Cuneiform Rec. Alec K.Redfearn and the Eyesores : The Blind Spot (US,2007)****

This is the most concept-based project of the group. It is intended as a eulogy for several friends of Alec who died of drug abuse, and a meditation on his own abuse in former days, about the blind spot as a matter of speaking.

The songs are arranged at first like a beautiful arranged street theatre concept, with the accordion leading the compositions (but not leading the arrangements) often giving a circus/fair-ground like effect. The energy builds up as tensions, becoming nervous tensions, a symbol of uneasy moments, typical for youngsters who want a special moment and therefore invent 'the weird condition', a situation which here is controlled by the composer and who is in this case dealing with the dangers of the border-expanding uneasy factor itself, and who is, now, able to restore with structure his life’s composition.

The operatic voices (which include a real soprano voice) add extra drama as well as comfort and support giving this a social accompanied context to the content. Here and there strange electronic (or not) sounds attaches certain moments. One of the strangest instruments used is a drone-hurdy-gurdy, developed for Steve Jobe’s opera ‘Jean D’Arc’ (1993), and a gong-drum, one of a series of instruments inspired by the painting ‘Garden of Earthly delight’ by Hieronymus Bosch (or at least the right panel of it, showing many musical instruments, with of course hell provoking instruments like hurdy-gurdy and bagpipes, which used alone can sound terrible).

An interesting and to some degree ambitious theatre-like musical concept.

Audio : "Queen of the wires" & http://www.myspace.com/aleckredfearnandtheeyesores

Homepage : http://www.aleckredfearn.com/

Label info : http://www.cuneiformrecords.com/press/redfearn-blind-spot-pr.doc

Other reviews : http://dustedmagazine.com/reviews/3707

& http://dustedmagazine.com/reviews/3707

& http://www.thefrontlinez.com/nad/store/artist/album/0,,4100723,00.html

& http://www.waysidemusic.com/ProductInfo.aspx?productid=RUNE%20244

& http://www.mandai.be/info.php?id_mandai=50276

Label info : http://www.cuneiformrecords.com/bandshtml/redfearn.html

Interview : http://www.exclaim.ca/musicreviews/destinationout.aspx?csid1=112

German review on http://www.babyblaue-seiten.de/...

Web Of MimicryThe Tunahelpers : I'll have what she's having (US,2004)***°

The music has a slight gothic wave flavour (period Siouxie & Banshees & Cocteau Twins), with a light humorous feeling, and with dream-away-in-our-world element. The music is finely arranged from pleasant wave-rock to the welcome classical touch with some cello and piano and some fine string and choir arrangements by Trey Spruance (Mr.Bungle / Secret Chiefs 3). The singing is like the music-storytelling from a girl’s fantasy. Great. This is the second album after their debut from 2002.

Audio : "Hold This","Wait and See","The Stars","Sea Monster","Askew"

Homepage : http://www.thetunahelpers.org/

Label page : http://www.webofmimicry.com/label.php?band=tuna_helpers

Reviews : http://www.earlash.com/ar.php?albid=277

& http://www.sleazegrinder.com/review_3-7tunahelpers.htm

Dutch review : http://www.subjectivisten.org/caleidoscoop/archief/001680.php

Live pictures : http://www.ladyfesttx.org/2004fest/Tunahelpers/

& http://www.ladyfesttx.org/2003/2003Fest/TunaHelpers/

Discord AggregateA.Molotkov : Can you stay forever ? (1998-2004) (US,2004)***'

This album is a mixed media project based upon a book, “Not from around now (poetry for a small choir)” with poetry and images.

The images are a bit small on the CD cover to see enough what’s on them, but perhaps the images with the music can be confusing or actually disturbing as I’m sure the music can also do completely without them.

This project had started in 1998, and was finally recorded between 2001 and 2004 with a large number of participants and instruments including various Indian instruments.

Basically we hear a number of poems and multi-coloured odd series of notes played by communicating instruments. This gives the idea of a prepared instrument but here played by different instruments. The poems are like theatre pieces, with an almost surreal dream versions of thoughts/philosophy. A few more tracks have some voice experiments as contributing instruments.

Participants are : Carol Alban, silver flute, Peter Altenberg, sarangi, tabla, Cindy Lubar Bishop, spoken voice, coughs, sighs, Dan Cantrell, accordion, saw , throat singing, Joshua Gest, electric sitar, Morga Guberman, contrabass, Alexander Kort, cello and electric cello, Brad Mossman, didgeridoo, mouth harp, Zachery Pith-Smith, saxophones, pifano, S.B.Reda, spoken voice, electric guitar, bass, Joseph Rigan, lap steel guitar, reverse steel guitar, Lila Sklar, violin, plucked violin, Azi Vajravai, zurna, bansuri, Annie Vox, spoken voice, David Wilson, Baroque violin, Pamela Zero, spoken voice, vocals, guitar, vacuum cleaner, tambura, A.Molotkov, spoken voice, duduk, vocals, recorder, Bengali flute, plucked violin, keyboards, guitar, guitar percussion, drums, tabla, dumbeks, bendir, bells, pan, lid, thundertube, boom-whackers.

Audio : http://www.soundclick.com/bands/5/amolotkov_music.htm

Info : http://www.soundclick.com/bands/5/amolotkov.htm

Info on this release : http://www.discord-aggregate.com/AMolotkov/CanYouStayForever/

Info on book http://www.discord-aggregate.com/literature/amolotkov/indexnotfrom.htm

Other review : http://www.artistdirect.com/nad/store/artist/album/0,,3241465,00.html

GO TO NEXT REVIEW PAGE ->

or go back to progressive music index

or go back to general music index

Web Of Mimicry    Estradasphere : Quadropus (US,2003)***°

This Santa Cruz band consist of Jason Schimmel : guitars (electric, acoustic, baritone), banjo, organ, piano, synths, harpsichord, vocals, percussion, beatboxing, Tim Smolens : bass (electric, upright), guitar, piano, synths, violin / viola / cello, vocals, percussion, Timb Harris : violin, viola, trumpet, guitar, mandolin, turkish mandolin, vocals, percussion and John Whooley : saxophones, flute, vocals, beatboxing, organ.

Other guest musicians are Timb & Ben Blechman : violins, Sarah Hart : viola, Aria DiSalvio : cello, Val Hall & Richard Karst : trumpets, Scott Harris : trombone, Luke Kirley : bass trombone, Joel Ford, Scott Norgren, Paul Tarantino & Wes Anthony : saxophones, John Thomas : tuba, Kevin Kmetz : shamisen, guitar, Adam Stacey : accordion, keyboards, Lee Smith : drums, with additional help of previous member David Murray : drums.

First six tracks are a perfect, intelligent eclectic well arranged mix of styles, which has similarities of ideas which I recognize from the best two albums from Secret Chiefs 3 (including “Book of M”) where the same band members participated. Other influences from the band are friends from the same label : Sleepytime Gorilla Museumand Mr. Bungle.

First track, “Mekapses Yitonisa” is a great Balkan Orchestra version of a Rebetika instrumental, including a heavier element further on.

“Dubway” is a modern, intelligent rather experimental rock track with a whole range of influences, surprisingly made only by vocal effects, even when one thinks one is hearing a complete band.

“King Krab Battle” shows a similar variety with brass, mixed with funk, some metal bass and other things.

“Speck” could have been on a White Willow or other progrock album, as a sweeter softprogrock song track example.

“Hardbal” has again Balkan and gypsy elements or middle eastern rock, with extra elements varying from heavy (prog)rock to a part of classical acoustic jazz, with double bass and violin improvisations. This evolves into a flamenco guitar piece, until it concludes with the earlier Balkan jazz tune.

“A car ride in an idealistic Ethiopia (part 1)” switches even more, like a radio, with Middle Eastern sounding organ, wahwah guitars and orchestration and a definite 70’s Ethiopian jazz influence, mixed with some modern rhythmical ideas, making from the old time classical sounds of Ethiopia something new and differently intense.

From then on the album idea suddenly turns a full switch, with an almost full stop to the clever arrangement idea. “Crystal Blue” is compared to the delicacy of before, an almost idiot simple straight rock’n roll track with a Beach Boys influence somewhere. This comes at first listens, as still too much of a surprise. It’s not truly bad, but sounds like a misplaced joke. “Jungle Warfare” is another aggressive turn, an equally surprisingly switch. It’s slightly rocking dark metal with a small sax solo as well (!) as well as some electric guitar solo. Next track, “Bodyslam” is straight forward heavy grunge rock with heavy metal guitar. A convincing example for an adolescent live experience, but perhaps not much more. Last track, "At Least We’d Have Today" with soulful rock singing is equally confusing, bringing us back to the Beach Boy style track, almost making the association kitsch because of the confusion.

Last odd variations makes the album a kind of confusing perhaps mixed bag, but never the less this album still is worth discovering.

PS. Members also participate in the Fishtank Ensemble & Secret Chiefs 3.

More audio of non-cd tracks : http://www.estradasphere.com/sound.html

Info : http://www.estradasphere.com/

& http://en.wikipedia.org/wiki/Estradasphere

& http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=9793

Reviews with more audio : http://www.midheaven.com/artists/estradasphere.html

Label shop's entry : http://www.lobefood.com/store.cgi?

Article on Estradashpere : http://www.metroactive.com/papers/cruz/03.08.00/estradasphere-0010.html

Review of earlier EP : http://www.splendidezine.com/review.html?reviewid=1071334350265771

Other review : http://www.metalreview.com/ViewReview.aspx?ID=609

Next DVD album (2007) See further down ->

Baked Goods      Matinee Orchestra (UK,2006)****

Andrew Hodson is formerly known from Retro Rocker group Jumbo, while this is his solo work with the help of many contributors, like Paul Smith (Maximo Park), Peter and David Brewis (Field Music) and Caroline Thorp.

The music sounds like the perfect soundtrack to a children’s book. It’s built up in layers of seemingly short melodic interventions from various instruments like glockenspiel and harmonica, some brass and strings and mostly amplified guitar, with additional cricket- or children sounds and some female vocals.

Where arranged, these vocals remind me of the playful element of Cocorosie (especially "Run For Cover"), while elsewhere, and mostly in combination with just a bit of electronica and with warm arrangements, an association with a group like Múm is easily recognisable.

The playful aspect is related to arrangers like the meccano-music instruments and cornet player Pierre Bastien or also Pascale Comelade, while the orchestrated aspects have a touch of a group like the Penguin Café Orchestra. All these spheres are melted perfectly in the studio into one creative, alternated compositional kind of soundtrack. Wonderful !

Dutch review I did for Kindamuzik :

"Ochtendmuziek als een kinderboek."

De muziek van Matinee Orchestra klinkt eerder als een matinee of ochtendontbijt van iemand die er een kinderboek bij leest in plaats van de krant. De muziek is opgebouwd uit in elkaar schuivende laagjes van minimalistische loops van ideeën, vlot wiegende arrangementen en geluidsopnames (krekels,vogeltjes,water..). Voor een deel is er de passende lalala-sfeer, maar verder is de muziek bloedernstig gearrangeerd of gecomponeerd, met een kleurrijk en zeer melodisch pallet van constant afwisselde combinaties van muziekinstrumenten, met gebruik van zowel strijk- als trompetarrangementen, akoestische rock, speelse geluidjes, en wat filmische passages. Met nog en snuifje van een sfeervole electronica maakt het de muziek ook best modern. Het is duidelijk dat projectleider Andrew Hodson niet alleen componist en arrangeur is, maar ook een perfecte producer die de hele compositie controleert en in haar verschillende sferen zo vlot aan elkaar breidt alsof ze een hele wereld wil uitdrukken, een schitterend verhaal, verteld in een kinderboek, gelezen op een ochtend met muziek in de buik.

Some info : http://www.arable.net/default.html

Label : http://www.baked-goods.com

Audio : "pray, rock, stone, paper, scissors", "i'll never be afraid again"(or here or here)

Other review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=20154

Other reviews : http://www.stylusmagazine.com/review.php?ID=3790

& http://www.themilkfactory.co.uk/reviews/mo_epon.htm

& http://www.betweenplanets.co.uk/modules.php?name=News&file=article&sid=2020

& http://www.dotshop.se/ds/release.php?code=ARABLE6CD

& near the end of the page on http://music.for-robots.com/

Article : http://www.angryape.com/news/2006/01/matinee-orchestra-collaborates-with-field-music-and-maximo-park

North East Indie    Fence Kitchen : Beading the rook (US,2006)***'

This is a solo works of Cerberus Shoal’s Tim Harbeson. His music is mostly based upon improvisation with accordion, horn and piano, with a few harmonic compositions and dialogues.

The music varies from silent-movie like piano accompaniment improvisations, to-what find most enjoyable-, a kind of what I describe as surreal puppets-moved-on-by-magnets theatre music, on accordion and horn (the first tracks especially), with some slightly jazz improvised parts (on “Reading the Wit”, “Below Brio”, “Big his Britches”) or with more or less close-harmony arrangements (like on “Reading the Wit”, or completely with brass on “Twine”).

The improvisations are often with a kick on the sound of the accordion instrument, which is slightly hypnotic droning. This sound could have a boring effect or become a small-world expression, but this danger and tendency of sphere is overcome by fitting minimal compositions and the theatre like sphere which is worked out more here and there.

Perhaps only “Sight” near the end is almost too long as a too-lonely melody jazz improvisation- but in general the different spheres as described are alternating the concept enough to make sense.

The front cover shows a chess board. Imagine the play (in a circus like environment, with the public watching this as in a silent movie) enfolds itself through a music box of piano, accordion and horn mostly ; then you can imagine some idea of the sphere and of how the music sounds.

(Only afterwards I found out Tim’s inspiration came forth from collaborations with dancer / choreographer / writer Buffy Miller, with small works since 2000. From 2002 to the present, Fence Kitchen then became a further exploration of such multi-disciplinary solo performances, which at times this involved puppetry and ambient settings and lighting with original music played live and/or as recorded soundtrack, or is presented as purely musical performances).

Audio "Shanti"

Label entry : http://www.northeastindie.com/beading.htm

TPR Music      The Great Kat : Wagner's War  EP (US,2002)**°

After having graduated as a Classical violin soloist Katherine Thomas began touring the world. After a while she concluded that she found classical music to be dead. So she began updating Classical Music with Speed Metal and transcribed violin solos to the guitar. She described this style as “Shred/Classical” Music, with note-for-note transcriptions from Vivaldi, Beethoven, Bach, Wagner, Liszt, Paganini and Rossini. She became known for performing at phenomenal speeds, with complicated Classical motives, and some counterpoint layering. Guitar One Magazine described her as one of the “Top 10 Fastest Shredders of all Time”. Guitar Player Magazine said “She can zoom up and down a fretboard faster than a hungry cheetah on steroids. Her fretboard speed is awesome.”

When one sees the DVD at first I could hardly find any time to analyze. The chaotically mixed videoclips contain much violent, somewhat empty-provocative & destructive, infantile and insane expressions. Great Kat seems to feel the need to constantely overact with a monkey-like wide open mouth, like a demon-possessed femme fatale with rather sick thoughts (one clip has her castrating a man during an operation). You really don’t have a chance to concentrate on a solo being played, because the next moment another one is mixed in already. I don’t see her concentrate on the playing much either, because she’s constantly possessed and ripped to the overkill.

Also on the CD there’s an attitude of acting to overly impress. The underlying “war” content is not really thoughtful, and it contains the most primitive kind of violence. 9/11 is one of the themes on “war” with a direct message of “bury them alive, kill! You killed innocent people, damn sick terrorists, jihad on you! Peel of his fingernails. Skin him alive” which is a pretty empty-headed retoric. Her own idea of primitive acts of contra-violence is nothing but another energy that keeps on destroying more potentials and good and innocent people, and has no ear for balancing all needs in the world, and has no other consciousness other than confirming one own’s ego and relates only to the artists confused fantasy/immediate environment. At least I would not like to be lead to war by this cat for any reason.

The arrangements are programmed so quickly, it is hard to notice what is really played instantly and what isn’t. The classical arrangements sound like being from midi origins. Violin and electric guitar are switched instantly. While violinist/composer Pagannini could impress by the amount and combinations of notes he could play, now one could get the impression this ‘impressing with a huge amount of notes’ has become fundamental. As to the Wagner interpretation, I was not impressed, because the harmonies became chaotic and kitschy. The 4 hatred tracks, especially “War” and “Terror” of speed trash metal, have convincing elements with its primitive energy, so that they stand on their own. “Terror” has a bit more melodic classical music programming, like the following two tracks. On “Punishment” there is this Baroque on speed element. The interpretation on Liszt’s “Hungarian Rhapsody #2” I think was most succesful, even when it became a roundabout-hurricane circus-like version with violin, programming and electric guitar. “Zapateado” from Sarasate is played so fast the sounds also have chaotic side-effects. The final result still is puzzling and impressive mostly because of the heartbeatbeating breakneck speed it has been programmed.

Audio : Wagner's "the Ride of the Valkyries", "War","Terror","Punishment", "Humilation", Liszt's

"Hungarian Rapsody part 1, part 2", Sarasate's "Zapateado" (For Violin and Guitar)

or http://www.greatkat.com/04/wagcd.html ; video fragment : "War"

Homepage : http://www.greatkat.com/

Other audio : "Vivaldi"

Interview : http://deansplanet.com/jeremy_the_loner_great_kat.html

PS. No need to say I received ultra-angry letters of the chick after my review saying how much The Great kat is a genius like Wagner, or something like the next genius after Wagner. Who knows ;))

Särart Prod.         Karin Höghielm : Fabra (S,2004)***°

This is Höghielm’s second album. Both albums give the idea of a kind of musical theatre concept. This album has lots of mostly “meaningless” intuitive sound-vocals which often gives an impression, especially when mixed with strange instruments like 'udu' and 'pizza hut pan' percussion, drone fiddle, or exotic percussion, as if coming from some ethnical idea, while they also have a contemporary feeling, especially when mixed with piano/clarinet or additional cello, or when arranged into vocal harmonies. In this way the composer arranges, without as much interest in making complex harmonies, ideas like Meredith Monk, in a simplified way to make a minimal sphere, which might have been described well with the album’s cover, a cover which reminds me much of Zen Buddhism. The calm spheres evolve from one to the other, ever changing slowly in shape.

The album was recorded between oct.2002 and nov.2003.

I like very much her voice arrangements, even we get only a few of those. "Livet Livet" has such a vocal quartet arrangement, and last track track, "Ave Maris Stella", is recorded by a complete Chamber Choir.

Audio : "Döden", "Halla"

Homepage : http://www.karinhoghielm.com/

(Label entry : http://www.thelaboratory.net/cdkarin.html)

Other review : http://www.aural-innovations.com/issues/issue32/karin01.html

& http://cp05.ionhosting.com/%7Ejoelh/karinhoghielmreviews.htm#fabra

German review : http://www.nordische-musik.de/musiker.php?id_musiker=736

Info on other project : http://yuccatree.org/prj/ooppera06.html

Review of older release (second review on that page) : http://singersong.homestead.com/MedievalDCD.html

Constellation      Black Ox Orkestar : Nisht Azoy (CAN,2006)***°

There aren’t too many serious attempts at digging into old Jewish traditional music outside the Klezmer and gulag context, surely not by alternative rock bands. But this band has an honest and musical interest, and feels no need to confirm the traditional elements we all hear so often overly repeated, like the kind of klezmer with an overuse of clarinet as if someone suddenly decided that is a typical Jewish music instrument, (-“Ratsekr Grec” digs into Balkan gypsy like brass improvisations-) and there’s also no overuse of self-complaint songs (-the self-penned “Golem” however sounds like such a complaint made in a modern society ? but I can’t make out all the lyrics-). The album starts outside of any over-tradition and digs also deeper into the essence of a more universal feeling. I see a vision of musicians amongst all different people sitting on larger wooden tables in a very old inn, on an inspired evening after there was much to say. When the music plays, the energy is recognisable, improvised, and keeps the mood of the story. It was quite normal that travelling musicians played a mixture of all kinds of styles. It wasn’t different for Jewish musicians and songs. We hear mixtures from Balkan to Central Asian origins of styles, with some Moorish and Slavic influences, and perhaps even medieval origins.  It is especially the first half of the album, which sounds almost as if inspired or at least fitting, and remembered and performed on the spot, and this is played with a calm intensity, with from folk to chamber music improvisations and with some vocal harmonies. Members of Silver Mt.Zion and Sackville participated here. At least Mt.Zion (don’t know the band Sackville) is a band used to sweep the music up a bit with energy. “Violin Duet” (just violin) and “Ikh Ken Tsevey Zayn” sound like a traditional dance but are also self-penned tracks. After the Balkan styled “Ratsekr Grec”, “Tsvey Taybelakh” is more klezmer music with some variety in arrangements, and seems to be played by the Two Doves Friendship Band, which are a LOT of people. A part of the inspiration are traditional songs (4 of them) but some of the self-penned tracks might sound even more traditional.

Audio : "Bukharian", "Violin Duet"

& (with review) on http://www.boomkat.com/...  & http://www.cduniverse.com/...

Info : http://www.cstrecords.com/cst038.html

& http://www.southern.net/southern/catalog/BLAOX

Other review : http://www.lefthip.com/review_detail.php?reviewID=...

& http://newtrecords.co.uk/acatalog/Black_Ox_Orkestar.html#acst038cd

(my own) Dutch review : http://www.kindamuzik.net/artikel.php?id=12398

Private   Kay Hoffman : Carmina -Jubiläumausgabe 1975/2005 (D,2005)****

This interesting interpretation of medieval songs and poetry with chamber music and other instruments with layers of vocal arrangements is reviewed on

http://singersong.homestead.com/MedievalDCD.html

North East Indie     Alec K.Redfearn and the Eyesores : The Smother Party (US,2006)*****

Partly driven by waltz accordion, this is rhythmically haunted music of powerful chamber music rock with beautiful vocal harmonies, with elements of jabberwocky future folk, manically controlled and brilliantly performed.

"Litany" has a free form more experimental part which is an equally surprising and horrifying experience with the ever lasting rhythmic hooks in the flesh.

Last track goes terrorizingly electric.

Their best release so far !!

PS. Several members now also are part of a theatre circus chamber music rock group called The Beat Circus. (Review of their 2008 release here)

Audio : http://www.myspace.com/aleckredfearnandtheeyesores

Homepage : http://www.aleckredfearn.com/

Label : http://www.northeastindie.com/home.htm

Interview : http://www.splendidezine.com/features/redfearn/

My review of 2005 release :

http://progressive.homestead.com/prog11.html#anchor_150

and of 2003 release : http://psychedelicfolk.homestead.com/Psychfolkpopreview.html#anchor_60

And here's the  2007 release ->

Häpna Rec.   Hans Appelqvist : Naima (S,2006)****'

Review on http://progressive.homestead.com/sweden3.html#anchor_166

Vitamin Rec.       The String Quartet : Tribute to Slayer (US,2003)***°

The first time I heard of Quartets taking the time to rearrange pop and rock music was with the Kronos Quartet. I had the impression that especially people who were into classical music with this group became aware of such a crossover potential, but myself, I was little impressed with them, because they all played and arranged it in a rather clean way. Balanescu Quartet on the other hand, (which were formed from the great Arditti Quartet) was much more of what I expected of a quartet capable of having that kind of necessary quality to be convincing when interpreting rock and pop, which is a spontanuous energetic playing, as if the new compositions have an energy in inspiration. Their interpretations of Kraftwerk were done very well. The quartet was asked by many other groups (like Elvis Costello, ..). (PS : arranging Kraftwerk was redone brilliantly in a fun way by Senor Coconut who covered Kraftwerk with exotic samba rhythms). That happened all during the '90s. After that, in Finland, a quartet called Apocalyptica covered greatly the more composed tracks from Metallica. (Apocalyptica were especially brilliant on their first few albums ; they recently evolved to bring in more of their own repertoire becoming a bombastic semi-metal group nowadays). This String Quartet also covered numerous groups, from pop to metal, on a lot of different cd's. I decided to try at least one of them, the Slayer tribute album.

I remember Slayer from their early records in the '80s. Especially on some tracks from their debut from 1983, they were much heavier than any other band, and musically this was also interesting, with great incredible contrasts, especially on highlighting tracks like "The Antichrist". A bit freightening to know is, that, -compared to other earlier hard rock bands (like Black Sabbath,..)- they were really serious about what they were singing about, predating in fact the whole black metal scene. I was less impressed by their 1988 and 1990 albums, so I never checked much else out. It means also, that I'm not the most heavy Slayer fan for reviewing this tribute. I can only say that one day I have noticed some band's true potential and highlight, something which I remembered when checking this out.

The string Quartet interpreted especially the metal-like music compositions very much like 'melodic' compositions, and played them very spontanuously, in a very attractive way, even without an overwhelming power (compared to Apocalyptica's interpretations for instance, who played with 'horse hair' strings in order to get their successful heavy metal effect on the cello).

The least metal-like compositions, I personally found most interesting, like "Divine Intervention",...

A surprise is also how "Die By The Sword" sounds close to a tango theme.

Audio : "Dead Skin Mask", "Mandatory Suicide"

& http://www.fugomp3.com/album/21411/snur.html

Info on group : http://en.wikipedia.org/wiki/The_String_Quartet_Tribute

Label listing : http://www.vitaminrecords.com/...

Other releases : http://www.vitaminrecords.com/web/page.asp?pgs=products&catid=20

Slayer tributes : http://www.slayersaves.com/tributes.htm

Homepage : http://tmrpro.com/ & http://www.thesectionquartet.com

Other review : http://www.riderinfo.com/motorcycle-books/isbnB00009KU9C.html

Cuneiform Rec.       Birdsongs of the Mesozoic with Oral Moses :

  Extreme Spirituals (US,2006)*°°'

This is the first time after 12 other releases that this band cooperated with a singer. The choice to arrange and work with negro spirituals is not at all obvious, but is a rather "extreme" choice. The opener, "I'm rollin'" is not really convincing. While the song sounds more like blasphemous singing, with funny edges mixed with a more serious background, it is as if Art Bears is combined with a negro spiritual operetta where I cannot find enough elements to convince me that it is to be meant completely seriously. It still slightly sounds like a "wrong" bunch of combinations that don't fuse and make sense yet, like "wrong theatre", or just like a kind of transvestite cabaret. -When opera singer Klaus Nomi in the '80s chose to mix electro-pop with Henri Purcell operatic tragedy, and showed himself like a pop robot, I guess he also felt like a robot in life ; in that way Klaus Nomi, compared to this first track, sounds much more like an exploration of a true character. Nowadays, when Anthony (and the Jonhsons)'s cabaret is generally accepted, this brings in another choice of mixing contexts, but in this case, it sounds without an inner need of the singer to do so.

While the singer has a good voice, and the band plays well, here, mixing both into a composed piece, doesn't always work well. Luckily, the first two tracks (with "Couldn't hear anybody pray"), aren't a full representation of the music.

"Sometimes I feel like a motherless child" is closer to some of the textual emotions. And when really mixed better, with contemporary music ideas and a bit of jazz to it, the concept is much more convincing, with tracks like "Listen to the Angels shoutin'", with more interaction of band and singer, with breathing in tempo, sounding also closer to Van Seele's contribution on the Belgian "Flamma Flamma" from Nicholas Lens, (-which I personally find a convincing concept-), or like on "Wayfairing Stranger" and "Oh Freedom".

On shorter instrumental parts, like on "Great Day", and "Nobody knows.." the performing group Birdsongs of the Mesozoic shows how well composed the music can be.

Unusual, to say the least.

Audio : "Joshua Fit the Battle of Jericho"(or here),"Listen to the Angels Shoutin'","Great Day","Amen"(or here) & with info on