Post by luke on Oct 20, 2015 14:47:14 GMT -8
I realise, in posting this, that I will undoubtedly receive much criticism from Ozrics fans but I feel the need to express my opinion of the music they've produced in the last 10 years or so if for no other reason than to have opened (or perhaps 'reopened' - I haven't been on this forum at all recently) a discussion from an honest point of view rather than one in which we hide our real opinions for fear of how other people will respond.
Firstly, I've been a fan of Ozrics since 1993. My brother brought back a taped copy of the Strangeitude vinyl at the end of his second year at uni and, at the age of 10, having never heard anything like it before (and, of course, because of the quality and inventiveness of the music itself ... and, needless to say, Blim's artwork), I fell in love with it straight away. Saucers remains my absolute favourite Ozrics track.
Perhaps I'm biased because of the fact that the first Ozrics album I ever heard was, in my opinion, one of the best they've created in their 30+ year-long history, or perhaps it's because I'm (a little) older now and a little more weary (or cynical) of the ways that modern music works; whatever the case, I feel that the last 10 years of Ozrics music has really lacked, and in a few key ways. Like I said, I've been a fan for more than 20 years so to say this is a difficult thing.
I also understand that, after more than 30 years of music-making (and particularly music-making of such a unique style), one would be forgiven for finding it increasingly challenging to continue to be as innovative. Nevertheless, this is one of the things which I feel lacks the most in the music they're creating these days. Of course music is a very personal and subjective art and so reading opinions such as mine may be hard because Ozrics work tirelessly at something that they love. But my expressions come from a place of sadness rather than anywhere else. I love Ozrics and yet I've really struggled to get anything out of the last few albums. I really enjoyed Spirals In Hyperspace, despite the fact that it's overwhelmingly electronic in nature, and saw it as a return to some form after what I felt were a set of relatively average albums - Waterfall Cities, The Hidden Step and Swirly Termination (notwithstanding a couple of excellent tracks on each). But after Spirals, I thought TFTFA and YYT were underwhelming and almost regretted buying them, and I didn't bother purchasing their most recent offering (though without doubt a fantastic achievement) as listening to it on Spotify left me cold.
Essentially, other than what I've already mentioned I feel is a certain absence of innovation, I think my sadness and ambivalence is centred around three things: instrumentation, structure and thematic development.
Every member of Ozrics is a highly skilled and talented musician. Absolutely no argument there. But what's the point in being a talented bassist, for example (and here I'm not referring to anyone in particular), and instead providing a bunch of overly complicated programmed bass lines for ones' listeners? I want to hear heavenly melodiousness like I hear on the track Eternal Wheel at 3'00'' to 3'10'', for example! Or the awesome bass theme which opens Ayurvedic. Oh to have more drumming like that on Feng Shui at 8'00'' to 8'12''. Or Astro Cortex at 1'37'' to 1'52''. Or all of Wob Glass! Let's hear the musicians!
And let's hear some other acoustic instruments. What about experimenting with orchestral instruments for example? What about woodwind? I miss John's contributions. What about brass? I absolutely love the brass sounds which feature in Zaii!, synthesised though they may be! What about strings? Percussion (vibraphone, hang drum, even 'musical glasses'!)? There's still so much scope for invention!
One thing that really bothers me is that sometimes, in my opinion, the use of keyboards is just lazy. Tracks are layered with pointless 'swirls' too high in the mix and they become, for me at least, an unnecessary and uninteresting alternative to (or perhaps a distraction from) the melodies and rhythms which may (or may not) exist underneath; melodies and rhythms which I think the band should be striving to keep fresh and original. For me, the keyboardist needs to be focused and deliberate in what he / she wants to communicate. Why slap on a needless, directionless and characterless synth sound when you could do something really special and unforgettable with it instead!
I remember (or at least I think I remember) someone on this forum once suggested an acoustic Ozrics album. What a FANTASTIC idea!! What better way could there be for a band which has been going for so long to keep innovating than by releasing an unplugged, stripped-down-to-the-bare-essentials album where we get to hear their musical wizardry up close and personal. I believe that every instrument should be given equal importance and an equal opportunity to shine. The solos one finds in jazz music are a good example of this (though I'm not suggesting Ozrics need become a jazz ensemble!) and an acoustic album would only help to further highlight their talent.
Now for structure (and I won't harp on about this for so long). Ok, I get it – structure is a tricky one because they're a jam band. But being a jam band doesn't negate the necessity for some sort of structure. Yes, necessity. So many of the more recent tracks which Ozrics have created just don't feel to me like they have the same kind of defined structures that older, classic Ozrics tracks had. And devising a structure is not simply a case of saying 'right here's one section and here's the next one' of course. But melodic themes, changes of key and timing and tempo, and things like returning to the original idea all work well. In the end, I think it's the combination of instrumentation, structure, and innovation within these two parameters, that really matters.
Add to all the above the development of ideas and you've got the recipe for some really kick-ass music. That's the other thing that I feel Ozrics' most recent music needs more of. Memorable themes and their development. Rather than introducing a whole plethora of new ideas which may have little connecting them (and which get mixed up together so that only one or two really stand out) why not stick to 3 or 4 strong themes and develop them instead? Here is a question for my fellow Ozrics fans: how many of the songs from the last few albums have a clear and memorable theme / melody that you can hum and that sticks in your head?
Saucers – albeit my favourite Ozrics track of all time – really is a great example of how instrumentation, structure and the development of memorable themes are combined for the classic innovative Ozrics sound. And White Rhino Tea from Strangeitude is another excellent one.
Here, I will attempt to outline Saucers' structure and demonstrate that a few key ideas were worked into something absolutely magical:
Section A: in the key of D; dominated by a 5 / 4 time signature
0' 00'' – 0' 52''
Introductory (main) theme; 1st time guitar, 2nd time with drums
Development of theme – bass introduced – and an awesome rhythmic finish
0' 53'' – 1' 13''
Bass / guitar theme one tone higher
Keyboards introduced
1' 14'' – 1' 24''
Guitar 'strum' theme another tone higher
1' 25'' – 1' 35''
Repetition of bass / guitar theme with added (cracking) guitar solo
1' 36'' – 1' 40''
Short variation on guitar 'strum' theme with added keyboard
1' 41'' – 1' 51''
Variation on bass / guitar theme with rhythmic change at end
1' 52 – 2' 07''
Tutti theme introduced (including John on real flute!) – a 5th higher than the opening theme – to end the section
Section A1:
2' 08'' – 4' 52''
An almost exact repeat of the previous 2' 07'' of music, with added instruments and solos
Includes an added low acoustic theme which is then extended with the addition of instruments
(2' 37'' – 3' 20'')
Section B: in the key of E flat with a solid 6 / 8 time signature
4' 53'' – 5' 48''
Centred around an E flat pedal bass with glorious electric guitar solos, bass melodies and bass double-stops and a really epic 'spacey' sound overall.
5' 49'' – 5' 55''
A short and perfectly timed 1st bridge on drums leading to …
5' 56'' – 6' 38''
Immortal bass theme with added mind-blowing electric guitar solo
6' 39'' – 6' 52''
A simple (and yet effective) 2nd bridge on drums leading to …
6' 53'' – 7' 32'' (end)
A return to theimmortal bass theme with added synth.
An understated and deeply satisfying ending to a perfectly accomplished track.
So that's all it takes (!)
Two keys: D and E flat
Two time signatures: 5 / 4 and 6 / 8
Four basic instruments: guitar, bass, drums, synth (with a little added woodwind to make it extra special) and a solid, synchronised relationship between them all.
Three sections: AA1B
A handful of memorable themes
This and the rest is simple, unadulterated imagination. Ozrics, let's hear you soar again!
Firstly, I've been a fan of Ozrics since 1993. My brother brought back a taped copy of the Strangeitude vinyl at the end of his second year at uni and, at the age of 10, having never heard anything like it before (and, of course, because of the quality and inventiveness of the music itself ... and, needless to say, Blim's artwork), I fell in love with it straight away. Saucers remains my absolute favourite Ozrics track.
Perhaps I'm biased because of the fact that the first Ozrics album I ever heard was, in my opinion, one of the best they've created in their 30+ year-long history, or perhaps it's because I'm (a little) older now and a little more weary (or cynical) of the ways that modern music works; whatever the case, I feel that the last 10 years of Ozrics music has really lacked, and in a few key ways. Like I said, I've been a fan for more than 20 years so to say this is a difficult thing.
I also understand that, after more than 30 years of music-making (and particularly music-making of such a unique style), one would be forgiven for finding it increasingly challenging to continue to be as innovative. Nevertheless, this is one of the things which I feel lacks the most in the music they're creating these days. Of course music is a very personal and subjective art and so reading opinions such as mine may be hard because Ozrics work tirelessly at something that they love. But my expressions come from a place of sadness rather than anywhere else. I love Ozrics and yet I've really struggled to get anything out of the last few albums. I really enjoyed Spirals In Hyperspace, despite the fact that it's overwhelmingly electronic in nature, and saw it as a return to some form after what I felt were a set of relatively average albums - Waterfall Cities, The Hidden Step and Swirly Termination (notwithstanding a couple of excellent tracks on each). But after Spirals, I thought TFTFA and YYT were underwhelming and almost regretted buying them, and I didn't bother purchasing their most recent offering (though without doubt a fantastic achievement) as listening to it on Spotify left me cold.
Essentially, other than what I've already mentioned I feel is a certain absence of innovation, I think my sadness and ambivalence is centred around three things: instrumentation, structure and thematic development.
Every member of Ozrics is a highly skilled and talented musician. Absolutely no argument there. But what's the point in being a talented bassist, for example (and here I'm not referring to anyone in particular), and instead providing a bunch of overly complicated programmed bass lines for ones' listeners? I want to hear heavenly melodiousness like I hear on the track Eternal Wheel at 3'00'' to 3'10'', for example! Or the awesome bass theme which opens Ayurvedic. Oh to have more drumming like that on Feng Shui at 8'00'' to 8'12''. Or Astro Cortex at 1'37'' to 1'52''. Or all of Wob Glass! Let's hear the musicians!
And let's hear some other acoustic instruments. What about experimenting with orchestral instruments for example? What about woodwind? I miss John's contributions. What about brass? I absolutely love the brass sounds which feature in Zaii!, synthesised though they may be! What about strings? Percussion (vibraphone, hang drum, even 'musical glasses'!)? There's still so much scope for invention!
One thing that really bothers me is that sometimes, in my opinion, the use of keyboards is just lazy. Tracks are layered with pointless 'swirls' too high in the mix and they become, for me at least, an unnecessary and uninteresting alternative to (or perhaps a distraction from) the melodies and rhythms which may (or may not) exist underneath; melodies and rhythms which I think the band should be striving to keep fresh and original. For me, the keyboardist needs to be focused and deliberate in what he / she wants to communicate. Why slap on a needless, directionless and characterless synth sound when you could do something really special and unforgettable with it instead!
I remember (or at least I think I remember) someone on this forum once suggested an acoustic Ozrics album. What a FANTASTIC idea!! What better way could there be for a band which has been going for so long to keep innovating than by releasing an unplugged, stripped-down-to-the-bare-essentials album where we get to hear their musical wizardry up close and personal. I believe that every instrument should be given equal importance and an equal opportunity to shine. The solos one finds in jazz music are a good example of this (though I'm not suggesting Ozrics need become a jazz ensemble!) and an acoustic album would only help to further highlight their talent.
Now for structure (and I won't harp on about this for so long). Ok, I get it – structure is a tricky one because they're a jam band. But being a jam band doesn't negate the necessity for some sort of structure. Yes, necessity. So many of the more recent tracks which Ozrics have created just don't feel to me like they have the same kind of defined structures that older, classic Ozrics tracks had. And devising a structure is not simply a case of saying 'right here's one section and here's the next one' of course. But melodic themes, changes of key and timing and tempo, and things like returning to the original idea all work well. In the end, I think it's the combination of instrumentation, structure, and innovation within these two parameters, that really matters.
Add to all the above the development of ideas and you've got the recipe for some really kick-ass music. That's the other thing that I feel Ozrics' most recent music needs more of. Memorable themes and their development. Rather than introducing a whole plethora of new ideas which may have little connecting them (and which get mixed up together so that only one or two really stand out) why not stick to 3 or 4 strong themes and develop them instead? Here is a question for my fellow Ozrics fans: how many of the songs from the last few albums have a clear and memorable theme / melody that you can hum and that sticks in your head?
Saucers – albeit my favourite Ozrics track of all time – really is a great example of how instrumentation, structure and the development of memorable themes are combined for the classic innovative Ozrics sound. And White Rhino Tea from Strangeitude is another excellent one.
Here, I will attempt to outline Saucers' structure and demonstrate that a few key ideas were worked into something absolutely magical:
Section A: in the key of D; dominated by a 5 / 4 time signature
0' 00'' – 0' 52''
Introductory (main) theme; 1st time guitar, 2nd time with drums
Development of theme – bass introduced – and an awesome rhythmic finish
0' 53'' – 1' 13''
Bass / guitar theme one tone higher
Keyboards introduced
1' 14'' – 1' 24''
Guitar 'strum' theme another tone higher
1' 25'' – 1' 35''
Repetition of bass / guitar theme with added (cracking) guitar solo
1' 36'' – 1' 40''
Short variation on guitar 'strum' theme with added keyboard
1' 41'' – 1' 51''
Variation on bass / guitar theme with rhythmic change at end
1' 52 – 2' 07''
Tutti theme introduced (including John on real flute!) – a 5th higher than the opening theme – to end the section
Section A1:
2' 08'' – 4' 52''
An almost exact repeat of the previous 2' 07'' of music, with added instruments and solos
Includes an added low acoustic theme which is then extended with the addition of instruments
(2' 37'' – 3' 20'')
Section B: in the key of E flat with a solid 6 / 8 time signature
4' 53'' – 5' 48''
Centred around an E flat pedal bass with glorious electric guitar solos, bass melodies and bass double-stops and a really epic 'spacey' sound overall.
5' 49'' – 5' 55''
A short and perfectly timed 1st bridge on drums leading to …
5' 56'' – 6' 38''
Immortal bass theme with added mind-blowing electric guitar solo
6' 39'' – 6' 52''
A simple (and yet effective) 2nd bridge on drums leading to …
6' 53'' – 7' 32'' (end)
A return to theimmortal bass theme with added synth.
An understated and deeply satisfying ending to a perfectly accomplished track.
So that's all it takes (!)
Two keys: D and E flat
Two time signatures: 5 / 4 and 6 / 8
Four basic instruments: guitar, bass, drums, synth (with a little added woodwind to make it extra special) and a solid, synchronised relationship between them all.
Three sections: AA1B
A handful of memorable themes
This and the rest is simple, unadulterated imagination. Ozrics, let's hear you soar again!