ZEN ORCHESTRA (UK) SameOne more new discovery for the Prog Rogue, heard the name but not the music as there is so much out there, truly mindboggling. I was contacted by Dave Hill of Tenacity PR to write a review; offers I always accept with passion (unless it’s not in my stylistic radar). We have Mark Barrett on vocals, Steve Smith- Keyboards, bass player Stewart Milner(RIP) and replaced with Alberto Rigoni , Steve Rix on drums and finally guitarist James Stephenson . Now that all the formalities are completed, on with the show! Seven tracks all except the three-minute finale “Coda” are in the six-to-nine-minute range.
Sweeping electronic symphonics introduce “Minds”, where Stephenson’s biting guitar takes centre stage, as Barrett grasps the microphone with a slight punky snarl that is most welcome, the verses increasing in volume at the most opportune moment, keeping the edge constantly honed and lavish piano pushing the classical boundaries. The voice dips into echoey realms, as the instrumental tornado in the mid-section immediately stamps the prog seal of approval. Entrance permitted, no visa required. It’s a racy thunderstruck track that aims to hit hard and fast from the get-go.
The ultimately intricate “Faces” is a hair short of 10 minutes long and contains not only imaginative detail but also a sense of familiarity that seeks to reassure, formulating a slow buildup into a bombastic delivery that ultimately never let’s go until the mask is ripped to reveal the …faces. The central segment is densely orchestrated with huge cascades of mellotron, reflective islands of ambient expression as Barrett can not only sing and snarl but also emote. But the rest and relaxation do not last for long as an exorbitantly fearless organ splurge seeks to duel with an equally fussy guitar rant, joining appropriately in union to reboot the main theme, long enough for another deviation into a piano driven, bass throttle and guitar raunch triumvirate that shoots for the stars.
“Time” is its immediate follow-up, delivered with a neatly insightful recitation that makes damn sure you get the message, a prayer in fact, serenely delivered by the fluent vocalist. The lumbering rhythmic acquiescence keeps the pace judiciously vaporous, as the diaphanous voice pleads in the faraway mist. The keyboards deliver a massive wallop of orchestrated sound, giving the guitars all the charged-up fuel needed to boost the propulsion, as the arrangement moves into a thunder and lightning revelation. Barrett shows his urgent side once again, imploring the listener to stay focused on the expanse of sound as it grows into a maelstrom of blizzard-like notes, the choir mellotron adding to the damage. A timeless track (excuse the pun) and an album crest.
One may wonder what the meaning behind “Billionaires” is (Millionaires used to be a brand of canned sardines), I guess we may be dealing with megalodons here. The oppressive rhythmic foundation is more beluga than barracuda, though both species may apply to the human variant. The synthesizers favour all kinds of square waves, as if saline cubes were being hurled at the bridge, a brewing sonic storm that shows little relent.
Keeping the mood forceful and well-lathered in dense keyboard swirls, “Circles” also offers a superb bass flutter (Rigoni, I presume), a sizzling axe barrage that shows immense mastery of the fretboard and a cyclical tempo that never let’s go. The entire piece conjures images of concentric loops around the caverns of the mind. Steve Smith certainly has a prominent role in orchestrating the verbose coats of sonics, expertly shouldered by the Rigoni /Rix combo and Stephenson axe rants.
Another fabulous piece of music is “Heartless”, a frankly diabolic slice of cinematographic bravado that smartly induces a sense of surrender, the fabulously growling bass and brooding drum attack keep the tension merciless and coldblooded. The low-end flirting is beyond genius as the pace is propelled along like a nuclear submarine looking for the previously mentioned sharks. The final section becomes gloriously rapturous and verging on the divine. “Coda” acts like the title may imply as a 3-minute add-on segment to the preceding colossus, almost like an encore revisit, rebooting the thrill-seeking power chords, and its booming rhythmic propellant.
My only small caveat is the production which has a little trouble in being crisp and clear, at times muddled with too many layers of sound. I wasn’t sure upon first listen but when I put on my amazing Soundcore Q45s earphones, I was convinced of my first impression. It is especially apparent in the vocal tracks, because Mark is a truly great singer but sounds a tad stifled in the mix.
As a debut album, this can only be correctly viewed as an immense endeavour that promises continued evolution.
4 Buddhist Ensembles