An Alluvial Deposit of Prodigious Worth

Back again with a vengeance, we find the emboldened sounds of marionetteID (mID) to be striking hard from the offset in a more power-hungry and aggressive direction. Alluvion, the second LP is a wonderful treat to behold. Their EP, Transpire, was ample warning of this progression and now that the departed Krisztian has moved on to England (I personally wish him all luck and hope) the bass lines are in no way diminished, if you will excuse the pun. No, in point of fact, mID has found a solid bedrock of a sound which, just as they love to point out, is not easily definable. It is at once almost MathRock but has the subtleties of Post-Rock Experimentalism in places. Alas, one must take the band as one finds mID.

The droning elements of Akos’ vocals are back, as is so amply evident in the song Trasnspire. I have gone and compared this element of the sound to the previous album, Emptiness Will Change Your Mind, and have come to the conclusion that the depth of vocal maturity has progressed, especially in the realm of harmonizing. The nasality is less. The overall appreciable tone is night and day different.

The two guitar front is now so beautifully worked out. Independent melodies abound and not merely the tried and true “rhythm v. lead” motif which is so easy to become enslaved to. The song “Last Eclipse” is a wonderful example of how mID has chosen to experiment with more ethereal elements of the shoegazer style. This song, over all the others, demonstrates the full marvel of the album when listened to in contrast to their previous works.

The cymbalistics of this album are unreal: tight, not forced nor glaringly over the top. Though, in my opinion, the drum work was a solid point for the band from the beginning.

This album is boldly redefining the indie sound of Budapest, which is something to be said. Any of my readers who know my tastes know of my love for Orias and the mind of Egyedi Peter. That being said, this album blew me away. The only remaining questions are how they will be able to differentiate each song more profoundly. And that alone, is my complaint. The previous album was too differentiated song to song. Almost lacking in a complete vision as a whole work. Here, one sometimes is forced to ask one’s self “Has the song changed?” Which, in some ways can be good. But other than the stunning song, Parallel Monologue, the songs follow much of the same format bouncing between the tried and true motif of hard intro, mellowing out, vocal entry and rocking out only to mellow out after the second verse. For a band this cutting edge, why follow the usual patterns? Nevertheless, this 7 song album will rock your socks off.

Band’s Website

Buy the album

Fluttery Records (which has some awesome music besides mID)

Why depression sucks so bad or The Rise and Fall of Zdob si Zdub

Regularly a person whose life is turned upside-down by a band will follow this band and forgive every little mistake. Every bad album as “well, it was an off year.” Forgive the social faux pas of the singer for getting drunk while chatting up Sigourney Weaver or the like. Such things happen in the lives of all major bands who make it big or at least appear to do so.

Take for example Linkin Park. Hybrid AWESOMENESS. And now? Ask a die-hard LP fan… “Yeah, cool, I mean, they have ‘evolved’ their sound.” Evolved? Really? Not… sold out to the devil? And the devil is always that 3 letter word: POP. You know it, I know it, heck, even Beethoven knew it, too. Pop music is the abomination which causes aural desolation. Your favorite band and a duet with Lady Gaga? Heaven forbid.

So how is it that I, one of the greatest fans of Zdob si Zdub, the Moldovan ethno-rock band, can come to look on their latest album as an anathema? Let me digress to a little history. A not so brief background of my relationship to this band…

In 2001 I was living in Chisinau and went to the Bastille Day Festival put on by the French Embassy. That night I saw several bands but only one held my fascination: Zdob si Zdub. Their quirky mix of RHCP stylings, ethnic instruments and awesome showmanship brought a result which has lasted with me to this very day.

I bought a copy of Tabera Noastra (the only album I’ve ever used so many times that it had to be buried in consecrated soil after use) and immediately fell in love. I asked a friend to write out the Romanian words to a few songs so that I could learn the words (I was learning Russian and not Romanian at the time, so it was difficult to switch gears – I will address this language issue shortly). Dima complied and I cherished those pages of printed text. The most amazing songs. The greatest music to bound around the apartment and look foolish while shouting. Ask Sergei Babaraika, if you wish. He’ll testify to my foolish antics.

I stood out in the rain on release day for HOURS awaiting Agroromantica. A good friend went with me and I jumped line to meet the band while they signed autographs in Green Hills Botanica. I can still tell you the EXACT order they were seated in. I can tell you how surprised they were to have an American going wild over their music.  Mihai talked to my friend and asked again and again why I was so interested. She was baffled, too, I think. I bought the tape cassette since they hadn’t received the CD’s from the record company yet. I later bought one of those, too. Both got used too many times for reason to allow.

Fast forward a few years: January 2004 I get the latest CD, 450 de oi, as my birthday present from my wife. How blissful! How perfect the gift! I loved it. I subjected her to the CD more times than she would have admitted. She wisely pointed out “This has so much pop music in it. Why do you like it?” I shrugged it off and put the song “Ruta Ruta” on and started thrashing around in the car. I had begun the excuses.

In 2007, I helped the band with English for a little while. Gave them a few lessons and some pointers on pronunciation. Basically for free. I still loved this band. They gave me an Ethnomecanica shirt which I still wear every week. EVERY SINGLE WEEK. I began to dislike them slowly, steadily beginning with this “album.” I use that word with disdain and a satiric tone. Boonika Beat the Band, if you ask me. Eurovision ruined the last vestiges of the old Zdubii.

Now. Белое Вино/Красное вино?

жопа. That’s right, I called it жопа. Pure and unadorned pop poop. It comes right out of the bowels of a Russian need for the “peripheral” regions. Ethnic music which is looked at as quaint and simple. Silly. Foolish. Unsophisticated. “We Moskvichi know culture, but this is fun for being drunk and screaming along to while trying to remember if Chisinau is still considered a real place or not.” That is what this album is. It is Russia mocking the greatest band from Moldova. It is an indictment of the great musical minds of Mihai Gincu and Roman Iagupov.

THERE IS NOT A SINGLE ROMANIAN SONG. Even “Hardcore Moldovanesc” is in Russian. This is not funny. This is not even sad. This is a catastrophe. I recant my love for this band. I disavow knowledge of their existence.

Technically? Oh, you want to know if I can separate the politics from the quality itself?

Ok.

So: on guitars the old “Rizhik” is back, Sveatoslav Starus, so you have the brilliant melodies which he is known for. He brings a semblance of old Zdubii back with that. Well done, him. Mihai, as always, is technically perfect. Roman is lyrically energetic in such a way that the Energizer Bunny is jealous. The horns are crisp and clean. But that’s about it. The content of the songs is worthless.

Each and every song is horrible on the new album, here’s why:

Stop Mafia! – Lapis Trubetskoy? Really? You couldn’t get more cheesy pop unless you got the guys from Bi*2 to try and work in the song Fellini. No, stop. Don’t try that. Splin are still wondering how Bi*2 stole that songs from them in the first place.

Goal. – No, I refuse to spell it out and use their punctuation. This song is for Spartak Moskva to use in warm ups, right? or maybe it was for Zenit? Who cares, it is for when the Russian mighty footballists want to mock plucky little Sheriff, the only Moldovan team to make it to any international level prestige.

Nevesta – I take back what I said about Lapis Trubetskoy. Mummi Troll’? Seriously. <BARF>

HCMD – The original song which made them Zdubii and not just another Russian pseudo-core band. …and now it is ruined. <фигня>

White Wine/Red Wine – I like Bregovic. You are not Bregovic. You are Zdubii. Remember that. You need to be original and not simply ride the coat-tails of the great Serbian musician, despite the world hunger for ethnic music.

Telege – OK, a Mashina Vremeni cover. Wait. That’s the high point of this popsa album?! Crap. IT’S A COVER. NOTHING ORIGINAL ON THIS WHOLE ALBUM…

Okay, I could go on and on. I could talk about how some songs sound like they were stolen from Lube or early stuff by Nochnie Snaypery and so forth. I won’t do so. I said it just now and let me reiterate: this album is a joke. Nothing in Romanian. No original material. Nothing that makes me want to respect the band any longer. They have sold out. So dismally sold out to pop music and fame.

Let me end with this personal story:

I was at Peninsula Festival in 2007 and got to talk with the guys from Zdubii before their gig. They were complaining that they weren’t on the big stage but on the secondary one which featured bands that I personally held the greatest respect for. I told them that the bands on the big stage were popsa. They were commercial groups with no soul. Mihai turns and says, “…but we are commercial.” I nearly cried. I tried to reason with him, “But you are high art. You are creative.” He continued to get ready for the show. Mihai, my personal musical hero who still has great taste in music, had accepted his fate: Commericalized Pop Crap. Thank you, Eurovision, thank you.

RIP – Zdob si Zdub 1997-2004

Transpire FTW!

So, that sound which I asked for more of in my previous post? YES. THEY HAVE IT. WOW, so, you all need to sink your teeth into the two song EP of “Transpire” by Marionette ID. This band from Hungary is boldly exploring the indie sense of what Post-Rock music is all about. Subtle complexities and the two guitar issues? Worked out. Solid presentation of direction in each song? Check. The lyrics, while still garbled in places are strong. But that isn’t what this EP is about. It is where this band shows that the little things which needed polishing in the previous album have been addressed. I’m super excited to see a full length project.
Vestiges is the stronger of the two songs here: it has wonderful juxtapositions of varied rhythms, syncopation and musical call and response which are the cornerstones of a beautifully crafted work. Oh, and that guitar issue from before? I apologize. This song sets the record straight. Brilliant work. Bloody brilliant.

Well done, guys!
9/10

Vertigo is fun. Try it.

At long last I have come around to writing the review of Elemental’s latest album, “Vertigo.”

The thing that is amazing is the strength of vocal depth which, despite my love of the band through their storied history of overcoming expectations and adversity, was missing. Don’t misunderstand me: both Shot and Remi are fabulous MC’s. Their rap skills are impressive. But what has been missing is the ability to wow in the singing department. This they have finally achieved. Remi melts the soul with her lilting melodious threads which are woven through out the album but never so in your face and attention grabbing as the first few seconds of the song “Priroda i Druztvo” (Nature and Society). And it is right that this song should set the pace for the album as a whole: it is mature, complex and tenderly confrontational in a way that is hard for anyone to pull off. Elemental has been in your face about social ills and wrongs for years now, but here is the thesis point of the long argument of what it means to grow up under the label of “Balkan” and how that is supremely challenging.

Going in a new direction is what this album is all about. It is a renaissance of sorts for this band which has relied so heavily on musical tricks, if you will. But here the gloves come off, here the challenge is leveled: Elemental can play whatever genre you play and do it will style and creativity due to looking at guitar and synth driven rock, for example, from a completely new point of reference. They don’t simply play games of aural jokes. There are messages and real issues begging for attention: Materialism (the song “Cut me”), Self-Discovery through a sustained metaphor (“Where is my city?”), the obligatory Break Up Song (“I Killed You”) and so forth.

The styles that the band jumps through include Alt Rock, Ska, Reggae, Swing, Ballad Rock and of course the rap elements which are so signature of the band. It is a treat to hear. I’m so excited to have experienced this album.

Elemental’s Website (Croatian Only)

Elemental’s Facesbook Page

9/10

A bit of hubris never hurt anyone

I must make a confession: I like math. I love it in point of fact. It is so complex and beautiful. It somehow flows perfectly.

That is how this album hit me. It is the math of emotions. Perfect, understandable and logical. Don’t get me wrong, this album has numerous points of artistic creativity, but underneath, it is structured, flowing and brilliant. This is genius music.

Aperion is a band which has traveled many, many miles of musical paths to get to this point. The guitarist, Črt, kept telling me about how they needed to work on this or that to get the sound right. I was impressed with only hearing their warm up to a concert and realized that THIS is a band which understands what made Bach smile. Brahms would have wept for joy at their symphonic glory. The complexity of balancing one sound next to another is difficult enough for any album, but on their premier release, Act of Hybris, Aperion brings sonic wonder to the fore.

Even from the moment that the album commences, one is struck by how the blend of strings, wind and percussion melds into a precise combination of musical textures. This is not easily achieved. Ask any band whose meat is the harsh, ratted out, gritty sound of metal and then tries to meld symphonic underpinnings into the mix (cough, cough, anyone say Metallica?). And yet Aperion blends these complex fibers of harmony to make a full, complete sound. And they can pull it off live, too. I have never seen a cellist rocking on stage before and unless you see this… well, let’s just say Apocalyptica can sit down all they want, but standing is where Rock and Roll is found.

The album features gems of sonic grace like “Shine,” where searing operatic melody, made manifest like a Valkyrie from the feasting halls of Norse mythology by Zala, is juxtaposed with a flowing string opening. This song stands out as particularly impressive due to the balance of the various instruments to the ever soaring vocals. The song seems to have various contrapuntal points which would make even the staunchest Baroque composer shed a tear. The popping, bouncy string pieces set the song upon a firm, complex (mathematical?) footing which combines with the Gothic, flowing sound of the vocals and flute.

The album features numerous songs which feel more like movements in a true Rock opera. “Ocean” is a great example of this, as is “Fairytale Mind.” The cross between metal and orchestral masterwork melds to produce a wonderful picture of what can be achieved if Gothic Metal is worked on as a complete concept and not simply to the point where everyone says, “yeah, that’s good.” Good is acceptable, but, as Črt was wont to point out, that is simply a beginning. The necessary complexity of this album required more effort, more time, more of all that was in the hearts and souls of these musicians.

…and I love the result. I’m sure that somewhere in Asgard, seated among various mezzo-soprano Valkyries, Wagner has his hand up, pointer and little finger extended and head banging to this album.

9/10

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Derültégből – Funky Rap with a Pop-Rock bite

A friend of mine, Koves Eszter, brought this band to my attention. How amazed I was to find the smooth beats, rich sounds and rapturous melodies which I came across in these six simple songs. I think it is appropriate to revive my blog with this band: so fresh, so simple, so bold. Adam delivers such rich, syncopated lyrics rapped against a pop-rock sound which could stand on its own. “Könnyed” is a great example of the band’s ability to blend rock with experimental elements of jazz, funk and, of course, hip-hop. Krisztian’s voice is lilting and emotive throughout and the soulful song “Panasz” is a great showcase of his abilities. The gentle and, at times, loving lyrics of songs like “Tünenyém” are moving and contrast to the funky beats of songs like “Jólenne.” This is definitely a band to watch. This is a strong point of beginning and I do hope to hear more from this duo as time progresses.

To fully enjoy this band, one needs to understand the complex Hungarian language, but for a sound which can rock a party out or can simply put one into a mood to chill, this is the way to go.

Band’s Website – Hungarian Only

Aperion

Aperion: the new guard of Nu-Metal

This is a band which gets me more and more exited about their abilities with each time I hear their music. The ensemble are a gifted group of musicians who excel in both technical proficiency and in energy. There is something exciting about seeing a band in black leather take the stage and play their hearts out on not just your normal guitar, bass, drums but who also incorporate the cello, viola, flute and, believe it or not, the didgeridoo.

The heart of this band is performance. This focus and drive is evident both on and off the stage. One of the most interesting mini-festivals that I’ve seen in 2009 was in Celje, Slovenia, where the dashing Črt, the band’s suave organizer, brought together some of the most talented musicians in the whole nation for one night’s amazing concert. His talent for sound production also gives this band an edge in their pursuit of a staggeringly complex and brilliant sound. Every motif, progression and transition is evocative and gives the listener a sense of movement which is hard to capture with the smallest of bands. The song “Konj” is a phenomenal example of this exact point. Through the various stages of the development of the song one gets to experience not simply a song but a whole series of emotional and sonic views of a musical landscape. The variations on a theme approach is something which was brought to it’s greatest heights in the late Baroque period with J. S. Bach. This band resurrects this style of musical playfulness and makes it relevant to the modern metal scene.

I cannot wait for the finalization of their first studio album. This long and beleaguring process is draining and requires nerves of steel to get all the elements of this band’s complex sound to perfection, but my excitement is boundless in anticipation.

English Website

Slovene Website