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Non-Prog CD Reviews

Little Warrior

Flight Risk

Review by Gary Hill

I have always liked electronic music. The thing is, it can often, by definition, feel sterile and unemotional. That's why the depth of emotion and humanity on this release is refreshing. This music is decidedly electronic. The vocals are often processed in a way that makes it fit that nature, but there is a real human factor here. There are some songs that stand above the rest here, but nothing here is weak. There is decent range of variety, too. All in all, I'd consider this to be a very strong release.

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Track by Track Review
Singing on TV
This is just a short bit of what sounds like an old woman telling a funny story.
Back & Forth

A cool electronic sound opens this. While the vocals are processed, it fits with the artistic vibe of the number. This is slow moving, melodic and quite intriguing. Guest BaOS delivers a rap later in the track. While it's solid, I think it takes away from the magic of the piece a bit. It's sort of like a slab of reality that pulls the listener out of the dream world of the track.

Never Let You Go

The opening synthesized bits make it feel like we're about to land in the midst of a Hawkwind song. The cut shifts to more of an electronic vibe like we heard in the previous number. The vocals are less processed, though, and the cut has a bit more of an organic feeling to it. It's a bit more grounded in the real world.

Never Do

The electronics on this deliver more of a percussive, weird sound. The lead vocals are among the most natural of the set. This has a bit of an uncomfortable, driving element to it. It's strange, but also compelling. It has a real hip hop or R&B vibe in a lot of ways.

Turn Around

BaOS returns on this number. The cut starts with a piano led arrangement. There is a real lush space meets jazz and electronics vibe. The vocals are similar to those we heard on "Back & Forth." While this is dreamier than the last couple tunes, it's not as dream-like as "Back & Forth" is. BaOS' performance here is more in keeping with the song, being sung rather than spoken. His vocal is a bit processed, too. That makes it feel like it fits with this number more than it did the other time around. There are definitely some rather proggy elements (the instrumental break at the end, for instance) on this piece. This is my favorite on the disc, really.

Never Be Found
There is a lot of jazz in this thing. It's experimental, trippy and so cool. It's almost like a more successful version of "Never Do" in a lot of ways. This is another that's a bit proggy.

A bit gentler and perhaps a little playful, this is a fun and pretty cut. It has some of the dreamy elements built into it There are also some strange electronic aspects.

This song is both strange and charming. It's very processed and electronic. It somehow seems to be the most emotional piece here, though. As weird as this is, it's one of my favorites of the set.
Sad That I Left

An almost classical music sound starts this. The cut works to more of a percussive electronic arrangement with some hints of The Beatles for parts of its run, but the classical elements also return at times. The dichotomy of those two sections works really well, and this piece is another highlight of the set. It's also among the most dynamic and "different" songs of the disc.

Turned to Never

Processed vocals with minimal accompaniment at the start of this makes me think of Laurie Anderson. The track gets a bit lusher as it continues. This is a classy slab of electronic music, but it's not a standout. That said, it does bring some variety.

A Milli by Tomorrow
A bookend to the opener, this is a voice mail type message from a couple ladies.
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