Review Summary: "Where hard work is silver, and silence is gold"
Over the years, music styles have changed and evolved, causing a small few to flourish while others have withered and fallen. Some of these changes have been immense and dramatic enough to define an age, with countless bands falling into categories based on how closely their sound resembles that which was distinct and characteristic of a certain time period. But what of these styles long ago conceived? Are they to remain forgotten and untouched, buried in the past? For quite a number of bands, this question has sparked a revival of music styles once scattered throughout music’s collective history, and Switzerland’s Marblewood is one such band.
Focusing on a blend of 70’s style progressive rock mixed with a sluggish blues-influenced approach, Marblewood’s self titled debut album is a convincing argument in favour of musicians bringing back anachronistic methods. Throughout the albums relatively large run-time, the band bind together their various influences, coalescing them into a somewhat puzzling product. Amidst the dated progressive rock and groovy blues there are even more musical personalities vying for the listeners attention. As the album cover quite clearly suggests,
Marblewood is heavily influenced by Indian music, which is reflected in the bands use of a sitar, Indian-style percussion and the implementation of various exotic scales. Marblewood also seem determined to define their 70’s style by implementing very striking organ segments. While these various features may seem like a questionable combination, the resulting product is neither unsure of itself nor is it a coagulated mess – and that is entirely due to Marblewood’s discovery of a method that works. While the more common instrumentation certainly takes the forefront of this charge, the laid back approach leaves plenty of room for the bands other nuances to shine through. ‘Splendour’, for example, develops throughout the ten minutes it takes up and becomes an impressive display of guitar work towards its final moments. Before this occurs, however, the build-up consists of soft, female guest vocals over the blended styles and strong bass guitar lines. Every component just fits together in such a relaxed manner that the entire process can become quite soothing in itself.
Looking over Marblewood’s history, it’s not too difficult to figure out why the members have such chemistry, or why the tracks themselves feel so aerated. Initially, this project began as a ’jam band’ and this certainly has played a part in the songwriting process (most notably in the twenty plus minute bonus track ‘In the Beginning’). The album as a whole feels like a very improvised affair, which is not to say there is a lack of structure, instead, there is a sense of freedom or a ‘liquid’ quality to
Marblewood’s sound, if you prefer. Although this can occasionally lead to a few tracks overstaying their welcome, as well as a sense of repetition, generally the flexibility of each track benefits the product as a whole. The rhythm section contributes most to this pervading atmosphere, with prominent bass lines commanding tracks such as ‘Postwar Apocalypse’, a welcome change of hierarchy as the guitars come in second here. The drumming and percussion are essential in building the Indian vibe that Marblewood are aiming for. Traditional drumming techniques play out alongside a modern kit, balancing both halves of the bands nature neatly. Perhaps opening track ‘Kailash’ best displays the diverse percussive styles as well as the culmination of Marblewood’s various parts.
Elsewhere, the guitarist certainly displays his prowess, incorporating both the blues and progressive rock genres into his playing and introducing these elements to the mix. The aforementioned guitar-centred segment that concludes ‘Splendour’ attests to the guitarist’s abilities better than any other example. Vocally, Marc Walser contributes a very interesting performance. His Swiss accent combined with English lyrics gives the album a certain charm, and although the lyrics are generally simple, he effectively gives each song what is required. Often, the vocal input will be limited to a few sections here and there throughout the length of each song; the focus is clearly on the instrumentation.
In any case, no matter how they have achieved it, Marblewood have successfully brought together their diverse influences and created an album of significant intrigue, both for the incredible musicianship and the unlikely partnerships throughout. One can only hope there is more on the way.
