4.5 out of 5 Stars!
Fans of Prog-Rock may be familiar with Thieves’ Kitchen from its more recent releases with the talented Amy Darby as its lead vocalist. But prior to her arrival in 2002, the U.K. band released two enjoyable albums with a male lead vocalist, which is when I originally discovered the group.
What instantly drew me to the band on its 2000 debut album, Head, was the strong Gentle Giant influences I immediately detected in not only the instrumentation and labyrinthine musical arrangements, but also since the male singer (Simon Boys) sounded eerily similar to Gentle Giant’s Derek Shulman. This further enhanced the illusion that I was listening to a modern version of Gentle Giant itself, albeit a tad heavier in places and with extra Neo-Prog influences tossed in.
For me, Argot, the band’s sophomore release, is equally as impressive as the debut album and often similar in style and scope. This time, the band elected to compose four ambitious and elaborate tracks—the twenty-minute “John Doe Number One,” the seventeen-minute “Call to Whoever,” and the “shorter pieces” (by Prog-Rock standards, at least) “Escape” and “Proximity,” both clocking in around the thirteen-minute mark.
On each of the tracks, the Gentle Giant influences are once again displayed in abundance, especially when it comes to the various eclectic tempos and rhythmic idiosyncrasies, the intricate and quirky vocal melody lines, as well as many of tones used for the guitars and the standard Prog-Rock keyboard arsenal—organ, piano, synths, and the mighty Mellotron. But also like the band’s debut, the music is in no way a perfect copy of Gentle Giant’s style. The talented musicians merely use that style as a starting template on which to construct its own brand of Prog-Rock magic—trimming out much of Gentle Giant’s abundant avant-garde ingredients and medieval inspirations, employing (albeit with the exception of an oboe) only traditional Prog-Rock instruments (ie. no saxes, no violins, no recorders, etc.), and incorporating more Symphonic and Jazz elements into its sound than Gentle Giant ever included on its own albums.
Nevertheless, the band’s influences during this early period in its history are crystal clear, so for any fans of Gentle Giant or groups with comparable styles—Advent, Echolyn, Spock’s Beard, The Flower Kings, or Beardfish, to name but a few—Argot (and the band’s debut) is certainly a “must-have” album.
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