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THE REVIEW
Swallows in formation playing at swapping places; geometries of flocks that tirelessly change the perimeter. Gentle, intricate, and graceful jazz-rock vanguard that glides away light and frothy, like champagne poured on white marble. Dark preludes, crescendos now soft, now crisp; violent and restrained adolescent emotions, lunar landscapes.
Clouds continuously reshaped by the breath of the wind. Fineness of touch, fineness of language; alchemical deformed harmonies that transform anxieties and questions into fragrant hyperboles. Shimmering yet subdued sonic pirouettes; Dadaist trills soaked in synesthesia breathe existential piano fugues; a tearing underlying gloom.
Tzara and Sartre animatedly discuss what Life really is; heart-rending ballads sung by trembling divining voices; humble and resigned scores. Evolving labyrinths of philosophical instruments, splendid tentacled monsters that grip us in the open sea; inevitable drift on deserted beaches, dizzying interior whirlpools.
Contempt for gold, for stones, and for all that is immutable. We happily sink our hands into the turquoise wave.
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Summary by Bot
This review praises Matching Mole's debut album for its intricate, graceful blend of jazz-rock with experimental and philosophical elements. The music conveys shifting moods from delicate softness to restrained intensity, enriched by evocative harmonic layers and existential themes. It highlights the album's emotional complexity and artistic finesse, portraying it as a vanguard work within the Canterbury progressive rock scene.Tracklist Lyrics Videos
Matching Mole
Matching Mole were a British Canterbury-scene group formed in 1971 by Robert Wyatt after leaving Soft Machine. The band released two studio albums in 1972—Matching Mole and Little Red Record—with contributions from Phil Miller, Bill MacCormick, Dave MacRae/David Sinclair, and, on Little Red Record, synthesizers by Brian Eno and production by Robert Fripp.03 Reviews
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