The Parable Of Arable Land

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The Red Krayola - The Parable of Arable Land

Piero Scaruffi on the album:

Parable of Arable Land was recorded in 1967, but composed the previous year. The album is one of the milestones of rock music, a carousel of savage harmonic inventions/sabotages that makes it a timeless psychedelic masterpiece.

Far from being just a “brain-fried” hippie, Mayo Thompson was playing avant-garde music for rock bands. Noise is the undisputed protagonist (the original epigraph should have been “what is that tiny record drowned in all that noise?”), the open format of the tracks and their free-form structure can host a virtually innumerable variety of instruments within the songs, from electronics to chimes, hammers and motors included (during a concert they used some ice dripping on an aluminum plate) with the declared intention of exploiting all the instruments’ possibilities (even though harsh-sounding) up to the point that you would not be able to recognise some of the instruments themselves. They experimented on everything human ears can perceive. The conceptual and programmatic rigour of their musical research couples with an inappropriate taste for nonsense which is expressed through a manic preference for funny noises (such as raspberries and blunderbuss shots) and bold percussions.

The album shows how to play a perfect psichedelic suite: the creative chaos is reached at the end of the song, after a melodic introduction that usually features a certain degree of rowdiness, percussive frenzy and swarming electronic effects. The songs degenerate into psychedelic mini-symphonies for expansions and streams of consciousness, based on disjointed syntaxes and demolished by atonal vortices or harmonic hurricanes that can only be compared to the most radical free-jazz sessions, although unprecedented as for pollution and proliferation of basic sounds. The music of Red Crayola goes beyond a simple psychedelic trip: which heavy drug can cause similar sensory shambles and nervous breakdowns?

One after the other, these songs really tell the parable of a boundless and fertile land, still undiscovered: Hurricane Fighter Plane, the most melodic track, obscured by a dark incessant sound in the background, with a rhythm that rides at a gallop and a chaotic coda for harmonica and all sorts of percussions; the frenzy war dance of War Sucks, the most ferocious and infectious track, dictated by the most epileptic tribalism, where all instruments beat the dance’s time while Thompson rails against war; the filtered and distorted folk-rock of Transparent Radiation, for voice and harmonica, that after two strofes is overwhelmed by a general pandemonium; the subsonic and metallic vibrations, the knockers, the out-of-tune riffs with their deformed timbres, the pneumatic hammers, the blood-curdling screaming of Stainless Tail; and then Parable Of Arable Land, arguably the greatest harsh-sounding solo in the history of music, where clangors of cans and screeching saws play the overture to another bacchanalian of exhausting total-dance.

All files in ALAC (Apple Lossless) - Average 850 Kbps

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