Still Life, one of the many faceless UK-based bands that peppered the English landscape at the turn of the decade, released its first and only self-titled debut album in 1970 on Vertigo Records. Unlike many of its non-descript contemporaries, however, this group’s brand of keyboard-dominated progressive hard rock is a minor revelation. It’s also dark, brooding and not the least bit creepy. “We’ll sit and watch while the world catches fire/We’ll watch it sink deep down in the mire” declares the band in “People in Black,” while “Love Song #6 (You’ll Never Love Me Girl)” is one song you probably won’t hear on Valentine’s Day: “I’ll never love you girl/You’ll never love me.” You get the idea. Despite its dreary vibe, Still Life packs quite a punch. The album, an electrifying array of Hammond organ-inspired heavy metal, features excellent vocal work and surprisingly effective harmonies. There is also plenty of melody, a rare find in these often rhythmic-challenged progressive art-rock projects. By the way, the band isn’t all doom and gloom. Take this nugget from the opening lines of “Dreams:” “I’m up on a cloud selling popcorn to a priest.” Wacky, yes, but at least it doesn’t push you to want to swallow a bottle of aspirin.
Tuesday, March 11, 2008
Still Life
Still Life, one of the many faceless UK-based bands that peppered the English landscape at the turn of the decade, released its first and only self-titled debut album in 1970 on Vertigo Records. Unlike many of its non-descript contemporaries, however, this group’s brand of keyboard-dominated progressive hard rock is a minor revelation. It’s also dark, brooding and not the least bit creepy. “We’ll sit and watch while the world catches fire/We’ll watch it sink deep down in the mire” declares the band in “People in Black,” while “Love Song #6 (You’ll Never Love Me Girl)” is one song you probably won’t hear on Valentine’s Day: “I’ll never love you girl/You’ll never love me.” You get the idea. Despite its dreary vibe, Still Life packs quite a punch. The album, an electrifying array of Hammond organ-inspired heavy metal, features excellent vocal work and surprisingly effective harmonies. There is also plenty of melody, a rare find in these often rhythmic-challenged progressive art-rock projects. By the way, the band isn’t all doom and gloom. Take this nugget from the opening lines of “Dreams:” “I’m up on a cloud selling popcorn to a priest.” Wacky, yes, but at least it doesn’t push you to want to swallow a bottle of aspirin.
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