Trollheart's Listening List 2015/2016

Trollheart · 12-15-2015, 12:09 PM

Title: Delusion Rain
Artiste: Mystery
Year 2015
Nationality: Canadian
Familiarity: 75%; I've heard and enjoyed two of their, until now, five albums
Genre: Progressive Rock
6
Expectations: If it follows on from the quality of the previous two albums, it should be really good indeed. Mind you, I've known bands to change lineups, but not entire lineups! Nobody, other than founder and guitarist/keyboardist Michel St-Pere, remains from the band that recorded 2012's The World is a Game, although in fairness the band has pretty much consisted of St-Pere and vocalist Benoît David since 2010. Still, to see David go is a wrench; he's best known of course as being the replacement for Jon Anderson in Yes, but recently had to quit that band due to ill health. The album is, as ever, pretty much written entirely by St-Pere, with a new vocalist in place, though whether Jean Pageau is a permanent replacement for David or just another cog in St-Pere's rotating lineup is open to question. I do see that Benoît Dupuis (keys) and François Fournier (bass) return from the lineup that recorded One Among the Living, so that's something of a relief.

1. Delusion rain: True to progressive rock form, though there are only six tracks here, one is twelve and a half minutes, one is nineteen and a half and this one is ten, so we're not exactly talking about short songs here. An understated opening with somehow a hint of menace in the dark keys of St-Pere gives way to a powerful guitar intro then a very Yes-like vocal harmony backed by simple electric piano. When he takes the vocal on his own though, new boy Jean Pageau, who also takes a stint on keys and, Gabriel-like, tootles on the flute too, sounds like a credible replacement for Benoît David, maintaining the sound I've come to expect from Mystery over the years. The phantom fingerprints of Pink Floyd's “Echoes” can certainly be detected in passages here, and there's some great instrumental work as ever.
2. If you see her: In contrast to the opener, this is a nice little simple love song driven by a delicate twelve-string from Sylvain Moineau and an answering electric from St-Pere. Short by Mystery's standards at a mere six minutes and change, again some very Yeslike vocal harmonies enhancing the song rather than detracting from it.
3. The last glass of wine: Another lovely twelve-string joined by what certainly sounds like violin, but it hardens up quickly on electric guitar and I doubt this will be a ballad, despite being another six-minuter. Like the way they namecheck themselves in the lyric. Very aching and passionate song. Slight edge of “Kashmir” here.
4. The willow tree: This is the big one. Almost twenty minutes long. The album has been great so far, but may stand or fall on this; after all, it's almost a third of the full running time. As expected, there's a long instrumental intro, and it's almost three minutes before Pageau comes in with the smooth vocal, pulling the song along at, initially at first, a gentle, relaxing pace. Seems to be about an old gardener who tends trees but never falls in love, and regrets it as he nears the end of his life. Picking up tempo now in the fifth minute and bringing in some flute from Pageau as it hits a semi-eastern feel with a soaraway solo from St-Pere. Some very Genesis keyboards too and the extended instrumental break lasts well into the ninth minute, but even when it breaks down on soft piano and Pageau comes back in, we have another ten to go. The melody here sounds very familiar, but I can't quite place it. Marillion maybe? I think so. Like many prog rock tracks, this one is extended to its almost silly length by the addition of plenty of long instrumentals, but whereas these can be often technical wankery and showing off, I feel everything here works. Though it is still possibly too long.
5. Wall Street King: Not surprisingly, there's a political/economic theme to this, and it's attended by a mostly angry guitar and a very dark vibe. Lovely guitar and piano ending.
6. A song for you: And one more epic to close. This runs for over twelve minutes, so expect, again, a lengthy instrumental beginning. Sort of a semi-ballad with a lot of emotion in the vocal from Jean Pageau and some fine keyboard work from Michel St-Pere.

Final result: Pretty much as expected, which is excellent. Despite a somewhat fluctuating lineup and a new vocalist, Mystery as ever rides on the direction of Michel St-Pere, who also wrote the six songs here, and as long as he is involved they will survive, and more, produce excellent albums like this one. Another reason why Canada should not be discounted for its progressive rock output (this is the country that gave us Rush, after all!) and why you should listen to Mystery if you like classy, intricate but not overblown prog rock with a real message in the lyrics.

Rating:

DwnWthVwls · 12-15-2015, 12:47 PM

Listened to Riverside and Lanterns

Also, got in the Half Moon Run album and moving onto Julia atm. I'm looking forward to reading your thoughts on the album compared to mine.

Trollheart · 12-15-2015, 01:19 PM

Quote:

Originally Posted by DwnWthVwls

Listened to Riverside and Lanterns

Also, got in the Half Moon Run album and moving onto Julia atm. I'm looking forward to reading your thoughts on the album compared to mine.

Cool! Just about to write the review for Half Moon Run as we speak...

Trollheart · 12-15-2015, 04:29 PM

Title: Anthracite Fields
Artiste: Julia Wolfe
Year 2015
Nationality: American
Familiarity: 0%
Genre: Contemporary Classical
? (see “Bitesize” for an explanation, plug plug!)

Expectations: I thought contemporary classical was a reasonably safe bet. Yeah...

1. Foundation:It's very quiet for most of the opening (runs for like nineteen minutes) apart from some clashing drums and piano I think that break out, then a low male vocal choir starts chanting, getting faster and more insistent, then female choir coming in too. Some more music added in now, guitar I think and maybe oboe or clarinet as the female vocals take over. We're about ten minutes in now. Big punching vocal in the fifteenth minute, attended mostly by stabbed piano and now the male vocal choir is advancing into the piece, the two eventually joining for a choral rendition to take the track towards its end. Not really my kind of thing, but good for what it is.
2. Breaker Boys:This one's only (!) fourteen minutes long, and starts off more boppy and uptempo, getting right into it with a peppy clarinet and double vocal from the male and female choir. Sort of think I preferred the first track already! Yeah, it's only four minutes in but I already don't like this much at all. There's nothing of the gentle undertones of the first track in this; it's just a little too lively. Okay, suddenly it's beginning to settle down on a slow male choir. Wolfe uses something she calls the Bang On A Can Allstars and to be honest, in minute nine it sounds like that's exactly what's happening, as female vocals rise into the mix. Now it takes off into a sort of rocking rhythm somewhat in the vein of “We didn't start the fire” to a degree. Yeah, liking this less as it develops.The stupid chant of “I am the king of the castle” at the end does nothing to change my mind.
3. Speech:Something of an Indian twist to this, more choir work , skow doomy percussion. Meh.
4. Flowers: Nice acoustic guitar start, soft and flowing, gentle voices. Some very nice violin and cello, a lot more relaxed.
5. Appliances:And a twelve-minuter to end. It's been something of an endurance test and I can't really see this one making it any easier an experience for me. Sort of broken-up vocals here, with some nice but slightly distorted piano. Gets pretty intense, but to be honest I'm just waiting for it to be over now.

Final result:I wouldn't want to put down what she does, as I'm sure this is a great composition, but it is definitely not for me. I prefer my music a bit more, shall we say, musical? Frownland probably loves this, which tells you how much I don't. It's clever, it's deep, it's well-produced, but it's not something I'd listen to again.

Rating:

DwnWthVwls · 12-15-2015, 04:39 PM

^I was bored with it after 15 minutes. Didn't listen to the rest.

Trollheart · 12-15-2015, 04:41 PM

Quote:

Originally Posted by DwnWthVwls

^I was bored with it after 15 minutes. Didn't listen to the rest.

Hermano!

onlyalice · 12-15-2015, 09:20 PM

It is all about this thread hahaha

Trollheart · 12-16-2015, 05:12 AM

Title: Sun Leads Me On
Artiste: Half Moon Run
Year 2015
Nationality: Canadian
Familiarity: 100%. Loved their debut.
Genre: Indie Rock/Pop
2

Expectations: Dark Eyes was an amazing album, a real discovery for me in 2012. It's often hard to capitalise on that success, though again, Half Moon Run weren't exactly winning Grammys or topping charts with it, so perhaps they can unobtrusively slip in a small hand grenade disguised as a pineapple here and upset the whole fruit cart? I certainly hope it lives up to the promise of the debut, and I'm a little more than cautiously optimistic.

1. Warmest regards: A really gentle laidback start, puts me so much in mind of the APP with some Beatles and Bread thrown in there. I love this guy's voice. Almost dreampop at times mixed with a kind of folky feeling; just makes you want to smile.
2. I can't figure out what's going on: Touches of CSNY here with a great run (sorry) on the piano, then it kicks off on a lovely upbeat melody with super vocal harmonies, one of the things Half Moon Run are becoming known for. If I felt like smiling and relaxing for the first track, I feel like dancing for this one (don't worry, I won't: I wouldn't subject anyone to that!)

Crazy little guitar solo.
3. Consider yourself:Real sense of rockabilly meets acoustic Springsteen about this, probably the rockiest track so far. Great bass run, though it does sound like a sped-up version of The Boss's “State Trooper”...
4. Hands in the garden: A more uptempo song, with a real upbeat feeling. Great vocal line and in particular a fantastic sort of echoey group vocal before a harmonica cuts in and takes the song to another level. Superb.
5. Turn your love: Great peppy keyboard line here on another uptempo track; kind of gives me a feeling of China Crisis in parts, also Deacon Blue. Really explodes into life in the middle. Drops then to single piano and drum hits for the last minute or so. Bit odd, after all the exuberance and somewhat a low-key ending: I'd even venture to suggest the last minute could have been cut out, as it really adds nothing to the song. Hmm. I'd consider dropping the rating to Orange but ... naaahhhhh!
6. Narrow margins: Talk about introspectiv --- oh. Just took a slightly more uptempo turn. Is that vibraphone? More wonderful vocal harmonies. Could be violin there, or, possibly, steel guitar. Lovely, either way. Rippling piano running through this like a soft river.
7. Sun leads me on: This is very Eagles/CSNY with a great guitar line and a gentle, bittersweet theme; love the way his voice hits the slightly higher registers on the end of the verse lines. Like the best of the seventies West Coast singers. Superb.
8. It works itself out: Slowburner that really hits its stride in the second minute and really never looks back. Real vocal histrionics from Devon I assume, unless Conner can reach those notes!
9. Everybody wants: This is just beauty in simplicity. The yearning in the song, the simple message, the sense of wanting to belong. Just amazing. Gorgeous lush organ line running through it and some of the best vocal work I've heard on the album, which is saying something.
10. Throes: Fifty-four seconds of blissful piano Heaven.
11. Devil may care: Cool little folk ditty
12. The debt: Holy crap, another Blue! Yeah, this blues-based ballad is just another that deserves that rating. Incredible. This is the kind of song that can make you cry. Pussy. What? No, no: it's just a bit of grit in my eye....
13. Trust: And a great boppy almost new-wave rocker to close it out. Wonderful. Wipe those tears away and shake that booty. Unless you're me, in which case do not under any circumstances shake what you laughingly call a booty!

Final result: A triumphant followup to Dark Eyes, and makes me remember why I enthused so much about these guys the first time. A next-to-perfect collection of songs to satisfy anyone really, and with any luck Half Moon Run will soon be a name spoken of in other than hushed whispers and the word “Who?”

Rating: Rating:

Anteater · 12-16-2015, 08:05 AM

^ Pretty fantastic stuff. Was pretty much unaware of their existence 'til reading your review here, but looks like I've been missing out.

Young Gun Silver Fox's debut that made my top 31 isn't too far off from this album it sounds like. I should give Sun Leads Me On an honorable mention later this month.

Trollheart · 12-16-2015, 09:54 AM

Quote:

Originally Posted by Anteater

^ Pretty fantastic stuff. Was pretty much unaware of their existence 'til reading your review here, but looks like I've been missing out.

Young Gun Silver Fox's debut that made my top 31 isn't too far off from this album it sounds like. I should give Sun Leads Me On an honorable mention later this month.

Yeah, it's an amazing album, and the debut is even better. Stoked to see they're coming to Dublin for Paddy's Day, even if I won't be able to get to see them. Jackhammer was the only one who took notice of my review of the debut in 2012: always ahead of the curve, that man. Nice to have finally discovered something that others may end up getting into. It's not the Trollheart way, I know, but once in a while it clicks.

Must try that Young Gun Silver Fox thing; got a link?

12-15-2015, 12:09 PM	#41 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Title: Delusion Rain Artiste: Mystery Year 2015 Nationality: Canadian Familiarity: 75%; I've heard and enjoyed two of their, until now, five albums Genre: Progressive Rock 6 Expectations: If it follows on from the quality of the previous two albums, it should be really good indeed. Mind you, I've known bands to change lineups, but not entire lineups! Nobody, other than founder and guitarist/keyboardist Michel St-Pere, remains from the band that recorded 2012's The World is a Game, although in fairness the band has pretty much consisted of St-Pere and vocalist Benoît David since 2010. Still, to see David go is a wrench; he's best known of course as being the replacement for Jon Anderson in Yes, but recently had to quit that band due to ill health. The album is, as ever, pretty much written entirely by St-Pere, with a new vocalist in place, though whether Jean Pageau is a permanent replacement for David or just another cog in St-Pere's rotating lineup is open to question. I do see that Benoît Dupuis (keys) and François Fournier (bass) return from the lineup that recorded One Among the Living, so that's something of a relief. 1. Delusion rain: True to progressive rock form, though there are only six tracks here, one is twelve and a half minutes, one is nineteen and a half and this one is ten, so we're not exactly talking about short songs here. An understated opening with somehow a hint of menace in the dark keys of St-Pere gives way to a powerful guitar intro then a very Yes-like vocal harmony backed by simple electric piano. When he takes the vocal on his own though, new boy Jean Pageau, who also takes a stint on keys and, Gabriel-like, tootles on the flute too, sounds like a credible replacement for Benoît David, maintaining the sound I've come to expect from Mystery over the years. The phantom fingerprints of Pink Floyd's “Echoes” can certainly be detected in passages here, and there's some great instrumental work as ever. 2. If you see her: In contrast to the opener, this is a nice little simple love song driven by a delicate twelve-string from Sylvain Moineau and an answering electric from St-Pere. Short by Mystery's standards at a mere six minutes and change, again some very Yeslike vocal harmonies enhancing the song rather than detracting from it. 3. The last glass of wine: Another lovely twelve-string joined by what certainly sounds like violin, but it hardens up quickly on electric guitar and I doubt this will be a ballad, despite being another six-minuter. Like the way they namecheck themselves in the lyric. Very aching and passionate song. Slight edge of “Kashmir” here. 4. The willow tree: This is the big one. Almost twenty minutes long. The album has been great so far, but may stand or fall on this; after all, it's almost a third of the full running time. As expected, there's a long instrumental intro, and it's almost three minutes before Pageau comes in with the smooth vocal, pulling the song along at, initially at first, a gentle, relaxing pace. Seems to be about an old gardener who tends trees but never falls in love, and regrets it as he nears the end of his life. Picking up tempo now in the fifth minute and bringing in some flute from Pageau as it hits a semi-eastern feel with a soaraway solo from St-Pere. Some very Genesis keyboards too and the extended instrumental break lasts well into the ninth minute, but even when it breaks down on soft piano and Pageau comes back in, we have another ten to go. The melody here sounds very familiar, but I can't quite place it. Marillion maybe? I think so. Like many prog rock tracks, this one is extended to its almost silly length by the addition of plenty of long instrumentals, but whereas these can be often technical wankery and showing off, I feel everything here works. Though it is still possibly too long. 5. Wall Street King: Not surprisingly, there's a political/economic theme to this, and it's attended by a mostly angry guitar and a very dark vibe. Lovely guitar and piano ending. 6. A song for you: And one more epic to close. This runs for over twelve minutes, so expect, again, a lengthy instrumental beginning. Sort of a semi-ballad with a lot of emotion in the vocal from Jean Pageau and some fine keyboard work from Michel St-Pere. Final result: Pretty much as expected, which is excellent. Despite a somewhat fluctuating lineup and a new vocalist, Mystery as ever rides on the direction of Michel St-Pere, who also wrote the six songs here, and as long as he is involved they will survive, and more, produce excellent albums like this one. Another reason why Canada should not be discounted for its progressive rock output (this is the country that gave us Rush, after all!) and why you should listen to Mystery if you like classy, intricate but not overblown prog rock with a real message in the lyrics. Rating: __________________ Trollheart: Signature-free since April 2018

12-15-2015, 04:29 PM	#44 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Title: Anthracite Fields Artiste: Julia Wolfe Year 2015 Nationality: American Familiarity: 0% Genre: Contemporary Classical ? (see “Bitesize” for an explanation, plug plug!) Expectations: I thought contemporary classical was a reasonably safe bet. Yeah... 1. Foundation:It's very quiet for most of the opening (runs for like nineteen minutes) apart from some clashing drums and piano I think that break out, then a low male vocal choir starts chanting, getting faster and more insistent, then female choir coming in too. Some more music added in now, guitar I think and maybe oboe or clarinet as the female vocals take over. We're about ten minutes in now. Big punching vocal in the fifteenth minute, attended mostly by stabbed piano and now the male vocal choir is advancing into the piece, the two eventually joining for a choral rendition to take the track towards its end. Not really my kind of thing, but good for what it is. 2. Breaker Boys:This one's only (!) fourteen minutes long, and starts off more boppy and uptempo, getting right into it with a peppy clarinet and double vocal from the male and female choir. Sort of think I preferred the first track already! Yeah, it's only four minutes in but I already don't like this much at all. There's nothing of the gentle undertones of the first track in this; it's just a little too lively. Okay, suddenly it's beginning to settle down on a slow male choir. Wolfe uses something she calls the Bang On A Can Allstars and to be honest, in minute nine it sounds like that's exactly what's happening, as female vocals rise into the mix. Now it takes off into a sort of rocking rhythm somewhat in the vein of “We didn't start the fire” to a degree. Yeah, liking this less as it develops.The stupid chant of “I am the king of the castle” at the end does nothing to change my mind. 3. Speech:Something of an Indian twist to this, more choir work , skow doomy percussion. Meh. 4. Flowers: Nice acoustic guitar start, soft and flowing, gentle voices. Some very nice violin and cello, a lot more relaxed. 5. Appliances:And a twelve-minuter to end. It's been something of an endurance test and I can't really see this one making it any easier an experience for me. Sort of broken-up vocals here, with some nice but slightly distorted piano. Gets pretty intense, but to be honest I'm just waiting for it to be over now. Final result:I wouldn't want to put down what she does, as I'm sure this is a great composition, but it is definitely not for me. I prefer my music a bit more, shall we say, musical? Frownland probably loves this, which tells you how much I don't. It's clever, it's deep, it's well-produced, but it's not something I'd listen to again. Rating: __________________ Trollheart: Signature-free since April 2018

12-16-2015, 05:12 AM	#48 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Title: Sun Leads Me On Artiste: Half Moon Run Year 2015 Nationality: Canadian Familiarity: 100%. Loved their debut. Genre: Indie Rock/Pop 2 Expectations: Dark Eyes was an amazing album, a real discovery for me in 2012. It's often hard to capitalise on that success, though again, Half Moon Run weren't exactly winning Grammys or topping charts with it, so perhaps they can unobtrusively slip in a small hand grenade disguised as a pineapple here and upset the whole fruit cart? I certainly hope it lives up to the promise of the debut, and I'm a little more than cautiously optimistic. 1. Warmest regards: A really gentle laidback start, puts me so much in mind of the APP with some Beatles and Bread thrown in there. I love this guy's voice. Almost dreampop at times mixed with a kind of folky feeling; just makes you want to smile. 2. I can't figure out what's going on: Touches of CSNY here with a great run (sorry) on the piano, then it kicks off on a lovely upbeat melody with super vocal harmonies, one of the things Half Moon Run are becoming known for. If I felt like smiling and relaxing for the first track, I feel like dancing for this one (don't worry, I won't: I wouldn't subject anyone to that!) Crazy little guitar solo. 3. Consider yourself:Real sense of rockabilly meets acoustic Springsteen about this, probably the rockiest track so far. Great bass run, though it does sound like a sped-up version of The Boss's “State Trooper”... 4. Hands in the garden: A more uptempo song, with a real upbeat feeling. Great vocal line and in particular a fantastic sort of echoey group vocal before a harmonica cuts in and takes the song to another level. Superb. 5. Turn your love: Great peppy keyboard line here on another uptempo track; kind of gives me a feeling of China Crisis in parts, also Deacon Blue. Really explodes into life in the middle. Drops then to single piano and drum hits for the last minute or so. Bit odd, after all the exuberance and somewhat a low-key ending: I'd even venture to suggest the last minute could have been cut out, as it really adds nothing to the song. Hmm. I'd consider dropping the rating to Orange but ... naaahhhhh! 6. Narrow margins: Talk about introspectiv --- oh. Just took a slightly more uptempo turn. Is that vibraphone? More wonderful vocal harmonies. Could be violin there, or, possibly, steel guitar. Lovely, either way. Rippling piano running through this like a soft river. 7. Sun leads me on: This is very Eagles/CSNY with a great guitar line and a gentle, bittersweet theme; love the way his voice hits the slightly higher registers on the end of the verse lines. Like the best of the seventies West Coast singers. Superb. 8. It works itself out: Slowburner that really hits its stride in the second minute and really never looks back. Real vocal histrionics from Devon I assume, unless Conner can reach those notes! 9. Everybody wants: This is just beauty in simplicity. The yearning in the song, the simple message, the sense of wanting to belong. Just amazing. Gorgeous lush organ line running through it and some of the best vocal work I've heard on the album, which is saying something. 10. Throes: Fifty-four seconds of blissful piano Heaven. 11. Devil may care: Cool little folk ditty 12. The debt: Holy crap, another Blue! Yeah, this blues-based ballad is just another that deserves that rating. Incredible. This is the kind of song that can make you cry. Pussy. What? No, no: it's just a bit of grit in my eye.... 13. Trust: And a great boppy almost new-wave rocker to close it out. Wonderful. Wipe those tears away and shake that booty. Unless you're me, in which case do not under any circumstances shake what you laughingly call a booty! Final result: A triumphant followup to Dark Eyes, and makes me remember why I enthused so much about these guys the first time. A next-to-perfect collection of songs to satisfy anyone really, and with any luck Half Moon Run will soon be a name spoken of in other than hushed whispers and the word “Who?” Rating: Rating: __________________ Trollheart: Signature-free since April 2018

12-15-2015, 09:20 PM	#47 (permalink)
onlyalice Groupie Join Date: Dec 2015 Posts: 15	It is all about this thread hahaha