Category Archives: rock

BONRUD – Save Tomorrow

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Eight years is a long time between albums, especially for a band that is less than established, but that’s how long it took Bonrud to follow up their self-titled record from 2004. While it is unlikely Paul Bonrud and his chosen band spent all of the intervening years working on this sophomore release, the end result does not sound like it was rushed.

In those passing years, Bonrud changed labels from Frontiers Records to Escape Music and prior vocalist David Hendricks stepped aside for Rick Forsgren (previously of Conditioned Response), but essentially the band’s core sound of big and beefy melodic rock remains unchanged.  ‘Save Tomorrow’s twelve songs may not bring anything new to the melodic rock/AOR genre, but the songs are well crafted for their type and given plenty of life by noted Fleetwood Mac/Journey/Whitesnake/REO Speedwagon producer Keith Olson.

On the title cut, Bonrud go straight for a classic AOR sound.  The staccato rhythm guitars and driving quality echoes the 80s greats, with a particular nod to Journey in the way the vocal rises during its chorus and the lead guitars beaver away throughout.  It’s strictly by-numbers, but Mr Bonrud’s technical abilities are such that this tune holds its own.  A similar influence is at the heart of ‘I’d Do Anything’, a harmony-driven workout which echoes the kind of albums on which Olson made his mark in the past.  The vocals are powerful – enjoyable too, provided you can grasp Forsgren’s John Schlitt-esque top end wail – while, once again, Bonrud’s lead guitar work during the outro tips the hat to Neal Schon.  Interestingly, it’s not actually until that outro he plays anything too distinctive, preferring instead to let Forsgren’s voice and an old fashioned slab of keyboards carry the song.

Exercising the band’s harder chops, ‘Bullet In The Back’ really delivers the goods.  The riff is chunky and Paul Bonrud’s sweeping lead guitar lines top said riff nicely.  While Forsgren’s vocal delivery is a little full on, he’s complimented by a thunderous bassline, which favours meaty simplicity over anything complex. While not technically flashy, Olson’s production really brings it out – so much so you can hear the strings rattling on occasion.  A noticeably weaker cut, ‘Blinded’ mixes sharp lead guitar work with a mid-paced riff which occasionally sounds like it might break into something more interesting but never really does.  Despite Bonrud’s best efforts in the lead guitar department, this tune is a little ploddy all round.

While it’s somewhat of a coup to have First Signal/Takara keyboard player Eric Ragno guest on a couple of tracks, he isn’t given the opportunity to make the most of his talents.  On ‘We Collide’ in particular, after about two seconds of synthy keyboards, there aren’t that many audible keyboards to speak of.  No sooner is it out of the starting blocks, the music smashes into a piece of hard rock/melodic metal with a huge presence, with barely any room for keyboard flourishes.   One of Bonrud’s toughest tunes, even with the addition of harmonies, most of the vocals are more of the Tony Mills/Geoff Tate mould than straight up AOR.  As with most of the album’s best moments, it is Paul Bonrud who is the real star: during his couple of lead breaks, he shreds enough for this tune to be considered metallic, but his playing has just enough finesse to remain melodic.   It would have been a definite plus to hear more of Ragno, though.

Although ‘Save Tomorrow’ features strong material almost throughout, the band closes the disc with one of its strongest tracks.  ‘End of Days’ combines crisp rhythm guitars with a blanket of keys during the intro, before  quickly finding its feet as a punchy mid-paced rocker. Forsgren’s curling vocal combined with the keyboards and a pompier tone hints at influences from classic (‘Mindcrime’ era) Queenryche.  Again, it’s the kind of thing that won’t be new to any melodic rock buffs, but a good performance, solid song writing and sharp production from a legend in his field makes a winning combination.

Fans of the slightly harder end of the AOR spectrum will enjoy ‘Save Tomorrow’.  Despite Forsgren’s tendency to over-sing on occasion, the production is fine and each of the performances are often more than solid.  Although recorded at various different sessions – with different guest keyboard players and bassists – it has a surprisingly consistent feel too.

It’s a minor point, but it seems that Bonrud’s weakest element is their choice of band name:  In the summer of 2012, Real Gone poked gentle fun at Wigelius for having a vanity moniker – but at least we never had any trouble remembering it!  For some reason, “Bonrud” took a long time to stick… Prior to writing this review, they got called Bodman, Bodrun, Bodrum and often Bodnar… Only two syllables and yet it just would not sink in.  Since the band has two Pauls at its core and Paul #1 insists on naming project after himself, may we suggest “PAUL!” [exclamation mark optional] next time?

…No?
Okay then…

September 2012

SKUNK ANANSIE – Black Traffic

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Returning after an eight year hiatus, Skunk Anansie had to ensure their comeback album was absolutely stellar.  The resulting release ‘Wonderlustre’ did not disappoint; in fact, it was a career highpoint for the British band.

Debut releases – or in the case of Skunk, a record breaking a long absence – allow plenty of time for a band to guarantee they have a collection of first-rate songs to make up the record.  Follow ups are usually created in a fraction of the time, with the label breathing down the band’s collective neck to deliver the goods, while an established fan-base clamours for more.  …And so it is with ‘Black Traffic’.   While it is Skunk Anansie’s fifth album overall, in places, it has a slightly weaker feel, typically associated with a sophomore release.   There are some fantastic tunes, but as a whole, it lacks the consistency of its immediate predecessor, largely thanks to a few aggressive alternative rock/pseudo metal offerings where the band sounds like they’re just trying far too hard.  While these sound better after being allowed time enough to sink in, SA always sounded stronger – classier, even – when delivering more pop-based material…

The band chooses to open this record with two of those unsubtle rockers in order to make an impression.  Both ‘I Will Break You’ and ‘Sad Sad Sad’ are delivered with metallic riffs at reasonably high speed.  Listeners who enjoyed the harder edge present on the band’s earlier works will likely get a kick out of these, since they hit harder than anything SA has recorded previously.  For other listeners looking for the kind of sophistication that made ‘Wonderlustre’ one of 2010’s best albums, these tracks will be disposable.  Of particular difficulty is Skin’s deliberately confrontational and harsh vocal performance on album opener ‘I Will Break You’.  While she has a superb vocal range and an undeniable presence, on this particular number she squeals to the max, initially sounding quite edgy, but quickly sounding too much like hard work.  On ‘Sad Sad Sad’, her voice is much more palatable, but despite a good performance and some solid hard rock riffs combined with electronic drum loops creating a reasonable enough backing, bog standard song writing on the chorus [chiefly rhyming sad x3 with bad x3] really lets things down.  It’s worth bearing in mind, though, that while both these tunes are a little grating on record, they have all the hallmarks of the kind of numbers that make killer live performances.

Blending string sounds, a programmed drum and a soft bassline, ‘I Hope You Get to Meet Your Hero’ is one of ‘Black Traffic’s high points.  Skin’s vocal is full of longing, as she cries out every word.  While her full range is undeniably superb, it is on softer numbers such as this where she sounds at her best – the softer notes allow her screaming top end to have a much greater impact, and since she uses that top end sparingly here, the impact it has when it eventually appears is nothing short of wonderful.  The album’s first single, ‘I Believed In You’ is a little harder, with Ace’s rhythm guitar acting as the driving force.  As the chorus hits, drummer Mark Richardson gets to cut loose on a part far more groove laden than many of this album’s cuts – and it’s good to hear a real drum too, since ‘Black Traffic’ is heavily reliant on programmed rhythms.  Lyrically, the accessible and buoyant tune is given some real bite via its bitter lyric; specifically the line “do me a favour, go and slit your skinny throat and let the blood flow freely so all you boys can choke”.  Overall, while this melodic rock tune with slight alternative leanings could be written off as “Skunk Anansie by numbers”, the band are certainly playing to their strengths.

Most of ‘Black Traffic’s strongest numbers can be found nestled on the second half, and they are tunes that, again, highlight the band’s softer side.  The poppy ‘Our Summer Kills The Sun’ ranks among Skunk Anansie’s best ever songs, thanks to a sophisticated, radio friendly mix of electronic beats, ringing guitars and a hushed, almost questioning vocal.  By the time it all blooms into a simple hook full of harmonious, multi tracked voices, it’s one of a couple of tracks that could stand up to most of ‘Wonderlustre’.

‘This Is Not a Game’ aims for a huge, epic sound. The basic tune works around a classic quietLOUDquiet structure, where the verses are soft and (again) very electronic, while the chorus features some louder, chiming guitars. The combination of guitar and strings during the chorus provides one of ‘Black Traffic’s most enjoyable moments on a musical level, but Skin’s voice is absolutely awesome throughout.  Moving between a soulful cry and full on rock belt, this particular performance could raise neck hairs.  Although at first, ‘Drowning’ sounds a little empty and over-mechanical, later listens uncover the makings of a solid pop tune.  A mix of drum beats and strings during the second half creates something hugely radio friendly, while Ace’s understated guitar lines add depth.  An overly simple chorus actually makes ‘Sad Sad Sad’ sound like first rate song writing, but this can ultimately be forgiven since everything else is so well put together.

With an instant familiarity, the album’s closer ‘Diving Down’ sounds as if it could be a ‘Wonderlustre’ leftover.  As with ‘I Believed In You’, the sturdy pop/rock here adds nothing new, but it’s certainly just as enjoyable as any other similar recordings from Skunk’s back catalogue.  It is a guaranteed fan favourite – strong enough to help sweep away the memories of ‘Black Traffic’s less enjoyable numbers.   Opening with two of the album’s rockers and closing with this hugely emotional tune, if nothing else, it proves that somebody within the Skunk Anansie camp knows the power and importance behind sequencing an album for maximum impact.

‘Black Traffic’ would be a fantastic record by most people’s standards, but measured by a couple of Skunk’s previous outings, it could have been better.  Put in context, it’s not anywhere near as good as ‘Wonderlustre’, although it’s best tunes as good as the best ‘Post Orgasmic Chill’ had to offer.  Its brilliant moments piss on most of ‘Stoosh’, but that is to be expected from a band far more mature in both talent and years.  While devoted fans will love ‘Black Traffic’ from the off, those other listeners who enjoy the more restrained parts of Skunk Anansie’s music – ‘Wonderlustre’ in particular – may find this album more of a challenge.

September 2012

ARMADA – Paper Ghosts

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For a debut release from an independent band, ‘Paper Ghosts’ by LA trio Armada has a very sharp sound.  They’ve been smart enough to wait until they could record it on a reasonable budget…and it shows.  Producer Mike Boden (a man who’s previously helped engineer works by Joe Satriani, Journey, Mudvayne and many others), gives the band a big sound; one befitting of their mix of rock and blues based riffs.

Although not a perfect release, ‘Paper Ghosts’ features some enjoyable songs.  ‘Callanwolde’ is a tune that is hugely bass led and has an almost cocky tone.  With verses made up of a simple beat, dominant bass and reverb sounds, at first it leaves the listener wondering where it’s headed.  When the (understated) chorus kicks in, the guitars chime while the bassline drops in a couple of very complex fills which hint at funk.  The rest of the song is constructed from very fuzzy grooves which recall UK 90s bluesy indie-rockers Reef, albeit rather more aggressive.  In all, good stuff indeed, but on this debut record Armada deliver a few superior tunes.   Via slightly overdriven guitars and a pounding bassline, on ‘Up, Out’ shows the band playing with something bluesy.  The unfussy groove comes with a hefty swagger, but the real star on this tune is Cody Page whom, in addition to providing the main guitar riff, lays down a very emotive lead vocal with plenty of crying edge in his delivery.  By the time Armada get to the chorus, things toughen up a little more and the band’s brand of fuzzy blues-rock really makes its presence felt.

To begin with, ‘Young Man’ has a spacious feel.  The drums mark time and the guitars add hard, clanging chords over which Page’s lead voice is soulful and strong.  Holding everything together, Jeremy Gruber’s fluid basslines are the key to the track’s overall greatness.   Although only four and a half minutes in length, it’s two part structure makes it feel much longer…and not necessarily in a bad way.   The second half of the track drops the funkiness and settles into a mournful, slow arrangement – over which Page sounds equally confident.  To finish, all of this tunes best features pull together as a brief lead guitar break acts as a climax.  While there are a few unnecessary whoahs drawing attention away from the brilliant bass work, this is one of Armada’s best tunes.  ‘Ghosts of Illinois’ provides high energy enjoyment through some hard rhythmic chords, marching bass and drums, combined with a heavily filtered vocal.  Its relative simplicity makes it more disposable than most of Armada’s other tunes, but its spiky edge makes it sound as if it could be a corker within the band’s live set.

Lead single ‘Badge & Gun’ hits harder and faster than most, allowing drummer Eddie Core a chance to approach his kit in a slightly more aggressive fashion.  The guitar chords ring out with vibe more akin to 21st century indie rock, giving the number another slant not always present on most of this band’s other work.  It is well played, and even though the harder edges ought to make it appear more instant than Armada’s other songs, it doesn’t necessary grab the listener straight out, despite a slightly more obvious hook.  On the flipside, ‘Love You’ is wilfully minimalist: on one of the album’s misfires, Page spends over six minutes slowly strumming at his electric guitar (with a light drone providing a very slight accompaniment), his voice gently crying out all the while.  While a decent enough musical idea – one which adds an extra dimension to the Armada sound – it’s easy to understand why it should be included on this debut; it’s less easy to fathom why the band insisted on it going on for so long…so very long.

Armada are often great musicians and in Cody Page – once you tune into the slight wobble in his voice – they have an equally great vocalist.  What they don’t always have are instant hooks, but it’s possible they’re hoping the mix of mid-paced riffing and bluesy sensibilities will somehow slowly work its way under the skin.  It is, indeed, an album which takes time on the listener’s part to uncover the good moments, but they’re in there just waiting to be discovered.

September 2012

MARILLION – Sounds That Can’t Be Made

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In 2001, Marillion released ‘Anoraknophobia’, a contemporary sounding album which contained some of their finest work up to that point.  It was enough for some of the band’s more enthusiastic fans to make enormous statements like “if they’d changed their name when Fish left, they’d be as big as U2 by now!”  While such enthusiasm is admirable, this just would never be the case: U2 have had a multi-million pound promotional machine greasing their gears for years – one that has ultimately allowed Bono to straddle the globe like a giant self-righteous colossus.  Despite best efforts and a hugely, hugely devoted team behind them, these five gifted musicians from Aylesbury just can’t afford that kind of huge promotion.

After ‘Anoraknophobia’, Marillion released some equally fine music on 2003’s ‘Marbles’, though parts of that album were less easy to digest.  From then on, however, the band’s output – although more prolific than it had been in the past – was less impressive. 2007’s ‘Somewhere Else’ was pretty grim and 2008’s bloated double set ‘Happiness Is The Road’ contained some great moments but may have fared better if slimmed down to a single volume.  An album of acoustic-based re-workings – ‘Less Is More’, issued in 2009 – was only of any real interest to hardcore fans.  A few years earlier, such a release may have actually been a fan-club freebie.

Considering the hit and miss approach of the last few discs, there was a lot riding on 2012’s ‘Sounds That Can’t Be Made’, especially for the more critical fan.  …And with eight songs, clocking in at almost 75 minutes, they’ve certainly given their fans (critical or otherwise) something to get their teeth into.

Not doing things by halves, this time out Marillion open their seventeenth studio record with a seventeen minute epic – and ‘Gaza’ is epic in every sense.  Spanning what would have been the whole of side one in the olden days, Marillion take the listener on a journey of many moods, as Steve Hogarth (aka h) delivers a hugely emotional and thoughtful lyric regarding the plight of children in war-torn  Gaza.  [Within hours of the track appearing on the internet, people in a YouTube shoutbox argued whether the piece was pro-Israel or pro-Palestine.  It’s not either.  The child’s viewpoint does not take sides; the child simply wants an end to the grown-ups fighting.]

Following a slow fade in, a keyboard riff with an eastern quality appears, quicky joined by the sounds of bells and a choppy guitar, over which the vocal is strong.  h shifts between his reguar tones and a gentle falsetto; the latter is less enjoyable but suits the pop/rock, keyboard-led part of the tune well.  Just after the two minute mark, Marillion challenge their listeners with a surprisingly heavy riff.  It’s not of the hard rock kind which fuelled the ‘Most Toys’ embarrassment, but something genuinely heavy. The kind of riff which sounds like it belongs on a Tool record or a post ‘In Absentia’ Porcupine Tree release, it’s fleeting at first, but on its second appearance it really shakes things up. The resulting lead guitar parts add extra elements of discordance further highlighting the sense of turmoil and despair within the song’s narrative driven lyric, where “hell can erupt in a moment” and the child protagonist’s father “died feeding the birds”.

Ambient instrumental sections allow keyboardist Mark Kelly and guitarist Steve Rothery ample opportunity to noodle, but these quietest moments never detract from the sheer power of the track as a whole.  If you’ve not been absolutely absorbed thus far, Marillion save the best section for the number’s inevitable climax.  “Grieving mothers on both sides of sides of the wire” paints a vivid image, before the two Steves join together on a short piece of music which has all the fire of Marillion’s past, something further highlighted by a wondrous, soaring guitar solo.

“We will kick the ball.  We will skip the rope. We will play outside.  Be careful.”
“We all want peace, that’s for sure…but peace won’t come from standing on our necks.”

While ‘Gaza’ is very long, like a mini movie for the ears, it doesn’t necessarily feel long. It pushes the boundaries of their musical capabilities to new level.  After such a huge opening statement, the rest of ‘Sounds…’ potentially runs the risk of falling short.  It is fair to say, though, ‘Gaza’ is not really like anything else on ‘Sounds That Can’t Be Made’, so it’s perhaps best approached as a standalone track, as opposed to being part of a broader collection of songs.  Aside from the section near the end featuring a particularly trademark sounding Rothery solo, it is, In fact, quite unlike anything else in Marillion’s recorded history to date.

‘Power’ has a warm, almost trip-hop vibe from the rhythm section, as Ian Mosley’s drums offer a laidback groove and Trewavas’s bassline takes most of the lead.  With a similar atmosphere to parts of ‘Anoraknophobia’, it will come as no surprise that the bones of the song date back to those days, but this is more than mere padding.  As the chorus kicks in, Rothery’s guitar rings out with a sense of real presence and h’s lead vocal shifts from its previous understated tones to a full cry.  Although already enjoyable, it’s with the last couple of minutes ‘Power’ really comes into its own:  h continues to use his voice in a powerful way (so distinct, but you either love it or hate it),  stretching emotion from the last few lines, while underneath, Rothery adds sweeping guitar lines.  Keeping with the more accessible, some gorgeous eighties keyboards form the heart of ‘Pour My Love’, a hugely commercial ballad. With Pete Trewavas’s bass very high in the mix throughout, his solid playing makes the perfect foil for keyboard lines.  There’s something about this tune’s pop edge which recalls parts of 1991’s ‘Holidays In Eden’ – ‘Dry Land’ in particular – especially so, once the guitar solo hits.  Much like most of ‘Holidays In Eden’, this is a tune likely to divide fan opinion with it’s very lightweight feel, but for those who still love that album (and it remains a Real Gone favourite), ‘Pour My Love’ is destined top become a favourite. [Interestingly, its lyrics are co-written with John Helmer who last worked with the band in 1999, so perhaps, like ‘Power’, the roots of this tune are a little older?]

The second of the album’s extended pieces, ‘Montreal’ begins with a restrained and thoughtful tone, as h’s voice cries out over some simple electric piano. Just as you’re expecting it to kick in, it becomes even more restrained as instrumental synths wash over the listener.  Across fifteen minutes, ‘Montreal’ ambles along quietly, occasionally rising up for some mid-paced rock moments, under which Ian Mosley’s drum style is unmistakable and Rothery turns out a couple of rather lovely solos.  Lyrically, it appears to be autobiographical for the band: a tale of airports, hotel rooms and “a trip with the minimum of fuss” and “being greeted as guests of honour” in the Canadian city. While it does not present the real surprises – nor the musical challenges – of ‘Gaza’, there’s some good material within.  Although, perhaps, the weakest of this album’s three extended numbers, it’s a song which uncovers something new with each listen.

‘Lucky Man’ turns up the guitars and turns down the atmospheres.  Pete’s bass is nice and warming and SR get the chance to deliver something a little tougher – though nowhere near as threatening as the loudest parts of ‘Gaza’ – but beyond that, there’s not so much going on.  It is a solid enough number – and has something resembling a chorus – but Marillion are not necessarily playing to their strengths here.  Had it appeared earlier on ‘Somewhere Else’, for example, it could have been that album’s standout; here, though, it’s totally outshone by Marillion’s grander ideas…and let’s face it, a couple of those ideas are grander than ever.  Driven by heavy keyboards, the intro to the mid-paced title track fares much better in the rockier field (rockier here, of course, being relative).  Across seven minutes, Mr Hogarth turns out a rather unshakable vocal performance, one of his best on this album, he’s not tempted to use to much falsetto. Meanwhile, the rest of the band tackle a tune which slowly moves from mid paced punch to cinematic pomp, complete with an 80s prog keyboard solo.  Initially, it’s not as good as some of the material on ‘Sounds That Can’t Be Made’, but the closing section featuring a forceful vocal and huge guitar solo falls not to far short of being classic Marillion… ‘Invisible Ink’ is minimalist at first, with h singing quietly over an equally quiet piano arrangement.  Just as you think the band are about to settle for something which sounds like a distant cousin to ‘Now She’ll Never Know’ (from 1998’s ‘Radiation’) the song breaks into something more fully formed.  There’s something in h’s voice that’s a little jarring on occasion, but it doesn’t spoil the other good qualities on show throughout the number’s rockiest moments: namely a rock solid bassline and drum part, plus a rather punchy lead guitar.  Despite these enjoyable elements, if ‘Sounds That Can’t Be Made’ has a track destined to be skipped, ‘Invisible Ink’ is the one.

The closing number – ‘The Sky Above The Rain’ – another ten minute piece – begins with soft vocal, piano and synth sounds approximating strings.  h’s voice sounds quite fragile during this first part of the song, as befitting for a tune so light, but it’s no match for the musical arrangement, which is particularly striking in its restraint. Of particular note is Rothery’s guitar playing once again, as he offers soft jazzy notes, never tempted to break into anything more aggressive.  From the four minute mark, rocky elements start to creep in and the tune gathers momentum, eventually building to a crescendo.  During the inevitable climax, there’s very little long term fans won’t have heard from Marillion previously – and it’s probably not as masterful as ‘Neverland’ (from 2003’s ‘Marbles’) – but after several plays it feels like an appropriate end to a very well crafted album.

Throughout the late 90s/early 2000s, Marillion (and a fair number of their fans) were always keen to argue against being tagged as a “prog band”.  With bands such as Porcupine Tree, Opeth and The Pineapple Thief attracting very positive press around the time of this album’s release, “prog” should not be a stigma. Since Marillion’s 2012 release is rock based and includes three pieces of music clocking in at over ten minutes – whether they choose to embrace the tag or not – it is very much a “prog rock” album.  Regardless of how you’d like to pigeonhole it though, most of ‘Sounds That Can’t Be Made’ is fantastic – easily Marillion’s best work since ‘Anoraknophobia’.  They should be proud…and you can bet they are.

September 2012

CANTO – Ha Ha Ha

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According to their website bio, Canto are a band who consider their music to be “influenced by the rock music from the sixties and seventies”.  While their music takes in a little blues, some funk rock, a little indie and huge chunks of fuzzed up blues-rock  – all of which come together to create a very accessible sound – this trio of brothers sound more like they’re channelling a 90s style revisitation of the 70s than anything else.

Their debut release ‘Ha Ha Ha’ kicks off with a short instrumental, ‘Adam & Eve’.  A good showcase for the band’s musical chops, this piece features a very seventies sounding lead guitar, underpinned by a superb bassline – the kind of thing a well-established jam band could turn into a tour-de-force.  ‘Sandpaper’ turns the funk grooves up to the max via a busy bassline, over which wah-wahed guitars churn out blues-rock riffs.  This alone provides a solid listen, and then Canto unveil the element that makes them sound a little different to other ‘retro’ outfits: Seamus Blackwell’s voice.   Whereas most similar bands would likely choose someone with a big voice, Seamus’s approach sounds more suited to an indie pop band than a band serving up funky retro rock.  In fact, on occasion, his voice bares more than a passing resemblance to Tim Booth (of popular 90s indie-poppers James), which probably lends a huge amount of weight to the overall feeling that Canto’s music shares as many influences from the 90s as it does from earlier decades.

A little off-centre, ‘The Big House’ works around a spiky riff and ringy countermelody.  Despite initial promise, it never completely finds its feet; perhaps a lack of chorus is to blame here, since it’s certainly not the Blackwell brothers’ standard of musicianship.  Mixing an indie jangle with another funk-rooted bassline, ‘Cardigan Sweater’ shows Canto in a better light, as they blend an upbeat, optimistic tune with a simple hook.  While Seamus’s guitar has a very pleasing tone and his vocal style is well suited to the piece, it is bassist Aiden Blackwell, whom – once again – brings most to the table.  His fluid style (pushed high in the mix throughout) is what often gives Canto’s music it’s most enjoyable quality, and this is no exception.   The single release ‘Farewell Well Well’ is an exceptionally tight workout where drummer David Blackwell moves between hard rock drumming and funk rhythms (with plenty of fills and hi-hats) with ease.  Despite a simple hook and a closing section with a meaty riff, this tune firmly belongs to the rhythm section.  The interplay between bass and guitar during the number’s first half makes this track Canto’s best, hands down.

On ‘William Byrd & His Contemporaries’, Canto move away from the more pointedly funky:  the guitars lay down a thick rhythm, the drums pound out a basic backbeat and the bass takes more of a simplistic approach.  On this number – although still recognisable as the same musicians who performed on those more groove-laden tunes – Canto offer a track which sounds more in keeping with 90s alternative.  Its simplicity doesn’t necessary make it any weaker…just different.  It would be unfair to say it does not suit the band since they prove equally adept here – it just feels a little misplaced among the other album cuts.

Quibbles about the seventies-ness of their chosen niche aside, Canto are obviously talented.  While ‘Ha Ha Ha’ isn’t a classic debut, the songs often have enjoyable moments.  If their whole sound doesn’t keep you listening, the intricacy within some of the basslines should provide sporadic entertainment.

August 2012