“Skin And Bones” – ‘Flashy Python’
I know, I know. Ratings plummeted, the albums were at an all-time low, and the high-hits for the past fortnight have been soy-perb, the least to say, very, very much appreciated. Yes, for the first time on record, we witnessed 2000-total hits for the month of August, and that was just the beginning.
I know, I know: “what the hell happened to the Sunday Joint Review? You left us hanging, dudes.”
Reasoning behind that?
Well, I’ve been saying it for a while, and it was bound to happen some time or another when we’d find an album, and then not find an album. So, that’s basically why today, on your average, mundane Wednesday, I decided to perk things up a bit, keep you guys up to date on all our happenings, and get things back on track for this Sunday and our hopefully-phenomenal reviews of ‘Muse’s’ latest offering. Until then, you’ll just have to wait it all out before that magic day appears, and feel content with:
It’s a page-filler, I know – I’m speaking honestly. It’s a time-waster, it’s something to keep things moving. The past seven-days have been uneventful here at ‘Highly Evolved’, because of our eager anticipation in relation to ‘Muse’. I’ve tried to find my feet again with some new bands, and out-of-comfort-zone genres, like today’s review of ‘Flashy Python’s’ “Skin And Bones”. It’s the debut, and although there isn’t much being offered, I thought it might be worth a mention because of its nostalgic-feel.
First time I came across this I said to my partner, Michael Hodder:
“Hey… have a listen to Flashy Python…”
“Okay,” he’d reply, then kick the football.
“… No, seriously, you’re gonna be in for some crazy psychedelica: this is some messed-up b.s.”
“… Hmm… I’ve been ‘psycheliced’ quite enough…”
So, that just about sums up genre for “Skin And Bones”, it’s a mix of acoustic/electric, it’s something I would have expected to see ten, maybe twenty-years ago, far-away from the all-powerful shadow of indie. In this sense, instrumentation is predictable, with the odd usages of saxophone, piano and violin. Nothing too out of the ordinary, it’s the vocalisation that I’d quickly like to touch-base with because I think this is the most nostalgic thing I’ve heard all year. Whenever I begin to place the vocals in context with some of the legends, I always get lost. It’s just a feeling, something like the young-‘Bob Dylan’ highs of his early-folk: but maybe that’s just ‘Flashy Python’s’ harmonica talking. It’s refreshing after so much indie, rock and experimental.
I’m going to try and keep this short and sweet [oh, the irony!], seeing as I tend to meander my way through an album. “Skin And Bones” is an eight-piece debut I’d expect from a matured band in their second or third. From first glance, songs just generally sound wierd. The mixture of acoustic and electric, the torture of saxophone, the gentle whine of violin, the bobby-harmonica, by themselves, aren’t especially notable. Looking at this album from one perspective, it can be horribly over strung, lyrics flying what-not, riffs overly simplistic. But I’ve come to appreciate, after a solid play-through, that these qualities might just be the things keeping “Skin And Bones” together. And could this be ‘psychedelica’? I’ve been trying to find the ‘zen’ of ‘psychedelica’ for months, to little avail. Although I don’t think ‘Flash Python’ has struck a nerve completely, it has raised an eyebrow or three with its track:
“Obscene Queen Bee”
Topped off at the 4:30 mark, this track epitomises what you can expect from “Skin And Bones” in relation with mixed-instrumentation, vocals: the works, basically. I absolutely love the intro – which is the ignition of a lighter. The scratch plays relevance with the track, and is momentary, working together with the lyrical phrase “… cigarette…” Usually I’ll find that these kinds of intro-sounds appear during the chorus or the finale of a song, and it’s a real first to find a connection between the lyrics and the sound. So, lyrics are important here – I absolutely love their vocalisation, and together with a mixture of organ, piano and voice synthesis, they create “… Obscene queen bee…” It is what “Wolf Like Me” is to “TV On The Radio”, “Tongues In Cheeks” is to ‘Sugar Army’ or what “Wooden Ships” is to ‘Dappled Cities’. I’m always hunting for these kinds of tracks.
… But, the album on a whole isn’t fantastic, I wouldn’t recommend a purchase, but if ‘Flashy Python’ can pump out more “Obscene Queen Bee’s”, all the better. I’d watch out for them in the future, they might just have a chance. I won’t rate the album solely on this good-note, it would be unfair to the rest of the tracks: they’re average, but some of them might click more with you than they did with me…
So, I’ll say:
The Enantiomorphic God