Review of ECPE "Ten Songs":
by Staff Music Writer 5/14/2008 Sepiachord (sepiachord.com)

Ten Songs" by ECPE (the Enrichment Center Percussion Ensemble) is a disarmingly charming CD. The bulk of the songs are a wonderful, relaxed collection of instrumentals that some may choose to define as "post rock". My only issue with this term is that by being heard through a "post rock" filter a listener may miss all of the *pre* rock elements. What no listener will miss is the tranquil air and the talented musicianship that are the key to ECPE's success with a collection so varied that it's like listening to a chameleon. The instrumentals that make up the bulk (and heart) of this CD are all complex yet understated, this is not some self-indulgent work hidden under the moniker of "jazz". It's more than that, it's scope is wider while it's measured pace is more personal. We've all heard music like this before, but not quite like this. Not that the band doesn't take inspiration form other artists.

The opening track, "Breathe In, Breathe Out", (with it's marimba and vibraphone) conjures up Esquivel and his "space age bachelor pad music". Many of these songs are so laid back they seem like they would qualify as "easy listening", but each song is to complex to be dismissed as easy anything. Other pieces here build with the intensity, intent and tension of early Pink Floyd pieces. It's on this album's three songs with vocals that you can hear them following in the footsteps of greats. Their version of "Oh, Susannah" takes it's own time to bring us to the vocals, but in the end gives a somber weightiness to the song that would make The Band proud. The ghost of '60s americana rock manifests again on another traditional, "Don't this Road Look Rough and Rocky". If I didn't know better I'd swear this came right off of the Grateful Dead's "American Beauty".

Probably ECPE's most intriguing move comes just before the end of the album. Covering the Velvet Underground isn't in itself a daring move, but they manage to successfully re-interpret the song. The move "All Tomorrow's Parties" from NY art shows to midwest garages (circa '66). They successfully alchemize the down tempo ode to decadence into jumpy, quirky garage rock worthy of the Monks! "Ten Songs" is a well conceived and very well executed album that rewards multiple listens.