Review by tszirmay — Abel Ganz previously unleashed one of the finest prog albums in recent memory with the
divine 2008 "Shooting the Albatross", a release that caught more than one pundit with its
prog pants near their ankles. Critically acclaimed and considered by many as a one-shot
surprise never to be repeated, the Scottish band went through another round of musical
chairs, losing original co-founders Hew Montgomery and Hugh Carter, and looked sadly like
they were done. The bass and drums have remained intact as both Stevie Donnelly and
Denis Smith are back, always good to have such a solid spine in place. Guitarist Davie
Mitchell is back as well. New recruit Steve Lightbody on keys does a fabulous job while
long-time vocalist Stuart "Mick" MacFarlane is now standing in the front spotlight. I was
overjoyed about the prospect of another exciting Abel Ganz ride. It will nevertheless be a
different kettle of fish. The sound has changed into a another subtle variation of neo-prog,
this time with a more wholesome attitude, perhaps nearer to what I would call "hard neo-
folk", like Big Big Train, Red Jasper The Gift or even Guy Manning.
A bristling symphonic overture sets the stage for the 5 part "Obsolescence" suite, a 23
minute revelation that hits you upon first earful, chock full of twists and turns with silky flute,
colossal church organ, country-style guitar pickin', slippery synths and of course, a
fascinating story delivered by the more than credible "Mick". Bassist Donnelly does wonders
on the low-end while his partner Smith propels with subtle delicacy. The suite has a distinct
"I want to hear this again and again" feel, a trait that certainly bodes well for future returns. It
certainly fits very nicely with previous accomplishments like "Sheepish", "So Far" and
"Ventura".
What really caught me off guard was the delightful acoustic guitar performance on "Spring",
a breathless moment where I was expecting vocals that never came, a lovely piece that has
an Anthony Phillips pastoral sheen. Drop dead gorgeous.
Memories in Spanish are "Recuerdos", a vivid cut of nostalgia, fervently expressed by a
stunning trumpet-like theme, escorted by an elusive guitar and a fully emotional voice that
will tug at the heartstrings, crickets providing the slick backing vocals. Fragile and beautiful,
once again.
Finally, we reach epiphany with the deliriously stunning "Heartland", a modern, electronic
symphony of intense pleasure that has children playing, screaming and innocence at rest. A
female voice that winks at Hungarian folk sensation Marta Sebestyen, a world music
interpretation that only proves the level of wanton progression expressed by the musicians.
The Gaelic vocals are supplied by Joy Dunlop. It segues nicely into "End of Rain", a sleek,
acoustic guitar-fueled track that seeks out incredible images in the listener's mind, as if
trekking through the rolling hills and dense forests, fresh and brisk air massaging the skin.
Donnelly caresses his bass frets in bewilderment, a sonic utopia that exudes endless
reverie. The final moments are exuberant, the bass and drums doing a tight waltz. This is
beyond bliss, simple atmospheric music can be so perfect.
Malcolm Jones of Scottish legends Runrig makes an appearance on "Thank You", a typical
Scot country tune, closer to Runrig with blessed accordion and a Mark Knopfler-styled guitar
solo that twangs and slides with pedal steel-feel. A vibrant tune that will certainly stay the
course, though totally devoid of any prog references, just a nice song!
"A Portion of Noodles" is another brief folk ditty, MacFarlane once again shining on the
acoustic guitar, displaying sterling technique and a mesmerizing sense of feeling. This
again serves as an appropriate introduction to the upcoming massive epic, the 14 minute
"Unconditional", a harrowing pot-pourri of various styles, an American Indian beat that winks
at the Eagles, a tortured guitar that veers into a jazz mode and then later into hard metal
territory, Mick crooning with total conviction. Trumpets indicate New Orleans rather than
Glasgow but the mood is delightful, electric piano gleaming brightly, shifting drums and very
cool bass undertow. Lightbody does a masterful piano solo that is straight out of the jazz
universe. The arrangement acquires more raw power as the surly organ decides to rage
brightly, Mick starting to howl in earnest, Gentle Giant-like dissonance taking a brief bow as
the guitars start to ratchet up their rage, Mitchell unleashing a mother guitar solo, very
electric, very Vai/Satriani , highly intense. Toss in some choir harmony voices, stop on a
dime movements, dazzle and shine. Totally unexpected and totally brilliant!
"The Drowning" sets this one to the cradle, pulling a comfortable duvet over the tired and
weary soul, a goodnight kiss that will help dream sweet dreams. MacFarlane croons,
flugelhorn in tow, brassy knobs on a wooden bed. Drenched in deep melancholia, the ebb
and flow of the album comes to a serene conclusion. A gloriously tired trumpet eases onto
the pillow.
This album is quite different, not as linear as the thrilling "Shooting the Albatross", content to
explore new sounds and new dimensions, searching out distant horizons but making them
fit into a catalog of sounds that unendingly excite and enthrall. Is that not the ultimate
purpose of a progressive album?
I beg to differ on the cover artwork, it is one of the most poignant ones in recent memory and
perhaps I can relate better living in Alberta, where such bleak winter vistas are
commonplace. The lilac sheen is inspiring. Love this precious album.
5 Clever Artilleries