Member:
BrianG
(Profile)
(All Album Reviews by BrianG)
Date:
2/7/2008
Format:
CD (Album)
Crooked Mouth are an Edinburgh, Scotland - based band playing progressive rock in the mold of Discipline, Phideaux, and other modern, complex songwriters, with more symphonic leanings than either. The band's history goes back to 1995 when, as a rock band called God's Monkeys, they released four CD's in five years. After several personnel changes, including the addition of two bassists and a cellist, and letting their flutist cover the keyboards since their last outing, they came out with this album, the second as Crooked Mouth.
Each song absolutely sparkles with a myriad of ideas, great production and a wonderfully defined lack of egotism. Some vocal portions remind me of Karnataka, Mostly Autumn, or October Project, with beautiful multi-tracked female vocals and keyboards. The music follows a mid-nineties vibe with jangly guitars and crystalline production I found in bands like Happy Mondays and even XTC, but Crooked Mouth go much farther in their songwriting and arrangements than almost anything from that period.
The band includes Ken Campbell on guitars carrying much of the load, Tony Hodge on tasteful drums, and Kenny Haig offering vocals which range from a restrained Andrew Partridge (of XTC) to something like Matthew Parmeter. The backing vocals by Lynne Campbell and Eilidh McLean assist considerably, mostly in harmony but occasionally - and too occasionally for me - taking the melody. When Alison Mitchell's keyboards are prominent, the music dips into a milder arena. The music includes many tasteful studio techniques like backward masking guitars, synth programming effects, and multitracked instruments, all of which give the songs an interesting and full treatment. Songs are mostly in the 4 to 9 minute range, which allows the band to establish then reconsider the melodies. The melodies tend to stay in the same one or two octave range and the rhythm seldom strays too far from the 4/4, but the arrangements make up for it. Cellos, flutes, keyboard flourishes, and bass counterpoints keep the interest level high without being overcomplicated.
A highly recommended release for those who like the energy and innovation of more modern bands, mixed with a symphonic progressive sensibility.
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