Cerberus Shoal-Homb (1999)

"A five-piece band out of Maine (yes, Maine), they play what I would call ambient rock with ethnic influences. Ambient rock might be a contradiction in terms, but they fill the bill pretty nicely as they sway back and forth from meandering soundscapes filled with flutes, digeridoo, and brass to almost full-on rock in the form of electric guitar and more of a standard lineup of instruments (although they still have lots of other, more ecelectic ones in place as well).

Reading the list of instruments played by the fellows on this release almost gets to be a bit of a choir after awhile (it spans over 30 items), and it includes everything from the above mentioned to congas and cowbells to shakers, keyboards, tablas, and things that I can't even pronounce (like a dholak). Over the course of 50 minutes of music, they've created a solid release that has 5 different tracks (that feel more like movements) and work a re-occuring theme into things.

The opening track of "Harvest" leads into things very slowly, with all kinds of chimes, twinkling, and treated spoken-word samples (that sound like they were phoned-in over an unsteady phone line) drifting behind a rather haunting keyboard tone and percussion that sounds like a heartbeat (and very well may be). It's kind of an eerie opening to the disc, but it all fades out and into the next track of "Omphalos," which is quite possibly the best one on the disc. After starting out slow, the track builds up with some keyboards, a rather simple guitar line and excellent tabla percussion, before horns work their way into the mix and provide some absolutely beautiful moments as they build into a sedate climax.

The final three tracks on the disc all work sort of the same theme without coming across as too repetitive. "Myrrh (Waft)" takes a more ambient, unfocused route of almost random chimes and keyboards while "Myrrh (Loop)" works itself into the loudest track (and most rockin') with some blaring guitars (that almost recall hair-band status) and horns that step together in punctuation. The last track "Myrrh (Reprise)" is sort of a combination of the two that never gets going too much, yet never drops off into noodling (and has some excellent guitar work) and works in some chant-like vocals that are never overbearing. Overall, it's a pretty darn good release and one that makes me want to hunt down more work by the group. It may drift a little bit too much for some listeners, but it's a good release overall and if you took Macha and Tortoise and locked them in a room together, it might sound something a bit like this. Maybe. Good stuff nonetheless."

Really awesome, awe-inspiring music with all of the instrumentation and influences. Did I mention this band contains Big Blood/Fire on Fire members before they went the folk route? Do I need to say anything else? Grabs it, heathen!

Feelin' right at Homb

Fire on Fire-The Orchard (2008)

"For anyone who has experienced the genre-bending and ranging music of Cerberus Shoal any time in the past decade, this rebirth known as Fire on Fire should come as no surprise. That band seemed to make a habit of reinventing their sound every couple of years or so (or evolving might be a better word). A band that required loyalty and a healthy sense of wanderlust and adventure.

With Fire on Fire they’ve done it again, or some of them anyway, but this time unplugged and firmly entrenched somewhere in a dimension far removed from those musical roots. The trappings now are rough-hewn and varnished implements: guitar, mandolin, fiddle, banjo, upright bass, accordion; plucked, strummed, pressed and purposefully bowed. But bubbling under the surface and woven in the words, that genesis of youth and anger and cynicism and sense of irony and sarcasm blend with newfound purpose like dandelion wine, and into something that wets the palette but leaves behind an aftertaste of bittersweet satisfaction. This is music for folks who may not be ready to stop being contrary and skeptical, but who have matured to a point where those emotions can be effectively channeled into something useful.

Right out in front of the toe-tapping acid bluegrass and new-generation Americana folk instrumental arrangements the band lays out a rich layer of vocal harmonies that’ll keep your ears glued to your iPod or Media Player or car stereo or to whatever portal-to-your-soul of choice this CD happens to land in. I’ve a bit of a soft-spot for sincere folk music (and what folk music isn’t sincere)? But this ain’t folk any more than Neil Young is a country singer. We’ve gone beyond that and more. The dirge-like apocalyptic lament “Sirocco” with its hypnotic fiddle and unrelenting bass lays a trance-like bed on which something akin to a post-apocalyptic and sickly gleeful chant issues forth: “and if we tear this kingdom down (tear it down!), let it be with a deserving and joyful sound”. I suppose this is close to what A Silver Mt Zion might have sounded like if they’d grown up just south of the border instead of on Mile End Street. And with a keener sense of harmony.

The years of experimentation and experience manifest all over this album, from the plucking bluegrass-tinged title track to the Jesus-freak throwback “Toknight” to Colleen Kinsella’s chilling vocals on the accordion tribute “Squeeze Box” to the all-acoustic post-rock (did I just say acoustic post-rock?) “Haystack”. An enchanting closer to a stunningly engaging album. All I can do at this point is hope like hell these guys somehow wind their way to South Dakota USA so I can see them live. Not likely, but you never know."

My most anticipated album of this year. Just came out today. Get it. Seriously.

Burn me

Fire on Fire

Fire on Fire is a collaboration between ex-Cerberus Shoal members and Micah Blue Smaldone, a folk guitarist. Members are also in Big Blood, probably one of my 5 favorite bands ever (a post on them should be coming shortly). From ex-Swans/current Angels of Light mainman Michael Gira:

"They used to be the art-punk-prog-chaos collective Cerberus Shoal, but they ditched their electric instruments, went into hiding for a while, and now play all acoustic-stand up bass, mandolin, banjo, harmonium, accordion, acoustic guitar, dobro etc etc, and they all sing and harmonize on the songs. Live, they do it "old school" and just use two mics placed in front of them on the stage, like a bluegrass band. They all live in the same house up in Maine, across from rusting green oil tanks, apparently. To me they sound like a backwoods, fierce, psychedelic Mamas And The Papas or a crazed and joyously vengeful gospel string band. They're great people and I love their music. It's all acoustic, but it's not in the least folky. More old-timey incantations - American music with excellent words and performed with the honed violence of intent that truly great music requires. They're a total blast live. They just recently played my back porch actually (!!!!) for my wife's birthday and it was one of the best live music experiences I've had in years."

I've collected everything I could find which is their debut 5 song EP, a song from their forthcoming album "The Orchard" and an unreleased track that will probably end up on the album. Highest possible recommendation.

Get it!