Aemen - Fooly Dressed (2003)

Artista: Aemen
Álbum: Fooly Dressed
Año: 2003
Género: Crossover prog / Goth rock
Duración: 53:58
Nacionalidad: Holanda

Lista de Temas:
01. Another Way
02. Time
03. Sanctuary Times
04. Awakening
05. Ever Followed A Butterfly's Erractic Flight?
06. Havelock
07. The World
08. Orange-Red
09. Aemen - Noble Man
10. Down
11. How are you today
12. Waltz
13. Before My Eyes
14. Sorry!

Alineación:
- Toine van der Meijden / Vocals, Guitars, Piano, Sitar, Pump Organ
- Maarten van Iersel / Lead Guitars, Mandolin
- Roland van Heesch / Drums, Percussion
- Emiel Dingemans / Bass, Backing Vocals
- Edwin van der Brand / Keyboards, Piano, Organ
Guests:
Sharon den Adel: Vocals on track 2 and 12
Fay Lovsky: Theremin on track 6 and Singing Saw on track 12
Lana Lane: Voices on track 9
Marc van Daal: Uillean Pipes on track 4 and 5
Stephen van Haestregt: Backing Vocals, Percussion
Sander van Berkel: Cello
Carolijn van der Sanden: Alt Violin
Laura van der Stoep: 1st Violin
Jasper van Rosmalen: 2nd Violin

Yo sigo con problemas para subir álbums (ayer dejé subiendo los links que faltaban de O Terco, Haiku y un álbum para publicar de Sagrado, me voy y cuando vuelvo tarde resulta que no había subido nada, hoy veré si lo puedo terminar de subir... se me hace pesado tanto subir y subir).
Así que hoy opté por traer algo que no se había publicado acá, que no es muy conocido, y sobretodo que tengo los links de descarga "fáciles", o sea que el álbum ha sido publicado por otro gentilhombre y yo voy y le afano los links, bueno, en este caso mi amigo Kirill no se enojará, je.
Esta banda holandesa cultiva un buen crossover que tiene muchas cosas del progresivo, pero eso sí, extremadamente digerible y fácil de escuchar, y no por ello ajeno a la alta calidad de la que todos aquí en el blog (imagino) que buscamos. Dejo el comentario de otro amigo que explica mejor lo que estoy comentando:

Si es complicado enmarcar el sonido de su primer disco, en este segundo pasa algo parecido. En mi opinión el sonido pop-rock se hace algo más evidente, sobre todo en el primer tema en el que interviene la cantante femenina mezzosoprano, Sharon den Adel, cantante habitual del conocido grupo Within Temptation (doom/celta metal). A destacar la presencia de la también célebre en ámbitos progresivos metaleros Lana Lane en el noveno tema (aunque apenas se le escucha de fondo). Un disco con una orquestación estupenda, y también de muy agradable escucha. Recomendado.

50hostage (Hosty)

La banda se mueve en la música rock melódico y entre sonidos que van desde el rock progresivo hasta el pop moderno, acompañado por mucho lirismo y una instrumentación ambiciosa. En general, las canciones son suaves y con arreglos pegadizos. Las estructuras en formato de canción, se perpetúan en melodías perfectamente adecuadas para la voz como principal elemento aglutinador de toda la propuesta del grupo. Algunas canciones casi folclóricas complementan las canciones suaves, los temas melancólicos llenos de tristeza, mientras que instrumentos tales como cello, mandolina, violín se suman a los instrumentos habituales, dando como resultado un trabajo homogéneo, bastante bello y moderno. En general, el álbum es muy emocional: el estado de ánimo sube y baja con las canciones. Muy bien logrado, claro, sin ser una maravilla, pero es un álbum completamente disfrutable y recomendable.
Bueno, no le doy mucho más preámbulo, copio algunos reviews comentando el disco, algún video para que escuchen como suenan y vamos a los links de descarga:

Aemen is a dubious case. This has nothing to do with the quality of their music, because that’s beyond any doubt. The quality is superb. The only doubt concerns the style of their music. Is this progressive rock?
And the answer is yes and no.
Yes, because Radiohead is also considered as a new progressive band. I’m not saying that Aemen is a Radiohead clone, because they have a sound of their own, but to give a reference for their sound, I think Radiohead comes the closest. And also a “yes” because they have some progressive elements. Their sound is completely filled and sometimes proggy, without building a wall of sound.
No, because their songs don’t contain enough breaks and complex structures to be considered as real, pure progressive rock. But let’s forget about the style, because this discussion will never end between progfans, and let’s concentrate on the music. Whatever name you call it, is not important, as this music sounds really good. It’s a pleasant break between the heavier and more complex CD’s we normally review.

Errny

Aemen has a sound of its own, a certain easily recognized identity. And it is not just the vocals sounding very American (a bit overly so even). It is also not just the inclusion of a string orchestra or a singing saw. It is to be found in the songs, the melodies and the layered sound. The songs are generally quite accessible, but not without sophistication, except maybe in the drum section and the underfeatured keyboards. For reference you may look to Muse, to Anathema, to Radiohead, to King Black Acid and yes Porcupine Tree, but all in a lighter vein. In addition, there is also an Britpop/Oasis sheen lying over it all. Aemen writes songs that are not what we usually call progressive, but which ought to appeal the broader minded part of that audience.

Atkingani

Opener Another Way sets the tone for the album: an industrial opening, plaintive, very American sounding vocals, at first slow and plodding, later louder and sharper. At times the music becomes hallucinating (in the line of Porcupine Tree and King Black Acid), but never giving up its overall catchiness.
Time is to be the new single sung in duet with Within Temptations Sharon den Adel. She especially shows herself from her best side here with wonderful, flexible vocals. By comparison, Van der Meijdens voice sounds quite flat. The song itself is a good one: catchy chorus, nice twists in the melodies, plodding, but also some bombast in the orchestral parts. Too bad the drums are so straightforward.
Sanctuary Times was the first single. A bouncy singalong track, but with all the layers in the music, it seems simpler than it is. The organ is nice and full here.
After the short bagpipes instrumental Awakening we run right into Ever Followed A Butterfly's Erratic Flight? Vocals are coming through an old radio here, the chorus is as catchy as they come, and the music has this rolling movement, as of the sea, coming in washes.
Havelock is a sad sad ballad. It sounds more like Have A Luck than Havelock (which I have no idea how it should be pronounced). Plenty of strings on this one, and some quiet piano. As always the melody stands prominent.
On The World we move more in the direction of U2 with again a very optimistic tune. The keyboards sounds more up to date here, the guitar solo is one of the few on the album. Orange-Red are the colours of the band and is a somewhat hallucinating affair: sitar, woozy, twangy, sinister and wah-wah, well all these words apply at some point. Strangely enough the vocals remind me a lot of the Britpop bands, a bit overdone if you know what I mean.
Noble Man is one of the most distinctive tracks because of the vocals. They are extremely colourless and flat which works fantastically well on this song. The song also features some sharp guitar playing alternating with a beautifully rolling atmospheric guitar sound.
Down is the longest track on the album, a slow starter with plenty of atmosphere and a long way to the full and loud ending. How Are You Today? is a short vocal intermezzo, on which the vocals sound even more strongly American. Waltz is exactly that, a waltz. On this song Sharon returns with vocals and the string orchestra returns again as well.
After the Beatlesque Before My Eyes, notwithstanding the heavy Muse style opening a song which has a hairraisingly happy ending, the album ends with Sorry!, only acoustic guitar and reminding me of Oasis.
Conclusion
Aemen has a sound of its own, a certain easily recognized identity. And it is not just the vocals sounding very American (a bit overly so even). It is also not just the inclusion of a string orchestra or a singing saw. It is to be found in the songs, the melodies and the layered sound. The songs are generally quite accessible, but not without sophistication, except maybe in the drum section and the underfeatured keyboards. For reference you may look to Muse, to Anathema, to Radiohead, to King Black Acid and yes Porcupine Tree, but all in a lighter vein. In addition, there is also an Britpop/Oasis sheen lying over it all. Aemen writes songs that are not what we usually call progressive, but which ought to appeal the broader minded part of that audience.