EMERALD CITY COUNCIL

The journey begins with the stunningly epic opener, "Realize I ? Escape from the Ancient," a track that sets an ambitious tone for the album. Brent Bristow's masterful compositions are the backbone of this record, brought to life by a band of exceptionally skilled musicians. Jake Livgren?nephew of the legendary Kerry Livgren from Kansas?delivers a vocal performance that not only complements the music's melodic grandeur but also brings each song's story vividly to life.

A standout moment is the single "Ice Thinning," a track with a timeless sound that would feel right at home in Kansas's iconic catalog. Its blend of classic prog textures and heartfelt execution showcases the band's ability to bridge the past and present effortlessly.

This is a group worth supporting. Whether it's CDs, vinyl, or merch, investing in Emerald City Council ensures that this kind of inspired music thrives. This album is, without a doubt, one of my favorites of 2024. Don't miss out?join the journey!

The album blends various styles, from the high-energy opener Realize I ? Escape from the Ancient to the moving Mortal Game, showcasing Jake Livgren's powerful vocals and Bristow's expressive sax. The epic Platforms of Illusion stands out, a 20-minute prog masterpiece that combines intricate time changes and stunning musicianship, reminiscent of Kansas and Spock's Beard. The album also features standout tracks like the single Ice Thinning, with its modern Kansas-like sound, and No Thanks to You, which leans towards hard rock.

With fantastic guitar work from Seth Hankerson and contributions from guest musicians, Motion Carries offers an exciting mix of styles and emotions, filled with soaring melodies and stunning instrumental passages. This album is a must for any progressive rock fan (especially in the green vinyl).

Released: January 19, 2024 Order from Bandcamp: Motion Carries | Emerald City Council Signed copies: Emerald City Council Online Store

The album includes several guest appearances, including guitar solos from Paul Bielatowicz (Carl Palmer, Neal Morse), and Mike Thompson (The Sons of Kirk), plus contributions from actors Jeffery Combs (Star Trek, Re- Animator) and Steve Rankin (Star Trek, X-Files).

So pay no attention to the man behind the curtain and we see what's what on this album, released in January of 2024.

Track 1 - Realize I?Escape from the Ancient

A droning keyboard starts us off, and what sounds like sax mixed with synth plays a melody over the top. A narrator (presumably by one of the actors listed) begins to speak. At 1:35, the band kicks in with heavy guitars, bass & drums, accenting sax/synth parts. My guess, though I don't know, is that Bristow is using a saxophone style MIDI controller here. Lots of shifting meters ensure making this prog fan smile. At 3:10, there is a nice guitar arpeggio pattern playing a countermelody to the strong rhythmic parts of the rest of the band. Not to lean on the Kansas connection too much, but fans of Kansas will love this! (I am one, so I know.) Jake hasn't sung a note yet, so it's the playing that's giving me the vibes. I am LOVING this! This is essentially an instrumental, outside of the narration, which returns at the end of the track. The message is basically about overcoming your past failures to find success in the future, but said much more dramatically and poetically than that! Outstanding opener.

Track 2 - Realize II?Brutal Camouflage

This begins with an acoustic guitar strumming joined quickly by sax over the top. Livgren sings for the first time, then the full band kicks in at a moderate tempo. I like the alternating vocal and instrumental sections. The blend of synth and sax is featured, followed by a part with mainly vocals and drums. Hungate does a nice job of "turning the beat around" here. At 2:50 there is a nice vocal with a countermelody. I love how the meters keep shifting throughout. The layers of music get quite dense as the end approaches, but everything fits together nicely. The song ends with a solo a Capella line from Livgren. Wonderful track!

Track 3 - Noisy Talking

Hungate plays a sort of tribal style beat, and the band joins him in 6-4. I believe. Vocals begin shortly thereafter. I love the guitar part at 1:05! Nothing too complicated, but it works. There is a nice bass run from Nichols after that while Livgren keeps singing. At around 1:20, the vibe turns to a slightly reggae feel. Nichols is playing some nice bass lines here. Livgren's vocals are fantastic. There are some nice solos at around 3 minutes. I am enjoying this song quite a bit. I like the instrumentals as the song winds down. Another great track.

Track 4 - Mortal Game

Keys and sax begin this one at a slow tempo. I like the way the bass slides in. I believe he's using a fretless bass. This song has a slight Peter Gabriel "In Your Eyes" feel to it. Jake Livgren deserves more attention as a vocal talent in his own right. Hungate provides a nice, subtle tom-tom beat for this track. The guitar comes to the forefront at around 3:45. I believe I hear a mellotron in the background. The beat gets steadier at around 4:30 and there is a nice run at 4:44. The tempo gets faster and the music heavier as we approach the 5 minute mark. We are in a meter of 7 here. They are building to a big finish. It's simply beautiful at around 5:45! A fantastic slow burn of a track. The choir-like vocals near the end are magnificent. This album is really delivering!

Track 5 - Ice Thinning

The band jumps right in with a riff in 5-4 to start this one! The Kansas vibes come back here as Brent Bristow's sax reminds me of a Robbie Steinhardt violin part (and my slow self just figured out the connections- a relative of a Kansas member and a relative of a Toto member as part of the Emerald City Council, I get it!). The intro winds down to lead into the first verse, which begins with acoustic guitar and vocals before the rest of the band comes in. An instrumental break takes over in shifting meters and a nice riff. Another verse follows. I like the vocal harmonies at 2:15. Nice chorus at 2:30. An instrumental break takes over just before 3 minutes in. At 3:05, the tempo begins to change. A brisk sax solo happens over a quick rhythm. Another instrumental break follows. Livgren returns on vocals after the 4 minute mark. There is a slower tempo coda as we approach the ending. Flute and acoustic guitar conclude the song. Excellent prog!

Track 6 - Platforms of Illusion

This is a 20+ minute epic in six sections as follows:

I. Connection

II. Best Life

III. Comments

IV. Identity

V. Revelation

VI. Best Life (Reprise)

This band is serious about making a mark on the prog scene with a 20 minute epic centerpiece on their debut. Let's see how they do! If the first 5 songs are any indication, this should be excellent.

It begins with a bit of a renaissance vibe, with flute and harpsichord. However a cool bass riff takes over, soon joined by quick hi-hat work from Hungate. A guitar melody emerges over the top of the rhythm section. The lock- into a groove by 1:15. Nice guitar work here, but I am not sure who's playing it. I love what's happening at around 3 minutes. The choir sounding keys are nice. I believe I detect a mellotron again. At just before 4 minutes, I think we are transitioning to the second section. Acoustic guitar, joined by a marching snare drum take over, before Livgren begins singing. A nice melodic chorus comes in soon after. This is wonderful, thus far. Nice change to a bridge just before 6 minutes. The harmony vocals are fantastic at before the 7 minute point. A prog-tastic riff takes over at 7:20, possibly starting part III. I love the commentary on internet comments. A change to a slower tempo happens next around the 9 minute point. By 9:50, the tempo and riffage picks back up. It gets slow and quiet by the 11 minute point. That has to be a mellotron. Then we get an electric piano to accompany the sax solo. We are now in part IV. Soprano sax at just after 13 minutes. There was a Beatle-esque moment around the 14:35 point. Not sure if Livgren is harmonizing with himself or if one or if one of the band members is harmonizing with him, but it's impeccable. At around 15:50, they start rocking as the next section starts. Excellent drum fills lead us to an odd- metered synth melody. The next verse begins just after. This part is making me head bang a little. There is a melodic bridge at around 17:30. Then we get rocking again for sax and guitar solos. Acoustic guitar and vocals take over at around 18:10, but the rock comes back soon after. Section VI hits around 18:45. At about 19:25, the music echoes the intro, but heavier. Nice guitar melody, tight rhythm section and big mellotron lead us to the big finish. They nailed it! Outstanding epic!

Track 7 - Diversion I Not sure why its Diversion "I" as there is no "II." Maybe it's a prog joke like Dream Theater did with "Metropolis Part 1." It begins with a nice intro from the rhythm section and acoustic guitar. The soprano sax takes the lead afterward. This is shaping up to be an instrumental interlude. The bridge is on tenor sax instead before the soprano returns. There is a bit of a guitar shuffle as the track fades out. Nice one.

Track 8 - No Thanks to You

We begin with a big mid-tempo intro. The first verse begins with a tight backing track behind. The chorus switches from 4-4 to 7-4. Another verse and chorus follows. There is a cool odd- meter instrumental break at around 2 minutes. A nice guitar solo follows. There is a nice crescendo coming out of the bridge at around 3:20. I love the instrumental parts at the ending, lots of meter shifts! Great prog in a four and a half minute package!

Track 9 - Realize III

Excellent melodic intro. I know I keep making Kansas comparisons, but it really reminds me of them. That is a compliment, as Kansas is a top 10 band for me! Jake Livgren is an outstanding vocalist, indeed. Bristow is a fantastic songwriter. The instrumental section that begins just before the 3 minute mark is tasty. Nice drum fill from Hungate at around 3:25. Much of this song is in 6-4, but it feels like alternating measures of 4 and 2. At about 5:30, acoustic strumming takes over for the basis of the coda section. There is a little sax tune at the end to close the song and album out.

OVERALL IMPRESSIONS:

Emerald City Council is a new prog force to be reckoned with! I hope they do live shows and keep making albums, especially if they are as good as this one. Again, it's hard not to make comparisons to Kansas, as their style is definitely influenced by them (with or without the family connection). It really does remind me of Kansas with sax in place of the violin. Every member brings excellent playing to the table, and they execute Bristow's songs perfectly. The production is stellar. I highly recommend this album to any prog fan, especially those with an affinity for Kansas. It isn't quite Close to the Edge level for me, but it's damn good! 4.75 out of 5 stars.

(Clicking 5, but really 4.75)

I have long been a fan of the sax as an instrument, something which is rarely used in the prog context anymore, which is a real shame as it definitely has a voice of its own. There are few saxophonists who have really made their name known in this genre, Jack Lancaster and David Jackson of course springing immediately to mind, yet they tend to be more in your face then Brent who here uses the instrument rather more sparingly than one might imagine given the reason for bringing the project together in the first place. However, another more recent band which uses sax is of course Proto-Kaw with John Bolton, but are they really recent? The nerdier of us progheads know that the Kansas we all know in love is actually a rebranding of a band called White Clover, and it was then that Kansas brought in the violin. It was only in 2002 when Cuneiform released the excellent 'Early Recordings From Kansas 1971-1973' that we were able to hear the likes of "Belexes" in its original form, with saxophone, and it was the reaction to that release which inspired Kerry Livgren to reform the band. Jake provided some backing vocals as a guest on the first reunion album, 'Before Became After' before becoming a full member and as he also plays sax, he has a strong knowledge of what can be achieved.

With all that in mind, and the backgrounds of those involved, it is perhaps not surprising that what we have here is a wonderfully commercial symphonic progressive album which is highly accessible right from the start but contains layers which means the listener gets more out of it each time it is played. Brent has ensured that Jake is more to the fore than he is, with arrangements which are designed to lift the vocals with a complex simplistic symphonic support which is a delight. There is one bar in "Phantoms of Illusion" where in a slight lull Jeremy runs down the scale and one can only smile as it is not in your face but provides an additional level of finesse and polish. There are a huge variety of keyboard sounds on offer, and there is very much the feeling of this being a classic Seventies release being brought up to date with its commerciality and production. It is a very American-feeling release, and one can hear hints of 90's bands like Ilúvatar and Timothy Pure, all blending with the modern take of Proto-Kaw to deliver something quite special.

The response has been very positive indeed, with the first run of CDs already sold out, so let us hope there is a second album to follow soon, and the band gets out on the road.