DPRP review

Recent months have seen a bit of a buzz surrounding this album and I was looking forward to hearing it. The week before the review copy arrived I had been listening to a lot of Gentle Giant and was amazed with how easily Rabbit In The Vestibule slotted in beside these classics. There is a vibrancy and energy to Half Past Four that is palpable and their music is nothing if not eclectic.

The Toronto outfit have been together in one form or another for over 10 years and in 2006 scored the music to Billy Zane’s comedy horror film The Mad but this is their debut album. The performances throughout by Kyree Vibrant (vocals), Constantin Necrasov (guitar), Igor Kurtzman (keys) and Dmitry Lesov (bass) are nothing short of revelatory and the band seem to be able to effortlessly turn their hand to any style with ease. Drums for the album were performed by Art Pisanski, current drummer Ann Brody joining after recording was completed.

It seems odd that only now, well over a year since release, the band are starting to build momentum but better late than never as they are well worth the attention. Not only is this startlingly good music but the band are genuinely proud of their prog heritage and the acts that have influenced them. The wind of change has been blowing for a while now with the work of major acts like Radiohead and Muse but it is bands like Half Past Four that may be able to return prog to wider recognition and open the door for newcomers to experience a wealth of music via their stated influences. This is genuinely progressive rock music with a small ‘p’. As their mail out reads:-

“Half Past Four takes pride and pleasure in taking progressive rock a little further and planting its seeds in the harsh soil of contemporary popular culture.”

So what does it sound like? Quirky but accessible. Tricksy yet polished. Furrow-browed musicianship with cheeky humour. Art rock presentation powered by punk energy. Prepare for a roller coaster of styles and influences, free spirits playing with immense poise and precision. As there is such variety on show it seems only right to look at each track:-

Missing Sevenths kicks in with stop-start rhythms, staccato keys and guitar complementing each other with the aforementioned Gentle Giant influence. Showmanship is present from the off and Kyree Vibrant (possibly not her real name but perfectly accurate) shows herself as a great singer and focal point. The album is immediately likeable and this short, sharp high-energy track is an almost perfect introduction. A word about the lyrics which throughout the album are very enjoyable, evocative and worthy. I don’t usually spend a long time on lyrics but these are great and fit the music like a glove.

Johnny steadies things a bit with some lovely jazz and blues influences and a very nice guitar solo from Necrasov. The quirkiness is never far away with some perfectly executed twists and turns. Vibrant seems to take on a new jazz diva personality and this one-two opening salvo is weighted to perfection.

Poisoned Tune mixes a Spock’s Beard opening and the epic qualities of Renaissance with tin whistle added here and there for good measure. There is a pastoral feel to this track, good keys from Kurtzman and another fine solo from Necrasov. The band gives itself enough room to spread out and there is even a bit of Genesis here and there in the widescreen feel. A neo-style keys solo and harsher guitar tone change the direction towards the end before a return to the main themes.

Southern Boogie comes in on an unexpected reggae rhythm before a gorgeous guitar led chorus line. Vibrant is now the cool as ice siren dripping emotion. The rhythm section is locked and piano and sax add to the coolness with a confident jazz vibe. Love it.

Twelve Little Words opens like Santana, Vibrant singing with the necessary power, before moving towards other Latin territories with Tango and Buena Vista Social Club influence. The stuttering fuzz guitar in the background which is heard elsewhere on the album appears for the first time and Kurtzman supplies another killer solo.

Underwater starts in a lounge style that, as always, seems effortless and just right. A left turn mid way through brings in a slowing of the tempo and a bluesy guitar solo. Tempo changes are all over the place throughout the album and are never forced but flow beautifully.

The instrumental Lullaby starts quietly before a stadium rock beat and overdriven guitar solo alternating with keys. A slowing into another quiet section follows before a complete change of direction in the coda with spaciness and a more stomping beat.

Strangest Dream is another slow burn opening with lovely Rhodes piano and Vibrant moving into Kate Bush territory for this beautiful track.

Biel, the longest track, starts as Gothic prog epic with a four part harmony choir added to give the opening the required oomph. This achieved Vibrant takes up the tune proper in a voice not a million miles away from Magenta’s Christina Booth with beautiful support from the instrumentalists. The chorus is blinding with quick-fire rise and fall vocals and the reappearance of the fuzz guitar. Various ideas and bits and pieces are thrown into the prog soup that follows in the mid-section to great effect before moving into a part that reminds me of Blue Oyster Cult, the choir returning for the finale. This is an object lesson of how to efficiently and effectively pull off a multi themed piece.

A complete left-turn with Dwayne – tinkly piano intro and a Zappaesque story of one man and his paper plane. The music goes through many changes with superb playing, all building from the skeletal opening into a punky rocking section before ending as it began.

Salome spins us in yet another direction with an astonishing instrumental swirl of Middle Eastern/Jewish influenced dance music. Short, to the point and one of the many high points.

Bamboo takes us somewhere new with keys virtually abandoned in favour of a punk attack akin to fellow Canadian’s and Godfathers of Math-Rock NoMeansNo with another great vocal transformation from Vibrant.

Rabbit ties things up, sinister with a driving rhythm that includes eccentricities wherever it can fit them in. It really is like a surrealist film set to music. All together now “Kill The Rabbits!!”

The Math Rock tag is too easy to place on Half Past Four; their music is more wide ranging than that and positively encompasses whatever genre they feel is necessary. The twists and turns are fun and the album is one of the easiest to listen to I have heard in ages – an absolute pleasure. The self-production by the band and mixing of Jono Grant are superb.

I don’t mean to gush but this is totally brilliant and I dare anyone not to get caught up in its infectious energy. It is without doubt the nearest I’ve come to a 10 since I started reviewing for DPRP and as I don’t envisage ever giving a perfect score a 9.5 will have to do. If I’d heard it a few months ago it would certainly have been my album of the year in our recent poll – until I realised that it was actually released in 2008!

Just get it.

Conclusion: 9.5 out of 10

From http://www.dprp.net/reviews/201010.php#halfpast