UK SHM-SACD's

There is lots and lots of new releases and top re-releases coming out over October and November. But I will ignore all those for now and look at these new SACD discs of UK's two studio albums and live album which have just been issued in Japan.

Over the last few years Universal Japan have been releasing a range SHM-SACD discs primarily aimed at the audiophile market. They all seem to be sourced from the original master tapes. What sets them apart is that they are flat transfers from these tapes. That is, there is no further mastering involved in the transfer of the tapes to discs. That is unusual for the Japanese who do seem to like lots of compression and EQ in their discs. So, with these they do seem to understand the need to achieve the best reproduction of the original tapes without any additional tinkering.

I am pleased to say that these new reissues of the UK albums are DSD flat transfers from the original tapes and not from Eddie Jobsons remasters of a few years back as was originally rumoured and feared! Though it doesn't state it in the notes, I believe these new transfers were done this year. So all that is good, so what about the actual discs themselves? Well, the original EG discs of many years back didn't actually sound too bad for a first issue. Compared to what companies were dishing out back in the day they sounded not bad at all. Maybe a bit flat to my ears, but sonically could have been a lot worse. These new transfers sound not dissimilar but there is far more detail and depth to the sound. For instance on "In the Dead of Night" from the first studio album you can actually discern Wetton hitting his bass strings. The clarity and separation is that good! This is true for all three discs. So, for me these will be my go to versions for listening to UK. And as usual the packaging is top notch too. The discs are in their own protective sleeve, with a complete mini reproduction of the original LP sleeve, together with inserts and lyric sheet in English and Japanese, all housed in a cardboard box. Yes, it's all over the top, but that's how the Japanese do things and I am happy they do!

 

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King Crimson - Back to Active Service

As we all know now, the beast that is King Crimson is back. But not a reconvening of what went before. Fripp has built a new band from the ground up. We have Mel Collins back on saxes and flutes. Jakko is in to add extra English guitar and vocals. We also have industrial drummer and REM member Bill Rieflin to be the third drummer along with stalwart Pat Mastelloto and Gavin Harrison who was added on the last Crimson outing. Then there is Tony Levin of course. A Crimson now without him is unthinkable.

To put it mildly when I heard that Fripp was going back on the road I was shocked. He never seemed happy with playing live now. He hated the photos and all the business side of it. I think we all felt resigned to the fact that KC was probably over. But not only has he put the band back together, but in such an original way is really shocking. This lineup is inspired and the stuff they are playing is mind boggling. Fripp is even playing live with lights on him! Who would have thought. He has even given interviews for the like of Wire and Prog magazine. He seems to have become rejuvenated somehow and really enjoying for once playing In King Crimson.

The first fruits of all this endeavour, apart from the concerts in the US are a Tourbox which came out of the blue last week. There was nothing beforehand to warn us of the imminent release of this. A newsletter was sent out last weekend from the Burning Shed web site informing us of the shipping of this 2CD King Crimson Tourbox. Of course I ordered. Burning Shed may have jumped the gun as the ordering of this was withdrawn till Wednesday (the day after the bands first public performance). But it was shipped on Wednesday and received on Friday.

This Tourbox, unlike others KC have released is no mere compilation of fragments and odds and sods. This is packed with choice cuts showcasing the band in its various guises over the years. There are even a couple of outtakes from the Jakszyk, Fripp and Collins sessions of a few years back, which may mark the genesis of the current lineup.

The packaging too is outstanding. Both discs housed in a hardback digipak design. The 24 page booklet has notes by Sid Smith of course which focus on the archiving of the band. I was pleased to see a pic of the cassette edition of Larks' Tongues in Aspic which was my first introduction to the album back in the 70's. Haven't seen that in nearly 40 years!

Get the Tourbox! It's a bargain, especially at £15 which is unbelievable value for a limited release.

It's good to have the band back, especially in such a refreshing lineup. Now, to that Starless box set next month.

 

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Quick Update

Sorry dear readers for the lack of postings. Due to some family stuff and decorating! Anyway, hopefully normal service will be resumed shortly. But here is a quick update.

Really enjoying the new Kenso album. For those not in the know, Kenso are a fantastic Japanese band who expertly mix symphonic prog and jazz rock fusion. A sort of bit of Bruford, Brand X with the jazzier bits of mid period Genesis. They don't release often as the band I think are just a part time project as the leader, guitarist Yoshihisa Shimizu is a dentist! Anyway, this new one is more melodic but still full of their complex compositions. Excellent stuff. The box set of their back catalogue from a few years back is one of my most prized posessions.

 

Finally, why is everyone hating the new Yes album? I have never experienced such polar opposite views to my own on this. I think it's quite excellent. Yes, it's very laid back, but the addition of Jon Davison is such a positive effect. I am glad music is such a personal thing.

 

 

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The Return Of The Durutti Column

Yes I know it's not prog. But Vini Reilly's work shares a similar aesthetic for ambition and ability that a lot in prog aspires to. Though his band (or more a moniker really) The Durutti Column came out of the post-punk fallout of the late 70's and were signed to Factory, Vini's music owed very little to the abrasive sounds that were left in the wake of the Sex Pistols. This first album was full of delicate, thoughtful and reflective guitar vignettes. From the liner notes of this recent expanded and remastered re-release on Factory Benelux, it seems Vini spent a couple of days in the studio setting down some guitar pieces and then got so fed up with producer Martin Hannett's tinkering with synths and rhythm machines that he left. Hannett was then left to add synths and rhythm around what Vini had produced. The results are timeless instrumentals, showcasing Vini's prodigous guitar technique and style, which has been so distinctive and joyous throughout the years. The rhythms and synth "tweets" may sound primitive now, but they add a certain archaic charm which suits the reflective and almost dreamlike ambience of these tunes.

Vini was never a well man. Like his music, fragile and otherwordly. I think his health has declined even further over the last few years. But he still seems to produce music to this day and for that we can be thankful. This first album may have been produced in less than amiable surroundings, but that was the Factory way! The results however are simply beautiful!

 

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Tim Bowness - Abandoned Dancehall Dreams

 

We all have heroes. People we admire from a distance, who's music, films, books or whatever makes a difference to our lives in some way. I have them. Some have been with me nearly all my life. Tim Bowness is one, who's voice has been with me ever since I heard him sing " Days in the Trees" back in the early 90's. That defining moment was the start of a love affair with that voice. Probably more than love! His voice reaches places that other voices just don't even begin to make a dent. Together with Steven Wilson as no-man that voice has taken me through my emotional highs and lows of my life since first being heard. The voice has popped up all over the place, with nosound, Henry Fool, Samuel Smiles, Peter Chilvers, Richard Barbieri, Nick Magnus, Slow Electric to name a few.

But here he is with his first solo album in 10 years. In fact this album is probably his first real defining statement as a man alone. It's extraordinary of course. That voice never let's me down. There are elements of no-man as expected. In fact the album started out as a potential no-man album, but Wilson was busy. Doing what? A good thing I think as his absence allowed Tim to take the album into new territories. Aided by a host of empathic contributors such as Pat Mastelotto, Michael Bearpark, Andrew Keeling and Anna Phoebe it's all a joy to behold. The opening track "The Warm-Up Man Forever" is the most jaunty track on here, which reminds me somehow of Pulp (in a good way) and includes a killer chorus together with an inspired guitar solo by Bearpark. In fact Bearparks guitar playing is a standout on this album. Just listen to the wonderful, Bill Frisell like soloing on "Dancing for You"! Another favourite is "Waterfoot" which is almost a two way collaboration with Andrew Keeling as he co-wrote, arranged the strings and plays guitar, bass, organ and percussion. The result is a homage to Nick Drake, with those strings evoking Robert Kirby and the whole thing bringing long lost summer days in the English countryside to life. The whole album is a homage to days gone by! The people, places and emotions of those days of our youth. Tim feels it and makes you feel it too.

This is a special album. Well, to me anyway. That voice has been with me for years and will be for many more, soundtracking the good times and the bad times. But oh my, he has produced something here that is much more than I could have ever imagined!

 

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Anathema - Distant Satellites

 

Anathema have over their last two albums developed quite a reputation within prog circles. They are now at the position that even the Guardian newspaper reviews this latest album and gives them a 5 star rating. For me, I don't really consider Anathema progressive rock. They may be signed to Kscope which does promote itself as a post-prog label, but for me that's where the connection ends. Why not prog? Well, the music is conventionally structured, they don't really push boundaries in terms of time signatures, instrumentation embodying different types of musical styles. But in saying all that I really do like them. So forget genre pigeonholes and just enjoy the music I say!

This latest album may be my favourite. It further develops the style set down by their previous two albums. Highly emotionally charged, atmospheric and epic songs. But they have added a significant new element. By applying "beats" to their arrangements. This has added a completely new dimension to their sonic tapestry and actually doesn't sound as contrived or out of place as you may think. If anything the use of synthetic rhythms gives the songs an added emotional depth, if that is possible for this band. I am reminded of the band Lamb who similarly produced emotive music backed by strong trip-hop rhythms. Apart from that, all the usual Anathema trademarks are here intact; Daniel Cavanagh's post-shoegazing guitar, the depth of Vincent Cavanaghs's emotional vocals and Lee Douglas, simply one of the best female vocalists around. Anathema are actually one of those bands where you just forget where in the scheme of things they belong. They transcend categorisation. You just accept that they offer a truly life affirming experience.

 

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Richard Pinhas

 

Well here are the latest releases by Richard Pinhas. Busy man! He is best known as guitarist with Heldon who mixed Fripp styled rock and synthesiser soundscapes. Even his solo material has followed the Fripp principal of frippertronic looping and soundscaping. But whereas Fripp takes his soundscaping into more languid, thoughtful and introverted areas, Pinhas is more aggressive, organic and uncompromising. But these two new releases see the man having lost none of his fire or power. Previous releases have seen him take a more experimental approach, in someways directed by his collaborators. Though the same can be said here, there is a more structured feel to the proceedings, which gives them a sound harking back to the Heldon days. That is no bad thing.

Today we have young musicians like Matt Stevens pushing the boundaries of rock electric guitar, but an elder statesman like Pinhas is still capable of showing us a trick or two.

 

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