Unrest [Original recording reissued, Original recording remastered]

Henry Cow | Format: Audio CD

Product Details

• Audio CD (June 22, 1999)
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: East Side Digital
• ASIN: B00000J7XJ
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #518,506 in Music (See Top 100 in Music)

Track Listings

1. Bittern Storm over Ulm

2. Half Asleep; Half Awake

3. Ruins

4. Solemn Music

5. Linguaphonie

6. Upon Entering the Hotel Adlon

7. Arcades

8. Deluge

9. The Glove

10. Torchfire

Customer Reviews

Most Helpful Customer Reviews

14 of 14 people found the following review helpful:

5.0 out of 5 stars Clearing the air..., May 13, 2006

By 

Michael Campbell's Enlarged Piles (Columbus, Ohio United States) - See all my reviews

This review is from: Unrest (Audio CD)

Okay, you're looking at Unrest by Henry Cow. There is a reason you're here, you didn't just stumble across it. Despite the opinions of some, this gem has two distinct sides. One relatively standard in composition, the other purposely experimental. The balance is expertly measured, and pleasing to anyone with a taste for this type of music. I'd venture to say Modern Jazz/Rock has seen few pieces as well defined and pleasantly melodic as "Bittern..", "Half Awake..", "Solemn Music", or "Ruins". As informed as this might have been by the Canterbury or Zappa ethic, it stands alone, especially with the highly listenable experimental half.

Have an open mind, for goodness sakes.

10 of 10 people found the following review helpful:

5.0 out of 5 stars Free jazz, modern classical, and progressive rock, January 2, 2006

By 

Jeffrey J.Park (Massachusetts, USA) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: Unrest (Audio CD)

This incredible album was released in 1974 and fuses elements of free jazz and modern classical with progressive rock into an impenetrably dense wall of sound. To the uninitiated, this sometimes chaotic music can be fairly intimidating and could possibly be perceived as icy, distant, and intellectual. All of the musicians are superb and play a wide variety of instruments including several types of woodwinds: Chris Cutler (drums/percussion), John Greaves (bass, piano, voice), Tim Hodgkinson (organ, alto sax, clarinet, piano), Lindsay Cooper (bassoon, oboe, recorder, voice), and Fred Frith (guitar, violin, xylophone, piano). The first three pieces, including the 12'07 Ruins, are traditional in the sense that melodies, harmonies, and rhythms, albeit very sophisticated, are presented in a manner that the contours of each piece take on the shape of rock music. However, starting with the piece Linguaphonie, recognizable structure begins to dissolve and the music becomes more in keeping with the stylistic attributes of modern classical. In short, everything is pretty much thrown out the window and the music becomes a swirl of random sounds, which reaches a peak on the 3'00" Upon Entering the Hotel Adlon. This piece is a furious explosion of bass, drums and woodwind parts without a discernible rhythm or tonal center. In 1975, Henry Cow would merge with the avant-garde outfit Slapp Happy and develop a type of progressive rock even more complex than that practiced by Gentle Giant. This resulted in the remarkable album In Praise of Learning, which is also highly recommended.

8 of 8 people found the following review helpful:

5.0 out of 5 stars THE SOCK MARCHES ON..., November 8, 2002

By 

Larry L. Looney (Austin, Texas USA) - See all my reviews
(REAL NAME)   

This review is from: Unrest (Audio CD)

With UNREST, Henry Cow moved beyond the jazz-influenced sound of their first recording, LEG END, on to an album with two personalities - the composed pieces are definitely more `studied' in their compositions, and the improvisations feature a technique still evolving within the band, that of using the studio itself as an instrument of composition.The album opens with quite a catchy little number, `Bittern storm over Ulm', written by guitarist Fred Frith - and he gives a nod to `Got to hurry', recorded in the 60s by the Yardbirds and credited to O. Rasputin. The arrangement of this piece is very compact and disciplined - every note sounds as if someone assembling a puzzle placed it there, and the effect is quite powerful. All of the elements play a part - nothing is by chance and nothing is wasted - making this one of the most effective instrumentals I've ever heard.

The recording on UNREST is much clearer than on LEG END, allowing the listener to more fully appreciate the playing of the various group members. In particular, Chris Cutler's drumming, while it never dominates the mix, is much easier to hear. His work is amazing - I can't think of a drummer I've ever heard that I admire more.

`Half asleep; half awake', a John Greaves composition, follows. It begins slowly and quietly, with some beautiful piano work (I'm not sure if it's John or Fred), acquiring more energy as it develops into a chamber music-like work. Lindsay Cooper (a new member as of this album, replacing Geoff Leigh from the LEG END era) does some wonderful work on her bassoon on this track, and throughout the set (she plays oboe and recorder as well). The piece works its way through several changes, ending once again in some achingly lovely piano.

`Ruins' comes next - another Fred Frith composition - and, like `Half asleep; half awake' before it, develops slowly at first - a single, drawn-out note played (I think) by Fred on the violin, shadowed by some work from the wind section and punctuated by chords struck in the high register on the piano. The band then falls into line for some very tasty ensemble playing.

`Solemn music', another (short) Frith work, follows - and the remainder of the album is given to four improvisational tracks. The above-mentioned use of the studio-as-instrument is more apparent on these selections - especially on `Linguaphonie', `Arcades' and `Deluge'. In their early forms here, these techniques were used later on IN PRAISE OF LEARNING, and WESTERN CULTURE in subtler ways - it's very interesting to hear these early experiments with these methods.

The musicianship is excellent throughout this album - and throughout the band's history. Fred Frith has come to be known in the progressive/experimental music world as a respected and challenging innovator - he has since recorded albums of various styles, ranging from quirky quasi-pop songs (GRAVITY, SPEECHLESS, &c) to power-trio work with Massacre, to his more avant-garde recordings. His work with the late Tom Cora (and subsequently with the addition of Zeena Parkins) in the duo/trio Skeleton Crew (NOT to be confused with the current band of the same name) bridged the gap between these styles nicely - these recordings have FINALLY been made available on CD. John Greaves is one of the most fluid, melodic bass players I've ever heard - his work could never be described as simply adding bottom to the arrangements, and his compositions (and his piano work) illustrate this very well. He has recorded some critically acclaimed work with Slapp Happy alumnus Peter Blegvad (most notably their KEW.RHONE recording, a classic of artful creativity). Lindsay Cooper later worked with News from Babel and did a stint, along with Chris Cutler, with a band led by David Thomas (ex-Pere Ubu vocalist). Tim Hodgkinson formed The Work after the demise of Henry Cow, and has continued to compose and perform in various ensembles over the years.

The influences of modern classical composers are more evident on UNREST than on its predecessor - I can hear traces/echoes of Arnold Schoenberg and Alban Berg here and there, but this music is by no means derivative. It stands on its own feet quite nicely. I still have to say that I prefer the composed pieces to the improvised ones - but those are important as well, because that's where many of the ideas for subsequent compositions - and performance methods -- were born. UNREST is a more mature album, I think, than LEG END - and a good indicator of where the band was heading. This is another essential recording from this innovative and intelligent group.