Jon Cale Circus

This is, in many respects, the reviewer’s nightmare. Firstly is the simple fact that the subject under review is John Cale; The Welsh Zen Master, Original Velvet, maestro of the Avant-Garde; who am I to cast judgement? Secondly is the sheer weight of material that is covered by this release; from the inevitable 'Venus in Furs’ through 'Helen of Troy’ to 'Ballad of Cable Hogue’ and on to 'Magritte’ or 'Zen’ this requires some understanding of a great many forms and styles in order to make any sensible comment on it.

But somehow the reviewer has to give an objective and 'cold’ assessment as to its worth so here goes.
The first thing on the album that strikes you is a drone leading into the monumental 'Venus in Furs’ and it is this drone that seems to set both the tone and the pace of the show in its’ entirety. The second is the voice; John Cale possesses a deep sonority that sounds at once powerful and depressed. He tends to sing in almost a monopace and monotone and the music follows his vocal lead. Elsewhere, as on 'Mercenaries/Ready for War’ his voice becomes more animated and less deep but the music still continues to work itself around the central drone of his voice.
This can lead the unwary into thinking that the drone is all that there is here but after three or four listens it is apparent that there is more going on here than immediately hits the ear. The songs are a summation of all Cale has striven for since he first recorded in 1965 and he sounds as though he has finally found a band of his own to allow him to present all of the facets of this unique musician. Dustin Boyer’s guitar creates moods and tensions and complements the fluid dynamics of Joseph Karnes bass playing. Harrying and nipping at the heels of the others, Michael Jeromes percussion is reminiscent of a steroidally charged terrier after a fox. And throughout, there is Cale on Voice, Viola and keys..

There is beauty in the performances, 'Set me Free’ or 'Buffalo Ballet’ are magnificent; there is fun with 'Walking the Dog’ and the sheer power of 'Gun’ is truly awesome.

The album goes out as it started, with a drone but the drone seems less an ending than a bridge to the next work by the 'Conductor of the Avante-Garde’. This is more an intellectual exercise than a celebration of music and on that basis it is not going to be 'enjoyed’ by the masses but it is an important release and anyone interested, even peripherally, in forms of music that doesn’t start 'Wunchewfreefaw’ should investigate.