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GROBSCHNITT: The History Of Solar Music Vol 1 DBL CD 6trax/139 mins
GROBSCHNITT: The History Of Solar Music Vol 2 DBL CD 4 trax/148 mins
God is having a meeting with his "history of the musical world" committee........................
"......and then in the seventies, we saw then rise of the epic - you know - tracks such as 'Suppers Ready' or 'Close To The Edge', single pieces that lasted a long time and became classics. While the ulitmate on the prog side turned into 'Topographic Oceans', gentlemen, we must not forget to include the guitar-based epics, things such as Man's 'Spunk Rock' or even Camel's 'God Of Light'.
"But what about Grobschnitt?", came a voice. "Grobschnitt?", God replied, "who the hell are Grobschnitt?"
"Only the band who made one of the most underrated and yet absolute classic epic tracks of the seventies", the voice replied.
"And what would that be then", God said inquisitively, "show me evidence!"
"Well, sir", the voice replied, "they did this track called 'Solar Music', originally in '73, a thirty minute studio track but which later became a live favourite for years to come - why here, I happen to have just the evidence you require."
The voice got out two CD's, CD's that detailed the history of this epic track. God listened intently. Over the course of nearly five hours, he thrilled to a massive hour long version of the track from a year unmarked in time; delighted in the powerhouse version that was recorded live in '79; wallowed in the glories of a classic hour long version from '78 and remained transfixed by a previously unreleased performance from '74, not to mention a stupendous performance from '73. He saw that it was good.........in fact he saw that it was amazing!!
"Just listen to those guitars, those synths, the structure, the fluidity and strength of the rhythm section, the dynamics, the way the piece builds to its climaxes then relaxes only to build yet again, and all with such feel and passion - it's incredible", He said, "never have I heard instrumental music that transcends the prog-rock and rock/guitar music worlds and sound so full, so accessible, so addictive, so transfixing - you have done well!"
He declared that from henceforth, no longer would the likes of Genesis, Yes, Camel, Man and similar be sole possessors of the crown for epic track of all time - let Grobschnitt's 'Solar Music' be added to the list.
INQUIRE: Das Auge Ist Der Erste Kreis CD
In my review of their amazing previous studio album, 'Neck Pillow' , I mentioned that they could be likened in part to some of the best that Grobschnitt had to offer. Now they've come up with an excellent sound recording of a live album, and if you thought that the might and delight of the sensational Grobschnitt track 'Solar Music' could never be rivalled, then think again, because on this album the group deliver a twenty-minute version of the epic track 'Circles' that really does carry many of the same stylings as that epic track, and comes over every bit a an out-of-this-world prog-rock masterpiece. Virtually free of vocals, it's an instrumental tour-de-force with the band playing a storm from passages of roaring classic prog-rock with lead guitars and synths flying through to more dynamic moments where it all dies down, only to build up once more and send the adrenaline flowing. Full to the brim of incendiary playing from the quartet, this is one of those track that you will never hear too often - superb. Following this comes the soaring prog-rock instrumental 'Hunky Dory' where the guitars, synths bass and drums really deliver a storming performance. Then the ten minute 'Swidwin', opening with swirling, scything lashings of synths and guitars as the slow but solid rhythm section drive the piece forward, the few vocals largely buried in the mix as the band come shining through to reveal a slowly building absolute blinder of a prog-rock performance. The next track is an acoustic "unplugged" track featuring just piano, guitars and bongos and the distant sound of birds as it was recorded live in a zoo - honest, no word of a lie. It's quite lovely too and works a treat, being much busier and faster paced than you might have thought. The near four minutes of 'Dietmar's Klagelied' is a typically Grobschnitt-esque slice of the bizarre with intoned dramatic German vocals over keyboards, bass and synth, all most strange.The final, bonus track is an even stranger two minute slice of weirdness to bring the album to a close. Like the two 'History' Grobschnitt albums before it, this ranges from the blindingly brilliant to the quirky, but comes highly recommended.
INQUIRE: The Neck Pillow CD
Grobschnitt were a German band, essentially a prog-rock band, although they didn't start off as such, who produced a wealth of albums ranging from the classic ('Solar Music Live', 'Rockpommel's Land')
to the lamentable (no names, no places). Musically, as on the two great albums, they revealed a mastery of prog-rock feel and emotion, while vocally, they were an acquired taste but actually really rather good.
I say all this, because the overriding influence for me, on this album from a new German prog band, is that very outfit. Only here the vocals are improved, there are very few vocals anyway, the tracks a lot longer (three running at over sixteen minutes) and, consequently, a lot more space devoted to the musical interplay, duelling, soloing from the guitars, synths and keyboards, as well as some strong, dynamic and powerful ensemble work from the band as a whole. Produced so well as to sound like the band is playing in your living room, the actual compositions capture all the magic that is really strong prog-rock, even to the extent of the lyrical focus being, to an extent, conceptual in the same way as Grobschnitt and, to an extent, bands such as early IQ/Marillion, although this mob give much more room to the instrumental work. The comparisons I've used may put you off a bit, or you might not know them, but I would say that, without actually sounding like either (although not a million miles away), Hackett/Genesis fans would get off on this, and I suppose anyone into modern bands such as Flower Kings/Erik Norlander, etc will get off on this. But overall, it's powerful classy and classic prog rock in the best Euro traditions and really is highly recommended.
LANA LANE: Covers Collection CD
Her first ever album of purely cover versions - and it's mind-blowing. Listening to it without knowing, I immediately recognised Led Zeppelin's 'Kashmir', Argent's 'Hold Your Head Up' and Rainbow's 'Stargazer'. The rest - songs originally by Kansas, Aviary, Enuff Z'nuff, Giant, TNT, Scorpions, Queen & Uriah Heep - I hadn't heard or just didn't remember, so, to me, it was like listening to all-new tracks, no comparison of original versus cover proving possible. So, for starters, let's deal with the 'known' (to me) ones.............
'Kashmir' worried me-first run was like "not sure if keeping the guitar subdued was a good idea", but second run-through was like "wooooaaahhhh........this really is magical stuff' as the thunderous rhythm section of fretless bass and explosive drums are overlaid by this massive sea of strings from mellotron, moog and real cello, giving the huge soundscape and even more depth, while Lana's vocal just soars, almost making the song her own, and easily the finest vocal interpretation of a Led Zep track that you'll hear - overall, superb, but little did I know that the best was yet to come. 'Hold Your Head Up' thankfully retains a wondrous fuzzed organ sound and is given a wholly fresh lease of life, turning a somewhat dated original into a high-flying slice of prog-rock, with huge bass sound, crunchy drums, another excellent vocal delivery and giving the whole thing an almost darker makeover - quite superb with a steaming organ solo in the middle for added effect. But, with excellent dynamics on what is a thoroughly great album, the best is kept to last. Their version of Blackmore's Rainbow's 'Stargazer', a song that you think could never be covered anything like as well as the original, positively explodes in your face, as Lane and band just go for it, creating nearly eight minutes of magic that distills the whole anthemic power-filled expanse into a torrent of whirlwind-intensity as the immense performance is unleashed, guitars, synths, rumbling bass, crashing drums and one of the most epic vocal performances I've witnessed from Lana Lane in ages. This is blood-curdling intensity that just spirals to the heavens and back, laying waste to any pretenders to the throne now proudly and justifiably occupied by Lana Lane - Queen of Rock!
The rest of the album is fantastic. Kansas' 'The Wall' is given an impassioned, Heart-like treatment (oooohh - how I'd love to hear Lana cover 'These Dreams' - ahh, maybe one day!!!), while Aviary's 'Soaring' is just delicious, building and layering as it goes, the chorus just gorgeous and so heart-felt. Giant's 'I'll See You In My Dreams' is grade-A AOR safe in prog-rock hands and all the better for it as beauty and expansive dynamics co-exist to perfection. The rest are all equallly fine with not aporr second on the entire album. Special mention to the band - Erik Norlander on keys, synths, bass, guitar, Greg Bissonnette on drums, with Spocks Beard's Nick D'Viglio guesting on drums on one track, Mark McCrite on guitars, with guest guitar work from Gabriel Moses, Arjen "Ayreon" Lucasson & Neil Citron, Tony Franklin on superb bass work, Novi Novog on viola and Cameron Stone on cello on a couple of tracks - who all play an absolute blinder throughout, absolutely essential to and in keeping with the enjoyment of one of the finest ever cover versions albums around.
MYTHOLOGIC: Standing In Stillness CD
When is a prog band not a prog band? More the point, let's take the bands with female vocalists. Starting from calming and through to all-out attack, it reads something like Karntaka>Mostly Autumn>Lana Lane>Mastermind. Now coming somewhere between Lana Lane and Mastermind there now is a special slot for this band - "why special?", I hear you cry. Well, that's because...........there's no keyboards......not a synth in sight!! But, that said, the compositions, feel, dynamics and sheer quality, bear all the hallmarks of a classic prog band, similar to prog-rock in probably the same way as Rush, only different, if you get my drift.
Either way, this band features a dual-electric guitar line-up, solid playing from bass and drums, and, in Melissa Rodler, a female vocalist who can really deliver, slightly lower register than Lana Lane but every bit as powerful, with a stunning voice, whether solo or multi-tracked. You cannot help but compare the vocal intricacies (honest - you just listen to the thing!), rhythm guitar work and rhythm section drive of a track like 'Battled Beliefs' to a band like Rush, only here there is a twin-pronged guitar solo that simply shines, while the track moves through passages of such incredible strength and power, all you want to do by the time its five minutes is up, is play it again. Elsewhere the band exhibit a quiet acoustic intro on the nine minute 'A Dim Too Dark', as Melissa's voice graces the song with higher register presence of great clarity, quality and feel, exuding passion and warmth from every note, harmonised and solo, as the guitars chime, the drums enter and then - kazammmmm!!!!!!! - the guitar frontline enters and the track goes supernova, simply jaw-dropping and utterly magical as the rhythm section drives and the guitars fly, over which the vocals soar and fly but so strong and confident. It's magical stuff indeed as the track powers along, again changing pace and direction as it goes, exhibiting power and dynamics like few around to day - the sound of sheer rock bliss with a proggy feel. The mid-section is like a guitar battle as the guitars duel and spark over the storming rhythm section, solo upon solo flying around as the crescendos climb ever higher and then descend, finally plateauing out in serene melodic, twin-guitar driven heaven, as it all drops back to where it was at the beginning, before embarking on one final assault to take us hurricane-fashion to the end, leaving you breathless at the experience. Just sensational stuff. Special mention to the lyrics as well, which are every bit the sort of thing that goes so well with what the band are creating musically. With six tracks that will leave your head smoking, a gorgeous solo vocal one minute intro and enough guitar strength to light up Philadelphia, this is one magnificent album that just demands your listening time, and gives it back tenfold. One of the best of its kind if not the only one of its kind, and 100% class.
NASH THE SLASH: Lost In Space CD
Seventy seven minutes of prime vintage Nash. The tracks are all previously unreleased in this form, being demos (although the sound quality remastering has been so good you'd never know) from the FM days of the mid seventies and early eighties. All the tracks are played by Nash together with Cameron Hawkins, FM's synth player/co-vocalist/bass pedals/bass/sequencer. The first four originate from '76/'77, and the album opens with a wonderful near fourteen minute version of FM's "Black Noise" track, with some incredible work that showcases why Nash is such a unique musician, with electric mandolin and violin, he's creating both rock section and orchestral interlude within the same piece from just two instruments sounding like so many, while the synth serves to add to the overall atmospherics of the song, the extended 'multiple violin'/synth mid-section being a thing of great beauty by anyone's musical standards - a stunning opening track. There follows two more versions of tracks later to appear on the "Black Noise" album, equally atmospheric and if anything posessing as much warmth, if not more, and emotion as the album versions. This period of demos ends with a steaming rendition of The Who's classic track 'Baba O'Reilly', a long-time stalwart of the Nash live set, here with a rhythm from sequencer and a violin set to imitate the Townsend power chords, the result being a simply sublime interpretation of the track like you've never before heard, even for Nash. The we move on to the '84 demos, with four tracks that paved the way for the later "Contest" album. Here the tracks are played by the two musicians joined by Martin Deller on drums and so they are altogether more powerful, but lose none of the atmosphere that has been created to such incredible effect to date, including a version of The Animals' sixties classic 'It's My Life'. The album ends with a superb live recording of FM in concert in Toronto in 1977 doing a nine minute version of King Crimson's classic track 'Starless', one that faithfully recreates the structure of the original, starting with the slow song portion and opening out into a fine slice of FM power as the elctric guitar-sounding mandolin, synth, bass pedals drums and violin create a sound worthy of Crimso at their most fiery but also their most emotional too, and anyone who likes this track, but is maybe not familiar with Crimso's work, should contact me and I will recommend a couple of great places to start to investigate the Crimso catalogue. There are nearly twenty minutes of bonus 'hidden' tracks that follow which you really have to hear. So, overall, as immaculate a dig into the Nash 'FM-era' archives as you'll hear with every track a gem, and here's to more historical releases like this in the future.
SILENT EXILE: Dancing With Death CD
Well, just shows what can happen.......this was actually recorded last year, but by a curious twist of fate, we didn't end up with it until just now, oddly enough around the same time as the latest CD "Legacy" by Shadow Gallery so impressed us at CDS towers. All of which makes this a bit of a shame, for if we'd reviewed this last year, we could have said that the Shadow Gallery mob had clearly been getting their ideas off this lot - of course, completely untrue but bearing in mind that the latter will achieve a lot more publicity and sales, it seems a fair comparison, especially as this is the better album. But if that doesn't make your mouth water, then try this - an album that is every bit as good and possibly eclipses the mighty Spock's Beard. For a start, the vocals and vocal harmonies are just sensational, and this is the best meeting of real prog-rock and so-called prog-metal that I've heard in ages, possibly heard, period. The arrangements are immense, the production immense, the playing so dynamic, the guitars strong, the synths flying, the songs kept to reasonable lengths and in no way over bearing or outstaying their welcome. Averaging around six or seven minutes, the compositions tower above anything else around right now, and I'd honestly say that this is every bit as good as the mighty album "V" by Spock's Beard but, if anything, with more muscle, but no less of a quality to its content, for it is prog, it is rock and it is just mind-blowing - the best prog-rock album of 2000 that we never got to review - so make way for a leading contender for best prog-rock album of 2001. It really is THAT GOOD!
SYRINX: Reification CD
What an extraordinarily fine album. The rather excellent looking booklet tells you nothing - no group members, no instrumentation, no clues - nothing! But, behind this lies nearly fifty minutes of some of the most captivating, full-sounding, stunningly arranged, played and produced, class instrumental prog that you'll find anywhere. The point about an instrumental prog album is that it's got to captivate you right from the start and be the sort of album you genuinely want to hear right through to the end, on first listen wondering what delight is coming next and then being satisfied enough to want to hear it over and over again. This fulfills all of that and more - the sound is huge, the melodies just fantastic, the rhythms intricate and direct, but the playing is out of this world. With what sounds like an arsenal of synths, keyboards, acoustic guitars (no electric leads), bass and drums, melodies, rhythms layers, textures fall from the sky and totally hook you in to their wondrous musical world. It's rich but powerful, symphonic but classy, rock not metal, prog with just the slightest hint of fusion, and some incredible musicianship from all concerned. On the sixteen minute title track alone - one you will be playing incessantly for years to come - the combinations of the instruments and the way they all layer and develop as a completely organic ensemble unit, is just breathtaking. The eight minute 'Emanescence' has all of this and more, passages of still beauty allied to passages of roaring fire, synths swirling, guitars ringing out, the rhythm section strong and strident, while the arrangements of melody and complexity sound so effortless and accessible despite being substantial and deep. But, above all, the music has heart, soul - a human touch that separates it from most - a warmth that infuses you with the will to want to play it over and over again. Its uniqueness also lies in the fact that while the sound is firmly synths-keys led, the guitars share the lead role to perfection, and yet it's predominantly acoustic guitars that do this, and not only does it work 100%, but the production of the whole thing is simply magical, allowing you to hear every aspect of some truly outstanding compositions. With three further tracks of equal brilliance, from seven to fourteen minutes long, this has to be seen as one of the finest instrumental prog-rock albums on the planet right now, and something that simply has to achieve legendary status at some point - pure class, sheer quality and an album that has to be heard to be believed
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