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"Midnight Rain" showcases the more laid back ambient influences, opening and closing with a wash of string-like synth, leading into a slow, yet at times heavy guitar flow, creating a nice dirge-like feel. Where Imhoff really gets to let loose is in the multi-part "Faces of Thunder". "Hurricane Hunter" kicks things off with metallic riffs and harmonies taking the fore at one turn, and synth at the next. Utilizing a good dynamic sense, the next portion "Eye of the Storm" is mellower, and leaves room to breathe. The final part of the piece concludes with an upbeat section, perfectly reflecting the concept as it's laid out in the liners: "The compositions on this CD embody the harmonic power, grace and emotion that each of us possess but too often ignore". While drum machines tend to scream "demo", all the other elements of the music here are well played and well executed from the recording to mixing. This CD-R release is available straight from the label, Kookie Jar Records - www.kookiejar.com, and is sure to satisfy those fans of melodic rock and more active new age. - Mike Prete [January 2002] Click
Here for Tracklist and Lineup Info  In
Spe - In Spe (1983)In Spe's debut is widely known as one of the best albums to come out from behind the Iron Curtain in the 1980s, and like many other bands with similar geopolitical limitations (Solaris, Horizont, Karseke), they have just recently come to the attention of a wider Western audience thanks to recent CD reissues. In Spe is certainly an impressive release, if one that takes some time to sink in. The group plays a fairly unique style of symphonic progressive rock; generally slow and morose, with a heavily composed, classical feel. The instrumentation is fairly interesting, as the band makes heavy use of the recorder (remember middle school?) as a primary melodic device. Though that may sound strange, and it does at first, it is tastefully applied and well played. When juxtaposed against the fantastic array of flute, moog, guitars and organs, it only aids in creating an overwhelmingly rich melodic tapestry, and a distinctly idiosyncratic feel. The album opens with the "Symphony for Seven Perfomers", which proceeds in three movements, and by its structure alone should indicate the heavy classical emphasis with which the band composes their material. The piece is packed with gorgeous themes and interlocking parts, though heavily refined and often subtle in their appeal. "Antidolorosum" is the only vocal track on the album, and it too is fantastic, indicating an underutilized vocal presence. "The Sunboat" features an album highlight in that guitarist Riho Sibul finally lets 'er rip, unleashing a scorching guitar solo over a cascading keyboard melody, one of the few real "rock" peaks to be found. "Fight of the Spheres" is a sublime closer, befitting of its title, and takes on a marching, spaced-out and keyboard heavy attack, sending the album out on one of its more intense emotional moments. In Spe
is not an album that wowed me early on. The band takes a generally
restrained approach, focused deeply on composition, melody and
subtle theme development, rather than visceral appeal ("Fight
of the Spheres" being a possible exception). Still, the care
and meticulousness put into the arrangements allow the sheer
strength of the compositions to shine through eventually. A
solid album and worthy of any symphonic progressive rock fan's
attention. -
Greg Northrup [September 2001] Click
Here for Tracklist and Lineup Info  Iona
- Open Sky (2000)Melding various influences such as traditional Celtic folk, symphonic prog and vocal pop, Iona have created a successful hybrid sound that has appealed on a wide level with Christian music fans, yet has been intriguing enough to draw the attention of those interested in eclectic and progressive music. While there is some great material here, I'm afraid I can't say that this holds true for the entire album. There are some amazing Celtic-tinged instrumentally heavy pieces, such as "Woven Cord", a driving symphonic piece, and "Castlerigg", a darker and more traditional Celtic piece. The former in particular kicks off the album in exciting fashion. As can be expected, it's some of the poppier tracks that don't hold my interest, but don't get me wrong - I do like a lot of pop. It's mainly that pieces such as "Wave After Wave" and "Friendship's Door" are mostly vocal oriented, with sparse and fluffy instrumental backing that come off more as new-agey. On the other hand, "Open Sky" takes the vocal oriented formula and adds some life to the piece, making a world of difference. Another problem is that the album is seventy plus minutes in length, over which the more atmospheric instrumental pieces, such as parts of the "Songs of Ascent" suite tend to drag a bit, and leave me craving the up-tempo passages. These, when they appear, are the real selling points of the album for me. At first I
was skeptical of picking up this album, hearing the band
refereed to as a Christian group, but there are no overt
religious leanings present, rather more a 'spiritual' feeling
which is fairly unobtrusive and even appreciated. Vocalist
Joanne Hogg seems to be the selling point for many, whose
clear and soaring voice is often compared to that of Annie
Haslam of Renaissance, but leaves me fairly cold. Although
I have some misgivings about this album, the high points
are very high, and tend overcome the parts I find mediocre.
For an interesting and fresh take on symphonic rock, it
would be hard to find a better band.
- Mike Prete [December 2001]  Ironia
- A Granite Scale (2001)Ironia's style can be simply described as modern hard rock with occasional "prog" flourishes like shifting time signatures and overtly complex playing. Overall, the album can be a generally inconsistent listen from the perspective of a progressive rock fan, as most of the music is really in no way experimental, preferring to cling to tried and true hard rock structures and clichés, especially concerning the vocals. Still, the players here are solid and instrumentally tight, and when allowed free reign, make for the albums more interesting moments. The bass and guitar are particularly bright, weaving together some interesting lines and riffs. Given the obvious proficiency of the band members, care still needs to be taken as far as favoring "wank" over content. Generally speaking however, the instrumental portions are certainly a bright spot, especially on rhythmically complex cuts like "Toe Jam" and "Rhino Racing". On the whole, this is a long album, and the moments of interest for me are outweighed by those more formulaic and bland. "Song of Parting" and "Around the Bend" are tepid power ballads without much power, obviously lacking the grandiose production values of the groups that popularized the format. Although the vocalist seems to have won his share of accolades (according to band's bio), he is to me the weakest member of the group, perpetuating a generic style and incorporating phrasings right out of the late 80s. His best moment comes on "God's Song", probably the best non-instrumental track, in which the band, while still faithful to formulas, pulls a very memorable tune together. Another album highlight comes during the instrumental breaks on "Shackleton Perseveres", during which some very nice keyboard riffs come to the fore. Overall, fans
of strictly progressive rock might find little interest
in A Granite Scale, although those with more of a
leaning towards the hard rock axis might certainly find
some enjoyment in this. Ultimately, this is a band
that has the chops to pull off a very good progressive rock
album, but one that would probably involve dumping the more
commercial element (one which is seriously dated in any
case), and focusing on creating the kind of exploratory,
adventurous instrumental music they hint at here. - Greg
Northrup [October 2001]
 Island
- Pictures (1977)The only album by legendary Swiss group Island has recently been re-released by The Laser's Edge for the benefit of the current generation of prog fans. The biggest influence for Island definitely seems to be Van der Graaf Generator, and the band certainly approaches progressive rock from the darker end of the spectrum. In a similar fashion to VdGG, the group relies on saxophone and other wind instruments for heaviness rather than guitar, and goes for a quirky, sometimes dissonant, but strangely melodic feel. Unfortunately, the fire behind VdGG was always Peter Hammill's seething lyricism and incredible voice, as well as that band's ability to effortlessly build up into moments of raging apocalyptic fury. Island just doesn't go the distance the way their heroes do, preferring to meander along with well executed arrangements, and a merely acceptable vocal delivery. The band also evokes Gentle Giant in many of their more overtly complex moments, which can be superb at points but cold at others. While compositionally solid and often quite interesting, this isn't a release I find exactly bursting with intensity, and sort of loses me if I'm not making the conscious effort to listen attentively. "Pictures"
is the album centerpiece, and an expansive, intriguing track
at that. Some very addictive themes weave in and out occasionally,
along with tasteful playing throughout, but it is also bland
at points. "Herold and King/Dloreth" is another long track
that demands basically the exact same description as "Pictures".
Ditto with "Here and Now" which opens with a nice piano
solo, but then drifts back into familiar territory. Pictures
does have some great moments however, but all the cuts start
to blend together and start sounding the same. I found myself
having to skip to each track independently to really focus
on what was going on. Once delved into and examined closely,
the songs begin to reveal themselves more, the problem is
that I still didn't find them all that enjoyable. It demands
more of a casual "Oh yeah, that bit's cool" reaction rather
than invoking an emotional response, or a need to play the
album repeatedly to pick up on its subtlety. Of course,
this album is very highly regarded, even dubbed a true classic
in come circles, so there's probably quite a few of you
out there who can really get into this one. To me, it's
a dense and impenetrable work without a hell of a lot of
payoff for my investment of time.
-
Greg Northrup [July 2001]  Isotope
217 - The Unstable Molecule (1997)The Unstable Molecule is a delicious blend of rock, funk, and Bitches Brew fusion, with a light touch of electronics. Spearheaded by the cornet of Rob Mazurek, this is jazz/rock with an emphasis on jazz - far removed from McLaughlin-wannabes that call their speed-guitar "fusion". The percussions duo of Dan Bitney and John Herndon (better known for their work together in Tortoise) play anything from a drum kit to hand percussions to random things to bang. In the process, they find some of the most interesting percussion timbres I've heard, even out of "conventional" instruments. Despite the jazz leanings, one need not be an experienced jazz listener to pick up this album and enjoy it. Structurally, it's closer to the instrumental rock of other bands you might find at this site. While I had a difficult time "following" the music when I first started listening to jazz, I assimilated this album with relative ease. And yet, it remains a joy to revisit, with new subtleties to discover. It's intellectual, and yet most songs have an inviting groove that tempt even the most stoic middle-aged white guy to bounce in his chair. I don't think
I'm being too hyperbolic in labeling this one of the finest
albums to come out of the last half of the 1990s - within
the scope of the music we cover here, at least. Not strictly
jazz or rock, there is nonetheless plenty to enjoy here
for fans of either. Tight musicianship. Memorable melodies.
Funky rhythms. This has been slightly overlooked in the
realm of post-rock, perhaps due to stronger jazz roots than
most albums of that subgenre, which seem to offend the indie-kid's
delicate tastes. If there's a complaint to be waged, it's
the fact that the album is quite brief, clocking in at just
over 31 minutes. Nevertheless, this is essential listening.
You just might find yourself doing what I often do: putting
the disc on "repeat".
- *Legion* [February 2002]  IZZ
- Sliver of a Sun (1998)This might not be what you're expecting. If you have read any previous reviews or descriptions of Sliver of a Sun, you will no doubt have come across mentions of the band's poppier side. While this description is certainly accurate, IZZ succeed in their melding of pop influences where other prog bands tend to fail miserably. While there is no denying a strong Beatles influence with some early Radiohead thrown in, their take on the classic prog sound of bands like Yes and Genesis (and maybe even some Pink Floyd) brings a modern feel to the tried and true symphonic genre, as evidenced in the aggressive and rhythmically powerful "Endless Calling". Whereas most modern prog bands fail at trying to emulate the epic stylings of their predecessors, IZZ's strength in song writing helps them avoid this pitfall. Longer pieces such as "Assurance" (the highlight of the album for me) and "Razor" are well constructed and dynamic, as opposed to the patchwork 'epics' of other bands. A lot of the songs are instantly catchy, yet still have enough substance to hold up to further scrutiny. Their wonderful sense of Beatle-esque melody shines through on songs like "Just a Girl" and "Take it Higher". There is also plenty of instrumental dexterity and complexity within, "Double Bass" in particular containing some wicked rhythmic patterns. While most
prog fans are usually put off by references to pop, Sliver
of a Sun delivers the goods in all areas with good song
writing and excellent performances. There is plenty here
for fans of symphonic, and those who might be disappointed
with the current scene of rehashes from the 70s might actually
be convinced that there are modern bands that are able to
inject this style with inventiveness and originality. A
promising debut. -
Mike Prete [January 2002] |
Ron
Imhoff - Progressive Elements (2001)