Rhys Marsh - Sentiment

It's getting to that time of year when we think about our favourite albums of the year. It has been another bumper year as far as I am concerned so the problem was what to choose as the best. Problem now solved with the release of Rhys Marsh's solo album "Sentiment". This is an absolute corker of an album. It has everything I like in my prog, especially the ubiquitous mellotron and there is plenty of that on here. This album therefore has the epic majesty of early Crimson, the Scandinivian melancholy of Anekdoten, White Willow and the such (Marsh is an Englishman, based in Norway), even hints of the classical art rock of early Dead Can Dance and with nods to the modern take on the emotional torch songs of Tim Bowness it ticks all the right boxes for me! But it's the sweeping wonder of these songs that captivates. Hugely emotional and musically rivetting, with all the songs deftly arranged to maximise their impact succinctly. No song longer than around 6 minutes or so and with the whole collection nimbly coming in at a satisfying 41 minutes. It's been a great year for Marsh as his other, more experimental project as part of the trio Kaukasus also rates highly on my radar. At this rate Rhys Marsh is very soon going to be quite a force to be reckoned with. So, album of the year? You bet!

 

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Yes - Relayer 2014 Steven Wilson Remix

This is easy. Relayer has always been my favourite Yes album, ever since getting it for Christmas in 1975! I loved every aspect of the album. The music, lyrics, playing, sleeve design. Apart from the production. It just always sounded a bit of a splurge. So much going on, it just sounded too busy, messy and a mush of sound. I put it down to how it was recorded, using a mobile recording unit at Chris Squires fledgling recording studio. If it was recorded in a proper professional studio, it may have sounded better? However, this new mix by Steven Wilson proves that it was recorded fine. In fact this new mix was a profound experience. I mean that! I have lived with this recording for nearly 40 years and have owned it on vinyl, cassette and all the various CD incarnations. But it has never been a totally satisfying listen. So, I resigned myself to the fact that one of my favourite ever recordings would sound as it always has. But, listening to this new mix! This is how it should have sounded. Everything that should be there is there, but clearer and so better defined. There are layers and layers of instrumentation and vocals, but you can now pinpoint them with precision accuracy! It is like listening to this recording for the first time. Wilson's remixes for the other Yes albums have been interesting and worthwhile, but the difference he has made on Relayer is profound indeed.

Of course, the whole experience is enhanced by the exceptional work in the packaging too. This is the best reproduction of the original sleeve in CD form I have come across and it is nice to see alternative artwork from Roger Dean too. The notes by Sid Smith are as informative as always, with some great live photos showing the stage design in all it's glory. The blu-ray is stuffed with hi-res, 5.1 mixes, instrumental mixes, live tracks, flat transfers and needle-drops. Every possible permutation of the album is here. This is a master class in how to do archival releases.

I cannot wait to see what the team come up with for Topographic Oceans!

 

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King Crimson - Starless Box Set Just In

Well, here it is. This years King Crimson box set. This time based around the Starless and Bible Black album. This set completes the trilogy of boxes based around what I consider Crimson's most electrifying period from 1972 to 1974. Though we were all amazed at the previous boxes, I think this one ups the ante even more. The quality of restoration and sound reproduction has been taken to an even higher standard, thanks to David Singleton's endeavours. On the Blu-ray Discs you have stereo up to LPCM 24/192 and DTS-HD Master Audio. That is top of the range. The music I will need time to digest, but what I have heard so far is a band that is truly pushing the boundaries in terms of playing the album material and in improvisations. The latter is where the gold is! So, now to digest this lot. There will be more on all this.

 

 

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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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