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Review:
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Last December, I was blessed with the opportunity to
receive a couple guest passes to the Steve Hackett Genesis
Revisited tour in Cleveland (thanks, Jo!). While the night
was brilliant all around, one of the aspects of that show
that stood out was the unique and powerful image that vocalist
Nad Sylvan presented onstage. His bewildering and passionate
performance of classic Genesis tracks was simply memorable
and powerful to watch. So, I was thrilled to hear that he
has a solo album coming out in October, released by InsideOut
Records. My curiosity was perked.***
Let me put it this way: If you are fan of early Genesis,
this new album “Courting the Widow” is a must-have for you.
Nad’s voice, as has been pointed out ad nauseam, sounds
a bit like some glorious combination of Peter Gabriel and
Phil Collins. In addition, this is an album stuffed full
of lush instrumentation (Nad plays guitar and keys on most
of the tracks), fantastical lyrics, theatrical style, and
proggy structures. Furthermore, Nad is joined by all sorts
of noteworthy guests, such as Steve Hackett, Gary O’Toole,
Rob Townsend, Nick D’Virgilio, Nick Beggs, Roger King, and
Roine Stolt. In other words, a “who’s who” of modern retro
prog, and all of them are at the top of their game. Obviously,
the performances are all top notch.***
But I’m here to tell you that “Courting the Widow”
doesn’t necessarily strike me as sounding like Genesis,
or any 70’s prog band, even. No, aside from the theatrical
presentation and a bit of funk, I see this album as bearing
different trappings. Indeed, “Courting the Widow” is very
much set in the 17th century, as Nad has pointed out himself.
Imagine an era of pirates and fantastic ships, fledgling
scientific progression and inventions, and lush aristocracy
facing impoverished masses. This flowing and evocative style
permeates the entire album. Additionally, I feel that this
album is also very forward thinking, much like the people
of his chosen century. With its interesting structures,
noble choruses, and low burning synthy contrasts, this is
an album that sounds futuristic and elegantly aged at the
same time. Like a fine wine, this album goes down smoothly
and with class.***
Unlike many albums that might be deemed “classy” or
jazzy nowadays, “Courting the Widow” is full of experimentation
and ambition. From Nad’s guitar duet with Hackett on “Long,
Slow Crash Landing” or the sounds of Nad’s cat purring up
against orchestration on “Ship’s Cat”, Nad has plenty of
ideas. I definitely feel like he has learned much from Hackett
himself, too, as this album screams eclecticism, eccentricity,
and a pure understanding of melody.***
My favorite track is “Echoes of Ekwabet” followed by
the opener “Carry Me Home”. The former is full of futuristic
synth played against a retro funky vibe and a great ominous
chorus. The latter is a wonderfully theatrically opener
full of harmony, lush flute, and feelings of being out in
the moonlight. Rare for solo albums, every song on this
album just feels so…right. They certainly go down easily.
Other favorite tracks include “Courting the Widow”, “To
Turn the Other Side”, and the immense “Where the Martyr
Carved His Name”.***
So, yeah, Nad sounds like Gabriel and Collins, but please
don’t relegate him to their little world just yet. He has
interesting ideas and knows how to tell a story with well-written
lyrics, suspense, mystery, and theatrical trappings. He
knows how to combine the best of the old with hints of the
new. And he does this all with style and class. “Courting
the Widow”, then, is an album that deserves your attention.***
Jason
Spencer
The
Prog Mind
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