Here is a statement from Captain Quentin’s press statement: ‘Captain Quentin’s music can be described as post-punk, math, or perhaps even noise.’ I can agree with one of those statements, but which one?
Mathematically structured music isn’t a new idea, just go back to Bartok or Debussy, but I can’t think when it’s been used to excuse such a tuneless row. Just being able to play in odd time signatures doesn’t sound clever on its own unless backed up with strong structure and memorable melodies (think of Brubeck’s "Take Five" where the time signature as incidental to the tune, yet adds to the overall effect). All the tracks seem to have been constructed much in the same way as a cut-and-shut car, dispirit sections bolted together with little rhyme or reason. The aural effect of this CD is much the same as travelling in said vehicle, an uncomfortable journey which may not end well.
Although the mix is clean and clear, there is little variation over the course of the entire CD, as if the engineer set the levels and panning then went to have a cup of tea for 40 minutes. Although Captain Quentin reckon they have a ‘strong synth-pop component’, this turns out to be one weak and hollow 70s keyboard sound last heard in old Schools Programs or infomercials hiding amongst the thin and jangly guitars which are mixed hard left and right throughout, showing a lack of imagination in the presentation of what can only loosely be called music. The only change in the sound comes around half way through the CD when a flute is used as the main instrument, although you still can’t accuse it of playing a tune, but even this respite is spoilt when it is replaced by a saxophone in frenetic and pointless modern jazz mode.
With little variation in instrumentation and overall sound added to jigsaw nature of the compositions, these tracks are as forgettable as they are jarring.