The sensational Anne-Claire of Bad Dog Promotions just keeps on rolling out tantalizing new discoveries that continue to shake the foundations of the prog universe. This is a new project from a group of veteran and highly skilled Dutch musicians; some may even remember vocalist Ruud Stoker (no relation to Dracula) who along with thrilling keyboardist Julian Driessen (formerly of Ywis) who both fronted a fantastic 1990 project called the Last Detail as well as seasoned and ongoing Neo-prog band Timelock. Ron Koel on guitars and bass is a revelation and drum stool manager Mike Boekhout complete the line-up. What is the Ceres Phenomenon, you may ask ? Well, it’s the largest object , actually designated as a dwarf planet, situated between Mars and Jupiter, sitting comfortably numb in the asteroid belt and because it is alleged to have a weak core, there is a possibility that it may contain water, hence the potential for life forms. Ruud has written a sci-fi script that describes a future situation in the year 5930 (yes, somehow managed to get there) that will require your inquisitive mind to investigate further. There are 18 tracks, the longest being 6 minutes and 10 seconds but, it’s a voyage in time after all, that will take up 73 minutes of cosmic ear travel before landing back on terra firma.
A philharmonic introduction is to be expected and “Space Signs” delivers on that note (as well as few others), a clearly Floydian feel that sets the stage for booster ignition on the pugnacious “Incident on Ceres”, where the fulminating synthesizers merge with the rocket propelled guitars, the bass throttle in full regalia and ax explosive rhythmic upsurge. After waving goodbye to gravity’s clutches, the coordinates are dutifully entered into the computers and set to visit the asteroid belt and figure out what the heavens is happening on Ceres.
“Between the Stars” introduces Ruud’s mellifluous voice that hints at Saga’s Micheal Sadler, within a cinematographic sonic soundscape that keeps the thrill factor intact. The arrangement keeps varying in pace and softness, with a twinkling yet effective guitar line. “The Arrival “ has a clever Comfortably Numb hint that actually comes across as a tribute, as it last only long enough to be a transition to the more poignant “Exploring the Surface”, a wider platform for some sterling axe investigation from Koel before the easy on the ears Stoker vocal, offering a play-by-play account of the various peaks and valleys the dwarf planet can offer. It’s a more traditional rock feel that is truly very pleasant, the drummer having fun colliding into the assorted rocky crags. Driessen is no slouch on the wandering synth slashes, a rollicking piece for sure.
The mood gets slightly sinister on “They Emerge at Night”, a hushed and fearful voice doing the trick, with dripping guitar beads of perspiration brought on by dread, an astute change of course that keeps the attention on the creepy atmosphere. This is a fine slice of compact progressive rock, delivering the goods without needless pomp or circumstance, just attitude and dramatics. “Eye Contact” maintains the dense theatrics, Ruud hushing mightily and with utter conviction, one can really feel the anxiety as he tells his tale, the guitars clanging like the cemetery bells at a funeral. All along, the grandiose melodic foundation never falters, constantly displaying new sonic twists and rhythmic turns.
Nothing like an unexpected downpour, “Rain and Rocks” hides Ruud’s shushing voice, as if afraid of being discovered, loaded with mysterious instrumental intonations that defy understanding, a cracking ignition of a trio of shorter snippets that keep the pace exhilarating, as if close to the edge of an endless abyss. “Away From Us” even dares some brief narration and a glittering guitar barrage, while “That Being Said” is a stateful decoration that carves a rabid bass line into the sand of time, Julian and Ron trading provoking punches just for a moment, enough for the cosmic rays to blind the speakers , albeit only temporarily, as the solar batteries run out?
“Isolation” is at first raunchy and brazen, a slightly psychotic vocal delivery that oozes a perception of irrationality that only serves to scare away the ennui. As befits the title, the track is both disjointed and yet also cohesive, an imbalance of space and time, urgent one second and disconsolate the next. Very dexterously expressed. You might be conned into thinking that “Rhea” would be the inevitable ballad, a sinfully pretty melody with a passionate voice but quickly it morphs into a Collins-era genesis rambler (those muscular drum patterns) that has the audacity to add a choir mid-section that alters the very process, a valiant and ballsy example of how to wear your influences with class and devotion. Truly excellent.
Back into the golden void with “Trapped and Uneasy”, Ruud’s use of a different pitch quite the awakening, almost raspy and angry, thundering drums, bass and guitar barrage that shake the foundations, oblique soloing from both boards (fret and key), whirlwind tempo changes, coiling synths and a truly impressive performance from Mike Boekhout who bashes mightily throughout this album. Keeping the thrusters on full accelerator, “Adapt to One Another” spares no prisoners, neither human, android nor alien, proving I guess that co-existence is a pipe dream, even in the deepest confines of space. Must be a condition from our ‘creator’. Growling axe lines that shimmer in the black hole, synthesized cries for salvation, and a headlong race into oblivion. Adapt !
“Empty After the 7th Hill” is the longest track here, it’s the 6 minute + job I was referring to earlier, and it has a Zeppelin-esque beat and a hoarse rocker voice that can snicker and pout with the best. Chaotic yet melodic, the concept is to create unrelenting fantasy but in a different style, with extensive guitar riffs battling with two voices dueling, one soft and the other hard. The catapulted shuffle into eventual overdrive is a sound to behold as this sucker strives desperately to slice through the asteroid belt and get the hell back to Toto and the farm in Kansas. “ Simular Faces “ keeps the ball rolling while “Supernova” infuses some cool piano motifs to add a little space spice, the snapping guitar dancing in unison, the drums joining the fray and orchestral adornments that create a kaleidoscope of emotions. A stunning instrumental.
We finally landed back at Schipol, home again, “Descension” anthemically putting in the last words and the final notes to what was a thoroughly enjoyable voyage. Looking forward to flying with them soon, as this deserves a future. Some nit-pickers (no, not fans of that Dutch pop band) may cry out that its way too long. Well, it’s a sci-fi album that offers more thrills than idiotically surfing the net, looking for instant AI gratification or another senseless emptying of your surely hard-earned funds out of sheer boredom. Well, I choose Prog, Dank u wel.
4.5 shadow occurrences