Mick Mercer reviews "CII: Second Son" by 17 Pygmies

March 16th, 2011

17 PYGMIES CII: SECOND SON Trakwerx So here we are again then, with a delightfully artistic package of wax-sealed delicacies to unfold, and the second in their star-kissed trilogy with Robert and Isobel waking on a distant planet. It starts cool and lovely, with the blissful ambient ‘Celestina XII’ and as the title run identically with a different numeral, the album ends with ‘Celestina XXII’, so singling out individual tracks become pointless. It’s about the flow, beginning with a simple synth wash and tiny, discreetly decorative notes on top. Gentle guitar can be easily absorbed or to underpin the vocals of Meg Maryatt, the one easily identifiable contribution, beyond Dirk Doucette’s drumming. Elsewhere Jeff Brenneman, Dirk and Jackson Del Ray complete the hazy picture. Their guest Heather Lockie is also strong on her cello It’s also about the story, which comes inside the package, telling of adventurers landing on a planet with two suns and making a rather large leap of the imagination by thinking this could be the second son mentioned in the bible. They find a robot reading poetry, who happens to belong to a commune, of robots who once travelled through space themselves. This isn’t their only source of compatible interests. A robot named Herod breaks the neck of Captain Mora to prove they cannot harm one another, as killing here is a sin. They mistrust this robot who they believe once massacred some family members, justifiable cause for concern. Herod protests his/its innocence, and can prove it. Mora survives, despite discomfort. Their own ship’s robot representative turns up in neck snappy mood but soon all is well, they find their ship and are all set to take off when they become aware of other old adversaries. The story will no doubt conclude in the final part. HG Wells must be turning in his library card because, like most sci-fi, it’s pretty bland. The music is far from bland, despite keeping to simple enough templates. It becomes woozier, doomier, grander. At times it reminds me of early movies of the Egyptian era, where a pharaoh’s tomb is being opened, or sealed. It also tilts sideways into a vengeful Celtic feel. It has a refreshingly warm glow and that’s the brave move, as it could have been all isolation and jangling nerves. ‘C XVII’ is a charming indie ballard, which then moves into the darkly swooping ‘C XVIII’ with a portentous synth atmosphere, bleeps and clanking. With recurring motifs, shifts between optimism and shadowy tensions the album drifts impressively on. Stolid bass tones underpin the gases synth mood, but nothing ever gets dour, as sunnier guitar impregnates the gloom. Things get strange during ‘C XX’ with a stand-up piano, gentle sonic scrying and some abrupt timing accompanied by Twin Peaksy twanginess. The closing track has the roughest edge to it, seemingly advancing towards the unguarded listener, a timely spot of melodrama to set us up for the final segment of the trilogy. I don’t actually like traditional sci-fi so the story aspect doesn’t interest me at all. The music however has a superb sense of setting and mood and is consistent in its ability to transport you, bathing you in a cordial sense of abstract intrigue. Their most potent work, I should say. http://www.trakwerx.com/label.htm http://www.myspace.com/17pygmies http://www.facebook.com/pages/17-Pygmies/203624375710