Forum Member Album Reviews

[Trollheart]

Whale ---- Planktons Odyssey --- 2014 (Smokin Baby Records)


Note: When I reviewed this originally I mistakenly took an "unfinished" copy of the album Plankton had kindly sent me, and so some of the songs were not on it, and some of the ones I wrote of below are now removed from it. Apologies to anyone (especially the writer of the work below) who read the review. It has now been amended to reflect the proper running order and tracklisting of the album. What else can I say but "D'Oh!"?

I'm told by the man himself that this is the third in a trilogy, and indeed I did review “Krill” last year, but at that point was unaware it was one of three. The liner notes tell us that the album is a concept one, focussing on one Jonah (the one in the Bible? I'm not sure, but that has to be where the name came from) who gets swallowed by a whale and is absorbed into the creature, both transitioning to a new and perhaps better lifeform. The album looks like it veers a little from the theme in certain places, but then, what concept album doesn't?

Hard as it may be to credit, this is almost completely a one-man effort, with Plankton playing all the guitars, basses and where they occur, keyboards, and the drum track supplied by a software package called Hydrogen.

The opener is a short one, with sound effects and water sounds as “Cetacea” describes the hero, Jonah, being swallowed by the whale. Vaguely eastern-sounding guitar riffs contribute to the alien sound of this opening piece, and it takes us into “Jonah”, wherein that much harder rocky guitar that those of us who have heard his work associate Plankton with comes punching in, chugging and riffing all over the place with a steel edge. Stop-start riffs punctuate the piece, and the percussion complements them. I assume Plankton uses several guitars here, as one keeps the rhythm while the other does the solos. And what solos they are! You definitely get a sense of the panic Jonah must feel as he realises he's in the belly of the great seabeast, and unlikely to escape.

The centrepiece then comes with “Eye of the storm”, with a big growling rocking guitar that could give many of the supposedly heavier metal bands out there today quite a run for their money. Hard, punching drumbeats punctuate an angry, snarling guitar which may represent Jonah's fear and rising resentment at his situation, or even that of the whale as it tries to digest the annoying thing that has swam into its maw. There's a real sense of power and rage in the piece, one of Plankton's best to date, to rival “Screaming at an empty canvas” and “Son of soothsayer”. It ends on a sort of almost acoustic, gentler line that perhaps signifies acceptance of the situation?

The oddly titled “Wiggles” is I believe dedicated to one of Plankton's friends, and features what may be a talkbox, some odd effects and a funky guitar with squealing, screeching little synth lines. Where it fits in I don't know, but it's an intersting track with a great smooth little groove. If I'm brutally honest though, I didn't like it and it really breaks up the flow of the album. I hate to say that, as I know it means a lot to him, but I can't see why it's here. There's no problem writing a song for his friend, but it stands out here like a vegetarian shark. Sorry man, just can't get me head around this one.

There's a sort of spoken intro to “You're not to blame”, like someone (it's Plankton) impersonating a Wookie (!) and then the heavy chugging guitars are back, but this time I'm pretty amazed to hear singing! Up to now, all of Plankton's stuff has been instrumental. When I first heard this I thought Oh God! Don't tell me he can sing as well! I hate this guy! but it turns out this is his friend Tommy H who is on vocals. And he has a very strong voice too, reminds me of a mixture of Hetfield and Di'Anno, quite raw and powerful with a hint of the better punk bands in there. The song is about coming to terms with death, and apparently “You're not to blame” is very personal to Tommy, who had to watch his own father die in front of him. Heavy, as they say, stuff. Superb soloing on the guitars gives a real feeling of frustration and anxiety building to boiling point, as Tommy yells ”I don't blame you no more!” and Plankton leads us out on a scorching solo.

There's one small note of concern I'd like to voice here. This is not a criticism, just an observation. When you expect an album to be instrumental it's a little jarring to hear vocals, sort of like my recent review of "The Endless River". My own personal belief is that it breaks up the flow of the album, perhaps mars the theme it's been built on, and just really takes you by surprise. I think if I was rating this album I would deduct a point or two for the change; although the vocals are fine I did not expect them, and in retrospect even now would have preferred a fully instrumental album. Of course, it's Plankton's music and he's free to play it as he sees fit, and what do I know after all? But just personally, it's a little like the "Shoveled" track on "Krill"; doesn't quite spoil the album but sadly gives me something --- just one thing --- negative to write about it, which I would have preferred not to have done.

That is, as I say though, the only vocal track on the album, as one of the standouts hits, “Sunshine express” beginning like a mid-paced folk tune with acoustic and slide guitar (I think) trotting along nicely in a sort of blues vein. I wonder is this the dobro of which he speaks in the notes, given to him by his cousin and which proved “a birthday gift that exceeded my wildest dreams”? Yes, I see it is. Very distinctive instrument. Love the dobro. Definitely puts me in mind of the late great Rory Gallagher. Change is the theme here, he says in the notes, a change for him in his playing and a change for Jonah as he becomes one with the whale, absorbed into its essence and effecting his own kind of change on the animal.

“Gleaning the Tuesday sun” is certainly an odd title, but then when you're writing instrumentals you can call them what you like, can't you? I think this reminds me a little of “Son of soothsayer” off the previous album, but I'll have to go back and check. Bit of jazzy fusion coming in here now, as Plankton boogies along and basically just has fun with the tune. The drum pattern is interesting too, kind of sparse and minimal, leaving the guitars to take centre stage. It's a real jam, and very impressive it is too. Also one of the longer tracks, pushing the five-and-a-half minute mark. Skitching is apparently the practice of grabbing a car's bumper while on a skateboard, a la Marty McFly in “Back to the Future”, and in colder climes can also be done in the snow, presumably on skates rather than a skateboard. It also, Plankton tells us in the liner notes, occurs underwater, where smaller fish catch a ride on a larger one.

This then is the theme of the next track, “Skitch”, which has a big heavy growling guitar driving it, with a sort of echo or feedback effect making it seem very expansive and vast. A great little bassline then near the end as the guitars take a backseat, then they're roaring back for the conclusion, taking us into “Not quite the end”, an expressive, reflective song wherein the dobro makes its appearance again, and some soft keys too, sounding like a choir humming and also conjuring up a sense of cavernous space. Apparently this won first prize in an “unplugged” contest Plankton entered it for, and well deserved. He makes the dobro sound like a mandolin at times, and there's some truly lovely instrumentation here. Kind of a mixture of folk, blues and even progressive rock I feel.

And all too soon we're closing, with the striding, swaggering “Hollow city limits”, with a great resounding bass line and a much slower, not quite grinding but almost majestic rhythm, a great overall melody that brings to mind maybe Jonah exploring the innards of the whale before he realises where he is, or while he has time, waiting to be digested and absorbed. I guess it could be the only time a human has been in side a whale and maybe he wants to at lest take what he can from what w ill be the last experience of his life. It's quite a poignant track, one of my favourites now that I've heard it. Love the way the music seems to echo as if Plankton were playing in a large empty space, conjuring up the inside of the leviathan.

Having spoken to the creator though, I find I am completely wrong in my assumption above. This is, in fact, where the newly-created organism that is now known as "Jonah" --- whether it's a melding of whale and human (?) or something else I don't know --- arrives at the enigmatic Hollow City, which he will apparently be exploring in the next few albums (hooray! More albums!) so so much for my interpretation! Either way though, it's a powerful end to a very powerful album, and bringing to a close the trilogy of transformation and transcendence that he began in “The Dream”, which I now have to listen to as a matter of urgency.

TRACKLISTING
1. Cetacea
2. Jonah
3. Eye of the storm
4. Wiggles
5. You're not to blame
6. Sunshine express
7. Gleaning the Tuesday sun
8. Skitch
9. Not quite the end
10. Hollow City limits

And so we have another fine, fine album from this guitar virtuoso who will surely sweep the award in this category in the MB 2014 Awards, and if he doesn't then there's no justice in the world. A four or five-piece band could scarcely put together such an album, and as you all know, I've waxed poetic more than once on how hard it can be to review an instrumental album, even listen to one without getting bored. But that never even entered into this here. This album keeps the interest all the way through, and the only disappointment is when it ends. If you've heard it (and you should) you may find yourself rethinking your album of the year.

Yeah, there's no doubt that Plankton can stand up there with many of the big boys, and in fact if the world is anyway fair he should be joining them. Whether that happens or not though, this album stands, once again, as a testament to one man's talent and creative prowess, and to his determination to share this music with the world, by which we are all a little richer.

No, I will not say I had a whale of a time! I have some pride, you know. But this is certainly a beast of an album, and one you need to acquaint yourself with. Now, where's that tape of whale song I've been meaning to listen to?

(Note: although I have stopped the practice of illustrating my reviews with YouTubes, Plankton asked me to include a few, so they're above. They will at any rate give you an idea of what you can expect once you put on this powerhouse of an album).

[Trollheart]

So the next one up is from a band formed by, or at least including, one of the people here with the longest usernames, but I'll just call her Steph. Yeah, it's WWWP, and this is what she does when she's not being fabulous on the forum.

Snake Walk --- Snake Walk --- 2014 (Bandcamp release)

Okay. I really, really like what I'm hearing as “Bed and breakfast” opens the album. Lovely piano and guitar which for some reason reminds me of Judie Tzuke (!) then the vocals come in and I'm thinking Deacon Blue, Prefab Sprout, Ivyrise. It's not Steph singing (unless she has a really male voice!) --- no, it's a guy called Lukas, though Steph tells me that they don't have a frontperson as such; they usually try to be as democratic as they can with the band, but it just happens that this album has more of himself to the fore. I can see why: his voice is clear and quite rich, with a real element of kind of fun and perhaps self-effacement to a degree in it. Friendly, is how I would describe it. The music, too, is very upbeat and cheerful, with some really nice basslines from our lady and some fine drumming, though I'm told no human could make those beats, and it's an electronic drum machine they use. There's a female backing vocal there, and I guess that's our own lovely WWWP again, and it really adds something to the song, especially when she harmonises with Lukas on the slower, almost dreamy chorus. Lovely. Great little keyboard run there, very bouncy, followed by some staccato piano or maybe organ. Thoughtfully, Snake Walk have provided some lyrics, so let's use them huh?

I particularly like the lines ”But there was no romance;/ I was just a dirty kid with his hand/Down the wrong lady’s pants”. I also like the way it goes in the fourth minute, into a mostly instrumental jam but with a chanted chorus going on too. Although the song is I guess a bit melancholy and reflective, perhaps regretful at least lyrically, it sounds like the band are having a real good time and it's like a tale of teenage love? There'll be lots of other times. Maybe I got that wrong but hey, what do I, as I so often ask, know? Inspired chorus too: ”At the bed and breakfast/ It’s cold in the fireplace/ Stone through stained-glass/ And ghosts in the pillowcases.” We return then to the melody of the opening part, almost lounge music, very restful and the part that reminded me of Judie. The bass and soft percussion really help carry this, with the piano lording it over them all with its quiet understated but in-command melody.

Oh, those harmonies! That is just perfect. I hope this isn't the best track on this album because I really like this. Oh hell, that end is just perfection! The next track is shorter, much --- that ran for seven minutes, but not long enough as far as I'm concerned --- and with chiming clock sounds a la “Time” we're into “Cheap cream”, which this time reminds me of Waits at his most minimal. Great percussion and a low-key vocal. No other instrumentation that I can hear. Oh come on! Stop! Is that a banjo/mandolin opening “Rain gallery”? WWWP plays the guitar here and it certainly shows; a real standout performance. Can this get any better, really? Sort of muted drumming then a tinkly piano comes in with a sweet, sweet melody and then another superb vocal harmony like the best of Neil Young. Slow, folky sort of beat, which shows yet another side of Snake Walk, who are certainly here taking me for some ride! I can hear a sort of acoustic Waterboys here too. Organ now coming in, adding another layer to the sound, and it really fleshes it out, but does not destroy the ambience Snake Walk have carefully and lovingly built up here.

Another lovely slow dreamy beat on “Toffee apples”, with the third member of the band, Jaycob, taking the mike and really reminding me of Ricky Ross now (Deacon Blue's one, not the rapper) and a beautiful guitar line with handclap drums --- which I usually don't like --- perfectly complementing it, a tinkly piano keeping a soft melody underpinning the song. I'm in Bread territory now, listening to the dulcet tones of David Gates. This could be a seventies song, would fit perfectly in, and yet does not sound out of place here in the twenty-first century. Some spoken bits are not even off-putting, as they often are; just seem to work really well. Interesting lyric, even if I have no idea what it means: ”I see a coiled-up cobra disguised as a rope/ Clean under the dust with green eyes to the scope/ Set out to sunder us, hunters encroach / Suppose the snake's blunderbuss exploded our hopes /Would I lie dead, doubtful I'll pull it, or cope; / Rise, head full of you and mouth full of bullets?” Um. Yeah.

The vocal becomes almost a slow rap, and yet --- and this is important, when you know me as you guys do --- I still love it. Ah, darn! We're on the last track, but at least “For Lulu, a shiv to the gut” is the longest track on the album, seven and a half minutes. Great guitar opening, which again those wonderful vocal harmonies, that tinkly piano (which I'm thinking may be a xylophone or a glockenspiel) with another kind of slow rap in the vocal. Lukas's diction is impressive; you never miss a word, and yet he doesn't sound stilted, as some who sing that way can do. I notice now that there seems to be a serial killer coming into the lyric --- ”He’s the kind of killer who prepares a home cooked meal/ So he doesn’t have to hide the knives” --- but I think I'm correct in saying that this song is about a writer and they're just singing about her characters? It's got a little more uptempo, a little more intense as the vocalist talks about Lulu with what sounds like rising disdain. Beautiful keyboard/piano/xylo/ whatever solo.

I also like that they use other languages here, German and French anyway. The guitar chops up the melody as it gets a little harder, vocal harmonies now coming in to join the singer before he takes the song again on his own. You know, as the lyric develops I could be wrong: this could be about a real killer, who is targeting Lulu? I guess I'll find out when Steph responds to this. Well either way it don't matter because this is once again a winner. Five stars, guys. Five bright, shining stars.

TRACKLISTING

1. Bed and breakfast
2. Fresh cream
3. Rain gallery
4. Fresh toffee apples
5. For Lulu, a shiv in the gut

That was definitely the most I have enjoyed a five-track EP in a long time. Truth be told, and for some unknown reason, I had not expected to like this music. I do. Man I do. This is great stuff, and I look forward to more from Snake Walk. Thanks for giving me the chance to review your stuff guys, and I hope I managed to do it justice, though I'm sure I didn't.

Mind you, you can always check it out yourself at their Bandcamp page here https://snakewalk.bandcamp.com/album/snake-walk-demo

Note: In case anyone thinks I'm just kissing ass here, and that everyone will get a glowing review no matter if their music sucks, can I remind you who you're talking about? While I will not go out of my way to be nasty or dismissive of anyone's music --- I know they're like your babies --- I will say if I don't like it, it doesn't do anything for me or it's not my scene. You can, for instance, probably expect Frownland's music to get a less than positive grilling, and that's not because I don't like his music (or what I've heard of it to date) but because it just is not in my wheelhouse. Even so, I will always try to find something positive to say about everyone, because I know making music is one of the hardest things anyone can do, and talent and creativity deserves to be recognised.

But one thing you will always get from me here is honesty. We may not end up friends afterwards () but I won't bullshit anyone. If I like it, I will say so, if I don't I will not shirk from pointing that out. Luckily though, so far everyone has impressed me. Long may it continue!

[VEGANGELICA]

Originally Posted by Trollheart

Frownland --- cloudcover --- 2013 (Self-released)


[...]The next track features, I'm told, Bryan on vocals, and he does a great job on "Diluted", in which the Hero begins to become a little paranoid as he sees spies everywhere, sure that he's being watched, that his secret is known. It's clear that he's either working against the Party now, or thinking about doing so. There's a good heavy guitar melody carrying the song, and it's an uptempo rhythm with again great vocal harmonies and of course a certain sense of paranoia [...]

I definitely feel "Diluted" is the strongest song on the album Frownland by cloudcover: cloudcover

The melody has a sweet sadness to it and I like the vocal harmony. I also like the song structure. The song builds in intensity from the somber verses to the more upbeat prechorus, culminating in the ethereal chorus, where the lyric "Some days" is sung with beautiful vocal harmony.

The song also has a satisfying overlap of sounds: the gritty electric guitar intro, the frenetic drumming with a punk vibe, the twangy electric guitar solos, the funky electronic sounds. The song "Diluted" reminds me a little of my favorite song by Polvo, "Time isn't on my side."

Good job, guys. I recommend you make a Youtube video of "Diluted," since I do think it is your strongest, most accessible song and it isn't currently on your Youtube channel.

[YorkeDaddy]

Originally Posted by VEGANGELICA

I definitely feel "Diluted" is the strongest song on the album Frownland by cloudcover: cloudcover

The melody has a sweet sadness to it and I like the vocal harmony. I also like the song structure. The song builds in intensity from the somber verses to the more upbeat prechorus, culminating in the ethereal chorus, where the lyric "Some days" is sung with beautiful vocal harmony.

The song also has a satisfying overlap of sounds: the gritty electric guitar intro, the frenetic drumming with a punk vibe, the twangy electric guitar solos, the funky electronic sounds. The song "Diluted" reminds me a little of my favorite song by Polvo, "Time isn't on my side."

Good job, guys. I recommend you make a Youtube video of "Diluted," since I do think it is your strongest, most accessible song and it isn't currently on your Youtube channel.

Wow thanks! Diluted was mostly my own composition so reading such high praise for it really makes me happy

It might be weird uploading a song nearly two years after the album's release to Youtube but perhaps it could be a good idea. I'll be taking your advice!

And thanks again for listening and taking the time to write up some thoughts, both myself and my bandmate seriously appreciate it

[Key]

^will review soon.

[YorkeDaddy]

Now we're talkin'! At some point this week I'll create a clickable index for the OP with each review, I think it'll be really cool when everything's set up all nicely.

[Key]

Originally Posted by YorkeDaddy

Now we're talkin'! At some point this week I'll create a clickable index for the OP with each review, I think it'll be really cool when everything's set up all nicely.

I love this thread tbh

[YorkeDaddy]

Originally Posted by Ki

I love this thread tbh

All it needs is some Ki contributions

I know you've written some reviews before...and either way my sig is calling out your name. Just listen to it's pained cries

"Click me Ki...click me please..."

[Key]

Originally Posted by YorkeDaddy

All it needs is some Ki contributions

I know you've written some reviews before...and either way my sig is calling out your name. Just listen to it's pained cries

"Click me Ki...click me please..."

I plan to get to that. I'll try to dish some out this week.

[Frownland]

I'm going to do a few reviews soon. If anybody wanted an album to review, you can always try my latest record, it's a bit long though.

https://jesusthecarpenter.bandcamp.c...nd-electronics