AURUM NOSTRUM

Paul Stump, in his 'The Music's All That Matters' (1997) notes the sexism underlying the entire history of Progressive Rock in which the role of women is primarily restricted to ornamentation or as interpreters rather than creators of the music. This suggestion conflicts somewhat with Macan's definition of Progressive Rock as, amongst other things, a interplay of 'feminine' and 'masculine' musical qualities. Several subsequent reviews of Macan's book were critical of his terminology suggesting that it revealed a gendered essentialism. Such comments, however, betray the reviewer's own patriarchal attitudes by assuming that we should read Macan's association between 'pastoral' soundscapes and 'femininity' in negative terms. Aurum Nostrum emphasises what Macan regards as the 'feminine' side of Progressive Rock recorded by a group in which two women play prominent musical roles beyond just providing the vocals. It is a gentle, accommodative album that invites listeners to share the musical experience with the performers rather than bombarding them with insistent riffs and sonic hooks. It is not an album that invites immediate appreciation for its warm and subtle harmonies and complex structures demand close attention and repeat hearing. But by accepting the album's 'feminine' aesthetic rather than hoping for the more 'masculine' bombast, fiery virtuoso displays and driving force common in much other Progressive Rock, any listen to the album can become a rewarding experience. Not that the album is by any means perfect. The music, for example, lacks the melodic 'punch' and dynamism which a more 'masculine' balance could bring to it. A warm, sensitive and welcoming album Aurum Nostrum most certainly is but listening to it is akin to spending time with a pleasant and gentle friend whose company after a period of time becomes a little dull.