Montréal based experimental post-rockers Atsuko Chiba made a video for Torn, a track from their self-titled album: "The six tracks are mood pieces about subjects that are close to their heart, with subtle rhythmical shifts, vocals buried in the mix, and a prominent role for the bass to keep it altogether."
Live dates:HCTF review of Atsuko Chiba
The Zela Margossian Quintet are at crossroads on their Remedy album. Should they for easy-on-the-ears jazz or dig a little deeper and head for the backroads where something more interesting might happen? The latter approach is in full bloom on Waves Unveiled on which pianist and composer Zela Margossian uses her knowledge Armenian folk to construct a track that allows sax player Stuart Vandegraaf to cut loose. In Flight soars and sighs, and while the band always is in control, each member gets a place in the spotlight, with Jacques Emery's short but sweet double bass stealing the show. The fast Repetance features a cool conversation between piano, sax and percussion, before slowing down to a late night vibe.
By contrast tracks like Clarity and Kintsugi are playing it safe. They are not bad as such, but fail to make a lasting impression. The short time money is in the mainstream - it always will be - but the chances of having any longevity increase dramatically when the safety nets are taken away.
It's a mistake thinking that drugs supplied Pink Floyd with the inspiration. The ones who took drugs were the ones who came to see the shows.
Rick Wright
Detroit based psychedelic rock band Custard Flux are playing at the Underground Lounge in Chicago on August 15. Expect lots of songs from their latest album Enter Xenon: "Curvey is always up for a challenge, for himself, his band mates and his listeners. Why take the easy route as the unchartered waters are beckoning? Yes, there is some Pink Floyd in there, some Porcupine Tree, but followers of the underground can pick his band out of any line-up within seconds. The kaleidoscopic twirling sound on the twin guitars, the smart use of progressive psych-rock go-to instrument the Mellotron, plus the subtle interaction of the bass and drums, all work together for a sonic experience that is dreamy, uplifting, and captivating."
HCTF review of Enter Xenon
Belgian post-rock We Stood Like Kings are playing with light and shade on their new album Pinocchio, switching between gentle piano, neo=clssical inspired progressive rock and full on heavy metal. They have built a wall of sound, but left some room for a door and a couple of windows. It is a widescreen music, with attention to detail, zooming in and out by way of sound.
The band have been part of the instrumental rock underground, catering to an audience that can handle adventure and time signatures that people can't dance too. They took the story of a wooden toy puppet that wants to become a boy of flesh and blood, questioning both its motifs and the ones of its creator. It is their most ambitious effort to date. Concept albums often suffer from plot holes, but since they don't use words, it is up to the listeners to create the story themselves.
