Review

Hybrid Child, from my point of view, is rather unusual for a progressive rock record, even by the nebulous, genre-hopping standards of the last decade. At times it sounds like someone's populist attempt to bring classic Yes and progressive metal influences into Avril Lavigne territory. At other times it feels like the other way around: an instrumentally-adept pop band who want to dive into more substantial territory in an era where everyone is content at gawking at Adele's album sales as some indicator of talent.

Whatever your interpretation, these guys have an identity that could propel them to larger audiences than your typical young prog group. At the album's best, such as the propulsive 'I Can't Take You With Me', 2007 American Idol finalist Leslie Hunt exercises quite a bit of range and flexibility behind the mic, particularly in the bridges. A clever time signature, sprinkled with some clever keyboard hooks, a nice thudding bass and some cello, demonstrates these guys at their best...and their best is really, really interesting to say the least.

'Termites', the weakest track on the album structurally, gives a bit of insight into the band's roots as an instrumental group along the lines of Planet X or Liquid Tension Experiment. It wheedles, wanks and even thrashes a bit with Leslie following suit. Not horrible by any means, and it's grown on me a lot since I first picked this record up a year or so ago, but it doesn't work as well as the other songs here.

'Mindscan', the big 20+ minute suite, is probably the strongest song overall if taken from start to finish. They pull every stop here, sprinkles the interludes with a lot of gorgeous piano and keyboard soundscaping, and the alien abduction story told throughout is entertaining -- almost like something Floyd might pull under different circumstances.

Keep in mind, ladies and gents, that District 97 are a very young band, barely out of college yet bursting forth with all sorts of ideas. That they managed to craft an album this good at all is quite extraordinary, and it really makes one look forward to their next LP, Trouble With Machines, which is due out very soon now.

8/10

Thanks Ant: great review! :thumb:

I agree "Termites" is the worst track on the album (as I said in my review) --- sort of like a prog rock band trying to do death metal, but failing completely. I am interested to see what the new one is like: any ideas when it might be due?

It's actually supposed to come out tomorrow. :afro:

can I just do a short discussion?

actually i enjoy the first few "poppier" songs than the pretentious proggier stuff later on in this album

if the entire album was a mix of pop and prog like the first 3 songs, i'd give this a 10/10

Hmm, that's certainly interesting. I personally feel that without "Mindscan" the album would be a big loss. But there you go: that's why opinions differ.

I have something I'd like to throw out to you all if you're interested. It's only an EP, three tracks but Christ I've been listening to it nonstop for the last few days, and show no signs of getting tired of it.

https://encrypted-tbn2.google.com/im...oN9Zt7Rv9g3Bgw

Also Eden --- Differences as light (EP) --- 2010

Tracklisting:

1. Seeing red
2. Oud en nieuw
3. Reality cheque
(i) Fool's gold
(ii) Dead reckoning
(iii) Rainbow's end

Anyone interested let me know and I'll PM the link to ya!

I was actually listening to that based on the Bite you posted, Troll. They actually released a pretty interesting record last year that I need to check out. :D

On another note, I have an album suggestion for the next round of reviews too, as I've been enjoying it immensely and am curious what others 'round these parts might think of it.

Squackett - A Life Within A Day (2012)

http://img703.imageshack.us/img703/3...withinaday.jpg

Yeah I'd definitely be interested in that Ant, though it seems this club is not as populated or as contibuted to as I would have hoped. Hardly anybody's responded on HC and I feel few will take up my suggestion on AE. I'll definitely give that a listen though and let you know what I think of it.

On another, similar note, "Trouble with machines" is indeed now out, and if you want it for just over fifty cents, here's where ya go!
Trouble With Machines mp3 music download | megaboon.com

TH

Shall we listen to SQUACKETT and talk a little bit about it? Maybe there will be more people in a little while.

I'd really like people to give Also Eden a try first. I really can't get over how impressed I am by that album. I suppose we could do both: better than none, might kick a bit of life into this thread...

Okay, I will listen to Also Eden if i can, don't have the money to spare though.

I usually listen via spotify or wimp. I have already bought my albums for the month.

SQUACKETT is can listen to via wimp.

I'll PM ya...

Guys, are we ever gonna get back to this, or is it as dead as a really dead thing?

I'd love to get back to this. We just need to get a roll call I suppose. xD

Who was interested in reviewing Squackett? :D

Well I would be of course, but it's gonna take more than two of us. Did you give that Also Eden a listen, by the way?

i'm just a bit busy with "Skyrim"

you can PM me with links to both albums, if you wish, TH

I did check out Also Eden actually. Interesting bunch. I might review an earlier album of theirs though as opposed to that EP you posted about. ;)

From my experience with trying to run the prog & fusion album club, the club is doomed to die an early death if you rely too much on the support and effort from other members. I think the way to keep it running is literally just to do that, keep making the threads and doing the discussions, even if you're the only one doing it. If noone else suggests albums, go with your own suggestions. Then people will sometimes join in and sometimes they won't.

It sometimes does become a bit of a chore, but prog rock (and certainly fusion) won't really interest enough people here to keep a whole crowd of albumclubbers engaged and enthusiastic over time. Most will just join in sporadically and then you need to either pull through the dry seasons yourself or not do it.

I guess if you could find someone else ready to dedicate themselves to do this so that you could sort of agree to do equal amount of work - regardless of whether or not others participate - and manage to stick to it, then that could work quite well. I think album clubs are great so it's a shame they can be so hard to do.

edit :

When I started the PFAC club, I had thought quite a bit on how to keep such a club alive because I'd seen many dead album clubs. Of course that's dead now, but it had a good run so - coming up with some sort of survival strategy is a must, I think. At least when it comes to clubs about niche music!

Thanks tore, but I've generally given up on the club. It never really got started. I could do what you suggest, but sure that's more or less the same as what I'm doing in my journals, so where's the point really? I might as well just devote a slot in the journal to prog rock --- possible I might do that. But posting out here on my own, getting no replies, no input, no banter and no differing opinions: nah, just not worth it.

Thanks anyway, but this never really got off the ground and I've just left it in the aircraft breakers' yard, where it can slowly rust away under the desert sun. Sad, but if no-one else is interested, why should I make the effort?

I understand you very well and completely agree with you, Trollheart. Today when it comes to stuff on the forum, I feel like if it's more work than it is fun, then it's just not worth it. I'm here for recreation ;)

I'd love to make this thread work too -- but there just aren't enough active progheads around to give it the participation it deserves. :/

I'm one of those guilty of not participating but I should. I think the reason that this doesn't work is that the democratic process of voting for albums just takes too long and draws away from actually listening to the albums. My recommendation is that the thread manager in this case Trollheart picks an album and we all discuss the album over the week, Trollheart then picks at random or however he wants to do it another member to pick an album for the following week and so on, Trollheart every three or four albums can also choose another himself.

Metal Wars works like this and since I've started it, I found the thread has to adapt to survive, which it has.

An excellent idea, Unknown Soldier (taking turns to suggest an album).

As we're all generally here to enjoy ourselves and not do work, we should all be completely free in choosing what to do with our time here and so noone should really feel like they have to spend time here doing something they don't want to. So, I don't believe in blaming people for album clubs not working. As Ants writes, there are just too few people interested in this. It's just hard for a prog rock album club to survive in this kind of environment.

No album club should be fueled by guilty consciences. Participation should always be completely optional. Or that's how I see it at least!

I agree with what you're saying here, but since starting my own journal I'm really into discussing albums now in more detail. So if this gets up and running again I'm in.

All right then, we'll give it one more go.
Here's the one I've selected, great prog rock album from the early eighties, a band who are no longer together and whose pinnacle I believe was reached through this album.
http://upload.wikimedia.org/wikipedi...nd_fiction.jpg
Fact and fiction ---- Twelfth Night --- 1982
Here's the Wiki article for background
Fact and Fiction - Wikipedia, the free encyclopedia

It's an album that's pretty much bookended by two epics, the opener "We are sane", which runs for 10:27, and the not-quite-closer "Creepshow", which hits almost the twelve minute mark, coming in at 11:57. There are other good tracks too --- in fact, I wouldn't really rate any of the tracks as bad --- but these two I believe portray the best this album has to offer.

Interested to hear what you think. Let's give it two weeks, to allow everyone time to hear the album and formulate a view on it, and we'll all meet back here to discuss it.

Anyone who can't get the album and needs a link, PM me.

Oh, and I also reviewed it in my journal, if you want some more inspiration... :)

Last chance saloon? Saddle up, prog pardners! :D

I'll listen to it in the next few days. I understand that giving people 2 weeks is good, but it also drags things out too much and the thread can lose focus, but I'll leave it to you as you're the boss here.

Two weeks seems sensible to me.

Look, I'm easy, but both US and Ant have their own journals and Ant has another offsite blog to run, plus he's obviously devising some more fiendish plans to get "that pesky ant!" https://encrypted-tbn2.gstatic.com/i...WhEwU63KU51hlA (sorry, that's an aardvark, isn't it?) so I thought 2 weeks was a decent amount of time, not to rush people. But if everyone thinks they can do it in one, then that's fine by me. Whatever suits yaz.

Always preferred XII by Twelfth Night although it is far more commercial. I should give Fact Or Fiction more of a listen though.

Twelfth Night - Fact and Fiction (Twelfth Night Records, December 1982)

Twelfth Night are sane and have their doctor's permission to say so!


http://991.com/newGallery/Twelfth-Ni...ion-296850.jpg

http://www.passionprogressive.fr/ima...elfthnight.jpg


Fact and Fiction was recorded at Revolution Studios, Cheadle Hulme, Greater Manchester, during the summer of 1982. It was produced by Twelfth Night and Andy MacPherson. All the songs were written by Twelfth Night.


Fact and Fiction Tracklist

1. We Are Sane (a. Te Dium; b. We Are Sane; c. Dictator's Excuse Me) (10:27)
2. Human Being (7:50)
3. This City (4:01)
4. World Without End (1:54)
5. Fact and Fiction (3:59)
6. The Poet Sniffs a Flower (3:51)
7. Creepshow (11:57)
8. Love Song (5:38)

Bonus tracks on August 2002 reissue

9. East of Eden (3:27) single a-side
10. Eleanor Rigby (3:22) single b-side
11. Constant (Fact and Fiction) (2:27) demo, spring 1982
12. Fistful of Bubbles (3:18) demo, spring 1982
13. Leader (2:40) demo, spring 1982
14. Dancing in the Dream (2:58) demo, spring 1982
15. Human Being (3:56) session outtake - alternate version


Fact and Fiction Lineup

Geoff Mann: Vocals, tape effects
Clive Mitten: Keyboards, bass, classical guitar
Andy Revell: Electric and acoustic guitar
Brian Devoil: Drums, percussion
Jane Mann: Additional vocals on World Without End and Fact and Fiction


When considering Twelfth Night, the timing of this, their first LP, is everything, because they can be considered one of the first so-called neo-progressive rock bands, if not THE first. Fact and Fiction was released in December 1982, before Marillion's debut, Script for a Jester's Tear, appeared in March 1983, and IQ's Tales From the Lush Attic, was released at the end of 1983. In fairness to IQ, they did issue an earlier cassette, but then so did Twelfth Night. Pallas's The Sentinal and Solstice's Silent Dance did not see the light of day until 1984. Pendragon's first album, The Jewel, came even later in 1985. Among the rare Exceptions could be Quasar's Fire in the Sky, released in 1981, about which I know little; and Saga's self-titled debut in 1978, which is unique in that it does not fit comfortably into either seventies progressive rock or the later neo. Pink Floyd's first eighties album after The Wall and The final Cut did not emerge until 1988 and they were the progressive rock establishment.

The first track We Are Sane opens with a high-pitched mock-operatic or choral voice, followed by a deep voice, over the top of a sparce synthesizer and percussion arrangement. The singing is replaced by spoken voices, with a rhythmic typewriter sound effect, then returns, this time peppered with la-las, staccato chants and the declaration, "We are sane, not insane". Instrumentation from the band, led by Clive Mitten's synthesizer, has a light-touch, with an interesting cowbell effect at the half way mark and a Yes-style guitar solo from Andy Revell in the second half. Unfortunately, much of the band playing is buried in the mix, while Geoff Mann's voice(s) never seem to let up. It is ironic that, despite coming from a time when production could be ruined by too many layers of intruments, this avoids the trap, yet spoils things with a messy vocal arrangement. Nevertheless, I am Sane closes with more conventional vocals and another guitar solo. Human Being has a brief watery sound effect, vocal and synthesizer, followed by a contrasting punchy bass line and bright guitar. However, the voice, this time reminding me of an out-of-tune Rob Halford in deep voice mode, dominates again. At around four-and-a-half minutes, there is a Genesis time-signature with galloping guitar solo and tom toms, recalling that band's The Musical Box from the Nursery Cryme album. Geoff Mann returns to make his presence felt in the fade-out.

Synthesizer, children's voices and a radio commentary-like sound effect open This City quietly, but the vocals are harsh. Echo-y drums, economical Pink Floyd-style guitars and sparse piano cannot rescue the ambience. World Without End is a more successful quiet track, perhaps because the vocals are absent. A sprightly Vangelis-style synthesizer introduces the title track, which is reminiscent of arty punk rock band, Magazine, but Howard Devoto makes a more judicious use of his limited vocal range. The Poet Sniffs a Flower has a menacingly quite intro of synthesizer and acoustic guitar, redolent of Faith No More, albeit a staggering seven years before The Real Thing album. There are more Genesis time signatures and, again, this seems more satisfying because it is an instrumental.

At just over ten minutes running time, We Are Sane is the second longest track on the album; the lengthiest being Creepshow which is nearly twelve minutes long. Is it mere coincidence that Twelfth Night attempt to expand their ideas in a TWELVE minute piece? Acoustic guitar is joined by synthesizer and then Brian Devoil's cymbals, before Geoff Mann warbles, "Welcome, welcome, first today to see the creepshow/ come see the exhibits/ but do not touch/they cannot bear touch/ here in the freak show". Although I do not care for his phrasing, this is some of his best singing on the album, yet one cannot help be reminded of Pete Sinfield and ELP's superior Karn Evil 9. After a chanted vocal filler, there is more KE9 imagery with, "First, here on the rack strapped a child's virgin mind". Mann goes into falsetto for a verse on someone called Amanda, until we even get a spoken, "And so ladies and gentlemen, we come to the nerve centre of the whole affair." At just under six minutes, there is a superb instrumental section, needless to say with more Genesis, which is appropriate to the subject matter. The lyrics, however, turn from KE9 to Twelfth Night's own brand of unpleasantness with battered skulls and smashed horrors. Never one to shy away from a re-interpretation, Clive Mitten adds some KE9 3rd Impression sci-fi synthesizer.

The original Fact and Fiction album ends with Love Song, not a short song itself, but which has an improved lyric. Mann uses an effective 'Love is a, love is a, love is a, love is a . . .' motif and continues with another better quality performance. Revell provides a Mike Oldfield-style guitar solo. In previous reviews (on other forums) I have criticised singers, like Geddy Lee with Clockwork Angels, for not varying their voices enough, so it may seem hypocritical to suggest that less could have been more where Twelfth Night's vocal arrangements are concerned. But, a wisely uncluttered production is spoiled by too many vocals. If I had heard this album at the time of its release in 1982, I would have suggested they put more emphasis on the instruments and (uncharitably) find another singer. However, in 1983 Geoff Mann amicably left the band for a solo career, but tragically died of liver cancer ten years later. Clearly, there is no denying the ambition of the band or their willingness to experiment and add variety.

East of Eden is another Magazine, or Buzzcocks, inspired track, with overtly punk rock vocals, stuttering guitars and spacey keyboards. Tackling Eeanor Rigby was brave, or a mistake, depending on one's viewpoint. It is certainly different, but, with harsh vocals and an Ultravox feel, comes across as clumsy. Fistful of Bubbles, with guitar and drumming redolant of Andy Summers and Stewart Copeland respectively, is Police or Rush-type reggae-rock. Mann is to be congratulated for using his Cheshire accent throughout and final track, Dancing in the Dream, is no exception, serving as a reminder of The Psychedelic Furs. Another motif, a spoken 'Dancing in the Dream', is quite compelling.

Although a diehard seventies heavy and progressive rock fan, I am not averse to a bit of neo. Indeed, I prefer neo to much of today's 'new' progressive rock, but, as with the latter, it can suffer from indifferent vocals. These are particularly noticeable after the performances of Greg Lake, Jon Anderson, Chris Thompson and Peter Gabriel. On this basis, I found Geoff Mann's vocals a bit difficult to take onboard, but after repeated listens, I enjoyed Fact and Fiction very much and it has made me want to seek out another album by the band, or maybe just listen to a bit more neo-progressive. I could not claim to be a neo expert and have referrred to Allmuusic, PA and Wikipedia, in researching the background to the album. Finally, thanks to Trollheart for suggesting Fact and Fiction.

I'm going to be listening to this album but I'm not sure how it's meant to work. For example, like Big Ears has done should we write a review, or should I be matching my opinions to what Big Ears has already written in the form of a debate. Just trying to find the best angle for the club here.

Writing a review is the only way I could comment, I did not intend to set a precedent. My experience is that different people have their own way of responding to an album. I don't mind being matched or treated with indifference - I'm certainly used to the latter.

First off, I'd like to thank Big Ears for taking the time to listen to, form an opinion of, research and then review the album. Secondly I'd like to say excellent (hah!) job! Truly outstanding. Not meaning to be smug, but that was the kind of review I would have written --- indeed, did write, in my journal some time ago --- albeit with much more familiarity and comfort as to the music and how it's made: I wouldn't have known about Karn Evil 9, tom toms, Oldfield guitar solos and so on.

But it was an in-depth, informed, mostly unbiased review which asked and answered questions and gave a very deep and thoughtful overview of the album. I really enjoyed it, well done indeed. (Why don't you write a journal, with talent like that?) :confused:

As to whether everyone should do the same, well that's entirely up to you. You can write a review, write comments, discuss the album between us in short posts like on a normal thread, or whatever you want to do. I really don't mind, as long as we're talking about the album, and others to come. US, you might want to tackle it in the same format as your journal entries. Or not. It's completely up to everyone how they want to respond. Whatever you're comfortable with, or whatever you think suits.

If anyone does a review though, I have to say that I think they'll need to go a long way to beat the one written by Big Ears! Again, wonderful job.

As for other TN albums, I can only point you towards the excellent "Live and let live" which, though a live album and obviously containing tracks from F&F also has the brilliant "Sequences" on it (seventeen minutes long!) and also the opener "The ceiling speaks". There's an even longer version of "Sequences" (twenty minutes) on the live album "Live at the target", available here Twelfth Night Live At The Target mp3 music download | megaboon.com for thirty-two cents...

Have just read Big Ears review properly and it's impressive to say the least, if I was to write with that amount of detail for my journal, I'd only manage about one review a week:D. Anywat listening to the album now and my mini-review or critique will follow later today.

Thank you Trollheart. This is, without a doubt, the best reply I have ever had to a review. Perhaps I should post another here for you to cast your eyes over. Is a journal the best place for reviews? I read many of your reviews in your journal, when I first signed up here, and it was clear you had put a lot of work, as well as thought, into them.

I will definitely seek out those Twelfth Night live albums.

Thank you Unknown Soldier for your positive comments. A review can take me about a week to write. I take notes in a little book I carry around with me, as I listen to an album on my mp3 player. Drafting only takes about a day, but I have to leave it and think about it, before I return to produce the final copy. Some weeks I don't write one and, on other occasions, I can write a review over a weekend. The funny thing is, the more familiar I am with an album, the harder they can be to write. I also write band biographies, so they could probably go into a journal.

= = = =

I've just checked the journal rules and you need a post count of 100+. I am not a prolific poster, so it could take a while.

Now I feel better, it just takes me about an hour and a half to do an album review in my journal. I write the overview in about 20 mins and then do the rest whilst listening to the album again. Then in the final part I do some editing which takes a bit of time, but I cram it all into around 90 mins. BTW it makes perfect sense to make notes, ideas and ocurrences can come at anytime.

With your knowledge of prog, you could do a prog inspired journal and no need to worry about post count, you're nearly at 100 posts, so in between your good posts, just write some quick silly posts like most do on here and you'll be upto 100 in no time.:D

Twelfth Night Fact and Fiction 1982

What did I know about the album: Not much at all really, I'd hardly heard anything by the band previously and they were probably the neo-progressive rock band that I knew least about. It has been years since I've heard anything by IQ, Pallas or Pendragon from that era, but of course I've always been familiar with most of Marillion Fish era discography anyway.

Opinion: The album was quite different to what I expected it to sound like, I was kind of expecting a 1970s prog sound being revived as Marillion had done with the Gabriel era Genesis sound. Once started, I was immediately put off by the operatic whine of the lead singer, but once he settled down on the opening track the band's obvious talent opened up. First impressions were a strange amalgamation of a whole host of sounds and influences. In just the opening couple of tracks "We Are Sane" and "Human Being" I got bits and pieces of 1970s prog, a section similiar to classic Yes -the best on the album, a touch of Saga, a touch of Rush and even the future Marillion (who may have copied some bits here) but what most I noticed, especially on the opening track, were the then modern day New Romantic influences, subtle of course but they were there, truly making the band suitable for the neo-progressive label, rather than just recycling prog sounds of the 1970s. I also found tracks two and three to have a rockier feel about them and found the band very comfortable putting out this sound. I was intrigued to hear what the title track would be like and again the new romantics influence is very obvious on this song. "Creepshow" the longest song on the album wasn't the dramatic song I was expecting it to be at all. "Love Song" is a nice album closer though. Overall though it's a good album and worth a listen to anybody interested in 1980s prog, but not as good as early Marillion though.

7 out of 10

Footnote: This forum always has a lot of people either going on about classic prog from the 1970s and about modern post 1990s prog, seldom is their any real interest in its 1980s cousin.

Pertinent comments, Unknown Soldier, and it's funny that you should mention the new romantics. I was going to accuse Geoff Mann of sounding like Tony Hadley of Spandau Ballet, but opted for the out-of-tune Halford instead. Neo-progressive rock does seem a bit overlooked these days, but it is probably fair to say it was ignored in its day. It cast a long shadow as Transatlantic show the neo influence and Galahad are still making albums.

= = = =

I've started a journal. I hope it is accepted as a I didn't make a copy of my first post!

Hell do you think he sounds like Tony Hadley!!! Rob Halford never crossed my mind. The new romantics angle largely comes from the fact that I couldn't actually pin them down to a new romantics band when I was listening, but now post-album Visage comes to mind probably the best band of the movement.

You should always make copies of your journal entries, can't you just backspace on this page and then copy it from there?