ABARAX

An album I always like to hear is "Crying Of The Whales" by German progband Abarax, because the concept about the suffering we as humans inflict on whales is well put together. The members of Abarax bring a heavenly Pink Floyd inspired band sound which is a mixture of melodic progressive rock and psychedelic passages. Despite the fact the atmosphere is generally quite worn and only two of the eight songs have a bit more spice, a lack of variation on the album is never really an issue. Strong vocal lines, formidable guitar solos and ingenious compositions will stick you to the speakers for over an hour. Oh yes, and of course the imaginative concept will do.

What meat do we actually have in store? In the centre of Abarax are father and son Grasekamp, ​​dad Udo on keys and son Dennis on lead guitar, bass and drums. Together with lyricist and co-guitarist Howard Hanks, they founded Abarax in 2003 from their band Taste Of Timeless, like: if Pink Floyd doesn't provide their fans with new material, we will do it ourselves. After two years of research and figments of the imagination about the music in which singer André Blaeute has also been added to the band, the recordings of their debut album are a fact. A year later, in February 2006, "Crying Of The Whales", discussed here, appears on the Cyclops label.

In the first song Crying Of The Whales part 1, the warm, almost bluesy guitar work together with the woolly keyboard sound is very welcoming. It is a pleasant sound that makes it clear Abarax is not yet another Pink Floyd copycat, but the musicians show with integrity that they are enormously inspired. You don't come across a moment on the entire album that evokes a different thought. It all remains very Abarax. Take the lingering Journeys End where the lyrical perspective is from the whales themselves. Their demand to be left alone is so touching, it overpowers every other feeling, meanwhile the song trudges along with sweeping harmony vocals and a great guitar solo. That solo is clearly inspired by the glorious finale of Pink Floyd's Comfortably Numb, However, Abarax places it in its own environment. The following twelve-minute Whale Massacre is actually a constant stream of guitar parts. It clearly shows what Abarax stands for. The choir-like harmony vocals from the first part, the spacious piece with the tight rhythm guitar halfway through and the nice organ towards the end carve out an unmistakable Abarax composition.

After the ambient transition track Part Of Evolution, two songs with a bit more spice present themselves, Natures Voice and Point Of No Return. Abarax takes a slightly different turn here, but they continue to drive around in the same area.

With the subsequent All These Walls, all the emotions of the album are released. For a long time the song has a subdued character with acoustic guitar and moody keyboard lines as designers. In the end, the song bursts open into a wonderful sea of ​​guitars with a special ending. Do we hear a whale groaning here? I say yes. The closing Crying Of The Whales part II opens with a dramatic piece of music over which a text is spoken. Then Abarax comes with a reprise of the theme from the opening track, after which another excellent guitar solo blows out the song and with it the album.

After this beautiful CD, Abarax has proven not to be a one day fly. Four years later, the strong successor "Blue Room" is released and I can report from a reliable source that CD three is in the pipeline.

Orginally posted on www.progenrock.com

An easy album to listen to, it has no pretentions of being a 'Prog-Rock' band other than the generous melodious rhythms they play musically. As intended, referencing Pink Floyd numerously, Abarax by no means relying solely on the sound of another band, certainly holds their own style with unique sounds in unique arrangements wrapped around Intensions of familiar sounds of 'Prog' heard in other bands or genres. Though not unique, Abarax has a refreshing take on the poetic-like delivery of words and vocals on a few tracks. The album draws you to a story like 'featurette', pulling you into its unique sounds and arrangements. Not a complicated lyrical agenda, it allows you to listen to the arrangement without having to focus too much on the topics at hand. Lyrically on a specific sense of moral encompassment, overall the album does play out like a stage production (Jeff Wayne- War Of The Worlds). After all music is an ancient form of history telling, simplicity of delivery works well in Abarax favour. Abarax does offer the sense of listening to the essentials of Pink Floyd in a mid-relaxed rhythm. musically, details of 'Epic' are drawn from an earlier era, lending that 60's sound from albums stemming between the periods of Umma-Gumma and Obscured With Clouds. Even the essential sound of PRI is acquainted While, vocals have a more modern and mature portrayal like that of Phil Collins or Mike Rutherford.

( Similar band making perspective takes on Pink Floyd are the unique UK band Anathema on their Resonance album from 2001 )

I have been listening lots of old things that I still have and re-listening my CDs too.

One of the albums that I didn't remember about is this one, Crying Of The Whales (2005) is one of them. This is the first album of the Germanic band Abarax.

I cannot say I liked it, it comes wrapped in all the Pink Floyd's The Division Bell (1994) trademarks that other 10.000 bands already did. And for my own part I never liked the original album anyway.

Far from being anything original and far, far away from being any essential work. Go for the original instead, even not being that good too.

German band,formed in the small town Enger in North-Western Germany in 2003 by members of the group Taste Of Timeless.All being huge fans of the music of Pink Floyd and seeing no further releases by their favorite act,they decided to borrow elements from their style and create a band with a strong Floydian vibe.Coming up with a concept theme, after a couple of years of research around the existence of whales and some time to find an interested record label,they finally debuted in early 2006 with the ''Crying of the Whales'' album on Cyclops.

The PINK FLOYD influence is beyond evidence to say the least,from the crying DAVID GILMOUR-like guitars and the careful bass lines in the vein of ROGER WATERS to the long spacey synth explorations and the quite similar song structure.Even the vocals of singer/guitarist André Blaeute have a strong PINK FLOYD color.The musicianship of the band is good,without being extraordinary and, as said, with a definite Floydian approach.With a concept idea,which really helps the band,Abarax unfold their story through long and hypnotic electric guitar solos,plenty of space for cosmic synth-based soundscapes with also lots of powerful explosions,organ-smashed parts and symphonic passages.All this fine material is widely mixed with the lyrical parts of the album,completing the Floydian image of the band.Still Abarax remain far from anything original,just wanting to fullfill their dream of following their masters' steps.

If you are a dedicated fan of mid-70's PINK FLOYD,who is looking for more of the style,''Crying of the whales'' is the perfect album for you.Not an essential album for the rest of the prog audience,but Abarax play with heart,showcasing some nice talent both on instrumental parts and songwriting to make this album recommended.

Debut album and instantly jumping into ecological concept album ? Well, that's strange. Fortunately, I am not annoyed by it, I basically agree with the lyrics (slaughtering of seals is even more terrible), my only problem would be religious lyrics (especially strong ones, wink on Ajalon). Here, it doesn't matter. But as attention seeking they are, they fades & wears out quickly.

Pink Floyd influence is clear here, but as much as I don't like (hate would be too strong word) Division Bell, I like this album. For me, Crying of the Whales is more enjoyable than DB. Strong atmosphere in every track here, plenty of melody hooks scattered around the album, decent musicianship. CotW is not the best album, but as for combination of Prog (even if it sometimes sounds like "you heard that before") and more mainstream music (a lot of "jamming", choruses), its length, message and the whole feeling I get when listening it, this all forces me to break the line and give

5(-), fine example of Crossover Prog.

ABARAX are a band out of Northern Germany who play in the PINK FLOYD style ("Division Bell") in fact in the liner notes they thank "PINK FLOYD for inspirations and a music style we miss so much". The theme of this record is the whale and how man seems bent on destroying it's existance. I have to say that I love the first three tracks on here, the atmosphere and soaring guitar sound so good. The second half of the album has these more straightforward songs that do little for me.

"Crying Of The Whales Part I" has lots of atmosphere with a beat and soaring guitar.Vocals join in after a minute as themes are repeated over this 10 minute track. It ends in a spacey manner. "Journeys End" opens with whale sounds as synths then guitar join in.Vocals before 2 minutes. Drums after 3 minutes then the guitar comes to the fore when the vocals stop before 5 minutes. "Whale Massacre" opens with violin as these solemn vocals join in. Guitar takes over with atmosphere. It kicks in after 6 minutes with vocals and drums.The guitar solos after 9 minutes as the vocals stop.The guitar becomes passionate after 10 1/2 minutes. Nice.

"Part Of Evolution" has a spacey start and vocals join in before 1 1/2 minutes. "Natures Voice" is one I can't get into especially when the vocals and organ lead before a minute. It does get better though. "Point Of No Return" opens with crickets? and water sounds.The music kicks in quickly, vocals too.This reminds me of AYREON. Not a fan. "All These Walls" has spoken words early and whale sounds as strummed guitar and vocals take over. It finally kicks in before 6 minutes. "Crying Of The Whales Part II" starts well with the atmosphere and random drum patterns. Spoken words and music follow 1 1/2 minutes in. Vocals followed by soaring guitar follows.

I did tire of the message here and felt the second half was much weaker than the first, but overall I liked this record.

I've tried to give this quite a few spins in the CD player, but each time it comes up too short. The concept is a good one. In this case it's about our slaughter of the whales. So, it's partly an environmental and political message. The other part of this concept has to do with the warning that nature will get even with us because of our slaughtering of the whales. This is where the concept seems like it is on less solid ground, not that I am against nature for doing this. We deserve a lot of slaps on the wrist for many of our wrongdoings on this planet. I was often reminded of the Star Trek IV movie which also dealt with a similar subject.

Probably the biggest problem I have with this album is the music. Abarax is clearly inspired by Pink Floyd (the liner notes even thank them!), but they don't take a Pink Floyd-like foundation and build upon it. Instead, it sounds more like a "poor man's Pink Floyd." The music isn't interesting and it plods along at the same pace almost throughout the whole album. They did catch me with the first six minutes of the first song, but as it reached the last four minutes, they lost me. And lost me they did for the remainder of the album. What this album needs is a good kick in the pants, both musically and lyrically. In the end, it sounds amateurish.

I like the message. I thought it could have been written better, much better. The music just doesn't catch my attention and they need better "whale song" samples (like on ELO's The Whale).

Sorry, only worthy of two stars in my humble opinion.

Excellent. That is all I have to say.

From the first chord, to the last one, magnificence.

Crying Of The Whales, a track that reminds us of Shine On You Crazy Diamond, is linked to the last track (Crying of the whales Pt II), and can also be linked to the 2nd and 3rd tracks of the promo edition: Salty Sting and Tears Of The Whales. How do you call that? Musical flexibility, and conceptuality.

Being able to enjoy music in parts, or as a whole, that is some of the essence of progressive rock.

Then you have the other tracks, that not only add to the storyline of the whales, but also give you more than a sample of the musical variation of Abarax. Psychedelic, symphonic, spacey, technical, moody and so. You'll find extended guitar-solo passages, folky acoustic guitars, sounds of singing whales, lots of sfx, choirs and more.

Besides the pink floydish style, and the ecological themes that may not suit everyone, this is a jewel in symphonic-progressive rock, that takes you through a journey, waiting to be listened to.

My rating: 5/5.

I must begin with a caveat that I haven't heard ABARAX's previous (debut) album, so I didn't know what I was getting when I ordered this one. Undoubtedly, it was worth it! I am genuinely impressed with the BLUE ROOM, and I can't help but recommend it to all fans of progressive rock. Kicking off (after the brief intro "Cry Out For Me") with a magnificent opener that sports an easily memorable melody ("Autumn Storm), the album continues strong until the very last (and longest) song, "Howard's End."

ABARAX is classified on progarchives.com as a psychedelic/space rock band, and I tend to agree with this grouping. The emphasis should be placed on Psychedelic, not Space, though. Fuzzed roaring guitars, soaring keyboards (predominantly, organ), melodic solos, strong singing mixed at the front, sumptuous backing vocals, mid-tempo throughout ? all the attributes of psychedelic rock that really rocks but never crosses the hard-rock border are present here. While all of these components do originate in the 1970s, however, this is a very modern sounding record: the production is crisp yet warm, very much in your face yet elegant at the same time. The booklet indicates that the band has two guitarists, and it shows, but there is no excessive heaviness in the sound.

Perhaps the only critical thing I have to say about this record is that the seven full-length tracks on the CD sound somewhat similar. As a symphonic prog fan, I occasionally found myself, especially during the first couple of spins, wishing there was a bit more variety, melody- and tempo-wise. Most (or even all) of the songs are in mid-tempo, with clear-cut structures. This is not to say that the BLUE ROOM is repetitive, monotonous, or tedious. God forbid! It is, rather, a classical psychedelic album, and as a result, the genre imposes its limitations.

Although, as I said, the record is very even and it's difficult to single out any songs, the tracks that do stand out immediately are the opener "Autumn Storm" (a real hit ? must be an exceptional concert song!), "Red Roses and Bullets" (a somewhat up-tempo song with a great chorus), and the final "Howard's End," with its pulsating, ominous rhythm, circular, even hypnotic structure, and loads of emotional tension. (The song's title suggests that the track is inspired by E. M. Forster's eponymous novel, and although I didn't spot any textual parallels, the atmosphere of the song does reflect the spirit of this excellent book.) Other songs are just as good, but overall, this is music painted in broad strokes, so to speak: although there are plenty of nuances (a nice acoustic fragment here or an elaborate keyboard solo there), you need quite a lot of time to listen carefully to begin to appreciate them all.

Again, it's a fantastic record that will appeal to fans of heavy prog, symphonic prog, psychedelic and all those who like good melodies, slick arrangements, and a strong sense of what the musicians want to achieve. The record is focused and it strikes home. Keep up the good work!

Although not provided as a concept album on this occasion, ABARAX are fundamentally linking to their debut here as for the compositional aspect. Which means 'Blue Room' is surely not designed to be very experimental, so much the more you will listen to solid rock songs made of symphonic and psychedelic elements in the majority. All in all less floydy this time and a little more commercially coloured. The rocking component has evolved. So this album holds eight calculated songs offered by experienced musicians where Howard Hanks has a large share when it comes to the lyrics.

Due to the fact that they are situated nearby my hometown I had the chance to see them playing live for several times in the meanwhile. And I was always impressed by As We Spoke because of this special mellow atmosphere and groove, a very emotional song somehow. I'm not that good in interpreting lyrics but releatively sure this is a kind of love song. Luckily the track got a place on the album, an extraordinary methinks. Andre Blaeute's expressive voice perfectly fits here decorated with some echoes - charming, a catchy melody ... oddly ponderous drums, synth and guitar are harmonizing ... and watch out for the bass excursion in between to make it big really.

'Now we've sent you to hell, to where you belong' - Sermons & Lies sounds lovely but is an accusation as well, cryptic though who is meant. Udo Grasekamp offers fine varying synthesizer accents including string arrangements on Life, probably a leftover from early days. ABARAX are getting tough here, are contrasting due to some heavy rocking moments. Red Roses And Bullets on the other hand ventures out into mainstream territories a lot, where Howard's End is provided with a dramatic opening - first of all the vocal arrangements are something special.

This is certainly not the end of Howard ... in any case ... with intent or not, they remind me of Deep Purple's 'Child In Time' during some moments. A melodic finale for this album. Dennis Grasekamp's front guitar work is strong as usual. 'Blue Room' appears not that spectacular as for my summary ... just an effort featuring well made rock songs in order to witness some relaxed moments basically.