Epigene – A Wall Street Odyssey

Epigene – A Wall Street Odyssey
2011, Amammi Music

Upstate New York rockers Epigene have made a name for themselves over the past decade by writing outside of the box rock n roll songs.  Epigene’s latest work, A Wall Street Odyssey, may be their most ambitious work to date.  Primary songwriter Sean Bigler attempts to capture the fall and rebirth of Wall Street and her denizens over the past few years in an art-rock concept album with pretentions to being a rock musical. 

A Wall Street Odyssey follows the life and times of the fictional Yossarian, an investment banker living the high life on Wall Street who comes to a crisis of conscience through the crash of 2008.  Yossarian moves out of the city and finds a life he never dreamed of, and then returns as an advocate for less money, ala Jerry Maguire.  The album is steeped in rock influences including The Who, The Kinks, Green Day and even a touch of Andrew Lloyd Webber (from his rock musical phase in the 1970’s).  All Wall Street Odyssey starts strong on “Looks Like I Made It”, which sounds like the Beatles jamming alternately with Rick Wakeman and Dennis DeYoung on keyboards.  It’s a great opener for an album or a musical, with all of the energy and urgency you might expect.    Big scale pop and electro rock are the name of the game on “Money Master” and “The Catch 22”, showing the big sale and the beginning of the downward spiral.  “Take My Head Off” is the beginning of the downfall, both for Yossarian and for the album as a whole.  The struggle to overcome the cognitive dissonance of a life lived in essential conflict is reflected in the mild dissonance of the angular composition.

Unfortunately, things go quickly downhill from there.  Yossarian’s breakdown is reflected by a breakdown in cohesion of the songwriting that isn’t recovers until ¾ of the way through the 25-track album.  In the meantime it’s a self-referential bland pop experience that runs the gamut of 1970’s music, from AM radio easy listening music to smarmy pop.  Interestingly enough, it’s when Yossarian returns to Wall Street to see the scene of his crimes that the energy and panache returns.  “Stranger In A Strange Land” may remind listeners of 1980’s rockers Men At Work in sonic style.  The album gets preachy on “Colonization & Globalization” and stays there for much of the rest of the way.

A Wall Street Odyssey starts with tremendous potential, but quickly fizzles into a narcissistic political diorama of bland musical compositions and pretentious political motivations.  Epigene does show flashes of great songwriting on A Wall Street Odyssey, but this is an example where the intended message hijacks the music.  If you’re into overly preachy, mellow-art rock that dances into the edges of psychedelia from time to time, then A Wall Street Odyssey will be right up your alley.

Rating: 2 Stars (Out of 5)

Learn more about Epigene at www.epigenemusic.com or www.myspace.com/epigenemusic.  Keep checking Epigene's sites for availability.

Syzygy - Realms Of Eternity

Syzygy - Realms Of Eternity
2009, FHL Records

Cleveland, Ohio rockers Syzygy have been developing their sound and identity for a number of years, first under the name Abraxas and later as Witsend. As the band developed and personnel changed, it became clear that the name Witsend would be more trouble than it was worth, and the band chose the moniker Syzygy. An alignment of the Earth, Moon and Sun, Syzygy often represents a coming together, and the name has never been apropos. Syzygy has found a sound that is both classic and fresh, relevant and magical. On Syzygy’s latest album, Realms Of Eternity, the band tackles the spiritual world and the afterlife. The themes on Realms Of Eternity are Judeo-Christian in nature, but Realms Of Eternity seems more of a metaphysical album than a religious one. Either way, it’s some of the most intriguing progressive rock of last few years.

Imagine 1970's Prog rockers Yes with Dennis DeYoung sitting in for Rick Wakeman on keys. Further imagine that this new band also engages in the occasional Jethro Tull-styled diversion, and you'll have a pretty good idea of the sound and range that Syzygy displays on Realms Of Eternity. Opening with "Darkfield", Syzygy gives us a moody and pensive tune that moves quickly to big dynamics, detailing the fall of Eden in song as the beginning of the conflict between God and Satan. Syzygy paints this story against a grand musical canvas, cast highs and lows; darks and lights as they balance the beauty of Paradise with the tension of the eternal struggle over its former inhabitants. "Vanitas" is an instrumental rock orchestral movement about Adam & Eve's self-discovery (and discovery of shame and vanity). It's a stylized representation that works well.

"Dreams" is a grand, theatrical rock number about hope. Keyboardist Sam Giunta channels early-1970's Dennis DeYoung here, and there's a definite James Young flair to the guitar line. "Echoes Remain" could have come right out of a Jethro Tull session circa Songs From The Wood, right down to its philosophic mien. Syzygy turns more to a Rick Wakeman style keyboard sound for "Dialectic", using significant instrumental and vocal layering to build a sound that is at once majestic and intellectual. At over sixteen minutes in length, "Dialectic" offers ample opportunity for instrumental airplay, and Syzygy doesn't miss a single opportunity, playing out a musical narrative of trials and tribulations.

Syzygy takes us on an interesting side trip, transitioning from the peaceful interlude of "Arranmore Isle" into the dark energy of "Overture" before resolving into the light air that flows into "The Sea". "The Sea" details man's yearning to return to God. Mankind hears the voices of the departed across the sea; those who have already returned to their home, and yearns as one to return to where they came from. Hope resurfaces on "The Morning Song", promising all of the wonderful things that Paradise can bring. "Variations, Part 1" and "Variations, Part 2" are both Yes-like in structure and sound, offering the musical equivalents of a movie's deleted scenes and alternate endings. Syzygy does venture into some interesting musical divergences, but these two tunes are for the serious Prog fans and instrumentalists out there who like to pick complex compositions apart for fun. "Reflection" is a moment of contemplation of Faith that leads into "Finale", a joyous yet rocky journey to reunion with God. The song is punctuated by big guitar solos and dynamic interplay; building into a frenzied peak before drawing down to a slow legato that then builds into a Styx-style closing chorus.

Syzygy pulls out all of the stops on Realms Of Eternity, paying homage to some of the most dynamic sounds of the Prog rock era and building on them in new and interesting ways. The heavily religious theme may put some off, but the album plays more like a Dante narrative than a sermon, and can be seen as a parable for man's eternal struggle to be independent set against his eternal need to be loved. Realms Of Eternity is one of the best Progressive rock albums of the past few years.

Rating: 4.5 Stars (Out of 5)

Learn more about Syzygy at http://www.syzygymusic.com/ or www.myspace.com/syzygymusicenterprises. Realms Of Eternity is available as a CD or Download from Amazon. Downloads are also available via iTunes.

Erik Norlander - The Galactic Collective

Erik Norlander - The Galactic Collective
2010, Chian Productions
You may know Erik Norlander as the keyboardist/spouse of Lana Lane or from his work with Rocket Scientist or even Asia With John Payne. The list of artists Norlander has recorded with or produced/engineered is too long to list here. With influences ranging from Rick Wakeman and Keith Emerson to Jeff Lynne and Alan Parsons, Norlander draws from a rich musical history to create compositions with a classic feel and fresh energy. Norlander recently released The Galactic Collective, his 8th solo album and 33rd overall, Norlander builds on an impressive body of work.

The Galactic Collective opens with “Arrival”, a brief musical prologue that’s more atmosphere dark, plaintive atmosphere than anything else. “Nurosaur” dances on the edges of gothic and baroque progressive rock; a big, heavy sound with a chorus at the opening becomes a rambunctious Prog gem. “Fanfare For Absent Friends” is an over-the-top announcement with a martial feel. Driving guitar and heavy rhythms grow into a more space-age rock sound. The most intriguing composition on the album is “Astrology Prelude”, a musically violent and complex world of musical ideas and action beneath the surface that occasionally resolves into a relatively peaceful and melodic passage before falling back into its own driven nature.

Norlander gets a bit repetitive with “Trantor Station”; The highly rhythmic nature of this synth-driven song becoming as much of a liability as a benefit. “After The Revolution” is laden with arpeggios, alternating with passages marrying synth fills and rhythmic guitar ambience. The song seems to depict struggle amidst a tide of change, and begs for a vocal line. At twelve minutes, “After The Revolution” simply runs too long, becoming nothing more than a Prog rock jam that recycles itself to fill out the space. “Garden Of The Moon” starts out with an intriguing theme, but ends up sounding like incidental score music. Norlander gets to show off his raw piano skill on "Dreamcurrents", a master class in speed and precision on a solid, classical-style composition. Norlander closes with “The Dark Water”, a twenty minute collection of variations that’s probably 10-12 minutes too long.

Progressive rock is a double-edged sword. Some of the most talented and musically complex artists gravitate there because of the stylistic mix of jazz form, classical composition and rock energy and glamour; but like jam-based music, progressive rock lends itself to the conceit of doing too much and going too far. Norlander crosses this line a few times on The Galactic Collective. That being said, it is an ambitious and expansive album. Where Norlander loses himself it’s not for being mundane, but simply trying to push the envelope too far. It’s much preferable to hear an artist push too far than become mundane through not pushing enough. There’s enough really great material here to make The Galactic Collective worthwhile, and even where Norlander over-steps there is much you’ll care to hear.

Rating: 3.5 Stars (Out of 5)

Learn more about Erik Norlander at http://www.eriknorlander.com/ or www.myspace.com/eriknorlanderandlanalane. The Galactic Collective is available on CD from Norlander's web store. Digital versions are available from Amazon and iTunes.

Haakon's Fault - Pilgrimage

Haakon's Fault - Pilgrimage
2009, Haakon's Fault

New York City nouveau hipsters Haakon's Fault bring a wealth of musical visions and styles to the table. Pouring Rock, Metal, Jazz and Funk into a musically progressive blend, Haakon's Fault might be making some of the most exciting music on the New York City scene. Their debut EP, Pilgrimage, finds Haakon's Fault mining the musical world for gems and sewing it all together with the mastery of an old-time jazz master, all set against the ruddy, soulful voice of Harry McNamara.

Pilgrimage opens with the title track, a song about finding spiritual meaning in a physical world. The construction and arrangement of this track is brilliant. Star Gazing leads with guitar work inspired by early Yes and opens into a delicious bit of 1970's style Funk/Jazz. This performance is flawless, from the instrumentation to lead vocal to harmonies. Even the Rick Wakeman-esque synth that kicks in half way through the song is wracked with perfection. Siren is perhaps the most aggressively progressive track on Pilgrimage; it's interesting musically but I didn't enjoy it as much as the rest of the CD. Eulogic mixes mellow Rock, Soul, Funk and Jazz in delicious song about the legacies we leave behind. Guitarist Mike Serman gets to show off a bit as well, laying down some serious fretwork throughout the song. Pilgrimage returns home with Glory, a song about the draw that life on the road has for some. There's serious jazz construction involved in the composition of Glory, easily the most complex and thrilling song on the disc.

Haakon's Fault spins Progressive Rock back towards its roots in Jazz on Pilgrimage, putting together five songs that are far and away superior to the material being generated currently in neo-prog, mathcore and other loosely related genres. I suspect the live shows are where Haakon's Fault is at their best, but as musical introductions go its hard to beat Pilgrimage.

Rating: 4 Stars (Out of 5)

You can learn more about Haakon's Fault at www.myspace.com/haakonsfault. You can download Pilgrimage from Bandcamp. No word on physical copies of the CD to date, although if you message the band through MySpace they may help you out!

Review: HB3 - The Veldt

HB3 - The Veldt
2007, Zegnotropic Records

HB3 is setting music free with a sound that combines organic electric instruments with electronic sounds and effects in fashion that might just be unique. Bridging the gaps from Charlie Parker to Eric Johnson to Yes and through Ravi Shankar on the way back, HB3 paints with a broad musical brush that's as interesting as it is hard to predict. HB3's latest album, The Veldt, is loosely based on the Ray Bradbury short story of the same name. HB3 looks to create a musical place of pure imagination and creativity both as a refuge from the world and a means to understand it.

The Veldt opens with Overture (Behold The Sea), sounding a bit like Mannheim Steamroller with Eric Johnson on guitar and Rick Wakeman sitting in on keys. Keyboard, guitar and piccolo bass pass the major and minor themes back and forth in a composition with theatrical implications. Pay Me Pray Me is described by HB3 as a prayer to Eros; the song itself is hard to decipher on the lyric side but plays like a very repressed alt-rocker with progressive tendencies in the chorus. The Veldt plays off of African rhythms and a somewhat demented bit of song construction to create a fantastical vision that crosses cultural and musical boundaries with each sonic breath. Perhaps the most interesting interlude in the song is a bass solo that sounds like it has been amplified with some electronic effects.

Casual Betrayal sews together threads of Brit Rock, Folk and 1980's keyboard-driven New Wave; the song explores the lack of honor in modern society and how it is passed from generation to the next like a social disease. HB3 manages to sound quite a lot like 54-40's Neil Osborne on this track. Manimal! combines Hip-Hop and Electronica with Horror-movie style themes. Manimal! is all over the musical map and is better heard than described. Harmonium takes Dennis DeYoung-style keyboard work (you might pick out distinct similarities to the opening of Fooling Yourself) and builds into something reminiscent of some of the experimental soundtrack work of the late 1980's. Fans of Giorgio Moroder will find themselves on familiar territory for much of the song.

On 007, HB3 pays tribute to Isao Tomita with a composition that runs the gamut Sci-Fi and Space Age novelty. Computers and spaceships as they may have been sonically imagined in the 1960's and 1970's reign here. Close But No Cigar is one of the most intriguing compositions here; I spent a dozen or so trips through this song trying to come up with a "sounds like" comparison and couldn't find anything that quite fit. The closest I came is to think of Pink Floyd as produced by William Ackerman. The Veldt closes out with Lion & Lamb which turns out to be something of a musical reprise of the entire album, in turns. Most or all of the major thematic elements of the individual songs come back in Lion & Lamb; a sort of musical yang and yin that compels the album while drawing all of the pieces together.

It's rare to come across a recording that's wholly original. HB3 achieves this not by fearing or shunning his influences, but by embracing them wholeheartedly and using them to loving create new ideas with old phrases. In a medium governed by eight basic notes it is often the music musicians themselves consume that drives their creations. HB3 takes all of these musical ideas that have entered his mind over the years and resets them as something wholly new and original. The Veldt is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about HB3 at http://www.hb3.com/ or www.myspace.com/fromthelaboratory. You can purchase The Veldt as either CD or download at CDBaby.com.