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Nick Magnus is best known as the
keyboardist for Steve Hackett various band ensembles from
the late 70's and throughout the 80's and was responsible
for a quite a bit of the classy sound you hear on such landmark
Hackett albums as DEFECTOR, SPECTRAL MORNINGS and HIGHLY STRUNG.
As far as Steve Hackett goes, his brother John Hackett may
have been his right hand man, but Nick Magnus was definately
his left hand man. Both contributed much to Steve's success
during those years. And both Hacketts- as well as another
past Hackett alumnis Pete Hicks- appear on this, Magnus' third
solo album, which is a concept album based on a mythological
idea.***
Of the album's eight tracks, half
are instrumental, showcasing Nick's keyboard melodies which
are at once symphonic and elegant. He has that retro keyboard
style in places which recall the likes of Flower Kings and
similar ilk, as well as some more atmospheric and 'new age'
tendencies. It's good to hear a great keyboardist return to
active duty. His other two solo albums are harder to find,
and I believe the first one is out of print. He also appears
on John Hackett's recent solo album 'CHECKING OUT OF LONDON'
as well as a main contributer.***
Vocals that appear on the rest
are handled by various people including Tony Patterson and
Pete Hicks, as well as some fine female voice during some
sections. There are actually no drums here at all, I assume
all rhythms are programmed by Nick. So there is definately
a studio feel to this. This doesn't really detract too much
from the music, though live drums are always preferred. But
perhaps using a real drummer would have made HEXAMERON more
of a prog-rock 'band' album, and thus would have diminished
the feel here of a more symphonic, 'progressive rock tone
poem'. The emphasis is more on moods and textures than squiggly
synth mathematics, and it is in these cinematic nuances where
HEXAMERON succeeds. Here are the trax:***
SINGULARITY:
Starts with classical grand piano
and then unfolds into something of a tone poem with some fine
orchestral synths and classy flute from John Hackett. A mechanical
drum rhythm comes in just in time for Steve's haunting guitar.
As with a lot of the best atmospheric bits from albums like
DEFECTOR, there is a mysterious quality to a track like this,
a sense of adventure.***
DANCING ON THE WATERS:
This track, another instrumental,
is ethereal and floating. A composition like this could certainly
have been used in an epic film like a Lord Of The Rings or
something like that. There is a expansive, drifting and dramatic
flow, which goes through many moods. Nick uses orchestral
synths as well as more 'electronic' sounds. It's not all 'soundtracky'-
there's a definate 'proggy' section with organ sounds and
plodding bass, though the synth drumming gives it a slightly
artificial feel of a Playstation video game, though that's
not a terrible thing.***
MARDUK:
Avocal one which features Tony
Patterson, who if I'm not mistaken, is from a Genesis tribute
band. He gives this track its Genesis character, though Nick's
keyboards and rhythms recall solo Rick Wakeman during the
80's & 90's. The second half of the track goes into a more
'Neo' thing, with female vocals providing the voices of Order
and Chaos in the concept.***
SOPHIA'S SONG:
A pretty track with a gentle, slightly
Celtic flavor with female vocals. This stands up well without
the album 'concept' and should find favor with those into
the new age stylings of Enya and the like. Added violin gives
it additional class.***
DOUBLE HELIX:
Acoustic guitar and flute float
along in this short, reflective classical instrumental similar
to some of Steve Hackett's own material.***
BROTHER SUN SISTER MOON:
A mellotron-laced vocal track featuring
one-time Hackett vocalist Pete Hicks as well as Steve himself,
so the classic Hackett 1979-81 sound is there. This is more
sucessful as a song than Marduk, though would have been even
better had it included a female vocalist instead.***
SEVEN HANDS OF TIME:
Nice brief atmospheric section
which pits Hackett's ghostly guitar cries against Nick's moody
keyboard and mechanical rhythm- just like in times of old,
conjuring images of grandeur.***
THE POWER OF REASON:
Hymnlike and sombre, yet beautiful,
recalling something from Steve's 1999 album 'DARKTOWN', which
is a good thing. Female vocals and choir give it an almost
religeous vibe, and Steve adds his tortured guitar leads in
a fitting finale. Nick himself is symphonic and majestic on
this track, but lets others handle a lot of the details.***
A decent effort from one-time Hackett
bandmate and a great slice of atmospheric progressive with
a lot of cinematic quality. My only complaint is that the
booklet should have included more on the album's concept or
at least a little on what the story is about, and that goes
for any concept album almost. Not sure exactly what it's about,
though I know it's mythological story(Hackett and related
artists tend to like epic, classical imagery or mythology).
HEXAMERON however is broad and
expansive enough to go with any epic idea, so enjoy.
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