What an excellent CD! Having grown up in the 60s and 70s, I still remember the days of
classic progressive rock with affection, and Rock and Roll En Femme compares
favourably with the very best. The guitar work and keyboards are both outstanding, as are
the arrangements in general. The vocals too are good, though I definitely prefer the
instrumentals for their sheer breadth of exposition. The general style is riff-based,
but with clear musical development throughout. If, like me, you still appreciate
musicianship, you'll love this CD.
Although the music is split into 12 clearly distinct tracks, this is a CD you'll mostly want
to listen to as a whole, rather than picking and choosing tracks. The early instrumentals
flow smoothly from one to another, and it's a pleasure simply sitting back and
letting the experience wash over you. The opening instrumentals in particular fit together
well (Journey to the Future, Breaking the Mould and Secrets), though the
mood is broken by the title track (Rock and Roll En Femme). My own tendency would be
to 'roughen up' some of the vocal delivery on Pretty Pretty Lady to provide a slightly
harder edge in places. Then it's back to a more contemplative mode with the musically developed
Day Trip to Venus, complete with soaring guitars, gently rolling bass lines and tempo
changes. Gordon Giltrap eat your heart out!
The second song (On My Way) is superb. The lyrics are great, and the vocal delivery
perfect; if I have one suggestion to make (and it's a very minor criticism indeed),
I'd have maybe gone for a fade out at the end rather than a definitive stopping. Even so,
a definite single?
Transformation returns to the evocative feel of the opening. It's a long track and
apt to catch you out! Friday Feelings moves more into piano-based territory, and the
sound is remarkably evocative of later Mike Oldfield on some of his more expansive outings.
Natalie's Feminine Feelings again makes good use of the contrasts possible between
piano, guitar and synth constructs. All I can say is, Natalie's femine feelings must take
her somewhere up in the stratosphere; there a definite sense of flying and dive-bombing
in places.
Storm Chasers is remarkably reminiscent as it develops of the Rick Wakeman days of
Yes (cf. for example Going for the One), with remarkably courageous key
and soundscape changes (and they work, too!). It would be interesting to know whether
the effect could have been extended still further, for example by using sound effects
records rather than synth-generated storm noises.
Survivors continues the inventive theme, with a very sci-fi intro. By far the best
beginning of any of the tracks. And the pace is superb - I'm bouncing along to the beat
even as I'm typing! An excellent one to leave us on. The music lightens as it progresses,
but always returns to its unsettling roots - excellent.
Overall, then? Well if you've read this far, you know what I'm going to say. This is one
of the most promising records I've heard in years. In no sense could this be described
as a demo; it's a fully formed musical treat.
