Regular readers
of this column will be familiar with my standard lament
concerning today’s prog-rock scene. Basically, there isn’t any —
just one transcendent 7-year-old Deadwood Forest record; moody
Euro-progsters Darxtar, sorely missing in action of late; and a
crush of selfsame neo-metal Marillion clones bringing up the
rear.
Circulus lurks a far cry from these waters, inhabiting
territory much closer to Gentle Giant or 1600s-style troubadours
Amazing Blondel than to other modern space-rock or jazz-fusion
acts. Clocks Are Like People is their second full-length,
and if flutes and meadow-strewn vocals pleasure your nerve
endings — and you can stomach a generous helping of medieval
pretension — then may I respectfully present the most satisfying
art-rock album in a long while.
Scrutinize the
cover art shown above; more a commune than a band, these guys
certainly dress the part of Middle Age bards, if not live like
it. But people who got beat up in high school often rise to
great things (or so I keep telling myself). It takes guts and
devotion (not to mention a loose screw or two) to make music
this creative and offbeat in any year not labeled 1973.
Harpsichords, flutes, pixie-ish male-female harmonics: It’s all
here and more, as on the groovy “To the Fields”, or the
traditional Celtic dance number “Bouree.” Though, if I were to
name my favorite tune on this record, it would have to be the
sweet and assured “Song Of Our Despair.” Nobody else is even
trying to write songs like this anymore, which is perhaps the
best excuse to stash a CD like Clocks in an open-minded
music fan’s stocking.
Top Five Albums of 2006 (and a sample track)
5.The Divine Comedy, Victory for the Common Muse
(Parlophone).
A
striking, theatrical tour-de-force unlike anything else released
in 2006. Like a beautiful European capital this mid-summer
release just kept getting warmer and better as autumn wore on,
till its evolving melodies and rich storytelling eventually took
on every meaningful semblance of home sweet home.
- Diva Lady
4.Lanterna, Desert Ocean
(Jemez
Mountain).
Henry
Frayne’s most consistent and accomplished record since his first
10 years back — an echoing instrumental journey through sand,
sea and sky, capable of evoking whatever mood the listener can
conceive. A salve for every wound, soothing every ache; true
balm for the busy soul.
- Luminous
3.The High Violets, To Where You Are
(Future Farmer).
Were
there any other shoegazer-style records released this past year?
If so, I didn’t notice. Practically rejuvenating the genre in
only 35 scant minutes, the otherworldly Kaitlyn Ni Donovan and
her Portland (Oregon) mates shook off a lackluster 2002 debut to
pleasantly shock all 10 hungry-but-jaded dream-pop fans within
earshot, myself included.
-
Invitation
2. Plus/Minus,
Let’s Build a Fire(Absolutely Kosher).
Second
place on the list, but first in intricate magnificence, James
Baluyut’s resplendent angular vision shines through every note
on this, the band’s third proper release. I’ve likened Fire
to an old-style 70’s makeout album, and proudly stand by that
initial assessment — oozing nostalgic remembrance, brimming with
romantic paradox, Plus/Minus somehow matured 10 years in an
instant to release what remains 2006’s most ineffably mysterious
and rewarding record.
- Leap Year
1. Robert
Pollard, From a Compound Eye & Normal Happiness
(Merge).
What
more can one say about the greatest pure songwriter still
putting indie pen to paper? Spread across these two
complementary January-October releases are five or six of the
best songs of 2006, with the balance merely putting every other
faux-hardworking underground act out there to shame. What
Pollard considers “filler,” most others would kill for. And he
makes it all seem so effortless! Just another year at the office
for this, indie rock’s most gifted and prolific artisan.
Audio:
- Light Snow
Marc Stephens
is a Web consultant by day, writer by night. Comments?
