On the cover of The Apes of God's new CD, a man in a black suit, carrying a brown, leather travel bag and a briefcase, stares up at an oversized door. Fittingly, he appears to be on the edge of arrival. Although you can only see the backside of the man, you sense his mixed fear and anticipation, as if he's reaching for a familiar destination but is cut short.
Like the strange, unknown man in the photo, EDGE OF ARRIVAL, the group's third release, is a door the listener must pass through before entering the twisted, enchanting world that belongs to The Apes of God. Based in San Francisco, the band's '60's era beatnik style of spoken word is bemused, curious and engaging. The CD, accompanied by a 34-page visual adventure of symbolic artwork, explores the depths and dimensions of the poetry, intoxicating the listener and surrounding the senses--leaving no possibility of escape.
On the CD's first track "Starting Over in Purity", the sound of a pounding bass drum guides an eclectic mix of instruments: clarinet, cornet, trombone and bassoon. The piece brings together a random narrative "the consolation of chastity" after break ups and the death of woeful relationships that eat at you, abandoning any chance of lamentation. The song whimsically ends in: 'Everywhere it is said: she too is starting over in purity / In this country you have never seen / She whispers: you money is worthless here / And I owe real dollars / We should get along perfectly / Welcome to Nevada.' What follows is the slow and peaceful "Wet Avalanche".
EDGE OF ARRIVAL's third track, the amusing "Why Can't Lansberry Get His Mail?" delves into the real-life story of a sandwich-board toting, wandering man by the name of Robert Roy Lansberry, who claims that his mail is being stolen by the government. He initially appeared on the streets of Pittsburgh during the '70's and supposedly kept up his one-man movement for close to two decades. The song shouts repeatedly: 'Give Lansberry his mail!'
"Walking Around" has a steady beat and sound. "Chat With A Witchdoctor" explores an international tone, unidentified darkness and curiousity. The keyboards and electronic percussion of the lyric-less "Target" serves as an intermission between spoken word tracks. "Luba Banjo" investigates the transformation a traveler undergoes in his dreams. First, he turns into a grasshopper. Then, he transubstantiates into a star. From there, a sun. "Op Art" sounds robotic, "Art Deco" has a hypnotic linger, whereas "Right Down the Hole" is sluggish and smoky.
"Spider Take a Ride" is a haunting as it chronicles the theme: the "murderous revenge of a jealous man is itself revenged by the malice of his victim's ghost". The track bedevils the mind with lyrics such as 'Moon peeps through yellowin' shade, Sleep ... And at midnight I will come.'
The CD closes its doors with the bohemian "The Dead Sell Memories", jazzy, fast-paced "Edge of Arrival" and slow-stirred "Come Let Us Reason Together".
EDGE OF ARRIVAL's 14 tracks are eclectic, inquisitive, and inviting as well as inventive and unique. Gilbert Marhoefer's vocals are versatile, adding superbly to the musical tinkerings of Jason Gibbs (multi-instrumentalist and composer), Myles Boisen (guitarist, bassist, and composer) and Gino Robair (drums and percussion). Elisa Salasin, a recording vocalist with the group, adds a feminine touch to this assorted group of artists.
Like the man in the photo, you too can stand on the edge of arrival and proceed through the enthralling journey that lies ahead.