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Band/Artist
KINO
Title:
Picture
Released
2005
Label
InsideOut |
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Track
List:
1. Losers Day Parade
2. Letting Go
3. Telling Me to Tell You
4. Swimming In Women
5. People
6. All You See
7. Perfect Tense
8. Room For Two
9. Holding On |
: : The Players : :
John Mitchell (Arena) | Pete Trewavas (Marillion) | John Beck (It Bites)
| Chris Maitland (ex Porcupine Tree) |
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: : KINO : :
_small.jpg) It’s
Transatlantic, Arena, Porcupine Tree, and It Bites simultaneously
sautéed in an enticing symphonic sauce. The ingredients are added to the
pan at exactly one quarter apiece. It’s as if these elements were
supplied and scrutinized by an instructor of quantitative chemistry or
at least the enthusiastic Emeril. As a result, the balance between these
factors of influence is uncanny. It seems each bowl of soup comes from
the same consommé and chowder. The only difference is that they kick it
up a notch as they agitate, whip, and churn the broth until creamy.
This comes as no surprise since this studio production is brought to you
by members of each band already mentioned. That would be Transatlantic’s
Pete Trewavas (bass), Arena’s John Mitchell (guitars), Porcupine Tree’s
Chris Maitland (drums), and It Bites’ John Beck (keyboards).
They’ve teamed up to bring us this totally progressive, but tangentially
accessible delta force of virtuosos. It’s obvious each member has put
their time in on the training field. It rocks, it gripes, it pricks, and
yes, it even bites. It’s civil enough for a sit-down, but rock-solid
enough to support the ramparts of an arena. It’s expansive, seemingly
spanning an ocean of sound. Still, its precision can shatter the most
miniscule of nuclear bonds. I’ve played it in public and nobody has
turned it down. This is an excellent group for just about any kind of
mood or musical preference.
While it certainly sounds like these four significant groups, it swells
with the rigors of a melodic power rocker too. At times it mimics
Threshold and Enchant; however, the songs are larger, bolder, dare I say
audacious. With a batch of aggressive edits, this could certainly be
tame enough for the radio. Then again, it might be too progressive to be
consumed “as is” by the masses. To be candid, the required adjustments
may be too far off to domesticate them for the ordinary individual.
Regardless, it will bridge the gap and appeal to fans on both sides of
the border. It’s neither too symphonic nor formulaic nor is it
made-to-order. It targets the independent listener with accuracy and
exactitude. Even if you’re interested in a quick fix, this proceeds to
take us down the homeopathic path. It is hard to decide if they’re
trying to be commercial, punk, hardcore, or passive. What is certain is
that the music is excitingly new, yet universal.
To cut a long story short, it’s different, but the same. If you missed
what I was saying, might I suggest a class in reading comprehension? At
least sit with your kid, niece, or nephew for an educational episode of
Sesame Street. Then you’ll get my drift when they go through the
didactic game. If, however, you get my point, let’s change the subject,
evade denigration, and not overstress the issue.
As to my complaints, they are specific, singular, simply put, they’re
simple. Come to think of it, they may have nothing to do with what’s
found on the disc. I saw this band perform at RoSfest 2005. While
certain aspects were stronger live, others seem sharper in the studio.
The vocals specifically are significantly better on the album. John
Mitchell’s voice is cleaner and more refined in this format. With that
said, his singing might be intended exclusively for the workshop. What I
mean is that it’s best left confined and imprisoned when the deeds are
done in person. Hearing his guitar, you’ll realize where he excels in
his abilities. He deserves some slack if his vocal cords aren’t always
warmed up and rearing to go, because he really is the superior and
quintessential shredder. In either case, his singing is adjusted and
attuned for exhibition here. He’s ready for the recording even if he
wasn’t prepared for the real deal.
In any event, his guitar playing is great whether up close or from a set
of speakers. I’d say it’s a feather in his cap to take a crack at more
than one role. My only point is that this group might be able to take it
up another rung if they find themselves a genuine singer. Then again,
it’s the exception, not the standard, for a Progressive Rock band to
possess an operatically-enhanced voice. As for Mitchell, he’s highly
utilized and his attempts are noble. Due to the success of this project,
he has earned himself additional benefits and a bonus. Thus, I endorse
his attendance and even his singing in any supergroup formed in the
future.
As to the qualitative analysis of Kino as a whole, I have no idea what
genre to put them in. The music is song-oriented, but to some degree
it’s not. It alternates between the mainstream and the progressive.
While they speak their mother tongue, at times they sound like The
Beatles, Peter Gabriel, or Ray Wilson. Think Porcupine Tree and you
probably have an idea why it is so hard to pinpoint exactly where to
place them.
Here’s the Paramount and Universal features you’ll find playing in their
chain of theaters:
Losers’ Day Parade – Without delay, the best song on the album makes an
early appearance. It has numerous passages that range from pop to rock
to progressive metal. With that said, there are sections reminiscent of
Dream Theater. “Coppertop” Chris Maitland is a dead-ringer for “Iron”
Mike Portnoy. It takes a few listens to fully absorb its organization as
the song is sectioned in a very strange way. I hear Foo Fighters and The
Beatles sneaking around the scene. This commercial cut is wrapped in a
peppermint roll. Each tart pill is as acrid and acidic as a
candy-shelled Mento. It falls into infinity with the entrance of a
female voice. This first track is extraordinarily tricky to dissect. It
took me many listens to put the puzzle pieces together and this was only
from an instrumental standpoint. It took me even longer to grasp the
mood and the lyrics. The crux of it all lies in the line, “Nobody’s in
company cars.” It takes true talent to make all these characteristics
convene. If you desire immediate answers, dig elsewhere. What’s on the
surface is not necessarily what can be found below the layers. It takes
patience and a keen ear to make a stable and steady connection. This
goes deeper than the skin and beyond a superficial and cosmetic
impression.
Leave a Light On – John Beck’s keyboards are classy when they mingle on
their own. They also add depth to this poppy song. While the individual
cells in this amoeba are amazing, its edifice is intact with a structure
that’s stunning. Each immaculate wedge constitutes worthy memorabilia.
It’s a meaningful follow-up to the insightful frames found in the
previous flick.
Swimming in Women – There’s a suave scheme behind this charming
seduction. It’s doused in enthralling lyrics and eroded by eccentric
layers. This will make James Bond look like an amateur ladies man. It’s
better suited to be played by Tim Meadows than the Armani-wearing secret
agent. After this Saturday Night Live love affair, you’ll be ready for
the night club, a smoke, and you guessed it, Dance Fever.
People – This song is as cunning as a fox and it’s dastardly deceiving.
Wile E. Coyote is up all night trying to nab his quarry. Unfailingly,
the fleet-footed bird outwits every Acme-induced plot. It’ll make you
wonder who the prey is and who’s the one being hunted. It starts out
subdued and then saturates the soil with a pouring rain. If you’re
wipers aren’t at full-blast, you’ll likely hit a tree. The chord
progressions are written in such a profoundly professional way, it’s
almost as if they’re cheating. I find irony in the fact that this one
comes next. After the bold and the beautiful, this one’s short and fat.
In the song, they sing, “Please stop feeding yourself!” With all his
hard-earned cash and clout, even Thorton Melon would be offended.
All You See – This is romantic, but it’s also sad and sentimental. In
each bated breath, this balloon of bittersweet fragrance recalls Dream
Theater’s “Anna Lee.” It’s like a ballad from Richard Marx or Ray
Wilson, but it’s fallen victim to a rise in gravitational force. The
extra weight makes it slothful, sluggish, slow, and refrained. Monkeys
see and do, but unlike the ones from The Simpson’s, these chimpanzees
can hardly type. Their scribbles are unintelligible until they’re
transposed on John Beck’s piano. His enhancements are exaggerated and
get a little crazy at times. While it’s slightly inscrutable, it’s the
kind of energy that’s gladly exacerbated. Second to the opening, this is
among my favorites since it reveals neighborly care and true inner
beauty. To be blind to its sorrow would be dreadfully reprehensible and
woeful.
Perfect Tense – This symphonic sapling is quite the grower. The melody
isn’t as catchy as say lighter fluid, but with plenty of kindling and a
slow burn, this will cook the contents to its core. With its incremental
change in temperature, you may not know you’re being simmered. Like a
frog in the fryer, it’s only a matter of time before you’re blanketed in
bubbles and wrapped in a mantle of boiling hot water.
Room for Two – This is the most upbeat out of all the numbers. It
embodies the groove of the Bissonette brothers. For all practical
purposes, its style approximates the garish guile of Jughead.
Holding On – Once again, we are revisited by Ray Wilson. It’s not as
hokey as folk, but it’s rugged, fretted, jagged, and jaded. A few of the
phrasings are somewhat redolent of RPWL’s Yogi Lang. For that reason,
everything’s coming up roses. Consequently, the guitars vacation in the
emotional state of Kansas. During this autumnal season, there’s “Dust in
the Wind” and the crops are bare. Contrary to my criticism, this is
easily the best singing on the album. Mitchell would have trouble
improving upon the benchmark he sets here.
Picture – The simplest song in the showing is also the most serene part
of the picture. This is where they end their folly and drama. While many
of the songs hit you over the head with a stiff swing of a bat, this one
brings you back to earth with the softest pitter-pat. From reel-to-reel,
this album mesmerizes and inspires. Whether it’s Kino in a casino, a
motion picture in an air-conditioned theater, or a box of abandoned
betas found unblemished in the basement, this release will stun and then
stagger. It’s like a bottomless bucket of buttery popcorn and an endless
pile of rentals. Aside from a comfortable couch and a gargantuan soda,
you couldn’t ask for anything more and it can’t get much better. This is
what I’d call entertainment and leisure. I’ve played it so much that
it’s quickly becoming The Never-Ending Story. So, purchase your ticket
and don’t miss out! It’s guaranteed you’ll keep to your seat and stay on
for the repeat. Gather around my friends for a show you’ll never want to
end.
8.75/10
Reviewer - Josh Turner
: : Visit the Artist’s Website : :
: : Discography : :
Kino -
2005 |
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