Customer Reviews

Emergent

5 star:		(14)
4 star:		(4)
3 star:		(5)
2 star:		(0)
1 star:		(1)

 

 

It's been a long wait for _Emergent_, which was delayed (and delayed!) for a long time before finally being released. Now that I have it, I can definitely say it is everything I expected it to be and more. While similar to Gordian Knot's first release, _Emergent_ is far more realized and astonishing. Fluid, heavy, bold - so pure in manifestation that it is nothing less than genius.

Although Gordian Knot was a project initiated by Chapman Stick player and bassist Sean Malone, it would be a mistake to credit the album's brilliance solely to him. Malone has recruited an amazing team of musicians, but they are embraced into this project rather than performing as session players. The chemistry between these musicians is so dense its like gasoline fumes distorting the air. Songs unfold in a musical arena where each player listens and adapts to the others, baiting with challenges and responding to twists. The music is clearly composed, but it has that spontaneous tension and exuberance of improvisation. You cannot describe this music in a nutshell. Different styles of music are so seamlessly integrated that picking them out is basically impossible. You really just have to listen. The instrumental interplay is so tight Robert Fripp would probably stop and take notice. _Emergent_ is heavier than _Gordian Knot_ was, but not really in a "metal" kind of way.

Consider the lineup: Sean Malone (bass, Stick, keys, guitar), Bill Bruford (drums, percussion), Jason Gobel (guitars), Sean Reinert (drums, percussion), Steve Hackett (guitars), Pat Masvidal (guitars), Jim Matheos (guitars). Careful, you're drooling. Solos are abundant: the album probably has around 30 in its 53 minutes, but they don't "feel" like solos -- they are merged into the total compositional framework in such a way that it all feels surreally organic. Gordian Knot is anything but a showcase of exhibitionism. The music here is a perfect balance of structured backdrops and individual freedom so perfectly realized that both elements overlap with one another and become indistinguishable.

The symbiosis of all musicians involved is probably the most entrancing part of _Emergent_. Featuring all the members of Cynic, "Muttersprache" cultivates the affinity between their jazz tradition and an almost atonal metallic flail... which alternates with the pure lunar energy of the gorgeous middle section. Here, the V-cymbals are sparkles of distant starlight set against musical breaths and undulations across the ether. And when that one ascending melody comes in (you'll know the one) it is impossible to allay shivers. In "Fischer's Gambit", with absorbing curls of rhythm and Jim Matheos' proto-andalusian guitar cadences. A deep rhythmic tension intensifies these placid expressions, giving the song a desperate, edge-of-the-seat excitement even while slow and beautiful. "A Shaman's Whisper" is a fusion crunch-monster, rife with jaw-dropping guitar interplay and rendered amusingly exotic by the complex, alien melodies and worldly drumming of Bill Bruford. On this track, Reinert performs on the kit and Bruford is heard on slit drum for a dual-percussive quality which you have to love.

For the best example of the magic chemistry shared between Malone and Bruford, the riveting neo-jazz of "The Brook The Ocean" cannot be topped. Where Malone and Bruford share an intense rhythmic collegiality, trading off solos before coming together with a dazzling violence.

The soft-piano intro of "Some Brighter Thing" does not warn you that a slamming dissonance is about to gush from your speakers. The band comes together at last for some complex prog-like melodies and deep crunch. The main theme of this track is slippery and spine-tingling. "Singing Deep Mountain" builds on and on until the breaking point at around 7:00, where Steve Hackett's devastating guitar solo unleashes a wave of dense rhythm and sublime, wordless vocal melodies (quite electronically processed so they barely sound like vocals). Unless you get the Japanese edition, _Emergent_ ends there. If you're insane and get the Japanese import (like me...insanity is cool), you are blessed with the fortune of listening to the sublime "Surround Me", which is largely a Jason Gobel composition, peppered with sparkling arpeggios and graceful, articulate bass playing.

There is a live version of "Grace", which was the last song from the first Gordian Knot album. There is no audience noise so it doesn't detract from the album's atmosphere. It is a solo performance featuring Sean Malone, honestly it approximates visual art. It's easy to soak in the celestial atmosphere but paying attention to the sonic richness here reveals the beauty of texture and ambience that Malone is capable of creating on his own. Equipped with the mighty Stick and an Echoplex, he ingeniously creates so much layer you'd believe three or four musicians are up on that stage. This halcyon performance is the most sublime moment on the album and one of the most beautiful things I have ever heard.

Brilliant, challenging, complex, and truly progressive -- _Emergent_ is one of the best albums ever and I get the feeling there will be no better album released this year. (surprises are always possible, though...)

I very rarely call any album absolutely perfect, but the mysterious entity known as Gordian Knot has practically redefined the term. The first album from Sean Malone's exquisite brainchild was a stunning instrumental work that I'm still hearing new things in, and somehow this disc has managed to top even that. Incredible, dynamic, masterful, a mind-expanding sensory journey for the ears: I could throw out descriptions all day and not quite convey the sheer absolute brilliance that is Emergent.

Ok - that last sentence may be exaggerating a little, but this is unquestionably an album that instrumental rock or jazz fans (or anyone who appreciates incredible composition when they hear it) will be sorely lacking if they don't hear. I'm almost lost for words. The instrumentation is plain - guitars/bass/keys - but the execution covers part of the rock, metal and jazz camps all at once. It's heavy, it's ambient, it's forceful enough to shake some walls if played loud (slightly heavier overall than the first), but sprinkled with a few moments of peaceful brilliance so gorgeous they have to be heard to be believed. Case in point - a live version of the previous disc's closer, "Grace," enhanced with layers on layers of Chapman Stick that build higher and higher to the heavens. It's one of the most rapturous things to be heard on this earth. On the other end of the spectrum: "Muttersprache" and "A Shaman's Whisper," a crazed mix of furious guitars and driving beats - though still lightened with some moments of rest before the next storm comes. GK is full of fireworks, but fireworks of the most sublime kind: they're found in otherworldly performances and phenomenal compositions, and any instrumental pyrotechnics add to the whole subtly, not with wild abandon.

In 54 minutes (or 50 on the American edition) this disc runs a wider gamut of tones than I even expected: "Arsis," two minutes of calm solo bass. "Some Brighter Thing," a slowburn of sweeping grandiosity that stays ineffably down to earth throughout. "Fischer's Gambit," slow moody half-funk with a Mediterranean edge, courtesy of some masterful acoustic guitar. "The Brook The Ocean," a wild ride that goes from calm to frenzy and back again without blinking an eye. That track inevitably seems like more of an intro since it wanders off into a Bill Bruford drum solo without resuming (and quite a head-spinning solo it is, just try to count to it!), but it's all right, since the thing it leads into is "Singing Deep Mountain" - a masterpiece in itself, and possibly the most wonderful GK track ever. This is the one that's got it all. Slow-building grooves. Wild surges of soaring guitars. Rock-solid bass work that's a gem of harmony all its own. It's even got vocals, wordless "aah"s that provide the perfectly sweet topper for everything else. Then it fades into more of that heavenly ambience, spending the last minute in utter blissful peace.

I guess that's a good way to end the disc, but if you're obsessed enough to pop for the Japanese edition, you're also treated to the brilliant "Surround Me" as a bonus. This one is four extra minutes of rock beats and crunchy guitars weaving in a fluid jazz mode, and every bit as worthy as the regular tracks. Too bad it's a rarity.

Any more words from me will be redundant to those who've heard this marvel already, and inadequate for those who haven't. Listen, enjoy and discover for yourself.

Beautifully written, flawlessly executed, Sean Malone's second Gordian Knot project "Emergent" is a stunning achievement. Once again, he has assembled a top-notch lineup (including notables Bill Bruford, Jim Matheos, and Steve Hackett, along with various Cynic alumni), and the excellence of the results simply cannot be understated. Malone has a talent for constructing compositions that are, first and foremost, beautiful, and the virtuosity of the respective musicians is at all times carefully directed towards the greater good of the composition. This is most clearly reflected in the solos, which are never about anything more than advancing the composition itself.

For those who are familiar with the first Gordian Knot project, this one is a bit heavier, largely a result of replacing Trey Gunn's Warr guitar with a greater emphasis on the guitars of Hackett, Matheos, Jason Gobel, and Paul Masvidal on one track. But in many ways this is a strength of this album, which has a more organic feel than the first. If this album is to be compared to anything, it perhaps fits best with some of the finest offerings of the classical genre.

But even these comparisons fail. This album is an absolute masterpiece, a stunning work that demands attention. I recommend Emergent in the strongest possible terms; among the hundreds of albums in my collection, I can think of none that I would recommend above it. You do yourself a service, and support an emerging musician of the highest caliber, by ordering it immediately.

This is my first purchase of a CD in 2003 - And what a CD it is! This is just what the doctor ordered to start up the year! If you don't have this yet - get it now! It is brilliant! Exceptional! Sean Malone has it for sure. Also nice to see Hackett and Bruford working together again on a modern, non-nostalgic effort, shows that these guys still have it too. Jason Gobel and Jim Matheos play fantastic also. If you are a guitar player you should definately check this out. This CD smokes & burns with superior musicianship and writing!

Sean Malone is a master at what he does. His skill is unsurpassed, and he shines like a supernova on Emergent. This is one of the finest examples of progressive rock you will likely ever hear. Hard to classify, and impossible to take out of your CD player, Emergent is an unbelievable album. By surrounding himself with some of the finest musicians on the planet, Bill Bruford, Steve Hackett..etc...Sean Malone has crafted a record that demands multiple listens. This is a technically perfect collection of music, from the hypnotic and cathartic Muttersprache to the staggeringly beautiful Grace, every song on this disk is a masterpiece. The musicianship put forth on Emergent is a perfect example of musical synergy, these guys can play. Without sparring back and forth for solo time Malone and crew weave intricate patterns and play off of each other so well at times it seems like they are a single entity. Every music fan should own this album. If you don't, get it now. You won't be disappointed.

Being a loyal follower of all the post-Cynic projects, I have yet to come across one I did not enjoy. The first Gordian Knot had some downtime regarding all musicians participating but this is not the case with Emergent. The first half has Sean Reinert on drums and the highlight, to me, on the disk is the track "A Shaman's Whisper." This is the first recording including all members of Cynic's only major album. It is great to hear them all together again. The track has Bill Bruford doing percussion as well. The live version of "Grace" is the transition point of the album. After this song Bill Bruford takes over on drums and the second highlight is "The Brook and The Ocean." Sean Malone and Bruford do some trading off. The album overall has an emotional, relaxing, and soothing quality and as expected will become one of my favorites.

This is a beautiful album, but which reveals its details after many times listening to. Much better than the first album, Emergent is emotional and rich. Indeed guests are known as emotional musicians : Jim Matheos and Steve Hackett.
I needed time to evaluate this album. It's not simple to understand quickly, but if you take the time to listen to it, you won't be disappointed by this beautiful journey.

Overall, this album is much more like the kind of progressive metal one might have expected of the band who performed the debut, though it is "metal" filtered very, very heavily through a stiff dose of jazz. Anyone expecting the Eastern flavors of debut, though, steer clear. In compensation for this "deficit", Bill Bruford and Steve Hackett perform on the disc, and it is almost always a treat to listen to either of them. In general, it seems that "merely" exotic elements of the debut have been replaced by mostly more conventional song structures and a greater emphasis on orchestration (i.e., guitar tones).

The album opens with the 2 minute "Arsis" on literally a downer. The bent downturn of the opening note seems very promising of more odd turns to come, but the song quickly becomes a bit of a lazy jazz study for solo bass. A beautiful last two notes, however, end the song and make the attack of the next all the more powerful.

"Muttersprache" comes aggressively out of the chute with layered guitars and Bruford's immediately recognizable snare, followed by a "Discipline"-era Crimson nod. One of the things to recommend Gordian Knot (as also with their debut) is the guitar tone. If you've heard Trey Gunn, then you know what I mean. And if you've not, and you're a fan of brainy guitar, this song is a must-listen. Heavier and less "exotic" than songs on the debut, it moves from typically jagged guitar lines to an almost conventional sounding musical verse. The jerky start-stop solo and the riff that follow (alas, too short) make the whole song seem especially inspired. How exactly this all relates to one's "mothertongue", though, remains an open mystery by the song's end.

"A Shaman's Whisper", at 6'33" and as comparably long as the previous track, is also comparably heavy, being more of a Shaman's howl. Another driving riff, with Gunn-sounding guitar lines cruising over the top, propels the whole thing along. Overall, the song is jazzier in sound than the previous, while also being heavier, and "reads" as just an extended jam that moves through a limited (but not boring) range of moods. It seems generally like just a sequel to the previous song, and it is fortunate for both songs that the first was as interesting as it was.

"Fischer's Gambit", like the first track, starts with a red herring. A strangled, dissonant chord is all we get of such as the song immediately gives way to a textured meditation in both Spanish, tropical seaside and even a touch of Eastern moods. A grandiose final theme and a very nice bass tone and line at the end can't quite make me excited about the song overall though. There's an extended acoustic guitar line here for those who crave such things.

"Grace" (a bonus track from the debut, here recorded live) is basically a passacaglia in structure; that is, it repeats its opening, mellow riff ad infinitum (for over 8 minutes), while building up layer after layer of soundscape, flourish and atmosphere. It never really goes anywhere, and isn't supposed to. The song is quite pretty, but certainly isn't an award winner in the genre of gradually ambient music. This and the previous song seem to work best when not paid attention to too closely.

"Some Kind of Brighter Thing" again starts with a bit of a red herring, a kind-of variation on piano of "Grace's" ceaseless riff. Metallicized crunchy guitar comes wandering in on the right channel, however, to chase off the mellow mood, and yet another heavy, fairly straightforward guitar riff hammers along. As structurally the third version of "Muttersprache" (the crunchy verse riff, more melodic chorus formula) it is clear that tone and texture are paramount on this disc--the heaviest, and most interesting riff of the album, a sudden piano bridge, and a squawking guitar solo that gives way to an even more unlikely guitar passage serve to make this a satisfying third variation on the album's basic mothertongue. The lyricism of the chorus' last statement is especially fine, before a bell-like coda and Bruford's distinctive percussion carry the song off into the sunset.

"The Brook The Ocean", with its jittery opening scales and vicious piano chords, has "progressive" written all over it, but this is yet another red herring, as the song oozes into an extended bass cadenza that's a genuine show-off passage worth paying attention to. Drums and keyboards return, as well as the opening piano while the bass continues to mal around impressively. Full stop, and then a drum solo by Bruford with a quick restatement of the opening keyboard riff and flying bass to cap the song off. An unlikely combination of parts, the song nevertheless is pretty captivating

"Sing Deep Mountain", the longest song on the album at 9 minutes, opens with something that could have been lifted from Gunn's "The Joy of Molybdenum", before undergoing an almost kaleidoscopic range of mood shifts. The alternations are largely between varieties of "pretty" guitar lines and perversely dissonant ones, such that this seems like Muttersprache IV with the moods drawn out into larger sections. Again, the structural similarity of these songs doesn't necessarily hurt them. And the last all-out wig-out toward the end of the song is definitely a gnarly pleasure for the ear.

Perhaps not as showy and deceptively more conventional than the debut, there's also more subtlety here and definitely another big heaping platter of delicious guitar and bass sounds to enjoy. It gets better with repeated listenings as well.

This 2003 release of instrumental prog by Gordian Knot was a bit of a surprise for me; I knew nothing of bassist Sean Malone and the fact that he was collaborating with some of my favorite musicians (Bill Bruford and Steve Hackett). Suffice it to say that I really liked this album. The playing is fantastic and the compositions are both thoughtful and creative.

Although the product of Sean Malone, this is far from a solo bass album. Sean is well versed in composition and arrangement, and his skills shine through on every piece. There is some great ensemble playing and unusual time signatures turn up often. I was especially impressed by the varied moods of this album, which are alternatively brooding and aggressive. I also liked the range of musical styles, which include soft acoustic sections, avant-rock/metal, and jazz rock. There is also a heavy 1990s period King Crimson influence that was pretty cool. Overall this makes for a varied listening experience.

The one drawback to this recording is the atrocious sound quality. The drums were poorly mixed, and the overall recording is dull, somewhat muffled, and bass heavy. The guitars sound OK. Distortion is a problem too; especially when the bass and drums are going full steam. There are virtually no upper frequencies, and it sounds as if Bill Bruford's cymbals had been mixed out. It is a shame too - the music is very good and I think the production lessened its impact somewhat. The liner notes feature the recording credits.

All in all, this is a very good album of instrumental prog with a little bit of a hard edge that should appeal to fans of 1990s King Crimson. The heavier sections, however, are nicely leavened by the quieter sections and the music is very sophisticated. Nice stuff that is well-played.

Not sure who Sean Malone is to King Crimson but almost every riff in most of the songs are King Crimson riffs...having said that Emergent is really cool listening material..I really enjoy listening to this and the first one..good stuff