ZERO ACTS 3&4

[Originally published at The Progressive Aspect]

I have been struggling to write this review for some months now, not because I can't think of anything positive to say, but simply because I have found it difficult to review the final acts of Laughing Stock's Zero without spoilers. I very much followed the story of Zero in my review of Acts 1 & 2, because in common with the first acts of any tragedy they had a sad inevitability in the way they played out. It didn't feel in any way or at any time that I might be spoiling the experience of anyone listening for the first time, nor revealing anything that might ruin any surprise. There were no surprises. Zero's childhood played out in that sadly predictable way, and it felt right to reflect that in my review. Even though Act 2 ends with quite an impressive climax that sets up the listener for the following acts, it didn't feel wrong to express how that climactic point was reached.

Acts 3 & 4 provide far more mystery. Before listening to a note of Zero, Acts 1 & 2 I had a very good idea of how the story would go, and while I could obviously never know the exact plot and storyline, it did follow the expected tropes. Act 2 had a very open end, though. The childhood of any Zero might be somewhat predictable, but what happens a few years down the line is near impossible to guess. Hence my dilemma, as describing any of the music or vocals for Acts 3 & 4 holds the danger of giving too much away ? and I don't want to give anything away. So apologies if this review feels somewhat vague. It's deliberate, and to my mind, necessary. What I can say is that, like the first parts, Acts 3 & 4 are like a curious and wonderful melange of Talk Talk and Pink Floyd ? both musically and vocally. Now, in the words of Laughing Stock:

"Years have gone by, and Zero has become a young adult. But when you feel like a zero, invisible even to yourself, what does the future have in store for you? A world mostly lived inside his own mind, surrounded by four walls and not much more. All this is about to change the day Zero is woken up by heavy knocking on the door."

ACT 3

Those four walls that surround Zero make up much of Acts 3 & 4, both literally and metaphorically. There is often a sense of claustrophobia in the music, of being locked in, and occasionally longing for freedom. Indeed, in the opening number of Act 3, it is a sort of freedom that Zero seeks, in the manner that he reacts to the person who is knocking at the door. This reaction alone, before anything else had even happened, took me by complete surprise. In a way, it should perhaps not have been entirely unexpected, and it was more the timing than anything else. Even if it were a matter of when, rather than if, I did not expect this in the opening number. Once again, as with Acts 1 & 2, Laughing Stock demonstrate how adept they are in composing a concept album. The outline is clear, even if it is left to the listener to fill in some of the details. In fact, I prefer it this way, and it really provokes involvement in the album, and identification with the characters.

Like Acts 1 & 2, Zero Acts 3 & 4 features guests. The first to appear is Nad Sylvan, and I have to admit when I first heard of his involvement, my stomach lurched. I know Nad has a lot of fans, but I am not one of them. He simply leaves me cold, and I really didn't think I would enjoy his contribution. How wrong I was. Playing the psychiatrist attending Zero, he provides a very minimal and understated vocal that just works. I'm actually quite glad that guest vocals are kept to a minimum, as (just as with Acts 1 & 2) I honestly don't think Laughing Stock need to use them for this story. Not least because the vocals are terrific without needing someone else to play off. They won't be to everyone's taste, but then neither are Mark Hollis and Roger Waters. That said, I have to admit I do like the added flavour, so I'm not complaining ? even when one of those guests is someone I wouldn't normally choose to listen to.

But how does Zero find Nad? Has his meeting been therapeutic? Well, as aforementioned, I don't have any intention of giving anything away, but we next find Zero once again surrounded by four walls and not much more, dreaming of freedom once more. The act ends with Zero alone, and trying to convince himself he is free, although deep down he knows he just wants/wanted to be loved by his mother. At the end of Act 2 we were told that "He will never come back again". Act 4 will reveal if that is the case?

ACT 4

As could be expected, given it is the final act, this is probably the most dramatic and impressive in the story of Zero. After all, everything has been leading to this point. And it's beautifully presented. Act 4 is wonderfully bookended by the two parts of Words, and contains more fantastic guests. Kerstin Willgren provides violin, Samantha Preis reprises her role of Zero's mother, and Andy Glass of Solstice provides a wonderful guitar solo on Running Faster. But as great as these songs are ? and they are great ? they are dwarfed by the awesome penultimate song. Mother is an absolute monster of a song, and the longest by a large margin of any of the acts. It is gloriously overblown and melodramatic. It is climactic and bombastic. It is everything I could want to end the album, and story. Which, of course, it doesn't, as the second part of Words does that instead ? and a more perfect end I could not ask for. Words, Part 2 manages to both explain everything and nothing, and leaves things open for a sequel, if Laughing Stock ever feel the need to revisit this story.

"It's just begun? We'll see?"

In the meantime, Laughing Stock have left us with two beautifully composed and presented albums. If you have Acts 1 & 2 already, you probably need no urging to purchase Acts 3 & 4. But if you're not familiar with Acts 1 & 2, as much as I think this album can be enjoyed by itself, I'm not sure it's possible to appreciate just how good it is without hearing the first two acts. The artwork and layout of the booklets and inlays for both albums complement each other as beautifully as the music. Although released individually, and although they can be listened to separately, the two albums (or four acts) really do come into their own when experienced as one. By all means, I might take time for an intermission, and visit the bar for refreshments, but I find I never want to listen to one of these albums without the other?

LAUGHING STOCK are a veteran trio out of Norway in fact two of the guys have known each other and been making music together since they were 12. Playing in different bands over the years this trio got together to release their first studio album under the name LAUGHING STOCK in 2018. It's been five albums in five years all about a boy named Zero who now at album number five has become a young man. On the back cover it says "Years have gone by, and Zero has become a young adult. But when you feel like a zero, invisible even to yourself, what does the future have in store for you? Society has no place for non-contributors, people who don't produce, create or communicate. Such people seem to inhabit a world of their own. A world mostly lived inside their own minds, surrounded by four walls and not much more. This is the world in which we find young Zero when the story continues."

The music is listed under Neo-Prog here which is fine but with a name like LAUGHING STOCK we do get a TALK TALK vibe with the music being spacey and drifting and the vocals mostly relaxed and laid back. Lots of atmosphere, this is dreamy. On my first listen I was actually caught off guard with how much I liked it especially that opener which thankfully is reprised as a bonus track to end the album. LIKE WENDY might be a good reference but this band employs more sounds along with several guests contributing as well. Nad Sylvan sings the vocals on "The Call" while we get some really good female vocals on "Familiar Eyes". Violin on a couple of tunes plus guest guitar on "Running Faster". I have a top four!

The opener I already mentioned and it will be one of my favourite tracks from 2022. "Wingless" and this is dreamy and atmospheric with vocals to match. Just an amazingly good song and it does kick in with some power after 1 1/2 minutes. There's that three track run to close out my top four with tracks 7 to 9. "Running Faster" is trippy with sad vocals. An emotional and uplifting tune. There's an interesting guitar solo from our guest then the vocals return. "Familiar Eyes" with those great female vocals. She does vocal melodies as well. Very dreamy once again. Beautiful song.

"Mother" is the longest at 10 1/2 minutes and man I just realized we're 5 minutes from Mother's day and my mom is in the hospital and it doesn't look good. Her mind is going quickly too complicating everything. The song starts out as this incredible rock track. Just so surprising to hear them go in this direction and do it so well. A dark and urgent start. A melancholic calm after 2 minutes and again a minute later but with piano as well. Soaring guitar before 5 minutes as the vocals step aside. A ton of atmosphere follows then it turn powerful before 6 1/2 minutes. It gets even heavier before turning light with some banjo late.

I gotta go 4 stars here. I just like their sound.

LAUGHING STOCK begins to make a name for itself: initially fans of Tears For Fears, Talk Talk and XTC, a little later showing an avowed attraction for the great PINK FLOYD, they begin to live musically in 2018 under their name after rolling their bumps everywhere else. Their influence also goes to the dark prog of KING CRIMSON, but let's take a closer look.

'Wingless' begins on a melodic prog amplified by the contribution of the piano and violin, an austere intimate piece. 'Lifeboat' where the hints of KING CRIMSON come to light, with a reverberation of dark sounds and a divine solo from Andy all in sensitivity, the type of solo that makes you melt. 'The Call' for a consensual title enhanced by the vocal contribution of Nad, a soft and engaging voice that plunges a little more into neo-prog. 'Free' for the interlude, a dark, moving interlude, which gives letters of nobility to the group, showing the singular warmth of the pop-retro prog fusion. 'All Alone' for one of the two sublime tracks on the album; a shivering symphonic rise and a tearing guitar solo, between melancholy and meditative dreamlike spleen. 'Words' for this intimate moment where the violin comes to give warmth to a dark air, where how to find warm coldness, fast but effective. 'Running Faster' title reminding me of a David GILMOUR concert with his calm, plaintive, catchy voice; where the solo seems to come out of his fingers, credited to Andy, his on the 'Animals' solo. 'Familiar Eyes' and Samantha with vocals that reminds me of Anna BATKO of ALBION for the moving title sequence, the melancholy violin adding a layer. 'Mother' flagship title, fusion of KING CRIMSON, MY DYING BRIDE and OPETH second period, the progressive depressive one; the melodramatic title which sublimates the album, which makes you want to listen to it over and over again like in the good old days of manual replay where you had to get up; the greasy, heavy solo is just gripping. 'Words Pt. 2' for the finale, a dark interlude that rests the atmosphere, the one that makes you think about those ¾ hours of happiness.

Well, LAUGHING STOCK is releasing a great album at the start of the year, full of spleen, emotion and sensitivity, listened to once when it was released, I find it (subjective) improved and I decided to ask myself to leave a personal trace of this opus which settles in my list bis 2022.