EBB – Mad & Killing Time
Before embarking on the musical and storytelling journey that is Mad & Killing Time by art-rock outfit EBB (previously The Erin Bennett Band, themselves formed, for the most part, from ex members of Rockbitch and, latterly, the touring line-up of alt-rock band Syren) there needs to be a nod back to EBB’s 2019 debut EP Death And The Maiden.
And that's because there’s a clear link and relationship as regards the deeper conceptual lyricism and the effective intertwining of musical styles and influences (everything from jazz, folk and theatrical to King Crimson and Tool).
Death And The Maiden was a six-song soundtrack to "Krystal's Story," a fictional individual in songwriting terms but with semi-autobiographical overtones of despair, betrayal and eventual redemption (all real life issues for those who have struggled with their place in things, acceptance or sexual morality).
Mad & Killing Time is, then, the second instalment of the Krystal Svava mythos and full-length debut from this Scottish six-piece band – actually "band" is a misnomer, EBB are more accurately part of an arts collective featuring Erin Bennett (guitars, lead vocals, trumpet), Anna Fraser (drums, percussion), Suna Dasi (backing vocals, synths), Nikki Francis (Hammond, piano, synths, saxophone, flute, clarinet), Kitty Biscuits (backing vocals, synths, spoken word/ poetry), and Bad Dog (bass guitars.
The album opens with 'Vorspiel / Grieg’s Diner,' an orchestral-jazz "warm-up" that then develops into a more cohesive part akin to Colosseum meeting early 70s King Crimson.
It also acts as the prelude to the true story of an elderly and dying ex-army musician and his friendship with, and love for, his housekeeper, who is also a part-time sex worker (that the story is also influenced by a friend of the group's and his own experiences, as well as that of another old soldier/ ex musician, adds to the lyrical mystique).
The story proceeds to unfold through, first, three longer-form pieces, all over six-minutes long.
The scene setting ("her soul cried free, yes she called out to me") and highly atmospheric dark-rock ballad 'The Animal Said "I"' where piano, bass, backing harmonies and a striking guitar solo all play important roles, makes for a strong opening to the narrative before 'Tension' gets its heavy prog on.
A clever hybrid of late 60s/ classic Hammond & bass driven prog and neo-prog, 'Tension' progresses the story with a short spoken-word exposition ("a seahorse and a hummingbird fell in love, there passion constrained only by… circumstance") and an impassioned, later-song lead vocal from Erin Bennett.
And that's because there’s a clear link and relationship as regards the deeper conceptual lyricism and the effective intertwining of musical styles and influences (everything from jazz, folk and theatrical to King Crimson and Tool).
Death And The Maiden was a six-song soundtrack to "Krystal's Story," a fictional individual in songwriting terms but with semi-autobiographical overtones of despair, betrayal and eventual redemption (all real life issues for those who have struggled with their place in things, acceptance or sexual morality).
Mad & Killing Time is, then, the second instalment of the Krystal Svava mythos and full-length debut from this Scottish six-piece band – actually "band" is a misnomer, EBB are more accurately part of an arts collective featuring Erin Bennett (guitars, lead vocals, trumpet), Anna Fraser (drums, percussion), Suna Dasi (backing vocals, synths), Nikki Francis (Hammond, piano, synths, saxophone, flute, clarinet), Kitty Biscuits (backing vocals, synths, spoken word/ poetry), and Bad Dog (bass guitars.
The album opens with 'Vorspiel / Grieg’s Diner,' an orchestral-jazz "warm-up" that then develops into a more cohesive part akin to Colosseum meeting early 70s King Crimson.
It also acts as the prelude to the true story of an elderly and dying ex-army musician and his friendship with, and love for, his housekeeper, who is also a part-time sex worker (that the story is also influenced by a friend of the group's and his own experiences, as well as that of another old soldier/ ex musician, adds to the lyrical mystique).
The story proceeds to unfold through, first, three longer-form pieces, all over six-minutes long.
The scene setting ("her soul cried free, yes she called out to me") and highly atmospheric dark-rock ballad 'The Animal Said "I"' where piano, bass, backing harmonies and a striking guitar solo all play important roles, makes for a strong opening to the narrative before 'Tension' gets its heavy prog on.
A clever hybrid of late 60s/ classic Hammond & bass driven prog and neo-prog, 'Tension' progresses the story with a short spoken-word exposition ("a seahorse and a hummingbird fell in love, there passion constrained only by… circumstance") and an impassioned, later-song lead vocal from Erin Bennett.
'Hecate,' title fittingly, has more than a touch of witchcraft and night-magic about it’s dark-rock underworld.
The song is also bolstered by clever and strong use of dynamics, flitting from atmospheric piano to weightier, semi-theatrical passages (and, again, great use of backing/ harmony vocals) and a pulsating, rhythmically driven finale.
The folksy 'What Under What' develops from delicate flute, keys and vocal to a heavier second half (if early Heart did art-rock) before returning to its opening remarks.
It’s followed by the curiously titled 'Violet is Tits' (seemingly about a friend of the group's who is well endowed in the breastage department), which has a sound and groove not too far removed from Pink Floyd’s 'One of These Days,' albeit here with more piano 'Ebb' (the other meaning to the band’s name) and Hammond flow.
'Krystal At The Red Light' might well be described as a jazz-prog blues, with organ and harmony-voiced verses leading to a jazzier excursion (hearkening back to the late 60s and acts such as, again, Colosseum).
The jazz section is followed by, unintentionally or otherwise, a saxophone led-nod to Dave Brubeck’s 'Take Five.'
'Confess,' going by the man’s background voice in the early going, sounds like a reminisce of said gent’s time in the army; the song musically develops from its initial Heart meets Pink Floyd sound to a bigger, bolder and off-kilter 'Crimson' splash of saxophone, trumpet and synths; the song then returns to its vocal and story-telling stanza, including the quite poignant line "The fullness of time on your face unwinds; amongst all these lines, you life’s confession - I stand still, pray time will."
The big sounding and acoustic based 'Mary Jane' closes out the album as the joyous expression of that helping hand in the darkest of times, or places ("Put your drinking and your pills all down for me, let me silence all the screaming that you face, your experience is not your fate… hold on").
By their very nature, EBB aren’t likely to be selected anytime soon for Ken Bruce’s Record of the Week on his BBC Radio 2 show, or indeed any mainstream broadcaster or music chart,
But that’s somewhat missing the point, because In a world where musical mediocrity and lowest common denominator equates to highest commercial sales, EBB and Mad & Killing Time are a breath of fresh, Art for Art(rock)'s sake, air.
Ross Muir
FabricationsHQ
Mad & Killing Time is available now on Boudicca Records and at:
https://ebbband.bandcamp.com/album/mad-killing-time-2
The song is also bolstered by clever and strong use of dynamics, flitting from atmospheric piano to weightier, semi-theatrical passages (and, again, great use of backing/ harmony vocals) and a pulsating, rhythmically driven finale.
The folksy 'What Under What' develops from delicate flute, keys and vocal to a heavier second half (if early Heart did art-rock) before returning to its opening remarks.
It’s followed by the curiously titled 'Violet is Tits' (seemingly about a friend of the group's who is well endowed in the breastage department), which has a sound and groove not too far removed from Pink Floyd’s 'One of These Days,' albeit here with more piano 'Ebb' (the other meaning to the band’s name) and Hammond flow.
'Krystal At The Red Light' might well be described as a jazz-prog blues, with organ and harmony-voiced verses leading to a jazzier excursion (hearkening back to the late 60s and acts such as, again, Colosseum).
The jazz section is followed by, unintentionally or otherwise, a saxophone led-nod to Dave Brubeck’s 'Take Five.'
'Confess,' going by the man’s background voice in the early going, sounds like a reminisce of said gent’s time in the army; the song musically develops from its initial Heart meets Pink Floyd sound to a bigger, bolder and off-kilter 'Crimson' splash of saxophone, trumpet and synths; the song then returns to its vocal and story-telling stanza, including the quite poignant line "The fullness of time on your face unwinds; amongst all these lines, you life’s confession - I stand still, pray time will."
The big sounding and acoustic based 'Mary Jane' closes out the album as the joyous expression of that helping hand in the darkest of times, or places ("Put your drinking and your pills all down for me, let me silence all the screaming that you face, your experience is not your fate… hold on").
By their very nature, EBB aren’t likely to be selected anytime soon for Ken Bruce’s Record of the Week on his BBC Radio 2 show, or indeed any mainstream broadcaster or music chart,
But that’s somewhat missing the point, because In a world where musical mediocrity and lowest common denominator equates to highest commercial sales, EBB and Mad & Killing Time are a breath of fresh, Art for Art(rock)'s sake, air.
Ross Muir
FabricationsHQ
Mad & Killing Time is available now on Boudicca Records and at:
https://ebbband.bandcamp.com/album/mad-killing-time-2