From the outside, there can be a tendency to view progressive rock as somewhat serious, both because of the oft-complex nature of the music, and the weighty lyrical themes deployed (particularly across the most well-known concept albums of the genre). Yet, scratch beneath the surface, and you’ll find a wicked sense of humour among many of the genre’s exponents, and that is certainly the case with this fantastic second album from Trifecta.
Trifecta features the combined musical talents of Craig Blundell (Kino, Frost, Steven Wilson, Steve Hackett), Nick Beggs (Lifesigns, Steven Wilson, Steve Hackett and, err, Kajagoogoo), and Adam Holzman (Miles Davis, Steven Wilson). Yet, for all the exceptional musicianship on display, the reason that The New Normal is such an unqualified success is because it never feels like this uber-talented trio are having less than a blast in the studio. From the bouncy melodies of Stupid Pop Song to bizarre, spoken-word asides, The New Normal looks back to the whimsy of early Genesis and Caravan, whilst nodding to more modern fare, including Steven Wilson; resulting in an album that places the joy of a shared musical experience right at its core. It is, quite simply, a lovely album to lose oneself in.
The album opens, much as you might expect, with a technically brilliant and somewhat jazzy track titled Beck And Call, paying tribute to the late guitarist, who passed away in January last year. It’s a great track and it focuses the attention on both the band’s impressive skills and the sumptuous production on offer. It’s followed by the short Dot Are You Wooing? an even jazzier number, that shuffles around the rhythm, while Adam indulges his Miles Davis past from behind the keys. It is, however, a misdirect that segues into the brilliantly idiosyncratic Stroboscopic Fennel. A semi-spoken word piece, it feels like a cross between The Orb’s Slug Dub, Caravan, and Steven Wilson (the latter represented in the taut rhythms that drive the piece). Then there’s the descending motif of the lengthier Just Feel It Karen which, with its offbeat rhythms and rippling keys harks back to the days when Pink Floyd would soundtrack random arthouse films about drugs and self-discovery. The spoken-word Sibling Rivalry beautifully introduces the digeridoo, which sees Trifecta head even further down the alleyway of The Orb, before the bizarrely titled Ornamental Lettuce, returns us to the realms of sublimely proggy jazz, all underlaid with Nick’s darkly creeping bass.
An album highlight, the slinky Daddy Long Legs has a classic jazz feel, although Adam’s stabbing synth notes and glitched sounds give it a striking, contemporary finish. Another spoken word piece, albeit with a jazzy backdrop, What Are You Doing? Comically nods to Kajagoogoo, while sounding like David Lynch. It passes the baton to the brilliant Stupid Pop Song, which pulls off a similar trick to Four Chords That Made A Million, in that it’s both self-aware and yet insanely addictive. Play this, and it’ll be in your head for weeks – you have been warned. The twitchy Crime Spree has an Aristocrats vibe to it, both in tone and titular theme, while the gloriously ghastly pun in Bach Stabber’s title belies the rather beautiful soundscape of its intro. It segues, without you really noticing, into Kleptocrat, which nods towards the sonics of 80s action movies – to the extent that you can imagine the sleazy landscapes of LA sliding past as the album plays on the car stereo.
Vocals return for the rather lovely Once Around The Sun With You, which has a strong Porcupine Tree vibe to its gentle melancholy. Then there’s Chinese Fire Drill which sounds neither Chinese, nor like a fire drill – but it is a lot of fun, and it has some wild guitar work. More spoken word shenanigans appear on Ouch! My OCD. Watch out for the sound of a mobile phone ringing amidst the noise – it’ll catch you out no matter how many times you hear it – and then the band blindside you with the jazzy strut of Wake Up Call. The bouncy Wacky Tobaccy is no less fun, pitching Miles Davis against early Genesis, while Canary In A Five And Dime is a gently heartbroken ballad, backed by stuttering electronica and gifted a beautifully vulnerable vocal. It leaves one last instrumental – the cinematic On The Spectrum – to see the album out, leaving the listener wondering where on earth the last hour has gone.
Trefecta are a huge amount of fun, mainly because, when you listen to The New Normal, you feel like theywere having fun – and it is incredibly infectious. What could, in the wrong hands, be a tedious exercise in self-indulgence, proves remarkably listenable, largely because the wide-roaming tastes of the various members result in the album feeling like some abstract radio show. As such, the band dip freely into freeform jazz, ambient electronica, prog ballads, and occasional frenetic splurges that bristle with energy. Not, perhaps, an album for those who insist on taking themselves too seriously, The New Normal may feature a dose of quintessentially English humour, but far from detracting from the more emotional moments on offer, the variation helps to keeps the pace moving briskly forward. Put simply, The New Normal is a rather idiosyncratic, rather lovely, rather unique record – and it comes highly recommended. 9/10
