A beautiful record that leaves an indelible mark, final.
how far he had gone already with respect to Robert Wyatt progressive extraordinary size of "his" Soft Machine probably was not quite obvious and clear until in 1972, collected three old friends in the area Canterburyana, not to press this first head-work of his new project called - so obviously sarcastic - Matching Mole (which sounds in English as the unlikely "that meets Mole", but read with a French accent "Soft Machine" clearly means "soft machine" ... you see the link).
The two poignant ballads of the first side of the disc (the eternal "O Caroline" and "Signed Curtain") describe with extraordinary evocative power limit, a new frontier where the song form can meet the new jazz electric and the new dark progressive sound, not to tell simple stories of love, but to offer snapshots of life lived by musicians in their narrow - sometimes claustrophobic - a creative space.
This is the first verse
The first verse
The first
First verse
And this is the chorus Or Perhaps
is a bridge Or just another part
Of the song that i am singing
Never mind
It Does not Hurt
And only means-That I
Lost faith in this song
'Cause it will not help me reach you ...
(Signed Curtain)
Then when the sound reaches the required level of new "progressive electricity", he unleashes the creative charge, all the power of conscious direction and wonderfully compact town, made so by the great interaction between the gently geometric guitar PHIL MILLER, the aggressive low BILL Mac CORMICK, the magmatic DAVE SINCLAIR keyboards and drumming of the same single WYATT.
That nagging sense of possible "neo snobs" turn the soft jazz of the first machine (see "Fourth") disappears in the dark and twisted atmosphere of hallucinated songs like "Part of the Dance" or "Instant Kitten" where the battery from the private brilliant and distinctive sound of the snare drum snare and guitars and keyboards sour abundant use of distortion and effects inquetude difficult to tell due to the sense of "smart" instead atmosphere "jazz" may - perhaps - to evoke.
The four musicians seem to moles by dirty hands of that land progressive jazz mixed with humus looming ... of the mass excavated to search for possible new galleries to come out and try to "meet" anyone at the time were willing to cross that boundary between the conceptual rock and electric jazz modern.
And in the end, exceeded that border the mole comes out ... but the pitiful story of the sidereal solitude of the creative research is all in the final desolate "Immediate Curtain" ... try to listen with ... "Eyes of the mole and everything will be absolutely clear!
how far he had gone already with respect to Robert Wyatt progressive extraordinary size of "his" Soft Machine probably was not quite obvious and clear until in 1972, collected three old friends in the area Canterburyana, not to press this first head-work of his new project called - so obviously sarcastic - Matching Mole (which sounds in English as the unlikely "that meets Mole", but read with a French accent "Soft Machine" clearly means "soft machine" ... you see the link).
The two poignant ballads of the first side of the disc (the eternal "O Caroline" and "Signed Curtain") describe with extraordinary evocative power limit, a new frontier where the song form can meet the new jazz electric and the new dark progressive sound, not to tell simple stories of love, but to offer snapshots of life lived by musicians in their narrow - sometimes claustrophobic - a creative space.
This is the first verse
The first verse
The first
First verse
And this is the chorus Or Perhaps
is a bridge Or just another part
Of the song that i am singing
Never mind
It Does not Hurt
And only means-That I
Lost faith in this song
'Cause it will not help me reach you ...
(Signed Curtain)
Then when the sound reaches the required level of new "progressive electricity", he unleashes the creative charge, all the power of conscious direction and wonderfully compact town, made so by the great interaction between the gently geometric guitar PHIL MILLER, the aggressive low BILL Mac CORMICK, the magmatic DAVE SINCLAIR keyboards and drumming of the same single WYATT.
That nagging sense of possible "neo snobs" turn the soft jazz of the first machine (see "Fourth") disappears in the dark and twisted atmosphere of hallucinated songs like "Part of the Dance" or "Instant Kitten" where the battery from the private brilliant and distinctive sound of the snare drum snare and guitars and keyboards sour abundant use of distortion and effects inquetude difficult to tell due to the sense of "smart" instead atmosphere "jazz" may - perhaps - to evoke.
The four musicians seem to moles by dirty hands of that land progressive jazz mixed with humus looming ... of the mass excavated to search for possible new galleries to come out and try to "meet" anyone at the time were willing to cross that boundary between the conceptual rock and electric jazz modern.
And in the end, exceeded that border the mole comes out ... but the pitiful story of the sidereal solitude of the creative research is all in the final desolate "Immediate Curtain" ... try to listen with ... "Eyes of the mole and everything will be absolutely clear!
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