-frantically-paced and performed body akin to something John McLaughlin or Larry Coryell might have something to do with. Guitarist Janne Schaffer comes out of the first turn as the first true soloist before the percussion team takes over for a "solo" of their own. Then Pete Robinson, Janne Schaffer, and John Gustavsson start to trade barbs, back and forth, around the triangle, before settling into a side-by-side race of all-out soloing. The "chorus" brings the band back into harmony despite the frenetic energy feeding the soloing instincts of every one in the band. Wow! (9.25/10)

6. "Third Meter Stroll" (6:40) opens with lone bass acting as if he's trying to find his way through a cave system in the dark. Crazy-man Björn J'son Lindh joins in on his bat-fluttering flute while synthmeister Peter Robinson adds his own version of mammalian scurrying and fluttering action. The song goes on like this for the duration of the entire 6:40 as the hiker/spelunkerer continues down the tunnels on a steady if stop-and-go, look-and-listen, bump-and-learn mode. (8.875/10)

7. "The Visitor" (9:54) opening with an awesome deep thrum like the Talking Heads' "The Overload" within and over which guitar, percussionists, and wind instruments add their incidentals. Pretty cool--and, I'm sure, a lot of fun for the percussionists/sound effects artists! I wonder if Brian Eno or any of the Heads heard this song before heading into the Remain in Light sessions. (17.75/20)

Total Time 43:39

Interesting for the wide variety of Jazz-Rock Fusion styles adapted here as well as for the experimentalism used to try to create a variety of cinematic moods.

B+/four stars; an excellent collection of experimental Jazz-Rock Fusion songs and tracks. A very interesting listening experience!

For those who don't know him, Marco Minnemann is the drummer for the supergroup The Aristocrats (among others). He is a very complete musician, who participates in numerous projects and who offers with 'Their Colors Fade' his latest solo album in a Prog/Jazz/Metal style. On this one, in addition to the drums, Marco plays guitar, vocals, bass, keyboards, etc... Although the heart of his music is very anchored in rhythmic and percussive elements, this album surprises with its harmonic and melodic musical qualities, its diversity and its audacity.

From the first track "Egg Nog", the listener's bearings are disturbed. 8 minutes of polyrhythm, guitar and bass licks with a metal tendency, doubled vocals (male/female with Mikaela Attard ) with a strange melody. Not the most accessible song to open the album, but quite fascinating to dissect. And the icing on the cake: the participation of Alex Lifeson (Rush) on guitar?

Complete change of register on the very short instrumental "Mirrors" where Marco plays all the instruments showing his talents as a composer and performer.

"What do YOU ​​know?!" is a more traditional-looking song, almost pop, with an unexpected Hispanic vibe. On "The Ugliest Of Beasts" it is clearly the drummer who takes control for a jazz fusion track which seemed intended to be 100% instrumental until the arrival of a surprising female vocal. We are precisely in the part of the album devoted to the voice of Kendall Yates for a series of very pleasant songs.

Marco Minnemann is all alone again on "Fireflies", a powerful single that is reminiscent of Rush , including in the way he sings.

It is the beautiful voice of Pauline Cattiaux which takes over on the long development "To All New Ghosts In Town", a title with a very interesting rhythmic approach, listen to the implementation of the guitar and bass in relation to the drums, especially on the instrumental bridge.

"The Dark Side" is a jazzy ternary track with an experimental tendency with vocals that can be described as "Zappa-ian". So far, there haven't been too many electro elements, this happens with "Sailboats" which maintains a fairly dark atmosphere.

"I <3 My Shark" is a great success since it skillfully mixes Rock elements, an almost childish melody and lyrics, with complex orchestrations and brutal breaks.

Then comes "Calculator", a beautiful dark acoustic ballad which contrasts with the rest of the record. Jazz experimentation, superb brass parts, and poetry on the gripping "Glass Attack" which is a type of musical Happening.

A very beautiful piece with a silky arpeggio that calms the spirits, "Hope" brings a little light at the end of the album.

'Their Colors Fade' is a rich, complex, innovative album on which Marco Minnemann impresses with his qualities as a composer, singer, guitarist, and drummer of course. If you like adventure, a form of experimentation and don't fear complex rhythms, this record could appeal to you. The album is nevertheless a little long for my taste, since it displays 17 tracks for a duration of 1h12, but can you really blame a musician for being generous?

Review originally posted on www.progcritique.com.

If you are regular readers of ProgCritique, you know that the first part of the work devoted to Joseph by Neal Morse, namely 'The Dreamer ? Joseph: Part One', excited me. I invite you to go and read this column if you have not already done so. Some six months later, Neal returns with the second part of the project: 'The Restoration ? Joseph: Part Two', which constitutes the continuation and the end. The format is unchanged (concept album, rock opera, musical comedy, your choice), and the narration picks up where we left Joseph at the end of the first part, namely: at the bottom of the hole. We find in this second part many musical themes already present in part 1, but under slightly different arrangements. However, I find this one a little more Rock, a little more adventurous, and even more Prog, which is not to displease.

From the start of "Cosmic Mess", the instrumental virtuosity is there. Prog fans, settle in, you are at home here. Then the title takes a Rock turn with the arrival of Neal Morse 's singing lost in a reverb supposed to evoke the character's situation. The song is enhanced by dynamic brass parts and segues directly into the next "My Dream", where the trio D'Virgilio , Morse , Jennings is reconstituted (don't forget to listen to their album 'Sophomore'), for a set of high-level vocal jousts. Ross Jennings (Haken) stays on track for "Dreamer in the Jailhouse", a title still part of the Prog, dotted with interesting keyboard touches and some metal guitar insertions. The fervor does not diminish on "All Hail", which contains a bridge with a soaring 60s Psyche Rock atmosphere, and a finale which gains in intensity led by beautiful keyboards. A furious Prog title with vocal performances reminiscent of Gentle Giant, "The Argument" is a pure virtuoso demonstration and serves as a sort of introduction to "Make Like a Breeze", a resolutely Rock/Metal piece with the arrival of Ted Leonard on vocals and enhanced with grandiose organ and guitar parts.

The "Overture Reprise" reminds us of the opening theme of part 1, 'The Dreamer', then Neal Morse displays his talents as a composer on " I Hate My Brothers" which skillfully mixes Hard Rock guitars and brass. On "Guilty as Charged", we recognize the melody used on "Heaven in Charge Of Hell" from Part 1. It is from here that the two parts seem to begin to interact. The title also features a very beautiful string part, shifting the story to a more emotional angle. And on "Reckoning" it's the riff from "Gold Dust City" from 'The Dreamer' that emerges! Return of cannon vocals in Gentle Giant mode on the introduction of "Bring Ben", which then evolves into a more accessible Classic Rock style ā la Toto. Then comes "Freedom Road", a ballad in the purest Neal Morse style, emotionally charged, with the support of the strings.

Return of the melodic theme of "Heaven in Charge Of Hell" from 'The Dreamer' on "The Brothers Repent Joseph Revealed", an extremely rich piece with numerous reminders of themes and marked by very successful string and brass arrangements. "Restoration" leans for a moment towards Jazz and Samba and brings a little lightness to this end of the story via a style that recalls the luminous side of the Extreme group's album 'III Sides to Every Story'. On "Everlasting", it's party time for the reunion of a large part of the protagonists who embark on a sort of jam session. The story closes with "Dawning of a New Day (God Uses Everything for Good)" in which Neal Morse can freely deliver his message of hope by speaking directly to us. The title (and the entire work) ends in apotheosis with a very orchestrated crescendo and the repetition of the words "God uses everything, Everything for good".

That's it, end of story. In total, combining parts 1 and 2, Neal Morse offers 2 hours 20 minutes of high quality music, all in less than 6 months. It's incredible to see such creativity from such a prolific artist. Perhaps some will see it as the work of the hand of God. In a more Cartesian way, we can imagine that the musician finds the capacity to surpass himself by tackling a theme of such dimension and which is so close to his heart, as many other artists have done before him.

Review originally posted on www.progcritique.com.

Three years after their first record publication ('Fragments') Trifecta is back with 'The New Normal'. From the cover, the graphic codes of the first album are used, ensuring a beautiful coherence to the project: Three rectangular black and white photos of the members of the group on a plain background (changed from red to blue) dotted with a few stains. As a reminder, Trifecta is made up of three big names: Nick Beggs on bass, Craig Blundell on drums and Adam Holzman on keyboards. All three of them together accompanied Steven Wilson on stage for a time. Musically, the group favors short formats, less than 4 minutes (with one exception), based on grooves or Jazz-Rock inspired themes, to put it simply. 'The New Normal' thus offers no less than 19 titles constantly alternating styles and atmospheres in order, I suppose, to avoid boredom. So the album is (to use the metaphor of a famous American film) a bit like a box of chocolates: you find your favorite flavors there, those you like less, and consuming the whole thing at once can be turn out to be a bit nauseating.

The powerful funky groove of "Beck And Call" opens the hostilities in a Jazz-Rock style that smacks of the 70s. An almost danceable track that sets you up for the rest. Piano, double bass and brushes for the interlude "Dot Are You Wooing?" which sounds straight out of a live recording in a smoky Jazz club. "Stroboscopic Fennel" is, for its part, more surprising, since we are facing a kind of slam, but in an old-fashioned way, in the style of The Last Poets, on which Nick Beggs declaims his surrealist poetry. So British! "Just Feel It Karen" turns on a slightly twisted Latin groove, leaving room for some very inspired drum and bass interventions. Return of poetry and surrealism with "Sibling Rivalry" on which two brothers seem to compare their way of playing the Didgeridoo (!), the title then evolving into an ethno-electronica style (I'll let you judge the relevance of this term). We could discuss for hours about the gastronomic usefulness of the decorative salad, the song "Ornamental Lettuce" does not do anything superfluous, and goes straight to the point for a new frenzied Jazz-funk groove. And here is the longest track on the record (4 minutes and 11 seconds!) "Daddy Long Legs" on which Adam Holzman expresses all his talent for building atmospheres, finding sounds and breaks that surprise.

Return of British surrealism via the dialogue "What Are You Doing?" which ends with the word "Kajagoogoo" referring to the famous pop group of the 80s ("Too Shy", 1983) which included in its ranks a certain Nick Beggs , at the time when he wore his hair with firecracker. Did Trifecta attempt to land a pop hit with the clearly announced "Stupid Pop Song"? Not quite, since it's more of a bossa-nova ballad sung very second-rate, as you might have suspected. Return of the groove guided by inspired keyboards on "Crime Spree" and its 80s thriller atmosphere. The unexpected inspiration of JS Bach is very present on the successful "Bach Stabber", while "Kleptocrat" allows you to appreciate a groove more traditional around the drums-bass-piano core.

New song sung and luxury guest participation from Alex Lifeson (Rush) on the simple and effective "Once Around The Sun With You". "Chinese Fire Drill" won't come as much of a surprise since we're starting to know the recipe. Last interlude-sketch "Ouch! My OCD" leaves you perplexed, fortunately the alarm is sounded by "Wake Up Call" to restart the end of the album with its jazzy, airy, precise and powerful bass riff. And it's the bass that keeps the lead for the following track "Wacky Tobaccy" in the purest style of the group. The atmosphere calms down with the sung track "Canary In A Five And Dime" bringing a welcome slight melancholic touch which continues on the final track "On The Spectrum" and its Mike Oldfield-style atmosphere .

There is really something to do with this 'The New Normal' which, despite its title, evolves far from normality, or rather from current music standards. The talent of the three musicians is once again dazzling, and the disc emanates a pleasure from the trio in playing together their own style, anchored in the jazz of the pioneers spiced up with a good dose of British humor.

Review originally posted on www.progcritique.com.

LAGWBAT is a freaking masterpiece and one of the best rock albums of all time for me. Each song continues to grow on me, having been listening to it on repeat since 2022. This album is more nuanced and richer in every aspect, while the three preceding records are all uniquely amazing creations in their own right, this one feels - for lack of a better word - fuller. More evolved. More definitively Rishloo.

The songs Dead Rope Machine and Landmines are absolute jewels not only in the overall composition and execution but lyrically, they are deep, hard-hitting and quotable-unforgettable masterpieces. The melodic and heavy parts merge beautifully, ebbing and flowing together, leading the listener into the heart of each song - which, for me, is the deep well of emotion at its core. And for me, that's what makes Rishloo so special and original. It's --- uncontrived and full of heart and yet refined and poignant at the same time. That's what this album nails for Rishloo. Drew's vocals get better than they've ever been, *and that's saying something.*

I love every song on this album. Dark Charade, The Great Rain Beatle and Winslow are pretty heavy and gutting; they seem to have become my go-to angst anthems over time. On the other hand, take the song Salutations, or Radio --- clean, soft singing, and the overall production is so light while packing the gut-wrench at the same time. Or the beautiful demented vocal part in Winslow that goes: "See it for the shadowbox cannibal dance distraction, see it for the tiered smoke-and-mirror display, see it for the crimson neon-stained glass refraction, see it for what it is.. not what you want it to be" (actually typed this from memory) that haunts you long after you've listened to it. They seem to achieve this balance of lyricism and profundity and poise and straightforward brutality in this album, not to mention the sheer skill that each of the four musicians bring. I have no technical insight or comparisons to other bands to offer, and I believe not everyone enjoys or processes music predominantly that way. Really immerse in the songs, the entire composition and lyrics and the energy of it all, and if you're like me, you could never have enough of this album; or any previous work of Rishloo's for that matter, as they all plot the points of their journey, leading into ever more exquisite mindstreams and inimitable experiences with each song and album... getting us thoroughly jaded and melancholy-holic with this one.

And perhaps that is why their art, underrated and unpromoted as it's been, stands out like a monolith in prog rock for me --- it gets very personal, the emotions are intact, the whole output has its cohesion and integrity... and all the while the musicianship continues to blow my mind. Thank you, Rishloo.

For better or worse, the Sortie CD is the most easily accessible way to get a legitimate copy of the work of Cartoon, America's answer to Henry Cow or Samla Mammas Manna. For the most part, it's better, since you get almost - but not quite - the entirety of their two studio albums on one CD. The sole missing track is Trio from Music From Left Field - a lightweight bit of nothing which may well have been devised solely to round off side one of that album, which was otherwise mostly taken up with the 15 minute epic Quotes. The odds of an American band playing this sort of music having any sort of commercial success in the early 1980s was always going to be remote, but Cartoon's body of work is impressive enough to merit a critical rediscovery, and Sortie is the best presentation it had. It's also 30 years old - isn't it high time Cuneiform revisited this stuff?

Cartoon's debut album was impressive in part because they were able to give the impression of a sprawling lineup with just a trio to hand; for their second album, they add more personnel, but otherwise they still occupy the hinterland between Zappa, Canterbury, and the RIO scene. As the clown on the cover may suggest, the RIO side of their sound this time draws a little less on Henry Cow and a bit more on Samla Mammas Manna, due to a similar interest in working circus music into the equation, though for an idea of just how spawling their range of influences is just listen to the epic opener Quotes and see how many musical references you can find tucked in there. (They even start playing the piano opening to Lennon's Imagine at one point). Never reissued on CD in full, most of this can be found on the Sortie collection, which trims off the admittedly rather disposable Trio in order to fit this and the debut album onto one disc, but Sortie is some 30 years past at this point; surely a new reissue is overdue?