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Review:
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Ironic, isn't it? Pink Floyd rests on its golden laurels
and massive fortune, hiding for so long behind Waters' brick
wall, cashing in on past glories and finally, after unending
speculation, release "The Endless River", a nearly all-instrumental
eulogy to the sadly departed Richard Wright. Though a fine
piece of music, truth is long time PF producer Andy Jackson's
recent "Signal to Noise" seemed way more Pinky than the
meandering tribute to the Farfisa man. Now, from the US
of A, we have the über talented Dave Kerzner, a multi-instrumentalist,
composer, producer ad engineer of high repute, not only
for his Sound of Contact collaboration with Simon Collins
but who has also worked on a multitude of prog and non-prog
artists that range from rock, jazz, pop, blues, progressive,
alternative, metal, grunge and even throwing in Streisand,
Madonna and Beyoncé.***
It was time for a solo album that would focus on his
personal likes and he simply followed his heart and opted
for a 2 CD opus that, for all intended purposes, out floyds
Floyd! "New World" was put together lovingly with intense
admiration for the Ummagummars, Dave having invited a stellar
crew of cameo artists ranging from the prolific Steve Hackett,
the super busy Nick D'Virgilio as well as Heather Findlay
(ex-Mostly Autumn), the legendary Keith Emerson, drummer
extraordinaire Simon Phillips, It Bites mastermind Francis
Dunnery, Yes bassist Billy Sherwood, Porcupine Tree bassist
Colin Edwin and Big Big Train vocalist David Longdon, among
many others.***
There are pieces on Disc One that are beyond the Dark
Side of the Moon, such as the multi-suited 11+ minute opener
"Stranded" , a delirious journey to echoing islands of mood-altering
sonics that grabs the jugular right from the first note.
Steve Hackett adds his usual high gloss glissando guitar
to shine up the proceedings, soaring mightily like only
he can. Blending the familiar with some experimental stylistics
create an immediate impression that favors the thumbs up,
Kerzner's resonant piano and echoed voice finds itself harnessed
by bashing rhythms as well as whooshing backing female vocals
that just ooze class. A thoroughly enjoyable entrance into
the 'New World'.***
Then you have an outright PF sounding classic like
the huge epic "Into the Sun" which cries out for immediate
standing applause. This is so PF, the law firm crew of Mason-Gilmour
& Waters just might be compelled to sue, applying the proverbial
retribution screw. Colin Edwin holds down the low end and
this just might be the most immediately appealing track
on the album, certainly among the top ones. Gently gliding
along from the outset, the melody is sublime and yet so
simple, as if heard and seen previously in one mind's eye.
Mellotron basks the chorus in shimmering rays of sunlight,
fresh, bright and subtle, eliciting a genuine sense of soaring
flight, 'far away from every one', as if Icarus just refused
to see the danger and willingly perish trying. The bombastic
vortex builds into a cinematic kaleidoscope of sounds and
effects that reach for the farthest skies. 9 minutes of
total bliss. "The Lie" actually resembles uncannily the
recent German RPWL's recorded output, a clearly influenced
Floydian pop psychedelia that is well-constructed, effortlessly
delivered and instantaneously addictive. Certainly more
immediate than the previous extravagant compositions, this
sounds like a psychedelic pop song, something "Sky Moves
Sideways' Wilson would expound. 'You can't escape the lie,
no matter how hard you try' sears the message firmly, sealed
by some fiery guitar soloing from Fernando Perdomo. Interspersed
are brief 1-2 minute keyboard-propelled snippets ("The Traveler"
and "Reflection") that mirror the Wright-led experimentations
so recognizable on "The Endless River", bubbly gymnast synthetics
amid a vaporous interplanetary vivacity.***
The seductive "Secret" could have been a piece off
the aromatic "Meddle" album, a soporific melodrama that
induces daydreaming and sunshiny euphoria, luminously pastoral
and deliciously naïve. The voice in particular conveys a
hushed phantasmagoria of sky gazing, very Gilmour and quite
fleecy. The melody is once again instantly permeating, a
winner in the classical sense, with 'papa pa pah, pah pah'
choirs that rekindle the spirit of '69, flower power era-naïveté
at its zenith. Horror movie tension greets "Under Control",
as it hints at spookier climates espoused in spirit by that
often delusional mad man Roger Waters , a slightly schizoid
and 'marching hammer' paranoid vocal from some unyielding
man without eyebrows and even less morality, a willing tool
of the system. The ticking clocks convey both sweltering
dread and unsuppressed anxiety, forlorn piano and slippery
orchestrations playing the shadowy game accordingly.***
The equally heroic "Premonition Suite" conjures an
onset of chic decadence as the majestic piano and magical
flute weave solemn charm, Francis Dunnery shows off some
dynamic guitar skills that cannot go unnoticed, manhandling
his fret board with glee. A sweeping intermezzo only serves
to up the tempo, as another menacing whirlwind lurks on
the horizon, giving Kerzner the opportunity to ride his
organ and synthesizers into a fine workout frenzy. Female
choir aids and abets in bringing on the sinful enchantment.
This is way more urgent, brash and delirious than the previous
tracks, whisked by an obviously heavy vibe and a grandiose
arrangement that seeks out emotion and intense introspection.***
Things get floating with the vivid vocals on "In the
Garden", loaded up with sublime whispered melodies and those
trademark backing female vocals that always seem to be forgotten
when talking Floyd (wailing voice provided here by PF singer
Durga McBroom), an anthem of entrancing, sweeping and misty
magnificence. Here Kerzner winks at "the Great Gig in the
Sky" yet the main male vocal is sensual and the chorus to
die for, weary and sincere as the floral arrangement keep
blooming nicely. Stunning!***
The muted vocal on "The Way Out" again veers near Yogi
Lang (RPWL) territory, a cool piano leading the charge,
once gain imbued with a clear sense of adventure and beyond.
The bright synth solo as well as all the solar sonic glare
that shrouds this piece makes for some inspired easy listening,
elevated with booming crescendos and contrasting ebb and
flows. A simple slide guitar solo welds itself to a synth
foray, et voila! Damage done, unaware and content. Its companion
piece, the luxuriant dreamland that is "Recurring Dream"
finishes off the first CD on a very high note indeed, as
not a single second has been corrupted by pap or filler.
Just good strong melodies with superlative and restrained
ego soloing, a sizzling exercise in memorable playing and
singing.***
CD 2 is perhaps even more progressive, chock full of
more brimming melodies, percolating with wondrous technique
and inquisitive fantasy, which is what a great prog album
should source in the listener's mind. Attention to detail
becomes evident on 'Crossing of Fates" , as sweeping synthesized
orchestrations, rollicking organ runs, hammered piano and
jaunty guitar take the stage, pushed along by slick bass
work from the talented Billy Sherwood and Simon Phillips'
polyphonic drum fills (Man, what a drumster!). Then throw
in Keith Emerson's ridiculous cameo synth solo that hurtles
along like some careening F1 speedster and your jaw lies
bleeding in your hand! This is one hell of a super-groupy
song, masters at work and play. Intermingled are transitory
1-2 minute keyboard-propelled extracts (" Biodome" and "Erased")
that emulate the Wright-led research so identifiable on
"The Endless River", effervescent acrobat synthetics amid
a hazy interstellar animation.***
For a slight deviation from the Floydian menu, the swirly
"Theta" swims along in aquatic guitar splendour, showing
off some hallucinatory Hillage-isms (Tablas, long extended
notes, lady space whispers, fret scales like from some rising
electric fish) that are just plain charming and unexpected.
I mean, wow! This bleeds right into the gaseous "My Old
Friend", another narcotic brick in someone's wall, exploring
a breeze of slicing sounds, shifting rhythms and 'unexpected
curves'. The overall mood here is highly soporific and densely
cloudy as the hush sweeps along unrushed. Guest guitarist
Russ Parrish (Steel Panther) unleashes a series of electric
discharges that heighten the verve.***
The buzzing "Ocean of Stars" is definitely choppier,
yet still drenched in moody psychedelia, bouncing from one
dream to another, once again not that far removed from RPWL'S
recent output. This is a very good track though a small
step down from the previous jewels, perhaps needing more
repeat listens to catch the finery and the details. "Solitude"
has a natural simplicity that begs attention, Kerzner's
piano and mellotron greeting the listener with waves of
gentle abandon, hushed sample voice effects, upfront "oooooh"
backing vocals and front end wailing from Emily Lynn and
Lorelei McBroom make this a true killer piece, intoxicating
and invigorating at the same time. Phew!***
Boom-boom drums scatter the leaves as the sweeping hurricane
slams through the speakers, a mighty anthem and colossal
production that beckons the listener to pay attention, the
hurtling "Nothing" has an almost steam-roller disposition.
Nick D'Virgilio ponds greatly throughout the album but here,
he really slams hard. A little snarl in the vocals does
great justice to their appeal, this is certainly not syrupy
or saccharine by any stretch. In fact, there is a lot of
sound design here that goes way beyond the normal PF clichés.***
Three 5 minute 'songs' are set up to prepare for the home
stretch, little ditties that tell 'sympathetic stories'
, beginning with the resonating "Realign", a story of contrasts
between steel and silk, seemingly effortless but enjoyable.
The echoing chorus really hits raw nerves by its urgency
and desperation. The clanging "Nexus" is mournful, aggressive,
fizzy like an erupting volcano, though instrumental and
quite experimental in terms of construction. The sad piano
walks through the shimmering walls of sound, as if searching
for some shadow amid the glare. Actually a tremendous piece,
a definite highlight. The title track is an almost Beatles-like
composition, sounding very RPWL again in its immediacy,
a clever vocal that sticks to the theme of universal hope
for a somewhat better future, the collision between yesterday
and tomorrow, the endless human river of wondering what
the hell is going on?***
The deluxe edition ends with a smart-ass 21 minute
epic that mirrors the opening suite, "Stranded Parts 6-10",
aptly titled "Redemption", once again featuring the illustrious
Hackett and the impressive Dunnery, exchanging glitter and
gold, surrounded by a hedge of aural genius , hell bent
drum patterns and solid backing vocal support. Measured
and deliberate, the arrangement sprouts some orchestral
sounds in no apparent haste, judiciously adding sonic bricks
into the symphonic wall, letting the talented musicians
let loose and carve some serious expanse. The electric guitars
spare no prisoners, lurking in the shadows, ready to pounce
unsuspectingly at the slightest provocation. Needless to
state that combining glorious epic pieces like the 10 part
"Stranded" suite that also happens to book end the album,
clocking in at over 33 minutes in total , gives the progressive
enthusiast all the drool needed to then enjoy the more accessible
tracks, basking in the adventure of it all. Drama, scope,
contrast, atmosphere and bombast are all sitting in on the
party.***
Any dedicated prog fan should appreciate the incredible
quality here on display, if this would have been Pink Floyd's
"New World", I have no doubt that it would be sitting at
the very top of the charts. Dave Kerzner has created a massive,
opulent and timeless piece of psychedelic prog that will
stand the test of time. Needless to say, the production
is first class, as well as the artwork and booklet.***
5 new-fangled realms***
(Thomas
Szirmay)
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