Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
Despite some growth from their King Crimson roots, this album shows Anekdoten still sounding remarkably like Red. "Harvest," opening with a creepily distorted Rhodes piano, establishes the band's somewhat overused pattern of alternating metallic verses clotted with bass, guitar and hi-hat with gorgeously soaring choruses of Mellotron, cello, and ride cymbals. "Here" gives the guitar theatrics a rest and allows Liljestrom's melancholy vocals and the group's delicate playing to come to the foreground. Its mournful lyrics and pensive strings are played over a wheezing pump organ - listen for Nicholas Berg's feet pumping away at the bellows in the background…
In the early 90s a wave of King Crimson inspired new progrock bands emerged in Scandinavia. One of the first was four piece formation Anekdoten from Sweden. From Within (1999). After a long silence, Anekdoten reemerges into the darkness with a record that is both more mature than their debut, Vemod, and yet somewhat less polished than 1995's Nucleus. From Within feels like it was produced on a tighter budget, and the production can have a rehearsal-room feel - although to be sitting in Anekdoten's rehearsal room is no small privilege. The opening title track is a band tour de force of crunching bass, swooping Mellotron, and clattering snare drums…
"Ewen Carruthers „One red shoe“ erscheint zunächst als ein weiteres, sehr exzellent aufgenommenes, sehr entspanntes, überaus ruhiges, aber vielleicht geradezu harmloses Album. Denn seinen wahren Inhalt offenbart es nur all jenen, die genauer hinhören, und sich nicht von der mitunter sehr sanftmütigen, warmen Stimme des Künstlers dazu verleiten lassen, dieses Album einfach nur oberflächlich und beiläufig wahrzunehmen. Der Kontrast aus zumeist sanft vorgetragenen Folk-Klängen und sehr tiefgründigen, reflektierten Gleichnissen in den Texten ist es, der dieses Album so spannend und hörenswert macht. Denn die ausgefeilten, zumeist als Gleichnisse verfassten Texte drücken viel aus und lassen dem Zuhörer Platz für eigene Assoziationen." ~sempre-audio
In the early 90s a wave of King Crimson inspired new progrock bands emerged in Scandinavia. One of the first was four piece formation Anekdoten from Sweden. Gravity is the fourth studio album from this progressive rock act. The music on Gravity continues in the emotional style that was started on From Within but adds an alternative rock touch and a bit more commercial appeal to the overall sound. The dark mood and the famous extensive use of mellotron are still trademarks in Anekdoten´s sound on Gravity. The vocal melodies have become slightly more memorable, but they are still far from commercial rock melodies.
Anekdoten's debut shows them a little rougher, more Gothic in tone, and less tonally subtle than in later years, but compelling nonetheless. From the crashing bass and Mellotron in the opening track "Karelia", it's clear that King Crimson reigns over their work - not to mention that it features riffs nicked from Crimson's "Easy Money." "Wheel" also has the dissonance and horns of the Lizard album. But they are creating something unique here, as the gentle instrumental "Longing" attests. While Anekdoten hadn't quite reached its potential yet - this first album shows a band of great promise.
Touring with the Micky Curtis Band, Yamamoto had the chance to explore several international experiences that he would later use on this album as he worked with this band in France, England and Switzerland. On this SACD, the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi's own blues improvisations followed by jazz ballads that became standards for the trio. Yamamoto's skill and his jazz feeling adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. Available for the first time on the SACD format, this features latest CD technology developed by Sony.
After prison, after first shocking, then disappointing, and perhaps ultimately (and grimly) amusing the jazz world with enough dope-related hijinks to fill a book (as in Straight Life), alto saxist Art Pepper made a triumphant mid-1970s comeback. This 1979 session is rich with the fruits of Pepper's return, a depth of playing that shows itself constantly throughout the New York Album's five tunes.