ETYMOLOGY

The danger with many experimental rock bands is often found in their lackluster desire to overdo their talent by eschewing structure and shove massive doses of technique down the gullet of unsuspecting fans in search of new horizons. The senseless noise can be quite unpleasant and somewhat masturbatory, pleasing only the perpetrators and their immediate family. That being said, there are modern instrumentalists who rely on their dedication to structure AND melody, doing virtuoso stuff while keeping their eyes on the prize. Bands like Herd of Instinct and Spoke of Shadows are inspirational examples of this new style and they represent a new dawn in progressive rock. The collaboration between guitarist Jon Durant and master bassist Colin Edwin has already yielded a thrilling debut that was universally acclaimed by both fans and critics, pushing sonic boundaries with exalting arrangements and explosive deliveries. "Burnt Belief" remains a sterling effort and perhaps a hard act to follow. Barely 2 years later, "Etymology" keeps the pulse going, predominantly propelled by ex-Porcupine Tree bassist Edwin, whose wobbly style shakes the foundations and abetted by a trio of guests drummers (Sabatino, McCormick and Duque) as well as No-Man's violinist Steve Bingham. Guitarist Jon Durant is a coloring specialist, very inspired to boldly go beyond the norm and add a slithering array of tones and textures to his playing.

There certainly is a smart formula at work here, a sensorial adventure that scours the outermost perspectives with Durant sounding like Andy Summers one moment and David Torn the next, with even a little Santana thrown in for good measure. But, for me and many others, this music's entire genius is anchored heavily in Colin Edwin's spirited playing, very upfront and natural, even bellicose when necessary. This is a bass player's manifesto, suggesting at such four strung maestros as the legendary Mick Karn (RIP), Jah Wobble (PIL) and Mister basso profundo himself, Tony Levin. He bends, pulls, throttles and caresses his strings with undeniable expression throughout this sophomore effort. At times, his sumptuous playing is like some king cobra with its prey in sight, ready to lunge. Yeah, deadly!

Many stellar tracks such as the opener "Chromatique", which sets the mood right from the start, the manic mathematics of "Dissemble", the spooky the Police-like eeriness of the dreamy "Convergence" but what the heck, the entire set list is first class experimental fusion/prog of the finest vintage. Things can get very morose and vaporous such as the brooding "White Keys", where there is a quasi-Weather Report feel, circa "Sweetnighter", opens the door even wider to fusion and jazz-rock aficionados. The colossus piece is the 11 minute+ megalith "Not Indifferent" which has all the trappings of a classic prog epic. A sensual but circuitous bassline really provides the sonic anaesthesia, Edwin meandering in full control, submerged in dense guitar atmospherics, as well as stupendous percussion work, creating a sonic jungle of twisted vines, lush underbrush and piercing rays of sunlight. Totally subjugating stuff as the second section kicks into life with thunderous abandon as if ruthless predators had just conquered the peaceful clearing, chasing away the frightened prey. On a track like "Hover", the serenity instills deep reflection and introspection, acoustic guitar in a near Al diMeola style, calmly reflective. Edwin's 'delicatesse' is in the gentle breath of his bass playing. Two 6 minute pieces finish off the recording, "Chimera" being bouncy and exotic, while the closer "Squall" retains a clever urban feel, sunglasses filtering the blistering gleams as they reflect off the glass and steel architecture, in contrast to the cover artwork's nighttime effect.

A worthy follow up to the amazing debut, "Etymology" is a fine piece of modern progressive rock.

4.5 Derivation of words

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