Plini "Handmade Cities" (2016)

For some fans its been a long wait but luckily for me Australian guitarist Plini's debut full length drops just after Ive finished catching up on his three previous EPs. Timing couldn't of been better but since it dropped Ive spent much more time than usual with this record, for it has the potential to be one held dear. Even after a month I still find various melodies, grooves and moments in the record hitting me on different levels and I'm far from finished with it. What Ive heard is Plini really taking advantage of the record format with seven solid and cohesive tracks that play together like a singular experience.

Its an easy ride of gorgeous instrumentals emanating positivity, exploring creativity and toying with inspiration in a setting for lasting melodies and sublime grooves. Labeled as Progressive Metal and "Djent", this record further removes itself from the origin sound of its inception. As if in a loop, it sounds most like Progressive Rock but not in a traditional sense, more a technical similarity. Plini's sense for bright, colorful melodies in a temperate setting are dazzling and come through delicious instruments delicately captured for ripe and powerful sounds to arise from gentle playing. In its heaviest moments the crunchy low guitar djents of "Pastures" feel more like a cushion for tantalizing grooves to persuade so graciously. With a gleaming electric guitar solo cruising in from above and soothing acoustics ringing out it feels like a flood of inspiration came crashing out of nowhere, powerful.

This song is brilliant and its an example of something this record does, take its time. Its four minutes before the song engages with its sublime guitar solo and after the climax the chunky djents and acoustics gently unwind with expansive drums that feel so gracious in their awaiting of the lead guitar to see the song off. The record picks up its intensity as it goes along and the closing track "Cascades" maybe the most metallic in terms of its vibrant energy and it starts with these rhythmically supreme odd time signatures to lap up with the lead guitars 4/4 so brilliantly. It feels like a true inspiration of genius and in a brief mid track climactic moment a more cliched riff emerges with an exuberant performance that will have you yearning for more.

In "Handmade Cities" nothing is rushed, every moment feels leisurely and fluid, instruments can drop in and out of the mix noticeably in a strangely satisfying way. After trying to nail what was so clever about it I though back to the Prog Rock epics that could span up to twenty minutes. There's a lack of repetition at play, Plini keeps things moving and evolving at a dynamic pace that never gives up and so we get that epic and brilliant feel from short songs as everything its condensed down to its point. His continual presence with the lead guitar really masks the sections that could effectively loop to aid this marvelous sense of moving forward without urgency.

The records production also has a lot to say for what makes it so great. The instruments sound crisp, slick and smooth but as if they are alive, right in the room with you. At times there are a lot of layers of instruments, never clashing of feeling restricted together. Even in the moments where double pedals kick in or the songs break into metallic styling does anything feel overbearing. The synths that subtly creep in also have a powerful effect as their tones meld into the other instruments. In conclusion all aspects of these record are on the same wavelength. Inspired, gleaming with color and sounding spectacular. This is all the brilliance Plini showed in his previous records arriving at a new level.

Favorite Tracks: Handmade Cities, Every Piece Matters, Pastures, Cascade

Rating: 9/10

Plini "Sweet Nothings" (2013)

Arriving at the second of three we find "Sweet Nothings" a four track, seventeen minute release that would be my favorite, however the choice is made difficult by "The End Of Everything" and its fan favorite, the eight minute epic "Paper Moon". "Sweet Nothing" feels like the bands most fluid flowing and settled sounding release. Each track has a flavor, a stylistic focus. The second track "Tarred & Feathered" introduces a Latin, Spanish guitar, played fast with metal techniques similar to Animals As Leaders and there "The Joy Of Motion" release. "Away" does a similar "metal on acoustic" with fast melodic picking rhythms and hammer ons. There's a fantastic break down riff in it that replaces the atypical metallic crushing guitars with heavy bass groove and accented melodics through low acoustic notes. Its only the last track that plugs in the distortion tone for some chord driven Metal.

 The opening tracks indulges us with subtle serine strings queuing the acoustics that pluck chords note by note in short repetitions and with a swift shift the tone changes and tranquil pianos take over, between them brief solos tease whats coming as the atmosphere of a warm moonlit night sets in. At the end we are treated to a guest guitar solo from Gru who produced one of my favorite Progressive Metal records "Cosmogenesis". Its nice to know he is still playing, would love to hear a new record from the talented guitarist.

Plini's sound is versatile but always lush, feeling dense with a wash of color and charm that can go in many directions. Its in the subtlety and ambience that the magic is brewed, the stirring of moods for his dynamic and inspired guitar shredding to take the stage. Although it takes much of the focus its the underlying strings, pianos and other instruments that set the perfect tone. The drumming also sounded a lot more settled and alive in this recording, again using a drum machine they rarely sounded like one, if at all. I will continue enjoying these records, perhaps listening to them back to back as an album, awaiting his first full length which I am very excited for now!

Favorite Track: Opening
Rating: 5/10

Plini "Other Things" (2013)

Before the release of his debut full length I thought id head back and listen to the other two mini-records of the Australian one man band Plini. "Other Things" was the first of three and its first two songs bares little if any resemblance at all to the Metal label attached to this band. This the essences of cool, mellow and excitable Jazz Rock, adventurous instrumentation that has roomy pianos, jiving base and luscious guitar leads taking turns to step up and indulge us at their fancy.

With the records longest track "Selenium Forest" we are introduced to the metallic element and in its opening moments a gorgeous guitar solo plays to the previous mood before a distortion guitar creeps its way in and the mood and tone change greatly. Playing power chords and tremolo picking its quite different from the Djent sound you might associate them with. In this temperate and heavy moment it breaks down for fraction where the lead guitar can let the light in a little with more lush melodies.

The song progresses by looping back through this motion and steadily evolving the instrumentation around it with even steel drums. It sticks to this loop feeling in search of something, which never comes and although it may be a fan favorite, for me it pales in comparison to "Other Things", a lush track of classy melodic pleasures. The records production is fair, the drums noticeably programed when giving it your ear however comes of fairly organic with snare fills and shuffles playing like a breeze. Good listen, I find it interesting how this artists is associated with the Djent Progressive Metal scene, it leans even further into the Jazz and Jazz Fusion influences than Metal.

Favorite Track: Other Things

Rating: 4/10

Plini "The End Of Everything" (2015)

My introduction to Australian Guitarist Plini was via Sithu Aye who featured Plini on the "Invent The Universe" record. The pair have also released a four track split record, which I have yet to listen to. Although a one man band, Plini is a touring act too and so far has released a string of singles and three short EPs of which "The End Of Everything" is the latest. The band are currently touring as well as recording their full length debut, which after enjoying this I am looking forward too.

Much like Sithu, Plini is part of this post-Djent Progressive Metal scene and of a much more melodic persuasion and Jazz orientation. Every rush of energy and djenty grooves give way to lush soundscapes of instrumental subtleties, gracious lead guitars and dreamy synths. It can heat up somewhat with double pedal drums, chunky, metallic riffs but even in its heavier moments the sense of brightness and color that courses through never fades. The result is a very organic record that will shift gears without notice, one moment illuminated by the fire and the next acoustic guitars are playing lullabies over soft synths accompanied by lively Jazz percussion that dances around the kit softly. As an instrumental band Plini's dynamic guitar leads are the voice, forever an alluring force of adventure. No moment here drifts from the path and as a three track its only flaw is its length, clocking in at seventeen minutes it leaves much to be desired! I can't help but feel their debut could be something special.

Rating: 5/10

Grover Washington Jr "Feels So Good" (1975)

American saxophonist Grover Washington Jr was born and raised in New York City. From a young age he was taught the sax and for his musical output in the 70s is considered a pioneer in the world of Smooth Jazz. Like Return To Forever's "Romantic Warrior", this is another record from the "Jazz Classics" that quickly defined itself as a calmer, smoother, soulful record that cruises through relaxed, chilled out numbers and grooves that bring a spicy of funk to an obvious Smooth Jazz vibe led by Grover's steady leads on the sax. This record and "Mister Magic" released the same year remain as his commercial peaks on the American billboard charts.

Smooth around the edges, this record actually contains a fair amount of funk and energy between the calmer, atypical styles of Smooth Jazz. The opener, "The Sea Lion" has a powerful narration from the string section which fades in from black to brew the bolder moments, seemingly jumping it at will to emphasize the point. Never as ever present, it drifts to the background for the rest of the record which jives and jams its way through colorful themes of class and style from a now retro past. "Moonstreams" is an exception as the records sleepy number that slowly drifts down the river as a gentle lead guitar plucks a mellow, tender soul.

The last three tracks delve deeper into the Funk and Smooth chemistry as tight chunky baselines strut under soulful saxophone leads that feel their way through the jam. The drums are there throughout, accommodating the flow but feel damp and contained in a mix that gives the aesthetic a lot of clarity for the other instruments. Its a record thats engaging, but far from memorable. It suits a mood but fails to leave a melody or moment in my mind. 

Favorite Tracks: Knucklehead, Hydra

Rating: 5/10

Herbie Hancock "Thrust" (1974)

Herbie Hancock is an American Jazz pianist from Chicago who has played alongside such legends as Miles Davis and Donald Byrd. His career of solo records started in the sixties with "Takin Off" at the age of twenty-one. He has since release over 50 albums across five decades. Along the way hes received critical acclaim for a handful of records. "Thrust" is not one of them, but simply the record that pulled me in and got me listening.

The opening track, "Palm Grease" is a laid back jam fest of perpetual funk bass grooves and spacey, outlandish jives that dance and play around the unfolding groove that moves its way through ten minutes of free flowing improvisational unraveling after a cow bell drum break in the beginning and mid section that I have heard sampled on a fair few older Hip Hop tracks. This opener shows a lot of funk flair, but the next three tracks elevate to a higher dimension as the funk grooves hammering on the bass play second string to the keys that take the helm with layered compositions of airy, organs like keys and layered synths as the drums get heavy on the ride symbol and flow into the Jazz improvisational style. "Butterfly" gets soulful with a strong, moving tenor sax lead from Bennie Maupin that graciously sees us in and out of a calmer number that amplified with Herbie's mid song leads climaxing with oozing synths.

Its an exciting listen for the newer elements I'm being exposed to, but it does often drift into the background a little as some of Herbie's leads worm around themselves without conclusion. Bennie's feature was the most congruent moment on the record, and despite the excitement of being new to the Funk-esq Jazz feel, I felt a lack of focus or direction left some gorgeous sounds, aesthetics and musical ideas drift into unconscious territory. Very enjoyable listening experience that will have me seeking out more Jazz-Funk.

Favorite Tracks: Actual Proof, Butterfly

Rating: 7/10

Return To Forever "Romantic Warrior" (1976)

Having browsed my way to a collection of "Jazz Classics" with new names and thematic album titles I unknowingly stumbled into the later era of the sound, known as "Jazz Fusion", a more "accessible" style with strong rock influences and funk groove. Of all the new records to discover this one quickly grabbed my attention with its opener "Medieval Overture", jiving keys, adventurous drums and riff based guitar work instantly clicked with a Progressive Rock vibe as the song shifted and swayed through musical ideas in a typically Progressive style. Although listed as a Jazz Fusion record, my familiarity with Prog Rock had me listening from that perspective and at many times simply sounds like a Prog record with Jazz influenced instruments and tones. Either way it captivated my attention, and I'm keen to retrospect on this record as I listen to more Jazz Fusion.

The albums cover art and opening track make no secret of the albums theme, however the music wouldn't distinctly strike one as Medieval. The music is bright, playful and uplifting. It very much romanticizes the era in its own vision, rather than a recreational sound or atmosphere. It also has a slightly alien, unknowing, mysterious sound with some of the keyboard leads used on occasion. The finer details of theme are irrelevant though, the music is captivating and has little to prove.

The records clarity and warm sound are an indulgence, an impressive, balanced production that lends to the freedom of the progressive music that dances and weaves its way through connecting passageways and reoccurring themes that climax with soft atmospheric piano led breaks and blazing Prog Rock solos in the faster paced moments. Its an excitement, a theatric performance of evolving music that all instruments contribute too. The drums shuffle, roll and groove in a free flowing unraveling of complimenting force. The bass rocks a steady mood, occasional grooving into the forefront with some funk and the keys are a delight, bright layered sounds that sparkle and glisten with the synths underneath. The guitars rock subtler grooves with a tone fit for ripping leads and crafted, subtle riffs, theres also some beautiful Spanish guitar tones thrown in the mix aswell.

As I think through the instruments it only occurs to me now the instrumental nature of the record. With so much energetic and colorful music jamming away it barely gave me a second to think about the absence of a vocal presence, which was never needed. The music says so much, it paints a canvas with colorful renditions in the mind. Great record, has to be said the last two tracks hold it back as they dull the mood from the energy of the first four. Either way I loved it and looking forward to more Jazz Fusion on my playlist.

Favorite Songs: Medieval Overture, The Romantic Warrior, Majestic Dance

Rating: 7/10