Live shots of Steven Wilson at The Grand Opera House in Wilmington, Delaware

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Unifaun - Unifaun                          8/10

By Eduard Antoniu


Unifaun“Birth of a Biggie” sounds as if an unreleased track from …and Then There Were Three… also with a bit of Kerry Minnear-like keyboard playing. “To the Green Faerie” seems like a nod to some of Mike Rutherford’s songwriting, distantly echoing “More Fool Me”, “Your Own Special Way”, “Entangled”, and even a bit of “Fountain of Salmacis”.

<“Mr. Marmaduke and the Minister” starts as if a bit from “Forgotten Sons” of the Fish-era Marillion. It has sound ingredients that remind of the overall sound of The Lamb Lies Down on Broadway album and also of “Apocalypse in 9/8” (“Supper’s Ready”), “Fountain of Salmacis”, and the piano ending of “Firth of Fifth”.

“Swingers Party” is probably a response to “The Colony of Slippermen” treated in a Fish-era Marillion manner. “Rehacksis” is possibly an answer to the question “What if more Hackett compositions had been accepted into a Genesis album back then in 1977, though?” The track sounds more as if from the Spectral Mornings/Defector era of Steve Hackett’s solo career and less as if from his first solo album Voyage of the Acolyte, with bits from the title track of his second solo album Please Don’t Touch and also from “Dance on a Volcano”. The title of this song is probably a pun on Re-Genesis and Hackett. Or, possibly, on “Hackett rejoins Genesis”, to paraphrase the title of a paper cut I got in 1977 (“Hackett leaves Genesis”).

“Quest for the Last Virtue”, a 14-minute suite, is a superb cocktail. It begins like “Dancing with the Moonlit Knight” and includes various other sound ingredients: rhythms from “Like It Or Not” (from Abacab 1981!) and …Yes “Yours Is No Disgrace”, the synth playing in “The Battle of Epping Forest” and “The Cinema Show”, the acoustic intro to “Apocalypse in 9/8”, the middle section of “Eleventh Earl of Mar”, the acoustic feeling of “Entangled”. Similarly varied is also “A Way Out”. In a Fish-era Marillion style, there are reminders of “Seven Stones”, “The Carpet Crawlers”, “As Sure as Eggs Is Eggs (Aching Men’s Feet)”, “Timetable”, “The Cinema Show” synth playing and guitar part before the jam.

If, so far, we’ve had Genesis The Longs, here are also, before the end, The Shorts.  “Finistere” is a 2 minute miniature that sounds as if from Tony Banks’s first solo album A Curious Feeling, ending almost like “Lamia”. “Welcome to the Farm” could be an allusion to Genesis’s recording studio in Surrey. It has the overall feeling of “Sussudio”, with bits from “Keep it Dark” (from Abacab 1981), the chorus of “Your Own Special Way” and also Camel’s “Down on the Farm”.

“Maudlin Matter” has ingredients from “Seven Stones” and “After the Ordeal” with a bit of a Fish-era Marillion sound. “Bon Apart” could be a pun on “Bonamici alone” and “Napoleon Bonaparte”. It is a 1.5 minutes piano solo as if from Tony Banks’s solo albums, A Curious Feeling or Seven.

“End-Or-Fin” is probably Unifaun’s response to “Los Endos”. It also includes reminders of “The Lamb Lies Down on Broadway” album title track, “Apocalypse in 9/8”, “Mad Man Moon”, “Duke’s Travels”, “I Know What I Like” and birds chirping a la Pink Floyd.

For a total time of 75 minutes, the average time of a track on this album is 6:30. The extremes were noted above.

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