After a long spell, I´m back to ProgArchives. I decided to start by the new Flower Kings album, Look at You Now, because I think this is really an important CD, at least for me. I must say I was not specially taken by the post Tomas Bodin FK albums . Islands (2020) for instance, is one I still find hard to relate. Its follow up did not move me much either, and I tended to think that the band lost something around the pandemic year. I wondered if the last great abum to bear the Flower King moniker was 2018´s The Flower King: Manifesto of An Alchemist, even if it is cited as a Roine Stolt solo album (but it is not, really).

It all changed with Look at You Now: although this record follows the group´s recent trend to keep on writing shorter songs, this CD has a freshness and energy I haven´t seen in any FK output for years. Superficially the new songs seem not as good as they really are, but upon listening to the album a few more times, I got the same feeling I used to when I heard their 90´s classics. The band is in great shape and it was a joy to hear those classic guitar lines, very much in the vein of Steve Howe, back into the tunes. Was it something to do with the chemistry of having brother Michael Stolt back in the group? did it help the songs turned out so much better and inspired?

Whatever the true reasons, the fact remains that this CD moved me like the Flower Kings used to. Of course it is not another Retropolis or Stardust We Are, but the spirit is back. It´s like they now don´t need to write an epic of sorts to make some point. In fact, the short songs sound just like they should. Look at You Now is like a mix of the "old" Flower Kings with the more concise stuff they´re writing lately. It seems they finally found the right balance and I hope they continue in this path. With no fillers and with an excellent flow, it´s a real nice surprise.

Final rating: something between 3,5 and 4 stars. It may not be essential, but it is more than just very good.

Catalàn Jazz-Rock Fusion pioneers from the family Fortuny from Barcelona--their debut album, before they managed to imbed their j-r Fuse within traditional Catalàn musical traditions.

1. "Fesomies Urbanes" (5:26) awesomely rich Jazz-Rock Fusion of the funk-infused sort; a cross between Headhunters- era Herbie Hancock and Return To Forever. I love the support of the too-heavily-reverbed soprano saxophone by the electric wah-wah rhythm guitar and Fender Rhodes keyboard (they almost bury the sax!). Jordi Soley's Moog sound choice and play is very fresh/refreshing as well. Bass player Carles Vidal is solid though a bit too muted while drummer Josep Fortuny is great in his pacing and support. (9/10)

2. "Lila" (4:17) water sounds beneath a soloing Spanish guitar open this one for about 40-seconds before bass, Fender Rhodes, and soprano sax join in with some very nice harmonic support. But it's the guitar that's the center and star of this show: displaying some pretty amazing skills in a kind of unique style along the way. The sax and Fender get some solo time in the third and fourth minutes, but, again, it's really Esteve Fortuny's show on his Spanish guitar. (9/10)

3. "Capità Trueno" (10:16) back to RTF style and sound palette, though this time the guitar has a bit more Johnny Mac style to it--and the soprano sax certainly flavors the music differently than anything contemporary MO or RTF are doing. On this song the bass, electric guitar, and Fender Rhodes are mixed as if in the same universe while the sax and drums feel as if they're on different continents: the former a small church and the latter a distant tunnel of an underground cave system. Though all the musicians are competent at their instruments--and perform proving such-- they really do not seem to always be "in the same song," that is, there's just a little too much separation and distance between the melodies and rhythms to make me feel a cohesive unity for this composition. Is it more mathematical--or more independent "free jazz" they're trying to merge within the RTF style? At 6:55 there is an interesting--and pleasant--shift in tempo and key which allows the sax a better bed over which to lay down his next solo. This is the first time in this song that I've felt as if the band had "come together" with a common vision for the song. The sax player is good--expressive and talented--but that weird, overly-reverbed sound is quite annoying. (17.5/20)

4. "Lalila" (1:16) more acoustic guitar play: either two or just one with a long-delayed echo effect employed. At the 0:45 mark Joan Fortuny enters with her soprano sax and then the song fades out! (4.25/5)

5. "Eufòria" (4:24) again the band seems to be trying to emulate the Return To Forever formula with guitar, drums, and bass propelling the song along while keyboards and sax add their own spices. At the same time, it's guitarist Esteve Fortuny who takes the first (and, it turns out, only) solo--one that is quite like Larry Coryell (in sound) and/or Corrado Restuci (in style) more than J. McLaughlin or Al Di. (8.75/10)

6. "L'harmoniosa Simfonia D'un Cos. Part 1" (4:17) opening with percussion bells and saxophone with spacious Fender Rhodes, bass, and guitar chords providing some accompaniment and mood-manipulation beneath. This one really sounds like the music that will represent the band NOVA either during the same year or just after this release. Unfortunately, despite the nice sound base, it never really develops much or takes off until "part 2." (8.875/10)

7. "L'harmoniosa Simfonia D'un Cos. Part 2" (3:39) the rhythm is added so that the song can move forward. It's a nice, city driving pace but it is highlighted by the top being down so the listeners can enjoy the sun, wind, and exo-urban scenery. Here all of the instruments seem to be in perfect synchrony while still supporting the soloing of Joan Fortuny's soprano sax. (9.125/10)

8. "El "bailaor" Còsmic" (4:22) a slow, spacey opening like something from a Larry Coryell album turns into a nice movin' bass-and-drum generated J-R F flight over which keyboard artist Jordi Soley gets a chance to show his stuff on his Fender Rhodes, that is, before guitarist Esteve Fortuny jumps in and takes over with his rather aggressive electric jazz guitar play. I like the more Latin (Catalàn?) rhythmic touches in the foundation. I also like the band's tightness on this one. (9/10)

9. "Tema Dels Carrers Radioactius" (1:50) another shaker and mover that shows the band firing on all cylinders--with fairly good precision timing, too. Too bad it's so brief. (4.5/5)

Total time 39:47

B+/four stars; a wonderful display of peak-era, somewhat Latin and Return To Forever-influenced Jazz-Rock Fusion. The family needs another year or two to polish their collective vision and timing skills, but I can only recommend this one highly!

I kind of lied about Faust moving away from industrial music in my review for C'est Com...Com...Compliqué, since they had one more trick up their sleeve in terms of intriguing industrial experiments, with their 2010 release of Faust Is Last being a smorgasbord of noisy rock n' roll and ambience.

This is easily the longest Faust record yet, containing an hour and a half worth of music, with 22 tracks to boot. The album is split into two CDs, Faust A and Faust Z, both being kind of their own albums in their own right.

Faust A is a lot more related to their krautrock jams within their industrial era, and probably some of the best tracks the album has to offer. I think there is quite a bit to enjoy on this first CD, having tracks that range from the more quiet and smooth laden Rien, to the intense meltdown that was Ravvivando. This dynamic makes every track feel quite unique from each other, which I enjoy quite a lot. My favorite tracks off this CD are probably Nachtfahrt, as it contains an intensity that feels quite similar in vein to the rock in opposition sound of the 70s, I Don't Buy Your Shit No More since it has a very classic psych rock sound that I think is fun, and Day Out, since it reminds me of Jennifer, but for piano instead of guitar.

While I may think Faust A is the better CD, I still do think it is a little bit too long. Some moments like Brumm Und Blech and Cluster Fur Cluster just do not need to be there, and with every track kind of having this weird echo effect makes things feel a little too spaced out for me.

Faust Z is a lot more industrial than Faust A, though it is a lot more in the same vein as the kind of industrial music Throbbing Gristle and Coil has made. While it is considerably shorter than Faust A, Faust Z does prove itself to pack a punch, having this creepy atmosphere that persists through layers of drone and noise, only dabbling in a few moments of krautrockiness here and there. It almost has an aura to that of what David Sylvian would try after the 90s, particularly on Blemish and Died In The Wool. As a fan of some drone, I think Faust Z showcases some pretty amazing stuff, especially on tracks like Ozean and Ghostrain, both I think are probably Faust's most haunting songs ever.

Even then, it has one thing keeping it from being the best, and that being the last two tracks of Vorubergehen and Primitivelona. They are pretty rough, being these long winded sound collages that offer quite a lot of atmosphere and ambience, though a bit too late on the record, and maybe a bit too long to. I do wish I could like what they did on these tracks, but they don't really catch my attention, and feel inferior to all the tracks that came before, aside from some tracks on Faust A.

I also noticed on Faust A that some tracks are meant to go into one another in like a suite fashion, though before they could they stop at the last second before moving to the next song. I do not know how it is on other versions that aren't from streaming services, but it kind of makes Faust A feel glitchy, and not in a good way mind you. Kind of hope Faust Is Last gets some remix in the future, so these problems in the production on the first CD don't persist.

I think Faust Is Last is pretty underrated, though I can see why some may not fully enjoy it. I personally do like it quite a bit, but the more I hear it, the more the faults kind of become apparent. Still, I think it can be worth your time, just make sure to be ready for a pretty long record.

Best tracks: Nachtfahrt, I Don't Buy Your Shit No More, Day Out, Ozean, GhosTrain

Worst tracks: Brumm Und Blech, Cluster Fur Cluster, Vorubergehen, Primitivelona

Stanley's highly-regarded sophomore release, his second as a band leader and principal composer, serves well to continue to cement his legacy as one of the greatest bass players of all time.

1. "School Days" (7:51) drums and bass chords open this one before Ray Gomez' horn-like treated electric guitar solos. Interesting in a very heavy RTF/rock 'n' roll way, but there's something missing: it all feels like an (over-)extended intro until the bridge at the end of the second minute. David Sancious' synth play is rather unique. The scaled-down (bass chords removed) passage from 2:45 to 6:45 allows for Stanley to start up, escalate and realise a pretty impressive electric bass guitar solo (four minutes long!). Also, drummer Gerry Brown is a pretty good foil for Stanley's play. Interesting end with Stanley humming over the piano. (13.33333/15)

2. "Quiet Afternoon" (5:09) a gentler, more pop/radio-oriented tune that is based over Stanley's piano play and Steve Gadd's distinctive drum sound (soft toms and bass drum). Stanley uses his piccolo bass for some soloing despite the presence of his standard electric bass play in the rhythm track. David Sancious gets some extended time for some MiniMoog soloing in the third and fourth minutes. Interesting--and melodic in a Minnie Ripperton/Maria Muldaur way. (8.875/10)

3. "The Dancer" (5:27) nice percussion-rich song with Milt Holland, Ray Gomez, Gerry Brown, and David Sancious playing around within the busy weave. Nice but nothing extraordinary. (8.75/10)

4. "Desert Song" (6:56) John McLaughlin on the acoustic guitar gives Stanley the inspiration to perform a SHAKTI-like bowed double bass solo within the first 1:45 of this acoustic duet. He then drops the bow for some amazing straight bass in the third minute. John finally gets his turn on his newly-created (by master luthier Mirko Borghino) scalloped- fretboard acoustic guitar around 3:15. Along with Milt Holland's congas and triangle, the song progresses very much like a Shakti song--but Stanley and John's rapport seems to really work: it seems very easy and sympathetic. Stanley takes back the lead again at 5:15, returning to his bowed bass for the rest of the song. I can't help myself: I'm such a sucker for this kind of music. (13.5/15)

5. "Hot Fun" (2:55) a little foray into funk-rock--including some extra support from strings and brass. Fun! Stanley can definitely play funk! (8.875/10)

6. "Life Is Just a Game" (9:00) orchestral support for a cinematic piece like a contemporary film theme song (one that would run through the credits at the end of the movie). Billy Cobham, George Duke, guest on this one with Charles "Icarus" Johnson on guitars. Something is missing from this song--from all of the performances: a kind of cohesive enthusiasm for the song. Some of the performances are impressive (though not Icarus Johnson, or Billy Cobham [his drums are recorded with some weird effects--perhaps through is Moog 1500], or even George Duke--and the orchestration seems excessive and perhaps unnecessary.) (17.5/20)

Total Time 37:18

I just don't connect with Stanley's musicality: his compositions, melodies, arrangements, and vision do nothing for me except augment my already-healthy respect for his virtuosity as a bass player.

B/four stars; a nice album to continue our appreciation for Stanley Clarke, bassist extraordinaire.

Review Nº 776

"Invisible Touch" is the thirteenth studio album of Genesis and that was released in 1986. It became and is remained by far, as the most commercially successful album of their entire musical career, and it eventually sold over fifteen million copies worldwide. It received in general, favourable reviews from critics, and catch Genesis at their commercial peak. However, some of them commented that "Invisible Touch" was more a Phil Collins' solo album than a Genesis' album. Perhaps due to that, it was also the most pop album of them, mainly based on electronic percussion and synthesizers.

"Invisible Touch" has eight tracks. All songs were written by Tony Banks, Mike Rutherford and Phil Collins. The first track "Invisible Touch" is the title track. It was also released as a single and it became the most successful single in the band's lengthy history and was also their first and only single to be # 1 in the United States. This is a typical and pure pop song that was made to be a greatest hit. As a pop song, we are in presence of an excellent song. However, it has nothing to do with the progressive music. It seems to be a song written to be part of a Phil Collins' solo work. The second track "Tonight, Tonight, Tonight" was the fourth single to be released from the album. It was the first of the two extended musical pieces on the album. This is a very good song with some progressive lines and once more, when he wants, Tony Banks can show his great musical skills. It's a very nice atmospheric song with many interesting musical passages. This is, in my opinion, one of the highlights of the album. The third track "Land Of Confusion" was one more single taken from the album, one of the four tracks of the album released as a single. It became a Genesis' classic song with a catchy rhythm and a beautiful melody, very nice and pleasant to hear. Of course this isn't exactly a progressive song but it's good enough to be remembered. Undoubtedly, we are in presence of an excellent pop rock song, with nothing to do with silly songs such as, "Who Dunnit?" or "Illegal Alien". The fourth track "In Too Deep" was another song to be released as a single on the album. This is clearly a Phil Collins' song with the entire DNA present on the songs released on his solo albums. This is an excellent pop song, one of the most beautiful, mellow and sweet songs ever made by him. I must confess that in some moments I like very much to hear some Phil Collins' songs. Still, this isn't, without any doubt, the right place for him to write a song like this. The fifth track "Anything She Does" is lyrically a song about pornography. It's about a man who is in love with a porn star and that can't have a relationship with her in the real life. Musically, it isn't, in my humble opinion, a great song, and it represents also, for me, one of the weakest points on the album. It seems to be a song put out of the place, which doesn't sound anything to a Genesis' song. It sounds too much to reggae and reminds me too much a song made by The Police. The sixth track "Domino" is divided into two parts, part one, "In The Glow Of The Night" and part two, "The Last Domino". The first part was released as the B side of their single "Tonight, Tonight, Tonight", and the second part was released as the B side of their single "Invisible Touch". It was the second of the two extended musical pieces on the album. It's, without any doubt, the best track on the album and it's a song in the same vein of "Duke's Travels" and "Duke's End" from "Duke", "Dodo/Lurker" from "Abacab" and "Home By The Sea" and "Second Home By The Sea" from "Genesis". The seventh track "Throwing It All Away" was issued as the second single released from the album. The song is a soft rock ballad and is musically structured around the guitar riff of Mike Rutherford. It's a very decent song and a successful song but with nothing progressive on it. It's a soft pop song without anything more special to say about it, except that we are in presence of another Phil Collins' song that should have been released on a solo Collins' album. The eighth and last track "The Brazilian" is a song that reminds immediately "Los Endos" from "A Trick Of The Tail". This is a true fantastic and memorable instrumental track with many progressive elements and that soon became a classic Genesis' instrumental track. This is a song that features some experimental sounds and effects and that sounds a bit like a progressive song. It's undoubtedly with "Tonight, Tonight, Tonight" and "Domino" the best and only progressive moments on the album. We even can say this is a wonderful and fantastic moment, and perfect enough, to close a nice and good album, really.

Conclusion: Sincerely, I don't consider "Invisible Touch" a bad Genesis' album. Probably it isn't even the weakest album of them. It's true that "Invisible Touch" is the less progressive and most popish album of all Genesis' albums. However, it has quality enough to be considered a good album and it can also be considered more balanced than some other albums from them. It's also, in a certain way, better than "Abacab" and "Genesis" is. It's much more balanced and it hasn't weak tracks like "Who Dunnit?" or "Illegal Alien". By the other hand, it isn't much less progressive than those albums are, and in terms of a non progressive album, is probably better than they are. It's true that is far from the class of most of their albums, but it has more fun than some things made by them. This is the typical 80's album. It rules.

Prog is my Ferrari. Jem Godfrey (Frost*)

This is a song I like a lot, and probably my favorite TF&TD track at this moment, and this is because I love how they have jumped from one style to another, in fact, I wouldn't dare to classify their music, it is quite difficult since they are capable of exploring in post rock, prog, alternative, classical, psychedelic and stoner grounds, to name a few.

'Golden Thread' has an addictive stoner-like riff, with a 90s essence that provides heaviness and emotions, along with wonderful vocals that make the song even better. Of course, there is always a progressive essence in their music, despite sometimes we don't want to label them as such. Musically is a very well-crafted song where the four musicians add their grain of sand and create individual nuances and textures that gathered make a strong unit. Completely love the guitar work here, and, I repeat, the vocals.

This song belongs to their wonderful 2023 release 'News From The Invisible World', which I will review in a short term. Meanwhile, I wanted to give a shoutout to this amazing song, which I recommend to you, my dear readers.

— First review of this album —

This is the newest single from the upcoming Massimo Pieretti's full-lenght album 'The Next Dream', a concept album based on the world of dreams, which will be released later this year.

Now with 'I dreamed of flying', Pieretti and company give us a song with an emotional essence, where hopes, dreams and a brighter future float. The music is soft, full of beauty and tenderness in one hand, but with nostalgy, uncertainty and sadness in the other hand, and this is because we cannot deny the world we live in and all the terrible things that are happening in certain parts, where war and anti-humanism prevail.

As usual, there are several guest musicians in this track (we can expect much more in the album), starting with the singers who do a great job, both male and female representing equality and union. We can listen to different keys and synths during the track, creating a diversity of nuances and keeping a vibe of hope, until in the last minute we can enjoy a cute moog solo. Guitars also create a tender vibe, very soft and delicate, while percussion add richer palet of sounds.

A nice song indeed, now I am looking forward to hear the whole album, which surely will be quite interesting.

One of the most dynamic and interesting neo-prog bands to come out of the Polish scene, ABRAXAS was also one of the earliest predating the sweep of bands that emerged in the 1990s. Formed in Bydgoszcz in 1987, ABRAXAS didn't take its name from the classic Santana album as many may think but rather from the actual mystical term from the system of the Gnostic Basilides. Roughly referring to the dualism of good and evil forces penetrating each other, founding members Adam Łassa (vocals) and Łukasz Święch (guitar) deemed the term quite appropriate for their strange musical compositions that offered alternating mood swings, sudden rhythm changes and unorthodox arrangements.

After many years and a few lineup changes, ABRAXAS may have been one of the earliest Polish neo-prog bands to form but would require a lengthy nine years before its self-titled debut finally emerged in 1996. By this time only vocalist Adam Łassa remained and after recruiting guitarist Szymon Brzeziński, keyboardist / flautist Marcin Blaszczyk, bassist Rafał Ratajczak and drummer Marcin Mak, the new ABRAXAS was ready for business and delivered an impressive debut that sounded like no other. Apparently this album was released eponymously first in 1996 and then in 2000 re-released with the cumbersome Polish language title ...CYKL OBRACA SIę, NARODZINY, DZIECIńSTWO PEłNE DUSZY, UśMIECHÓW NIEWINNYCH I ZDRADY? which translates to "The Cycle Rotates, Birth, Childhood Full Of Soul, Innocent Smiles And Betrayal." I'll just refer to it as the debut :)

The band's debut is an explosive powerhouse of neo-tinged progressive rock with the dramatic theatrical flair of Fish-era Marillion and the dynamism of classic 70s prog acts like Van Der Graaf Generator. The many years of practicing, touring and juggling band members apparently hardened Łassa to assemble a team of seasoned professional delivering highly energetic and shape shifting arrangements that offered the best of neo-prog and beyond brought to a higher level of competency with Łassa's charismatic vocal style with keyboardist Marcin Błaszczyk showcasing a level of virtuosity that ranks up there in the Keith Emerson or Rick Wakeman halls of fame. Although the lyrics are completely sung in the Polish language, apparently there are a bit controversial showcasing the feistiness and punk attitude of ABRAXAS which emerged in the late 80s when the punk scene had caught up to Eastern Europe.

The band's debut album is simply amazing in how it sweeps you off your feet instantly with the first feisty notes of "Before" and makes you those stray leaves on the album cover, whisks you up into the musical flow and never allows you to get off the ABRAXAS express for its hour-long run. After an energetic introduction the music suddenly becomes sombre and ambient which leads up to the intricately designed track "Tarot" which showcases all the band's eccentricities and bizarre compositional liberties. The album truly takes you to another world and one you find yourself content to emerge yourself well within. Sounding as bizarre as Mr Doctor from Devil Doll only in a theatrical Fish styled way, Łassa immediately stands out from pretty much anyone else our there and while the music can be shocking and startling is mostly carried through by beautiful neo-prog melodic processions that offer the usual bass, guitar and keyboard approach.

By the 90s Poland was ready for the prog revival and ABRAXAS was perched to deliver the goods. Not only were they competent musicians beyond measure and had the stage presence of a world class act but the unorthodox composiitons set them apart from the copycats of Western bands still grasping for their own voice. This led to sharing the stage with such acts as Fish, Porcupine Tree and Robert Plant with Jimmy Page. A unique mix of neo-prog, various strains of progressive rock and even a bit of traditional Polish folk music under the surface, ABRAXAS delivered a bonafide masterpiece on this exemplary debut and one that captures the very essence of what a well oiled neo-prog machine is supposed to sound like without sounding derivative of its influences. Utterly brilliant and even the two bonus tracks on the 2000 remaster are phenomenal!

One of the hottest and revered drummers in early 70s France, Gilbert Artman emerged as one of the more innovative forces in the French underground with his early Kraut-jazz meets avant-prog band LARD FREE. Formed in 1970 Paris, LARD FREE existed for eight years and released three distinct albums that sound nothing alike mostly due to the fact that Artman was the only constant member throughout the band's existence. The first album to emerge was the 1973 album titled GILBERT ARTMAN'S LARD FREE which found the perfect marriage between the wild Euroepan free jazz 60s (Artman was a trained jazz drummer)and the burgeoning world of progressive electronic and Krautrock coming to age in neighboring Germany as well as taking root in France. An earlier album was attempted but was scrapped and only emerged later in 1997 with the simple title "Unnamed." Despite having one of the most unpalatable names in the French underground, LARD FREE actually resulted as a pun of the French "L'Art Free" which simply means "The Free Art!" Probably shoulda stuck to the French :)

The lineup on GILBERT ALTMAN'S LARD FREE included Altman himself on drums, vibes and grand piano along with François Mativet on guitars, Philippe Bolliet on saxophones and Hervé Eyhani on both bass and synthesizers. Album #1 showcases a wide range of jazz music as the basic rhythmic keeper while the guitars and synthesizer sounds are allowed to go absolutely ape [&*!#] thus crafting a unique dynamic throughout a roster of seven tracks that each takes on a completely new approach of crafting a true form of musical chaos but always includes a lifeline of some sort to keep the music from spiraling into completely avant-garde noise. The opening "Warinobaril" is quite misleading as opens with a relaxed groove with a rather mechanical German motorik groove generated by a beefy bass and several references to the world of neighboring Germany's Krautrock scene.

With "12 Ou 13 Juillet Que Je Sais D'Elle" things start to get a bit wilder though seemingly starting out tame with a rather smooth jazzy swing only to be joined by a sputtering loose cannon synthesizer solo that ratchets up the tension into an explosive conclusion that decides to depart the musical flow altogether and becomes a rogue sputtering effect. The two part nearly 9 minute in length track continues the second part with a totally different approach only with a dissonant guitar delivering crazy rhythmic bombast in the company of a more pacified saxophone keeping the entire thing from sounding like Fred Frith having a bad acid trip. "Honfleur Écarlate" follows suit but in a more subdued manner with a steady bass groove that allows the guitar freak out and the saxophone to delivery a unique staccato form of syncopation. "Acide Framboise" actually resembles something that one might expect from Clear Light's symphonic mastery in the keys department only set to a recycled groove while Mativet delivers an atonal guitar dance around it.

"Livarot Respiration" is the most free floaty track on board with a slowed down bass groove and an emphasis on the calming vibes starting very much like a typical 60s cool jazz number only the bass melody sounds like a smooth jazz version of the bass line in Janis Joplin's 1971 hit "Move Over." After two rather subdued and less startling tracks, the closing finale "Culturez-vous Vous Même" sounds more like something Heldon would latch onto with layered synth drones that slowly glide through a perucssionless detached soundscape that offers the bleakest and most abstruse of them all. But ends with a few tinklings of the piano and then it's all over. Overall a unique installment to the early world of French outsider music which easily qualified LARD FREE to be included on the Nurse With Wound list. A diverse album that offers varying degrees of placidity, sonic textures explorations, extended jazz techniques and an interesting mix of avant-prog and Krautrock. At times pacifying and at others startling and truly obnoxious, GILTMAN ARTMAN'S LARD FREE is an album that is worthy of the attention of any true sonic explorer of the strange and unusual experiments that were bursting out of the early 1970s.

An odd little quirk in the career of a rather quirky band, after Oingo Boingo experienced the departure of bassist Kerry Hatch and keyboardist Richard Gibbs, the band sort of took an extended hiatus after being dropped by I.R.S. Records (a division of A&M) which hosted their first four releases, EP and singles. After finding interest by MCA, band leader DANNY ELFMAN was enticed to the label only under the condition that he remain a solo act. This led to the next album SO-LO appearing as a solo DANNY ELFMAN release despite the fact that every musician involved was in Oingo Boingo itself thus making it a bonafide followup to "Good For Your Soul" and the "Forbidden Zone" soundtrack. The album also featured a fledgling Flea from the newly founded Red Hot Chili Peppers offering extra bass contributions.

Despite being a band effort, ELFMAN used the opportunity to offer a different album from what had come before with slower tempos that focused on a more overtly pop musical construct that eschewed many of the musical liberties of the earlier releases and focused on the current trends of mixing new wave, synth-pop and the ska revival without sacrificing the horn section that made Oingo Boingo stand out from its competition. Slightly frustrated with the lack of national success despite having a huge fandom base in Southern California, SO-LO tamed things down a bit to flirt with a more mainstream approach that would hopefully attract a few more newbies to the cult. The album only generated one single in the form of the opening "Gratitude" which provided the perfect synthpop sound for 1984 and unlike many such bands never lost that post-punk grit provided by the feisty guitar workouts.

The album follows the playbook the lead single generated with less frenetic performances that stick to a tight groove, super catchy melodic hooks and the usual Oingo Boingo instrumental interplay that featured call and response efforts from the horn section and rhythm section. ELFMAN also toyed with various synthesizer tricks of the trade such as on the Devo-esque "Cool City" with only ELFMAN's idiosyncratic singing style and the band's already established sound keeping it all firmly planted in the Oingo Boingo universe. "Go Away" keeps the album humming along with a wider array of rhythms, stylistic approaches and songwriting techniques that seemed to stem from the fact the band wasn't playing at lightning fast speeds any longer. This track takes on somewhat of a "New Romantic" vibe in the vein of Duran Duran, ABC or Ultravox once again without crashing anyone else's party. "Sucker For Mystery" took Boingo into even stranger territory with less focus on the guitar aspects and almost totally dominated by the synth-pop and vocal interchanges between ELFMAN and the backing singers but still offering an instantly infectious melodic construct.

"It Only Makes Me Laugh" went straight for the ska revival sounds of Madness or The Specials only accompanied by a heavy synth-pop presence. Seemingly alienated from previous efforts despite the band throwing a complete curveball still maintains the high quality pop music melodies ELFMAN cranked out effortlessly. Same goes for the following "Last Time" which while extremely watered down compared to the rest of the album still finds a unique way to express a completely new idea without sacrificing its instantly ear worm hook likability. For me the least palatable track is "Tough As Nails" which tries to deliver a funk-based groove with an accompanying horn section but ends up sounding one of those early cheesy albums from Red Hot Chili Peppers that couldn't quite muster up the musical mojo until later in their career. "Lightning" is the closest as it gets to the Oingo Boingo old school of yore so much so that it easily could've been slipped onto a previous album without anyone noticing. Dynamic instrumental interplay with some spazzy keyboard playing, punk infused guitar energy and ELFMAN firing on all pistons. "Everybody Needs" also delivers an interesting mix of of old school Boingo with what makes this album unique and the best example of the funk being used on the album.

For those who only love hardcore Boingo or nothing then anything from this album on will be a true disappointment but for those who love the simpler expressions of 80s new wave music in addition to the more experimental passionate liberties of the early years then SO-LO turns out to be a very fascinating album. It did take me quite a while for me to warm up to this because ELFMAN used the transfer to MCA to water down his classic sound enough to go mainstream and although this album has become somewhat of a footnote in the greater Oingo Boingo canon, it served as a huge experimental transition that took them to their next successful album "Dead Man's Party" which after convincing the record label to renegotiate to become a band effort again, produced one of Boingo's most successful hits "Weird Science." While this is hardly the peak of the Oingo Boingo run of albums that were released between 1981 and 1994, SO-LO is actually a very brilliantly designed album that lover's of classic synth-pop new wave will love. While the experimental purists will run away in horror at this point, i have found myself revisiting this one quite a bit over the years and it has easily slid from a 3.5 side note to a 4 star highlight in my collection.