Reviews
Ancient Stories
Magically powerful and mood-altering. Thielus is showing us another facet of his complex musical personality. A well-rounded singer, songwriter, instrumentalist, producer...with ideas look out.
------Ralph Atkinson, Posted: 12 Sep 2013
Ancient Stories
In a previous incarnation of Thielus, we only heard the music with its rhythmic intricacy, but these last two times we get the words and poetry. This song has an almost unbearable weight of loss which is at once personal and also universal. Every life is an accumulation, a history and a tale, the whole of which is recorded in letters, kept objects and often only in the memory we and others have. All is lost eventually; the Ripples will calm to glass. Indeed the stories are Ancient when we look back on a life, but also since this has been the way throughout the time of man. Such a tremendous theme simply and poetically expressed with haunting music.
----Larry Ludwick, Posted: 10 Sept 2013
Breath on Fire
The perfect personal song which means it works for the creator to bring up what must be expressed, and yet, it has a means for others to attach their own significance even if the back story is not known. Powerful and courageous to face such hardship.
--Larry Ludwick, Posted: 16 Aug 2013
Breath on Fire
A beautiful song. Musically progressive but still catchy, technically impressive but still emotional.
--Tim ......, Posted: 07 Aug 2013
Breath on Fire
i like pretentious time signatures with unpretentious melodies
-------Klackity Klackity KLAK!, Posted: 10 August 2013
The Underground
Looking at the tumbleweed strewn desolation of Soundclick's forums (which may well be reaching their Aral Sea moment), you couldn't begin to imagine what it would be like to be busy, let alone buzzing. There was a time though, where these forums were so active, and the music flowed accordingly. As the old saying goes, everyone should get 15 minutes of fame, around 2004 was Soundclick's turn and bloody awesome it was too. It was also the spawning ground for some of those indie underground names who have become increasingly well known since then.

Therefore I am always delighted to welcome another veteran of those times, so step forward Theilus Grenon. An American prog rock artist, but one of those early pioneers who broke down my resistance to the genre back in the day. Put it like this, out of all the tracks I have reviewed from him, none has escaped with less than a Highly Recommended. It may be (kinda/sorta) proggy, true enough, but there is a really good musician under it and that will always win out over genre. Thielus is a bit of a wanderer, and those tracks are dotted sparingly over the course of many years, the last review was of Platypus on the Prowl (December 2008) but such long absences are normal for this musician.

Here is one track I swear is much enhanced by reading the lyrics, in fact I think it should be integral part of the experience because the one thing about The Underground is that it's unbelievably clever. 'Steam powered riddles' are one of the lines in the track, and that could well describe the track itself because that is where it is undeniably prog-rock in every way. However, when the man puts music and vocals behind the line that goes ' Ill feel my feet stepping down the stairs' it will make you smile and that is why it's clever. Prog rock (without the posing) is a difficult form to create but Thielus has never had any problems with it - even with a philistine like me.

MUST HAVE prog rock (yeah, I wrote that...)

-----Steve Gilmore, Posted: 31 August 2011
The Underground
The music this guy has made has always amazed me. I remembered him, I was reminded of his tracks when listening to some big names out there, signed acts. I hear his stuff and am convinced hes just as good.

Genius here for intricate combinations and interesting twists. You think about the musical mind that can create and execute something like that and its as close as I ever get to jealous. I get real curious wondering, who is this guy and how does his brain work? I wonder if he himself has several layers that could be unpacked, because his music seems so much that way, multidimensional with convergent angles.

Art, yes, definitely, and to entertain. Original and imaginative lyrics, This track has several contrasting sections, unpredictable breaks, weird little details and the track is packed with interest. I heard it a few times and wondered, its a simple structure, but how come it seems so complex? and other times I thought, Its complex, but how does he make it sound so simple? Its like a riddle of a brain teaser puzzle. Always interesting to me how the track morphs into a new shape every time I hear it.

All those kinds of details could easily be a mess in someone elses hands but the execution is super precise with a subtle polish that has so much taste and class you dont even notice how good it is.

I would venture a guess that it comments on environmental destruction. If that's right the perspective of the speaker is like some kind of global god of natural order that helplessly witnesses its greatest loss. I might be wrong but I still think the song is intriguing.

The story behind this recording reveals that it was written almost 20 years ago, ( ???? - whoa!!) it sounds like something that might have been written this summer. Timeless, yes.

Honestly, this piece is like so many of his others, I get a little mind boggled just to try to consume the whole song at once. I notice more things every time I hear it, usually solid evidence of some quality stuff in my book. I would say to hear this track and lots of his others and try to figure out just how the hell he does it! Then tell me cause I wish I knew.

---------nixon1972 15 Nov 2011
"The Underground"
What I like are the way each part interacts with the others. The vocal melody feeds into the guitar, and the drums form a sort of light weaving underneath. As is usual with your material, there is a lot of complexity to this piece. Just as the lyrics don't immediately yield their meaning, so also the music is not readily grasped and forgotten. I think that impression arises not only from the way the instruments work together but due to the instrumental sections near the middle and the fade.

Let's just say that I'm not surprised you resuscitated this piece. It's very cool. The title, Underground, matches the dark feel of the music, something that finds reinforcement in the lyrics with the image of going down the stairs. (Nice touch, by the way, to make the lyrics a sort of concrete poem with the stairs effect supplied by staggered lines.) The lyrics consist of vivid but disconnected images. (At least to me they're disconnected.) The effect is like staring into a chunky soup. The lyrics relate because they've been thrown into the same song, but don't create a coherent image. They do, however, create a feeling of foreboding and darkness. I like the line, "Still the skys darkening umbrage." The personification of the sky as taking offense, blended with the lexical link of 'umbra' (shadow) is quite excellent. Blessings, Cam

------cam bastedo 03 August 2011
Soaring the Edge
The intensity is extreme in this, wrenching the mind. This is simply not for casual listening. Thielus wouldn’t put his name on anything less, the triplets in the riff, the complex runs, guitar harmonies plus a stunning and sinister topic might leave you gasping for air. This is very different than the other tracks I know from Thielus Grenon. Although the intricate and fascinating guitar parts are similar, this one is definitely different, in a fantastic way, and that speaks to the versatility and talent of this artist without a doubt.

Gritty and dirty, wicked, pungent vocals over clean instruments. The vocals open up in the choruses for a vibrant relief. Great guitar work as usual for this artist. This track he teams up with some friends for a dynamite collaboration:
Music by Thielus Grenon & Lyrics by Eric Sanger
Vocals: Eric Sanger
Guitar01: Thielus Grenon
Guitar02: Gary Hebert
Keyboard: Gary Hebert
Bass: Todd Driesinga
Drums: Jeff Hutchison

Seriously the kind of music I like. Gutsy with a definite hard rock face. Makes me squirm and I like it.

How should music move you? Is it just to please, to make us happy? How can you, as a listener enjoy something bothersome? Can you enjoy music that is jarring and forceful? I think it is not which emotion but really how deep the emotion is. A sad song is good if it really moves you, even though the emotion isn’t joy. An intense sound like this is great even if it can’t make you smile. It’s the depth of the feeling that draws you in. And this song is emotionally deep in an urgent and desperate way.

And that makes this tune stellar. I love it and recommend it to any hard rockin fans out there who can appreciate a good pit in the stomach. I absolutely love it, a must add to my rock station!

"Platypus on the Prowl"
Once in a while a musician comes along with a new perspective. Think of it, you have heard a million songs. You can sing along to them, tap a beat to some, has anything really surprised you recently? When was the last time you stared at the speakers with your mouth open?

When I was younger I used to be able to count out all those different time signatures, it’s been a while, but there are some sections of this song that have me baffled. I mean that in a good way, I really enjoy being confused sometimes.

I think you will enjoy the disorderly nature of this, you might revel in the confusion it creates. I had to play this many times, the first several where just to grasp it and the last bunch of plays were because I loved it.

But somehow, amazingly, if you stop listening to the individual tracks and sit back for a minute, the madness makes sense, I’m not smart enough to explain it completely but I know I like what the piece does.

The patterns of chaos in this track are intriguing. I would compare it to Stravinsky in how it makes you open your mind and look at music differently. The tune is interesting enough to change your brain.

It’s also brilliant how the genres collide, the styled guitar solos appear and fade, riffs weave a web, the bass guitar plays out, a simple percussion track accents everything else and in the middle the heavens part and strange angels intervene. How did he think of this?!?!?

I swear, - you think I’m crazy, you think he’s crazy- no! really, it all makes sense to me now, you gotta believe me.

I had a coworker years ago who hated jazz (although his tune is not jazz). She hated it because it drove her crazy being so unpredictable and improvised. It didn’t make sense to her. Too many notes, too many things going on at the same time. She really wanted to hear neat, orderly music that was predictable and stable. Ooooh I would love to lock her in a room and drive her crazy with this track!

You should also check out his other stuff, very impressive collection of music. A very talented composer and performer. Another hidden star in the SoundClick sky.

Did I mention I absolutely had to add it to my my curiouser and curiouser station ?

Really good, very unique, but excellent.

-------nixon1972 22 Nov 2008
"The Earthbound Lover"
Dramatic even though the sound is calm. A lot of soulful singer-songwriter talent comes right through. The lyrics match the sound. It’s dark and somber. He leaves this note: “This is a song about loss”. The pain comes through and the emotion is there. The anger is just beneath the surface, we can hear it. The delivery is subtle and just right; he doesn’t make too much of it, no overt or obvious vocalizations, he lets the music do the talking. Great melody. Really good chorus. Perfect vocal performance. The guitar sound is crystal clear. Good choice of drum sounds, they move the song along without distraction. This track has a unique combination of instruments: a 12-string guitar, cello, upright bass, bongos and maracas. It all fits together perfectly. To contrast his work there is a world of fake music out there. Posers, pop stars, almost whatever the labels are promoting. Britney, Justin T, Vanessa Williams, there’s no real feeling in it, no depth, no soul. The music is as plastic as the CD its burned on. The radio keeps playing it and the masses keep buying it. OK. Fine. But this is much more. More rewarding to hear and more personal to feel. This is a great example of the art in music. Expression of emotion. So many songwriters have poured out their soul; I appreciate how important that is. That is a trait of real music. This artist has the talent to touch the soul.
-- ---nixon1972 10 Aug 2008
“The October Jazz Scale”
For those of you who don’t know, a new Thielus Grenon track is an event. It’s not that they are rare, just that they are valuable. As a corpus Theilus’ work is diverse, thoughtful and very, very well played. This track is yet another example of that diversity. There are those of us who just fudge their way along, playing what sounds good. Then are those, like Thielus Grenon, who know what they are doing! I always feel that his compositions are correct, in some – to my rough understanding – unspecified way. They are satisfying in their exactness. Again, there are those of us who accomplish their wizardry primarily with smoke and mirrors, then there are those – again like Thielus – who are really skilled guitar players and accomplish what they do through manual dexterity – good old fashion skill. In neither of these things is Thielus unique, of course. There are legions of hugely talented people roaming this site. However, it’s odd to find someone who combines both excellence of composition and performance to the high degree Thielus consistently does. Rudyard Kipling wrote his Just So stories, and the title reminds me of Thielus work: everything is ‘just so!’ I always feel that the progressions, the notes and even the little trills – executed at a rate that I don’t bother thinking about – are perfect. The October Jazz Scale is no exception. This piece includes Elora Grenon on keys, and I’m not sure, but I think that might be his daughter. I’d be interested to know. I’ve gotten my daughter involved from time to time, and now that she – like her brother – is studying drumming, she might appear more often. In any case, this piece reminds me – both in style and composition – of the latter Frank Zappa work. Zappa was enormously underrated as a guitar player and composer, except by those who really listened. He had very fast hands and knew what he was doing on with his fret-board. The ornate arpeggios that Thielus intersperses with an insistent progression make a really interesting structural balance. The over all impact is fresh, slightly dark, and – as usual – impressive. Blessings, Cam
---cam bastedo 29 Oct 2006
“Sitting in the Park”
This is not a simple composition, the beginning and the end are similar in instrumentation and feel, but there are two distinct mini-movements in between. Have you noticed that there are women who are ‘obviously’ beautiful, and then there are those who are subtly so? You don’t discover subtle beauty at a glance. It requires study. I think this tune is beautiful in the second sense. Pop – when it is good – is Marilyn Munroe; this is more Katharine Hepburn. The first portion, which runs for more than half the song, and therefore can’t be called an introduction, is somewhat similar in instrumentation and feel to Mason William’s ‘Classical Gas.’ It features simple but pretty instrumentation of bass, two guitars and drums. After two listens I would not call it a simple composition, as it has patterns of melody but there is no rapid repetition. Also, it is slowly building. When the second portion, announced by the electric guitar’s thundering entrance, arrives, it is actually NOT a sharp transition. The intensity of the acoustic portion has been building, like a rising wind. The second portion, with its electric lead and muted, scratchy, counter point rhythm, is not pretty at all really. If we follow the analogy of subtle beauty, here this is beauty in a bad mood. It is not ugly, although let me digress. If I were not living in a time that has featured such musical movements as ska, punk and metal, I probably would think of this as ugly. It is unhappy music. The first portion broods, this portion is throwing a fit. Albeit, by modern standards, a tasteful fit. (How’s that for an oxymoron?) The electric guitar is either heavily chorused or skilfully double tracked. The drums thunder. It’s not utterly monolithic, the way punk very frequently is, but it is single-minded, when compared to the crocheted instrumentation of the first part. Near the 4:19 mark, the guitars sound like pizzicato strings, which is very cool. The piece becomes more and more manic, sounding like the love song of a washing machine until it begins to break down and 4:40, re-asserts itself and then melts into part three near the beginning of minute 5:00. The third portion is so different as to almost be separate entirely. If it were not prefaced by parts two, and particularly part one, you would be tempted to think: is this music at all? I have various posts on this thread that reflect on fundamental nature of music. In one of them I mentioned artists creating space for themselves by virtuosity. When Picasso experimented with shape and design, trying to pluck some odd underlying essence out of his subjects, he could be tolerated more easily than most, because he was an exquisite craftsman. He had shown himself able to create realistic portraiture, so that there could be no doubt that his vagaries where chosen, artistic digressions. The third portion of this piece, is highly experimental, and is given more credibility by what went before. Pursuing the idea of beauty, this is deep beneath the skin. This is the realm of free association; a musical and poetic stream of conscious. Poetic because here at last we encounter some words. The lines are strange, painting an arresting image of bubbles connected with a straw that strangle each other as they breathe, leaving each other speechless. At least that’s what I think I’m hearing. Behind there are floating speeded up voices and cries. It sounds like Alvin the Chipmunk goes to hell or like the musing of a soul in torment. This lasts for 45 seconds then falls back into an exit portion. The last portion is similar in feel to the beginning. This exit portion, which is about 30 seconds long, feels an awful lot like some of Zappa’s music circa ‘Moving to Montana’ – though not that particular track. This is not a finished piece, I gather since vocals are yet to be added, but it represents more in the way of musical ideas than some artists display in four or five songs. Certainly there is a breadth of sound experience to be had from an audition of this number. It’s not ‘catchy’ but it’s memorable, more as an experience than for any melody that lingers. The second part is the most consumable; the first part is the most intriguing; the third part is really odd. It’s possible that the third part is describing the relationship between parts one and two. If the musical ideas of those two parts are seen as the two bubbles and the inspiration required for one draws fuel away from the other – being as it were exclusive to each other – then it’s a cunning comment. For one can see that the first portion of the song is concerned with delicate beauty; the second is concerned more with energy and passion. As spheres (or bubbles) of creativity they don’t easily co-exist. Whether this is intended or not I have no idea. Short story: an adventurous piece of music in four sections that are connected by the insistence of the composer. Ground-breaking without being ignorant of musical values. It has the restless quality of genius, an amazing track, but one that will need to sing for its supper. Ie, it will have to discover its own audience for it is not at all easy to classify. For fans of....? What? Adventurous genius...yeah, maybe that. Blessings, Cam
---cam bastedo 19 Feb 2006
Review of Transmutational
You're a brilliant songrwriter multi-instrumentalist. I'm convinced after track 2. A plus on the 3/4. Without percussion you've managed to capture a rich, dynamic tapestry with a definite step of rhythm. Stringed instruments are an obvious and clear forte for you, although the piano and really everything knew it's place. Songs that yarn--Yes, it yarned. It yarned the hell out of me and so my decree is it should've continued. Very Happy That's my big criticism. I'm all for songs that make their noise and finish but this wan't one of those and thus I felt robbed of the development a track with its current depth should have had. The mix was decent but was the major area (if any) of concern and could be refined to perfection. The recording and performance were too good to offer any suggestions on..just right in fact. I truly can't wait to hear what else you come up with this year and I love your writing sir. Cheers.
---HELLbus, Posted: 13 Mar 2006
"Soaring the Edge"
This is great stuff; intelligently dissonant, enticingly weird, and powerfully groovable, with great musicianship all around to boot. The effect on the vocals is well used, and the vocals themselves are well-performed and suit the song equally well. My only criticism is the effect and performance in the bridge at 2:21, as they are both noticeably weaker, though the odd rhythm almost makes up for it. Other than that, I really don’t have much to say about this song. The structure, performance, and originality are all great. ‘Twill be added to my station post-haste, and ‘twill get my patented stamp of approval: ¡RECOMMENDIFIED!
---to whom it may concern - 25 Feb 2006
"Music Box Illuminations" by Thielus Grenon
This is a short instrumental piece that very effectively captures and communicates a specific mood/tone (as does most of T. Grenon's work, I must say [and have said]). In this case, the mood (to me) speaks to both the wonder and fear and childhood. It starts with the potential for innocence, but then layers itself with innuendo of danger...not explicit, not in your face, but it's there, very subtly growling from underneath the spinning ballerina. This piece opens with the sound of a music box being wound tightly (you can feel the tension increasing with each stroke), followed by the music from the box itself...which was very cool, and a bit creepy in an "evil clown" kind of way. I liked it. At :30 the guitars, etc. kicked in and effectively echoes the music box (that is, carries the high-pitched and tinny melody of the music box into a more solid realm). After establishing this for :30 or so, the music box comes back in behind the principal music, again effectively melding, and at 1:20 a good driving rhythm is introduced that resolves very nicely at 1:30, a good 10 seconds (among many other good seconds). Some nice key sounds at 1:50, followed by a lovely diminuendo to strings, keys and music box...delayering the sound that had been built for the past minute or so. At 2:15 we're back down to just the music box...slowing down...winding down...and...coming...to...a... ... ... stop. Very nice, well executed, very feely stuff, perfect, I'm sure, for whatever visual project it will be backing. Very nice from you, as I've come to expect. I have no suggestions for improvement or change...keep doing what you're doing, because you're clearly very good at it. Thanks for sharing, John
---John (of John and Lucie Collins) , 19 Feb 2006
“The October Jazz Scale”
I found this whole track quite enigmatic.

This track is interesting compositionally, as it uses a standard rock beat under an electric guitar track which tends towards chromatic chord progressions, and defies a standard tonal center for much of the work, shifting around a lot, and modulating by intervals which seldom include a perfect fourth. Many of the chord changes seem to modulate by minor thirds - which suggests diminished chords - which are harmonically quite ambiguous. This is an instrumental rock track with a twisted sense of themes.

The track suggests minor keys in places, and the guitar textures range from foreboding to bright (mandolin style), which makes this track unusual in terms of the production values and the chord sequence not really coalescing. Bright happy sounds contrast with ominous progressions.

The playing and engineering is perfect. But would I call it jazz? From the point of view of the changing tonal centers, it certainly doesn't fit any other genre. In terms of the motif repetition and riffs and production values, it certainly qualifies. But this is quite unlike any other artist I could offer by way of comparison. It isn't Di Meola, or Jordan or Pass or Kessel or Green.
There is an atonal feel to the track, but this is covered by a very metrical treatment of the backing. No immediate mode jumps out - once you think you have a handle on the tonal center and the mode, it changes, like a chameleon on a vari-light.

I don't know how to approach this one. Perhaps its uniqueness is its very strength. But you're not going to come away humming the melody on this one.

A peculiar track, but never boring or untalented. Immaculate in so many ways - almost too clinical perhaps to sit where I think of jazz. Playing is great, and production is great, but the composition is intriguing indeed. There is so much attention to detail in the arrangement, that this isn't an accident - it's a well crafted track which is disarming, to say the least. Think of its textures and mobility, and you'll not be disappointed.

----Steve Smith - 06 Nov 2006
Concerning Thielus Grenon

Concerning Thielus Grenon

There are always opportunities in life to make yourself special to others. I think a day never goes by when you don’t have an opportunity to show some small act of kindness. It doesn’t have to be large or spectacular, just genuine. Acts of kindness always go to the heart. One day I received a PM from Thielus Grenon encouraging me concerning my music. He doesn’t know it, but it came at a time when I was very down about my musical endeavours. He’s one of the reasons that I didn’t take down my Soundclick page during that time of discouragement. As a result, this very innovative musician has become a true ‘virtual’ friend of mine. It’s a very fortunate thing that when I admire the man because of his kindness, I can unreservedly say nice things about his music. In the case of Thielus I most certainly can. And unless you are very, very different from me, one listen to any of the tracks on his page should show you why. There are some artists that have a knack of creating tracks that could define a genre; there are others who have the knack of creating tracks that defy genre. Thielus is closer to the second than the first. Thielus’ music mystifies me. I can usually get how a song occurred to an artist fairly quickly when listening. I don’t mean that I know the exact circumstance, I can simply imagine HOW such as song would have come to birth. His tunes, on the other hand, usually make me think: now how did he come up with this? Complex and odd are good adjectives for his work, but then so are involving and intriguing. “Land so Distant” Having said all of that, this track “Land so Distant” – written for his daughter – is more accessible and simple than most of his work. For that reason, it is also a good place to start if you want to listen to his work. It’s a period piece, but one with that certain magic that pulls at the heart. It has that ‘psychedelic’ feel typical of the late 60’s and early 70’s – with the significant difference of being acoustically driven. Most 60’s psychedelia was electric and saturated in effects. What we have here is acoustic, with a candy cane lead and subtle synths. Very, very soft alluring synths. Candy cane lead did I hear you question? Okay, so it’s not a familiar phrase to you – I KNOW exactly what I mean, but for those who don’t share my brain waves – that being the rest of humanity – what I mean is sharp, sweet and swirling. The lead has that slightly hollow sound that try as I might I can NEVER get on my songs. It is beautifully clean and haunts the song like a beneficent elf haunts a midnight glade. This is a very odd comparison but it must be made: if the unlikely combination Frank Zappa and Neil Young had ever joined forces to create a song it might very well have sounded like this. Young had a penchant for creating likeable tunes that avoided being cute because his voice was always just uncomfortable enough to cute the sweet edge. Grenon’s voice is very, very much like Young’s on this track. The Zappa allusion is NOT to what that legendary character is most often associated with, that being zaniness. It is rather an allusion to that man as a lead player. Zappa was one of the best lead players I ever heard. He did leads very, very much like what Grennon has written into this track. So, to look at it directly, the voice here is the voice of a storyteller inviting you into this distant land. It is rife with invitation; you want to go! The lead swirls about everywhere, like a fairy walking on air, but never putting a single step out of time. You know…I sure hope his daughter appreciates this song, because it is really, really good! Blessings, Cam

----cam bastedo 05 Feb 2006
JENNY S reviews: Thielus Grenon - Kwirky (Alt/Experimental)
Thielus Grenon, USA based artist from MI, is a man whose music is very difficult to umbrella under one genre. And while this review is dedicated solely to “Kwirky”, a composition that is electric guitar driven in an ‘alternative’ style, mention must be made to the diversity that this artist stretches himself across. If you are having no idea at present, take a look: acoustic guitar, alternative, classical, film music, experimental, metal, and rock, playing all instruments and writing all compositions himself. An impressive label to wear wouldn’t you say? And one that would surely generate a certain level of expectation sitting on the higher end of the scale? That isn’t always a good thing, but then again, that isn’t always a bad thing either. Now, whether this musician’s contribution to the review platter is deserving of that buzzing attention or not shall be determined later, for what Grenon primarily lays under the critiquing microscope for us to analyze is a piece that can easily be dissected into two distinctly different arrangements. What starts of as a rather homely, laid-back guitar refrain that highly exudes a folk-Latin/almost-flamenco style dressing to its sound (something that could likely rekindle scenes of a lazy Spanish afternoon lunch with the family with this tune floating in a lilting way within the background) veers sharply into a completely different soundscape. A soundscape that could best be shoeboxed into a description using words such as spacey, quasi-psychedelic (almost frenzied and hallucinogenic) and certainly several degrees more electric in feel, before it veers sharply back to the opening Spanish-styled beginning. The question to now ask is – does “Kwirky” live up to the favorable preliminary supposition mentioned earlier in this review? Whether it works is certainly questionable, and in my humble opinion it is highly suspected that this piece would sit in the more negative end of things due to the discontinuity present in body of this work. However that does not mean that individually, the two different styles cannot work on their own if extra more charismatic elements are added to it, or if they are developed further to be more multidimensional in presentation and sound. That being said though, coupled with the swift journey made through this artist’s message board and the notes that were left, I strongly suspected that this song was not Grenon’s finest musical creation. Not convinced “Kwirky” was the best that this artist had to offer, I happily doubled dipped into his collection to see if that hunch would be true, and lo-and-behold, it was. There are definitely some gems in his portfolio, and they are ones which demonstrate that this artist has better tricks in his bag than what got initially handed over. So do not be deceived by what you hear from “Kwirky” because it is certainly not trademark of the standard you find in his other works, which are quite deserving of attention and prove that he is a musician that doesn’t just talk the talk, but walks the walk too.
----JENNY S, Posted: 08 Feb 2006