THE ARISTOCRATS

I have had the pleasure of seeing Marco Minnemann live, and while he was earning that "over-drummer" tag during that show, it's hard to complain when he may be the best drummer on the planet. Best drum performance I've seen and heard live. And Marco came up with the idea of the duck story here. Bryan Beller is a beast I must say, one of the best bassists going these days. And Guthrie Govan certainly sounds like a Holdsworth fan. He has a lot of tricks in that playbook of his.

I read this quote from Guthrie on Holdsworth. "I consider his work to be every bit as revolutionary as that of jazz legends Charlie Parker and John Coltrane... evidently not content with redefining what was possible on the guitar, he also managed to rewrite pretty much the whole of music theory, coming up with all manner of chord voicings which had never been heard before and then concocting brand new scales to compliment them". Allan might have been the greatest musician ever. Subjective yes. But no one has done this with their instrument. All have been influenced by those who went before them. Not Holdsworth.

So we get about an hour of music here with each member contributing three tracks. This is a consistent record and I might add that the production could not be more perfect. It was tough to pick favs here because it is so consistent, but there's one track that stood out for me above the rest and that's "Slideshow" composed by Guthrie Govan. There's some beauty on this track starting around 1 1/2 minutes, spacey even. But like with all their music, they contrast well, and repeat themes, making it interesting and adventerous. Love the bass before 4 minutes and the heaviness a minute later.

I like the sampled sounds to start "Here Come The Builders" that reminds me that this is a concept album. Hearing the sounds of a neighbourhood. The one song I'm so-so on is the closer. It's because of the guest violinist who brings an ethnic vibe with it. Quite different from their previous record where there was a twenty something string orchestra helping out. I don't skip it, it's just not on the level of the rest in my opinion. It's a good song.

So a solid 4 stars for "Duck" and I will be paying more attention to the projects that these three are on moving forward, including of course future THE ARISTOCRATS releases. And I wouldn't be surprised if concept albums are their thing in the future, it gives some guidance when you're making instrumental music.

Before I purchased this cd I did read that quote above which was enough for me to take a chance on this. I'm just not the biggest fan of orchestral music in my cereal. The band picked nine tracks, three compositions each from this trio, from earlier albums. Then they were given the makeover. "We are truly proud of the way this project turned out... and we're profoundly grateful that serendipity somehow brought us all together for this collaboration. Enjoy!"

There's an insert with a picture of Wojtek on his keyboard composing, as well as Lukasz Blaszczyk the orchestra director. Then photos of 22 string players, both male and female all looking like students. Wearing black and holding their instruments. Plus a separate picture of an oboe player, and some pictures of them performing in the studio. A project like this just makes me smile. Like the collaboration of two different musical worlds. Still, the question is, is this any good?

Well I checked five of the nine songs as being outstanding, so yes! I'm not big on the 69 minute running time, but minor flaws aside this really worked out well. In my mind I was hoping that THE ARISTOCRATS would be themselves here, and that the orchestra would match their intensity blow for blow. I was thinking what if the string players from RATIONAL DIET'S "At Work" album played with this trio. Imagine the fire! The intensity would be off the charts. No this doesn't live up to that dream, but it gets close at times.

My top five includes the two closing songs pus tracks three to five. The opening two along with tracks six and seven are good, but not on the same level in my opinion of the five. I really enjoyed this, this past week. In fact I played it back to back a couple of times. I think the pig likes it too! I was surprised to see Darran Charles mentioned in the thankyou section. It's the only name I recognized, and he's the lead guitarist for GODSTICKS, and he has collaborated with THE PINEAPPLE THIEF.

1. "Hey, Where's MY Drink Package?" (7:01) A quirky fun song with astonishing musicianship that twists and turns as if the band members were racing through the streets of a Renaissance-designed city. A top three song. (14/15)

2. "Aristoclub" (4:48) (8.875/10) 3. "Sgt. Rockhopper" (5:51) (8.875/10)

4. "Sittin' with a Duck on a Bay" (7:21) an entertaining display of familiar riffs and phrases strung along with virtuosic ease and effortlessness. A couple of the passages are even kind of cool--something the likes of Randy Bachman and Jeff Beck would even envy. (13.375/15)

5. "Here Come the Builders" (6:16) more blues-rock-based music with an endless string of regurgitated riffs based on the memorable earworms from our musical heritage. I don't really like the song but I cannot deny the talents on display. Amazing. (9/10)

6. "Muddle Through" (7:01) could very well have been a song from Steve Vai's most recent album. A very good song with lots of space to allow the listener to appreciate the remarkable subtleties routinely employed by these virtuosi. (13.75/15)

7. "Slideshow" (7:15) opens sounding like something light and delightful from a MONOBODY album, Marco and Bryan turn it into something a little more rock/prog rockish. Te third motif in the third minute, then, is a little spotlight back to Robert Fripp and King Crimson: a melodic guitar line within a Belew-Fripp-Levin-like weave that Robert, I think, would kill to know he could create. Guthrie's guitar solo in the fifth minute is more rock standard, but then the band goes heavy power chord like Tears For Fears did on Sowing The Seeds. The finish finds the boys reverting to the MONOBODY-like Post Rock. Definitely a top three song for me. (14.25/15)

8. "And then there Were Just Us/Duck's End" (9:04) opening with a Southern guitar rock sound like The Outlaws or Jared Leach's GHOST MEDICINE, the band then turns down a mellower side road--kind of a CHRIS REA guitar-centric Smooth Jazz path. Then in the third minute Guthrie takes on a WES MONTGOMERY jazz guitar style before Bryan is allowed to express a little at the end of the minute. Then there is a crazy wah-wah-pedal solo that STEVE VAI could've/would've done before a bridge of chord repetitions and progressions holds space for Marco to show off a little. Back to the Chris Rea/Bruce Cockburn palette for the sixth and seventh minutes before a pause at 6:50 allows a reset into the opening Southern Rock world--with bassist Bryan Beller really knocking the sound out of the park here while Marco does what Marco does (impeccably). My other top three. (18.75/20)

9. "This is Not Scrotum" (5:06) a Spaghetti Western? No, it's a klezmer tune! A klezmer tune with amazing musicianship (ncluding the multiple violin play of guest Rusanda Panfili). Great fun! (9/10)

As accomplished as these musicians are--and as sophisticated these songs are--I'm not much of a fan of this kind of heavy blues-jazz-rock music, and yet I cannot deny the "Wow!" factor that these guys' performances evoke from me: all three of them; multiple times in each and every song! There is no better guitarist on the planet right now than Guthrie Govan, there is probably no better drummer on the planet right now than Marco Minneman, and this bass player really impresses. It's too bad that all of the music here seems to draw from already-familiar, previously rendered sounds, riffs, forms, and structures as it seems that the possibilities for the creation of new music with these guys is totally possible: they have the talent and skill and understanding to go "where no one has gone before." But, other than piecing together their own unique and unusual collages of song bits, they don't. At the same time the boys owe so much to the masters of the past--especially the likes of Jeff Beck, Tony Levin, Steve Vai, Stevie Ray Vaughan, and Vinnie Colaiuta.

A-/five stars; a minor masterpiece of stunning musicianship from three of the 21st Century's most virtuosic instrumentalists. Despite the fact that I don't always like the musical sounds, styles, or palettes presented here, I can only recommend this album very highly to any music lover.

Govan is allowed to show off his rock skills, often laying down very heavy material, while Bryan and Marco come to the music from a jazz style, and they meet somewhere in the middle. If that is not enough there is a sense of humour through what they do, and one can just hear the smiles on the faces of all those involved. One might think that when music is as complex as this that it will not be commercial, but it is incredible in the way they combine to produce music which is thoroughly enjoyable the first time it is played. Apparently the concept behind this is about a duck coming to the USA for the first time, and the cover shows a duck looking very much out of water. However, I must confess to thinking that the guys have missed a trick, as one of the greatest cult movies of all time also features a duck ending up in a strange place, and while there is room for "Sittin' with a Duck on a Bay" and "Duck's End" surely we could have had a spoof on the theme of "Howard The Duck"?

Even with that omission, there is no doubt that here is a stunning album where three guys are having fun together in a manner which is structured yet playful, easy to listen but the absolute devil to play, demonstrating it is perfectly fine to have fun while producing some of the most serious music around. Heavy Prog which contains elements of JRF and Canterbury with Eclectic also getting a look in, this is a standout release from the first note to the very last. ProgArchives currently this at #3 in the best albums of 2024, the #1 instrumental release, and rightly so.

The band's sound is a skillful fusion of various musical styles, including progressive rock, fusion, jazz, and elements of metal. The band stands out not only for its complex and sophisticated compositions but also for the relaxed and humorous approach that permeates their music. Their blend of sounds results in a diverse and highly interesting listening experience. The intense moments of metal are balanced by smooth and melodic passages influenced by jazz and fusion, creating a dynamic musical experience.

The Aristocrats are also known for their live shows, which highlight their incredible technical skill and creative spontaneity. Their performances are truly unique and engaging, offering the audience an intense and dynamic musical experience. One of the most striking features of the band's shows is the impressive amount of improvisation among the members. Each musician demonstrates exceptional mastery of their instruments, exploring new musical ideas during live performances.

"Duck," the band's sixth studio album, is a record that truly encapsulates all the greatest and best characteristics of the trio. At nearly 60 minutes long, the album unfolds as a work where not a single second is wasted; everything is worthwhile. Each track is an impressive display of musical solidity and creativity, with sensational production that elevates the listening experience to another level. From intricate, nuanced compositions to moments of pure energy and virtuosity, every song is a carefully crafted piece that contributes to the cohesive and engaging whole of the album.

One of the reasons I find "Duck" such a special album is its ability to offer something new with each listen. As listeners delve into the deep layers and subtle details of the compositions, they discover new elements and gain an even greater appreciation for the complexity and beauty of the record. The production is also wonderful, with each instrument skillfully mixed and balanced, allowing each part of the trio to shine in its moment. The sound quality is impeccable, providing an incredibly immersive listening experience.

This album is a true gem, simple and easy to absorb, yet it possesses a depth and complexity that make it even more captivating. It is highly listenable, meaning it is accessible and engaging for a wide range of listeners, regardless of their familiarity with the genre it delivers. However, it's important to clarify that the album's simplicity should not be confused with superficiality; in fact, it's quite the opposite. Each track is carefully crafted and refined, with melodies that immediately stand out and remain memorable. The music flows naturally and seamlessly, creating a highly cohesive listening experience.

As the listener enjoys the album, it's natural for them to develop a personal inclination towards one of the three musicians, based on their styles and individual contributions to the album's music. However, when we speak of the musical essence of "Duck," it's in the interaction of the three where the most incredible results lie. It's fascinating to witness how they complement each other so well, each bringing their own skill and personality to the creation of the album as a whole.

In conclusion, "Duck" is an exceptional album, full of passion, soul, and a lot of fun, which certainly holds the potential to captivate any lover of masterfully crafted instrumental music. The infectious energy and creativity of the album make it an essential addition to any music collection in the genre. Each track is a unique and engaging experience, reflecting the exceptional skill and dedication of each of these three wizards behind its creation.

Together this trio has been cranking out a series of high quality innovative instrumental albums ever since and with the release of its latest whimsical titled album DUCK, is showing no signs of fatigue or burning out anytime soon. And what an album title! As evidenced by the salacious double-entendre track titles, THE ARISTROCRATS continues to exhibit a sense of playfulness and whimsy not experienced since the classic years of Frank Zappa or England's Canterbury Scene. The concept behind this album was quite a fluke as old demo titled "Sittin' With A Duck On A Bay" suddenly spawned an entire flurry of inspiration that led to the concept of a tale of a DUCK who decidedly takes a trip thousands of miles from his small island home only to find himself in the USA, a tale that emulates Guthrie Govan's own process of relocating from his native England to the sunny coastal region of Southern California.

With a propensity for frisky grooves and waggish syncopations that frolic about under the guise of heavy guitar-based prog rock in cahoots with the wily world of jazz-based fusion, THE ARITROCRATS are seasoned stalwarts of crafting a distinguished potpourri of musical components into a meaningful romp through nine tracks that just miss an hour's run of playing time. While the musical output is quite minimalist with a mere guitar, bass and drums in full creative engagement, DUCK finds a surprise cameo of Moldovan born Rusanda Panfili contributing a violin performance on the closing "This Is Not Scrotum." While known as a captivating and mesmerizing live outfit, THE ARISTOCRATS are equally adept in crafting studio creations that exhibit an exuberant flow of creative prowess that combines the world of jazz, boogie rock, prog and the occasional excursion into a more exotic musical endeavor.

DUCK is the kind of album that sucks you in from the getgo and never let's you drop out for a breather. The creative infusion that these three musicians suffuse through every measure, meter, cadence, motif and decorative musical passage is nothing more than amazing in how it all ties together. Maintaining a firm control of tight grooves, clever interludes, sizzling soloing skills and an above average compositional fortitude, THE ARISTROCATS has miraculously transmogrified a chance performance some 13 years ago into a veritable career of crafty cleverness that finds its imaginative efforts continuing to blossom in ever expanding bouts of plucky stoutheartedness. With a keen sense of keeping things from growing stale, DUCK delivers the ultimate musical anatine migration narrative for an excursion into the world of instrumental heavy jazz-fusion rock.

Great compositions with enough twists and turns to spice things up for an hour's run, DUCK is indeed a testament to a power trio that has staying power and an apparent abundance of resourceful inspiration. DUCK really does deliver a beautiful set of innovative ingenuity that is engaging and best of all vivacious, flirtatious and spirited in ways that keep the band a notch above the competition. From the feisty opening cleverly syncopated "Hey, Where's MY Drink Package?" to the closing Moldovan gypsy folk infused "This Is Not Scrotum" with its savory touch of Eastern exoticism, DUCK is a refreshing slice of primo power trio prog that is uncompromising and instantly endearing.

So, on "Hey, Where's MY Drink Package?" our web-footed hero, a bit tipsy, gets ejected manu-militari from a bar which refuses to serve him. The track begins with drums which set the groove, then the guitar and bass arrive for a heavy riff as desired. The rest, rhythmically complex without seeming as it always is with the group, sometimes evolves towards Funk, Jazz or Metal. It's disconcertingly virtuosic and relaxed, another trademark of the trio.

Head to the entrance of a select club with "Aristoclub". One of my favorite tracks on the record, with its dance/disco rhythm, its guitar intro shot and its singing theme. As with all the tracks on the album, I can't tell if Guthrie Govan 's solo is entirely improvised or written, as it is fluid, technical and melodic at the same time.

And here comes the police penguin in the person of "Sgt. Rockhopper". The piece is very marked Rock and offers a new demonstration by Guthrie Govan who splashes the title of his game as original as it is breathtaking. "Sittin' With A Duck On A Bay", a humorous nod to Otis Redding , is a more sedate and indeed a little more soulful track. The song gains intensity little by little with its Wah-Wah guitar (as if to make the duck talk), its rhythmic breaks and its bass which takes unexpected liberties.

Construction equipment breaks the pastoral atmosphere at the beginning of "Here Come The Builders", before giving way to a kind of Boogie-Blues, with Aristocrats flavor of course. Nocturnal, sweaty and urban atmosphere in the style of "NYPD Blue" for "Muddle Through", a track written by bassist Bryan Beller , even if his instrument is not the most highlighted. "Slideshow" is another one of my favorites. The double tapping on the guitar, the bass which evokes Africa, the beautiful melodic passages, make it an unstoppable success. New humorous nod (to Genesis this time) with "And Then There Were Just Us/Duck's End" ("?and then there were three?"/"Duke's End"). The piece, subject to numerous changes, can indeed evoke the British formation directly or indirectly.

The album ends with the very first collaboration in The Aristocrats discography . "This Is Not Scrotum" (?) welcomes Rusanda Panfili and her violin for a festive track with an Eastern European atmosphere. A final snub for those who would like to lock the group into a very specific style.

Being an admirer of The Aristocrats, this new release perfectly meets my expectations. Even if it is better to be a customer of this type of entirely instrumental music, let us recognize that in this style they are untouchable today. Benefiting from a slightly crazy concept, but very representative of the sense of humor of the members of the group, 'DUCK' displays a beautiful cohesion and a certain unity which make it (for my taste) their best album to date.

Review originally posted on www.progcritique.com.

This is their fifth studio release and it's killer. It clocks in at 59:41 and not one second is wasted. I loved it instantly and "Duck" just gets better after each listen. Not only is it a very lively and playful collection of songs, but I've never heard them tighter or more confident. Every track is solid, the production is excellent, and the artwork is super cool. There is also a guest violinist on the last tune.

"Duck" is an album full of passion, soul, and fun that should be heard by all music lovers. This puts the bar pretty high to top for album of the year. A release worthy of five stars. Thanks guys!

2013's "Culture Clash" sets the mood by showing the symbiosis that an orchestra can bring to a rock band; more syrupy jazzy variation, highlighting the guitar and rhythmic bass juggling with the classical orchestration of the strings; we come back to the psychedelic jazz of the MAHAVISHU ORCHESTRA. The battery sawed by violins and a disconcertingly fresh title. "Stupid 7" follows on a tonic register where nervousness and breaks with the strings hit the mark, perhaps even too much because too short. "The Ballad of Bonnie and Clyde" and its classic intro with killer violins is a good thing, for a meditative journey eyeing intimate blues; the story is indeed that of pigs, to be taken in the 1st or 2nd degree with the legendary bandits; grandiloquent air for that, sinister and jovial as they loved each other before they were renegades. The final fusion makes it a Dantesque musical firework. "Dance of the Aristocrats" revamped synth, electro, vitaminized like a completely crazy VAI and RETURN TO FOREVER fusion; the nervous violins responding to the bass and a guitar solo by Guthrie assassin for the end.

"Through the Flower" masterpiece hard prog bluesy highlighting the three friends with the chamber orchestra 'furnishing' and revisiting the musical score to bring more warmth; long title with a bewitching atmosphere which passes easily like on those of BUCKETHEAD in bluesy-stoner mode; it vibrates and Guthrie blasts the air in a deafening finale of re-creativity.

"All Said and Done" with a pizzicato as an appetizer, a title where PRIMUZ steals the show with its presence, the musicians seeming to step back to show themselves only by solo touches including that of Bryan then Guthrie whirling. "Jack's Back" with twirling wisps of strings, leaping violin and near-perfect osmosis with the rock instruments that come stealthily and surgically; at 5 minutes it is dark and sinister chamber music like on a bald mountain! Yes, this association makes it possible to amplify the titles (I made the effort to re-listen to them originally) and this replay increases the ARISTOCRATS sound tenfold. "Ohhhh Noooo" for the fusion of the different musicians supported by a flight of violins for a long crescendo interspersed with dithyrambic bows; at this moment it is clear that it is indeed hard Rock, prog or bluesy which takes control of the jazzy velvets. "Last Orders" to conclude with the finally progressive bucolic piece in view of this oboe, this clarinet, these violins, this baroque atmosphere of the last title of 2019. Calm, pastoral, moving title declining as a perfect sweetness and a hot break on trumpets before Guthrie's guitar puts on a show; it goes down as if this break had not taken place, am I hypnotized? The second bluesy solo brings its final touch of emotion.

THE ARISTOCRATS have therefore taken the step of falling in love for the time of an album with the association with a classical orchestra; an alchemy that passes perfectly in view of the style they offer, its merged and merging breaker of drawers. Shocking art rock that boosts THE ARISTOCRATS sound, which shows that music is universal, which allows you to review the discography of the said group before ironing this unique album made of magnified covers. Album reminiscent of a new album in fact. Album leading to meditation and daydreaming, with a frantic and alkaline rhythm, a musical paradigm in all its probity.

1. "D-Grade Fuck Movie Jam" (6:31) 70s-ish guitar pyrotechnics with strums and wah pedal while the rhythm section holds steady beneath. Sounds like 1970s Jeff Beck, Alvin Lee, or Rory Gallagher. (9/10)

2. "Spanish Eddie" (6:56) opens with some very fast guitar arpeggiations tightly wound with bass and fairly laid-back though mirroring drums. To my ears, the "Spanish" element has more to do with a similarity of sound and style to some of AL DI MEOLA's work over the years. Turns into a flashy 1960s blues rocker in the middle before using a Spanish chord strum sequence to bridge into an onslaught of heavy Southern rock. (13.5/15)

3. "When We All Come Together" (6:16) opens like an old ADRIAN BELEW and/or MARK KNOPFLER Mississippi blues railroad rock song. Admirable skill (8.25/10)

4. "All Said And Done" (4:43) another display of Guthrie Govan's surprising penchant for southern rock country blues. A Charlie Daniels or LYNNYRD SKYNYRD tribute! (8/10)

5. "Terrible Lizard" (6:30) lumbering, lurching, squealing, screaming music to fulfill the song's title. Nice team work on this technically demanding composition. The second half is more Guthrie's show piece over the restraint of the others. (8.5/10)

6. "Spiritus Cactus" (5:59) last time I heard jazz fusion like this it was in 1977 at the hands of Jeff Beck and Jan Hammer in an antiquated music hall whose ceiling plaster was falling on stage whenever Jan hit some outrageously deep bass note on his shoulder-strapped Lync keyboard. (8.75/10)

7. "The Ballad Of Bonnie And Clyde" (7:37) a rocker in the Steve Vai vein that sounds all-too familiar on many counts: style, sound, rhythm structure, and melody. (12/15)

8. "Burial At Sea" (6:35) very pleasant aquatic opening with strumming guitar, warbling low-end bass, but breaks into full-on heavy prog guitar play at the one minute mark. Microtonal guitar notes separate the full-body of the section in which female vocals seem to sing "fa-fa-fa-fa." Back and forth between heavy and delicate with some nice guitar soloing in the fourth minute. (8.75/10)

9. "Last Orders" (8:32) a gentle blues-jazz piece sounding like something from DIRE STRAITS, HIRAM BULLOCK, or JAN AKKERMAN. Fine craftsmanship from the two strings players over the first three minutes. Then things amp up into more of a display of premier 1980s metal works for a minute before returning to the soft fluid sounds of the opening three. A full-on Mark KNOPFLER display beginning at the end of the fifth minute. Nice! (18/20)

Total time 59:39

The lessons herein are that these are three fine musicians--especially that man of many hats and styles, Guthrie Govan.

Four stars; an excellent collection skillfully performed, wildly varied music that we'll call "progressive rock" for lack of a better term--none of which is really my cup of tea anymore. (World-blues-jazz-rock-metal fusion?)