Balance is incredibly important in music, particularly music of a grander complexity, releasing their brand new twelfth studio album this year Spock’s Beard return with their latest handbook. The Oblivion Particle.
[tracklist]
1. Tides Of Time
2. Minion
3. Hell’s Not Enough
4. Bennett Built A Time Machine
5. Get Out While You Can
6. A Better Way To Fly
7. The Center Line
8. To Be Free Again
9. Disappear
[/tracklist]
[details]
[length]67:00[/length]
[record_label]Inside Out[/record_label]
[release_date]August 21st 2015[/release_date]
[/details]
With scientists toiling away trying to find meaning in their respective fields The Oblivion Particle see’s our scientists deconstruct an album. Made up of various sections aiming to cater to fans every needs the band have an excellent sense of understanding. From the instant that “Tides Of Time” open through the speakers the familiar tweed sense is present. Encapsulating seventies perfectly the song is a perfect introduction to what the album will be about. Made up of interesting vocal lines, classic guitar riffs and of course some pretty weird keyboard harmonies. This where is the band begin to flex their metaphorical muscles. A fantastic snapshot in the weird and wonderful world of The Oblivion Particle.
The vocal approach of “Bennett Built A Time Machine” makes for an interesting change in tone from the introduction, which features a ukulele if I’m not mistaken! A seemingly straight forward song that veers off slightly in the best way possible. Not to mention the chops that are exhibited by our guitarist showing that the man is more than capable of the odd solo. Though amidst the progressive wizardry there are some of the more straight forward songs like “Get Out While You Can“, which does sit nicely among the other longer tracks but seems to be a little lack lustre compared to the more grandiose aspects of the album. This is where the album begins to introduce the albums grandiose set pieces.
The ominous introduction of “A Better Way To Fly” gives way to eerie keyboards creating a sense of mystery before stepping into classic Prog territory complete with instrumental medleys. The vocal performance on the album works excellently, with this being Ted Leonard‘s second outing with the band. “The Center Line” containing a melodic piano introduction that flirts with jazz before a more carnival themed aspect creeps in, then giving way to a triumphant feeling verse enhanced by the building acoustic guitars giving the song a distinct western feel. Though after the effect of an explosion along with the piano seems slightly out of place.
Whilst it has to be said that some of the ingredients in Prog have been showing off of virtuoso talent. Spock’s Beard do ensure that the songs are played with modesty, laying a thick riff down when it’s needed along with unison sections that don’t seem to drag on needlessly. Making the moments on the mammoth “To Be Free Again” memorable and want to revisit them rather than oversaturated. Finishing the album off with the subtle “Disappear” featuring a guest appearance of Kansas violinist David Ragsdale. Showing their technical flair when and only when it is needed, keeps the band from becoming stale and focus more on the song writing aspect of the progressive genre.
Nevertheless the band have put together an album that Prog heads all over will no doutebly love. Not quite a visionary statement the band are content with sticking to what they know. Hardly revolutionary in the genre but Spock’s Beard release an excellent album that fans of the progressive genre will no doubt love. Proving that sometimes the balance of modesty and virtuosity is definitely more.
[verdict]Yes[/verdict]
[why]The Oblivion Particle will sit perfectly in most a progressive fan’s collection and whilst it might not be groundbreaking it’s familiar territory that sounds[/why]
If you liked what you read / heard then you can pick up your copy here!
