Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. It would have been funny if someone I knew did this, while being stoned. But it's not for me. Whether he was fired or voluntarily left of his own volition is a mute point.
The fact was that Wyatt's creative outlets were being stifled and it was time to move on. Move on he did and while Soft Machine was more interested in proving themselves as jazz musicians and abandoning all the rock creds that created progressive rock's Canterbury Scene, Wyatt was ready to jump back onto the Canterbury bandwagon and take control of his own musical direction. Wyatt continued his role as a drummer but also contributed a great deal of piano, mellotron and lead vocals.
MATCHING MOLE was the first album in the subgenre to create that perfect fusion sound of psychedelic rock and jamming sessions with all the technical jazz touches side by side with the humorous whimsical style that the style had become synonymous with.
While this was indubitably Wyatt's baby, he seemed to still be letting other's influence his decision as to what was to make it on the album.
This is abundantly clear on the first track "O Caroline" which is really the one track that doesn't fit in with the rest. While Wyatt composed the majority of tracks on the album, it was Sinclair and his slick Caravan pop sensibilities who composed the opener "O Caroline," a track about breaking up with his girlfriend and apparently supposed to be a single as it appears on the remastered version as a bonus track titled "O Caroline Single version.
Not necessarily bad subject matter but clearly a stab at some sort of crossover success. While the two following tracks "Instany Pussy" and "Signed Curtain" are also based in catchy melodies and not overtly complex, they do sound more like the classic Canterbury style with an ostinato bass line frosted over with psychedelic touches and the famous organ sound that instantly screams the style albeit more on the accessible side as well.
While the first MATCHING MOLE album starts off rather ho hum with a tame crossover type track and slowly transitions into more interesting musical turf, it really takes off on the fourth track "Part Of The Dance," the sole Miller contribution creates a lengthy nine minute plus jazzy psychedelic jam session that utilizes all the progressive rock signature sounds with a rad mellotron and organ accompaniment punctuated by a plethora of time signature workouts and Miller's stellar guitar work that would eventually find a second calling in Quiet Sun.
The remaining tracks never deviate from the progressive rock world and only get more psychedelic, more otherworldly and more proggy as they commence. It's actually quite astonishing how the album ratchets up from totally accessible and borderline cheesy to ultra-sophistication in both musical performance and production values.
Perhaps a slow burner but more than worth the wait. Speaking of production values, this album is fairly notorious for having been poorly recorded despite appearing on a major label like CBS Records when it debuted in , however i highly recommend the newer remastered version that came out in It not only has a bonus disc with a ridiculous amount of surplus material including alternate session takes and BBC Radio One sessions but also includes the single edits and the stellar previously unreleased near 21 minute prog behemoth "Part Of The Dance Jam" which most certainly would have been included on the album if permission for a double album would have been granted.
Not to mention the production has been improved fold and although not exactly sounding like it's a bristling new album recording in modern times, sounds crisp and clean for an album recorded many decades ago. This is another official live bootleg-like release of a gig in Europe in , released in The sound quality is great, but the performances are decidedly mixed.
I think the band took a while to warm up, as the first three tunes in particular are quite poor. The opener, March from Little Red Record is almost unrecognizable, but not in a good way - that is, not because they were playing around with the structure and melody, extending it beyond its usual moorings, but instead because they don't seem to be able to play it!
Also, the keyboards are way too low in the mix - hearing this on the radio one would be hard-pressed to identify a keyboard at all.
Of course, being a Softs fan, I like a challenge, but the two tracks that follow are again not very well played. Things pick up in the middle of the disc, however, during "Part of the Dance".
The last two tunes continue on with the better playing exhibited in this track, ending with an instrumental version of Caravan's "Waterloo Lily", thus ending on an up note which probably explains some of the 4-star ratings. But overall, the performances are too mixed, and too esoteric even compared to Matching Mole's other work , for this is to be anywhere near 4-star material. Indeed, it is probably in the larger scheme of things only of interest to pre-existing fans - if this is your introduction to MM you will get a skewed idea of the band.
Overall, I rate this 5. This Fripp-produced album is a unique statement. It is really too bad it was to be there last studio album, and the last studio album before Wyatt's accident, and there is so much potential here, and Wyatt really shines. The album begins extremely well. An intro with unique yes! The rest of side 1 involves three compositions with some complex lines particularly on McRae's "Brandy as in Benj" but otherwise built around improvisations over repeated chord progressions, with excellent solos from McRea piano and McCormick fuzz bass.
Henry Cow would cover this tune in the middle of their "Beautiful as the Moon Following this is "God Song", which is one of Wyatt's humourous yet simultaneously poignant solo pieces. Excellent and unique you have to hear it!
Regardless this is absolutely incredible! Decent sound, but performance patchy. This is another official live bootleg-like release of a gig in Europe in , released in The sound quality is great, but the performances are decidedly mixed.
I think the band took a while to warm up, as the first three tunes in particular are quite p I was happy to hear some of my old bootlegs show up on here. They sound much cleaner too! I love this release Strong band live!
I wish there were more material of them live. Wyatt's brand of drumming is super You must be a forum member to post a review, please register here if you are not. Copyright Prog Archives, All rights reserved. Or browse results titled :. Cuneiform Records Washington, D. Cuneiform Records is an independent record label releasing adventurous, boundary-bursting music by artists from around the world.
Founded in Based in Washington D. Contact Cuneiform Records. Streaming and Download help. Report this album or account. Cuneiform Records. If you like March, you may also like:. I love Soft Machine and everything these players stand for. New track off of Hidden Details is amazing. Long live Soft Machine. Elton Dean on list last? What a pity they couldn't continue their common path! Carsten Pieper.
Plays Hendrix by Machine Mass. Interesting and fascinating album - a definite original new take on Hendrix. It would be great to have a second set , with long stretched out versions, all longer than 10 minutes.
Nick Bradey. A cosmic collaboration from Koku Gonza and Anthony Nicholson; a sultry dose of soulful, hypnotic house music. Anthony Nicholson-Lost Tracks vol.
Unreleased music from the Miquifaye vaults by Anthony Nicholson. Deep house cuts fusing soul and jazz.Matching Mole's Little Red Record () is the second album of the English Canterbury Scene band Matching kasupptomalecga.erecriconfutaravareclaconna.co band was formed in by Robert Wyatt after he left Soft kasupptomalecga.erecriconfutaravareclaconna.coed to their first album, Little Red Record was more of a team effort, with Wyatt taking a less involved role. It was produced by Robert Fripp of King Crimson, and features .