I missed seeing Hellblinki at the Eccentrik Festival, but I did see several of the band members make guest appearances, so I do not feel as deprived as I could have been. Nonetheless, I do fervently hope to see Hellblinki perform sometime in the future.   Hailing from Asheville, Hellblinki is further evidence of North Carolina’s burgeoning underground scene. I feel fortunate to have been able to move back to NC at this particular time.

Other reviewers remarked on the many influences and elements of Hellblinki’s repertoire, so I will not duplicate their accounts. I will add, though, that for me Hellblinki is nothing less than a musical collage. Or a tapestry of sound. With an expertly woven tapestry, like those made during the Middle Ages, the detail is prolific. It may t ell one story, many stories, or none at all. But the closer you look, the more you will see, and you can seldom comprehend all of it in one viewing. Musically speaking, this is the case with “Oratory”. The 23 tracks encompass many elements, and each listening will reveal different things. It can be complex or simple, depending on the mood of the listener.

I will not cover every track here, but I will give representative examples to illustrate the essence of the CD. “The End” sounds sort of like Gypsies performing Hip Hop. It works. Admirably so. This is followed by the first of many answering machine messages which form a story in themselves. “Kerosene” mixes hot jazz and vintage radio effects into a very mesmerizing piece. “Circle” features one of my favorite speeches of all time, JFK’s speech before the American Newspaper Publisher’s Association on 27 April, 1961. This is overlaid with a very moving trumpet solo. The effect is very evocative and wistful. “Bella Ciao” is awesome. An opening that sounds like the soundtrack to a spaghetti western turns into a Latin-esque romp with more trumpet and sultry vocals. It is one of my favorite tracks. “Drums” has some wonderful tribal drumming that would put a Deadhead convention to shame. The traditional “Ruckus” is vaudeville at the speed of light; imagine Stephen Foster on Pepsi Max and No-doz. “La La La” sounds like a diabolical carney at the special midnight show under the big top. Then we hear “Tango” with its magnificent horns and exquisite vocals (as usual) from Valerie Meiss. “Wicked World” is more dark vaudevillian glee. “Can Be Free” reminds me of the Wolfman fronting for a demented Tijuana Brass. Then we have the strangeness of  “Feedback and the Orange Hamburger.  “Indelicate Brew” opens with trumpet and an owl’s hooting leading into Valerie’s magical vocals, alternating with Andrew in a fine counterpoint. This is modern Cabaret at it’s finest. “River” is great psychedelic blues, with superb guitar and more equally superb vocals from Andrew and Valerie. As a long time Blues fan, this simply blows me away.

There is much, much more, but I will stop here. “Oratory” must be heard to be truly appreciated. Modern music technology merges with old British Music Hall in this extraordinary CD. I look forward to hearing more of Hellblinki’s unique brand of Anarcho-Cabaret.

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