JOLLY

For a full list of reviews and interviews, visit: http://www.jollyband.com/press.html - JOLLY

Forty-six debut Minutes, Twelve Seconds of Music and the tour to support the Riverside have been a great start for the U.S. lineup. I would start right away to clarify the musical approach of Jolly, ranging from metal to alternative rock, all the while with a good deal and energetic melodies that strike at the first hearing. A first factor is negative for myself, but given the convincing performance of the whole could be a factor for many more convincing, is sung.
The warm voice of Anadale perfectly fits the style of the group, but it's perhaps too limited on the same hue, and when listening to this feature might slightly bored.
If the first track is not a miracle at first, but grows with the ratings among the best pieces of hard to name just feel Joy and Pretty Darlin, truly remarkable, engaging, and original in their proposal. The first is modern, straightforward and suggestive, the second is a mix of alternative-day and 60 years of memories.
More conventional in its modern alternatives The Pattern piece of undoubted efficacy also plays instruments in the middle to touch that made ??me come to mind Dream Theater technical and hard the last period.
It is not an easy task to compose pieces of elegant convinced now, but at the same time, little drawing continuous tones and vocal harmonies that need more attention.
Suggestions refined taste and relaxed evening, and pour out of Storytime Radie. We both embrace with their wealth atmospheric vocal lines made of soft but strong, simple yet profound.
The apparent simplicity of the Joker, then, could deceive even the most experienced progster, which is why I feel strongly advise listening more depth to this latest work.
Still listening to Dream comes to mind ... calamitante a word. Its chorus attracts and drags, but it does so in a subtle, delicate, but always a delicate issue that suddenly show its true face at night and sometimes dark.
Dorothy's Lament is a song that does not have anything technical or particularly original, but its emotional and dramatic pace is linked to the best of brackets inspired by Pain Of Salvation and Fates Warning and out, and then also impressive stands among the best.
A disc in which the group does not lower its guard and goes a step further than in the past. Free of any search for a kind of "chosen one" and static formal, but at the same time precise, decisive and with clear ideas. Instrumentally highly trained, do not ever sacrifice the technique for the emotion, but found an almost perfect blend of the two, further hardening the instrumental parts.
If this corresponded to an equally instrumental hardening hardening, or otherwise change, tone of voice, maybe their music could earn even more. But this is a very personal desire that is not a substitute for objective quality (assuming it exists in the music) of this exciting work.

Production
Inside Out / Century Media-EMI
Distribution
Inside Out / Century Media-EMI
Year
2011
Line-Up
- Anadale / guitar, vocals
- Joe Reilly / keyboards
- Anthony Rondinone / bass
- Louis Abramson / drums
Tracklist
01. One guidance
02. Starts Where It Ends
03. Joy
04. Pretty Darlin '
05. The Pattern
06. Storytime
07. Two Guidance
08. Still A Dream
09. Radia
10. Where Everything's Perfect
11. Dorothy's Lament
12. Intermission
On the Web
http://www.myspace.com/jollyband
- Unprogged

Thank you, but just sometimes secret wishes come true. After my first encounter with Jolly almost two years ago I wished that the guys make the deserved breakthrough as soon as possible. After her debut, "Forty-Six Minutes, Twelve Seconds Of Music" quickly reached cult status, now seems these days the sequel - on InsideOut Music, the label probably predestined for progressive, magical, dreamy, sumptuous and atmospheric guitar sounds. So for just the right JOLLY, just right for an album of this shock.

The debut takes its cult status not about the wayward ride through alternative and progressive rock, with cornerstones like Tool and Dream Theater. The very personal touch, could shine with the JOLLY even then, it was reinforced, refined, improved. There is still a rare and therefore more than respectable performance when a band succeeds in such a short time to design a completely individual style. JOLLY are at the picturesque landscapes of sound, which sometimes radiate an almost fairy-tale atmosphere, detail and arranged almost microscopically.
They do not leave anything to chance. On their debut, they experimented with binaural tones, to make the headphone experience even more intense. This experiment will continue in the form of a concept, which will give us true happiness as a listener. No esoteric Geschwurbel, no psychoacoustic trickery, no music theory master plan - JOLLY write primarily real, emotional songs that whip up the adrenaline and endorphins may release en masse. Each song is a little experience, which releases no longer so quickly.

Particularly striking is the energy to go with the JOLLY works. The weighting has shifted somewhat obvious: the keyboard sounds come back a little, sometimes subtle but always just right, while the guitars come with a clear edge to speak. "Where It Ends Stars" at first surprised with this new, clear direction, but soon the full spectrum of sound-JOLLY unfolds in a song that fully live up to its title: "Joy." Artful pen strokes on the score sheet, enchanting melodies, harmonic changes, the diverse actions of stringed instruments, versed drumming, piano ... if you thought that JOLLY with a song like "Renfaire" almost anything would have said, one must recognize with joy, how much is there more to this band. Who skillfully so with three-quarter time-rhythms handled, not afraid of playing with blues and jazz ("Pretty Darlin '").

And then a song called "The Pattern". A stunner. A minute long flash, an explosion in my head. The arpeggios on bass and guitar, the wide screen of this orgiastic chorus and then the middle part with polyrhythmic riffs that had not been heard in this hardness of them. Not the half is over, this part is already a hit, just to not believe it! To kneel down, to always listen-again.
A similar moment has also "Still A Dream" to offer, now much guitar-heavy sound than in the actual source. But it is always balanced, "Radia" impresses with its acoustic note, "Story Time" is conspicuous by its very balanced character and "Where Everything's Perfect" is so rich in detail, that even after a dozen passes can still discover new things in it . The thunderous roar of the chorus, the Rhodes-motif, electronic niceties - JOLLY have saved in any minute with creative resources. Over the entire season after JOLLY place with such sophistication that we have the opulent "Dorothy's Lament" dismisses with a powerful feeling of hunger at the break. Here ends the first part, and it is can not wait to get the second ear also. JOLLY have much to tell in 45 minutes that you listen to the album again and again, in order to really grasp everything. What is 'must' - you WILL!

So, short conclusion: ears stretched for the first real rock record of the year - who has previously never heard of Jolly, should now immediately begin! JOLLY love you, and you will love JOLLY! - Metal.de

Binaural stimulation is back. For those of you who are unfamiliar with the term, prog rockers Jolly define a binaural tone as a “combination of slightly offset frequencies played simultaneously, thereby altering the brain’s natural frequency. Scientific research suggests that such tones can enrich feelings of relaxation, focus, creativity, and happiness when experienced in headphones.” So if you want your mind altered, read on …
Following its 2009 debut release (with the catchy title of Forty-Six Minutes, Twelve Seconds of Music), New York-based progressive rock quartet Jolly returns to the studio and gives us The Audio Guide to Happiness (Part 1), to be released in March on Inside Out Music. Moody, mellow progressive rock with a touch of ambient elements, coupled with solid engineering, interesting arrangements and great performances seems to be a fitting description of Jolly’s overall sound. Jolly’s music blurs the boundaries between progressive rock, alternative rock and electronica. At times, it is quite laid back and mellow, and at other times, it’s thick and crunchy. Returning to the band are guitarist/vocalist Anadale, keyboard player Joe Reilly, and drummer Louis Abramson. They are joined by new bassist Anthony Rondinone.
The performance, production and engineering are excellent – crisp and clear vocals, nicely balanced instruments, and a fine sense of musical balance fill the album. The band’s talent is obvious – each performer is very good at what he does, and they play off of each other’s strengths without allowing any single person or instrument to dominate the music. Anadale’s silky smooth voice layers nicely over his slick guitar work, allowing the band to set an individual mood for each track. Joe Reilly’s keyboards are an integral part of the music; never harsh or strident. Rondinone and Abramson are a fine bottom end, handling the rhythm sections and tempo changes in fine style. The members of Jolly work well together, and they are able to provide a very consistent and unified sound. They’ve also made their “binaural tones” a little more subtle – on 46:12, they were very noticeable and sometimes distracting, but now, they are more solidly integrated into the music.
The atmospheric keyboard intro “Guidance One” launches into a very bass-driven “Ends Where It Starts, which showcases Jolly’s sound and gives the listener a taste of what is to come. “Joy” is a very flowing, upbeat keyboard, bass and drum track that really allows Anadale’s amazing voice to shine and clearly demonstrates the band’s impressive songwriting chops. “Pretty Darlin’” has an old-school, almost honky-tonk feel to it and features some interesting backing vocals and a great darker but bouncy beat. Aggressive bass and guitar separates “The Pattern” from the prior tracks and segues nicely into the mellow piano driven “Storytime,” which features great harmony vocals.
More keyboard textures and a countdown lead from “Guidance Two” and into the moody and dissonant “Still A Dream.” “Radiae” is an amazingly flowing track that mixes great guitars with atmospheric keys and liquid bass that somehow manages to emphasize the vocals in what is becoming Jolly’s signature style. “Where Everything’s Perfect” features a nice chugging rhythm line and mutli-layered vocals, while ambient keyboards, light guitars and powerful vocal harmonies lend an eerie feeling to “Dorothy’s Lament.” The spoken “Intermission” definitely will leave you wanting “disc 2”…
Whether you give any credence to the “binaural tone” aspect of the album, The Audio Guide To Happiness is, indeed, a sonic experience. It is an interesting listen for any fan of progressive rock and a fine effort overall. The music is innovative, unique and always melodic – prog rock in its purest state. One thing that undoubtedly will make Jolly’s fans happy is the simple fact that this album is “Part 1” – so there is more sonic artistry to come. Definitely recommended!
Genre: Progressive Rock
Band:
Anadale – Guitar, Vocals
Joe Reilly – Keyboards
Anthony Rondinone – Bass
Louis Abramson – Drums
Track Listing:
1. Guidance One
2. Ends Where It Starts
3. Joy
4. Pretty Darlin’
5. The Pattern
6. Storytime
7. Guidance Two
8. Still A Dream
9. Radiae
10. Where Everything’s Perfect
11. Dorothy’s Lament
12. Intermission
Label: Inside Out Music
Website: www.jollyband.com
Hardrock Haven rating: 9/10 - Hardrock Haven

Happy to be easy.

Unfortunately I've missed in the year 2009, the acclaimed debut of Jolly, which earned the quartet just signed a contract with InsideOut. So now there is the second plant, with the announcement of the full-bodied "The Audio Guide To Happiness (Part I)" shows self-confidence. Blessed are making music? Cool.

The track is seriously meant, as one might think after the first import. Because JOLLY work with so-called binaural tones. These sounds are mixed in with the music and so also stimulate brain areas that have nothing to do with listening to nothing and will actually feel so happy to be promoting. An interesting approach which I have not a shred of a clue as to whether in fact that perhaps the reason why I get when listening to the album a good mood.

That is at least a recognition that will quickly without much research truth. JOLLY play because no corduroys-prog with horn-rimmed glasses, but fresh and original rock by the Botany and remember so much of the tangled Prog sizes of Now as many of the 90 ground pearls. I think at least when listening to this album bands like DAMN THE MACHINE, KING'S X and especially SAIGON KICK. This is especially the enthusiasm and the spirit that remind me of those very bands.

Even the Opening 'Ends Where It Starts' is surprisingly straightforward rock and therefore. The riff is simple and concise, the bass growls and satisfied number of missed a pleasant drive. 'Joy' on the other hand holds the promise of its title. A deliciously catchy and simple joy preparatory number. Great hook, great chorus, great keys. Superb. A smile makes time, even following the 'Darlin''Pretty sure that this smile is not as fast passes. Locker pierced swinging the song firmly into the cloth and makes listening to dance legs twitching and shaking hips.

So I could continue fantasize about the details of the next song, but with time you will see a speech a little bit boring. The fact is that it JOLLY create a fresh, bold and bloody mature album to take, given its ease of introduction to the scientific approach can be quickly forgotten. "The Audio Guide To Happiness" is pure joy, emotion is genuine and not even in love Frickelwerk. Super.

Rating: 9.0 / 10
Peter Kubaschk , 13/02/2011 - Powermetal.de

Once again, with their sophomore release The Audio Guide to Happiness Part 1, I'm not sure whether to take progressive alt rock band Jolly seriously. Once again they proffer something strange: Jolly claims they have "devised a therapeutic auditory experience scientifically designed to bring the brain to a state of pure happiness." Previously, on 46:12 Minutes of Music supposedly contained a binaural brain wave phenomenon previously unheard of in rock music. As Jolly explains:
Embedded throughout the album are binaural tones, which result from the combination of slightly offset frequencies played simultaneously, thereby altering the brain's natural frequency. Scientific research suggests that such tones can enrich feelings of relaxation, focus, creativity, and happiness when experienced in headphones.
Of The Audio Guide to Happiness, Jolly ups the ante, or so they say (scientifically proven, of course):
It is a self-reflective sonic journey scientifically tailored to guide the listener through the strata of his/her own emotional make-up. The listener is subjected to musical mood dynamics and key lyrical triggers while the brain is fed corresponding binaural tones. These tones are carefully and deliberately interwoven within the music to support all appropriate peaks and valleys throughout the experience.
There's more, if you unconvinced or intrigued; you can probably find it on their web site. I think it's bullshit; I believe Jolly is just messing with our heads, before the music does.
Most certainly what makes the listener happy with The Audio Guide to Happiness is the simple fact that Jolly delivers another solid work of progressive rock seasoned with some alternative flavor. Songs like Ends Where It Starts, The Pattern, or Where Everything's Perfect finds Jolly combining their diverse and clever arrangements with elements of heaviness, subtlety, ambience, and pop sensibility. The latter song, Where Everything's Perfect, reminds of an early Genesis/Gabriel cut with U2 or Muse on steroids. Another song, Joy, are simply magical compositions that feature brilliant composition and the superb talent of the musicians (Anthony Rondinone on bass is most notable here.) That pop sensibility and radio-friendly cleverness comes on the toe-tapping, sometimes heavy, and riff happy Pretty Darlin'. Sounds like something Crack the Sky might pull off.
Whether you buy the whole binaural tone manipulation of your brain or not, Jolly's The Audio Guide to Happiness Part 1 is a brilliant piece of progressive rock craftsmanship. Definitely a leap forward to their debut and, hopefully, a vision of more to come. Strongly recommended.
- Dangerdog Music Reviews

Progressive rock has come some way since its heyday in the 70s. Nowadays it is divided into those who prefer the 20 minute epics with virtuosic instrumental parts (see Dream Theater etc.), and those who bring in more commercial elements of song writing, such as Porcupine Tree, or New York band Jolly.

Basing much of their music on the psychology of one’s inner emotions and combining it with accomplished musicianship, Jolly are an example of a more modern aspect of prog rock, one that focuses on everyday life, rather than grand tales of space adventures and mythical beings, something rarely found in the genre these days.

The band’s latest album, Audio Guide To Happiness, is a huge mix of styles and ideas, the swing feel of Pretty Darlin’ standing side by side with the Dream Theater-esque The Pattern, going into the thoughtful and solemn Storytime. Every so often, in an echo of A Tribe Called Quest’s Midnight Marauders, an electronic voice known as the ‘guide’ appears to lapse you into the right mood to listen to the album. But really, the music is so intelligently crafted that even if it wasn’t there, you’d feel all the right emotions.

As the world of progressive music continues to become more diverse, it’s a joy to have a band like Jolly providing this eclectic mix of the heavy, sombre and swingy, and doing it with style. It incorporates the good parts of prog right now, and though this does at times lead to a slightly derivative sound, when it all comes together it sounds great. This band will be ones to look out for in the years to come. - Bring The Noise UK

Progressive music is an interesting thing. When handled correctly by bands like Jolly, it can produce some of the most captivating music in the world. Forty-Six Minutes, Twelve Seconds of Music feels like an art rock record. It takes many different twists and turn down many different roads and avenues. Never conforming to a certain musical structure, no two songs off the album sound quite the same. Each instrument is represented well. Anadale's vocals and Joe Reilly's piano skills are on display at their best in 'Red Sky Locomotive', 'Peril' showcases Louis Abramson's drumming ability and Mike Rudin's bass work is excellent on 'Renfaire'. Obviously, this quartet knows what they're doing.

The first track, 'Escape from DS-3' shows off Jolly's particular style, blending heavy and soft music into the song. The same can be said for 'Renfaire' and 'Peril'. Continuing from there, 'Red Sky Locomotive' is a truly beautiful song. At several points in the song, vocals, bass, drums and piano crescendo into an amazing display of what this band has to offer. 'Downstream' is another great example of this. Bluesy guitar riffs and a soulful solo make this song a late standout. Both 'Carousel of Whale' and 'Solstice' seem heavier and have faster tempo than the previous tracks but fit nonetheless.

A quick mention must be given to the inclusion of binaural tones in '46:12'. Information about these can be easily found from a portal on the band's website. In layman's terms, binaural tones are two slightly offset frequencies played together in stereo. The properties of these tones alter the brain's natural frequency. Different frequency ranges are said to have different effects on the brain. Inside the album this warning is offered; "Caution: Binaural tones can alter brainwaves. Do not use while operating machinery or driving. Do not use if you are epileptic, wear a pace maker, pregnant, and/or prone to seizures."

Binaural tones aside, Forty-Six Minutes, Twelve Seconds of Music is a fantastic album and I expect great things of Jolly in the time to come. Their mix of alternative and progressive rock elements creates an ambient sound unlike anything else heard today. - DangerDog Music Reviews

JOLLY are the sort of self-aware driven and creative band that the Prog Metal scene really needs. On “Forty Six Minutes Twelve Seconds Of Music” (fantastic title by the way) the music is engaging, well produced well written and most of all fantastically fun throughout. You get treated to a wonderful mix of styles throughout a Prog Metal context, from lighter, spacey Prog Rock guitars to more full out Metal riffage and sometimes more dreamy psychadelic passages that really bring a sense of beauty and mystery to the album. As far as this sort of music goes JOLLY aren't the most original band around, they're music won't amaze you with something you've never heard before, but it's done with such passion and commitment that it feels fresh, it sounds new, it makes itself look like something worth listening to, and that's a real positive.

Firstly, the production on this album is absolutely stellar. I haven't heard anything this clear and well defined in a while, it really helps the music and brings out every instrument to it's best potential. This gives the rest of the music a really positive impression straight away, and lets all the subtleties that the band produce in their sound, be it with atmospheric keyboard soundscapes or engaging guitar melodies. The songs on “Forty Six Minutes Twelve Seconds Of Music” aren't necessarily amazingly complex or advanced, but there's a lot of quiet things below the exterior of the first layer of the music which really gives it a lot of replay value and added enjoyment.

On a more basic level, the song's are really well written. They flow wonderfully well and always float around the four-five minute mark which gives them enough room to create an atmosphere without going overboard. Led by the lead singer's somewhat distinctive voice, the band go through the album alternating between softer more dreamlike atmospheres (“Downstream”) and more aggressive Metal moods (“Carousel Of Whale”), it's a mix that isn't exactly unique, but it's done with aplomb by a band who clearly know what they're doing.

So, to summarise, “Forty Six Minutes Twelve Seconds Of Music” is a shining example of how to do this sort of Prog Metal right. No gimmicks, no fancy new things to rely on, just plain old fashioned great songwriting, grand melodies and a perfect atmosphere. It's a terrific debut album by a band that has potential to go on to big things, one of the better albums of the year so far. - The Metal Observer

Viel reden, nichts sagen. Manche Bands verbrauchen ein ganzes Album, nur um am Ende mit völlig leeren Händen dazustehen. Nicht so die US-Band JOLLY. Aus New York senden sie ihre erste offizielle, musikalische Visitenkarte in die Welt und beweisen damit eine Klasse, mit der sie den Großteil ihres Standes bereits hinter sich lassen könne. Schön auch zu sehen, dass sich trotz Massenüberflutung des Marktes und der allgegenwärtigen 'Krise' immer noch Labels finden, die ein Gespür für solch' großartige Musik zeigen.

Nichts anderes findet man auf "Forty-Six Minutes, Twelve Seconds of Music" (oder kurz "46:12"), ein Titel, der fast schon Bescheidenheit ausdrückt. Hinter diesem simplen Statement stecken 46 Minuten beeindruckende, fesselnde Musik, eine Reise entlang der Pfade von Progressive und Alternative Rock, eine Art Klassentreffen mit TOOL, A PERFECT CIRCLE und DREAM THEATER - Musik, die viel zu erzählen hat. Songs, in denen Härte und Melancholie aufeinandertreffen; zarte und elegische Momente voller Poesie, die sich in verträumten Pianoklängen niederschlägt; Adrenalin-haltige, treibende Passagen, erdiger Rock.

JOLLYs geschwungene Handschrift in den Kompositionen sorgt immer wieder für kleine und große Höhepunkte, magische Augenblicke mit einer ganz speziellen Atmosphäre, in denen sich klar abzeichnet, dass sich die Band trotz hörbarer Einflüsse eine eigene kleine Nische erspielt hat. Ob das orchestral bombastisch wirkende "Renfaire", die starken Gitarrenlinien in "Downstream" und "Carousel Of Whale" oder die Keyboards in "Solstice" - JOLLY lassen zu keiner Sekunde nach, steigern sich in dieses Erlebnis hinein und eröffnen immer wieder kleine musikalische Nebenschauplätze. Wie auf einem Jahrmarkt, auf dem die unterschiedlichen Attraktionen mit bunten Lichtern und lautem Getöse den Besucher stets in eine andere Richtung locken, nur dass hier der Zuhörer zwischen aller Variation und Vielseitigkeit nicht verloren ist. Großstadtzirkus, nächtliches Wandeln durch verlassene Straßen, auf dem Felsen zwischen wogenden Wellen stehen, alltägliche Hektik, stoische Gelassenheit und die zerbrechliche Schönheit eines einzigen Moments - all diese Stimmungen vereinen sich auf "46:12".

Wer könnte sich diesen Melodien, der charismatischen Stimme von Sänger und Gitarrist Anadale widersetzen? Für den letzten Feinschliff am Soundtrack für das Kopfkino zielt die vierköpfige Band auf das Unterbewusstsein, mit sog. "binauralen Tönen". Das ist eine Wissenschaft für sich, aber in aller Kürze kann man sagen, dass hier u.a. anders als beim Stereo-Mix die Aufnahme direkt auf Kopfhörerlautsprecher ausgerichtet ist. Nicht nur das räumliche Hörerlebnis kann hier beeinflusst werden, sondern besondere Frequenzbereiche stimuliert werden, was jeweils unterschiedliche Wirkung auf die Gehirnwellen entfalten kann. Oha, 'subliminal messages'? Gehirnwäsche? Ob nun mit oder ohne akustische Tricks und Spielereien, die Musik überzeugt für sich selbst, und das ganze 46 Minuten.

JOLLY sind für mich eins dieser schönen Myspace-Erlebnisse: Man ahnt nichts, erwartet nichts, und dann taucht plötzlich diese Band als eine unter tausenden in der Masse auf und braucht nur eine halbe Hand voll Songs, um mich sofort in seinen Bann zu ziehen.

Punkte: 9/10 - metal.de

Recently, veteran labels such as Frontiers and InsideOut began to branch out — releasing styles of music beyond those on which they built their reputations. Now add ProgRock Records to that list: With Jolly, the California label whose roster includes Frameshift, Presto Ballet and Sylvan expands its reach even further with atmospheric alternative rock. Taking musical influences from Radiohead, Depeche Mode, Mike Patton, Muse and Tool, this New York City quartet also seemingly took some title inspiration from Yes' 90125 (which was named after the LP's catalog number). That said, Forty Six Minutes, Twelve Seconds of Music boasts enough progressive moments to warrant a spot in the ProgRock lineup, as moody guitars, ambient keys and subdued vocals recall vintage Porcupine Tree and Radiohead. And once the band builds up the momentum — as it does by the time the expansive "Red Sky Locomotive" surges ahead with driving guitar and piano riffs, as well as subsequent wall-of-sound tracks such as "Downstream" and "Carousel of Whale" — Jolly may leave progressive-music fans feeling pretty good.

46:12 also gives into another prog tendency: It's a concept album (of sorts). Apparently, various forms of brainwave stimulation are embedded throughout the disc. Known as binaural tones, they have been scientifically proven to enrich feelings of happiness — or jolliness, if you will — focus, creativity and relaxation through inaudible changes in audio frequencies. Doesn't all music, to some degree, have that power? Anyway, don't let trying to figure it all out detract from your enjoyment of these 46 minutes and 12 seconds. - Sea of Tranqulity

Pensate ad una musica che punta dritta al cuore, passando per il cervello, dove deposita affascinanti detriti. Pensate ad un gruppo che verosimilmente si è sottoposto un’infinità di volte alle visioni sonore prodotte da Pink Floyd, Muse, Radiohead, Tool, Porcupine Tree e Anathema, in una misura tale da averle assimilate irrimediabilmente nel proprio subconscio, per poi restituirle trasfigurate quel tanto che basta a farle diventare anche una cosa sua.
Immaginate un sogno vivido e lucido, fatto d’atmosfere sospese, d’immagini sbiadite che svelano lentamente i loro contorni, palesando uno spettacolo ipnotico, stordente, avvolgente, oscuro e drammatico.
Se siete riusciti a farlo, non sarete tanto lontani dall’essenza dei Jolly, una band pescata dal “mazzo” (lo so è una banalità, ma non sono riuscito trattenermi dall’utilizzarla!) della ProgRock Records e destinata ad aggiungersi con pieno merito alla nobiltà del cosiddetto neo-prog, accanto ai nomi autorevoli di Frost, Riverside (e ai Lunatic Soul di Mariusz Duda), Amplifier, Oceansize e Pure Reason Revolution, tra gli altri.
E proprio come accade nei confronti di alcuni dei loro prestigiosi colleghi, anche per i nostri quattro newyorkesi, la definizione progressive potrebbe quasi sembrare inopportuna, almeno nella sua accezione maggiormente rigorosa, ma se a tale definizione si assegna, oltre ad una forma d’ammirazione per “certi” classici del genere, anche il concetto di una ricerca d’innovazione e d’evoluzione del fenomeno musicale in se stesso, ecco che la faccenda assume una differente prospettiva.
Se poi preferite chiamarlo alternative o mescolare ulteriormente le “carte” (e ci risiamo ...) delle catalogazioni, fatelo pure … l’importante è che i Jolly di “Forty-six minutes, twelve seconds of music” sono davvero un’avvincente realtà del rock-rama contemporaneo, capace di creare soluzioni armoniche sfuggevoli ed emozionanti, notturne, pulsanti e malinconiche e tuttavia anche vigorose e risolute, in un continuo susseguirsi di arrangiamenti grandiosi, ritmiche volubili e trascinanti, liquide sospensioni e corposi strappi di cupa energia.
Difficile non rimanere irrimediabilmente stregati da quest’incredibile dischetto, e se questo sia anche dovuto alla presenza dei “Binaural tones”, particolari frequenze in grado di stimolare e aumentare le percezioni acustiche durante l’ascolto in cuffia (c’è addirittura un messaggio d’attenzione che recita: “Binaural tones can alter brainwaves. Do not use while operating machinery or driving. Do not use if you are epileptic, wear a pace maker, pregnant, and/or prone to seizures”), non sono in grado di affermarlo con assoluta sicurezza.
Quello che invece è certo è che il contenuto di “Forty-six minutes, twelve seconds of music” non ha bisogno di contributi “esterni”, siano essi “vezzi” adescanti o fatti dalla concreta valenza tecnologico-scientifica, perché già da solo possiede il grande potere di suggestione che è tipico della musica di livello superiore. - EUTK.net

Det jag först tänker på när jag får JOLLY’s debutplatta i min hand är att nu kommer jag få höra något riktigt glatt och klämkäckt, för ordet JOLLY förknippas ju med glad och positiv. Sedan kan man se JOLLY ur en annan synvinkel och det är i samband med mitt eget namn, Roger, och så har vi smeknamnet på piraternas dödskallemärkta flagga. JOLLY är numera också ett alternativt rockband från New York och det är allt annat än glatt och positivt när det spelar sin musik, snarare tungt och ödsligt men samtidigt vackert och stundtals även skört.

JOLLY säger sig vara influerade av en rad olika band från ett brett spektra, eller vad sägs om Radiohead, Muse, Meshuggah, Depeche Mode och Tool? Det dessa band har gemensamt är väl att de alla är stilbildare inom sin genre och det är kanske därför som jag ser JOLLY’s debutplatta som ganska fascinerande. Jag har nämligen svårt att riktigt bestämma mig för om det här verkligen är alternativ rock, modern progrock, artrock eller helt enkelt…rock. Antagligen är det allting på en gång och det spelar egentligen inte någon roll, för JOLLY är en härlig överraskning och bandet spelar en musik som tyvärr kanske inte passar in i det varma väder som vi har just nu, utan som bättre skulle passa in bland höstens depp-plattor.

På omslaget står det ”The incredible JOLLY presents…” och det ligger en viss sanning i det rättframma budskapet. JOLLY blandar tunga beats med taggiga och nedstämda gitarrer, snygga refränger och ambienta landskap. Lyssna speciellt på den helt magnifika och snygga ”Peril” som blandar Radiohead, U2, Porcupine Tree och Riverside till en vacker och dynamisk ballad. Bandet jobbar mycket med stämningar och produktionen är fylld av stora och breda ljudframställningar med eko och reverb. Pianot i inledningen i ”Red sky locomotive” är typiskt för JOLLY’s tankesätt och även sången är stor och har en ljudbild som Bono brukar använda.

Inleder gör ”Escape from DS-3” med tunga gitarrer varvat med mer avskalade partier där Anadale’s röst får mest utrymme. Den som jag är mest imponerad av är egentligen trummisen Louis Abramson som har ett dynamiskt och intressant spel som påminner lite om förre Porcupine Tree trummisen Chris Maitland. Detta hörs speciellt i inledningsspåret där Abramson experimenterar sig igenom med olika takter utan att det känns hackigt. Inledningen till ”Renfaire” låter faktiskt lite Asia på grund av den stora ljudbilden, men så fort sången börjar så ändrar sig även influenserna mer åt band som Riverside eller Pain Of Salvation.

JOLLY gör mig glad, mitt i melankolin, och därför passar namnet av den anledningen. Debutplattan har fått namnet ”Forty six minutes, twelve seconds of music” och är just det, 46:12 lång, fylld med mycket intressant alternativ och lätt progressive rock med moderna förtecken. Musiken är vacker, melankolisk och ibland aggressiv, och det här är ett band som jag är helt övertygad att vi kommer att få höra mycket av i framtiden - ExtendedMix

No i badz tu madry... Oto kolejna plyta, której nijak nie da sie przyporzadkowac do rosnacej w naszym serwisie liczby 'szufladek', ale która niewatpliwie powinna sie znalezc w orbicie naszych zainteresowan. Zespól Jolly stosuje coraz bardziej powszechna taktyke: na swojej debiutanckiej plycie inkorporuje do swojej muzyki co tylko sie da. Ale robi to z glowa i wyczuciem smaku. Na dodatek Amerykanie okazuja sie niezlymi zgrywusami: swój album tytuluja tak, ze mozemy sie spodziewac wszystkiego: od Italo disco do reggae, a we wkladce informuja nas, ze muzyka zawiera tony o szczególnej czestotliwosci, majace dobroczynny wplyw na ludzkie zdrowie. Nizej natomiast maczkiem podaja ostrzezenie, ze owe dzwieki nie moga byc stosowane przez kierowców, epileptyków, kobiety w ciazy itp. , gdyz moga zmieniac fale mózgowe. Poczucie humoru iscie toolowskie. No, przynajmniej mam nadzieje, ze to zart. W ostatnich dniach przesluchalem te plyte mnóstwo razy. Najblizsi nie dostrzegli u mnie zmian osobowosci. Na razie przynajmniej...

Próba scharakteryzowania stylu Jolly to zadanie godne lepszego niz moje pióra, bo to muzyka, w której kazdy sluchacz na pewno wychwyci cos innego... i kazdy bedzie mial racje, bo ciekawe rzeczy dziela sie tu nie tylko na pierwszym, ale tez drugim i trzecim planie. Taka wielowarstwowosc aranzy zbliza amerykanski kwartet do Porcupine Tree - u 'Porków' jednak mam czasem wrazenie pewnego przeladowania dzwieków, ich natloku. Na 46:12 caly czas jest przestrzen, miejsce na oddech, nawet jesli w atmosferze pojawiaja sie czasem halucynogenne opary. Piosenkowe w sumie struktury (chwilami tracace Radiohead albo wrecz Coldplay) zespól urozmaica ambientem, jednoznacznie metalowymi, wrecz sludge'owymi riffami, malarskimi solówkami jak u naszego Riverside czy pajaczkami gitarowymi jak z najdelikatniejszych fragmentów plyt Cult Of Luna. Bohaterów widze tu dwóch: pierwszym jest niejaki Anadale, który jest zdolnym, obeznanym z róznymi stylami gitarzysta, ale przede wszystkim intrygujacym wokalista, który potrafi i zaserwowac pekna melodie, i nieludzko sie wydrzec (choc w glebi miksu), upiornie szeptac, smiac sie i nie wiem co jeszcze. Druga pochwala wedruje do klawiszowca Johna Reilly, bo napracowal sie niesamowicie przy dyskretnej, ale wyczuwalnej elektronice, przed szereg wychodzac tylko wtedy, gdy wymaga tego logika utworu. Wszystkie utwory maja raczej powolne tempo i przyjemne, hipnotyczne dzialanie. Króluje tu lekko posepny nastrój. Szarawy, jakby w opozycji do szkarlatnych grafik zdobiacych album.


Escape From DS-3 przeplata snujaca sie melodie prowadzona przez klawisze, gdzieniegdzie zatapiajaca sie w ambiencie, z kilkusekundowymi wstawkami gitarowego szalenstwa. Najszybciej zostaje w glowie Renfaire z ladnymi, subtelnymi gitarowymi repetycjami i Anadale przechodzacym od spiewu normalnego do takiego 'zza grobu'. Do tego fantastyczny, epicki refren. Peril rozpoczyna sie kosmicznym wstepem, który ustepuje miejsca balladzie przeradzajacej sie w coraz mocniejsze granie, poprzetykane pod koniec pasmami ambientu. Lubie takie stopniowanie napiecia! Riffy podbite fortepianem atakuja nas we wstepie Red Sky Locomotive, nastepnie wyciszenie w zwrotce i ponowne spuszczenie gitarzysty (caly czas saczacego w tle gilmourowskie dzwieki) ze smyczy w refrenie. Dlaczego niespelna minutowa, kojarzaca sie z muzyka filmowa miniaturka nazywa sie We Had An Agreement - nie mnie sadzic. Powoli, dostojnie toczy sie Downstream. W Carousel Of Whale odzywa sie polamany sludge pod Neurosis (oczywiscie w tym lagodniejszym wydaniu). Prawie w calosci wyciszone jest Solstice, riffy wioda prym tylko w kilku ostatnich sekundach. Inside The Womb to znów taki troche powazniejszy Coldplay. Pod koniec mamy okolo minute dziwnego, wiatropodobnego szumu, z którego wylania sie jeszcze delikatny fortepianowy temat, a potem jeszcze póltorej minuty dziwnych, cichutkich trzasków. Jak na najbardziej rozbudowany utwór - troche tu za duzo wypelniaczy. I to wszystko. Minelo czterdziesci szesc minut, dwanascie sekund bardzo ciekawego seansu.

Czy jestem w stanie wychwycic w debiucie Jolly jakis mankament? Niespecjalnie. Moze tylko fakt, ze mimo swoistej elegancji zaden z tych utworów szansy na zawojowanie masowej swiadomosci nie ma. Ale tez watpie, aby o to Amerykanom chodzilo. Chcieli oprowadzic sluchacza po swiecie dziwnym, lekko mrocznym i psychodelicznym - i to im sie znakomicie udalo. To nie jest, mimo calej swojej przystepnosci, muzyka dla gawiedzi. Mam nadzieje, ze to muzyka dla Was. Dla mnie na pewno. 4,5/5. - ProgRock.org.pl