BORN

This is an album which I struggle to write about because it is perfectly "fine" but really struggles to stand out. I understand the appeal of a group who decides to perform and record retro prog, but I can hardly recommend this band to someone (like myself) looking for a group with something familiar but fresh. In other words, the music on this album simply sounds too familiar. I want to write about exactly why I'm so unimpressed, and my cynical thought, "this is just Kansas", is obviously not adequate at explaining why... though with all-due respect, this sounds like Kansas (LOL).

Born: A fun instrumental, and frankly what could be my favorite song on the project for its simplicity and satisfaction. Even so, I had to sigh upon hearing the few bars of music where the drummer and bassist play the foundational groove of the main riff-which I consider precious time for the band to include more textures for excitement that was left unused. The main riff which opens the song and gets developed (a term I use generously) is a fun arpeggio based ditty, being played in what I assume is a Dorian mode. The person (or persons? the track includes a simultaneous synthesizer, mellotron patch, and hammond organ sound for some brief moments-and I've never met a three handed keyboardist) performing the keyboard parts is responsible for most of the development of the song, harmonizing with themselves on variations of the main riff. The guitar has a solo roughly half-way through the song, a fine Gilmour- esque excursion. I may sound dismissive but this is something I consider a huge compliment since in this day and age, guitar culture is so oversaturated with nonsense about the "right" way to play like "insert favorite rockstar" that I'm glad the guitarist was able to execute tasteful though derivative lead work. Probably the highlight of the track is the climactic bridge (shout chorus? C-section? lol) happening around 3:34. The arpeggio from the guitar is definitely reaching for epic-ness, but I'm more impressed by the harmony in the mellotron part accompanying it-which may be mixed in with a vocal harmony track. I'm unable to tell clearly because the mix for this album, while satisfying in tonal warmth, with a thorough mid range and tapered off high end-an effect brought about through a tape-machine plugin. I assume this was a digitally recorded production, though this being a tape production would not surprise me. Two members of the group mixed and recorded this production, and a fine job it is, but there is a lack of depth to the stereo recording which is felt by the darkness (lack of certain high-frequency content) of the master. Regardless, this is a fine prog song and not one to be ashamed of, though nothing quite ear-catching or spine-tingling.

Descending Us: A melodramatic mid-tempo romp which breaks into a Zeppelin-esque development about two minutes within. There are good ideas, the keyboardist's parts escort the guitarist's lead with a rich but not overbearing or muddy Hammond tone. The vocal harmonies and the acoustic guitar track are mixed with more depth than the other tracks, which gives some brief respite from the darkness in the master's tone. I have to give a nod to the impressive guitar technique employed on this recording. Slides, volume swells, harmonics, and solid lead work. Still, I can't say any of the hooks are outstanding or especially memorable.

For Yesterday: Ha! Think I wouldn't catch that King Diamond quote at the beginning of the track? Anyways, I simply don't have much to add beyond appreciating the musicianship. Another problem that I find with the mix, the vocals are hard to distinguish during the most textured moments. Honestly, this seems to me like a trend in recent production.

Cosmic Tears: Again, opening with a rhythm section groove, and developed by keyboard swells and modal arpeggios, the song has all the same merits as its other tracklist companions, though there are a greater mix of themes. There's a fine hook in the song which contrasts nicely, but is underwhelming.

Another Time: This is one song that actually caught me off guard with some of the themes. The smooth, somber verses are rich in atmosphere, and are reminiscent of Genesis in their timbre. I'm actually glad to say the heavy hook which erupts from these verses, and the bridge which follows each, are quite better than the other hooks on this record, and are more fascinating developments in the composition than can be found in those other songs. An observation, the changing tempos were a much needed change in pace compared to what some of the other songs offer. The song ends on a chord which trails off into the beginning of the next song, rather unceremoniously.

Long Way Down: The opening chords are a fun and wizard-ing pastiche of Mahavishnu Orchestra's chord stings on performances of "Meeting of the Spirits", and the spider-crawling main riff is in the spirit of McLaughlin. The theme at 3 minutes in is also a very tasteful mono-rhythmic lick which morphs and changes, but is held together by the shared duties of the keyboard and guitar execution. I think the sheer dissonance creates a psychedelic impression (which is to say, avante-garde mixed with blues akin to Iron Butterfly) but could be sour. There's definitely a moment in the final guitar solo where the guitarist flubs up a note. Like the previous song, this one ends with mild effect as the main riff gets reduced to the rhythm section and they simply finish the piece.

Overall: I think this work is a great start for a band with such a small ensemble, but I hope that they branch out into more diverse moods and atmospheres. Their musicianship proves they are more than capable of doing so. However, there is absolutely nothing wrong with pursuing a retro sound of this caliber. However, this is not the kind of retro influence progressive music I'm interested in.