Disc 1

Reviews

Shortly following the release of {^Different} comes the second volume from the collaboration between {$Hugh Hopper} and {$Lisa S. Klossner}, this one entitled {^Cryptics}. {$Hopper}¹s warped sense of what a pop song is fits perfectly {$Klossner}¹s dark and somewhat sad voice. Recorded mostly after {^Different}, these songs are generally gloomier and sport lusher arrangements. {$Hopper}¹s programming has become warmer, his bass is more prominent and the input from other musicians (flutist {$Chrystelle Blanc-Lanaute}, trumpeter {$Christine Janet}, drummer {$Pip Pyle}, trombonist {$Robert Jarvis}, guitarist {$Gary Smith} and saxophonist {$Elton Dean}) bring diversity to the mix. In essence, {^Cryptids} sounds a couple of steps closer to {$Hughscore}¹s {^Delta Flora}. Of all the music {$Hopper} has recorded, his collaborations with {$Lisa S. Klossner} have yielded his simplest but best-crafted songs. Stripped of the chops and time signature changes, he turns out to be quite a melodist and an arranger. Judging from the way the {$Hopper}-{$Klossner} association has matured through this second offering, one can only hope for a third set of songs. François Couture

Hopper, Hugh/Klossner, Lisa S. - Cryptids

While Daevid Allen and the other members of Gong seem to release things almost monthly, the other former Soft Machine members like Hugh Hopper, Elton Dean and especially Robert Wyatt take their time and work longer on each project. Fuzz bass god Hugh Hopper seems to enjoy collaborations, his last few works were with Americans - Kramer and (Caveman) Hughscore and last year's Brainville with Daevid Allen, Pip Pyle and Kramer. This is Hugh's second cd with the mysterious vocalist Lisa Klossner - a new name to many of us. It is a complete collaboration since Hugh wrote all the music and did all the arrangements and Lisa wrote and sang all but one of these fine tunes. For those that don't know their Canterbury (home of Soft Machine) history Hugh helped invent his formidable and magical fuzz-bass sound way back in 1968 with Softs fuzz-organist Mike Ratledge - both inspired by tour-mate and friend Jimi Hendrix. Hugh is often identified with that sound and actually quit playing the fuzz bass for a number of years until more recently. Lucky for us, that amazing sound is back and featured on about half of these tracks. The half dozen guests include Pip Pyle on drums, Gary Smith on stereo guitar and Elton Dean on alto sax on only one track. What is interesting is that Hugh can still get that cosmic fuzz-tone with the use of a sampler at times. As I Turnis quite dismal and a bit disturbing - could it be about us - A land of free speech, with no place for the weakhmm. I do dig Lisa's strong voice, it is a powerful presence throughout. Lisa seems plagued by demons and Hugh does a great job of cutting the demons loose on their mutant horns and backwards samples on VisitorsStillis lovely and reminds me of one of Hugh's oldest tunes Memoriessad, soft and bluesy with tasty trombone and beautiful vocals. When Hugh's fuzz-bass finally kicks in on Up for Airit is an immense sound, with swirling samples surrounding Lisa's strong voice. What Hugh does best throughout this cd is consistently surround Lisa's voice with wonderful, weird, fuzzy sounds. The trombone is the one warm sound that caresses her voice on three of these tunes, adding a different type of enchanting aura when the fuzz gets too thick. On the second half of this release it is Gary Smith's stereo el. guitar (from Mass Powerfield) that adds strange support to the brew. Gary does have his own sound and is most often heard in more experimental settings, but one can still hear elements of Fripp and Frith in his sound. Lisa often writes disturbing, claustrophobic lyrics which fit well with the dark moments flowing through this work. The thick and imposing fuzz bass on Of Courseis massive and throbbing and is meant to blow us all away - which it certainly does. A completely cosmic journey is in store for those wise enough to listen closely.

Hugh Hopper "Cryptids" CD

Now that we're talking about Soft Machine and Hugh Hopper, here's his newest CD he recorded again with Lisa S. Klossner on vocals (their second album together) and with some other still active icons from the legendary Canterbury school. Not only do we find here Pip Pyle (drums) and Elton Dean (alto sax) but also Gary Smith (guitar), Robert Jarvis (trombone), Christine Janet (trumpet), Peter Cook (tenor sax), Christelle Blanc-Lanaute (flute), Julie Walkington (bass), Frances Knight (piano) and Frank Van der Kooy (sampler). A sinister bassline in "As I turn" introduces the dark sounds that will also dominate in "Visitors" and "Still" and then the dynamic drumming of Pip Pyle can go ahead in "Up for air". The nature of the used instruments and the virtuosity of the diverse musicians automatically lead us to an outspoken jazzy atmosphere for these mysterious hazy songs with enigmatic vocals. Let's point out that the music for all the songs was composed by Hugh Hopper and the lyrics were written by Lisa S. Klossner, as was the case for their previous CD "Different" (or almost, the lyrics on one track there were written by Robert Wyatt, but you already knew that as that explanation was already given in a previous Stage)