Progressive Rock Review: Nektar-Mission To Mars

Release Date: August 30, 2024

Label: Deko Entertainment

Website

Nektar's latest edition of their storied history is Mission To Mars. With the loss of key members, the band has taken on a different sound. This is not your 70s Tab In The Ocean band anymore. I did have the opportunity to cover some of the remastered classic albums many years ago, so I remember how amazing they sounded and their comeback after many years on the shelf.

 

Listeners cannot expect to have one original member left and still have the same sound. Bands change, move on, and take chances, and sometimes, it is forced upon them if they want to continue, which was Nektar's scenario.

 

The only original musician left is Derek "Mo" Moore (bass), who now handles the vocal duties, but some longtime members are still contributing. This release is a mixture of rock and progressive. The music gets better quickly with many changes on three of the tracks, and keep in mind there are four tracks on this LP. Some good parts are progressive but not what longtime fans would expect to hear.

 

Side one begins with a rock and blues-tempered title track, "Mission To Mars," which you expect to be prog, but it's not at first. Once it started, I thought they sounded like today's Cactus (with the gruff-edged vocals), which threw me off until things moved along more. There are some substantial lead guitar parts and good harmonizing. A cool keyboard comes in at the midpoint; it becomes more of a jam with excellent instrumentation. Musically, some prog elements towards the end sounded more like the band I remembered. The vocals are not top-notch, but to be fair, they are adequate and have room for improvement. In any event, it turns into a strong track.

 

"Long Lost Sunday" starts with a mellow riff as the bass and drums jump right in, then it changes with more energy as the guitar chords start getting thicker, and then it goes back to mellow again. Some nice keys enter the mixture with layers and take a very progressive direction with more change to a more rhythmic riffing, and then the bass/drums follow as the vocals are steady and match all these shifts in direction musically. Then, it goes to a heavier sound and again transfers over, rotating the three significant changes you will hear in the composition. It is very complex and impressive. As you get closer to the end of the side, a strong bass chimes in with a sharp lead guitar as it changes one last time. Now it's time to flip the platter over to side two.

 

Side two starts with "One Day Hi One Day Lo," which has an excellent orchestral beginning like you may hear on a movie soundtrack or documentary. Then, a heavy bass starts as the drums follow. A superb guitar gets your attention as the vocals begin. You hear some good harmonizing, something they do well consistently. A slower pace is now in place, and a more defined guitar. Some pedal effects and stinging leads grab you. It changes to a more straight-ahead rocker, then another quick shift, sounding more like a pop-rock commercial band than prog rockers, which was interesting with a prominent bass to remind you who you are listening to. Harmonizing happens again, and then a funky bass makes things more interesting. A good keyboard section, then an uplifting guitar part featuring some speedy playing, is impressive. They show off their chops often on this recording, which I appreciated.

 

"I'll Let You In" closes things out softer, with the acoustic guitar beginning this slow mover. Then, a more upbeat electric guitar comes in, with some good rhythm and harmonizing. The music quality is high-level, with some sophisticated playing; however, this track should have started side two so they could have ended the album with more intensity and excitement with "One Day Hi One Day Lo."

 

A richer sound makes up for the weaker lead vocals when this band sings together. The musicianship, as I have mentioned several times, is beyond reproach. If Nektar gets a different lead singer with a more robust and precise set of pipes, their direction will improve. An entirely new audience will be waiting to embrace them, and then getting longtime fans back on board may also happen. The older fans, including myself (although it is good music), may consider Mission To Mars mediocre compared to their earlier catalog.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

December 18, 2024

Tracks:

Side One:

1.Mission To Mars

2.Long Lost Sunday

Side Two:

1.One Day Hi One Day Lo

2.I’ll Let You In

Progressive Metal Vinyl Review: Opeth-The Last Will and Testament

Release Date: November 22, 2024

Label: Reigning Phoenix Music

Website

Opeth is the kind of band that has perfected the art of combining elements of the human psyche, including horror, the esoteric, the supernatural, and death. And with all that progressive metal shaking the walls and your consciousness, and at times brutal, they somehow manage to make parts of their music so elegant and beautiful you feel like you are listening to a different band entirely. That separates them with this excellent contrast from dark to light. And it always has right from the start.

Opeth Is:

Martin Mendez-Bass Guitar

Waltteri Väyrynen-Drums

Mikael Åkerfeldt-Vocals, Guitar

Joakim Svalberg-Keys, Vocals

Fredrik Åkesson-Guitar,Vocals

 

With The Last Will and Testament, they have brought back the "growling" death metal vocals. However, it is at a minimum compared to the early catalog of releases, although very appropriately placed lyrically. Another fantastic factor is leader Mikael Åkerfeldt's ability to switch that type of vocal back to his normal singing voice, which is excellent. This recording is the 180-gram Gold vinyl LP and poster version. Each side has two amazing progressive metal masterpieces. Interestingly, every track has no title until you reach the end. The cover art instantly reminded me of the horror classic The Shining; Jack Nicholson sitting in the middle is the only thing missing! As I listened, I felt the music could be a booming soundtrack for a horror picture.

 

Side A opens with "§I” and some excitement, followed by a furiously quick few minutes to start with a bang. The synth is orchestral, followed by a brief bass section featuring a heavy guitar throughout. The track is complex, announcing that the band is back as strong and potent as ever and one of the top progressive metal bands in the world. I feel their intensity and complexity consistently make their music captivating, and this is a superb opener.

 

"§II" begins with a bass line and rapid drum roll, then the lead guitar enters, and you can feel the growling coming soon, and it does. They transition back and forth between the two vocal styles, which I believe must have been difficult. Mikael is testing his vocal range, and then midstream gets very soft and beautiful, seemingly an easy task for this incredibly talented group. Then it gets more atmospheric with Ian Anderson's flute (great idea to have him come in as a guest!). I must admit he brings a new element to the Opeth sound and a nice touch. Then, after that segment, they explode into a wall of sound (which happens often on this album and typically in their style). Some excellent guitar work follows, and then the growling vocals return to change direction (yet again) for the dark, foreboding sound, then back to a more spacey sound, and a return to the band full force together to end the track.

 

Side B begins with "§III" as the bass, drums, and guitar come crashing down. The intensity is immediate, like watching and feeling the sledgehammer fall on yourself. Many changes in the track define what progressive metal is at its very finest. The drums are excellent, and the music changes dramatically towards the end with kids talking, then it goes into an orchestral segment of sheer beauty.

 

There is a segue into "§IV" with a powerful growling that says, "Pay attention!" The lyrics are harsh to keep the subject matter of death at the forefront with added religious cynicism. The spoken word and the music are deliberate, working hand in hand. Back and forth, it travels with ever-shifting runs of excellent guitar, etc. They set you up with a mellow transition, then slam your perception with a reality check. They remind you of their command and power in the music, using their instruments and lyrics to transform each storyline into a reality magically.

 

Side C begins with "§V" with a complex and heavy beginning, then the spoken word (Ian Anderson) with a reading of the The Last Will and Testament, indicating how this story will change and how we are getting closer to the end of this journey. Combining the keys with all the other elements creates the drama of the lyrics, which amplifies every word. It is like watching a play unfold on stage with all the characters. The razor-sharp guitar licks with growls send a chill down your spine. The mystery and excitement continue to build.

 

"§VI" starts with an acoustic guitar, beautifully altering your mood and mindset from the previous onslaught of emotion with immediacy. It gets more layered with the rest of the band joining in. And this is what makes Opeth so charismatic. It then gets more intricate, and a great guitar run brings the entire band up to another level (as if they needed to be?) for an auditory slice of prog metal heaven (or is it hell?). Superb musicianship is their hallmark on every track, including this one.

Side D opens with "§VII," featuring a prominent bass and an acoustic guitar. Then, some keys and a layer of ambiance were a nice touch. Then, the switch to that excellent electric guitar work, some growling, and a succession of instrumentation. Drums get the spotlight as the vocals change back to normal. The music changes again to very heavy with more growling. The guitar playing is magnificent, as usual.

 

Here we are at the end with "A Story Never Told," which hints at provoking many thoughts right away before it starts. Some grinding keys begin as the drums and guitar enter the mix beautifully. The energy builds, and the vocals increase in intensity, growling as the music reaches the apex of sound. Then, a superb keyboard run plays out as the drums and bass work hard to keep it driving along and continually moving forward.  There is a mellowed-out acoustic ending for a massive change in direction, and the album closes out.

 

The Last Will and Testament may very well be Opeth's ultimate recording. In the past, before they eliminated the growling vocals, I did not care for it at all. This time, I found that the way it was used was perfect. The way Mikael presents it makes it more than bearable; I did not mind it at all and found it worked very well with all of the subject matter and music that was going on at the time. Those who missed the growling vocals will consider this a return to form and then some.

 

This is the best progressive metal album I have heard in 2024, no contest.

Keith “MuzikMan” Hannaleck-TFOV Reviews Founder

December 13, 2024

Tracks:

Side A:

A1. §I

A2. §II

Side B:

B1. §III

B2. §IV

Side C:

C1. §V

C2. §VI

Side D:

D1. §VII

D2. A Story Never Told

PROG ENSEMBLE IAMTHEMORNING’S VIRTUOSO PIANIST GLEB KOLYADIN RETURNS WITH NEW SINGLE ‘GLIMMER’

Photo credit: Avgusta Levina

PROG ENSEMBLE IAMTHEMORNING’S VIRTUOSO PIANIST GLEB KOLYADIN RETURNS WITH NEW SINGLE ‘GLIMMER’

THE FIRST SINGLE TO BE RELEASED FROM HIS UPCOMING ALBUM MOBULA (28^TH FEBRUARY 2025)

Revered pianist and one half of atmospheric prog duo Iamthemorning Gleb Kolyadin returns today with the first single from his new solo album Mobula (28^th February). The track, titled ‘Glimmer’, introduces new styles and folk elements for Gleb, taking listeners on a journey through cosmic landscapes, shifting times of day, and deep space, where imagination transforms the ordinary.

‘Glimmer’ is brought to life by a mesmerizing, handcrafted animation by Natalia Ryss. Known for her work with Max Cooper, Ryss’ stunning video, crafted frame by frame over three months using different techniques like rotoscoping, perfectly mirrors the track's otherworldly charm and adds a visual depth to the ethereal quality of the music.

WATCH THE VIDEO FOR ‘GLIMMER’

(https://youtu.be/y1plVxGJeNM )

STREAM / DOWNLOAD ‘GLIMMER’ HERE

(https://orcd.co/gk_glimmer_listen )

Drawing from poloniumcubes - Gleb's vast music diary of over 500 tracks - Mobula unfolds as a suite of 14 short stories, each one a vibrant novella in sound. It’s a sci-fi-inspired odyssey that captures the spirit of grace and exploration, embodied by the album’s titular oceanic creature. From neoclassical elegance to pulsating electronic beats & folk textures, Mobula traverses genres and emotions, mirroring the movements of an imaginary planet and its ever-changing atmospheres.

Gleb Kolyadin – Mobula
1. Parallax [04:18]
2. Glimmer [04:03]
3. Afterglow [03:22]
4. Dawnlight [01:55]
5. Radiant [04:24]
6. Observer [01:41]
7. Transient [03:06]
8. Crystalline [02:29]
9. Fractured [02:40]
10. Tempest [02:34]
11. Nebular [02:38]
12. Shimmer [05:41]
13. Starfall [02:32]
14. Gaia [03:20]

PRE-ORDER MOBULA – OUT 28^TH FEBRUARY ON PURPLE VINYL LP, BLACK VINYL LP AND CD
(https://GlebKolyadin.lnk.to/mobula )

Mobula marks Gleb Kolyadin’s first album fully conceived and produced in the UK, following his relocation two years ago under a Global Talent visa. The album, mixed and mastered by Vlad Avy, blends rich folk and ethnic influences with electronic rhythms. Central to Mobula’s vibrant sound is the contribution of percussionist Evan Carson, a notable figure in the folk scene, whose work on almost all the tracks added an exuberance and dynamism to the rhythmic palette.

‘his music comes from deep within his soul. What treasure lies there’ – Prog Magazine

Adding to the album’s distinct character is the enchanting resonance of a 100-year-old Broadwood grand piano that was used throughout the recording process. Captured by engineers Marcel van Limbeek (Tori Amos) and Gianluca Capacchione (Max Meser), the piano brings a timeless, organic warmth to the compositions, contrasting beautifully with the album’s modern production techniques.

‘a master’ – Classic Rock Germany

Mobula will be released on 28^th February on Kscope on purple vinyl LP, black vinyl LP, CD and digitally. Pre-order here: https://GlebKolyadin.lnk.to/mobula

Follow Gleb Kolyadin:

Facebook
Instagram
Spotify

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Jon Anderson and The Band Geeks Announce Live CD/DVD Release

“And You And I” Video Premieres Today!

Following the worldwide acclaim for their debut album “TRUE”, Jon Anderson and The Band Geeks announce today the March 14th release of the CD/DVD package “Jon Anderson and The Band Geeks Live- Perpetual Change”. The band recorded and filmed the entire show at the Aracada Theater in St. Charles, Illinois on their August 2023 summer tour. The concert will be available as a two CD/DVD package as well as a triple vinyl package. Both are available for preorder today here: https://ffm.to/jonandersonperpetualchange

To celebrate today’s announcement, the band is premiering a video of the YES classic “And You And I” taken from the DVD. Watch the video here: https://youtu.be/nTGt2rr0o74

Below is the track listing for both configurations:
Yours Is No Disgrace
Perpetual Change
Close To The Edge
Heart Of The Sunrise
Starship Trooper
Awaken
And You And I
Your Move/ I’ve Seen All Good People
Gates Of Delirium
Roundabout

For more information:
Jon Anderson’s official website: www.JonAnderson.com
Band Geek official website: https://richiecastellano.com/bandgeek/
Jon Anderson YES Epics and Classics:
Website -  http://jonandersonyesepicsandclassics.com/
Facebook - Jon Anderson YES Epics & Classics - https://www.facebook.com/jonandersonyesepicsandclassics/
Twitter - @JonYesEpic
Instagram - @jonandersonyesepicsandclassics
TikTok - @JonAndersonYESEpic
YouTube - Jon Anderson YES Epics & Classics - https://www.youtube.com/channel/UCIvSkw_3SAs1Yy2Ro68GzLw

Management:
Larry Mazer
Entertainment Services Unlimited
One Echelon Plaza, 227 Laurel Road, Suite 106
Voorhees, NJ 08043
P - 856.751.2223
C- 856-816-2820

Agent:
Steve Schenck | TKO
141 Halstead Avenue | 4th Fl.  Mamaroneck, NY  10543
PH: 914-346-8938
email: steveschenck@tkoco.com

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

The Moody Blues’ John Lodge To Release NEW Christmas SINGLE “Love Will Conquer All” on November 15, 2024

New Video premiere featuring John on November 15th!

John Lodge, legendary bass player, songwriter and vocalist of The Moody Blues, and Rock and Roll Hall of Famer, is to release an exciting new digital single “Love Will Conquer All” on November 15, 2024. The single will be the first from John’s new extended EP “Love Conquers All”, due for release on February 14, 2025, and the EP will be available on CD, Limited Edition 180g Violet Vinyl, and all streaming platforms.

“Love Will Conquer All” was written by John during his recent health challenges, suffering, as he put it, a ‘Christmas present he didn’t want’, a stroke. While he dealt with this personal adversity, and the immense challenge of the work involved to recover, he felt his creativity rising to create this heartwarming Christmas song. “Love Will Conquer All” is a song of love, renewal and healing, and John wanted to share it with everyone in the sincere hope that his journey might just help inspire others.

The song was written by John, and features John on vocals, lead guitar, bass guitar and acoustic guitar. Jon Davison, the singer of the progressive rock band YES, and John’s son-in-law, joins him on background vocals, provided the drums and rhythms, and also co-produced the track with John. Lead guitar is provided by Ray Nesbit, John’s Front of House Sound on tour, and also an incredible musician too. Finally, John asked his wife to join him on backing vocals, as at the heart of this song is his relationship with Kirsten, and their 56-year marriage… Love Will Conquer All.

“We all have our challenges in life, mine happened last Christmas… but like a phoenix this song appeared and helped me work through some of those difficult days. As I look forward to Christmas this year, I know it was love that got me through, and my Christmas wish for everyone is that they are surrounded with love (and great music) this year.”

The song will be released on November 15th to all streaming services, and will also be available as an instant gratification song from the accompanying EP.

To purchase or pre-save:
SINGLE SLINKY https://slinky.to/LoveWillConquerAll
ALBUM SLINKY https://slinky.to/LoveConquersAll

Signed CDs and vinyl available from the John Lodge store:
https://shop.johnlodge.com/collections/love-conquers-all

Photo by Brian Aris

Photo by Dana Grubb

Watch the video: https://youtu.be/TYzdgyvXiQM

The EP “Love Conquers All” will be released on February 14. 2025, and is a collection of deeply moving songs by The Moody Blues’ John Lodge. All written during difficult times yet reflecting the positive way in which John sees the world. As John explored his journey of healing, he invited different musicians to collaborate with him on each song, making each song unique, yet at the same time they all carry the same message... that love does conquer all.

“Love will Conquer All”, “Whispering Angels”, and “Sunset Over Cocohatchee Bay” were all written through personal health challenges, and “In These Crazy Times”, and “The Sun Will Shine”, originally written in lockdown, have been reimagined and remixed for 2024, reflecting how this time is now firmly in the past.

“Whispering Angels” was written by John and his son-in-law Jon Davison, of YES, and Jon features on all the tracks on the release. “Love Will Conquer All” is an almost Christmas song full of hope, plus there are guest appearances on the album by Geoff Downes of YES, Tim Maple, Dave Colquhoun, Ray Nesbit, John’s 10,000 Light Years Band, and also John’s wife, Kirsten and son, Kristian.

John will be on a short tour in the USA starting November 12th in Clarksburg, WV, and finishing November 19th in Royal Oak, MI, and is currently making plans for further dates in the USA in February and March, and if all goes to plan, dates in the UK in 2025.

JOHN LODGE - NOVEMBER 2024 TOUR DATES – WWW.JOHNLODGE.COM/TOUR
Nov 12, Robinson Grand Performing Arts Center. Clarksburg, WV
Nov 14, Historic Park Theatre & Event Center, Cranston, RI
Nov 15, Bergen Performing Arts Center, Englewood, NJ
Nov 17, Temple Live at Columbus Athenaeum, Columbus, OH
Nov 19, Royal Oak Music Theatre, Royal Oak, MI

John Lodge is bass guitarist, vocalist, and songwriter for the iconic Rock & Roll Hall Of Fame 2018 inductees, The Moody Blues. Songwriter of such mega Moody Blues hits from “Ride My See-Saw,” to “I’m Just A Singer (In A Rock and Roll Band),” “Isn’t Life Strange” and many more. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, as well as releasing his three solo albums “Natural Avenue”, “10,000 Light Years Ago” and “B Yond”. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of many awards, including ASCAP (American Society of Composers and Publishers), an Ivor Novello Award, a Lifetime Achievement Award from Prog Magazine, to name just a few.

For further information
https://www.johnlodge.com/
https://www.facebook.com/johnlodgemusic/
https://twitter.com/johnlodgemusic
https://www.instagram.com/johnlodgemusic/
https://www.youtube.com/c/johnlodgemusic

Press Inquiries: Glass Onyon PR, PH: 1-828-350-8158 (US), glassonyonpr@gmail.com

Prog Duo The Vegetarians To Release New Album “Space Age Pagliacci”

The Vegetarians are a Swedish-American duo consisting of Hans Annellsson, composer & musician from Sweden, and composer & songwriter John Tabacco from Long Island, NY. Their eagerly anticipated new album, “Space Age Pagliacci”, is a semi-concept album about spacetime. Stylistically, the music is a mix of Prog Rock & Classic Rock, with some hints of Circus Music.

Says Hans, “There is a concept in the lyrics. They are all related to space and time in some way.” John elaborates, “A.I. is becoming a force to reckon with. This CD explores the existential threat A.I. proposes to humans. We also explore the hidden force behind "fear", that being of an extraterrestrial influence. Truth is also an issue here. How can we trust anything? There is also some self-deprecating awareness of the absurdity of being alive in this dimension. The cover of the CD has a picture of the first A.I. robot (“Sophia” - an actual citizen now of Saudi Arabia) sitting - as a person (of unspecified gender in a protective space suit) serenades her. Not the warmest of relations. And that might be part of the A.I. / Human problem.”

Working together with several different singers such as John Tabacco, Robin Schell, John Crowe, Marc Mollan, John Marshall Gibbs and Napoleon Murphy Brock, the project started around 2000 as a vehicle for recording some prog covers of YES, Frank Zappa, King Crimson, Genesis, ELP, Adrian Belew, Peter Hammill etc. The prog covers can be found on the albums “Remustered & Remixed Salad” and “The Calling”.

Billy Sherwood said this about the song “The Calling”: “A good rocking version, well done boys.”

Adrian Belew had this to say about The Vegetarians version of his song “Dream Life,”: “Beautiful, I was really moved to hear your version, maybe I'm not forgotten after all.”

In support of the new album The Vegetarians hope to play The Zappanale Festival in Bad Doberman, Germany, again.

In closing the duo has this message to relay, “The message is learn to know thyself ‘Temet Nosce.’ And whatever you do – don’t let anyone get the best of you. You matter just as much as the next being.”

Tracks:
1. AI’s Failed Dream (7:16)
2. The Run Around (3:14)
3. Strangle Rocket Fair (7:38)
4. Android Forty 2 (4:00)
5. Not A Lot Has Changed (3:08)
6. Dark Reptilian Clown (2:28)
7. There’s Nothing To Do Now (3:33)
8. Where Do You Go? (5:21)
9. Advice (3:24)
10. Parallel-O-Gram (4:55)
11. Silly Song (2:57)
12. I’ve Got A Secret To Tell You (4:03)
13. Doubt And Fear (5:13)
14. Another Universe – Please (3:45)
15.The Saucers Are Here (4:49)

All songs written by Annellsson & Tabacco
except track 3, 6 & 10 by Annellson, Tabacco & Pomes

Liner Notes:
Produced by Hans Annellsson & John Tabacco
Performed by Hans & John with the help of Gustaf Hielm (Meshugga) - Bass
Bobby Halvorson (Brother, Sister) - Harmony Vox, Jonathan Mehler – Guitar
& Anthony Pomes (The Blast) - Guitar.

Cover by Catherine Tabacco & Farben Fosfeen Artwerks
Mix, mastering & layout by Janne Brovall, Brovall production

Hans Annellsson: Composer & musician from Sweden. On the Annellssongs label Hans has released both music in Swedish, with The Vegetarians in English, and some instrumental music. The instrumental music is available on the albums “A Pirate In Ambient Waters” & “Scenes & Takes”. A new instrumental album “Goodly Odd” will be released later this year. To support himself Hans works as a music teacher at Malmö International School. Being a massive Frank Zappa fan Hans got permission from Frank, before he went on his last tour, to release a Swedish version of “Penis Dimension.” That version can be found on an album called “Från A Till Ö” by Hans and Mats Öberg. Hans also recently produced Mats Öberg’s album “Frankful,” solo piano renditions of the music of Frank Zappa.

John Tabacco: American composer, singer songwriter, engineer, multi-instrumentalist, and graphic artist. He is co-founder of SA3 (a proprietary analog to digital conversion technology for sound and video) and has engineered /mixed and mastered music for the past 30 years.

To purchase:
Bandcamp: https://thevegetarians.bandcamp.com/album/space-age-pagliacci
Spotify: https://open.spotify.com/album/7b7khQqC4ekEn9Xi2AFuOz?si=pMfaLLANTCK5ousP2f1PpA

For more information about The Vegetarians:
Homepage: www.annellssongs.com
Facebook: https://bit.ly/3iOXuw7
https://www.johntabacco.net/

Press Inquiries: Glass Onyon PR, PH: 1-828-350-8158, glassonyonpr@gmail.com

Progressive Rock Vinyl Review: Vanderwolf-The Great Bewilderment

Release Date: March 13, 2024

Label: Independent

Website

The band is named Vanderwolf after the musical and multimedia genius Max Vanderwolf. He is an interesting character with many talents that have made his services invaluable worldwide, with artists including the late David Bowie and many others.

I received this special purple vinyl edition of The Great Bewilderment and gave it a spin. It was another COVID project that reached fruition after many years. Having never heard of this man and his music, I did not know what to expect, which made it intriguing, especially after looking at the odd and unique cover art. I thought to myself, this is either going to be very strange or surprisingly good. Well, I loved it from beginning to end.

 

Side A begins with “A'coming Home,” which features a strumming guitar, whirling organ, and catchy rhythms (which populate this release consistently). The rhythms change and slow down, and then it goes back to the previous pace, which is medium speed. The vocals get louder and more emotive, and some good guitar makes it more electrifying (literally). The harmonizing towards the end is excellent, as this fine opener kicks things off.

 

“The 6.09” has a steady acoustic guitar with drums and bass holding the line. Max’s vocals begin to have a familiar ring, and Marc Bolan (T.Rex) comes to mind. The music goes in another direction and level (get used to that) as the vocals are ready for the task. It goes back and forth to emphasize the lyrics. It ends the way it started, with acoustic picking.

 

“Sweep Away The Shards” has sharp but gentle electric guitar lines to set the foundation. It is very purposeful as the vocals arrive. The energy is maintained, and then it reaches an apex as Max sings “This is Goodbye,” which is printed in caps on the accompanying lyric sheet. Excellent six-string bending demonstrates how the words can make their impression more effective.

 

“Gaza” starts with Pink Floyd-like instrumentation, then explodes with meaty guitar chords, very heavy to push the line “I Gotta Run,” repeated four times. Max sounded like Roger Waters on this track, which fits well with the music. His inflection before he raises the pitch and tone is a superb way to close out the side.

 

Here is where I have a problem with all the emphasis on Gaza in many instances and not just music; everyone forgets what happened in Israel. I feel the war is wrong and all the innocents that felt the pain of what happened on both sides, but let us not forget who began this conflict and stop making Israel out to be the bad guy. How about a song about Israel? I never like to mix politics into my reviews, but I just had to speak up this time. The song is very political and one-sided, regardless of how good it is musically.

 

Side B opens with “Love Stay Strong,” an entirely different atmosphere than the previous track, which is par for the course in this eclectic work of progressive rock, a genre known for its complex and experimental nature. This time it sounds more like a pop-rock track stepping outside their comfort zone, but it is good. The track is about that age-old subject of love, with a country blues tone, leaving the pop elements behind for a while. Lap steel gives it that atmosphere quickly, as it always does, as it wines in the background like a lost train. The vocals are excellent. The track impressed me with how the band can create such different music from track to track while, for the most part, except for this one, keeping their prog-rock roots.

 

“The Book of Dread” is segued from the previous track with a spacey guitar and keys, again turning the atmosphere upside down. Then, the bass jumps in as the drums pick up the pace, and the mix becomes more complex. Max is in good voice again. His vocals resonate with you as you absorb his words, tapping your feet to the rhythms and bottom end, which is always so strong and ready to change with the flow so quickly. This is exceptional musicianship on display consistently! Piercing guitar lines permeate the air and the record grooves. The changes are very progressive and impressive.

 

“The Here & Now” is easygoing music, and as expected, it takes another twist and turns before returning to its starting point. As the album continues, you realize the vocals are perfect for this music, whether quirky, slow, fast, or flat-out rocking. Max is always ready to use his voice as another instrument for effects. The elasticity of his voice and range adapt to all the changes, going very high when he sings “in the here and now.”

 

“The Gratitude Suite” ends your listening journey and is a good finale. I liked the way the guitar started more subdued, then began cranking it up as the music shifted. The bass leads, then goes to the Lap Steel for more effect, and then the guitar comes back, wailing away with some sound effects and strong lines, as the vocals are as superb as they ever were with heavy lyrics. The changes are many in one track, and Max is one of many consistent factors for these solid tracks.

 

The Great Bewilderment leaves me with one question: why has Vanderwolf not released more music? His love for recording is evident; even his website states this is an incomplete collection. For his sake and music lovers everywhere, I hope to see more of his music released, entertaining us all with his unique sound and exceptional musicianship.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

November 8, 2024

Tracks:

Side A:

1. A'coming Home

2. The 6.09

3. Sweep Away The Shards

4. Gaza

Side B:

1. Love Stay Strong

2. The Book of Dread

3. The Here & Now

4. The Gratitude Suite