Channel Light Vessel Albums (2)
What The Critics Say
The second album by Channel Light Vessel, the short-lived supergroup of Bill Nelson, Roger Eno, Laraaji, and Kate St. John, is more abstract and groovy (in the psychedelic sense, not the dancey sense) than 1995's Automatic, which had been these art-rockers' idea of pop music. Excellent Spirits finds Nelson taking a greater role in the proceedings (Automatic had largely been Eno's project), singing the majority of the lead vocals and covering most of the songs in his typical gauzy-treated guitars and keyboards (warning for those with low pretension tolerances: Instrument credits include "bible of dreams guitar" and "elevator to nirvana synths"). A good chunk of the songs are either instrumentals or have minimal wordless vocals (usually in St. John's angelic soprano), and, to be frank, Excellent Spirits doesn't sound that much different from the majority of Bill Nelson's solo records of the '90s. The main difference is a more prominent rhythm section to most of the songs, which brings to mind Nelson's new wave era hits "Do You Dream in Colour'" and "Flaming Desire," no bad thing. There is absolutely nothing here that will change the mind of anyone who isn't already a Bill Nelson or Roger Eno fan, but fans will find much to enjoy. ~ Stewart Mason, All Music Guide
What The Critics Say
A short-lived collaboration between keyboardist Roger Eno, guitarist Bill Nelson, and oboist/saxophonist Kate St. John, Channel Light Vessel is more than a new age supergroup. Perhaps it's the influence of St. John (a key member of the underrated Dream Academy), but this is the most pop-oriented album Nelson's been involved with since his early-'80s run of pre-ambient solo records. Some tracks have vocals by Nelson and/or St. John (the opening duet, "Testify," is downright catchy), but even the instrumentals have recognizable melodies and easy-to-grasp structures. Eno's contributions are about evenly split between piano and synthesizers, and his playing is typically excellent; though often overshadowed by his more famous and innovative older brother Brian, Roger is a notable talent in his own right. His jazzy fills in the chattering "Ballyboots" elevate what might have otherwise been an aimless rhythmic exercise into something far more interesting. It's nice to hear Nelson singing again, and his gruff voice fits perfectly with St. John's angelic harmonies. Overall, the placid but not static feeling of Automatic is very much like David Sylvian's post-Japan work, and an excellent addition to all three artists' respective discographies. ~ Stewart Mason, All Music Guide
