Reviews:


Mike McLatchey 5-September-2002 Prononcez

I used to seek out albums like this bizarrely titled oddity by Falstaff avidly. Searching for good progressive rock albums from this time period is often akin to looking for a needle in a haystack, yet if there are any needles to be found they would certainly be in 80s France. Redolent of that early 80s, digital-just-discovered era, it's no surprise that Falstaff's nearest, similar contemporaries would be identified quickly by the keyboard similarities. For example, Falstaff's use of the Yamaha CS-80 piano strongly hints at Argentine's Pablo El Enterrador, while the use of electric piano is similar to most of their contemporaries of the time. In fact this Rhodes sound is quite prevalent throughout the album, and this often gives the album a jazzy feel that occasionally works itself out in some funky moments. While Falstaff only borrow from fusion rather than immerse themselves, the overtones are pretty strong through most of the eight pieces on the album, albeit not strong enough to pin a tag on this. Yes, there is guitar playing here, and while the Fripp influence pops up occasionally, generally it's pretty understated. One gets the impression that this debut by Falstaff may have been pointing at more impressive things, but like most of the sad stories of the decade, their career was cut short. Which means you basically have an album here that isn't among the most impressive of its era, it being too early in the game for any singular character to have been found.



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