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GUIGNOL, "ANGELA, DAVID & THE GREAT NEAPOLITAN ROAD ISSUE"
Cenotaph Audio
Guignol is French for "puppet," and the word is often used to connote aclassical theater form involving large marionettes enacting heroic orcomic tales. It's a name that perfectly describes the music on Angela, David & The Great Neapolitan Road Issue,which is vaguely theatrical, strangely comic, and largely informed byan odd concept involving French instrumentation and dadaist lyricaltactics. Lest we forget, surrealism as an aesthetic, theatrical andliterary movement began in France in the early 1900's, and Guignol'smusic, though modern, seems a bit stuck in this time and place, perhapsbecause it was recorded over a summer in the French countryside. Thegroup is comprised of Jeremy Barnes (of Bablicon), Aaron Moore andLaurence Coleman (both from Volcano The Bear). Assisting on a fewtracks is Aaron Moore's VTB and Songs of Norway cohort Nick Mott, andKorena Pang. It's a mysterious little enigma of an album, seeming atonce intimate and detached. Much of the album seems primitivelyrecorded and loosely improvised, but the beauty and intimacy of Moore'svocals on the opening track "Of Houses and Canals" recalls thefragility of Robert Wyatt's on Rock Bottom. The lyrics aredisjointed and surreal, bringing to mind the spaced-out whimsicality ofsolo Syd Barrett. Much of the instrumentation is minimal, withclattering percussion and warm organ tones. Its idiosyncrasies arebeguiling, and much of the album washes over like a gentle afternoonhallucination. Even the occasional areas of tension and noise seemoddly pastoral. Jeremy Barnes brings with him that same intuition forseemingly accidental psychedelia that has made every Bablicon album soengaging. "Angela and David" and "Discover Guignol's Band" are the sametrack, repeated twice, one after the other, and as strange as thatsounds, it seems rather charming in context. The spare production andcarefully chosen instrumentation lends many of the tracks theatmosphere of medieval France, enhancing the music's anachronistictendencies. Though its charms are ephemeral, Guignol's album is anenticing ambiguity.
Guignol is French for "puppet," and the word is often used to connote aclassical theater form involving large marionettes enacting heroic orcomic tales. It's a name that perfectly describes the music on Angela, David & The Great Neapolitan Road Issue,which is vaguely theatrical, strangely comic, and largely informed byan odd concept involving French instrumentation and dadaist lyricaltactics. Lest we forget, surrealism as an aesthetic, theatrical andliterary movement began in France in the early 1900's, and Guignol'smusic, though modern, seems a bit stuck in this time and place, perhapsbecause it was recorded over a summer in the French countryside. Thegroup is comprised of Jeremy Barnes (of Bablicon), Aaron Moore andLaurence Coleman (both from Volcano The Bear). Assisting on a fewtracks is Aaron Moore's VTB and Songs of Norway cohort Nick Mott, andKorena Pang. It's a mysterious little enigma of an album, seeming atonce intimate and detached. Much of the album seems primitivelyrecorded and loosely improvised, but the beauty and intimacy of Moore'svocals on the opening track "Of Houses and Canals" recalls thefragility of Robert Wyatt's on Rock Bottom. The lyrics aredisjointed and surreal, bringing to mind the spaced-out whimsicality ofsolo Syd Barrett. Much of the instrumentation is minimal, withclattering percussion and warm organ tones. Its idiosyncrasies arebeguiling, and much of the album washes over like a gentle afternoonhallucination. Even the occasional areas of tension and noise seemoddly pastoral. Jeremy Barnes brings with him that same intuition forseemingly accidental psychedelia that has made every Bablicon album soengaging. "Angela and David" and "Discover Guignol's Band" are the sametrack, repeated twice, one after the other, and as strange as thatsounds, it seems rather charming in context. The spare production andcarefully chosen instrumentation lends many of the tracks theatmosphere of medieval France, enhancing the music's anachronistictendencies. Though its charms are ephemeral, Guignol's album is anenticing ambiguity.
