Jason Bieler and The Baron Von Bielski Orchestra – Songs For The Apocalypse
On Songs For The Apocalypse Jason Bieler clearly decided to stretch his already wide musical boundaries even further, confirmed by Bieler’s own comment that the album "should sound something like if Neurosis got stuck in a blizzard at a Wawa with Supertramp, then Jellyfish showed up and they all decided to do Barry Manilow covers in the style of Meshuggah, but in waltz time with slight country underpinnings…"
That’s not as far of the mark as you might think, because Songs For The Apocalypse is a brilliantly bonkers album.
Well before the approaching Apocalypse Jason Bieler co-founded 90s rock band Saigon Kick (achieving Billboard success with the single 'Love Is On The Way),' played in an early touring version of Talisman (with Jeff Scott Soto & Marcel Jacob) and Super Transatlantic (with Extreme bassist Pat Badger).
More recent years have seen him deliver a musically diverse and consistently top-notch set of some sixteen digitally available EPs as well as a couple of solo-acoustic live releases and a number of writing demos/ rarities/ sessions collections.
Such diversity has served Jason Bieler well for Songs For The Apocalypse, in the company of an array of talented musicians including Todd LaTorre, Devin Townsend, Pat Badger, Ron “Bumblefoot” Thal and Dave Ellefson, to name but five of the fifteen guest players/ contributors.
Jason Bieler’s own sounds-a-bit-like observation aside, there are some stylistic Zappa reference points in what is a complex yet heavy album with some diversions into atonality and soundscapes.
There has also been a great deal of time and trouble taken over production, arrangements and vocals (some of the harmony vocal parts remind you of CSNY or even the Beach Boys, underscored by some unrelenting heavy riffing).
Introductory piece 'Never Ending Circle' is an unsettling soundscape featuring eerie choral parts around a four-chord progression; its creepy fairground music ending segues into 'Apology.' which features heavy riffing and legato guitar parts underneath a four-part verse and chorus vocal.
The lead guitar parts (by Andee Blacksugar) on 'Apology,' which veer from harmonious to dissonance and back again, are particularly impressive.
'Bring Out Your Dead' is CSNY (via a very catchy multi-tracked vocal part and melody) meets Metallica; bizarre as that sounds, and against all the odds, it works.
The mid-song solo played by Devin Townsend on synth-guitar evokes Allan Holdsworth before the number breaks down to more multi-tracked vocals and a finish on the well-heavy riff and an air-raid siren – well it does say Apocalypse on the cover…
That’s not as far of the mark as you might think, because Songs For The Apocalypse is a brilliantly bonkers album.
Well before the approaching Apocalypse Jason Bieler co-founded 90s rock band Saigon Kick (achieving Billboard success with the single 'Love Is On The Way),' played in an early touring version of Talisman (with Jeff Scott Soto & Marcel Jacob) and Super Transatlantic (with Extreme bassist Pat Badger).
More recent years have seen him deliver a musically diverse and consistently top-notch set of some sixteen digitally available EPs as well as a couple of solo-acoustic live releases and a number of writing demos/ rarities/ sessions collections.
Such diversity has served Jason Bieler well for Songs For The Apocalypse, in the company of an array of talented musicians including Todd LaTorre, Devin Townsend, Pat Badger, Ron “Bumblefoot” Thal and Dave Ellefson, to name but five of the fifteen guest players/ contributors.
Jason Bieler’s own sounds-a-bit-like observation aside, there are some stylistic Zappa reference points in what is a complex yet heavy album with some diversions into atonality and soundscapes.
There has also been a great deal of time and trouble taken over production, arrangements and vocals (some of the harmony vocal parts remind you of CSNY or even the Beach Boys, underscored by some unrelenting heavy riffing).
Introductory piece 'Never Ending Circle' is an unsettling soundscape featuring eerie choral parts around a four-chord progression; its creepy fairground music ending segues into 'Apology.' which features heavy riffing and legato guitar parts underneath a four-part verse and chorus vocal.
The lead guitar parts (by Andee Blacksugar) on 'Apology,' which veer from harmonious to dissonance and back again, are particularly impressive.
'Bring Out Your Dead' is CSNY (via a very catchy multi-tracked vocal part and melody) meets Metallica; bizarre as that sounds, and against all the odds, it works.
The mid-song solo played by Devin Townsend on synth-guitar evokes Allan Holdsworth before the number breaks down to more multi-tracked vocals and a finish on the well-heavy riff and an air-raid siren – well it does say Apocalypse on the cover…
'Annalise' is even more left field (musically there are off-the-wall moments of System of a Down) but, again, with impressive multi-tracked Jason Bieler vocals.
Following number 'Stones Will Fly' starts quietly and unsettlingly before crunching into a Van Halen-esque riff, more multi-track vocals and an ear-worm chorus (the piano parts at the breakdown also provide some light and shade).
'Down in a Hole' mixes up the rhythm parts (drummer Edu Cominato does a great job here) while the sparse riff leaves the vocals/melody plenty of space to breathe.
Another unexpected turn then comes by way of 'Anthem for a Loser,' which merges country-rock with a bit of electro and another mega-ear-worm of a chorus (it’s also proof that Jason Bieler can write ridiculously catchy pop tunes).
Sitting dead centre of the album like a disconcerting interlude is the instrumental 'Horror Wobbles the Hippo' which, as the title seems to suggest, comes across as a soundtrack to a slasher-movie (while almost throwaway it does feature some very accomplished guitar-noodling from Emil Werstler).
'Beyond Hope' opens with brief and distant sitar before veering into a heavy-funk meets 40s swing arrangement with a suggestion of Ska (via guest vocalist Benji Webbe); the song then returns to the main riff and some wild guitar soloing by Bumblefoot.
'Crab Claw Dan' then reprises the fairground outro vibe of the opening number before switching to another of those big, glorious choruses Jason Bieler seems to be able to write with ease.
This particular track, performed solely by Jason Bieler, is almost a homage to the Beach Boys with the complexity and depth of the vocal arrangement.
The heavy, riff-driven 'Born of the Sun' delivers a big chorus and another bravura drum performance from Edu Cominato before the experimental 'Baby Driver' (featuring a vocal sample like 'O Superman') acts as another short interlude.
The hooky 'Alone in the World,' featuring guest vocalist Jeff Scott Soto and a massive synth and guitar riff (think Muse meets Depeche Mode) is both powerful and unrelenting before dropping to a vocals and drums only outro.
By contrast 'Very Fine People' (another Jason Bieler only number) drops the tempo and intensity to deliver a joyful, acoustic guitar driven song featuring a simple rhythm, yet another big chorus, a lovely little solo and a Beatles meets Jellyfish middle 8.
The short 'FKSWYSO' (no, us neither) then closes out the album with the sparsity of a Fender Rhodes, effected vocal and what sounds like playground voices.
If there’s an Achilles Heel to this album it’s the predilection for multi-tracked vocal arrangements, which can become a little over-bearing (the use of a single vocal may have benefitted the mix on some of the more sonically intense numbers).
That said Songs For The Apocalypse is a fantastically well-produced album featuring top-notch musicianship and a set of songs that are well-written and cleverly arranged.
Additionally, despite the left field diversions and album title, it contains a number of genuinely uplifting moments and carries a feel-good factor – and we could all do with a bit of that.
Alternatively, should there yet be an Apocalypse, we now have the Official Soundtrack.
Nelson McFarlane/ Ross Muir
FabricationsHQ
Following number 'Stones Will Fly' starts quietly and unsettlingly before crunching into a Van Halen-esque riff, more multi-track vocals and an ear-worm chorus (the piano parts at the breakdown also provide some light and shade).
'Down in a Hole' mixes up the rhythm parts (drummer Edu Cominato does a great job here) while the sparse riff leaves the vocals/melody plenty of space to breathe.
Another unexpected turn then comes by way of 'Anthem for a Loser,' which merges country-rock with a bit of electro and another mega-ear-worm of a chorus (it’s also proof that Jason Bieler can write ridiculously catchy pop tunes).
Sitting dead centre of the album like a disconcerting interlude is the instrumental 'Horror Wobbles the Hippo' which, as the title seems to suggest, comes across as a soundtrack to a slasher-movie (while almost throwaway it does feature some very accomplished guitar-noodling from Emil Werstler).
'Beyond Hope' opens with brief and distant sitar before veering into a heavy-funk meets 40s swing arrangement with a suggestion of Ska (via guest vocalist Benji Webbe); the song then returns to the main riff and some wild guitar soloing by Bumblefoot.
'Crab Claw Dan' then reprises the fairground outro vibe of the opening number before switching to another of those big, glorious choruses Jason Bieler seems to be able to write with ease.
This particular track, performed solely by Jason Bieler, is almost a homage to the Beach Boys with the complexity and depth of the vocal arrangement.
The heavy, riff-driven 'Born of the Sun' delivers a big chorus and another bravura drum performance from Edu Cominato before the experimental 'Baby Driver' (featuring a vocal sample like 'O Superman') acts as another short interlude.
The hooky 'Alone in the World,' featuring guest vocalist Jeff Scott Soto and a massive synth and guitar riff (think Muse meets Depeche Mode) is both powerful and unrelenting before dropping to a vocals and drums only outro.
By contrast 'Very Fine People' (another Jason Bieler only number) drops the tempo and intensity to deliver a joyful, acoustic guitar driven song featuring a simple rhythm, yet another big chorus, a lovely little solo and a Beatles meets Jellyfish middle 8.
The short 'FKSWYSO' (no, us neither) then closes out the album with the sparsity of a Fender Rhodes, effected vocal and what sounds like playground voices.
If there’s an Achilles Heel to this album it’s the predilection for multi-tracked vocal arrangements, which can become a little over-bearing (the use of a single vocal may have benefitted the mix on some of the more sonically intense numbers).
That said Songs For The Apocalypse is a fantastically well-produced album featuring top-notch musicianship and a set of songs that are well-written and cleverly arranged.
Additionally, despite the left field diversions and album title, it contains a number of genuinely uplifting moments and carries a feel-good factor – and we could all do with a bit of that.
Alternatively, should there yet be an Apocalypse, we now have the Official Soundtrack.
Nelson McFarlane/ Ross Muir
FabricationsHQ