I would like to open this review as one coming out from underneath a boulder in 2015. How I missed this one in such a banner year in progressive rock and metal is beyond me.
It seems that Greece contnues to make their mark in the world of progressive rock and metal. From the land that has brought us Firewind, Gus G, Seduce The Heaven, etc .. presents the band called Groove Therapist. It seems that Groove Therapist intended to make a statement early in their recording career by the debut release of a concept album titled Mr Funker “The Myth’ .
It is certainly no secret that progressive rock and metal has served as the perfect breeding ground of creativity of conceptual albums. From the earlier albums such as Yes’ Tales Of Topographic Oceans to Jethro Tull’s Thick As A BrickThe Who’s Quadrophenia in the 1970’s to later pieces like Queensryche’s Operation Mindcrime,Savatage’s Streets A Rock Opera,Fates Warning’s A Pleasant Shade Of Grey and Dream Theater’s Metropolis 2: Scenes From A Memory, Groove Therapist’s Mr Funker ‘The Myth‘ now joins company with these and many other conceptual works in progressive rock and metal music.
On a creative and literary note, Groove Therapist’s Mr Funker ‘The Myth‘ will certainly appeal to fans and readers of such legendary writers as Edgar Allen Poe’s The Raven and Charles Dickens’David Copperfield. Like those masterpieces, Mr Funker ‘The Myth‘ has a brooding villain oppressing a orphanage or the poor in obscurity by a evil entity called Drop ‘D’ and a hero lurking in the shadows of the streets within the village waiting for its chance to strike and avenge the evil.
On a musical perspective this concept has a little of everything. It has heavy progressive riffs and even a few sick time signatures to perfectly narrated segue’s that help the listener follow the story. A lot of the actual musical tracks hit with all the hallmarks of a progressive outlet. Whether it is a symphonic, a old school hammond organ or a modern progressive metal there is a little bit for every audio pallet out there. The fact that there is a actual female singing the female portions and male singing the male portions also helps the listener identify and relate with the characters of the main narrative. When anger resides in the characters so does the vocal and melody.
This was one of the most courageous and ambitious debut’s I have heard in the last 25 years. Where most bands wait until their third and latter albums to do a concept such as this, Groove Therapist have made a profound and direct statement that they are here now. Mr Funker ‘The Myth’ will be a concept album we will be talking about 20 years from now. This is also a concept that can easily have visual treatment on it if the band ever decides to go that direction. For the courage and ambition as well as a damn good concept. I give this a 5/5.
It appears that 2016 is starting out where 2015 left off as far as quality progressive power metal is concerned. Among a few bands that are or have already released great albums this year are Myrath Legacy, Redemption The Art Of Loss, and industry standards like Dream Theater The Astonishing have already opened up 2016 as 2015 came to a close. However there is a hidden diamond, a true hidden treasure that some how came to my attention way out of left field that being Italy’s own Eleventh Hour.
Eleventh Hour’s Memory Of A Lifetime Journey are among the new guard of power/progressive metal. Their clean approach is still a powerful reminder of the demand for quality vocal oriented melodic power progressive metal. Memory Of A Lifetime Journey is a true thematic journey in itself. Although not a concept album there is a common thread of various stories through the ten tracks that make up the album. Each track telling its own story while maintaining a epic journey in the album’s collective.
Eleventh Hour’s Memory Of A Lifetime Journey is one of those albums that come along every 5-10 years that really has a lot to say within the span of 60+ minutes. Every song on the album has a individual story within a common over all theme. While some power progressive metal bands like to grandstand and exploit virtuosity, Eleventh Hour bring it real and back to Earth by telling stories that the listener can either identify with or find escape in.
Although Eleventh Hour’s Memory Of A Lifetime Journey is the vision of Aldo Turini – Guitars, it is not a domineering monarchy. This is very much a democracy where the rest of the band has equal time and care with their respective roles. With a strong emphasis on the songwriting this also sets the band up quite nicely with potential live set lists. On some of the tracks such as the opener Sunshine’s Not Too Far Behind (Intro), All I Left Behind and JerusalemAlberto Sonzogni – Keyboards perfectly compliments the string section of Aldo Turini – Guitars. Just as the deep rhythm section of Black Jin – Electric and Fretless Bass & Luca Mazzucconi – Drums certainly are within harmony, giving the album teeth and grit. Alessandro Del Vecchio – Vocals is also and certainly one of the best vocalists to come up in the last 15 or 20 years.
Eleventh Hour’s Memory Of A Lifetime Journey spends the first have of the album with a heavy emphasis on progressive metal the last half , five tracks more in a melodic power metal mood. There i a reason I left out my track by track analysis on this particular review. For one it is a debut and two after the listener buys this album and starts his or her listening experience they will realize that the album was made to be enjoyed as a whole album.
The very fact that Eleventh Hour are not signed by a Frontiers Records in Italy or AFM Records or even a InsideOut Music and are independent is way beyond me. Maybe it might be better this way for now. However any label really needs to take a real listen and consideration on Eleventh Hour. Memory Of A Lifetime Dream gets a 5/5 for having a little of something for every audio pallet within the melodic progressive power metal community thus having a unifying quality that is sometimes lost on this style of music.
About 50 years ago there was something happening in Germany that would enhance the landscape of music for 3 & 1/2 generations to come. This would affectionately known as Krautrock. This was a more subtle minimal approach to progressive rock unlike the over the top progressive rock coming from the UK at the time. Bands such as Amon Duul ii , The Can, Popol Vuhl and Kraftwerk to name a few believed that a less and more eccentric approach was more. Due to the post World War 2 bitterness krautrock would be rejected on UK soil. Therefore the bands from Germany bypassed the UK and sought audience in America.
5600 miles to the west in San Francisco California another less is more approach was happening within its own music scene. This approach was a more drug induced, mind expansive that would be called Psychedelic, Acid or Stoner rock. Bands like The Greatful Dead, Jefferson Airplane, JanisJoplin and Crosby, Stills and Nash were on the forefront of this revolution of music.
Come now to 2016. It is as if the Krautrock of Germany and the Psychedelic/Acid rock of San Francisco had ‘Melodic Intercourse’ and created a all new sub genre within progressive and psychedelic music. This new music would have all the elements of both scenes as well as a more free form improvisional sound that is not as pre conceived nor written ahead of time. One of the many multiple offspring that both scenes of music produced was current German progressive/psychedelic rockers The Spacelords.
The Spacelords Liquid Sun embodies a little bit of every element of the two music scenes mentioned above along with their own improvised and free form approach to the music itself. Although only 3 songs and a total album length of 33+ minutes long, The Spacelords Liquid Sun gives the listener a sonic sense of a full one hour of listening bliss. Within the 33+ minutes we find long improvised yet tight rhytymic sections with layer upon layers of intergalatic soundscapes and atmospheres. Now a brief yet detailed look at The Spacelords Liquid Sun.
Liquid Sun begins with a gentle and subtle percussive element with the cymbals from the drums. That element is quickly met by the tight rhythm section between the deep bass and rhytym guitar. This is a more progressive track meaning it starts out very subtle and climbs in various up and down tempo progressions and passages. At some points it sounds like a cross between Earthless meets Buckethead meets Oresund Space Collective. About the 3:00 mark it takes a heavily space rock approach within the track. At about the 6:00 mark the track takes a very 1970’s stoner rock turn. At the 7:00 mark it takes a highly and perfectly surround sound approach as if to give the listener an appearance of some alien contact. The final 4:00 the track is a very traditional psychedelic/stoner track that contains heavy progressive time signatures towards a climax.
Spaceship Breakdown starts off almost in the vein of very early ZZTop Tres Hombres’ passage of progression. It may give the listener an appearance of 4/4 however there is much more like a 5/4 and 7/8 time signature going on here. There also seems to be some various spaceship micro processing effects happening in the back drop. This track always breaks back to the same progression before taking a sonic ascension towards a climatic riff and passage. Spaceship Breakdown also has some very tight rhythm based guitar solo’s. This is a type of track if you had a intergalactic convertable going through the concourse of space and time you may hear this. Many of the space effects are wonderfully performed on a mellotron synth organ.
Black Hole starts out with a lot of guitar fret work making more effects as it goes and balancing them well with melody. It has a very eerie yet liquid and subtle vibe about it. This is met by a perfectly complimented deep bass and drum rhythm section. At about the 4:00 mark the band really settles in for a lengthy jam session. The passages and progressions off the riffs continue to climb with great continuity. For a 21:10 improvised track the band really picks up one another’s changes really spot on. There continues to be surround sound style soundscapes and effects. The track evens takes some serious down tuned stoner style elements as well. At some points this takes a very stoner metal turn. If you like long progressive free form improvised jam songs than Black Hole is perfect for your audio pallet.
The Spacelords Liquid Sun was a true adventure. It is definitely one of those albums the band can certainly build their legacy upon. They can convey the true nature of the goal they set without totally overwhelming the listener. Liquid Sun will be a album that will celebrated a few generations from now much like the Krautrock of Germany and Psychedelic rock of San Francisco is now. This is my first 5/5 for 2016.
(Bandcamp Player – Hover Mouse Over Image To Listen )
Melodic Revolution Records| Featured Album Review|January/February 2016
|Port Mahadia Quantum Space
Label : Melodic Revolution Records Release Year: 2016 Country : USA Genre: Progressive Metal/Rock
Band Members
Johnny Anderson – Guitars Erinn Waggoner – Bass & Vocals Justin Emmerson – Drums & Percussions
Additional Musicians and Special Guests: Rusty Clutts – Drums & Percussions Will Shaw – Vocals Sol Yamil – Vocals Kerry Shacklett – Keyboards Jared Hill – Keyboards Hugh McDowell – Cello Riccardo Bacchi – Steel Guitar Paul Cecchetti – additional effect and choir Grant Hill – Keys arrangement on South Side of The Sky
Track Listing Silhouettes In Disguise – Original recording by Kansas Rendezvous – Original recording by UK Principle of Disorder – Original recorded by Port Mahadia While My Guitar Gently Weeps – Original recording by The Beatles Working Man – Original recording by Rush South Side Of The Sky – Original recording by Yes I Walk Beside You – Original recording by Dream Theater Canna – Original recorded by Port Mahadia Wats Um The Deal – Original recording by Pink Floyd A Time And A Place – Original recording by Emerson Lake & Palmer
Once again Melodic Revolution Records has released a quality recording that appeals to the entire span of the progressive rock/metal spectrum. One of their recent signings is Paducah, Kentuckys’ very own Port Mahadia. Coming off a eight year absence and the heels of their previous album Echos In Time, Port Mahadia have returned with their sophomore effort Quantum Space which features eight cover tracks from bands such as Rush, Dream Theater, Yes, The Beatles, Emerson Lake and Palmer, Pink Floyd, etc … See tracklisting above.
Quantum Space is such the most appropriate title for this venture considering the progressive span of covers the band undertook during the recording of this album. Port Mahadia have a real uncanny ability of covering some other band’s songs and place their own stamp of flavor of sound on them. The covers are done with the utmost of consideration and respect as to not bore nore offend the listener, meanwhile maintaining the orginal integrity of the band who originally wrote and recorded them.
Instead of a track by track analysis due to the nature of the tracks, I will focus more on highlighting the two originals on Quantum Space , Principle of Disorder and Canna .
Principle of Disorder on the surface is heavily prog. However to dig deeper into the track there is so much more going on here. It is written with elements of doom and stoner rock and metal. In a era where time signatures have defined most of the prog community, Port Mahadia even incorporates well crafted guitar solos and even spoken word section. The intro begins with a huge thunderous rhythm section that seem to define the bands signature sound even more so than virtuosity. Principle of Disorder has elements of 1970’s rock and metal with a modern 21st century sensibility.
Canna begins with a dynamic drum intro that is soon joined in rhythmic harmony by the bass and rhythm guitar. Port Mahadia seem to be a very heavily rhythm section induced band. Canna opens up just as heavily as Principle of Disorder. Canna eventually levels out into a very avant garde atmospheric track with subtle time changes. At the 1:20 mark it is a straight away driven track in the vein of Bad Company meets Deep Purple. At the 2:20 mark it truly blisters almost into a part heavy metal part heavy progressive AOR track. Like Principle of Disorder, Canna has a little bit for every audio pallet whether progressive or straight away rock and metal.
I appreciated the adventure of Quantum Space. The multiple covers where done with integrity while the band gave them its own fresh and crisp flavor and stamp on them. The two original tracks leave the listener wanting more. Melodic Revolution Records definitely has a good sign in Port Mahadia. This gets a 4/5 for the very well written originals and the carefully recorded covers.
One of progressive rock and metal’s most ambitious undertakings in modern memory has been happening since 2012, this being the Docker’s Guild. In middle 2013 a friend of mine told me about a project that included Tony Franklin – Blue Murder, Greg Bissonette – David Lee Roth and SteveVai and Amanda Sommerville. At hat point my curiosity was too wet not to pursue this. I found a place to buy Docker’s Guild – The Mystic Technocracy – Season 1: The Age of Ignorance. The front cover art was provocative and the song titles thought provoking. I opened it up and finally listened to it and was mind blown as far as the mind can imagine. This time Douglas Docker returns with probably the first solid ALL female cast for a project of this kind.
What I heard was one of prog’s and AOR’s best kept secret genius’ in Douglas Docker its creator. The best way I can describe the sound is Dream Theater and Ayreon meets Survivor and Journey. Both heavy on the progressive rock/metal and heavy on the AOR just as equally. Like Ayreon it carries a heavy science fiction element. This is no different with with his 2016 offering Docker’s Guild – The Heisenberg Diaries – Book A: Sounds Of Future Past. This is the second in a planned nine albums of the project called Docker’s Guild.
Returning home with his wife from Jerusalem after the events that happened in Season 1 of The Mystic Technocracy, Dr. Heisenberg decides to indulge himself into a self imposed TV marathon full of science fiction. Some of the tracks on The Heisenberg Diaries – Book A: Sounds Of Future Past represent the television programs he and his wife are watching. It is a more personal reflection of the main character throughout the seasons of The Mystic Technocracy.
Some of the tracks on The Heisenberg Diaries – Book A: Sounds Of Future Past serve as period pieces that transport the listener back in time on a pop culture science fiction perspective. A song like Flash Gordon Suite represents a era where disco was almost at its end and just about everything in the late 1970’s – early 1980’s still carried a disco sensibility in music. For 15:20 the track explores every dimension of progressive AOR with heavy doses of disco. The returning Amanda Sommerville provides a lot of soul and depth in the vocals. Douglas Docker has a soundtrack approach on Flash Gordon Suite as well.
Another period piece is Barbarella with a late 1960’s vibe that reminds me of shows such as Laugh In or The Monkees. Although it has a heavy pop sensibility, Barbarella is still very progressive. Douglas Docker brings shades of Brian Wilson from the Beach Boys to his vocals. The rest of The Heisenberg Diaries – Book A: Sounds Of Future Past continues to give you a quality space rock opera experience that contains science fictional pop cultural elements.
Douglas Docker has certainly made vintage science fiction totally relevant again. With a modern and fresh sound he has arrived with another step in the evolution of great science fiction based rock opera’s. The Heisenberg Diaries – Book A: Sounds Of Future Past leaves your thirst for seasons 2 through 5 of The Mystic Technocracy and The Heisenberg Diaries – Books B through D . DouglasDocker has managed to forge his own distinct sound while maintaining the integrity of the music for both fans of progressive rock and metal and even AOR purists. All you have to do is look at the talent he recruits and manages to bring all their styles in harmony with his musical vision. I give The Heisenberg Diaries – Book A: Sounds Of Future Past a 4/5.
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