Solstice Coil - A Prescription For Paper Cuts


Year of Release: 2005
Label: self-released
Catalog Number: n/a
Format: CD
Total Time: 51:36:00

I went into listening to this with certain expectations. Not expectations in terms of standards, but rather an expectation of a certain style. The band's name, the album artwork.... I was anticipating metal of some stripe -- prog metal or extreme metal. And then I thought perhaps what awaited my ears was going to be angular avant-garde - Univers Zero, Présent, etc.

But, as they say, you can't judge a book by its cover. Solstice Coil both met and didn't meet my expectations, which has nothing to do with whether I like the results or not.

Israel's Solstice Coil are a band that easily switch between the avant-garde and symphonic and explore points inside and outside that range, like the industrial ambient piece "Caveat Emptor" which throbs like a living thing that is part mechanical, lumbering through a psychotropical rainforest. On the other hand, the album opens with tinkling piano and soft, hushed vocals ("Photosensitivity"). I was put in mind of various UK prog rock bands (the usual suspects). As a baseline, I suppose you could say they are a prog rock band. But in short order, this track takes on an angularity found in the artiest of avant-garde, certainly a dark jazz flavor, before transitioning into something that made me think of Magma. However, all the building blocks -- rock, avant-garde, and opera -- remain present throughout the album, lending a sense of drama to their music.

And "Selling Smoke" is reminiscent of the experimental, psychedelic prog/rock from 70s German artists -- vocalist Shir Deutch's falsetto high, sweet and soaring. (I think the same about a later track, too, "Anyone Can Be (A Porn Star)"). A dramatic guitar phrase begins "Smelling...", a repeating phrase, over which a second guitar begins keening. Vocals emerge, with a treatment that gives them a slightly otherworldly, underwater-like effect. It's all darkly psychedelic, angular and, in some ways, menacing. By the 7-minute mark, we seem to have been drawn into a zombie movie, signaled by the rattling of bones, where baritone and soprano voices repeat "blah-blah" (actually it's "drop drop," but sounds like "blah-blah") in a hypnotized-drone manner... Speaking of horror movies, there comes a point on "Accidents" where one is brought to mind of the undead creatures that might come out at you suddenly -- or, as suddenly occurred to me... Golem from Lord of the Rings -- throaty, crazed. And it's here, at the end of the track, where Rush come to mind (it's of "Witch Hunt" that I think).

Then again, there's the heavy prog of "Anyone Can Be" -- oh, dig those widdly keyboards, giving a bit of frill to what is a stormin' metal attack. Rush meets ELP? Well, sorta.

What might be termed "typical" progressive rock comes with "Deep Child" -- here we get the sweet hum of organ, the crisp chime of electric guitars, the accent of acoustic guitars, and the snicker and rumble of mid-tempo drums and percussion. Once could pinpoint various influences into this piece (real or imagined), references mostly originating from the UK -- a mix of Porcupine Tree (a certain heaviness), Marillion/Arena/Pendragon/Pink Floyd (guitar soloing, epic swells), IQ (a hint in the vocals) all with a harsh rawness that all but PT have utilized).

This is followed by "Even Poets Die" which edges more towards progressive metal, yet staying on the hard prog side of the line (assuming there is really a line anymore) ... it's a track that throbs and crashes, giving way only during a pair of solos - some parpy- proggy keyboards, followed by at once shrill later terse and throaty guitar soloing.

Some other thoughts... "Enjoy The Ride" begins like "Strawberry Fields" and "Love Hurts" -- light, shimmery, stepped guitar phrases is what does it; by the time it kicks in, we get a dark, slow tango with hints of nervous horns fluttering about (I thought of something Pain Of Salvation did on Remedy Lane, but can't name a specific moment/track). The album closes with the mellow "Brilliance" -- warm cello and lacy guitar phrases duet for the opening. Deutsch croons gently on this piece that is in between rock and pastoral, leaning closer to the latter.

I've not spoken too much about the lyrics, as they are mostly understood metaphorically. It's cynical and dark view of the world; one could suppose that "Even Poets Die" makes reference to Israel's moving into Palestinian areas... So, while there are bits of written-narrative text throughout the booklet (where the lyrics are also printed), Deutsch writes mostly in metaphor, in images that on the surface may not make sense, but on the visceral level, you get it. But reading the narrative bits, a milieu that seems influenced by 1984 and other tales of repressive governments, that cynical world view emerges; a view of modern (Western) society that is oppressive, repressive and obsessive.

I think the truth of A Prescription For Paper Cuts is, Solstice Coil are a confluence of styles that doesn't sound at all like a band unsure of itself. There's a progression ... or flow ... to the music that makes each part seem an organic element. It's an album that sneaks up on you. At first, it's the harsh angularity that you notice; but the more you listen, observe and take it in, the subtler characteristics reveal themselves (as all good albums should). There may be tracks that appear to be UK-influenced prog, but Solstice Coil take some of those conventions, and bend and shape them with jazz and, in a way, fusion elements. Not saying they are creating a new direction in prog rock, but it is certainly refreshing. On the whole, Solstice Coil have come up with an intriguing debut. They are currently working on their follow up.


Tracklisting:
Photosensitivity (4:18) / Caveat Emptor (1:33) / Selling Smoke (4:09) / Deep Child (6:15) / Even Poets Die (7:18) / Accidents (6:01) / Enjoy The Ride (5:31) / Anyone Can Be (A Porn Star) (6:45) / Brilliance (4:48)

Musicians:
Shir Deutch - leave vocals, electric and acoustic guitars
Ofer Vishnia - lead guitars, e-bow, various effects
Shai Vallin - synths & keyboards, acoustic piano
Diego Olschansky - bass guitars
Uri Goldberg - drums

Guests:

Oran Ben-Avi - baritone, tenor and alto sax (1, 7)
Nella Cohen-Shani - cello (9)
Inbal Deutch - female vocals (7)
Hani "Honeybee" Barmanski - female vocals (6)
Lil Natanzon, Dorin Giladi and Marian Shay - spoken parts

Discography:
A Prescription For Paper Cuts (2005)
Natural Causes (2011)

Genre: Progressive Rock

Origin IL

Added: August 31st 2009
Reviewer: Stephanie Sollow
Score:
Artist website: www.solistice.co.il
Hits: 3466
Language: english

  

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