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4/29/13 DPRP : CD & DVD REVIEWS | Back to Reviews | Back to DPRP Main [A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [XYZ] [Misc] [DVD's] [2013] [2012] [2011] [2010] [2009] [2008] [2007] [2006] [2005] [2004] [2003] 2010 : VOLUME 41 Previous Volume Next Volume REVIEWS IN THIS ISSUE: Godsticks – Spiral Vendetta (Duo Review) Fibonacci Sequence - We Three Kings [EP] Fibonacci Sequence - Numerology Rodrigo San Martin - 1 Roswell Six – Terra Incognita: A Line In The Sand Erik Norlander – The Galactic Collective Iconoclasta - Ressurrección Beyond-O-Matic – Time To Get Up Urihani – Music For The Planet The Final Sigh - Prologue [EP] Godsticks – Spiral Vendetta Country of Origin: UK Format: CD Record Label: Independent Catalogue #: N/A Year of Release: 2010 Time: 46:13 Info: Godsticks Samples: Click here Tracklist: The Offer Still Stands (2:52), Unnerving Allure (5:59), Timshel (5:20), Norman (6:08), Put Seven In Bold (5:21), Withdrawn Was The Giveaway (5:38), Traverse (3:55), R.R.R. (5:06), The Continuation Of Livid [instrumental] (4:15), Unravel (4:39) Jez Rowden's Review Since reviewing the debut EP from Godsticks I have been looking forward to hearing an album and after 18 months it’s finally here. Despite the line-up change forced by the departure of founder Jason Marsh the remaining duo of Darran Charles (vocal/guitar/keys) and Steve Roberts (drums) have persevered with their unique sound and with the help of bassist extraordinaire Brian Beller (Steve Vai, Mike Keneally etc) have extended it into new areas and come up with a truly excellent album that is sure to excite many more listeners. Spiral Vendetta has it all in spades with chops, emotion, musicality and imagination, the songs, predominantly written by Charles, pack a breathtaking amount into concise pieces and the album in no way outstays its welcome. The playing by all concerned is superb and this would be a hell of a unit going forward but with Beller guesting for the album only a new full-time bassist has been recruited to take the band into the live environment. Having cracked the studio they will now rise or fall based on their live performances. After a slightly disappointing showing at last year’s Summer’s End and a lack of gigging they need to deliver and if they can successfully pull off this material in front of an audience they could well be the band to watch in the next few years. The 10 tracks feature laid-back lyrical numbers with Charles’ voice adding real emotion, high energy workouts with funk and jazz influences, a superb instrumental and an acoustic finale as a cool down after the pyrotechnics that preceded it. Their real talent is having the foresight to realise that instrumental dexterity is no substitute for quality material that takes the listener on a journey and triggers their imagination. They put www.dprp.net/reviews/201041.php 1/12 4/29/13 DPRP : CD & DVD REVIEWS no substitute for quality material that takes the listener on a journey and triggers their imagination. They put together quirky yet somehow accessible tracks creating magnificent, intricate and passionate music that bears repeated listening. Luckily they also have the instrumental muscle to back it up. Their style is very much their own and all credit to them for not attempting to take on specific genres. Godsticks have established a sound with influences from many and varied sources and they have clearly worked hard in the studio to create the structure of this album, the results of which are often mesmerising. Opener The Offer Still Stands is mid-tempo with a measured rhythm and instantly oozes quality. The vocal gracefully lifts the basic structure of this short, to the point number and the decidedly left field guitar break in the middle is at odds with the rest of the song but just spot on. The stall successfully laid out its on into Unnerving Allure, a much funkier beast with skittering drum patterns and Beller’s first opportunity to shine with some pulsating low-end. Instrumentally it goes to all sorts of places whilst keeping melody to the forefront, an emotional vocal careening over the top. Charles’ adds a guitar solo and vocals with more than a hint of Adrian Belew and some tasteful piano here and there to broaden the palette. The brief solo near the end suggests Allan Holdsworth and the piano outro with intricate drumming makes for a jazzy vibe. Time and tempo changes abound within the 6 minutes packing so much in that it makes your head spin but still retaining accessibility. This really shouldn’t work but it does, the original Godsticks template remaining intact but filled out and more mature than before. The piano led intro to Timshel, builds into a more muscular number with solid rhythm around which Charles’ voice and guitar dance. This is soaring stuff with many prog elements but as with the other influences they are never pushed at you wilfully but used as just one of the many ingredients that go into the Godsticks sound. The overall effect is accessible vibrant and sunny which belies the fact that the pieces are more complicated and intricate than most relying on well planned material not just theatrical dynamics to keep them interesting. There is so much here to enjoy. Like the EP this disc is instantly likeable, managing to draw you further in with each successive listen. Norman is harder with pounding rhythms and harsh guitar counterpointed by piano stabs and a keyboard solo that could have come from a Steely Dan record. Varying rhythms fight against each other and the tempo cools with a funky guitar line. More changes sweep in with the vocals and little quirks and tricks add to the variety. Guitar and bass lock in with shimmering drums and building percussion, some excellent work from Roberts here, before pulling back into a solid, vocal-led rhythm. This track sometimes sounds like Jadis to me but with much more going on. Stabbing keys open Put Seven In Bold before moving on with laid-back vocals through tight sections with a jamming feel and lovely soloing in varying styles. The surprise coda features bluesy guitar solo, acoustic rhythm, dextrous drums and some Beller harmonics. Beautiful. Withdrawn Was The Giveaway opens on a slow, rolling rhythm with piano adding depth. There are numerous shifts and changes of direction, Charles’ ringing plenty of emotion out of the vocal with a bit of Steve Howe style guitar before a false ending which preludes a relaxed rhythm, the extended sparse piano acting as the intro to Traverse. The melancholic vocal makes for a great change of mood; this is a gorgeous track dripping with emotion, multi-tracked vocals used to good effect as they are throughout the disc. Burbling bass and keys, off- kilter rhythms and regulation Godsticks quirkiness comprise R. R. R., the busy vocal taking the listener to unexpected places. This is a tour de force of control as the whole thing could collapse in a mess at any moment. It doesn’t and is a joy. There is real and exciting imagination at work here; Prog or not? Jazz or not? It doesn’t matter, this is great. Bizarre rhythms and fiddly drums duel with guitar at the start of the fascinating instrumental The Continuation of Livid. There are jazzy elements and Beller’s busy bass pins it down; this will be a blast if they can pull it off live. All three men interact with precision, the ground shifting beneath their feet like a musical earthquake. There are almost Indian references and Zappa influences here and there, the guitar playing off the rhythm section in alternating passages. Keyboard solos are more obvious here than elsewhere and they stay away from the trademark piano. Unravel ties things up with a simple and refreshing acoustic song rammed full of passion that leads the album out on an emotional high, Charles’ multi-tracked vocal melodies winding round each other beautifully. Charles puts in a stellar vocal performance throughout, depth and character key ingredients in the presentation. His resonance and warmth fit the music perfectly, although the vocal often seems to come from a different place with Soul and R’n’B elements they work together brilliantly. No lyric sheet to study but irrespective of the meaning they work their magic and fit the bill perfectly. The playing is tasteful and detailed without being wantonly flashy fitting the demands of the music and never feeling over the top. This is ensemble playing of the highest calibre with remarkable consistency. There are no troughs, just peaks. Much thought and planning has gone into the construction of the pieces to ensure satisfying results. The bass, perhaps not surprisingly, is lower in the mix than previously but the album is probably more balanced as a result and a special mention must go to the striking artwork by Chris Maguire of Screamadelica who also created the sleeve for the EP. I have not been disappointed in the slightest by this release and Godsticks are to be credited for sticking with it after some problems since their debut. It is hard to say whether this is an album for fans of traditional prog. To me this is truly progressive taking disparate elements and shaping them into something new. Do yourself a favour and have a listen to this inspired album that is in a field of its own. Bob Mulvey's Review In 2008 I tipped this three piece band from Wales as my "best newcomer" in our annual poll, based on their excellent debut EP.