This album represents modern Brazilian progressive music that looks back to the halcyon days of the 1970’s and it also reminds you of, well, everyone to be honest. So you can go either through this album and play spot the influence or you could just sit back and enjoy this great new release that does wear its influences on its sleeve for sure. But don’t they say that imitation is the greatest form of flattery or something like that?
The band are a three piece trio comprising of keyboards, bass and drums (sound familiar?). The keyboard player Ronaldo Rodriguez is joined by multi-instrumentalist Davia Paiva on bass guitar and vocals along with Elcio Cáfaro on drums and together these three make a tremendous sound, all three being very talented musicians who can play up a storm. Their name, Caravela Escarlate, translates as Crimson Ship, an alien being from Sidereal space than can transform into its own means of transport, in this instance a ship. The music is 70’s style prog but with touches of Brazilian music this means most tracks swing along nicely, it is very heavily reliant on keyboards.
There are 7 tracks on the album with all but two being over 7 minutes in duration. I can detect lost of recognisable influences, and some less obvious ones like Greenslade, as well as Genesis and Kayak, along with ELP. The bass playing throughout the album is magnificent with an almost virtuoso style that really propels the track along. In tandem with the dazzling keyboards on display really, this is all very impressive and of an excellent standard.
In the opening salvo of Bússola do Tempo you get a prime slice of Emerson,Lake and Palmer in the best song ELP never recorded. This track hurtles along with a driving rhythm and great bass alongside the busy drums of Elcio Cáfaro. Castelosdo Céu ploughs a path well trodden by any Canterbury based band you could think of, it has that type of sound almost whimsical at times and reminds one of early Caravan. With the vocal being in Portuguese, it is quite difficult to comprehend what is all about but it certainly sounds good musically, although my research shows several tracks refer to historical eras and phases.
Fifth track Cruz Da Ordem is the longest at over ten minutes duration, this is hinged on a busy bass line and lashings of Hammond Organ and synths. It makes for a gloriously over the top track with stunning bass and sympathetic keyboard sounds. Synths, organs and mellotrons abound on this album, it’s mostly instrumental and with all but one song in Portuguese, makes for a strange and different sort of album but a very impressive and compelling one nonetheless. An unusual album to listen to but one that mines a very rich vein extremely effectively and for that we should all be glad. Standouts for me being the opener and the epic fifth track Cruz Da Ordem, both of which make for highly memorable and impressive music for you to enjoy.
Of special note is just how damned brilliant bassist David Paiva is, he is a real tour de force without whom this music would be less dynamic for sure. His blending in and bonding as the rhythm section is sheer joy to behold, a definite star in the making. When you couple this to the explosive excellence of keyboard player Ronaldo Rodriguez you can tell their 12 year existence is time well spent to hone their skills to this level and hopefully, with the support of the Karisma label, bodes well for a very bright future indeed.
This album is most definitely a grower and I very much look forward to hearing how this band develop from here going forward. All in all this album has proved to be a very rewarding listening experience for the braver prog fan. Maybe a slot at a fusion type festival could be a way forward, time will tell I guess. Either way it will be interesting to see their next steps forward.
“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman
On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.
Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.
My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.
It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…
John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.
All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.
‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;
“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”
I reviewed Arcade Messiah‘II’ last year and had these words to say;
“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”
John is going to have to go some with ‘III’ to improve on that…
Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.
Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’
The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.
The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…
Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.
After the forceful intensity and enduring dominance of what has gone before, Sanctuaryis exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.
So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.
Layers and more layers. A great deal of music I hear these days is built around complexity; whether it’s modern progressive rock music designed around dense instrumental arrangements or modern pop music stacking countless vocal tracks and studio effects together creating a giant wall of sound. It’s, of course, a valid approach and a lot of my favorite albums use this method.
However, taking the opposite course is also a valid artistic outlet, stripping things down to their bare essence, the DNA if you will. In a lot of ways I think it’s a more difficult path, the foundation has to be rock solid and each part must contribute to the fullest extent to create a rewarding musical statement.
London-based quintet Landskap is up to the challenge. Built off the most basic of structures, they’re able to create an immersive and spacious experience, at its core a deceptively straight-ahead heavy rock template, but one that, through purity of purpose and laser-sharp focus, weaves a unique and wholly organic vibe.
A track like The Hand That Takes Away demonstrates the Landskap methodology. A solid and simultaneously fluid rhythm section starts things off with drummer Paul Westwood and bassist Christopher West churning up an approaching storm of a groove, one that immediately builds anticipation for the cloudburst that you know will eventually come. Lead guitarist George Pan enters next, further enhancing the mood with some lovely Hendrix-influenced psychedelic flavoring, still holding things in check as the drum fills become more insistent underneath. A solitary pedal-point organ note from keyboardist Kostas Panagiotou provides the pad as the guitar riff starts to chug along and the arrangement picks up momentum. The storm breaks with a juicy gallop riff, the guitar and organ locking in tightly together. The final ingredient comes in the form of the powerful, crystal clear vocals of Jake Harding who has a great rhythmic approach and firm grasp of how to build his performance to dramatic effect. Half of the nearly 7-minute arrangement is the build-up, but it’s so nicely paced the song feels half that length. It’s a concise, powerful statement, one they are able to duplicate throughout the 5 tracks of this thoroughly enjoyable album.
Without going too far down the rabbit hole of pigeonholing Landskap to a genre, let’s just say that loosely you could apply the term heavy-psych without it being too inaccurate. There’s a definite analog mindset here, both in instrumental sounds and overall recording approach, yet it doesn’t sound like a calculated attempt to be “retro”, it just sounds authentic. They are definitely heavy, but they don’t fall into the Sabbath-trap that ensnares so many bands plowing the stoner/retro/doom field. I’m especially fond of the guitar sound; it’s a classic warm analog roar without getting too fuzzy, the notes always distinct.
For the finest example of that sound check out the monster closing track Mask of Apathy which features some tasty lead work and some crushing riffs in the closing section.If you have to label them metal, then keep in mind it’s closer to the early 70s variety. But I think it’s best to just listen and not worry about categorizing them, the influences will present themselves (The Doors, Led Zeppelin, Uriah Heep, etc) but the way those elements are applied shows a definite conviction to chart their own course.
‘III’ is initially available as a Bandcamp name-your-price download release; hopefully a record label will come along to release an LP and CD version in the near future. It’s most definitely worthy. While you’re on the page be sure to check out their previous albums “I” and “II”.