THE FORM OF THE GOOD

After the excellent venture undertaken as leader of Birds and Buildings, provider of "Bentham to Behemoth", one of the best 2008's prog rock items, Dan Britton reiterates his role as progressive masterpiece crafter by retaking the Deluge grander project and al together recording this gem entitled "The Form of the Good". This Platonic entity that encapsulated the source of unity and ordainment for both material things and essences works in this album as an indicator of a complex yet fluid framework for some series of musical motifs. If the previous effort "August in the Urals" was a fairly impressive mechanism of eclectic prog where each and every resource of density was patent and ostentatious, "The Form of the Good" takes a healthy step back at this and sets a more ethereal scheme for this equally ambitious set of compositions. Yes, indeed, the musical sophistication is alive and kicking, shining like a brand new sun. Now, as far as reviews on this album go, Britton himself has published a detailed one on the band's website, and I really find it hard for me to dissociate from his statements while writing my own for PA. But? here I go? The opener 'Before the Common Era' delivers an eerie ambience, providing a reflective aura that states a constrained dynamics for the overall instrumentation. The cosmic nuances remind me a bit of that sort of fogginess that Todd Rundgren used to bring in his prog and prog-related albums back in the 70s.: this mood is augmented by the string ensemble and sampled chanting. If track no. 1 is like the soft twilight sparkles at dawn, then track no. 2, 'The Tree Factory', symbolizes the journey from the first morning glory's moments all the way toward the magnificent rush of noon. This one brings a very dense entry for starters, almost Gothic, with that unmistakable Scandinavian vibe that bands such as Anglagard, Sinkadus and White Willow (first 3 albums) have patented for the prog revival era. All of a sudden, the piece shifts to a more agile motif, constructed on a jazz-funky pace, in this way creating a solid element of sonic joy. However, despite this joy, there is a powerful sense of density hanging in there, provided by the consistent use of dissonances at all levels: basic chords progressions, leads, ornaments. Eventually, the framework will soften a bit, giving way to a more candid sonority fed by beautiful guitar and violin solos. Other transitions lead to other vibrant passages: one may sound like a creative mixture of Camel and BMS, another one may go for some sort of "Canterburish ELP", then, the last one goes for a Supertramp-meets- Kayak sort of thing. 'Common Era Caveman' displays an exercise on groovy jazz-instilled prog on the basis of a simple chord progresión, with all musicians showing their polished skills, particularly the drummer, whose constant rolls and beat flourishes manage to keep things fresh and exciting. The recurrent 4/4 tempo goes to a 6/8 after a while, and finally the track evolves into an electrifying climax. The longest piece in the album is the 19+ minute long 'Aggrandizement', which typically encapsulates lots of motifs, moods and nuances. The track's overall mood incarnates, once more, that sort of ethereal grandiosity that Britton & co. has decidedly made their own. There are moments in which the ensemble indulges in chaotic passages that convey exquisite neurosis, while there are others deeply rooted in reflective moods, and others signaled by a carefully crafted architecture. The band exrocises its fear of the void quite effectively, creating a type of dense prog rock that never gets dull or tiring. This track includes some surprising flirtations with the chamber-rock standard (a-la Far Corner). The closing climax states some creepy walls of sound that may remind us of the majestic moments in KC's old suite 'Lizard'. The namesake track occupies the album's final 8 ¾ minutes, starting with a mood somewhat similar to that of the opener, the going for a clever mixture of symphonic, chamber-rock and spacey psychedelia, captured in a bombastic languidness and fuelled by a subtle dynamics. So, how to sum up the value of Deluge Grander's "The Form of the Good"? - a definitive 2009 Top 10 this is, period.