Review: Vangough - Manikin Parade

Vangough - Manikin Parade
2009, Clay Withrow

Who needs a sword when you carry an axe? Vangough front man Clay Withrow carries both on the band's debut CD, Manikin Parade, released in April of 2009. Pointed lyrics that cut to the heart are interwoven into a rock and roll matrix filled with heavy guitar, Progressive songwriting and a keyboard style that brings to mind Prog masters Styx, Yes and Genesis. Fans of Dream Theater and Styx will love the theatrical style Vangough projects through their music, and generations can come together over a mix of Classic and Modern Rock that does honor to both. Vangough is Withrow (vox, guitar); Brandon Lopez (drums); Abe Hartley (keys) and Carlton Dorsey (bass, cello, violin).

Manikin Parade kicks off with the Progressive Rock love fest Estranger. Vangough channels Dream Theater, Queen and Styx here. Using a 2-vocalist approach (one of who sounds more than a bit like Tommy Shaw) works incredibly well here, and the song construction is out of this world. There are no tricks here, Vangough has simply let the song develop as it might without trying to restrict it to a tight ABACAB format. The song rocks and yet has a very lyric flow from beginning to end that makes it a highly intriguing listen. Both vocalists are exceptional and Vangough could not have chosen a better opener. Manikin Parade berates the dumbing down of a society that prefers reality television to reality and tweets to conversation in a guitar-driven anthem reminiscent of Queensryche in their Empire days. Christmas Scars drives this point home, focusing on our obsession and glorification of celebrity. What begins as heavy, driven tune with growling vocals trends to a more serene state, passing through rap/vocals and the occasional return to percussive musicality along the way.

Disorder Quotient is a stark examination of both sides of the issue of abuse by priests in the Catholic Church; both the priests' and victims' perspectives are represented in surprisingly even-handed fashion, almost seeming to imply that both are victims of a larger entity (the Church itself, God?). Either way, the song is serious sociopolitical commentary wrapped inside of a dynamic Prog shell. Not wanting to leave anyone out, Vangough turns their eyes to the vaunted gates of Scientology on Paradise For The Lost, essentially calling it out as a business enterprise that sells salvation one course at a time. If possible, there seems to be more anger in Paradise For The Lost than in Disorder Quotient, pulling no punches ("Fail to see his hateful greed / like a church of fools we follow the rules"). Paradise Of The Lost is part one of a three song cycle called The Twilight. Part Two is Gabriel; looking at what can happen to a person when all else (hope, faith, love, self-interest) fails. The song exhorts the subject to move out of the darkness by letting go all these expectations and give in to the magic that is life.

Dance Of The Summer Mind is a nearly six-minute instrumental interlude, primarily of piano and acoustic guitar. It is a beautiful composition that never really soars but continually presses at the sky and serves as a lead-in for One Dark Birthday; focusing on self-exclusion and sorrow. The protagonist here is from all around him by his own choices but doesn't know how to reconnect to the world. Part Three of Twilight is the epic musical odyssey called Etude Of Sorrow. Etude Of Sorrow opens as one of the more straightforward songs on the album, but diverges into what sounds like a convoluted diatribe against God. The narrator turns his back on God because of all he's lost. This is followed by Halcyon Days, which appears to be a song commemorating passing the veil of death. Vangough closes the set with The Cosmic Bus Stop, a highly dramatic representation of what might be waiting after death.

I have to admit that I had a hard time connecting to the subject matter here; I was never 100% certain how much of Manikin Parade is tongue-in-cheek and how much is meant as direct social commentary (or perhaps a smidgen of both). What is clear is that Manikin Parade is a disturbing album full of grand musical compositions, devastating themes and intensely virtuosic musicianship. I may not like all Vangough has to say, but I certainly like the way they say it on Manikin Parade. Think of it as Faust done over for our modern age.

Rating: 4 Stars (Out of 5)

You can learn more about Vangough at www.myspace.com/officialvangough. You can purchase Manikin Parade as either a CD or download via CDBaby.com.

Review: Recent Hours - The Definition Of Replacement

Recent Hours - The Definition Of Replacement
2009, Recent Hours

Recent Hours have been stalwarts of the Philadelphia Rock scene since their inception in 2006, continually pushing at the bounds of their self-styled "Euphoric Metal" with hard work, inspiration and a lightness of being that often evades the Metal Community. Recent Hours' debut CD, The Definition Of Replacement, shows musical growth even within the bounds of one album. Recent Hours are band going someplace quickly.

The Definition Of Replacement opens with a searing guitar riff that lights a fire under Head Gnomes. Dusty offers up a haunted, harrowing lead vocal line that takes off and soars in a memorable if atypically melodic chorus. Very early on Recent Hours will catch the ears of fellow musicians, as there is a great deal going on beneath the vocal line, from some really stellar work by drummer Andrei to an impressive presence by guitarists Mike and Andy. Take The Lead drives a hard melodic edge ahead of some tremendous guitar work. The song has an Emo feel in the verses but revs up to full capacity for the chorus. Drop It Proper kicks off with another vicious guitar riff and evolves into a mellow minimalist arrangement that feeds into a dynamic chorus. Halo has a dynamic and highly rhythmic arrangement but lyrically falls flat and seems to be missing some of the vocal intensity found on earlier tracks.

Insect Carci follows a similar path, although there is more vocal intensity here. Recent Hours seems to struggle to match the level of their musicianship with like quality lyric content. The Sweetness slows things down a bit (at first), before ripping into a slow and tortured guitar-driven chorus where the drum work is the definitive star. The Definition Of Replacement closes out with The Offer, perhaps the hardest and heaviest tune on the disc.

The more I listen to Recent Hours the more I wish they were an instrumental band. The vocalist is decent, but lyrically the band just leaves a lot to be desired. With better material to sing Dusty would be a formidable front man, but musically this band is insanely good. I'd love to hear what they could do with a more imaginative lyricist. Dreams of a post-Rush, post-Dream Theater super-band abound on The Definition Of Replacement.

Rating: 3 Stars (Out of 5)

You can learn more about Recent Hours at http://www.recenthours.com/ or www.myspace.com/recenthours, where you can purchase a copy of The Definition Of Replacement.

Review: Monika Jalili - Élan

Monika Jalili - Élan
2009, RMJ Publishing

Monika Jalili stumbled into Persian music much the way destiny finds most people; it was something that was never entirely distant from her life based on her background, but took her quite surprise. Jalili was pursuing a career in musical theater when bitten by the bug of Persian music. After starting NoorSaaz with Megan (nee Weeder) in 2004, Persian music filled more and more of Jalili's musical vision. The culmination (thus far), is the album Élan. Jalili takes traditional folk songs of Iran/Persia prior to the Iranian revolution and breathes life into them with readings that mix both eastern and western perspectives. Jalili sings in Persian, Azeri, French and English, and her love of the songs shows through in every note. Many of these songs have been banned in Iran since the Iranian Revolution in 1979, but continue to inspire and move people all around the world. Élan is produced by Jamshied Sharifi, himself a prodigious composer (Muppets In Space, Down To Earth, Harriet The Spy, Clockstoppers), Arranger (Ray Charles, Paula Cole, Dream Theater) and band leader.

Élan opens with Ghoghaye Setaregan (Dance Of The Stars), an uplifting song full of hope and grace. Jalili's voice is eminently beautiful; a full and rich soprano that caresses each note with its texture and tone. Arezooha (Wishes) pulls in some serious Western Influence ala Windham Hill. The acoustic guitar here serving as the perfect complement to Jalili's vocals. This is one of those songs you just won't want to end, and the language barrier won't matter either. You don't need to understand the words to get the wistful hope with a slice of melancholy that pervades the song. As if to balance the western feel of Arezooha, Jalili heads resolutely in the other direction on Gonjeshgake Ashi Mashi. The violin and guitar nearly steal the show on this song, but Jalili owns the stage even on CD.

Ay Rilikh (Separation) is as close to an operatic recitative that Jalili gets on Élan. There's no Wagnerian fire and brimstone, but the emotive quality of the song is startling. The song itself is a thing of beauty, and Jalili draws every ounce of subdued drama and sorrow out into the open in the texture and tone of her voice. Evlari Vaar (To Bemaan) is one of the more interesting songs on Élan with clear Persian roots but an almost Eastern European/Slavic feel to it. The arrangement here is somewhat simplistic but that works to showcase Jalili's voice on a particularly challenging vocal line.

Biya Bare Safar Bandim (Let's Be On Our Way) has an almost Rock N Roll feel to it, bowing to distinct western influence. This is another relatively bare arrangement, relying primarily on guitar, violin and percussion. Peyke Sahari (Messenger Of Dawn) may well be the most beautiful composition on the disc, and finds Jalili in her most lyric vocal line yet. Bia Bia Benshin (Come Sit By Me) takes full control of the Persian scale, making the most of those two extra half-steps. Bia Bia Benshin sounds like it might have stepped right out of a movie or musical. Élan closes out with what must be described as the keynote song of the album, Ay Vatan (Oh, My Homeland). This is not so much a song of nationality as a musical ode to the land where an entire people's roots are driven deep. You'll be moved by Ay Vatan regardless of your nationality, and Jalili's rendition is absolutely haunting.

Monika Jalili comes along with a collection of poignant and beautiful Iranian/Persian songs that predate the Iranian Revolution at a time when the residents of that country are closer to turning back the revolution that binds them than at any point since 1979. Élan speaks to the goodness and yearning for a better life of a beautiful people; one who is striving right now for the freedom to choose their own path. If Jalili's album is reflective of the culture and nature of the people of Iran when free from oppression and fear, then it is an amazing tribute to a national spirit that has been hidden from the world for three decades. Élan is an amazing collection full of beauty, hope and the fragile yet vital strength of the human spirit.

Rating: 4 Stars (Out of 5)

You can learn more about Monika Jalili at http://www.monikajalili.com/, where you can purchase a copy of Élan. The CD is also available from Amazon.com. Downloads are available through iTunes.

Review: Mile Marker Zero - Mile Marker Zero

Mile Marker Zero - Mile Marker Zero
2009, Mile Marker Zero

New Haven, Connecticut's Mile Marker Zero have been building to this moment since they formed in 2003. June 16, 2009 saw the release of a CD also entitled Mile Marker Zero. It's a mix of favorite tracks from their first 3 releases as well as newly written material. The new CD finds Mile Marker Zero riding a crest of creative depth and popularity that has been a slow-but-steady build over the last six years. Mile Marker Zero trolls the depths of Progressive Rock and Metal; everything from Rush and Dream Theater to Tool, Metallica and even Porcupine Tree. Vocalist Dave Alley is the ideal hard rock front man, able to shred the vocals when appropriate and sing almost lyrically at the other end of the spectrum. This is the album the makes Mile Marker Zero a name you'll remember.

Mile Marker Zero opens with the heavy, rhythmic guitar riff that announces A Thousand Nights. The song is constructed of free-wheeling verses that explode into a soaring chorus full of layered guitars and strong harmonies. Guitarist John Tuohy gives this song its heavy edge, while keyboardist Mark Focarile provides a swirling steadiness that holds the song on check. The rhythm section of Tim Rykoski (bass) and Doug Alley (drums) provides a solid and energetic base for the rest of the band to play off, both here and throughout the album. Laceration recalls some of the heavier rock that piggy-backed on Seattle's Grunge movement. The bass line to this song is killer, and Alley gives a vocal performance that's dynamic and alive. Alley reminded me a bit of the Tragically Hip's Gordon Downey on A Kiss To Fix. The sound here is a bit darker than on the first two tunes and perhaps a bit less accessible to the casual fan, but it's an intriguing piece of writing.

Passive shows a softer side to the band, a contemplative ballad for the first two minutes that slowly crescendos into a mournful power ballad. Crimson Red finds Mile Marker Zero in full-on Prog mode in the most dynamic song on the CD. The song examines war from a personal perspective, detailing the costs in human terms. The guitar work here in particular is notable, with Tuohy giving a performance that would make Malmsteen blush with pride. Maree is a more traditional power ballad, sure to make it to the mix-tape crowd, whereas In Loving Memory Of... is more of an epic ballad, with the sort of soaring grandeur that you used to find from groups like Styx in their heyday. Peril Aerial is a true epic, coming in at over 10 minutes and featuring some of the most inventive Prog work this side of King Crimson. Reaping Ride throws all caution to the wind; the guitar opening has the melodic metal sound practically patented by James "JY" Young of Styx but in a heavier setting than that band usually managed. The song itself is urgently driven in content but plays on the edge between classic and modern rock. Musically this is the most fun composition on the disc. Mile Marker Zero closes out with Hush, an acoustic composition that's quite beautiful and quite out of character with the rest of the album sonically. What is not out of character is the compositional depth, drawing on classical themes to construct a composition that could be played as easily in a concert hall as in a stadium. Hush is a true gift to fans, letting them see the depth of the talent Mile Marker Zero possesses both individually and as a group.

This sort of Prog Rock isn't going to find a lot of room on the radio dial, but there's a very hungry community of fans out there who love it, and if you're part of that community, then Mile Marker Zero is just what you've been waiting for. Fire up that CD, Maestro, I want to listen again.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mile Marker Zero at www.myspace.com/mmz or http://www.milemarkerzero.com where you can purchase a copy of Mile Marker Zero.

Review: Fractal - Sequitur

Fractal - Sequitur
2009, Fractal

Fractal is an original Progressive Rock quartet based out of San Jose and the San Francisco Bay area of California, beginning as a trio in 2000 and expanding to their current lineup in 2004. Their second album, Sequitur, moves mostly away from the improvisational approach of its predecessor, Continuum, while containing some of the most stylish and artful Progressive Rock of the decade. Fans of King Crimson, Yes, Rush, Radiohead, Pink Floyd and even Dream Theater take note; Fractal may just be the second coming of Prog.

Sequitur opens with Ellipsis, a busy instrumental that reminds me of some of Rush's later instrumental work (perhaps a wayward cousin of the Where's My Thing trilogy). Aftermath is the band's response to the events of September 11, 2001 and the loss of personal and cultural innocence. At over nine minutes, Aftermath covers a lot of musical ground, churning through musical mourning, anger and fluctuations of fear before a soaring guitar solo lifts your hopes heavenward. Mantra: Eternal Spring Of Life was perhaps not intentionally written as an epilogue to Aftermath, but does seem to capture the resilience of human spirit springing back to health even after the tragedy and burgeoning recovery of Aftermath. Soft, legato guitar solos capture the fragile first steps of confidence inside the tougher shell formed by guitar, bass and drums.

Coriolis is one of only two pure improvisations on Sequitur, taking on an ethereal, Pete Namlook/Fax type feel, particularly when the keyboards are in full force. Coriolis is somber and serious and other-worldly. Fractal slips into an almost Radiohead-like transcendentalism on A Fraction Of One, imbuing a quiet sense of urgency on an almost supernatural soundscape. Pataphysics, the other improv on Sequitur is an angry and impetulant rage on musical canvas that neither progresses nor devolves, but simply sits as a sonic mass to be passed through on the way to Mauve and The Great Pain. Influenced by a Jimi Hendrix blues feel and Fripp/Belew guitar stylings, Fractal takes us on a 13/8 time odyssey of sound that is closer to improv than pure composition. The Monkey's Paw is a jumbled mass of musical styles that persists in its chaotic state rather than evolving into something new. Imagine if Rush jammed with Gibby Haynes and you might have an idea of how this one will go, except that it's a lot more pure Prog than you might expect.

The epic Churn opens with a classical style overture that leads into the three movements or parts. Part I is eerily reminiscent of classic Yes, with Steve Howe-style guitar chops highlighting a highly rhythmic piece. Part II goes more for a Floydian disposition with an incredibly funky bass line adding musical commentary to randomly dubbed voiceovers; all played against a varying sonic landscape of dark intent. Part III brings a sonic resolution of acoustic guitar and keys that plays like an outro to one of the classic Styx albums of the 1970's. Closing things out is Bellerophon, a bit of musical sleight of hand that is like aural vertigo compared to the rest of the album. Bellerophon is an electronic composition that the band describes as a non-sequitur.

Sequitur is far and away the most exciting and original pure Prog album of the decade. There is a vibrancy and sense of creativity running through the work of Fractal that you have to go back to the early days of Prog to duplicate. It's easy to picture Fractal sharing a stage with groups like Yes, Rush or King Crimson in their heyday. If you have an ear for Progressive Rock then this album is definitely for you. if you're not familiar with Prog but love classical music, musical with unusual time structures or even some of the more experimental electronica then you would do well to give Sequitur a listen. Fractal got it right.

Rating: 4.5 Stars (Out of 5)

You can learn more about Fractal at http://www.fractal-continuum.com/ or www.myspace.com/fractalcontinuum. You can purchase a copy of Sequitur at www.cdbaby.com/cd/fractal3.

Review: EB11 - One Decision

EB11 – One Decision
2006, EB11

Tenerife, Spain’s EB11 has a second home based in Miami, Florida. This two-hemisphere quartet lists references including Three Days Grace, Metallica, Dream Theater, Green Day, Nirvana, Three Doors Down and Pink Floyd. Their sound is straight up modern rock. Their 2006 EP, One Decision fits right into the Modern Rock mold.

One Decision opens with Myself Again, an energetic rocker about running away from change. She is a radio-ready wall-of-sound rocker with real commercial potential. The best track on One Decision is Be The One. EB11 comes off sounding a lot like Better Than Ezra in a catchy song full of great hooks and transitions. One Decision closes out with the martial rhythms of Going On. This one is a little more typical of the Modern Rock genre but still quite catchy.

EB11 gets better as One Decision progresses, and the EP is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about EB11 at www.myspace.com/eb11music or http://www.eb11music.com/. You can download One Decision from iTunes, Napster or Rhapsody.