От Michael Baryshnikov (2:5023/24.3243) к All
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Hello All!
Залиты диски Finneus_Gauge:
(1997)_More_Once_More
(1999)_One_Inch_Of_The_Fall
После развала Эхолин (см.) их клавишник - Крис Базби собрал эту группу. Она названа в честь дорожного рабочего позапрошлого века, которому пробило голову ломом, лом обрезали с двух сторон, и он так и прожил всю оставшуюся жизнь с железкой в голове. Ну, что ж - намёк понят.
Если одним словом - кантерберри.
Но музыка, прямо скажем, не для всех - аритмичные композиции с хоровым вокалом в малую секунду многим могут создать ощщущение вот того самого лома в голове... Но есть и более простые и приятные к восприятию треки. Вам решать. При том - это НЕ авангард или РИО, всё же Эхолин - это симфо-прог и от авангарда далеки.
И да - после этих двух альбомов сотоварищи Базби решили остановить его, пока ещё чего не натворил, и собрали группу назад.
Твёрдым духом,
ВЕСЬМА РЕКОМЕНДУЮ!
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(c) Finneus Gauge biography, PA
Founded in Philadelphia, USA in 1997 - Disbanded in 1999
Ecletic band which counts with the participation of Chris BUZBY, Keyboardist of ECHOLYN. They sound pretty much like that band, although more improvisation is found here. Powerful groves, and multi layered heavy passages are constant characteristcs on their music.
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MORE ONCE MORE
(c) Review by apps79, PA
Following the transient disbanding of ECHOLYN,their keyboardist Chris Buzby formed FINNEUS GAUGE in 1996,named after Phineas Gage, a railway construction foreman of 19th century, who survived after a big piece of iron passed through his head during an accident. On FINNEUS GAUGE we also meet Chris' younger brother John on drums (later to form ''Land of chocolate'') and talented fusion guitarist Scott McGill. In 1997 the band recorded and released their debut ''More once more''.
Elements,sights and sounds met in ECHOLYN's works are also present here, but "More once more" is way more complicated than anything created by ECHOLYN,while the music approaches more the fusion/jazz side of prog than the symphonic one.Without being excessive, this is one of the most complex and craziest albums around!The tracks follow a fast and furious tempo, characterized by the superb guitar work of McGill, recalling ALLAN HOLDSWORTH at his best, and the obscure and challenging keyboard parts of Chris Buzby. Some mellow atmospheric intros with Laura Martin's voice on the front are somewhat needed to lighten things, but soon what is to be heard is complicated interplays between the rhythm section and the guitars or keys,accompanied by endless multi-vocal harmonies in the vein of GENTLE GIANT. All performances, especially McGill's, are excellent but be warned that ''More once more'' won't be everybody's cup of tea, despite its undoubtful high level of musicianship. This is the definition of an album,that needs a good number of spins to be appreciated. Personally, I found it very attractive, demanding and professional and an easy choice for a day, when I need something trully intricate to listen to...
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MORE ONCE MORE
(c) Review by Gatot, PA
It's nearly impossible you don't like this album if you think you have strong passion in jazz-rock or Canterbury music with a bit of open mind in accepting any kind of music that flows into your ears and your mind. By design, this is absolutely a masterpiece album. This is a good example of combination between complexity (relatively high, in my opinion) and weak of melody which results in excellent harmony. Got confused? Hope you are not! My thesis is pretty simple. If you need a prog album must be complex, this album delivers it through interactions of Scott McGill stunning guitar work (sometimes in the style of Holdsworth) and inventive keyboard work of Chris Buzby. So, this album is yours. On melody line, I don't think this is the right choice for you (if you expect too) cause I think most tracks featured here do not provide what so called "melodic" or "touchy" segments of the music offered. However, these two components interact wonderfully in excellent harmony. That's the beauty of this album. You got complexity without touchy melody line but the combination of the two gives you excellent harmony. Such a simple thesis, right? Let's see how the music flows.
The album kicks off with "More Wants More" (7:34) in upbeat tempo and relatively complex arrangement plus many syncopated chords. If you get used to Bill Bruford's "Feels Good To Me" album, it'll be okay for you to enjoy this track. Next is wonderful composition "King Of The Chord Change" (5:40). As the title implies this song features some acrobatic chord changes even though the song sounds easy listening during lyrical verses. Laura Martin's voice is quite fit with the song style. Again, McGill's guitar solo is awesome. I especially like the music interlude. "Press The Flesh" (7:43) is beat-wise quite strange to my ears because it sounds like having syncopated chords. This is not the case when vocal enters the music. The music brings to a break with mellow track "Desire "(4:45).
"Doogins (The Evil Spawn)" (5:16) and "Customer Service" (5:32) are typical in nature and both have upbeat style. "Customer Service" is quite strange for my ears but I really enjoy the rhythm section. Oh man .. I really put my two thumbs up for McGill's crazy guitar solo! It's pondering into my head! I love it especially when it is interjected with Laura's singing. "Calling Card" intro reminds me to the use of Synthaxe in Holdsworth albums. It sounds alike. The music follows previous style with excellent Laura voice. If you want to feel and experience how the band delivers complex chords, sacrificing the melody line, but result in great harmony - you should listen to "Salvation". Oh it's unbelievable that the harmony can be achieved like this song.
Overall, this is an excellent album with very tight composition, complex (and it sacrifices melody line) structure, and excellent musicianship. It's not recommended for those of you who do not appreciate complexity. Neo prog lovers (me included) is note recommended to have this album unless they can tolerate songs with weak melody. The beauty of this album is in its excellent harmony. If you can accept ECHOLYN, Bill Bruford "Feels Good To Me", or Allan Holdsworth, you might be able to enjoy this album.Keep on proggin' ..!
Peace on earth and mercy mild - GW
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ONE INCH OF THE FALL
(c) Review by Mellotron Storm, PA
When ECHOLYN broke up after the "As The World" album Chris Buzby formed his own band FINNEUS GAUGE. ECHOLYN would eventually reform but not before Chris and his band blessed us with 2 albums, including this one "One Inch Of The Fall". I understand the band named themselves after a railway worker named Finneus Gage who sort of became famous back in 1848. During some blasting a small piece of pipe went through under his chin and out the top of his head.They dared not try to remove it, instead they cut off each end and sent him home. He apparently lived this uncomfortable and painful(headaches) way for 13 more years as a recluse. The music here is not that accessible, it has a Rio flavour at times with the drumming of Chris' brother John being the highlight for me. The female vocals are well done and suit the music quite well. Scott McGill is on guitar, enough said.
"Open Up The Fog Lines" opens with heavy guitar before the (at times) purposely off key vocals and dissonant sounds come in. Rio influenced no doubt.This is different but it works extremely well. One of my favs off the album. "In A Different Hour" is more uptempo with prominant odd metered drumming. I like when it calms down after 2 minutes followed by some incredible guitar.The calm passage returns 4 minutes in followed by an even better guitar solo. "One Inch Of The Fall" opens with vocal melodies and some tasty organ runs. I love the intricate drumming as the song settles down with vocals. Some nice bass 2 1/2 minutes in. Great sound 4 minutes in. The vocal melodies are so good. Impressive guitar after 6 minutes. More organ in this one as well.
"Biogee's Lament" is like organized mayhem. Haha. I can't say enough good things about the drumming. Lots of keys early but the guitar starts to take over 2 minutes in and actually dominates the rest of this instrumental along with the drumming. Keys are sprinkled in throughout. "Unsinkable You" has some nice bass lines throughout. The multi-vocal sections were the only times I thought of ECHOLYN during this whole album. "State Of Art" is where she sings her best in my opinion. I wish I had the lyrics for this song. This is a very melodic song with guitar shining as well. "Early Sun" has a melancholic vibe to it. Keyboard solo 2 minutes in. Nice jazzy tune. "Golden Pretzel" is my least favourite song as her vocals are so aggressive and hard to listen to. A Rio flavour to this one as well. Check out the prolonged guitar solo though. Oh my ! This is worth the price of the cd alone.
Adventerous music done at the highest possible level. Highly recommended. Many listens required.
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Enjoy!
WBR, Michael Baryshnikov.
--- wfido
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