Vsitor - Keep on Running - Albums - Reviews - Soundblab

Vsitor - Keep on Running

by Bill Golembeski Rating:9 Release Date:2019-04-26
Vsitor - Keep on Running
Vsitor - Keep on Running

The sun and the moon sing everything that needs to be sung.

And this album plays that tune. It’s a progressive rock album with electronic sounds, flecks of acoustic beauty, and an aura of mysticism.

One of the Seventeen Tantras in Tibetan beliefs is called Union of the Sun and Moon. Oddly enough, that’s the title of a song by Sweden’s great psych band Goat. And King Crimson’s great album, Larks’ Tongues in Aspic, portrays the sun and moon on its cover.

 And this album, too, possesses that dualistic cosmic soul.

The first tune, “Feel You Near,” has an ephemeral beauty, and spacey sounds engulf the short song while a piano makes a slight imprint. This blends into “Do,” with programmed percussion, delicately soulful female vocals, bouncing electronics, and a big Dave Gilmore “Wish You Were Here” guitar sound that cuts like a very human meteor descending across the music’s universe.

This album does shimmer a bit. The title track, “Keep on Running,” is lovely, with more electronics, and a vocal that does recall (at least) the lighter shade of Kate Bush. (But, thankfully, no Fifty-first Word for Snow is proffered!)  “Fainting Giants” is spooky. A few woodwinds enter the canvas, and then(!) the guitars create the beautiful sound that (as any Genesis fan would know) recalls the intro into the blessed Lamb song, “The Carpet Crawlers.” And, mid-way through the tune, a guitar simply rides a scree with tough sonics, while the percussion echoes the drama, and a piano plays a simple melody.

Now, “Dare To” enters the lovely territory of, perhaps, John Martyn’s more serene moments from his (brilliant) Grace and Danger album. The guitar does bend heavy gravity, and the tune is a bit of an ephemeral prayer. That’s the sort of thing Johnny Too Bad could often do.

Yet another reference point might be the band Bardo Pond, but this music is much more infused with warm air.

“R.U.N.” is big bass and funky guitar modern. It’s a great song with a quiet interlude and yet another ragged and dramatic guitar bit.  And, yes, once again, the sun and the moon are more than just circles in the sky.

Yeah, it’s something like that.

As is “Again,” which is a match of transitory vocal beauty with earthy acoustic guitar notes that drip slow river-born thoughts. There is an Eastern spirit hovering throughout the tune.

Didn’t (the great) Louie Armstrong sing about “the blessed day” and the “dark sacred night”? Yeah (again) and this music touches that moment on the horizon when both day and night converse.

Now, “Naked in the City,” once again for all Genesis fans, echoes the chord progression of “Follow You, Follow Me.” But this is no simple pop tune, as it has such a great flute-infused addition to that simple blueprint. This is impressionistic rock. It’s a wondrous sonic maze that beats any comparison with sheer beauty. And it’s a deep beauty.

“Still Falling” is gloriously acoustic, with a rumble seat coda.

And the album returns to its beginning, like the daily dance of the sun and moon, with a short shimmering reprise of the initial song, “Feel You Near.”

There are many star clusters with many moons in this music. But there’ s also a lot of gravity, space-walk tension, prog rock, notes that float, unearthly beauty, very earthy brief guitar grinds, too-few flutes, and songs that sing to the merger of the Sun and the Moon, because as Roger Waters and Pink Floyd sang, “Everything under the sun is in tune/But the sun is eclipsed by the moon.”

That’s a great spacey circular groove.

And this album grooves like that.

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