Art Rock Appreciation

OK, my own 2 cents about "Moonchild"... I love the first part, the one with the vocals. As to the infamous 'noodling' part, I do think it could've been made a bit shorter, but on the whole I don't dislike it as actively as my beloved other half does. Neither do I dislike "Providence", though I strongly believe it is not on a par with the other tracks on "Red". As big a KC fan as I am, I think their instrumental tracks can be quite variable in quality, from absolute masterpieces like LTiA (both parts), "Red", "The Sheltering Sky", or "Level 5", to random improvs like the aforementioned "Providence".

A word on the newer AR bands mentioned by David: I haven't heard them all, but I was extremely impressed by Sleeping People. I don't know if they qualify as Math Rock (I'm not really that up-to-date with all those labels), but they sure play a mean brand of prog, intricate but not self-indulgent, and with a strong whiff of Crimsonish brilliance. Makes me want to join the AR team again....

Ghost Rider wrote: I was extremely impressed by Sleeping People. I don't know if they qualify as Math Rock (I'm not really that up-to-date with all those labels), but they sure play a mean brand of prog, intricate but not self-indulgent, and with a strong whiff of Crimsonish brilliance. Makes me want to join the AR team again....

well you know you're one of two people always welcome back on the team

progismylife wrote: I haven't heard any modern Art Rock unfortunately, but if I started I would go for Mars Volta. Which album would be best?

Nightfly wrote: progismylife wrote: I haven't heard any modern Art Rock unfortunately, but if I started I would go for Mars Volta. Which album would be best?   I would go for Amputechure; a fantastic album in my opinion.

"Amputechture" is indeed excellent, but in my humble opinion TMV's really career-defining moment is their debut, the ground-breaking "De-loused in the Comatorium" (a 5-star review from me). Love them or hate them, TMV are what modern prog's all about - blending diverse influences and stamping their own individuality on the result. I own their three studio albums (have to get "Scab Dates" yet), and listen to them on a regular basis. I'm quite sure you'll enjoy them too.

Ghost Rider wrote: Nightfly wrote: progismylife wrote: I haven't heard any modern Art Rock unfortunately, but if I started I would go for Mars Volta. Which album would be best?   I would go for Amputechure; a fantastic album in my opinion. "Amputechture" is indeed excellent, but in my humble opinion TMV's really career-defining moment is their debut, the ground-breaking "De-loused in the Comatorium" (a 5-star review from me). Love them or hate them, TMV are what modern prog's all about - blending diverse influences and stamping their own individuality on the result. I own their three studio albums (have to get "Scab Dates" yet), and listen to them on a regular basis. I'm quite sure you'll enjoy them too.

Atavachron wrote: Ricochet wrote: A word of great recommendation to all Art Rock fans, regarding progressive band Gravy Train. Their early 70s work spreads from deep hard rock and jams of folk and psych to the most praised album of their creation, which is more melodic and more progressive at taste. The rest falls down a bit, but keeps the wonderful spirit of the prog/rock/folk band till the end.My favorite is definitely the debut, aggressive, beautiful, artistic delight. hmmm.. sounds intriguing, regardless of the fact they're named after a popular brand of American dog food

As Romanian, I wouldn't know that detail. Nor care.
Gravy Train is also the name of a new electronic/dance band.

anyone have the Mirthrandir record 'For You the Old Woman' ?

Hello Art Rockers,

I'm in the mood to recommend you some Phideaux music today, since I listened to the first of their announced trilogy-conceptual rock composition, The Great Leap.

Here's a...consistent review on it, out of which I can resume that this US modern/bit alternative ensemble creates a lot of easy and pleasant emotions/contrasts in their music, solving the balance between vocal and instrumental, between artistic and tasty.
http://www.progarchives.com/Review.asp?id=132918

Phideaux did consistent music in all previous albums, but The Great Leap almost leads to the most mature yet shape and full-twist of their embodied art.

Here's, just to be fair, a good review by sinkadotentree (John) on a more early album
http://www.progarchives.com/Review.asp?id=89395


Edited by Ricochet - August 13 2007 at 05:19

High Tide - Sea Shanties

A proto-prog quality of a dark and deep album - or - a first in the line of legal drugs of Hard Rock and full-power instrumental works.

a personal review
http://www.progarchives.com/Review.asp?id=133184

but, besides mine, here are two fine ones:

Review by Ghost Rider (Raffaella)
SPECIAL COLLABORATOR Honorary Collaborator

Called by some a masterpiece of proto-prog-metal, "Sea Shanties" is somewhat rougher around the edges than its follow-up, "High Tide". Nevertheless, it is undeniably miles ahead of its time: a powerful, haunting wall of sound which is only let down by poor production values, all too revealing of the 37 years that have passed since the album's release. Strangely enough, though, the muddy sound quality adds to this record's almost sinister fascination – as well as the disturbing, distinctly gothic sleeve, possibly inspired by Coleridge’s marvellous “Rhyme of the Ancient Mariner”.

The band’s psychedelic roots are quite evident throughout the album, especially in Tony Hill’s Morrison-influenced vocals and heavy, distorted riffing. What is really distinctive in High Tide’s sound, though, is the presence of Simon House’s electric violin, adding at times a touch of lyricism to the overall darkness of the compositions, at other times becoming as obsessively strident as its sparring partner, the guitar. As a matter of fact, the album’s highlight features a 9-minute long duel between guitar and violin: the monumental “Death Warmed Up” is without any doubt one of the best instrumentals ever written, a driving, exhilarating tour de force which would be deserving of much greater fame.

This album is not for the faint-hearted, as its brooding atmosphere and fiercely distorted sounds can be heavy going for those who are more used to classic, symphonic prog. I also find the first part of the album better than the second, which tends to drag down a bit after a while – this is one of the things that prevented me from giving “Sea Shanties” five stars. In any case, “Death Warmed Up” is worth the price of the record alone. Enjoy the ride.

Review by Atavachron (David)
SPECIAL COLLABORATOR Art Rock Specialist

Oozing lush but roughly-rendered heavy psychedelics and tons of personality, High Tide rocked the paisley scene in 1969 with lo-fi sludge and macho abandon, producing this small but rich and flavorful LP. A screaming breech-birth of a record, this debut won't impress everyone at first. Maybe because it sounds like a lumbering band of drunken criminals looking for trouble, led by the sardonic Tony Hill on guitar and vocals with a Jim Morrison baritone and world-weary swagger. But there is more going on here than evident at first glance including moments of folk, neo-classical, and a bit of rustic bread hidden under the hard crust. Some think this is the earliest form of heavy progressive rock, and I think they might be right. Whether or not High Tide made a big impact on prog as we know it is not important here. The music, however, is.

The killer fuzz riff of 'Futilist's Lament' starts things strong with Hill's creamy metal foam and Simon House's haunted keys. House's fiddle highlights the second cut, the melodic and weird 'Death Warmed Up', sounding much like its title and clocking in at over nine minutes. Here is where the progressive part of this band begins to show, with interesting lines and harmonics between the dirt and electric kool-aid, peeking out before being thrown back in the mix. The troubled and introspective 'Pushed, But Not Forgotten' starts and stops with cold fingernails on your back, while 'Walking Down Their Outlook' features surprising precision and clever arranging. The most progressive and emotionally complex track, 'Missing Out', is a brazen attempt at intricacy and the raw fusing of musics never meant to meet, let alone marry in a country barn with a bunch of crazed heavy bluesmen out to rock hard and party harder. 'Nowhere' finishes the show with great cowbell clang, concluding what appears to be the early cries of a new music. Additionally, some fascinating extras include 'The Great Universal Protection Racket', an 11- minute epic of full-blown prog/psych inexplicably left off the original LP that features aggressive metallic guitar harmonies and shifting rhythms, followed by the off-kilter 'Dilemma'. In 2006 Eclectic Discs offered a remaster of this vital slice of hard-hitting proto prog, and it is well worh it.

We're thinking Proto-Prog (even with a very close 1969 year reference and a loud sharp not so influential music coming from the band) might take High Tide better. At least the fact that they've released just two albums in the "late 60s ambiance", plus imposed so much raw and tough heavy rock impressions, deals better in that part then as a very early Hard Art Rock movement.

Any opinions you have, Raff?