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Plantoid - Terrapath CD (album) cover

TERRAPATH

Plantoid

 

Eclectic Prog

4.14 | 33 ratings

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BrufordFreak
5 stars British newcomers Plantoid debut with this very interesting collection of eclectic crossover songs, each employing multiple styles and dynamics from such diverse realms as Prog Folk and Jazz-Rock Fusion, Indie quirk, 1960s Brazilian bassa nova pop, and even Metal.

1. "Is That You" (6:01) opening with gently yet-quickly picked arpeggio chords, synth bass chord, and lead guitar melodies being gently plucked from within the arpeggi. Bass, and then, basic drum and percussion (tome time and occasional tambourine) join before synth string chords and wordless female vocal strains enter. Around 2:45 the song "launches" as full drums, full percussion work, very cool active bass, and multiple tracks of female voices jump into the fore. Amazing power in this beauty! Then, at 4:10, the music all stops and the guitar switches to intricate rock chord- and-pick play that sounds like something between a heavily-distorted and George Harrison. Weirdly incongruous combination of motifs! (8.875/10)

2. "Pressure" (3:07) aggressive Indie-Metal of the A FORMAL HORSE type with heavily-treated Siouxsie -like Hayley McDonnell vocal of Chloe Coyne. I feel as if we're being taken back to the Punk Rock sound and styles of the 1970s with this song. Kind of the odd duck on the album--but good to know ? for persepctive. (8.75/10)

3. "Modulator" (5:43) wonderful fluid, slightly funky and seductive jazz-rock pop song that reminds me of both LOUIS COLE and GENEVIEVE ARTADI (otherwise known as KNOWER). Even with all of the song's instrumental side alleys, this is a totally bewitching song in much the same way that "Overtime" is. There are so many subtle notes of genius here that I think I could get something fresh and amazing out of even my 100th listen! (9.5/10)

4. "It's Not Real" (2:00) an odd little jazz-rock theme with the song title whispered repeatedly within the instrumental weave. (4.375/5)

5. "Dog's Life" (3:58) opening with wonderfully-creative studio-manipulated morphing guitar before rhythm section and gentle guitar guitar chords provide the full base for Chloe's ethereal voice to sing over. There is almost a modern jazz-funk feel to these verses while the choruses are more aggressive, more heavy rock 'n' roll. The instrumental passage in the third minute is more about alien space effects than impressive technical skills on display. The final 30 seconds, then, sees Chole's most angelic voice (sometimes harmonized with multiple tracks of her own voice) accompanying very sparsely with synth-sounding chords and a tiny bit of bass. MAn! What a song! There are so many clever and ingenious note subtleties--even in the vocal arrangement--I could listen to this hundreds of times and never tire of the surprises and nuances. (9.25/10)

6. "Only When I'm Thinking" (2:30) Again there is this wonderfully enticing, alluring, even sexy GENEVIEVE ARTADI-like quality to Chloe's voice. Jazz guitar, slowly-panning delicate drum play that sounds computerized, and Chloe's voice: that's pretty much it. (9/10)

7. "Wander Wonder" (6:04) for the first two minutes, a cool little diaphanous funk-jazz sound palette backs Chloe's dreamy vocals, but then a more rock guitar motif starts up an entirely new section--one that is fully guitar-centric--in which Tom's multiple guitar tracks flail and riff with deft subtlety. By the end of the fourth minute this guitar display morphs into a kind of jazzy motif over which Tom solos in a more formal, typical Jazz-Rock Fusion way over the strum- and-plucked jazz chord progressions and dynamic, Latinized drums and percussion instruments. (9.125/10)

8. "Insomniac (Don't Worry)" (4:02) bleeding directly over from the previous song, Chloe returns to sing in a shyly- seductive "hiding" voice over the same jazz-guitar chord play that Tom used in "Wander Wonder." Nice melody-making by Chloe in both the verses and chorus--and great drum and guitar play in those choruses, bridges and transitions! (9.125/10)

9. "G.Y. Drift" (2:09) again, the song starts as if launched like a rocket from the previous song: bursting into fast-paced, full-powered rock aggression while using jazzy chords and sound palette. This is Tom's take on black midi! (4.375/5)

10. "Softly Speaking" (3:41) piano and horn-like infinity-guitar notes support Chloe singing in more of a jazz-lounge torch singer's voice--until, that is, the multi-voiced chorus starts at 1:19. This is the most plaintive, most tortured emotional vocal I've heard from Chloe. She's really good--really powerful--in a k.d. lang/Jane Siberry-kind of way. What a beautiful surprise! (9.5/10)

Total Time 39:15

An album that reminds me a lot of modern crossover prog bands like A FORMAL HORSE, BENT KNEE, KNOWER, or even the multiple projects involving New York's CONIGULIARO BROTHERS and BLACK MIDI--which helps win me over to their party--but it is the intermittent and often surprising and unexpected appearance of pure Jazz-Rock Fusion guitar that really makes me smile and, if truth be known, keeps me engaged as I hope for more. I love this music! It's so creative and unique!

A-/five stars; a minor masterpiece of modern Pop-Jazz-Rock Fusion. This is an album that just keeps giving more and more with each and every listen. Highly recommended for any lover of music.

BrufordFreak | 5/5 |

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