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This "fantasy opera" represents an uncharacteristically (and unrepentantly) brash outing for the Can keyboardist and composer. It is based on the Titus Groan trilogy of author Mervyn Peake, which is currently a popular series on the BBC in England. Gormenghast is about the rise and fall of Steerpike, a Machiavellian kitchen-boy who by increasing measures of deception and treachery eventually becomes the ruler of the decaying Gormenghast castle. If you can imagine a meeting ground between opera, popular musical theatre, electronica grooves and sampling, all overlayed with Terry Gilliam's sense of the ostentatious, you've got a good grasp of what you'll be in for here. Traces of Schmidt's former band can clearly be heard in the reggae beats of the outrageous "Be a Happy Carnivore" and the squiggly keys-meets-Liebezeit rhythms aura to be found on "Oxygen." The pieces that show off Schmidt's talent for composition the most are to be found in "Touch," "Rainbow Party," "Behold the Night," and the gorgeous "Fall, Friendly Rain." The latter is especially moving, given the lonely rings of guitar, probably provided by the late Michael Karoli on what must have been one of his last recordings: "Fall, friendly rain...snowdrop and bluebell, wave goodbye to me." Not surprisingly, the opera vocalists display sizeable virtuosity throughout, particularly the Wagnerian gymnastics of Kaufman and Schnitzer in "Triumph," Simson's vaguely Arabian inflections opening "Carnivore," and Vinzberg's cadenzas on "Oxygen." Though perhaps an unfair complaint in that the CD is plainly billed as "extracts" from the opera, one shortcoming is that we are not provided with any plot synopsis or details on the particular relationships of the characters. So, the tracks which are presumably there mainly to move plot and characters along (e.g., "Joy" and "The Birds are Leaving for the South") are little more than curiosities with overly stagy vocalizations. Related to this, Schmidt gives nothing but high praise for lyricist Duncan Fallowell, and during the opera's more introspective arias Fallowell's words are indeed very good. However, on the more uptempo pieces, these are at the very least divorced from the full context needed for understanding and appreciation, and at the very worst, major earsores. Examples? "Arm in arm but not in army/Coercion hasn't kicked us/Cooperation is voluntary so/ Display an enormous rictus!/Display an enormous rictus!" and "I'm drunk on oxy/foxy/jokey jocksy/rocksy/unblocksy/peacocksy...ox-y-gen!" Yes, I already checked that Greg Lake isn't on the credits... While an interesting listen, I wouldn't be recommending this anytime soon to those in search of a calming, conventionally nuanced music experience, nor necessarily even to Can or other Krautrock fans. Indeed, this CD could be used as a hefty paperweight thrown at the heads of the more sanctimonious Krautrock separatists whose beloved musicians would surely never, EVER partake in the excesses and indulgences that characterize prog rock. Still, love it or hate it, you've got to hand it to Schmidt that with Gormenghast he is showing his commitment towards corralling the form of opera into a novel expression. review by Joe McGlinchey — 1-4-04 —