Radio Massacre International Organ Harvest

Listening to the opening of ‘Organ Harvest Part One’ its hard to believe that this melody came from improvised backgrounds. It’s so perfect and full of subtle meaning that even if it had been carefully designed it couldn’t have been bettered. This album is a slight departure for RMI, in so much that it is the most structured and composed release to date. A conscious decision to display versatility perhaps, but it also serves to show how spontaneous ingenuity and composed reflection can to be combined to produce EM of faith inducing proportions. ‘Organ Harvest’ uses a clock based backbone on which to construct electronic reference points. The mid section is drifting collage of lengthy corridors, leading back to the original source. ‘Geiger’ eaves-drops 10 minutes of mellotron and guitar conversation, with weirdness high on the agenda. ‘Edison’ reveals a strangely schizophrenic nature, as lively sequencing is held back by organic effects and discordant piano. ‘Rainy Day Song’ sees the Doepfer immediately on duty, with steady sequencing wrapped around guitar refrains and ever developing mellotron textures. ‘Organ Harvest Part Two’ wraps up the main set with a deserved reprise of power electronics. ‘A Minute of Silence’ has been aired a few times as a live encore, and it serves a similar purpose here. It’s about as composed as you’ll ever hear RMI admit to, with drums, chord changes and a structured melody forming a gem of a piece. This is RMI in measured form, continuing the mood generated by ‘Knutsford in May’. The effortless class can only be admired, however RMI have shown their hand in recent gigs with sequencing power and technique which is among the best I’ve ever heard. Sadly neither of their latest albums fully exploit this potential, though frustratingly the limited edition ‘October Gallery’ CDR did. I hope their next full release redresses the balance with a display of full-on sequencing. Meanwhile, ‘Organ Harvest’ occupies the middle ground to perfection. (GG)

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