ELEPHANTS OF SCOTLAND

It's been eight long years since the last ELEPHANTS OF SCOTLAND release and Rabin returns with a completely new cast of musicians joining forces with only guitarist John Whyte returning. Resembling the previous album "The Perfect Map," BRAINS! features seven vocal tracks and then repeats them all in instrumental form. This is a trait in the world of symphonic prog and neo-prog that i clearly don't get and honestly don't like however many bands have engaged in a similar marketing strategy although it's usually reserved as bonus tracks on a second disc however it appears that BRAINS! is only available as a digital download.

While the band has mixed the world of symphonic prog and neo-prog on past releases, this one seems more steeped in just the symphonic prog side of things leaving the neo-prog aspects behind for a while. Without the instrumentals this album features seven tracks that add up to just under 42 minutes. While considered symphonic prog BRAINS! sounds more like an alternative rock album with symphonic prog extras as the compositions are a bit in the area of crossover prog rather than super proggy sprawling composiitons that implement a plethora of keyboard layers. In many ways ELEPHANTS OF SCOTLAND sounds like what i refer to as garage prog and a bit amateurish.

This is my first exposure to the band so i have no comparisons but it seems their past releases have found their share of listeners and the audience seems to have tapered off at this point. Perhaps the previous members were what was gave the band a sense of a real band but for me personally i don't find this very appealing as the songs aren't very interesting or memorable and neither is the instrumental interplay. The real deal breaker for me though is Rabin's limited vocal ability as the music at hand requires a competent vocalist to lift it out of the category of ordinary. The final two tracks that are over eight minutes do try to construct proggier supernatural fairytales but once again rely too much on standard rock procedures.

I can't really comment too much about this release because i just find it below the standards of what i consider a decent symphonic prog or neo-prog experience. It's sort of folky at times, it's sort of indie rock but the prog never really kicks in to my liking. Perhaps the band's best days are behind them or perhaps they're still ahead but this particular album isn't really a memorable first experience. I'll have to go back and check out the debut album to see how this band sounded at the beginning when it seems to have attracted the most attention. Not my cup of tea but perhaps some will find this appealing. It just rubs me the wrong way in too many ways. I do love the crazy album cover though which is why i checked this out in the first place!

Live DVDs were quite in fashion for many years, and are still treasured by some. How many more that will be released in physical format remains an open question however, as streaming services are taking over this field of the entertainment industry big time. As for this one, fans of EOS should find it to be a worthwhile investment, and those curious about the band will get a good quality live performance to enjoy. Neither the DVD nor the performance is of the highest quality however, so for those beyond the established fan base contemplating getting this one it would have to be those with a special interest in products of this nature that might fancy getting this one. Otherwise the studio albums by the band will be a better place to start.

Overall, in my opinion, the band was always 'OK'. No more than that. The group was full of good intentions, good ideas, but sometimes I have this impression that the band was 'rushing' with their arrangements and recordings in the euphoria of releasing a new album. The band started in 2011 and in 6 years have 3 studio albums and 1 live release!

I get the impression that this was fixed on The Perfect Map, the group's latest album. When you hear the record you can feel that the material has been rehearsed and thought for a long time. It is also good to see that the band, despite the clear influence of classic Progressive Rock of the 70's, can have a sound of their own in the new album.

For me one of the low points of the group's sound, always has been the vocals of Adam Rabin. I get the feeling they are aware of that, in the new record his vocals seem more concise, more 'trained' and they even have a guest vocalist Megan Beaucage in the track "One By Sea". However, the weaker moments of the album still lay on the weak vocals, like in 'Swing The Gavel'.

Overall The Perfect Map is an album that should appeal to any fan of the classic Progressive Rock period but who still likes to search for new and high quality material in the same classic line!

Available on Bandcamp.

The general description of the music can be complex, frequently busy, and energetic progressive ROCK, with each song not only standing apart from the others in tempo and atmosphere but also receiving additional treatments to help make each song a stand-apart entity as well as a unifying part of the whole album. In short, I like that this album doesn't have a string of similar sounding songs.

"Sun-Dipped Orphans and the Wizard's Teapot". What a title! Is this a Gong album? We start with a drum rhythm intro that sounds like it would fit right in to a big band number. It quickly turns into a prog piece with synthesizer effects, piano and a kind of dancing guitar riff. Indeed sun-dipped orphans are running about. "Sun-dipped orphans ran into the castle and in the great hall did make a pyramid of ten." I'll say it right now, though the music doesn't bring anything new to the table of modern prog and even sounds similar to what a lot of bands are doing, this is a rousing first track, lively and quick and the first track for me to call a favourite.

But then "Counting on a Ghost" comes in with bursting synthesizer chords as an even faster paced number, frantic and speedy with a tinge of 80's Rush. Then just when you think you got this band sorted and labeled, they come in peacefully with "One By Sea", featuring Meagan Beaucage on vocals. It's like a sea chanty at first but then breaks into a proggy middle section before turning into a slightly more straightforward rock number. Alright. The going is good.

Now comes "Swing the Gavel" with acoustic guitar and recorder, I think. This reminds me of the Celtic folk band who became alternative rock / folk fusion, Spirit of the West. This is like their early stuff from the mid-eighties. I should say here though a word about the vocals. I'm not sure who is the lead vocalist but there are moments when I feel he doesn't have the British touch that goes into a lot of the music and lyrics. At times the music has more power than he can muster and other times it sounds like someone who doesn't do British is trying to read Shakespeare. This does not mean that the vocals are bad. Not at all. But this music has a certain sound to it that requires a little more in some songs.

"The Perfect Map" is musically simpler than other tracks so far but it has an eerie and haunting style that makes it yet another surprise. You really can't guess what this band is going to serve up track after track. Again, I like the variety!

"Random Earth" really brings in some Rush sounds again, this time more like around "Counterparts" I feel. Dan McDonald's bass and John Whyte's guitar, not to mention Ornan McLean on drums and Adam Rabin's keyboards really bring that era of Rush to life here. At one point, I was thinking the vocals need a little something extra for this style of music though, and then suddenly a second voice came in with a higher register sounding almost like Geddy Lee! Of course the music goes beyond Rush; every song goes beyond what it seems to start out doing. And then the whole musical ride slows down with a short instrumental called "Fur Buddy" which is dedicated to a pet canine.

To wrap it up, this album has been great to hear again and again and get to know each track for all their twists and turns. Excellently composed and performed music in my opinion. Anything less than impressive would be the sound of the vocals in a few places as I mentioned above and that basically what we have here is nothing that dozens of other bands aren't doing, meaning that there are a lot of talented musicians writing and playing excellent complex and exciting music. But I see it this way. You've got a chef who knows how to cook up exquisite dishes, and though you've had something like them before, these are still delectable. The chefs here are all of high calibre as their dishes prove.

Would a paradox band name lead to some paradox music?Answer is yes and no, because Elephants of Scotland play what I would call futuristic Neo Prog, structuring their pieces along the seeds of the 80's British groups, but taking their sound a bit further, adding lots of sound effects and distortions.They remind of acts such as GREY LADY DOWN or GALLEON, introducing an edgier sound, powerful arrangements and less symphonic inspiration, as the album is particularly based on melodies, dynamic rhythms and mascular instrumental passages.There is no question the Americans are fond of classic acts as well.The presence of some mighty organ moves and the combination of melodious with more adventurous textures leave no doubt about that.Musically the band is very solid with dense and interesting pieces, often showered with rockier, TILES-like parts and some more laid-back atmospheric runs, but the majority of the album lies within the principles of modern Neo Prog.A good comparison would be DARWIN'S RADIO.The last track ''Errol McSquisitor'' is the absolute peak of the release, featuring a sensitive first part with atmospheric keyboards, smooth guitars and emotional vocals and a grandiose second one, built on what appears to be the lone symphonic/orchestral segment of the album: Impressive guitar distortions, romantic keyboards and a hypnotic, steady groove by the rhythm section.

Neo Prog from the future.Powerful, rich, rocking and intricate.Great and warmly recommended first step for these bizarre elephants.

From the initial jungle blare of "A Different Machine" blasts out from the gates, showing off impressive gusto and the harder edged sound promise that defines their 'progression'. The playing is fast and hard, the sound crisp and pristine. To "the Other Room", a shorter piece that has all kinds of cacophonous caresses, guitar wobbles and rebound techniques that hint at obscurity and dissonance. The metamorphosis into a more conventional tune hits you like a flung rock, Adam grabbing the mike with authority, the bass and drums chugging fiercely, with Whyte doing an axe two-step, using some Andy Summers shifting rhythms to great effect.

But the thrilling piano-led "Amber Waves" really shows off the incredible prog tradition of creating an epic, multi-dimensional piece with different yet eventually merging melodies, counterpointed instrumental snippets and a hard rock finale that screams and creams. This is a bruising and extravagant affair that comes as close to a sonic roller coaster, extremely dynamic in structure. A merciless jewel, I tell you! Adam does a highly credible job on vocals, playful and soaring like many 80s singers (Naked Eyes' Peter Byrne, among others), as well as unleashing some nifty synth leads throughout the track.

"TFAY" scours out terrain that could be described as 'hard space' with some Hendrixian flair, manic rhythmic pulse and a rather greasy disposition. This is prog-rock at its most energetic, little Geddy in the hysteria-laden lead vocal but the music is like a speeding bullet, Whyte and MacDonald pulling hard on their strings. The Elephants seem to enjoy grazing in the confines of deep space, pulling their considerable weight in providing bold new directions and exemplary instrumental creativity. This sounds like old school Rush orbiting Saturn, for a spell, 'phasers on stun' guitars and warp-speed propulsion. Ornan MacLean really excels on his kit, crisp, tight and massive. This is especially obvious on the bubbly and unsquared "Boxless", a universe of beats that clobber and pound ever forward, the four string wonder following with humility. Nothing overtly complex, just deliriously played and expertly handled.

"Endless" is the centerpiece, an extensive 2 part extravaganza that offers up some scintillating horizons for musicianship and inspiration. The spotlight now moves to the players, a platform to show off some considerable chops, Whyte stepping up to the plate magnificently, carving some criss-cross lines that hypnotize and stun. Spluttering synths stop and start sections that defy gravity, a display of on-a-dime execution and blitzkrieg speed. Part 1 is all instrumental and it sizzles! The second chapter is longer, denser and more progressive than anything heard up to now. There is a slight "Suite Madam Blue" feel, like the Styx classic, as the acoustic introduction preps an obvious swelling of emotions, namely a glorious theme that seeps deep into the soul, delicacy in its most ethereal blessing. Softer tones provide a sonic richness, the pace ratcheted up only with utter flair, such as the buzzing Rabin synth solo, a frizzly affair that twirls, swirls and whirls. Very unflappable (Elephant ears) indeed! Adam then does a little piano etude that just brings out the deepest emotion.

"Mouse trap" sets this one down for the night. Aggressive, loud and bombastic, this will kick you hard and nasty, Whyte doing his Lee on the mike, MacDonald doing his Lee on bass, Rabin bending notes on his Roland synths while MacLean bashes with the almighty! Square and devastating, these mastodons show no fear in their defiant attitude and soldier on bravely. Needless to say, Rush fans will adore the superb progginess displayed here once gain.

Their mammoth sound has evolved to a higher level, crisper and crunchier, as if peanut butter is what elephants really like best! There is also a sheen, a velvet veil of excellence that is hard to describe, a sense of bold confidence that is unmistakable. I still have a very soft spot for the debut which was one of many 2013 revelations that blew my speakers sideways but I am sure this will continue to refine my appreciation, with many more revisits. This is a band to watch further, should not be too hard, the Scots are quite a stubborn lot and elephants can be seen for miles and miles. Nice modern artwork, almost as engaging as the flying boat debut.

4.5 Implements and Puffs (woo, that sounds censurable!)

When I popped it into my player, I was floored by the musical proficiency I experienced. The band has a wonderfully soulful style full of awesome bass lines, catchy guitars, and rip-roaring drum work. They have a classic rock vibe buried in their style that keeps the music moving along without much pause for noodling or the like. When I come to neo-prog, though, I mainly come for the excellent keyboard work, and Elephants of Scotland do not disappoint in this area. They manage to fuse spacey atmospherics with organ leads and solos to great effect. The synthy goodness found in this album, then, had me smiling with glee, as I'm a sucker for synth.

The band has an interesting method of sharing the vocal leads, as three different members offer their performance here. The vocals, then, are always fresh, if somewhat inconsistent in quality. There isn't a "bad" voice in the bunch, however.

In addition to that, there isn't a "bad" song on the album either. I am a big fan of "Geograph" and the ending "epic" "Errol McSquisitor" with its folksy vibe. In fact, that was my favorite track for a long time, but now I'm rather taken with "Full Power" with its incredibly diverse and catchy keys. That is one thing I really noticed about this album: diversity. None of the songs sound the same, even though they may share components. I'm very impressed with this, as it takes strong composition skill to do this.

In the end, Elephants of Scotland are a band worth hearing. They combine classic sounds with new ideas to great effect, and I'm immensely impressed. They have a new album arriving in Spring 2014, so be sure to check it in addition to this album, too.

Elephants of Scotland is from USA and have their first offer issued this year 2013 named Home away from home. Well despite the strange but funny band name the music is top notch, is adventurous, fresh with plenty of memorable passages. Excellent melodic lines but with complicated instrumental moves and above all some very fine , smooth and warm vocal arrangements, really fine album as a whole. From the first piece Gographer to the last Errol McSquisitor , Elephants of Scotland mean bussines. The music is to my ears something between Presto Ballet, Every Waking Hour, Kansas and the title track who is very close of Rush (Signals era), very nice instrumental parts with guitar and keyboards having an important role here. To me this band and particulary this album has many moments of pure joy while listning and for that is recommended for sure. Easy 4 stars, one of the most exciting albums of the year 2013. Very good.

This is a stunning debut from this previously unknown band, composed of musicians who handle their instruments with confidence and ease. Adam does most vocals and displays a barrage of synthesizers to slippery effect, involving lovely piano segments and Manfred Mann-ish bending solos. Guitarist John Whyte has a slashing Lifeson/Summers style that exhilarates, sizzles and soars while drummer Ornan McLean thumps convincingly, using toms, cymbals and his double bass drums to perfection. Solid, solid, solid! Bassist MacDonald nimbly adds his rumble to the mix, giving a sturdy platform for the others to boom along! Every song is a delight, my only slight disappointment is with the overtly Rush- influenced "Starboard" where Whyte's singing has the same uneven tremble that characterized Geddy Lee's mid-period nasal twang. I mean, I understand that Whyte operated a Rush cover band for awhile but this piece, while having genial moments (the drumming and synths), just does not do justice to the previous and ensuing compositions.

On the other hand, the remaining material is plain mesmerizing! "Geograph" with its genial beat, "Full Power" with its sensational shuffle and stunning soloing , the tantalizingly majestic "The Seed" with its utterly gorgeous melody and sumptuous delivery, the sizzling title track with its "Power Windows" feel, a genial vocoder detail and screaming axe shred. And last but not least, the crown jewel arrangement on the sublime and surreal "Errol McSquisitor", all conspire to startle the unprepared listener into being vaulted into sheer bliss. I was expecting something tasty but this was a very enjoyable ride, indeed.

Fans of Rush, The Police and Saga, sympho/Neo prog fans will lap this up with glee! A great debut! Go get this , you will not be disappointed

4.5 Gaelic pachyderms