Feathers for Flesh

Progressive Music Society
April 2008

The Red Masque is a gothic, experimental, avant progressive rock band out of the Philadelphia area. Fronted by emotive vocalist Lynnette Shelley the band weaves a dark tapestry of pictorial music. Much of this album could be a soundtrack to a horror flick. Band members play a multitude of instruments and all contribute the writing of the material. The band are all good players and are able to create a menacingly dark atmosphere. Singer Shelley's voice reminds me of Cjoakha Grace from Azigza. The music is difficult to describe. There is certainly an avant influence to some of it, but I would not describe it as inaccessible. Parts of the album remind me of Daemonia, Goblin, or even the less metal side of Opeth. Overall this disc will probably not be everyone's cup of tea, but I enjoy it and depending on ones taste I suspect fans of dark prog oriented Goth would get a kick out of this album too.

- Steve Sly, Prog Day

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Prog Archives
January 2008

feathers for flesh; music as their shield

4/5 stars

Starting with a wind and occasional percussions and then hissings that go stronger and stronger with some chanting and cries floating by, this haunting and frightening atmosphere creates a tension and anticipation in me, the listener – what will come next? An explosion of sounds? Yes! A powerful, fuzzing and fantastic bass gives a great complex rhythm accompanied by the rest of the band, and Lynnette’s cries. This is a very powerful entry, one that grabs me strongly and gets my undivided attention. TRM know how to create a compelling, even frightening atmosphere, whether it be in a fast, bombarding way, or in a slow, more minimalist and gloomy fashion. Their sound pierces, traverses through my brain leaving deep markings (in a good way). The opening sung lyrics – “I Live In A House Of Ash” – as Lynnette performs them are mesmerizing! Her voice is as beautiful as it is powerful and controlling. She manages to convey feelings very well with her deep evocative voice. However, in this case, if TRM would have only vocals and the band would not be as effective as them it would lose much of the effect. This brings me to the point, that the band plays very well and with passion. The drums are all over the place when needed and give the right amount of support when they recede more to the background.

While you might recognize influences in their various songs, I feel they have well crafted a sound of their own, a niche that they inhabit and a comfortable place they hold. They cover a ground from quiet (yet it can still sound terrifying) and unhurried (as in the songs Passage, Beggars & Thieves) to the fast, furious and complex (parts of House Of Ash and of Yellow Are His Opening Eyes); they also play a more conventional sound, but then shift away suddenly and make it more complicated sounding or the other way around, move to the simpler from the more complicated parts (see Passage). Basically they are varied with respect to the complexity and intensity of the music they play. They move from angular form to a smoother, softer and rounder sound. They also tend to go for the more epic form of songs; long, with various different parts and complex with regards to structure and playing style. They are not afraid to experiment, and do this in the sound they create and in the composition’s structures, not forgetting the original theme and musical idea that started the song. Another aspect to the band is the more avant-garde approach as can be heard in the last two songs. In “Yellow Are His Opening Eyes”, Lynnette’s voice as she narrates/sings, reminds me of Diamanda Galas. What a fabulous voice! In this song when the abstract, rhythmless part ends, they show how they can rock (heavily) and do it very well, in a sophisticated way with an influence from King Crimson Red-era. In fact the King Crimson vibe can be heard in various points in the album (again, Red era). It’s as if they’ve taken KC sound and “mutated” it so that it fits their vision. You might think that beauty is absent here. Well what is beauty in your eyes? I think that all the songs here are beautiful; but if you want a more common perception of beauty then, Beggars and Thieves with its folk sound is definitely the song here which will appeal to the wider musical palate. With another powerful vocal delivery, Lynnette is fantastic in this song, backed up by the excellent musicians in the band. With the closing song, Scarlet Experiments, comes experimentation as the name implies. The songs is amorphic, going up and down in volume, it has “disturbing” sound effects, hissing vocals; it is abstract as if someone were painting a musical canvas not sure what he wants to paint, only having a vague image in his mind, a very basic idea; and he uses the brush with violence one moment and then calming down the next to bring to life his unclear vision. It is a sort of exercise in “drawing” the music to describe your vision.

I find this album to be a magnificent listening experience. The band performs wonderfully, bringing to life a vivid vision which is as beautiful as it is complex. I recommend this highly to people who want an artistic, adventurous and experimental form of rock that takes in what is perceived as common and usual and absorbs it into what is viewed as unusual.

Go to their websites to listen to their music!

- Assaf Vestin

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Sonic Bond
2006

The Red Masque - from the Philadelphia area of the USA - are an avant rock band with an unique angle on progressive rock.

Essentially, the band combines rock with a strong King Crimson influence, including fierce ensemble playing and angular melodies, with pretty much anything else that takes its fancy, from haunting atmospheric passages to lyrical vocal moments, and completely off the wall avant garde passages.

The end product is actually rather likeable and often beautiful, in a Gothic kind of way. Lynnette Shelley's versatile vocals bind the music together, and in truth, there is much here that Crimson, Magma and Gong fans will enjoy, and there's even some traditional prog in there somewhere.

Tricky, not for the faint hearted, but ultimately very rewarding.

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Babyblaue Prog Reviews
2006

Three German reviews from Babyblaue are below. If anybody has any English translation, please email the band....

Von: Thomas Kohlruß @ (Rezension 1 von 3)

"Feathers For Flesh" ist schon das dritte Album der Formation The Red Masque. Die anderen Beiden kenne ich nicht, aber "Feathers..." habe ich nun ziemlich oft gehört... und weiß eigentlich immer noch nicht, was ich wirklich davon halten soll.

The Red Masque haben ein Album geschaffen, welches sich Vergleichen weitgehend entzieht. Musikalisch wandeln die Musiker weit ab von gewohnten Wegen, auch wenn natürlich immer mal wieder Versatzstücke auftauchen, die einen an den einen oder anderen bekannten Act erinnern. Aufgeschlossene ProgHeads und musikalische Avantgardisten sollten sich in jedem Fall angesprochen fühlen und hier ein Ohr (oder auch ein bisschen mehr) riskieren. Das sollte eine lohnende Erfahrung sein.

"Feathers For Flesh" bietet zunächst drei längere Tracks, die im Prinzip das Album ausmachen. Und hier geht es düster, dramatisch, beunruhigend und geheimnisvoll zu. Das "House Of Ash" entpuppt sich als düsteres, sturmumtostes Geisterschloss, in dessen Kellergewölben ein manischer Zeuhl-Bass in den Eingeweiden des Hörers herumstiert. Ein paar Schritte weiter entfaltet sich aber ein grosser Saal, der im Halbdunkel hunderter Kerzen unter den mächtigen Klängen einer gewaltigen Pfeiffenorgel erbebt. Über allem erhebt sich der klagende Gesang einer gequälten Jungfrau... und die Violine weint dazu ein bisschen. Puh! Der Soundtrack für eine düstere Edgar Allan Poe-Verfilmung, die sich langsam in schwarzweiss vor dem inneren Auge entwickelt.

Mit "Passage" schliesst sich ein fast schon konventioneller Part an. Die Band rockt hier in crimsonesker Manier mit heftigem Gitarrengeriffe und schlagendem, heftigen Bass gut ab. Ein ruhigerer Gesangspart leitet geschickt den Übergang in eine Art mittelalterliche Ballade mit Gitarren-, Flöten- und Bass-Spielereien ein. Bevor die Spannung wieder gesteigert wird und die Band die Rockschraube wieder ordentlich anzieht. Für mich der Höhepunkt des Albums. Lyrische Momente wechseln sich mit brachialen Ausbrüchen ab.

Kehrtwendung mit "Yellow Are His Opening Eyes" welches mit einer Art manischem Sprechgesang von Lynnette Shelley beginnt. Hier bin ich ob der Schräge und Atonalität des Ganzen einen Moment lang an Deborah Perry von Thinking Plague erinnert, die mir ähnliche Schreckensschauer über den Rücken jagt. Kurz bevor diese Einlage aber (zumindest mich) ungeheuer nervt, bricht die Band wieder mit einem brachialen Rockpart in den Song ein. Immer wenn die Band ordentlich rockt und dabei eine kuriose Verquickung aus Gothic-Klängen, crimsonesken Geriffe und einem profunden, donnerndem Bass produziert, kann das Album begeistern. Düster und getragen klingt der Song mit seltsamen, choralen Gesängen aus...

Zum Abschluss gibt es mit "Beggars & Thieves" eine folkorientierte, mittelalterliche Ballade. So könnten Blackmores Night klingen, wenn sie denn ernsthaft diese musikalische Linie verfolgen würden. Akustische Gitarren dominieren den Song, der vom klaren Minnegesang von Shelley getragen wird. Eigentlich nicht schlecht und vielleicht auch nach den heftigen Exzessen vom Beginn des Albums ein guter Ruhepunkt, aber trotzdem wirkt der Song irgendwie deplaziert.

Am Ende steht dann noch ein seltsame Klangcollage mit allerlei gehauchtem, geflüstertem Text. Nun ja, und Schluß... Ein seltsames Album findet sein Ende. Während die Musiker sich nicht besonders in den Vordergrund spielen, sondern einfach einen kompetenten Bandsound produzieren, gelingt es Lynnette Shelley schon mit ihrem theatralisch-dramatischen Gesang sich in den Mittelpunkt zu stellen. Das muss man abkönnen ;-) Je nach Tagesform bin ich begeistert oder verstört und genervt. Ich glaube aber, die begeisterten Momente sind in der Überzahl...

Von: Christian Rode @ (Rezension 2 von 3)

Feathers for Flesh – 2006 wiederveröffentlicht, nachdem es zwei Jahre zuvor schlicht nicht beachtet worden war - entzieht sich auch nach meinem Eindruck einfachen Vergleichen. Müsste ich die Musik auf einen Nenner bringen, würde ich behaupten, es handele sich um eine Art trashigen, mittelalterlich bis jazzigen Gothic-Folk-Metal mit allerlei AvantProg bis King Crimson- und sogar leichten Genesis- oder Renaissance-Anleihen. Der Band ist auf diesem Album einfach schwer beizukommen... Dies macht die Annäherung an das Album auch nicht gerade leicht.

Von der Aufmachung und von der Anlage der Songs her setzt die Band auf Gruseleffekte. Das erste Stück beginnt mit einer langen Einleitung, die wohl Horroratmosphäre vermitteln soll. Und auch im weiteren werden Effekte und musikalische Mittel (z.B. schaurige Orgel, gesangliche Verrenkungen) zu diesem Zweck eingesetzt. Nach meinem Empfinden wäre da weniger mehr gewesen. Es lässt sich nämlich mit geschickt eingesetzten sparsamen Mitteln besser Atmosphäre erzeugen als mit der hier geleisteten Überfrachtung. Das Gewollte der Gruseligkeit wirkt auf mich überdies ungewollt komisch und hat den Charme eines Horror-B-Movies. Daran kann man natürlich auch seinen Spaß haben. Mich nervt es auf Dauer.

Wie stark die an sich sehr interessante und spannende Musik der Band von Effekthascherei zugekleistert wird, wird besonders beim akustisch arrangierten Stück Beggars & Thieves deutlich. Hier ist der Sound von The Red Masque quasi von den sonst üblichen Gruseleffekten entkleidet und strahlt trotzdem – oder gerade deshalb - viel Atmosphäre aus. Besonders House of Ash, bedingt auch Yellow are his opening Eyes, leiden darunter, dass die Kompositionen den Gruseleffekten untergeordnet werden und im Falle von House of Ash die Zusammenfügung der unterschiedlichen Teile auch nicht befriedigend gelingt. Und was das Sammelsurium von Schauereffekten am Ende des Albums soll, weiß vermutlich der Teufel allein... Ich vermute mal, dass die Band einfach Sorge hatte, das Album könne ohne vordergründige Effekte ausklingen...

Neben der akustischen Nummer überzeugt v.a. Passage, bei dem stimmungsvolle ruhige Gesangspassagen neben Instrumentalteilen von beeindruckenden Drive stehen. Mittelalterlicher Folk a la Steeleye Span wird hier etwa langsam zu einem immer schräger werdenden, furiosen Tanz, der es in sich hat.

Diese Band hat einiges an erfrischendem Potential bei ihrer ungewöhnlichen Stilverquickung in sich. Wenn sie sich von überflüssigen Gimmicks und der Unterordnung der Musik unter diese verabschiedet, erwarte ich ein wirklich stimmiges, vollauf überzeugendes Album.

Von: Kristian Selm @ (Rezension 3 von 3)

Bereits mit ihrem 2002er Debüt "Victoria and the Haruspex" legten The Red Masque nicht gerade einfache Kost vor. Stilistisch sehr weit gefächert wurde der Hörer mit einem fordernden Mix aus Soundscapes, Avantgarde und Prog mächtig gefordert. Genauso geht es auf "Feathers for flesh" weiter, wo bereits der mit Stimmengeflüster und nur experimenteller Untermalung versehene Opener "House of Ash" recht gewöhnungsbedürftig beginnt. Doch nach etwas mehr als 3 Minuten knallt einem grooviger Progressive Rock entgegen, grob irgendwo zwischen King Crimson, Zeuhl und R.I.O. angesiedelt. Danach folgt eine sakrale Passage mit Orgel und Kirchgesang, bevor das Stück in expressivem, wuchtigen, aber auch schrägen Progressive Rock gipfelt. Und fast genauso funktioniert auch der Rest des Albums.

The Red Masque stopfen einfach alles, was ihnen zwischen die Finger und Stimmen kommt, in einen Topf. Das Endresultat ist nicht unbedingt einfach bzw. für jeden genießbar, hat aber jede Menge Würze und einen wunderbaren Nachgeschmack. Hier wird das Adjektiv "progressiv" mal wieder eher wörtlich benützt, denn diese abenteuerliche Mischung setzt sich konsequent über eingefahrene Hörgewohnheiten hinweg, auch wenn die einzelnen Versatzstücke meist auf 70er-Traditionen fußen. Ein anderer Kritiker erfand dafür den Begriff "Nu Progressive". Hier bleibt nichts vorausschaubar, dennoch bekommt man in mächtiger Power einiges um die Ohren geblasen, was den aufgeschlossenen Hörer begeistert. Schräge, brüchige Passagen wechseln sich ab mit fragilen Melodien, Experimentelles steht gleichberechtigt neben Konventionellem.

Für "Feathers for flesh" gilt, dass man diesem von der Grundtendenz her recht düsteren Album Zeit geben muss, sich die Musik keineswegs sofort erschließt. Mit der nötigen Belastbarkeit und hörtechnischem Einsatz wird man dafür mit einem äußerst vielschichtigen Hörerlebnis belohnt. Soundbeispiele und jede Menge begeisterte Kritiken findet man übrigens auf der bandeigenen Webpage, so dass sich jeder seine eigenen Meinung über dieses außergewöhnliche Werk bilden kann.

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Music Street Journal
November 2006

By Bill Knispel
Overall Review

The Red Masque is an avant progressive band from the Philadelphia PA area. The quartet lists bands such as Bauhaus, Van der Graaf Generator, Gong and King Crimson, among others, as influences, and those bands can certainly be heard in The Red Masque’s music as direct ancestors. Formed by Lynnette Shelley (vocals, percussion, erhu, psaltery, miscellany) and Brandon Ross (bass, acoustic guitar, keyboards, vocals) in 2001, their material is dark and complex, eschewing instrumental fireworks in lieu of an emphasis on setting mood and exploring sound and texture. Over the years the band has gone through a number of line-up changes; on Feathers for Flesh, the lineup is filled out by long-time member Vonorn (drums, percussion, theremin, keyboards, bass, acoustic guitar, vocals) and Kiarash Emami (electric and acoustic guitars, mandolin, keyboards, vocals).

Feathers for Flesh is the group’s fourth release, and second full-length effort. Released on Big Balloon Music, the album builds on the foundations laid by the earlier Death of the Red Masque (EP, 2001) and Victoria and the Haruspex (full length, 2002). One track, “Beggars & Thieves,” was released in 2003 as an advance single along with an embryonic and improvisatory version of “Yellow Are His Opening Eyes,” recorded live at the Metlar-Bodine House Museum on 29 March 2003. This is not music for the faint of heart, yet it will reward the adventurous listener unafraid to risk travelling down some dark musical pathways with an experience unlike any other.

Track by Track Review
House of Ash: The album opens quietly, with a desert, eastern feel. Quiet percussion and strange bowed effects rest uneasily under whispered vocals. The band arrives some three minutes in, breaking the quiet with distorted bass, chanted vocals, and piercing guitar. Lyrically the song seems to weave a dark tale of ancient gods or daemons trapped, unable or disallowed to dine on the flesh of the living. Lynnette Shelley’s vocals cover the full range of her capabilities here, easily switching from a deep alto that reminds strongly of Grace Slick to a disturbingly sweet soprano. Heavy use of church-like organ and chant builds the unrelentingly dark mood.

Passage: A song filled with dichotomy. “Passage” features some of the quickest paced playing on the album, as well as some of the gentlest. Brandon Ross’s bass playing is a highlight here, playing heavily strummed chords that cut through the swirling sound mix. The song suddenly shifts gears, moving into a gentle vocal section with a jazzy vibe. Kiarash Emami’s shows a fluid adaptability with his guitar playing here, handling light melodic finesse and distorted, Fripp-like guitar lines with fluid ease. Always present are the touches Vornorn adds to the band; whether it’s staccato keyboard lines, eerie theremin or his solid drumming, his presence is a large part of The Red Masque’s sound.

Yellow are his Opening Eyes: Eerie synthesizer and organ sets the stage for Shelley’s spoken-sung vocals, sounding more like incantation than song. A heavy section reminiscent of Larks’ Tongues… era King Crimson snaps the listener out of their reverie, the band showing themselves as adept at metal as they are with more subtle musical styles. Despite the multiple sections, each different in tempo and tone, the band flows from one to the next with ease, the composition sounding whole and not pasted together from varied components.

Beggars & Thieves: This is possibly the most “traditional” song The Red Masque has committed to album. Opening with strummed acoustic guitar and a pleasant medieval feel, the song retains the darkness the band is known for lyrically. The multiple guitar parts interplay with each other wonderfully, painting an audible picture of bards singing a cautionary tale to their audience.

Scarlet Experiment: By far the shortest piece on Feathers for Flesh at 3:46, “Scarlet Experiment” is, as the title infers, perhaps the most experimental, least traditionally structured composition here. Shelley’s vocals are mostly whispered, shifting from channel to channel while other vocal effects rise and fall in the mix. Found sounds and stringed instruments fill out the mix, creating something unsettling and strange. This is music by which nightmares are wrought, and likely should not be listened to late at night, with the lights low and thunder splitting the night, even though this seems a soundtrack written with that in mind.

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February 2006

I just recieved a copy of Feathers for Flesh in the mail (I assume because I am on the Progday committee) and it blew me away. Great job!

I knew it would be good just from the look of the disc: the artwork, the
colors used, it all said "potency here". The whole package radiates a classic romp, one of those great album covers you look at years later and it gives you that feeling that old ass kickers such as Crimson and Genesis and VanDerGraff give you, yet with a more current aesthetic. Funny how psychology works! (and artwork is important)

The opening track woke my ears up immediately, and held them all the way. Creative heights and rages are unmistakable. You got it or you dont. "House of Ash", taken as a sonic whole, is unlike anything I have ever heard, and is most closely comparable to the aggressive angularities of Sleepy Time Gorilla Museum, yet with a drench of gothick mystery splashed all over it. Great drums, great vocals (fantastic bionic sonic treatments) ripping bass. What a wild opener!

The second tune, Passage, surprised me with the way it unpredictably
slid into pastoralism. I see from your promo material that the band aims for music that surprises. Most bands in "quote, unquote" - Prog Rock (yeah, ya love that label, I know!) claim to do this, but all too many of them do not live up to the goal. It is nice to see a band make such a claim and actually do it...actually surprise a somewhat jaded avant music freak such as myself. I am always looking for something to set me on my ear.

I love what you all accomplished on this. By all means keep it going. I
look forward to the next. I must thank John from Big Ballon for sending this.

--Jay Werbinox Taylor, Progday

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Progressive World
August 2005

The Red Masque's third release, Feathers For Flesh ought to have two
warnings: One, don't listen to this in the dark. Two, best played in the dark. Well, maybe three: warning, contents may be contagious.

Why the first "warning"? Because like the creepiest, subtlest horror stories - as told by Poe, let's say - this is a creepy horror release that is the most scary in the dark. Not pitch dark - that might just be too much... especially if you've a weak heart. But just dark enough that the shadows shift and move like restless shades. Dark enough that mementos on the hutch become gargoyles, and you feel you've been sucked into the world of Edgar Allen Poe, of Hammer Horror films... of some very dark and mysterious and strangely thrilling place. Angular edges thrust out at you like menacing spirits, throbbing bass pushes you along, allowing you no way to turn back. It's gothic - church organs
play deep rich horror tones; sad violins, distorted guitars, wailing voices that cry sweetly like tortured spirits. This is not a bad thing, but if you don't want "nightmares"... best listen to this with the lights on... (This paragraph written while listening to "House of Ash," which opens the CD).

The second warning is because it will just not have the right effect in full light, as light chases away a certain ambiance that is required for the full effect. Which also means... this is not background music... except to some real-time dramatization of the pieces, if such a thing were possible. To get the full effect, you must immerse yourself wholly, give yourself over to the dark journey that The Red Masque wish to take you on. Just remember though, it's just music... you're not really there. (Just turn on the lights to chase away the shadows, the gargoyles and things that haunt the night.)

Things aren't all angular darkness - and while you might want to mention King Crimson, that certain royal shade is far less apparent here than on their debut ep. In fact, I'd say that "Passage" is more reminiscent of the arty, moody, floaty, folk-inflected music psychedelic music of the 60s. That genre that ran parallel to progressive rock. There are gentle guitar, bass, and keyboard passages here. Noodly and dark... I think too of the German psych-prog bands that I've heard a lot of on the Garden of Delights label. But that's only the first part, as "Passage" is more than just a folky-psych piece; as the complexity increases, so does the pace, and we goe off into more eclectic, eccentric territories. Screaming guitar, angular percussion ... King Crimson if the King is Mad King George. these lighter, acoustic, airier passages (no pun) return with "Beggars & Thieves." Here we get mandolin plucking out a medieval melody.

"Scarlet Experiment" is the words of Emily Dickinson as voiced by Lynnette Shelley... and here you will find Shelley right beside your ear, whispering the words... Beside your ear? No, she's inside it... Earlier she speaks/sings her way through "Yellow Are His Opening Eyes" ... performance art... a poetry reading dramatized... a soliloquy... That is the first part of this multi-part piece... more dark angularity ensues, ensnares, consumes.

Who are the folks responsible for this beautiful horror? Vocals and
recitation are provided by Shelley... she of a voice flexible enough to get deep and guttural and high and sweet - earthy and ethereal ... sometimes in the same piece. She also plays erhu (a Chinese violin or fiddle with 2 strings), psaltery, and pots, pans, slinky and other objects, the credits say. Kiarash Emami plays guitars, mandolin, keyboards and contributes vocals; Brandon Ross plays bass, acoustic guitar, keyboards and contributes vocals; Vonorn plays drums, percussion, keyboards, theremin, electric guitar, bass guitar, and contributes vocals. Special guests are Damian Boucher on violin on "House Of Ash" and Sue Wolfsong contributes additional vocals to "Scarlet Experiment."

I first played this (some 12 months after its release, sadly) whilst driving about Allentown and Bethlehem, PA during NEARfest weekend. Appropriate, as TRM are a Philadelphia band and both those cities are about an hour-plus out of Philly. And, I'll say here, I think TRM ought to make a NF appearance, perhaps as the Sunday opener... ah, but if this is best heard in the dark... some what higher up in billing, so much later in the day.

Ah, so what do I think. I think this is a beautifully horrific (in a good way) CD that sent and sends chills down my spine and I keep coming back to it in fascination. I have not pecked away entirely at the shell... have not yet slipped into every shadow... there is still much to explore if my psyche can handle it. For all the dark places it leads, there are darker places hinted at... dare you go?

Rating: 5/5

--Stephanie Sollow

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Metal Inside
August 2005

Note: Below is a review from a German website. We have an English translation of the text available here.

Eines ist schon mal sicher, die neue der US-Formation THE RED MASQUE trifft die eigentliche Definition von „Progressive“ im engst möglichen Sinne. Was schon das „ungewöhnliche“ Coverartwork geradezu vorherzusagen scheint, die Musik bestätigt es noch viel nachhaltiger. Hier ist wirklich nichts von der Stange oder gar mit herkömmlicher Kost zu vergleichen ein stellenweise sehr, sehr gewöhnungsbedürftiger (Folk-Prog) Mix aus schrägen Akkorden, wilden Breaks, feurigen Percussions, sperrigen Melodien, folkig-düster anmutenden Gothic Klanggebilden und mit einer mal fauchenden, dann erzählenden oder schreiend-schimpfenden und dann wieder zart betonend agierenden Sängerin - das alles bieten die vier überlangen Hauptstücke (bis zu 14 Minuten) von „Feather For Flesh“. Den kürzesten „Song“ eine Art gesprochenes Nachwort mit Soundcollagen a la TON STEINE SCHERBEN kann dabei eher komplett außen vorgelassen werden. Schon 2002 hat dieser Vierer mit "Victoria And The Haruspex" ein nicht gerade leicht konsumierbares Werk vorgelegt und auch mit diesen aktuellen sowie teilweise wirklich sehr experimentellen Sounds werden selbst gestandene Proghörer ihre liebe Mühe haben, versprochen. Schon das 14-minütige "House Of Ash" verlangt von Beginn an die volle Konzentration insbesondere die wuchtig-schwermütigen Kirchenorgelparts mit entsprechendem Chören könnten auch als Filmsoundtrack für einen Horrorschinken oder einen alten Stummfilm dienen. Diese Formation aus Philadelphia verarbeitet ganz viele musikalische Einflüsse, ob immer so passend darüber läßt sich sicher streiten. Jedenfalls packt man dieses wilde Konglomerat aus Stimmen, Geräuschen, surrender Percussion, Streichern und ganz viel feinste 70er Jahre symphonisch-progressive Schule zusammen und serviert auf „Feather For Flesh" eine absolut ungewöhnliche Musik, die mit ständigen unvorhersehbaren Wendungen, egal in welche auch zunächst noch so abwegig scheinendes Genre aufwartet. Das Schlüsselwort für den Sound scheint hier mir mit „schräg“ noch am ehesten symbolisch zu sein, denn diese urwüchsigen Kompositionen klingen sehr spontan und improvisiert - hängebleibende Songstrukturen oder gar Melodien sind hier eher eine zu vernachlässigende Randerscheinung. Harmonie(en) im engeren Sinne scheint im Bandselbstverständnis keine allzu große Rolle zu spielen, die Songs sind äußerst abstrakt gehalten, stellenweise recht wirr, abgehackt und scheinbar unnahbar. Auch die oftmals hektische Rhythmik sowie die insgesamt leider eher seltenen ruhigeren Passagen mit der über allem liegenden latenten Düsternis lassen die Musik nur selten Luft holen oder gar ein einfaches Zuhöre möglich. Manches wirkt aber auch etwas zu übertrieben auf „schräg“ getrimmt, besonders wenn heftiges Gejaule sich ab mit klarem Gesang abwechselt und wieder akzentuiertes Gitarrenspiel folgt und alles zusammen anschließend in zügellosen Fusion Jazzrock mündet. THE RED MASQUE sind wirklich anstrengend und auf jeden Fall einzigartig (schräg) und tja auch etwas (arg) durchgeknallt. Für Nicht Progfans daher eher nicht so interessant, es klingt manchmal bei einigermaßen normalen Songphasen wie BLACKMORE’S NIGHT auf Acid mit einem Schuß Avantgard. Alles klar soweit? Falls nicht, auch nicht schlimm hört mal rein, bezweifle aber, dass ihr hinterher viel schlauer seid.


--Keine Einträge

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Gaesteliste
August 2005

Note: Below is a review from a German website. We have had an English translation made available here.

In den USA bereits im Herbst 2004 veröffentlicht, findet diese hoch spannende Avant-Rock-Truppe aus Philadelphia nun mit Quixote Music eine berufene deutsche Vertriebsheimat. Geboten wird schon mit dem ersten Longtrack "House Of Ash" ein energetischer Mix aus Ligeti (vgl. "Space Odyssey"), (später) Orgelmusik, Gothic, pumpendem 70er Jahre Prog Rock und Horror-Soundtrack (die Band benannte sich wohl nicht zufällig nach der Geschichte "The Masque Of The Read Death" von E. A. Poe). Wer das verdaut hat, bekommt mit "Passage" eine knappe Viertelstunde Fusion Prog mit phantastischer Bassarbeit von Brandon Ross zu spüren. Diseuse Lynnette Shelley erinnert hier manchmal an eine dunkler getönte Ausgabe von Pattie Santos von It's A Beautiful Day, mal an Madder Mortems Agnete M. Kirkevaags und gelegentlich - in dramatischen Passagen - an unser aller Jutta Weinhold, bleibt aber letztlich doch unvergleichlich. Wer immer noch durchhält, erreicht sodann die Klippen des (Sanges-)Wahnsinns von "Yellow Are His Opening Eyes" - derartiges hört man selten außerhalb von Experimentaltheater oder geschlossenen Anstalten. Kleinen Ohrentrost bietet dann das folkig / mittelalterliche "Beggars & Thieves", bis "Scarlet Experiment" seinem Titel wieder Ehre macht. Mutige Musik für ebensolche Grenzerfahrungssucher.

-Klaus Reckert-

 

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Wire
Issue No. 248

This third album from Philadelphia quartest The Red Masque starts off just as you'd hope in a creaking forest haunted by the wraith-like vocal of Lynette Shelley, which promises to shuffle around in the digital undergrowth for the next hour or so. Instead, all Prog hell breaks loose with doomy organ, Curved Air-style violin sawing and a full-on rock orchestra sliding effortlessly from movement to movement. 'Feathers for Flesh' has 'concept album' written all over it, as it veers from Tarkus-era Emerson Lake & Palmer, to Kate Bush's version of rock bombast, to fusion folk. This balancing act will leave most listeners screaming in anticipation for the grand finale.

- Edwin Pouncey

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The Hed Count
July 2005

Philadelphia`s The Red Masque are a gothic-colored collision of avant-prog and psychedelic influences. Their new album, Feathers For Flesh, is their most accomplished release to date, featuring an exponetial growth in both songwriting skill and studio proficiency. Another disclosure: The Red Masque's singer, Lynnette Shelley provided excellent backing vocals on the debut Church of Hed CD. But hey, I wouldn`t have asked her to sing on it, nor would I write about her band if they didn't warrant it. What sets TRM apart from other modern bands wearing the prog banner is the general taste of material. Alot of prog, especially that from the avant-prog camp, wallows in this modern classical sludge of complexity; never stooping to grace the listener with a simple, memorable melody or powerful groove. Having said that, most avant-prog is vastly preferable to the bland, technically proficient, yet AOR-cliche-laden neo-prog side of the "genre". Or as David St. Hubbins put it best, there`s a fine line between clever and stupid. Feathers For Flesh shows that TRM is on their way of mastering that ultimate skill in producing quality progressive music: contrasting the complex against the simple; the dissonant against the melodious. Let alone that a sense of psychedelia, color and danger totally permeates the mood. No dull music school readings here. The highlights of the album for me are "Yellow are his Opening Eyes" (I`m not typing out all its roman numeraled sections! Prog-bands, jeesh!) and "Beggars & Theives." The latter song especially show TRM at their most tuneful; it has almost classic folky melodies giving Shelley a chance to show her vocal range and depth of expression. Special props to drummer Vornorn and guitarist Kirash Emami for their quality engineering work. This album sounds stunning; an accomplishment considering the amount of bizarre instrumentation on the disc. Feathers for Flesh is definitely recommended for folks who need to be convinced there is still quality, inventive and progressive music coming out of the Prog genre.

--Paul Williams

 

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Magnaphone
Issue No. 2

Now this is sweet music to my ears, the perfect aural elixir to a winter's day. Sure enough, honest to goodness progressive-rock alive and well and here in our own Philadelphia! It's all here: Medieval renderings and influences, powerful and adept guitar work, beautiful vocals and intricate song patterns and storytelling. The only thing missing is the Harvest label in the center of the record! The interplay between baroque classical and straight-ahead hard rock are stunning on this piece.Keep your eyes and ears open, Lynette Shelly and her Red Masque are planning something wicked this spring!

- Greg Trout

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Expose Magazine
Issue No. 31, January 2005

Roundtable Review

Peter Thelen:
They've come a long way since their somewhat rough debut Death of The Red Masque. A long way indeed. Anyone who dismissed that early effort as amateurish and ambitious beyond their abilities only needs to hear this outstanding third full length CD. The four piece fronted by vocalist Lynnette Shelley plays a dizzying array of instrumentation, and delivers an intense workout that defies categorization. At any minute they may be driving out a brutal 70's Crimson like rock, a gentle nearly-pastoral pop, offering quirky and angular outbursts of avant-garde strangeness, or hovering in dark, mysterious gothic spaces often all within the confines of the same track. Of the five cuts on the disc, all but one are lengthy multi-part suites in the 10-15 minute range. We got a preview of one of these ("Beggars & Thieves") on a single released late last year (reviewed in #30). "Passage" encompasses it all, opening with a hard rocking crimsoid tour-de-force before moving into a more delicately balanced section showcasing Shelley's vocals along with acoustic guitars and flute, slowly evolving back out into a more intense sonic disruption again. Shelley's improvisation-backed stream of consciousness at the beginning of "Yellow Are His Opening Eyes" is a bit reminiscent of Jim Morrison's "Horse Latitudes" on Strange Days, though it's not long before the band is rocking again. In all, this is an outstanding release that loudly trumpets The Red Masque's arrival as a world class progressive rock act.

Sean McFee:
What does it say about today that bands that are not fluffy get categorized as "avant"? That's the pigeonhole The Red Masque are often stuffed into, with all the grace of the proverbial square peg. A quartet using standard prog instrumentation and a number of exotic/found percussion instruments, they throw the odd bone towards avant-prog, but more often remind me of Starless and Bible Black or Godbluff you know, the way prog used to be, with a spirit of adventure and a willingness to shock or unnerve or challenge. They have many ideas trying to bust through; rock, folk, free-form, art song, and so on. And if you're concerned that there are too many angelic wallflower chick singers in prog, boy are you in for a treat. Lynnette Shelley is no angel; she's more of a cross between Cyoakha Grace (Azigza) and Carla Kihlstedt (Sleepytime Gorilla Museum), although deeper than both. A modern comparison might be Devil Doll with the high gothic pretentiousness. Make no mistake, The Red Masque is certainly pretentious, with the narration sounding like something out of modern classical, the kind of stuff that survives due only to grants. At their best, though, which is most of the time on Feathers for Flesh, the Red Masque rocks out, and that is fun to listen to. While I feel their best work is ahead of them, they have come a long way in a few years and have leapfrogged most of the modern prog movement in artistic vision. Bravo.

Jeff Melton:
The Red Masque is a four-piece ensemble that hails from Philadelphia that bridge the gulf between ReR experimentalism and outright gothic rock. Led by vocalist Lynnette Shelley and bassist Brandon Ross, the quartet is comfortable doing mysterious drones as well as creating dark medieval themes that map out depressing musical statements. The trio's delivery is not as dire as many a Devil Doll product, but that target audience will surely be one to embrace this set of five menacing tracks. Violinist Damian Boucher contributes some gypsy violin that works to great results on top of a cathedral style organ on "House of Ash" before the entire ensemble careens into the song. Guitarist Kiarash Emami serves up intense wailing on "Passage" that recalls many of Steve Hackett's intense moments before the piece settles into a lush vocal section. The mayhem continues on "Yellow are his Opening Eyes" where Shelley gives her best Gilli Smyth reading before heavy rock riffing begins. The piece does veer into a monastic multi-vocal section before returning to a powerful prog metal passage. "Beggars and Thieves" is a much-needed acoustic relief piece that merges folk rock with some odd improvisational elements using harpsichord and mandolin. Closing out the collection is the creepiest song on the disc which would fit nicely into any maniacal movie soundtrack. In summary, the band has created a pastiche of sound collages in no need of further refinement.

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Amazon.com
January 2005

Interesting Avant-Garde Rock/Metal

Reviewer: Murat Batmaz (Istanbul, Turkey)

I had no idea if Feathers for Flesh was The Red Masque's first album or not since I came across this interesting album completely by chance. This is a 2004 release and was released through indie lable Big Balloon Music who are famous for carrying great progressive bands on their vendor. Only after visiting the band's website did I find out that this is actually their third album amidst a bunch of promo CDs and singles. The album consists of five songs, but each piece except the last one clocks in over at the 10-minute mark offering a variety of textures and avant-garde rock influences in the vein of King Crimson's Red era. Not only King Crimson, but other comparisons that popped in my head while listening to this have been Opeth, Novembre, maudlin of the Well, Sonus Umbra, and even Blackmore's Night. As a matter of fact, no one else may hear these bands on Feathers of Flesh, since it's the 'vibe' rather than the 'music' that I feel when I listen to this album. Besides, The Red Masque has a female singer and she sings in her regular voice as opposed to doing death growls.

What I like best about this album is that there are subtle contributions from each member and this makes it a real band effort. Vocalist Lynnette Shelley wrote all the lyrics, plays tons of instruments, and adds various weird textures. It's really hard to explain; you have to hear it to believe it. Another interesting detail is that more than one member plays the same instrument here. For example, all three guys except the singer play keys/organ. Guitarist Kiarash Emami also plays electric and acoustic guitar as well as the mandolin. Bassist Brandon Ross, too, does some guitar work. Then there is the amazing drummer Vonorn who also picks up the bass in a few songs. The music presented on this 54-minute album borrows both Metal and Rock characteristics as well as non-Metal elements such as the violin, mandolin, organ, harp, and even didgeridoo. That is perhaps what makes me think of the maudlin of the Well comparisons: the excellent blend of varied instruments.

Throughout the whole disc, the mood is very sinister. There is a good deal of keyboard work juxtaposed with a thick organ sound almost making some of the tunes gothic-sounding (refer to the intro of the third track "Yellow Are His Opening Eyes"). The most impressive instrument in my opinion is the bass. It's very heavy and subtle and the main driving force of most of the tracks. The drumming of Vonor is nothing short of amazing as well. He thunders and beats the skins viciously, but he also knows when to hold back and experiment with the cymbals like Bill Bruford in the 70's. The rhythm section is very tight especially when combined with the atmospherics of mellotrons. Emami's guitar work may seem a tad watery to some (especially in the beginning of "Passage") but if you give his playing a close listen you will discover that his style his very eclectic and lends the album a lot of credibility. The instrumental improvisation on the 14-minute epic "Passage" is amazing. Everyone jams in free form with monster bass work and fierce drumming in the background. The other 14-minute number "Yellow Are His Opening Eyes" is comprised of three sub-titles, namely "I. The Summoning", "II. Outscream", and "III. Vacant". Its tired intro with indiscernible spoken parts builds up thanks to the cloudy organ sound and finally erupts into a chaotic soundwall with absurdly menacing bass and drumming once again. The fact that each part was written by different members gives the song an added homogenous texture. "Beggars & Thieves" is a relatively shorter track with a 9+ minute running time and it's mostly acoustic based. This is where the Opeth and Sonus Umbra comparisons shine through, though The Red Masque's approach is a lot more atonal than both bands. There is a certain Medieval influence in Shelley's singing. It's, however, no where near as accessible as the singing of Candice Night (Blackmore's Night). Tortured violins and a sad mandolin piece pick up towards the end respectively and they truly lift the lyrics. "Scarlet Experiment" is not only the shortest track, but, as its name suggests, the most experimental in style. It begins with Shelley whispering odd lyrics and is backed up by some chanting-like singing, though you can never be sure. This song is a synthesis of weird noises and atonal riffs that seem to be played out of tune on purpose. Feathers for Flesh is far from an easy-listen, but it sure is interesting. I can see some old King Crimson fans enjoying this one, if they can get past the band's avant-garde approach. The booklet reflects the darkness of their music perfectly, with lyrics, band photos, and song credits.

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Sea Of Tranquility
January 2005

The Sea of Tranquility Staff Picks Their Best CD's of 2004!
Posted on Saturday, January 01 2005 @ 15:10:11 CST by Pete Pardo

Want to know what what CD's the staff of SoT thought were the best of 2004? It's all here, the releases that stood head and shoulders above the rest in the eyes of your favorite writers. Read on for the complete details! [snip]

Yves Dube
1. Guapo- Five Suns
2. Ahvak- Ahvak
3. Far Corner- Far Corner
4. Natsuki Tamura Quartet- Exit
5. Black Label Society- Hangover Music Vol VI
6. The Red Masque- Feathers For Flesh
7. Travis, Theo - Earth To Ether
8. The Hidden Hand- Mother* Teacher* Destroyer
9. Threshold- Subsurface
10. Helmet Of Gnats- Helmet of Gnats
11. IQ- Dark Matter
12. Trio96- Quartet99
13. Happy The Man- The Muse Awakens
14. Toubabou- Attente/Le Ble Et Le Mil
15. Saxon- Lionheart
16. Satoko Fujii Trio- Illusion Suite
17. Chris Potter Quartet- Lift
18. Beaten Back To Pure- The Burning South
19. Pain Of Salvation- 12:5
20. Mastodon- Leviathan

Pete Pardo
1. Mastodon: Leviathan
2. Caffery, Chris: Faces/God Damn War
3.White Willow: Storm Season
4. IQ: Dark Matter
5.Frank Marino & Mahogany Rush: Real Live
6.Happy the Man: The Muse Awakens
7. Ayreon: The Human Equation
8. Evergrey: The Inner Circle
9. Pip Pyle's Bash: Belle Illusion
10. Glass Hammer: Shadowlands
11. Sherinian, Derek: Mythology
12. The Dillinger Escape Plan: Miss Machine
13. Univers Zero: Implosion
14. The Flower Kings: Adam & Eve
15. Helmet of Gnats: Helmet of Gnats
16. Proto-Kaw: Before Became After
17. Nektar: Evolution
18. Trans-Siberian Orchestra: The Lost Christmas Eve
19. Red Masque, The: Feathers for Flesh
20. Iced Earth: The Glorious Burden
21. Killswitch Engage: The End of Heartache
22. Nightwish: Once
23. Manning, Guy: A Matter of Life and Death
24. Muffins, The: Double Negative
25. Chick Corea Elektric Band: To the Stars
26. Meshuggah: I
27. Into Eternity: Buried In Oblivion
28. Shadows Fall: The War Within
29. Marillion: Marbles
30. In Flames: Soundtrack to Your Escape

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The Axiom of Choice
January 2005

Summary
The music
Feathers For Flesh displays an interesting brand of avant prog. Apparently this album is something of a musical story. The music has something of a theatrical, opera feel, in the same way you see with most Residents albums.

There are winds of Magma at times especially initially, when the music sounds at its most heavy. Over the tracks the most clear semblance would be The Residents. The music isn't as neurotic as that, though, at least not from the start. As the album progresses the feeling becomes lighter, more jumpy, and with that the semblance to The Residents becomes stronger. Beggars And Thieves is so light it has pretty much turned into a folk song. Just a little longer than you would expect, and with some odd sounds in between. The closer Scarlet Experiment is on a par with Residents material with all the odd sounds, voices and neuroticism there.

Conclusion
Without wanting to state that Red Masque is simply a Residents rip off, I do see the same sort of things going on in their music. There is the neuroticism, the experiment ad nauseum, the complexity, the variation of instruments. But most of all that weird style transgressing the melodies. Definitely interesting music for a bit of study, but not necessarily to simply play. With that this album is interesting for Residents adepts.

-- Roberto Lambooy

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Progression Magazine
Issue No. 47, Fall/Winter 2004

Sound: 4 Stars
Composition: 3 1/2 Stars
Musicianship: 4 Stars Performance: 4 Stars
Total Rating: 15 1/2 Stars

Philly avant rockers The Red Masque have retooled their lineup and produced this impressively adventurous effort. An exhaustive number of styles are intelligently woven (rather than crammed together) into five moving pieces.

The disc opens with some ominous atmospherics, almost like a warning, before sliding into a Guapo/King Crimson-like romp. Especially attractive is that John Wetton Red-era buzzing, agressive bass. After this you're off on a fantastic journey of styles, never knowing what's lurking around the corner. Gothic, Zeuhl, medieval and rock in opposition are just some of the styles handled with aplomb.

Musicianship is top notch, as all members are adept with an array of traditional rock and exotic instruments (yes, there is a mellotron). And what can be said about vocalist Lynnette Shelley? Is she possessed? She sounds like Curved Air's Sonja Kristina - or is it Kate Bush? Annie Haslem? Nina Hagen? Lydia Lunch? Diamanda Galas? A lot of otherwordly beauty and insantity is covered here!

This noble disc will leave you drained and satisfied.
- Warren Barker

 

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Eufonia
December 2004

Note: Below is a review from a Spanish website, of which we had to rely on a translation by Babelfish. If any kind soul cares to transcribe for us a more accurate translation, please email them to theredmasque@theredmasque.com.

4 1/2 Stars

"Feathers For Flesh" is the third disc of this band of North American progressive rock. I had the fortune to listen to its first work "Death Of The Red Masque" that, although more in quality of demo, already it delineated the edges by where these uncles of Filadelfia would venture themselves. I never listened to its second work but I have understood that it received good commentaries by the specialized critic.

Perhaps its new scale model is not a beast easy to tame, the symphonic one is the angular stone, but it has forts influences of zeuhl and rock of vanguard, which, as it is to be expected, turns a experience plaintiff. Each instrument plays an important role and possibly all have their stellar moment. The vowels of Lynette are multifacéticas because nonsingle she sings, but that uses its ample ranks to give to textures or atmospheres when the occasion the amerita; this effect transfers us to medievo, giving the impression us that we walked by dark jails and secret passages of a perido castle.

Finally, the beast domestic servant and reveals itself, little by little, all its enchantments: melotrones, low trepidantes, discreet but effective guitars and one bateria that strikes the chest to you.

Yes, this saying is a cliche but it is very certain: the one that risks desire. Arriesgate a little and you will gain a good musical companion.

BELOW IS THE ORIGINAL SPANISH TEXT

"Feathers For Flesh" es el tercer disco de esta banda de rock progresivo norteamericana. Tuve la fortuna de escuchar su primer trabajo "Death Of The Red Masque" que, aunque más en calidad de demo, ya delineaba los linderos por donde se aventurarían estos tíos de Filadelfia. Nunca escuché su segundo trabajo pero tengo entendido que recibió buenos comentarios por la crítica especializada.

Su nueva maqueta no es una bestia fácil de domar, el sinfónico quizás sea la piedra angular, pero tiene fuertes influencias de zeuhl y rock de vanguardia, lo cual, como es de esperarse, la convierte en una experiencia demandante. Cada instrumento juega un papel importante y eventualmente todos tienen su momento estelar. Las vocales de Lynette son multifacéticas porque no solo canta, sino que utiliza sus amplios rangos para dar texturas o ambientes cuando la ocasión lo amerita; este efecto nos traslada al medievo, dándonos la impresión que paseamos por obscuros calabozos y pasadizos secretos de un perido castillo.

Finalmente, la bestia se domestica y revela, poco a poco, todos sus encantos: melotrones, bajos trepidantes, guitarras discretas pero efectivas y una bateria que te golpea el pecho.

Sí, este dicho es un cliché pero es muy cierto: el que arriesga gana. Arriesgate un poco y ganarás un buen compañero musical.

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Polish Art Rock Net
December 2004

Click here for review in Polish: http://www.caladan.art.pl/recenzje_sc.php?id=747

Thanks to the author for this English translation

Grade: 9/10
When the new EP with the composition "Beggars & Thieves" by The Red Masque appeared on the market nothing augured the huge changes in the music of this Philadelphia-based group. However surprising and challenging the listeners with every new release seems to lie deep in their nature - if "Victoria & Haruspex" marked the period of acoustic experiments and improvisations, "Feathers for Flesh" sounds rather as a brilliant synthesis of all their past ideas, being the most mature and cohesive effort of the band so far.

The album is a masterpiece of composition and atmosphere - it seems to be divided into two oppositional parts : the "heavier" one - containing the first three long tracks, and the "calm" one - standing as a conclusion of the record. The former is based heavily on the contrast: noisy, disonant guitar play (Emami), monstrous bass (Ross) and massive drums (Vonorn) are confronted with light flute, "gothic" organs or floating vocal parts (Shelley). All tracks, though extremly complex and full of different ideas and musical arrangements, are hypnotizing the listener mostly with the atmosphere: dark, brooding and mysterious. One can hear on "Feathers for Flesh" the influences or similarities to King Crimson, Univers Zero, Present, or Sleepytime Gorilla Museum, however what I hear mostly is just The Red Masque. By supplementing the avant-prog core with elements of horror music and the fair dose of theatrical expression the band has managed to create their own unique sound that doesn't really match any other music I've heard before. Much credit goes to Lynnette Shelley who on "Feathers for Flesh" sings, screams, whispers, howls, wails, bewitches and Cthulhu knows whats more... And even if I think that four minutes of vocal intro to "Yellow Are His Opening Eyes" is a bit too much, Shelley has got the hypnotizing power to keep my attention with just her voice for the whole time... and when the other instruments join her with the heavy explosion of sounds I have no doubts that my heart and soul belongs to The Red Masque!!

Fortunately the calm part of the record is equally impressive. It begins with the above mentioned track - "Beggars & Thieves" - containing elements of medieval ballad, acoustic improvisation and some experimental appetizers. Beautiful, delicate and melodic composition that simultaneously doesn't fit into simple scheme of a song. Lasting almost ten minutes, full of non-typical sounds from even more non-typical instruments "Beggars & Thieves" is a progressive gem in a true meaning of that word! Finally the last one: "Scarlet Experiment" - short track reffering to modern minimal composition, which confronts atonal strings (probably it's the Chinese instrument called Ehru) with obsessed vocals by Shelley. A truly amazing conclusion of the surreal journey into dark and grotesque world of The Red Masque. A world that recently has been haunting me very often...

P.S. It's also worth mentioning that for the first time in the band's history the record has got really good sound and nice booklet (designed by the group members). Now everything should be clear - my progressive album of the year 2004.

--Dr Alcibiades

Dr. Alcibiades Top 10 List for 2004

10. Tom Waits "Real Gone"
9. Necrophagist "Epitaph"
8. 4/3 de Trio "Ersatz"
7. White Willow "Storm Season"
6. Asobi Seksu "Asobi Seksu"
5. Indukti "S.U.S.A.R.
4. Blonde Redhead "Misery is a Butterfly"
3. The Red Masque "Feathers for Flesh"
2. The Arcade Fire "Funeral"
1. Gossip "Movement" (wyd. w 2003, ale musi tu byc)

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Progresiste
Issue No. 39, Winter 2004

Look for a Belgian review of The Red Masque's Feathers for Flesh in Issue No. 39 of Progresiste. We do not have a clipping of the review at this time...

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iO Pages
Issue No. 55, October/November 2004

Look for a Dutch review of The Red Masque's Feathers for Flesh in Issue No. 55 of the iO Pages. We do not have a clipping of the review at this time, please email io@net4u.nl for information.

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Harmonie Magazine
Issue No. 52, November 2004

Download an Adobe Acrobat file of a French review of The Red Masque's Feathers for Flesh in issue no. 52 of Harmonie Magazine by clicking here. Below is a rough Babelfish translation of the French text.

"Moonbeams as silver plated fingers extended on me while I approached the house of ash. I was naked, in snow, and I felt that the king observed me since one of the windows of the manor. I did not feel any more the cold, attracted irresistibly towards the interior. While crossing the threshold I was turned over, and say goodbye in spirit to the injury in white, which overlapped in the night. The doors were closed again on me. At the interior, all was of ash, and I felt it to penetrate in me. Cold and naked, I was hungry for the worm, and my lips desiccated by dust opened to taste ash. When the king entered, in the shape of a tiger, I understood that I had been selected to be his feast, meat of the tiger. Because we are on this ground only beggars and robbers, and innocent like babies, we go to our tombs. I
included/understood whereas those which enter here never do not leave

The reader will forgive us this small pastiche, made in great part of sentences taken in the eminently poetic prose of Lynnette Shelley, singer of The Red Masque: it was not possible better to give an outline of this strange, worrying and obsessing universe where it is a much question of bone and darkness. The last sentence, is known as in the passing, decorates the gate of entry of Internet site of the group - even the devil, nowadays, is virtual... It is seen that this group, which borrows its name from Edgar Poe, does not make precisely in the pastoral bluette. We had presented in our last number the individual one announcing the album; here now the third opus of this quartet American avant-gardist, three multi-instrumentalists and a chanteuse/poetess. Six pieces thus, defined by The Red Masks like a mixture of "art and alchemy". If one must bring them closer?uvres existing, it would probably be necessary to quote King Crimson, Magma, Van Der Graaf, just as easily that Dead Can Dance or Hawkwind, without speaking about the Gothic school (The Third And The Mortal at the head). In its overall sound experiments - developments by an excellent sound -, the group mixes passages very written, and sometimes very mélodieux (with great blows of flute, of organ of church and a éthéré song), and are delirious vocaux/instrumentaux semi-impromptu, between hallucinated psychedelism and removed from rim space-rock'n'roll, impulses jazz and Gothic universe. This maelstrom sound very inspired emerges the voices of Lynnette Shelley, sometimes rageuses, worrying, hurleuses if necessary, sometimes fragile or cajoleuses. One will also note low thundering with wish, a battery " solid and very "technique". The remainder concerns indescribable but the listening of this album macabre and terrifying is incontestably an impressive experiment and, musicalement, all that is of great quality, without the majority of the "tics" and musical postures of the pseudo groups "satanic". If you are not allergic to the nightmares...

--Philippe Arnaud

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Progressive Ears
December 2004

I saw THE RED MASQUE at Orion Studios a few weeks ago (that was my first exposure to them), at which gig I also bought their CD FEATHERS FOR FLESH. The performance was great. I liked the CD on first listening, and like it even more the more I listen to it. They're all very good musicians--but the drummer, both live and on the record, is truly amazing--one of the best IMHO.

--Dan Joy

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Vonorn is a great musician, playing guitar, keys, harp, digiridoo, and probably other instruments in addition to drums. I think the addition of Vonorn has had the biggest impact from a total musical perspective and in terms of production, which I believe he did as well. Kirash is also a superior guitarist to their previous guitarist, and FFF reflects the skills of the new players, as well as the overall cohesion of this lineup.

My first exposure to Red Masque was in a live setting, and as much as I like all their albums, particularly the new one, I think they really shine in a live setting. If you like their music and ever have a chance to see them, definitely do so. You will be very pleased.

--Bill

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Red Masque is one of my favorite discoveries since joining [Progressive Ears]. Their music/albums get better with each release and Lynnette's voice haunts me.

--Frank B.

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For once I can say this is an album that was not overhyped. I'd heard plenty of good things about it here at PE, and I think it lives up to every word. It has three particular features that really made me happy:

1. The opening. I love album openings like this---mysterious and/or ambient sound effects, with a slow build up to the main song. I think this is one of the best done openers I've ever heard, and love the fact that they took their time and didn't rush it.

2. Flat out excellent musicianship. I honestly didn't know they had this in them, and I mean that as a compliment. ALL the musicianship is astounding on this album.

3. Unending surprises. There were a few points where the music was ready to go into a beautiful symphonic climax---then veered off in another direction. Of course this can be frustrating, but also gives the album more staying power due to the unpredicability. And I for one hate sudden gratuitous changes that often pass for "composition" in some progressive music, but this works, actually adding to the uneasy feeling that's part of The Red Masque's schtick.

I've only heard it for 2 days now, but it really knocked me out. A huge step forward for a band that had already impressed me. Next, I hope to start to get a grip on the lyrical and conceptual aspect....which will probably add a whole new sheen to this great album.

--Mark

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FOK! FORUM
November 2004

by Omayyad of Progwereld.org

"Storm Season" White Willow
"Live At The Piscataway Metlar Museum" Echolyn
"Far Corner" Far Corner
"Double Negative" The Muffins
"Walking Cloud And Deep Red Sky, Flag Fluttered And The Sun Shined" Mono
"Grand Opening and Closing" Sleepytime Gorilla Museum
"Elden Av År" Trettioåriga Kriget
"Feathers For Flesh" The Red Masque
"Feel. Melt. Release. Escape." Anti-Depressive Delivery
"Anchor Drops" Umphrey's Mcgee

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Colossus Magazine
Issue No. 26, Winter 2004

Click here to download a Finnish review as an Adobe Acrobat document.

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Tarkus Magazine
Issue No. 30, October 2004

Note: This review was originally published in Norwegian, but was kindly translated into English for TRM by Tarkus Magazine editor Sven Eriksen. To view of scan of the magazine review page, click here.

If any of you readers out there should happen to be christian, and sensitive in addition, please pardon my opening outcry: Oh, My God! From Pennsylvania hails a quartet without limitations to their purposes and without shame regarding norms and dogma within new rock. "Feathers" is TRM's fourth release, but the first really to convince me of the accomplishment of the impossible; here, almost every known progressive twist meet in a uniform, integrated expression which frightens you as much as it grabs you. In the course of 54 minutes, you hear theatrical and intricate RIO-constructions in the best Art Bears vein, noisy and intense Zeuhl like early Shub Niggurath, iron-heel avant-prog in the style of '74 King Crimson, even acoustic sympho-guitarism in pure Genesis vintage. All this wrapped in a pitch black science fiction goth image where the ususal ghostlike atmosphere at all times risk tilting over into violence and chaos.

The band line-up is straight enough; electric/acoustic guitar, bass, vocals and percussion. Three of them handles additional keyboards and various half-exotic devices, an external violin player also shows up. The voice of vocalist Lynnette Shelley is in the vein of Dagmar Krause and Jarboe (Swans), with the technique of the former and the richness of the latter - she is used for all she's worth in this nightmare scenario. The bassist Brandon Ross is mixed right in front with his rumbling version of Paganotti/Wetton, here he fights against drummer Vonorm in a monstrous show-off duel. The most modest of them is the guitarist Kiarash Emami whose discreet gateway takes Trigaux or the old Magmatician Gabriel Federow one step further. Together, these four musicians sound like a double orchestra, and I'm talking pure striking power here.

What's incredible about this album is that the group manages to mix all these initially diverging moods and perspectives. They go from VDGG-ish dissonance to seducing harmonies one minute, the next from sound collages to strict polyrhythmic ensemble playing. The tracks are outstretched and compact, with wide spans in stress and moods, always with great attention to detail and finesse - and extremely well produced.

The present time sees a flow of creative bands in the US, fronted by names like Thinking Plague, Sleepy Time Gorilla Museum, Bubblemath and Yeti. The Red Masque can easily be added, and "Feathers For Flesh" is for my money one of the four or five best prog albums so far this year. We live in a time where the masses devour dry and stereotyped opera metal of the sort Nightwish/Within Temptation, but this is a whole different story. A no-compromise undertaking based on vision and insight - and aimed at those who still see the value of dreaming. The light at the end of the tunnel, not the blackness in the middle.

-- Rikard A Toftesund

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Prog Wereld
October 2004

Note: This review was originally published in Dutch, but was kindly translated into English for TRM by the reviewer. For the original Dutch text, please visit Prog Wereld's website through the link above.

The Red Masque is an eccentric avant-garde musical ensemble from the Philadelphia area. The band was founded in February 2001 by guitarist Steven Blumberg, keyboardist/harpist Nathan-Andrew Dewin, drummer Kevin Kelly, bassist/keyboardist Brandon Ross and vocalist Lynnette Shelley. Not long thereafter Kevin Kelly was replaced by drummer/multi-instrumentalist Brian "Vonorn" Van Korn. After the recordings for their debut album Steven Blumberg and Nathan-Andrew Dewin decided to leave the band, but shortly thereafter guitarist/keyboardist Kiarash Emami joined the remaining threesome. From the early beginnings of the band, their main goal is to try to make original music that exceeds even the highest expectations of the most demanding listener. The four bandmembers try to realise this very honourable objective by blending a huge variety of musical genres into their own music, like art-rock,folk, gothic, heavy metal, horror-soundtracks, krautrock, medieval music, progressive rock, psychedelic rock, rock-in-opposition, space rock, world music and zeuhl. This intense mixture results more than often in a type of dark and eerie progressive rock, that often scares the shit out off its listener. You now know why the band named themselves after a story by Edgar Allan Poe!

Feathers For Flesh is a multicoloured mishmash of numerous genres, that without doubt requires a number of listenings in order to judge the material on its genuine value. This is mainly caused by the bands unorthodox and unconventional musical approach. Their experimental songwriting style produces time and again dissonant and threatening instrumentations. These five pieces of music are more often than
not made up of very bizarre arrangements, unusual melodies, multifaceted sounds and miserable moods. Therefore careless listening can easily grow into a real ordeal for the average and casual listener. Dont tell me I didnt warn you

Currently with only the exclusive attention from the more demanding, adventurous type of listener, I can tell him or her that as far as yours truly is concerned Feathers For Flesh is a tremendously sinister, forward-thinking work of art. After all the music of this unconventional American quartet is one of the reasons I like to listen to progressive music in general and progressive rock in particular. This record frequently provokes and challenges me, surpasses my imagination and surprises me in its resourcefulness. Like I said earlier this album definitely takes a couple of spins. However you dont have to be embarrassed for this. Even I needed more than the usual amount of spins to comprehend all of this strange material. But now I can fully appreciate this wonderful dark and dense recording.

Only after more than a couple of spins it becomes truly apparent in what kind of breathtaking way The Red Masque melts the energy of Anekdoten, the dynamism of Änglagård,the ferocity of Bauhaus, the occultism of Dead Can Dance, the wickedness of Devil Doll, the dismay of Goblin, the vitality of Gong, the excitement of Guapo, the eclecticism of King Crimson, the intensity of Magma, the repetitiveness of Pink Floyd, the devotion of Present, the mysticism of This Mortal Coil, the intellect of Univers Zero, the hysteria of Van Der Graaf Generator and the temptation of White Willow into one upsetting, but tremendously addicting musical mélange of gloomy and passionate sounds.The wide-ranging, frequently non-traditional rock instrumentation is an other reason why the album is so hard to digest in one single listen. There is for instance a real violin played by Damian Boucher on House Of Ash. Kiarash Emami played a modified American standard Fender Stratocaster electric guitar on all tracks, a Yamaha APX- 5NA classical guitar on Passage, an Oberheim Matrix-6R synthesizer and a Roland U-220 synthesizer on Yellow Are His Opening Eyes, and an Ovation Legend 1867 acoustic guitar and an Oscar Schmidt OM40 mandolin on Beggars & Thieves. Brandon Ross played an unique custom built Rickenbacker bass guitar on all tracks, a Kawai K1 keyboard with altered patches on Yellow Are His Opening Eyes, and an Yamaha APX-5NA classical guitar on Beggars & Thieves.

Brian Vonorn Van Korn played an Yamaha Studio series Blood Red drum kit and an Yamaha Motif 7 production keyboard (organ, acoustic and electric pianos, flutes, saxes and strings) on all tracks, a Big Briar Moog theremin on Passage, a Korg Karma keyboard, an Yamaha lime green electric bass guitar an a Fender Stratocaster electric guitar on Yellow Are His Opening Eyes, and an Ovation acoustic bass and a Big Briar Moog theremin on Beggars & Thieves. Lynnette Shelley played pots, pans, slinky toy, various kitchen utensils, the Conundrum (some kind of metal sculpture filled with liquid), a Boudrhain, a propane gas tank, a weird metal clothes hanger and air chimes on House Of Ash, a Boudrhain, a noisemaker and shakers on Beggars & Thieves, and a Chinese Erhu (a type of two-string violin), an out-of-tune bowed psaltery, the Conundrum and a Boudrhain on Scarlet Experiment.

With such extensive inventory of equipment a more than average production is indispensable to keep the colourful, frequently cacophonous sound spectrum under firm control. Fortunately Vonorn is a brilliant and skilled producer. Time after time I am surprised by this additional talent, because Feathers For Flesh sounds utterly outstanding. Its actually a pleasure to hear such an impressive piece of work with countless concealed surprises. Well done!

Feathers For Flesh confronts the exceptionally courageous progfan with an entire fresh challenge in the shape of five pieces of provoking music. These compositions are more or less rooted between King Crimson, Magma and Van Der Graaf Generator on the one side and Present and Univers Zero on the other side. The record offers some powerful tunes, without any compromise, that are meant for the most demanding music fan, who is looking for something more out of the ordinary than the first three bands and something less intense than the two Belgian ensembles.

By delicately integrating an enormous variety of different musical genres into their compositions, its really hard to classify the music of The Red Masque. Nevertheless I think Feathers For Flesh is particularly appropriate for fans of the darker side of progressive rock. The album unquestionably sounds extraordinary and versatile, but it includes a batch of elements that truly are appreciated by this aforementioned group of fans.

All in all this utterly breathtaking music made a profound impression on me and therefore I think its nothing short of an instant revelation. Now its up to you! Open your mind and try it! Please, dont forget to give it some time and youll certainly be rewarded! Dont miss it because its one of the highlights of 2004

-- Frans Schmidt

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Aural Innovations
Issue 29, October 2004

Feathers for Flesh is a dark, complex, haunting experience. Filled with spooky atmospheres; harsh, angular rhythms and challenging, ever-shifting musical passages from multi-instrumentalists Kiarash Emami, Brandon Ross, and Vonorn, and the remarkable vocal work of lead singer Lynette Shelley, the music of The Red Masque is like King Crimson's Red period colliding head on with shadowy goth rock. But even that seems to simplify a sound that draws on numerous influences not just from rock genres like space rock and RIO, but also from jazz, medieval music, avant-garde classical, horror movie soundtracks and many others. Feathers for Flesh is the third release from this Pennsylvania quartet, and although I haven't heard their previous albums, this one certainly displays a mature and accomplished sound that is mesmerizing and refreshing to listen to. The Red Masque seem equally comfortable playing in Dead Can Dance-like acoustic territory, as on the lovely, folksy and dream-like Beggars and Thieves, and exploring eerie and disquieting sound collage, as on the album closer Scarlet Experiment. Brandishing their trademark intricate, ever-altering progressive sound, the sometimes difficult and demanding nature of the music can suddenly be interrupted by moments of stark and reflective beauty too, or even complex and jazzy melodicism, all in the course of a single piece, such as the 14-minute long Passage, my favorite track on the album. Challenging prog rock fans rejoice, Feathers for Flesh is definitely no watered down neo-prog. This is an intense midnight celebration of the mystery and beauty of music in all its forms. Highly recommended.

Reviewed by Jeff Fitzgerald

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Progressia
October 2004

Note: Below is a review from a French website, of which we had to rely on a translation by Babelfish. If any kind soul cares to transcribe for us a more accurate translation, please email them to theredmasque@theredmasque.com.

How we would like, at Progressia, to receive more discs equipped with such a personality! The Red Masque will not leave anybody indifferent with his music, very ambitious, and its grandiloquente singer Lynnette Shelley. Which pleasure of noting that the scene of the progressive musics still manages to be confined of strong heads like this one. Group American born three years ago hardly, The Red Masque fate already its second album, preceded by a sulfurous reputation. Already sponsored by Chris Cutler [note from the band: We're not sure if this is just a bad translation, but we are not actually sponsored by Chris Cutler.] pope of the new musics On the other side of the Atlantic, the quartet is regarded as one of the most important groups of the continent as regards "before-rock'n'roll", thanks to a tempting mixture on paper: zeuhl, Gothic and progressive. An alchemy which seems a priori difficult to implement, and which however is proven on Feathers For Flesh. After a worrying psalmodiée introduction, broken up into four movements,
"House of Ash" starts in waterspout with a martial rate/rhythm which seems borrowed from Magma and a large distorted and dry sound. One feels start which no compromise will be granted. Lynnette sails between song serious and clear, in full crisis of schizophrenia, on bottom of keyboards or choruses (its three accomplices managing the secondary instrument and voices) and of progressive aggressive particularly complex "Passage" calms the play while beginning like a title from White Willow, on a peaceful progressive folk gorged with flutes, before the instrumental trio does not break out, Mrs Shelley being caught even for Siouxsie Sioux.The theatrical aspect of its service is with its roof on "Yellow Are His Opening Eyes" and especially on final "Scarlet Experiment", which inserts the nail: The Red Masques account in the person of its singer a true large patient. She uses her voice like an instrument with whole share, like could do it, with perhaps more talent still, Diamanda Gallas.The low one of Brandon Ross, completely saturated, has a little the same role as in Anekdoten and the guitar of Kiarash Emami is either in support, or in melody counterpoint. Consequently, when the group get going, it sounds like a Gothic Magma, reaching sometimes the thickness of Black Sabbath.Only acoustics "Beggars & Thieves" remains intact (and calms!), while escaping from this work from déconstruction constant that makes undergo The Red Masque with its pieces. It is besides astonishing to note such a will to dismount each idea to make it evolve to something of different, going in general from calms towards unchained and conversely. But never the term of digression does not come to mind to listening from these explorations stylistics, thanks to and a relevant direction installation of the writing. Left progressive Bauhaus, with the same love of the setting in scene and of the theatricalness of the music - feeling reinforced by the immoderate use visual the very strong ones - The Red Masque does not miss assets, its principal originality being also its larger defect. One will indeed need a good amount of courage to follow it in its peregrinations, and a great tolerance to appreciate Feathers For Flesh from beginning to end.

--Julien Monsenego

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Green Dolphin
October 2004

Note: Below is a review from a Latvian website, of which we do not have an English translation. If any kind soul cares to translate, please email them to theredmasque@theredmasque.com.

Iespejams, ka psihedelisks progresivais avanagrda roks ar sieviešu vokalu, ka tas ir Olive Mess gadijuma, ar ko grupai dažubrid ir liela lidziba, un ne tikai, ir tradicionals, ja neatbaida jucekligums, tad paliek King Crimson un Magmas vai agrino Anekdoten stilistikas smagais avangarda roks ar romatisku Renesances muzikas folklorismu (ka Blackmore's Rainbow). Visu ta vertibu nosaka, ka ikviena albuma ietvara, cik tas ir interesanti un vai tas viss aizrauj. Tiklidz samani trafaretus akordus vai mazak interesantas vai pat otrškirigas temas, ta atslabums liek lukoties ara pa logu via skatities kaut kur citur, jo uzmanibas deglis apdzisis. Lai ari atseviškas vietas ir patiesi specigas, tomer lielakoties tas nogurdina, garlaiko un pat dara mani vienaldzigu. Vai es to gribetu klausities vairakkart? Japadoma... Ja nu vienigi DVD formata vai dzivaja koncerta.

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Ultimate Metal
September 2004

 

DEMONSPELL'S SONGS TO WATCH

Issue 77 - September 13, 2004

The Red Masque - House Of Ash, Yellow Are His Opening Eyes: This Pennsylvania-based avant prog ensemble has built a strong reputation through a pair of releases and incendiary live performances. The former opening track from Feathers For Flesh ranges from dark classical musings to heavier moments worthy of any progressively inclined metal band, while the latter is built around a haunting recitation by vocalist Lynnette Shelley. Samples available on official website.

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Progressive Newsletter
Issue No. 49, September 2004

Note: Below is a review from a German magazine; we do not have an English translation at this time.

Bereits mit ihrem 2002er Debüt "Victoria and the Haruspex" (Kritik in PNL Nr.41) legten The Red Masque nicht gerade einfache Kost vor. Stilistisch sehr weit gefächert wurde der Hörer mit einem fordernden Mix aus Soundscapes, Avantgarde und Prog mächtig gefordert. Genauso geht es auf "Feathers for flesh" weiter, wo bereits der mit Stimmengeflüster und nur experimenteller Untermalung versehene Opener "House of Ash" recht gewöhnungsbedürftig beginnt. Doch noch etwas mehr als 3 Minuten knallt einem grooviger Progressive Rock entgegen, grob irgendwo zwischen King Crimson, Zeuhl und R.I.O. angesiedelt. Danach folgt eine sakrale Passage mit Orgel und Kirchgesang, bevor das Stück in expressiven, wuchtigen, aber auch schrägen Progressive Rock gipfelt. Und fast genauso funktioniert auch der Rest des Albums. The Red Masque stopfen einfach alles was ihnen zwischen die Finger und Stimmen kommt in einen Topf. Das Endresultat ist nicht unbedingt einfach bzw. für jeden genießbar, hat aber jede Menge Würze und einen wunderbaren Nachgeschmack. Hier wird das Adjektiv "progressiv" mal wieder eher wörtlich benützt, denn diese abenteuerliche Mischung setzt sich konsequent über eingefahrene Hörgewohnheiten hinweg, auch wenn die einzelnen Versatzstücke meist auf 70s Tradition fußen. Ein anderer Kritiker erfand dafür den Begriff "Nu Progressive". Hier bleibt nichts vorausschaubar, dennoch bekommt man in mächtiger Power einiges um die Ohren geblasen, was den aufgeschlossenen Hörer begeistert. Schräge, brüchige Passagen wechseln ab mit fragilen Melodien, experimentelles steht gleichberechtigt neben konventionellem. Für "Feathers for flesh" gilt, dass man diesem von der Grundtendenz recht düsteren Album Zeit geben muss, sich die Musik keineswegs sofort erschließt. Mit der nötigen Belastbarkeit und hörtechnischen Einsatz wird man dafür mit einem äußerst vielschichtigen Hörerlebnis belohnt. Soundbeispiele und jede Menge begeisterte Kritiken findet man übrigens auf der bandeigenen Webpage, so dass sich jeder seine eigenen Meinung über dieses außergewöhnliche Werk bilden kann.

-- Kristian Selm

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Arlequins
September 2004

Note: Below is a review from an Italian website, kindly translated for us into English by our friends Francesco and Lino. To see the original Italian texts, please visit the above website.

New work for the USA quartet, formed by Karash Emami (gtr+keys) Lynnette Shelley (Voc) Brandon Ross (bass+keys) and Vonorn (drm+keys), that confirms to be a very particular band in the USA progressive rock scenario.

In fact The Red Masque are able to show a (musical) proposal that combines different elements, from classical music to symphonic rock, from gothic to the avant-garde with 5 long tracks (from 9 to 15 minutes long except for the last one that is almost 4 minutes long).

"House of Ash", that opens the CD, starts with mysterious atmospheres but, after 3,5 minutes there's a decise rush towards a strong progressive with tense and restless rythms. Then comes a church organ and all goes to a sound that can recall a sort of "extreme VDGG version".

Lynnette's voice makes the rest: evocative, theathrical, sinister, disturbing. The comparison to the VdGG (the sax tension is replaced by a sharp guitar) is right also for the other songs where there is a darker and more experimental vein.

If not, how could be defined the adventurous dissonances (sometimes even close to the R.I.O.) the suffocating musical stream and the dark atmosphere that are present in the entire album? In fact there's a deep oppressive tension that hits the listener in a very decise way stunning him with a sonic assault full of heavy and disturbing atmosphere.

Senses are ready to catch every detail, every shade, every oddity, conscious that in every track there are many snares. A special mention goes to the 2nd track "Passage" that is characterized by wonderful electro-acoustic combinations, by a mix of energy and lyricism, clearly a legacy of the 70's (in particular the magic vocal melodies)and by a musical crescendo with some traces of the Fripp's guitar influence, decisely amazing.

The final judgement? It has to be good! With some less roughness and a little more maturity we could be in front of a really great band

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MovimentiProg
September 2004

Note: Below is a review from an Italian website, kindly translated for us into English by the author. To see the original Italian texts, please visit the above website.

Rating: 10

MovimentiProg
September 2004

Rating: 10/10 (top of the marks)

Since its very cover, this debut album by The Red Masque recalls a bit the Court of some Crimson King, that furthermore depicts nothing else than a… red mask (even if of course there are differences between a mask and a masque, the association seems clear).

Then, if the listener “survives” to the complicated first three minutes in this CD, full of low and sometimes even unintelligible sounds, a brand new world opens up before him, in some way the 2004 version of what King Crimson achieved in 1969.

Unfortunately, at the moment, the musical scene is deeply different from how it was thirty-five years ago, and an album – any album – can’t possibly leave such a deep sign like “In the Court of the Crimson King” and some other records of that period could; nevertheless, what The Red Masque achieve with “Feathers for Flesh” is a true revolution.

The band is formed by Lynnette Shelley (vocals and percussions), Brandon Ross (bass, acoustic guitar, keyboards, vocals), Kiarash Emami (guitars, keyboards, vocals) and Brian “Vonorn” Van Korn (drums, keyboards, theremin, guitar, bass, vocals). Furthermore, in this CD also appear Damian Boucher on violin in “House of Ash” and Sue Wolfsong on vocals in “Scarlet Experiment”, in which she has a complex dialogue with Shelley.

To instrumental passages full of perfect cascades of notes are alternated theatrical dialogues, screams, vocal sounds and daring duets; very good musician, but above all genial is the composition.

Reviewed by Marco Piva

 

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Progressive Ears
September 2004

Note: The following is a message thread posted on the progressive rock website Progressive Ears. The Red Masque's album, Feathers for Flesh, was highlighted as the "Featured CD" of the day. The following are excperts from the discussion that followed.

Member: Raymond D

Today's featured CD is the new 2004 release by the Philadelphia based band, The Red Masque. "Feathers For Flesh" represents a maturity for the band in more than one way - the production quality of the release is far superior to past efforts and the chemistry of the playing absolutely melds. The band, most noted for their Crimsonesque style, expands to include a more accessible, symphonic style in places yet, in others, moves to a more avant-garde style. You can tell having played a couple of gigs with Chris Cutler (Henry Cow) has spawned ideas. This coupling of ideas has produced some of the most refreshing sounds I have yet to hear on any 2004 release in the progressive music field. A remarkable achievement from a band that deserves closer attention.

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=1432

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Member: Dave Kerman

Love it...Love it. Great stuff. Well written, played and sung. Great recording (cool, hyperbolean use of the studio, which for me is the saving grace for any recording in this day & age- and Vonorn did a magnificent job in this respect).

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Member: sixes&twelves

It is great, but it's the kind of greatness that you only realize fully after a fair number of listenings. It would seem that there is a very bright future for The Red Masque, indeed.

Bruce in Korea

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Member: Did Sprinting Die?

There are so many great things I want to say about this album that I'll say in my upcoming review. I have a break from school next week, which shall give me time to do some reviews.

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Member: Boilk

I've spun this one twice and, as mentioned, it's going to take several more listens to fully appreciate this baby.

First impressions...this Cd is one of the main reasons that I listen to progressive music. It challenges me, takes my mind places and is stimulating to the nth degree.

They've obviously come a long way since Victoria and the Haruspex. Listening to this disc is like watching a movie unfold inside your head. It's very dark and dense (qualities that I like in my prog) and feels like a band that is on top of it's game.

Brandon has amped up his bass playing to a crunching maelstrom, Lynnette has taken her voice into new ranges of expression and double-tracking evil, Kiarash adds lots of electric and acoustic tasty goodness on guitar and the disturbing looking Vonorn always keeps you guessing as to what he's going to do next on the kit.

The menace on this disc is palpable and I can't imagine listening to it in the daytime, really. Each song has lots of twists and turns and is a treat for someone who likes an adventurous side to their prog.

Sorry for gushing and rambling-I guess I just wrote a review there-but this disc, certainly for me at least, is one of the best things that I've heard in 2004. Great job guys and gal.

Neil

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Member: Harmless Criminal

As you know if you bothered to click on Raymond's link, I wrote the opening review.. Although I was sent the MP3s many days in advance I didn't realise it until about 6 days before Lynette needed our reviews in so she could print up flyers for NF. To try to capture this disc in that short of a time frame was a difficult task. I do recall that on my 3rd listen, right in the middle of an early evening thunderstorm, the thing just came together in my head. This is definitely not sunny-day beach music...

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Member: Alexander DeLarge

This is an excellent CD, sometimes I'm way to careful to adventure in more experimental avant garde waters, but this beautiful and haunting CD I love, Lynnette voice is so wonderful and the moods and atmospheres on this one are deliciously dark and malevolent,

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Member: kid_runningfox

This is a BRILLIANT album, one that I listened to a lot druing my sojurn at Toad Hall. I really must get a copy!!

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Member: cupwonder

Excellent CD. Lynette's vocals are powerful, and the band really gels here. No question the band has progressed--this is their finest effort.

Julie

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Member: Sputnik

OK, I had to listen to this one again before posting. Of course by the time I get around typing something, Boilk has taken all the words right out of my mouth, so I’ll just say...

Yes! TRM sets the bar high for really inventive music and deserve our thanks for entertaining us and scaring our cats. All this and they are the nicest bunch of people you’d ever want to hail Cthulhu with!

Rock on!

Bill

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Member: Lino

Listened to the whole thing last night...this album rocks bigtime! It's right under your noses prog fans... get hip to Feathers For Flesh, it's so nice to listen to something fresh, interesting and exciting.

I really want to commend Lynnette, Brandon, Kiaresh and Vonorn. Excellent work you guys!! I look forward to playing it all on The Waiting Room [radio program]. For those interested, the opening track "House of Ash" will be aired on my show tommorow at about 11:40 am EST. There'll definately be more in the ensuing weeks, till we've covered it all. It's just a great cd!

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Progressor
September 2004

6 Stars!

Prolusion. "Feathers for Flesh" is the third official output by the US band THE RED MASQUE (the name evokes more than distinct associations with Edgar Allan Poe) and is their first release with the Washington State-based independent progressive label Big Balloon Music. Their previous albums are the EP "Death of the Red Masque" and the full-length CD "Victoria and the Haruspex".

Synopsis. I read several reviews of the band, in most of which their music is described as a mixture of delicate structures and freeform cacophony, melodic lines and random noises, etc. I can't call in question these definitions, as I haven't heard any previous outings by The Red Masque, but what I've heard on "Feathers for Flesh" has nothing to do with randomness nor any other free forms of music, not to mention cacophony, at least in my understanding. Well, the first fourth of the House of Ash (1) and the whole last track Scarlet Experiment (5) consist almost exclusively of 'flying' effects and ghost-like voices and whisperings, but all of them are done purposefully, creating an accurate and vivid tensely dark atmosphere in the intro to the album and the outro. There are plenty of highly eclectic and even eccentric arrangements on the album, yet, all of them, including those with a slight jazzy sense at the end of the third track, were thoroughly composed, without any frivolities typical for real improvisational music. Do you regard the most intricate compositions King Crimson played in 1973 and 1974 as Jazz-Fusion? I do not. I see this music as one of the very first manifestations of structural RIO, such a counterpart to the jazzier forms of the genre (have in mind Henry Cow), let alone Zeuhl.

The other bands that may come to mind while listening to the first two compositions, House of Ash and Passage, are Present, Presence, Antonius Rex, Anekdoten and Anglagard. So, the stuff is stylistically similar with that of King Crimson of said period and is a triple union of Symphonic Art-Rock, Cathedral Metal, and RIO plus a genuine musical magic as another clearly perceptible ingredient. Naturally, it couldn't go without the Mellotron sounds, though there also are those of Church organ, Hammond, piano, flute, violin and acoustic guitar, apart from traditional Rock instruments. Lynnette Shelley is a fantastically impressive chameleon singer, taking equally easy high and low notes, soft and sinister tones. The third epic: Yellow Are His Opening Eyes can be described-defined nearly the same way. The differences are as follows. There are only some wordless vocals, sung by Lynette alone and along with a male choir, and the bass solos are less pronouncedly heavy than those on the preceding tracks. (Please note this remark.) Finally, this composition doesn't evoke any associations, as well as its follow-up. The song Beggars & Thieves is another diamond in the crown of this compelling album, although it is almost free of 'infernal' features and is vastly different from the other contents in general. This is an acoustic Progressive filled with the spirit of medieval minstrel music. All the basic arrangements represent both complex and beautiful interplay between solos and passages of classical guitar and those of mandolin. There also are the Mellotron, bass, and mallet percussion, but they appear only episodically.

Conclusion. "Feathers for Flesh" is a masterpiece in form, content, and delivering together and is of no less significance for today's progressive scene than the best works of King Crimson were at the time of the genre's heyday and those by Anglagard in the '90s. Don't miss it. (Top-20)

-- VM

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PROGNAUT.COM
September 2004

The Red Masque returns with their second full length release,
Feathers For Flesh. With the release the music is darker, and overall more evil sounding musically and vocally. They continue their own brand of progressive rock that brings to mind Red-era Crimson and 70's Univers Zero. Most notably, Lynnette's vocals continue their angelic sound but this time the "evil" side is unleashed. Sometimes she sounds like Toyah.The first track, House of Ash takes you on a wild ride starting with a atmospheric sound building to a violent almost metallic assault, then going off. It reminds me of the instrumentation approach King Crimson did on Starless but with a more avant slant. Passage, is a softer but still haunting in it's own way with again more nods to Crimson.The rest of the songs continue in a surrealistic nightmarish journey. It's music that needs to approached with a very open mind. It's not for the faint of heart. Oh and it's an experience to listen on headphones played loud, in the dark. Your nightmares come to life with Feathers For Flesh. I'm so honored to have a chance to review this disc. To my ears, it's what progressive rock is truly all about. I highly recommend Feathers For Flesh as a must buy cd of 2004 and beyond!

-- Ron Fuchs

 

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