The Muffins - Double Negative (2004)

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The Muffins - Double Negative (2004)

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"Double Negative" is the playful title for The Muffins' second release after their early 90s reunion. The genius remains the same and so does the iron will to deliver refreshing challenges in the area of progressive rock; the technical mediums are different in the sense that they are enhanced, and so, the band's taste for impressive textures and refined instrumental interplaying can be better conveyed to the listeners' ears than in earlier albums. In fact, this album incarnates the sort of sound production that this band always deserved. 'The Highlands' kicks off the album with initial cosmic nuances on synth and sax followed by an exciting main body that sounds like Happy The Man-meets- Shadowfax. 'Writing blind' bears a more muscular sonority, featuring wild sax interventions and an exquisite dynamics provided by the rhythm duo. The alternation with softer passages competently completes the track's sophisticated aura. 'Choombachang' has a quite Zappaesque title? and it certainly sounds very influenced by Master Frank in his big band-oriented albums. 'The Ugly Buttling' states a combination of dissonance and eerie moods, and much of this contemplative stance is preserved in the sequence of 'The Man In The Skin Painted Suit' and 'Childhood's End'; but then comes 'Exquisite Corpse', a mischievous piece whose patently extroverted mood is humorously ornamented with creepy brass and weird guitar and percussion interventions. 'They Come On Unknown Nights' focuses right away on the band's sordid side, albeit religiously preserving a sense of exquisiteness; segued into 'Cat's Game', the following track, the pair offers a vision of The Muffins' RIO side (somehow confluent with the artistic ideology of Thinking Plague). From this moment one, the repertoire becomes dominated by the band's calmer side, providing enough variations to keep the music interesting and the listening experience engaging. 'Stethorus Punctum' explores soft Canterbury-related moods, while 'Dawning Star' stages an encounter point with the World Music standard (with added density) and '5:00 Shadow' states a sensual, relaxing groove (including slight shades of RIO). I feel that this particular should have been a bit longer, but it is still great, and so is the deconstructively oriented 'Metropolis'. Whos adventurous vibe is solidly comprised in a warmth framework and over a polished rhythmic basis. 'Angel From Lebanon' combines evocative and grayish passages until the closing agile jam delivers a Hatfield-meets-Soft Machine groove. The couple of 'Frozen Charlotte' and 'Maya' provide a captivating lyricism, in this way paving the way for 'The Two Georges' to close down the album on a Canterbury- meets-RIO note: a special mention goes to its bizarre organ intro, very gothic indeed. I love this album very much: I regard it as the manifestation of The Muffins' finest hour. I'm frustrated that I discovered this band so late (last year), but now that I did, my prog collection has benefited immensely from Muffins albums such as this masterpiece

Review by Cesar Inca, Progarchives

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The Muffins - Double Negative (2004)

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The Muffins:

The MUFFINS are Canterbury influenced quartet formed in Washington D.C. in the year of 1973 by Dave Newhouse (keyboards, reeds), Billy Swan (bass) and Michael Zenterner (guitar, violin). The new group remains nameless until one day, while the trio are discussing upon potential names, a friend of there's enters the house and shouts "The muffins are hear!" and conveying a tray of blueberry muffins, thus the band is born! A number of drummers are recruited off and on during the next few months. In the fall of 1974, reediest, Tom Scot joins The MUFFINS, moves in with band, starts to rehearse and Dave starts to compose new material. In the fall of 1975, drummer Stewart Abramowitz joins and the band starts recording demos in the studio and at home that would end up on the album released under Cuneiform label: "Chronometers". In the summer of 1976 after a few gigs, Michael and Stewart leave the band, leaving the group to become a trio. While they are a trio, they tour as in improvising group. In the fall of 1976, they met drummer Paul Sears at a gig. Paul was satisfied of what he heard and joined immediately, thus the setting of The MUFFINS popular era.

They start touring and eventually record their first LP entitled: "Manna/Mirage". After that release, they tour some more, become quite popular in the college circuit and receive much college radio airplay. Then Fred Frith (former guitarist of HENRY COW) moves to New York, becomes well acquainted with the band and his music is quite the influence on them. Fred also features them as a backup band on Fred's first solo album "Gravity". Therefore leads to their R.I.O. influenced second album "185" which is produced by Fred Frith. Then after the release and a show in Penn State College University, they disband. In 1998, they reform for a little reunion show, resulting in the release of "Bandwidth" in 2002. Their sound is strongly influenced by the Jazz-Rock tendencies of SOFT MACHINE, the improvisational techniques of HENRY COW and the quirky song structures of HATFIELD & THE NORTH and MOTHER'S OF INVENTION.

"Manna/Mirage" is an essential release, recommended to all of those that are fans of Canterbury, or Jazz-Rock Fusion. "185" is more R.I.O. influenced and very inconsistent, since they were on a low budget and Fred Frith's production is very evident. Their latest release "Bandwidth" shows the group expressing their sound from the previous albums. "Open City" is just a good collection of out-takes and a good place to start for a novice interested in the band.

~ Progarchives

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The Muffins - Double Negative (2004)

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