PERPETUALLY UNDER IDLE GROUNDS

I was given an advance review copy of this album.

Meticulously composed and constructed symphonic/neo-progressive music

Put on your thinking cap:

If there's one thing I've learned about Alex Lazcano, the brains behind Lazleitt's sophomore release (July 26, 2019)- his head is full of pretty deep stuff.

Philosophy. Fantasy. Spirituality. Prejudice. The paranormal. The nature of reality.

Easy-going stuff like that.

H.P. Lovecraft and Twin Peaks, Salem Witch Trials'

Yes, just some of the references and influences to be found in this album.

All set to cinematic, story-telling, epic progressive music that is flawlessly executed, with crystalline production by Eric Gillette, sound-shaper at EKG Studios, solo artist, and multi-instrumentalist/composer/vocalist with The Neil Morse Band.

And musically'

Yes, yes, we're not discussing a novel here, or even a TV series.

Rather, an actual music production, with a stellar cast and an eerie conceptual thread.

The music is intricate, themes introduced, interwoven with multiple keyboards providing lush and rich sound- tapestries (both Alex and David), lengthy instrumental passages, and vocal work sometimes male and female harmonies (Alex and Liz), more often solo.

Eric's drumming and Alex's bass guitar work to solidly propel and bring verve to the sound.

Did I mention scorching guitar solos?

Carlos and Eric bring formidable fretwork to the mix, along with Alex's more restrained playing.

Several incendiary guitar solos ignite the proceedings at several places.

After a moody 'Prelude'

The epic twenty-one minutes-and-change 'A Furtive Shelter' comes thundering into life, with full orchestrated introduction, setting themes with Alex's deft melodic touch, then yielding to Eric's somewhat wistful/sepulchral voice, and Liz's expressive alto vocals.

It's for me the highlight of this album, filled with extensive instrumental passages and some tasty vocal work. All the strengths of the album are on display here, and there's plenty to take in.

Then, two 'witches'

Sadly, among the tragic, colorful, and unjust ways in which the fair sex have been treated over the years, the hysteria over 'witchcraft', the Salem Witch Trials, drownings, hangings, and public shunning, take prominent roles.

Using spooky voices and characters, alongside keyboard sounds, two notable historic figures are utilized as themes for the next two inter-related pieces.

Leading to the menacing finale

Based on UK poet Sue Lumb's lyrics, Alex composed this closing track based on Twin Peaks' meditations upon reality/fantasy, capping off this magisterial work with lush orchestration, punchy bass guitar lines, ebullient drumming, all ending on a somewhat unsettling, questioning note.

Growing edges

Lazleitt and Alex show considerable growth and maturity with this sophomore release. For me, the vocals are a question mark. Both vocalists seem competent enough, yet both are an acquired taste. Liz's too ready vibrato bothered me, and Alex has that sometimes hollow, fairly impersonal quality, especially in passages that seem to demand more fire and guts.

I thought too the range of characters represented in the lyrics could well be more distinguished by recording techniques of nearness/distance, perhaps different vocalists, use of other vocal settings.

In sum

A fine, evocative sophomore effort filled with memorable melodies and lush soundscapes.

3.5 spooky sepulchers

Lazleitt is the creation of multi-instrumentalist and vocalist Alex Lazcano. This is the second full blown project under the Lazleitt moniker entitled 'Perpetually under Idle Grounds, which follows 2018's On the Brink. Joining Alex Lazcano (on Lead/Rhythm Guitar, Bass Guitar, Keyboards, Piano & Vocals) in collaboration with other musicians such as Eric Gillette (The Neal Morse Band) on drums, lead guitar, Mixing & Mastering album, Liz Tapia (Dark Beauty) on vocals, David Knowles (The Swan Chorus) on additional keyboards, Carlos Hernandez (Tree of Life Project) on lead guitar.

The album starts with a short dark, eerie and sinister prelude. Then we have the twenty-one-minute epic A Furtive Shelter. It is the definite highlight of this album, filled with numerous instrumental passages and some great vocal work. All the strong points of the album are on this song, and there's loads of them. The next track Gallows Hill Dossier 1: Grace Sherwood is one of the most interesting tracks on the album. It has some appealing changes of pace that keep things notably edgy. It has a boisterous bass line that fills the room. Following Gallows Hill Dossier 1: Grace Sherwood we have the fourth track Gallows Hill Dossier 2: Bridget Bishop. This ambitious piece boldly lays the band's abilities and credentials on the table. It is by turns eccentric, serious, challenging, accessible, melodic and discordant. I immediately enjoyed this piece. The closing track called The Owl and The Blue Rose is based on the tv show Twin Peaks. This is another highlight of the album. I however find it slightly repetitive, but non the less a great finish to the album.

I feel I must mention that this album took upwards of 15 listens to fully appreciate. To me this means that this album will have a high replay value for years to come. An outstanding well-articulated album full of enjoyable music which raises the progressive standard even higher. A top score well-crafted album. The Cover Art is great at perpetually depicting those idle grounds.

Although the debut Lazleitt album only came out in 2018, Alex Lazcano was back with another the following year, and already there had been some changes, the biggest of which was that drummer Jorge Cortes Cuyas was no longer involved. Given that the interaction between Alex and Jorge had been a major part of the sound on the debut I was intrigued to see what had happened to the music. Alex is of course still providing guitars, bass, keyboards, piano and vocals, and Eric Gillette (The Neal Morse Band) is back again but this time not only is he providing lead guitar but drums as well. No flute on this album, but Alex brought in none other than Liz Tapia (Dark Beauty) to provide backing vocals as well as some lead which provides some different vocal sounds, while David Knowles (The Swan Chorus) is on additional keyboards and Carlos Hernandez (Tree of Life Project) also provides some lead guitar.

The result is an album which is both heavily related to and a step change from the debut. There is much more in the way of keyboards and guitars, and while the drums are still powerful it is in a totally different matter to the original, which means there is less of a rhythmic foundation. The vocals and top line melodies are more important on this release, with keyboards far more prevalent and layered. Liz has a wonderful voice, and is able to adjust to what is needed, and here her part is that of a band player as opposed to being out front, and she provides the perfect foil to Alex. Again, there are many instrumental passages, and while Alex still has that chunky bass sound the ear is drawn far more to the front melodies

This is commercial progressive rock with a lighter sound, but don't let that mislead you into discarding this as not being worthy: there are times when it is almost reminiscent of Les Holroyd's songs in BJH, but with more of the John Lees backing combined with Geddy. Given that in many ways this is quite different to the debut I look forward to seeing what the next one will bring, and let's hope it's soon.