I really have nothing but praise for this album (I wish their second was as good). If KC, VdGG, Radiohead,īeardfish, Mars Volta and Khan(?) all had a baby? I don't know if there's a way to boil it down like that, so maybe "God Left Us." we have another very memorable melody. least favorites? But really, that isn't saying much at all, because there isn't a not- great song This or the very lengthy closer "God Left Us for a Black-Dressed Woman" are It is on "Extraction" that I hear the first bit of music, mostly driven by keys alongside Would be understated, even, to say that sax isĪ quintessential element. And I will say now, up until this point in the album, nothing but excellent.Īnd for the first time ever, in "Extraction", I hear the potential influence of then-still-contemporaries The Mars I guess the crazed mallets that can be heard here might remind of the Mothers of Interesting to have Fusion, Eclectic Prog and Post-Progressive idioms coming But also, as noted by my girlfriend who is listening for the first time, the feeling of Thom YorkeĬan be identified in this. I really can'tīelieve I'm only hearing all the King Crimson in this music now-the riffs and melodies selected are very familiar Turns to madness again and back into the main theme (driven by underlying keys and guitar). Madness is immediately followed by moody beauty in "Eschaton Horo" (really rolls off the tongue, eh?). The end of this song has an excellent instrumental It's much darker, as noted, than most all Canterbury. If there's anything "Kentish" about this music at all, it is the natural ties of Prog and
"Gravity" is followed by another favorite of mine, "Windshears", a dark, moody track that calls to mind Iconic sounds of "21st Century Schizoid Man". Glimpse of any (at all-there's more than I thought) King Crimson influence can be heard, most similar to the It is in the middle-to-end section where the first Often crazed bleat of the sax drives this song deeper and darker. Again, as I noted, modernity definitely in this. Glimpse into what I compared to Peter Hammill (of VdGG). There are certainly vocal moments here that are our first This is somewhat felt vocally, but mostly with the heaviness aided by the veryĪnd right off the bat, City of the Sun is introduced by the hypnotic and memorable "Oh, My Gravity!"Įxcellent song. Of Canterbury Scene) that always struck me, in instrumentation and darkness, as a modern take on the eclectic
The modern Prog band (strangely, now, if I remember all these years later, initially suggested based on my love