| Morgan's Canon Like Water |
Before beginning this review I should say that Morgan's Canon are not only great musicians: they're also understanding and gracious. I originally received this CD in September ... and promptly lost it. They've waited all this time for a review, and even sent back my check when I asked for a replacement, with nary a harsh word or complaint. Every band should be so understanding. My review may have been delayed, but it's a positive one: this is an exceptional CD, certainly one of the best industrial releases I've heard in a long while. Otto Zizak, band leader and songwriter, is a classically trained musician from the Czech Republic, birthplace of Franz Kafka. Like Kafka's writing, Zizak's music always feels ready to fall into chaos. The driving bass line of "Time to Pretend" and the hard electronic percussion of "Feed" remain constant as other riffs begin, then are swallowed by harsh atonal noise. The end result is sinister and mechanical -- not the cool synthetic bleeps of Kraftwerk and their idiot progeny, but the rough, greasy metallic darkness of *Metropolis* or *Alien* This endless darkness could quickly become grating or depressing, were it not for moments of transcendent beauty. The industrial slamfest which is "Monday" is highlighted by gorgeous shards -- acoustic piano lines, Mistress Silvia's operatic vocalising -- playing off against distorted power chords. Similar hard-and-soft combinations are found throughout "Only Words," where sad distorted vocals and piano lines provide an underpinning of longing to Leonardo's crunchy guitars. The regrettably-titled "Vampire Girl" evokes Brecht and Weill with the help of Jana Andevska's violin and Zizak's piano. There are many out there who have bought a keyboard and some software and who now consider themselves musicians: there are a few who actually know something about music. Zizek is clearly in the latter category. In lesser hands "Krime" would be a standard issue EBM/synthpop tune, hummable, listenable, and ultimately forgettable. Thanks to his skill -- and to some outstanding percussion work from The Minister -- it becomes one of the album's highlights. Smoother and less challenging than some of the material preceding it, it succeeds on the strength of a driving, irresistable beat and a catchy hook. Along with the powerpop-meets-industrial stylings of "Of Cemeteries," it may be one of the most radio-friendly songs on the disk. In New York Zizak is fast gaining a name for himself with Morgan's Canon and his other project, Otto's Daughter. If "For Water" is any indication, he's only going to get bigger as time passes. I may have been a sluggard in reviewing this; you should learn from my mistakes and buy this CD now, before it becomes a collector's item. Tracks 1) Monday Otto Zizak: Vocals, acoustic piano, machines/synthesizers, guitars, electric
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