Parks & Recreation: Real Gone meets Brian E. King

In 2010, an unexpected power pop gem appeared in the release schedules by an unknown band named Oranjuly.  The release played almost like a history of power pop, pulling influence from Brian Wilson, Paul McCartney, Jellyfish and Weezer on a strong set of songs.  A year or so passed and we hadn’t heard much from the Oranjuly camp at all…until multi-instrumentalist/vocalist/songwriter Brian E. King re-appeared in a band named Parks.  In the autumn of 2014, Real Gone caught up with Brian to find out what happened to the Oranjuly project and why they seemed destined to a be a one album deal.

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ABSENT FRIENDS: Mark Bacino

As part of our “catching up” series, Real Gone caught up with Mark Bacino, last seen in our columns in 2011.

Bacino gained some positive notices in the power pop community with his third full-length release ‘Queen’s English’, a mature album that moved away from his previous bubblegum styles and bought more Billy Joel and Randy Newman influences to the fore.  It was a concept album of sorts about growth and family, the album shared Bacino’s love of New York.  We hoped for a similarly classy follow-up, but the years passed and nothing appeared.  

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JET BLACK SEA – The Path Of Least Existence

Jet Black SeaJet Black Sea is an experimental, extra-curricular musical outlet for a couple of cult figures associated with the prog rock scene.  Nine Stones Close guitarist Adrian Jones and his band producer Michel Simons created the project in order to create music that stretches beyond the parent band’s more direct progressive rock and metal sounds. Stripped of all vocals and the most of the crunchy guitars heard on many a Nine Stones Close recording, there are still some meaty sounds present and a few rock influenced passages, but Jet Black Sea’s core sound is almost ambient in comparison.  Not necessarily ambient in the true “Eno/Music For Airports” sense, but definitely more chilled out. Naturally, there’s still a great deal of prog at the heart of their music – given the pairing’s usual musical outlet, that is unsurprising – but it is prog rock in a much more minimal sense, although ‘The Path of Least Existence’s broad soundscapes rarely sound minimalist in their overall vision. An hour’s worth of instrumental sounds float by without ever resorting to self-indulgence and a stronger focus on keyboards brings a very cinematic feel to proceedings throughout.

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