Tag: Desire’s Magic Theatre

Progradar Best Of 2016 – Shawn Dudley’s Top 10

Let’s face it, 2016 has not been the best year in human history, but it has been an exceptionally good year for music.  Seemingly every week something new would capture my imagination and become indispensible.  Due to the magnitude of choices putting together a year-end list became a daunting exercise.

What follows is not necessarily a traditional “top 10”, it’s a condensed selection of albums that made the most impact on me throughout the year.

Katatonia – The Fall Of Hearts

The Fall of Hearts was the easiest selection for this list; its place has been secure for months.  Nobody was more surprised than me as I had previously been ambivalent about Katatonia but this gorgeous, immaculately crafted album completely won me over. It’s a subtle, layered album that bears repeated listening, something I did almost daily for several months. The Fall of Hearts is their most mature and fully realized work to date, a rare instance of a band in their second decade who continue to evolve and improve their already unique sound.
Favorite tracks:  Takeover, Last Song Before The Fade, Shifts

Opeth -Sorceress

While the various factions of Opeth fans of different eras clash online, fruitlessly fighting for supremacy…Mikael Akerfeldt continues to laugh and do whatever the hell he wants. Sorceress continues Opeth’s exploration of vintage instrumentation that began with the controversial Heritage in 2011 and the more straight-forward and polished Pale Communion in 2014.  Sorceress goes against expectations by going for a rawer, heavier and more experimental approach.  It’s a stylistically diverse collection of songs with gorgeous folk rockers, heavy Prog epics and 70s inspired jams co-existing harmoniously.

Favorite tracks:  A Fleeting Glance, The Wilde Flowers, The Ward (bonus track)

Messenger – Threnodies

This sadly under-appreciated gem was easily one of the most enjoyable albums I heard all year. Messenger had the ability to work within the sonic framework of classic Prog, the instrumentation and vibe, yet not become a slave to it. Threnodies may offer up flashes of the past via inspiration; Wishbone Ash, Pink Floyd, Black Sabbath, CSN&Y; yet it sounds simultaneously modern and wholly relevant in 2016. Sadly the band has prematurely called it a day, but despite that I wouldn’t want you to miss out on hearing what they’ve left behind.
Favorite tracks:  Oracles Of War, Balearic Blue, Celestial Spheres

Seven Impale – Contrapasso

This thoroughly and wonderfully insane sextet from Norway was my favorite discovery of the year. Contrapasso is the type of album it’s best to just experience because describing it accurately is an exercise in futility. You’ll find elements of King Crimson, jazz-fusion, early 70s heavy metal and a love of the absurd, but that still just gives you a vague impression. The mixture of wonderfully heavy guitar and bass riffs, improvisational saxophone excursions and entertainingly theatrical vocals I find completely addictive.
Favorite tracks: Languor, Heresy, Inertia

Gong – Rejoice! I’m Dead!

Guitarist/Vocalist Kavus Torabi makes the first of two appearances on my year-end list. On Rejoice! I’m Dead! he effortlessly carries on the eclectic and joyful Gong; simultaneously a love letter to the recently departed founder Daevid Allen and a thoroughly rewarding work on its own merits.  It’s a wonderful collection of brief, quirky rockers and stretched-out fusion jam bliss. I love the sound of this album so much; I can’t help smiling whenever I play it. Who says Prog can’t be fun?
Favorite tracks: Rejoice!, The Unspeakable Stands Revealed, Kapital 

Knifeworld – Bottled Out Of Eden

Our second Kavus Torabi appearance is another blast of experimentally playful fun. Knifeworld sets the tone immediately with the thoroughly addictive High Aflame, an artfully arranged pop confection that is the perfect album opener. The horn section allows them to employ voicings that you don’t often here in progressive rock circles, not that this album really fits into the general guidelines of that term. In fact I’m not sure Knifeworld exists within the guidelines of anything but their own imagination.  I applaud them.

Oranssi Pazuzu – Värähtelijä

And now for something truly and beautifully frightening. This Finnish quintet has crafted an avant-garde treasure, a mixture of Space Rock, Jazz and caustic Black Metal that is supremely thrilling. The arrangements are incredibly dense, building layer upon layer of guitars, synths and scorched earth vocals that threaten to become atonal cacophony, but deftly remain right on the edge. It’s challenging, intense music, but also contains much beauty. If you’re feeling brave, I highly recommend it.
Favorite tracks:  Lahja, Havuluu, Vasemann Kaden Hierarkla

 

Haken – Affinity

I will admit that the technical end of Prog Metal is not my preferred style. I’ve never been inspired by the Dream Theater end of the spectrum, I can admire the craft, but it doesn’t generally speak to me. Haken is one of the few exceptions, a band whose audacious personality and jaw dropping musicianship manage to always remain entertaining. This is assisted by a welcome amount of dry humor that has a tendency to display itself on occasion. Affinity is their most complex and intricately constructed album yet, maybe not quite as accessible as The Mountain but just as artistically successful. The playfulness shows itself on the epic ‘1985’, a song built entirely on the instrumental sounds of the 80s that never devolves into parody and instead becomes poignant. Haken also continue to outgrow the limitations of Prog Metal, methodically expanding their musical vocabulary into new, unexpected areas. Affinity continues their winning streak of rewarding albums; I look forward to hearing where they go next.
Favorite tracks:  The Architect, Red Giant, 1985

Purson – Desire’s Magic Theatre

D.M.T. is Rosalie Cunningham’s love letter to the late 60s psychedelic and early progressive rock scene and the substances that often inspired them. What keeps it from becoming just a curio is the conviction she brings to her songs and how skillfully she applies the vintage instrumental sounds to create the required effect. The influences are plentiful; Hendrix, The Doors, Jethro Tull, Jefferson Airplane, King Crimson, Curved Air; but Rosalie has taken that inspiration and applied it to her own organic and highly enjoyable compositions.  It’s a fun album that is worth investigating, with or without the accompanying substances.

Favorite tracks:  Electric Landlady, Pedigree Chums, The Bitter Suite

Khemmis – Hunted 

In addition to Progressive Rock and Jazz I’ve also been a Heavy Metal fan for over 30 years. I don’t listen to straight-ahead metal very often these days but occasionally I’ll hear something that reawakens that old love of chugging, galloping riffs and thunderous drums. Khemmis is a young band from Denver whose latest album Hunted kicked my ass right and proper. Their sound is a tasty mix of doomy Candlemass/Trouble riffs, dual harmony lead guitars and NWOBHM inspired attitude. Satisfyingly crushing yet consistently melodic and inspired, these guys nail all the metallic requirements with their muscular performances and above-average songwriting.  My neck hurts…
Favorite songs:  Above The Water, Candlelight, Hunted

 

 

 

 

 

Review – Purson – Desire’s Magic Theatre – by Shawn Dudley

purson-desires-magic-theatre-cover

“Is everybody in?  The ceremony is about to begin.” – Jim Morrison

“… I want you to get down and come with me to the D.M.T.” – Rosalie Cunningham

For those unfamiliar, Purson is the brainchild of singer/songwriter/multi-instrumentalist Rosalie Cunningham, who I firmly believe is one of the most exciting rock musicians to come along in ages. Their prior album ‘The Circle and the Blue Door’ was an addictive treat that refused to leave my stereo in 2013. It was a refreshing blend of classic heavy rock swagger and psychedelic pop buoyed by Rosalie’s impressive vocal chops and ripping, fuzzed-out guitar work.

After seeing them play a special showcase concert at The Viper Room (presented by the Classic Rock Awards) I was convinced that their potential had barely been tapped. Rosalie has that indefinable magnetic quality that rock stars are made of and constant touring over the past few years has sharpened Purson into a lethal live act.

An EP (‘In The Meantime’) followed, as did a string of appearances in the UK and the US that helped garner them the “Vanguard” at the 2015 Prog Awards.  It has been a long wait for ‘Desire’s Magic Theatre’, and it’s an album that has far exceeded my high expectations.

Rosalie

‘Desire’s Magic Theatre’ is essentially a solo album, a thematic concept composed, arranged and produced by Rosalie. She handles all the vocals, electric & acoustic guitars, bass guitar, keyboards and additional percussion, in addition to co-designing the artwork (along with touring keyboardist Sam Robinson) and mix (with Ed Turner). Drummer Raphael Mura is featured on the entire album along with guest spots from guitarist George Hudson (3 tracks), bassist Justin Smith (2 tracks) plus fine support from session players Anna Scott (cello) and Jon Seagroatt (saxophone & flute).

The album is a quantum leap forward in maturity, conception and execution to their prior releases and really showcases what a unique experience they have to offer. It’s a witchy brew of late 60s influence filtered through an immensely talented and personal songwriter, one whom at age 26 seems mature far beyond her years. Rosalie has stated the album was primarily conceived in the vein of early Psych/Prog albums such as ‘Ogdens’ Nut Gone Flake’, ‘Sgt. Pepper’ and “H To He Who Am The Only One’.  You can also hear influences from The Doors, Jimi Hendrix, Jefferson Airplane, Jethro Tull, King Crimson and many others.  But this is not 60s revivalism, it’s not pastiche, it uses the influences she grew up with to create an experience that is most definitely her own.

The title track introduces the album with a slithery bump & grind groove featuring a chunky guitar & sax riff before slowing down into a mellower mid-section that goes from light acoustic folk to grandiose mellotron-drenched prog and back again.  A diverse array of instrumental colors including harpsichord, flute, Farfisa and Hammond organ are expertly blended together along with a myriad of 60s production effects. The coda is a playful nod to ‘Stand Up’-era Jethro Tull with a funky walking bass groove and flute solo.
The crunchy Hendrix-influenced riff of first single Electric Landlady is up next, a rousing rocker with playful drug-drenched lyrics and attitude to spare. Guitarist George Hudson joins for a tasty guitar solo trade-off, a duty he returns for on the jam-oriented Mr. Howard. These tracks are closest in spirit to their debut album which overall was a slightly heavier, less experimental affair.

Bnad

The album also features a couple relatively straightforward psychedelic pop tunes in the sunny jangle of The Way It Is and the utterly charming The Window Cleaner.

However, the real meat of the album is the more experimental half, this is where the intricacy of the arrangements really shine. Dead Dodo Down fades in with a slinky, creepy little guitar riff and a waltz-like groove punctuated by huge fuzzed-out punctuations and a tasty little clean-toned guitar solo. As with most of the album it’s a concise statement, just 3 minutes but manages to contain a wealth of detail. Pedigree Chums is a bass-driven, trippy affair that shows off drummer Ralph Mura to great effect and has a blistering saxophone solo during the outro.  The Sky Parade is the centerpiece of the album, a gorgeous progressive rock epic that ebbs and flows impressively from stripped-down acoustic to full blown bombast without ever faltering.

The album concludes with my two favorite songs. I Know is a haunting ballad describing the end of a love affair. It has a beautiful vocal performance from Rosalie and understated cello accompaniment from Anna Scott. The instrumental mid-section brings to mind the mellotron-fueled ballads of early King Crimson. The Bitter Suite is the magnum-opus, an immaculately arranged multi-layered epic that covers more territory in 7 minutes than many modern prog bands can manage in twice that time. It’s a fitting closer to a nearly flawless 45 minutes of music.

The deluxe edition of the album contains acoustic versions of I Know and The Sky Parade and an additional track entitled Unsure Overture that is of the same quality as the rest of the album but doesn’t fit the overall concept. Guitarist George Hudson shares lead vocal duties and Anna Scott provides some Roy Wood-era ELO sawing cello to the arrangement.

At this moment ‘Desire’s Magic Theatre’ is easily my favorite album of the year, a record I praise unreservedly and is deserving of wide recognition. I hope Purson becomes huge; they most definitely have the potential to do so.

Released 29th April 2016.

Buy ‘Desire’s Magic Theatre’ direct from the band.