Friday, March 24, 2017

Pat Mastelotto & Markus Reuter "Face"

Country: Germany, USA
Genre(s): Progressive Rock
Label: Tempus Fugit ‎(TF VÖ 41)
Format: CD, digital
Release date: March 24, 2017
1. Face - 35:11

Markus Reuter (Stick Men, Crimson ProjeKct, Tuner): Touch Guitars, Bass Guitar, Electric Guitar, Acoustic Guitars, Melodica, Grand Piano, Banjo, Bulbul Tarang, Omnichord, Synthesizer
Pat Mastelotto (King Crimson, Stick Men, Mr. Mister): Acoustic and Electronic Drums and Percussives
Fabio Trentini: Electric Guitars, Guitar Synth, Fretless Bass
Tim Motzer: Electric and Acoustic Guitars, Ukulele
Mark Williams: Mandocello, Fretless Bass, Cello, Voice
Monica Champion: Clarinet, Saxophone, Voice
Steven Wilson: Vocal Chords
Annette Franzen: Violin
Adrian Benavides: Electric Guitar
Michael Mordecai: Trombone
Marcus Graf: Trumpet
Chrysta Bell: Voice
Brad Houser: Bass Clarinet
Luca Calabrese: Flügelhorn
Michael Bernier: Bowed Stick
Danny Wilde: Voice
Yoshi Hampl: Voice
Renée Stieger: Voice

With echoes of Mike Oldfield’s melodicism, Crimsonesque complexities, churning bass that wouldn’t be out of place in classic-era Yes and even languid Floyd-like soloing, the link to a progressive rock vocabulary is unmistakable.
Incorporating several different moods and personas during its intricately orchestrated duration, FACE is designed as a harmonic palindrome, looking both forward and backward. Ending as it begins with the ambient sound of an outdoors field recording, the listener is taken on a dramatic expedition in structure, rhythm, melody and harmony and then returned to the point of their departure.
Consisting of 385 bars of music, FACE is variously filled with tumbling percussives;radiant vocal harmonies; words intoned as if in some secret ritual; shimmering fuzzed guitars; waspish flights of stinging brass darting across fusillades of thunderous drums; surging keyboards whose lines ripple in spirals and mesh like gears into the rhythm tracks.
In the same way that an optical illusion challenges our perception, there are times when what appeared initially as intimate acoustic spaces suddenly empties out into arena-sized ambience, altering our impression of melody and aural space. Playful, exotic and diverse, it’s a piece that despite its relative brevity is as ambitious as it is capacious.


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