From http://www.mickmercer.com
ARS PHOENIX
ENGINES OF PROGRESS
Own Label
Although this record boasts crisp usage of synth/programming by Steven Fredericks, drums from Sean Stevenson and Greg Svitil, and guitars by Joe Merrill and Dave Groves it's obvious Ars Phoenix is the work of Jonathan D. Glover, who can handle all such instruments and vocals himself. It is quite the triumph, although it does throw up one small problem, as it does for all solo creators, due to the variety, but we'll touch upon that later.
'Engines Of Progress' makes for a seriously impressive opener which shows you we have the usual mixture of Electronic, Industrial and Ambient ingredients here that are used by thousands of sonic chefs nowadays. The difference here, which puts Glover in the top 1%, is having vocals which create an impact, aided by stunningly visual lyrics. There is much disturbance involved, with the music a threshing machine admirably restrained, melodic but bristling, moving from playfully ominous to potentially lethal.
'The Dry, Cracked, Yearning Earth' vomits up a clattering rhythm but has gracious vocals that give it a dignified poppy bounce, with 'Through Nets Of Granite' thoughtful, piquant and sedate. 'Modules' goes for idling electronica I believe we call downbeat these days, enlivened by precise and imaginative layering, and slowly rising. From there we encounter slow, beautiful guitar in 'December 1983' and bizarre love lyrics to Saddam from someone who is his secretary? (I'm not sure I get that one.) 'Sovereign' then pops some twinkly pomp into a waddling, flattened beast of a tune that ends too quickly.
'Twigs' is tugging indie moping, then guitar poking moves 'The Prodigal's Theme' along slickly, a gorgeous romp that cuts off smartly with a neat synth wash and the vocals dominate as it crunches and sways, which is where the problems I mentioned before comes in. A whole album in this vein could be huge. By having so many styles a person actually holds themselves back, which is weird, but unavoidable! Strange, no?, 'The Prodigal's Reprise' has a slower bleed, with a fulsome, fluttering sound massage coming your way. 'Seduction, Psychoanalytic' brings on simple 80's post-punk pop naughtiness, like Kraftwerk working in a peep show. (Apologies for the imagery, I don't think anyone would want to see that.)
'A Dull Sensation' isn't one of their more notable successes but hardly dull, simply modestly pootling, the initially chilly 'Plate 9' sets out an eerie picnic but suddenly walks off, and we're into the slightly mental, ruptured sci-fi trickles of 'The Future Is Loud' that comes on like Charles De Goal with a techno-migraine. 'Tone Poem (Minus Text)' offers an easy embrace, then the dismissive 'Dawn Of Reason' is Goth Pop with a fizzy sneer, which you'll love with its spindly, agitated guitar and solemn, disguised chorus. 'Plate 10' glows like a syrupy pool of oil, 'A Thousand Suns' returns to the shimmer of the Gothier clatter, and then we close with the highly chantable 'Dissertation On The Melodic Capabilities Of The Ceiling Fan', a bit like Portishead meets The Clangers, and the album's only mistake in providing a silly ending.
Knock off that last track and you have a majestic outing, and a name that should put your eyes and ears on full alert.
http://www.myspace.com/arsphoenix