Gazpacho prove that sometimes a whisper is more effective than a shout...
March of ghosts --- Gazpacho --- 2012 (Kscope)
Only the second album released by Gazpacho on a major label --- the five previous put out independently by the band --- "March of ghosts", their seventh album overall, is, like the previous "Missa Atropos", a concept, but whereas the latter was one long story concerning one main character, "March of ghosts" is a collection of tales, essentially the stories told by a succession of ghosts who troop by the main character. The whole album, it would appear, was essentially written in just one day two years ago, but you'd never know it to listen to it. Gazpacho have been making themselves something of a name as crafters of some of the finest, best-honed and polished progressive rock around today, and this album continues that high standard.
Luckily, I've been able to unearth a video in which the band talk about the concept behind the tracks, so rather than attempt my usual ham-fisted explanation of what the story running through this album is, I'll leave it to the experts, those who wrote them, to tell you, and I'll just concentrate on the music and what it says to me. The video is below, about thirteen minuts long, but definitely worth your time if you're a fan, a prospective fan of the band, or if you just want a clearer idea of what "March of ghosts" is all about.
Opening with Thomas Andersen's soft, evocative synth lines joined by sweet violin from Mikael Kromer as the drums roll gently in the background, waiting to come in, "Monument" gets us started with with a two-minute instrumental introduction before "Hell freezes over I", part of a quartet of songs under the same name takes us in on more solid but not hard percussion, the melody from the intro flowing seamlessly into the second track --- as indeed do most of the tracks here --- as the distinctive voice of Jan-Henrik Ohme, who sounds so much like Steve Hogarth of Marillion, washes over us accompanied by Andersen's soft keyboards and some harder lines from Jon Arne Vibo on the guitar, a thick bassline from Kristian Torp (who likes to be known as "Fido") and some more beautiful violin from Kromer giving the whole thing something of a semi-celtic feel. It's a slowburner, really laidback and easing us gently into its brother, "Hell freezes over II", which comes in on soft Marillion-style acoustic guitar.
The tempo increases slightly but not that much, though Vibo's guitar comes through more strongly on this track, particularly near the end, with something that sounds like whistle or flute in the mix, but may very well be made on Andersen's keys. "Black lily" has a more moody, tense atmosphere about it, some nice interplay between guitar and drums, and Ohme proving he never really has to strain his voice to be heard: he's from the school of singers who believe in the gentler approach, the less-is-more philosophy, and it works really well. Some sublime layers of keyboard melodies laid on top of the guitar soften the somewhat harder style of this song, but it's still nothing you would honestly call rocking out. Gazpacho don't seem to do that very much, but it doesn't in any way detract from their music, in fact it vindicates it. This is a band you have to listen to, and their albums often take more than one listen before you truly get to the soul of the music. Not for just listening to as you workout or sweep the floor; this is music you have to take in, let it wash over you, absorb it and by a sort of osmosis you begin to realise how good it is, how many layers there are in it and how deep and insightful it is. Probably better listened to with headphones, but that option is not often open to me.
The celtic influence is back for "Gold star", with a thumping drumbeat and a skirling guitar and violin, Ohme's vocal a little more powerful and forward, and Vibo's guitar getting a lot rockier too, though the general tone and tempo of the songs have not really changed that much since the opening of the album. There's something that sounds like a bassoon or sousaphone near the end, with tinkling little piano notes that remind me of a musical box, then it fades slowly out and runs directly into "Hell freezes over III", with some lovely crying violin from Mikael Kromer making a return to the fore, deep bass and swirling keys adding to the atmosphere of the song, with sounds sampled in the keyboard which at times sound like voices (and could be), giving the clear and almost unsettling feel of ghosts floating in the air. It's a short song, and leads into one of the longer ones, as "Mary Celeste" comes in on acoustic piano followed by chiming soft guitar and thumping, solid drumwork.
Obviously at least partially about the mysterious ship that was found abandoned in the nineteenth century, and whose crew was never found nor the reason for their departure ever established, it's got a real sense of mystery and paranoia about it as the ghosts from that ship relate their tale to our hero, and Thomas Andersen's piano playing here is a standout, rating at times with the best Mark Kelly has produced. Kromer's violin work cannot be overlooked either, and sets up a real note of despair and frustration. A little sailor's hornpipe/reel near the end is a nice touch, again recalling the celtic themes on some previous tracks on this album. The pipes, flutes, keys, whatever, are joined by Lars Erik Asp on the drums, bringing the song to a fun and satisfying close. Into "What did I do" we go, as everything slips back into slow, relaxed mode for this standout, with some lovely expressive backing vocals against which Kromer's violin sighs and moans.
That violin follows us into "Golem", as the atmosphere builds and smoulders, pulsating bass punching through and bright piano adding its touch as the tempo rises very slightly, soft, almost miltaristic style drumming following the melody, quite low in the mix, not quite in the background until Vibo cuts loose on the guitar and the percussion ramps up to meet him, he and Asp taking the song up several notches. Some Jean-Michel Jarre-like effects on Andersen's keyboards fill in before Vibo takes off on a solo, then the organ carries the melody for a few moments, as Ohme's powerful but understated vocal runs under and above everything, the quiet but definite centre of attention. "The dumb" starts off as a gentle, balladic song with Ohme's vocal centre stage, accompanied only by Vibo's laidback guitar lines, until about halfway in, when Asp's drums crash in like breakers on the coastline, and Ohme's voice rises to meet them, some oriental-style keyboard work from Andersen helping paint the soundscape as we head into the final track.
Bringing everything full cricle and completing the quadrology, "Hell freezes over IV" opens on a big heavy drum solo, quickly joined by Vibo's frenzied guitar with Ohme delivering his strongest vocal on the album, and a great spooky little instrumental in the middle which wouldn't really be out of place on Jeff Wayne's "War of the worlds". More heavy guitar and percussion as the song reaches its midpoint, and Ohme's vocal dropping back in intensity, almost as if he has been worn out by listening to all these disembodied spirits telling him their stories. As if in response to that, Vibo takes over with a fine solo, joined by Andersen with some bubbly, atmospheric synth as the song heads towards its final minute, and the album comes to a close. Deep, heavy organ punctuates the ending, like some sort of celestial choir, and fades away as the march of ghosts ends.
TRACKLISTING
1. Monument
2. Hell freezes over I
3. Hell freezes over II
4. Black lily
5. Gold star
6. Hell freezes over III
7 Mary Celeste
8. What did I do
9. Golem
10. The dumb
11. Hell freezes over IV
If you know Gazpacho, then you know what I'm going to say here. This is not an album that rocks. Well, it does, but in subtler ways. There are many progressive rock acts out there who can write fine, uptempo songs you can rock along to, many of them. Gazpacho don't do that, not very often anyway. "Missa Atropos" was another slowburning, laidback, thoughtful album that you really couldn't just pick a track from and get the full experience of this band. Their albums are really more like novels, and to properly appreciate them you can't just read a chapter here or there. They don't do playlists very well. A Gazpacho album is an event, an experience, a happening, and to really "get" it, you have to open your mind, and your ears, and yes, your heart and soul, and let them sink in. Once they do, once you allow these six guys form Finland to enter your heart and pump their music through your bloodstream, you may find it quite hard to live without it.