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MARTYN BATES_KODAX STROPHES_It Doesn't M
KODAX STROPHES / MARTYN BATES
It Doesn't Matter Where It's Solstice When You're In The Room
(2020 - Klanggalerie - Austria)

LISTEN  & BUY HERE:

https://klanggalerie.bandcamp.com/album/it-doesnt-matter-where-its-solstice-when-youre-in-the-room

I use the same qualifier very often with whatever the direction a Martyn Bates album takes, simply due to the fact that several accolades do indeed fit his music. While his early music may relate closer to this particular release, in the experimental, abstract and even industrial soaked, with those atmospheric gothic flavors; the same heterogeneity exists with his music. There is the antique factor that always remains, even from his very early work and then most surely with Eyeless In Gaza, which has always had a dual formula of beauty and slight provocation, always landing in the gratification zone. There is always a rich cradle of those bygone colors of aged maps -  earthy rust, jade greens, deep ruby, along with gold leaf sculptures, and darkly corners of mystery, only yet to be discovered, again (or for the first time). While not a utopian song oriented solo with Martyn adding his intoxicating vocals, this has a elements of a soundtrack of both nightmares, and speculative terrain. It stays true to the binary ingredients that Martyn, Becker (Pete Becker the other half of EIG) and much of his work with Alan Trench (Orchis, Black Lesbian Fishermen ,Twelve Thousand Days, more discography than one can list in a single page), all  have a penchant for.

I found the same jolt of a smooth but abrasive slide from 'I Got Inner TV' (track #3) to 'Eyeless House' (track #4) even if the entry to it does welcome the same ardor. The drift to that enigma is nearly a quietus, even if still leaving ample room for the mechanical onslaught to stay in the ring as the victor. It is however 'Skulls' (the following track #5) that brings in the allurement of Martyn Bates at his more elegant setting. Not pure but substantial with that faraway bewitchery. The deep listener receives even more of this with 'My World, I Mean Your World' (track #6) which provides more hypnotic reflection. Let me state that the production is breathtaking throughout, which allows the collectiveness of Martyn's work to radiate as designed. It feels as if the title could be adapted to 'It's Solstice When You're In The Room' while listening to the album from beginning to end. Certainly the ending composition 'You Don't Own Me' leaves you with the same antagonistic parts as much of the album, once again weaving the untainted with the uninhibited, and exposing the human frailty that burdens the human species.

'It Doesn't Matter Where It's Solstice When You're In The Room' is one more treasure from Mr Bates, and although in large part goes back to his pre-existent styles, it also maintains the unique balance of rugged and refined that all EIG fans have loved for decades.  In a quote from the label notes the recording is explained like this: "all the pieces were written and developed to ‘mess-aesthetic film’ images of Bates' own devising." I spoke with Martyn about the album and he said the name Kodax Strophes references its filmic orientation. In other words, the pieces were written to be partly musical and also filmic. He also wanted to emphasize that he added the Kodax Strophes to indicate this was not the usual (or at least EIG and solo of mid to late that many would only know of. But it does route back to his very beginnings before EIG, with the band Migraine Inducers (1979/1980), which was of the more experimental and industrial mode. Speaking of film, you will note credits on back of CD jacket, and these are coming out as "filmettes" (as Bates calls them) on You Tube. Already out are:

'Skulls' 
 
  https://www.youtube.com/watch?v=gpmqeniW3aM 
 
'Dream Galaxies of Nebulous Opacity'

 https://www.youtube.com/watch?v=9JInwxcL1Jc

and 'Triple Echo Again Again'

https://www.youtube.com/watch?v=REkgfMoONN4

He will have more to follow. The cover art was to represent dissonance (hint to who or what the reference to "Dissonance - 19" is as noted with Martyn as producer), and some of the titles of 'It Doesn't Matter Where It's Solstice When You're In The Room' have references to mishearing some of Martyn's favorite song lyrics (from a his own collection of vinyl albums). Another important piece of the puzzle is what Martyn told me "The album is my first 100% self-recorded/produced album since 'Dissonance', and it might be considered some kind of full circle". That was the debut album under name Migraine Inducers ('Dissonance / Antagonistic' - 1980). On this 2020 album the music is mastered by Martin Bowes, and as said, recorded and produced by Dissonance and Martyn Bates. He plays all instruments (Sounds, Effects, Piano,  Drums, Electronics, Voice), and composed all the music. He also did the artwork. Comes in a very nice six panel digipak, so you and I can keep this physical item in our library forever, without worry of corrupt HD, files, and lack of detailed info at our instant recall. HIGHLY RECOMMENDED.

  ©Reviewed by Lee Henderson 4 - 20 - 2021


 
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ACQUA FRAGILE
Moving Fragments
(2023 - Maracash - Italy)


https://maracashrecords.bandcamp.com/album/moving-fragments


  A group who have the uncanny talent of keeping their classic  sound along with staying up tpo date. This amazing return is from 1970's Italian progressive rock outfit, with frontier man lead vocal Bernardo Lanzetti, who made this band and some PFM albums so specifically brilliant. At this decade, to expect more beauty would be a fantasy, yet it is set before your ears, even with the first notes, this masterpiece of Italian, (and not only Italian) progressive rock that certainly grasps the notion of what the genre of "progressive" was always meant to be. ACQUA FRAGILE create another sweetly classic knockout recording, not with even a heavy breath of past to present effort.  In fact, it sounds and feels more authentic than ever.  Bernardo sounds as if he never aged a week, and all muscians present are at full force, not passing up the chance to make another massively classic album.   An album to put Acqua Fragile at the top of the few chosen progressive rock choices of all time. The first song ('Her Shadlows Torture' 05:52 - editors note:  A misspell on the 'Shadows' which is on Bandcamp at this writing - but is correct as 'Her Shadow's Torture' on physical CD)  hug you and give all relief, as to any possible doubts of a long awaited fourth album by this top notch Italian band. I claim it will leave your heart lay bleeding. Grab the spectral energy and enjoy a glimpse of beautiful cocoon birth.

  Not one song is with sacrifice, even a wink of lamb. In fact, some elements are added to further enchance and stun the audience, such as inclusive female vocals by Rossella Volta. The bulk of the outfit is Piero Canavera (drums, percussion, vocals),  Franz Dondi (bass), Bernardo Lanzetti (lead vocals, guitar, Glovox),  Stefano Pantaleoni (keyboards),  Claudio Tuma (guitars), with special aid by (aforementioned vocalist Rosella Voita) ,  Gigi Cavalli Cocchi - drums (1,6),  Sergio Ponti - drums (4,9), Stef Burns- guitar (2),  Brian Belloni - guitar (4),  Davide Piombino - 7 string guitar (5),  and David Jackson - sax & flute (6). Could you ask for more?   After one listen you cannot want more. Thank Maracash label (Italy) for standing behind so many great Italian artists who have done the blood, sweat, and tears in earlier years, and deserve the attention now.
Although the band name translates to 'Fragile Water', it might be better described as Precious Water at this point and time in our decreasingly cared for world. Perhaps even better, Rare Water. The beauty of this entire recording is apparent, true, sincere, and a step forward. Better than one would dream of, past the point of how all old fans could imagine, and  actually done in the upper atmospheres of what anyone could have dreamed of. Everyone is top notch and most of all, Lanzetti is 100% present, making it another masterpiece.  It is my deep recommendartion for all fans of both classic progressive rock and the new fields of progressive music to give this a direct and full attention (no distractions) listen. RECOMMENDED.
  ©Reviewed by Lee Henderson 1 - 19 - 2024


 

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