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(77:42, Wet Rabbit)
TRACK LIST: 1. Easy If You Try 4:24 2. No More Time 6:39 3. Through the Storm 5:25 4. Of Clocks and Clouds 6:13 5. Dark Rain 5:02 6. Feedback 3:13 7. The Last Whale 9:12 8. As Here as Ever 4:31 9. Kill The Robots, Pt.1-6 27:29 10. Red Rain 5:34* *CD Bonus track LINEUP: Zoltan Sostai - vocals, all instruments with: Kinga Szabo - piano
Prolusion. Hungarian project WET RABBIT is the creative vehicle of composer and musician Zoltan Sostai. "Of Clocks and Clouds" is the first studio album to be released under that moniker, initially released on Bandcamp in 2015, with a CD edition that followed in 2016.
Analysis. I kind of get the feeling that composer Sostai didn't quite manage to compile all his ideas in the manner that he truly wanted on this album. At least if his stated influences is anything to go by. Among them I'm first and foremost thinking of the various progressive electronic artists cited as influential, that I rather suspect he would have preferred to come just a bit closer to in expression than he manages to do here. The thing is that a particular sound, a sequencer if my mind gives me the right associations, is a central element in just about all of the songs. An element I guess is meant to give associations towards the likes of Vangelis, Jarre and possibly Tangerine Dream as well, alongside the various electronic effects, swirling synths and other electronic sounds that is a central aspect of the material here. But the sound, pace and intensity of it more often than not makes me think about late 80's and early 90's UK synth pop instead, and bands such as Erasure. Sostai's vocals, which are passable rather than good, also has a tone and delivery that gives me similar associations, with a wee bit of Jaz Coleman (of Killing Joke) to boot. Not that this is a bad thing as such. The songs are compelling creations in their own right, it's just that I rather suspect the creator wanted listeners to get some rather different associations when listening to this album. There's one more central aspect present though, and that is one that most likely will interest fans of progressive rock a bit more. That is elongated, flowing and atmospheric laden guitar solo runs and also occasional guitar details, all of which has been taken from the David Gilmour book of guitar playing. In addition the piano is used extensively throughout, often as a delicate addition to the arrangements, and the organ is given some room here and there to add depth to the compositions as well. In sum then, we have an album with progressive electronic aspirations, given a liberal flavoring of Floydian elements, with an ongoing UK synth pop style seasoning on top. A combination that works surprisingly well, the sole exception to this being the cover version of Peter Gabriel's Red Rain which in this take came across as odd and misplaced more than anything else.
Conclusion. Mainly atmospheric laden and cinematic in scope, this perhaps slightly odd blend of elements is a well made one. How strong an appeal it will have among a progressive rock interested audience I cannot tell, but I find it a worthwhile creation that certainly merits a check. Liberal minded fans of artists like Vangelis and Jarre that don't mind some pop music elements in their music would probably be my chosen target audience for this album.
Progmessor: December 26th, 2017
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