WHISPERS AND SCREAMS

I read much of the Stephen King's behemoth of an apocalyptic novel, The Stand many years ago during a very long train ride through the Appalachian Mountains. Despite my seemingly constant annoyance at the undiminished fear many people exhibit every time there's a pandemic (the H1N1 scare springs to mind), that novel has always left me with a hallow feeling, a resounding "what if" that growls and scratches at the wall of one corner of my mind. So it excited me to discover that a symphonic rock band had taken it upon themselves to dedicate much of an album to The Walkin' Dude and Mother Abigail and the harrowing prevalence of death by plague. Enough about the literature though- what of the music? Well, it's generally excellent, if a mixed bag. There is a variety of styles here, particularly during the back half of the album. If pressed, I might say I hear elements of Yes, Collective Soul, Bon Jovi, and ELP throughout this album. As I said, it's a very mixed bag, but this is a bag mostly full of treats and few turds. The musicianship leaves nothing to be desired, while the arrangements occasionally play hopscotch and therefore don't always satisfy. Still, Randall Flagg would approve, and so do I.

"Captain Trips" An ominous wind and a howling guitar sends chills down the listener's spine. The title is taken from the colloquial appellation for Project Blue- the biological plague that all but obliterates humanity. Rapid guitar with smacked snare and a wooshing bass guitar riff construct a tight rhythm. Initially, the gritty, whiny vocals put me off, but in retrospect, they quite fit the overall feel and theme of the album.

"The Long Road" The second part juxtaposes a jaunty verse with a more symphonic chorus. It describes the second third of the novel, which involves the meeting of the survivors and their journey across a desolate America. At times, it has a heavy southern rock flavor- it's almost like listening to the Georgia Satellites with a synthesizer!

"Big Fire" This one reminds me of Spock's Beard with Neal Morse in "snarl mode." It's a punchy piece with a rather lousy transition between verse and chorus.

"The Seduction of Harold Lauder" Poor Harold was an overweight misfit (well, he apparently fit into his girlfriend quite well). Like Harold, this track is something of a misfit as well, with even stranger transitions. It sounds quite a bit like ELP (in fact, part of it sounds like "The Curse of Baba Yaga"), especially with the heavy presence of the organ. This lack of evenness, however, doesn't really drag the quality of the music down as much as it makes it uncomfortable to listen to, which contextually, may be the point. The more I listen to it, however, the more it grows on me...like some fatal disease or the advances of a woman.

"The Horsemen Ride" After a sinisterly loud beginning, a foreboding acoustic guitar solo assumes control of the track. The song has a dark southern Delta blues flavor, but still retrains a symphonic edge, as well as a great melody.

"The Hand of God" Thick electric guitar over a mysterious synthetic pad and heavy piano take their turns in this next part. The original heavy rhythmic assault returns here, but transitions smoothly into something new.

"Coming Back Home to You" The final part of the main event is a bluesy, organ-driven piece, perhaps something the likes of Larry Underwood might have performed. In fact, this is exactly how I imagined old Larry might sound. Damn, what an ending!

"When the Morning Comes" This bright acoustic track has a pleasant melody and lovely piano. It's a beautiful piece, really, although there's something about it don't quite like (and still can't figure it out).

"Willoughby" Dark piano gives way to a fuller track, which features some stunning bass and organ playing. This is a hard-hitting track that resonates with the heart of those who love Kansas, since the sound and arrangement is quite similar, at least until the final part, which is much more akin to the softer side of Yes (especially with those bittersweet guitar swells). It is a long track with a lot of clear influences, but is not my favorite work on the album; neither does it suffer from excess or disjointedness.

"Angel" Were this a band seeking a hit single, this would be the obvious hit single. It has a decidedly pop structure, with a heavy rock feel and orchestral meanderings in the background. It ends with the sound of a storm.

"...Then in July, the Thunder Came" A splatter of raindrops, a marching drum, and a serene tone introduces the conclusion of the album. This piece sounds like something directly from the beautiful soundtrack of The Last of the Mohicans. It has a gorgeous orchestral element that serves the subsequent electric guitar section really well.