Reviews roundup – Magnum ~ Rae Gordon Band ~ Udo Pannekeet ~ Sirkis/Bialas IQ ~ Yourenvy ~ Crypitus
MAGNUM
The Serpent Rings
Steamhammer / SPV
What’s this? Their 21st studio album? Is anyone keeping count?
Oddly the songwriting of Tony Clarkin has been on an up over the last few years after a run of middling releases and this late rich vein of form continues here. Of course it’s a Magnum album so you know exactly what you’re going to get and this is no exception to the rule.
There’s only two old timers left these days with Clarkin and vocalist Bob Catley still joined at the hip. The newest of the new boys is Dennis Ward on bass. An odd addition you’d think, what with his background. But he did play all the guitars on one of the Bob Catley solo albums so there is some form there. And (whisper it) but he’s a really good singer which will probably help on tour.
Yes, the voice. The last couple of times I saw Magnum live it was obvious that Bob Catley struggles in concert. But this is a studio recording and he uses a much lower register than ever before with even the odd growl sneaking in. It works. For sure the high notes are a thing of the past but he acquits himself well here.
You’re getting the usual mixture of sterling riffs, quality orchestration and even some rather interesting brass arrangements. Yes, you read that right. The best songs can hold their head up amongst the many classics Magnum have delivered over the years with the title track, ‘Madman Or Messiah’ and ‘House Of Kings’ early favourites. Although a lot of the album does trot along in a similar groove this is another record that the Magnum faithful can clasp to their hearts.
RAE GORDON BAND
Wrong Kind Of Love
independent
Album number four from the Rae Gordon Band, the finest blues band in all of Portland, Oregon. So I’m told. And it’s not that I’m bitter about the fact that I’ve just returned from three weeks in Oregon including a few days in Portland, only to return to this. Gits.
It’s a splendid release despite my grunts in the corner, all original material with a lot of the tunes coming from the pen of keyboardist Pat McDougall. The rest of the band comprises Rae Gordon on lead vocals, Kivett Bednar on guitar, vocals and production, Joseph Conrad on bass (not that one), Ed Pierce on drums, Allan Kalik on trumpet, and Scott Franklin on saxophone.
Things kick off with the funky, keyboard driven ‘Comin’ Back For More’. The horns punch hard and Ms Gordon throws in some excellent vocals. It’s a fine start to a really enjoyable set which is chock full of memorable hooks, quality songs and outstanding musicianship. Ms Gordon can belt but she can also take you down as on the delightful ‘How You Gonna’. As someone who has been known to spend far too much time in licensed premises I was also taken with the splendid up tempo romp of ‘Might As Well Be You’, a song that really makes me feel proud of my life.
The production is fabulous and the sparkles of keyboards that wash through the songs really lifts the already strong material. She’s already won a barrel full of awards and based on this, there’s plenty more to come. Now the hell do I get back to Oregon?
UDO PANNEKEET
Electric Regions
In And Out Of Focus Music
Somewhere there is a sepia tinged, slightly out of sync, 1970s cop movie, long out of print, in need of a soundtrack. Here it is.
Yes, Focus bass player Udo Pannekeet has an album out and it’s chock full of seventies styled prog meets jazz fusion, the like of which used to adorn Serpico rip offs. Oh, and I should point out, that’s a good thing.
It’s never easy listening but you got the odd melody burbling away deep in the mix which gives you something to hold on to. There are King Crimson bits, there are Canterbury bits and there are Udo Pannekeet bits. Obviously he’s a bass player so it’s no surprise that the bass is well up in the mix. But he’s also a jazz fusion prog bass player so there are a lot of very interesting things going on.
Musically, the highlight has to be the almost title rack ‘Electric Regions Part 1’ which stretches out in all sorts of remarkable directions across, wait for it, 23 minutes. Yes indeed prog fans. This is a place for you. The other tunes are short and sometimes sound slightly incomplete but even there the musical motifs are well worth hearing.
It’s a fair way away from his day job but that’s the whole point of making a solo record. It’s always interesting and sometimes challenging.
https://udopannekeet.bandcamp.com
SIRKIS/BIALIS IQ
Our New Earth
MoonJune
Right settle down folks. This is a double album from the band formerly known as the Sirkis/Bialas International Quartet.
It’s a few years since their debut album, “Come To Me”, but the composition meets improv jazz rock that leapt out of that release is still very much in evidence. They’re also still international with a Scot replacing an American alongside an Israeli, a Pole and an Englishman. I’m most familiar with the work of Asaf Sirkis whose guitar has enlivened a good few MoonJune releases over the years. But here he largely eschews any pyrotechnics in favour of centering the ensemble.
The vocals of Sylwia Bialas also place themselves as an instrument rather than trying to sit over the music in the manner of a traditional singer. It all works very well with the intricacies of the music constantly making your ears prick up. Musically they like to go to different places which explains the appearance of a church organ, waterphone, crotales and konnakol. That’s something that brings a whole new palette to the rhythmic and percussive array on offer.
You’ll be delighted to know that the 85 minutes form a concept piece with the band saying “The message behind Our New Earth is reflecting the drastic changes we are currently experiencing individually and collectively world-wide with the prevailing of technology, social media, and many other issues.” So now you know what they’re on about as they take an invigorating approach to modern jazz, fusion and all points inbetween.
It’s not just me as they have some high powered fans with Bill Bruford writing the liner notes so you should realise that there is lot to listen to here. Best of all is the start to disc two where ‘Rooting’ and the title track really define the originality that the IQ are aiming for. A splendid offering.
https://asafsirkis-moonjune.bandcamp.com
YOURENVY
The Garden
S Sherwood Music
Hello! This is rather good. If rather old fashioned. A bit like me.
It’s an odd mix of grungey, prog orchestrated melodic rock. Which sounds like it shouldn’t work. But it does. It’s the brainchild of Canadian multi-instrumentalist Shawn Sherwood who has been plying his trade since the nineties although this is only his second album proper.
The original band punted out a series of demos but it took a long time and a lot of lineup changes before a debut came out. Naturally the lineup has changed again with Michael Gildner taking over on vocals. And he has the perfect voice for the Alice In Chains vibe that resonates through a lot of the songs. Even when they get really proggy he just has the right timbre. So try and hold on to him!
The arrangements are almost symphonic in style but there is usually a really good song lurking underneath. You can imagine them being stripped back to an acoustic guitar ans still sounding good. Which is surprisingly rare. Oh! I’ve just got to the end of the records and there are two acoustic versions here. And they work! Huzzah. Luckily for me it’s two of the best tracks. The title track and the stunning ‘Forgotten’. A song I will gladly listen to over and over again.
You can tell that Sherwood has spent a lot of time in a recording studio as his production puts many a major act to shame. The songs have depth, warmth and emotion and it’s just a damn shame this won’t be heard by enough people. It should be as it’s strong enough to be played on any modern or classic rock radio station. But if you’re reading this, do yourself a favour and seek it out. You won’t regret it.
CRYPITUS
Ill World (That’s What You Get)
independent
Some proper metal now.
A relatively new band from Vermont they’ve attracted some demo attention but this is their debut album proper.
It’s only six tracks but they’re in no hurry with most of the songs clocking in around the six minute mark and one heading nine minutesward. That can be a strength if you’ve got the chops to pull it off. In places Crypitus do but not on every tune.
Me, I like some shredding thrash meets death guitars as much as the next long haired tattooed fella but on a couple of tunes it sounds like shredding for the sake of it. But there are enough moments of interest here to make Crypitus a promising proposition.
They mix up all the major components of metal but then you’ll hear some jazzy drum fills in the middle of a Kill Em All type riff and you realise there is inventiveness here. For sure, the vocals could do with some work but of prog death thrash jazz were a thing then this would be it. If you want to get a flavour before buying then give ‘Symphony #1’ below a spin. That should give you a damn good idea of where this extremely adventurous band could go. And you’ll want to be there.
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