Detailed Reviews [Degen / Herb / Mroszczok / Schleicher - 2020 - "Theories in the Absence of Definition"]

Prolusion. The German based quartet of Degen, Herb, Mroszczok and Schleicher that are credited as the performing and releasing unit of the mini-album "Theories In The Absence Of Definition" is, at least to my understanding, a constellation of a more ad hoc nature tha was assembled to give life to the creations of main composer Sebastian Schleicher. Hence I will also refer to this as his solo album, if not for any other reason that it makes my life easier. With no disrespect intended towards the other participants. If this production is one or the other on the credit side of matters probably isn't all that important. It is what I due to the previous exposition will describe as the debut solo album by Schleicher, and the album was self released in the spring of 2020.

Analysis. In just under 30 minutes, what Schleifer and his fellow musicians deliver here is a strong, quality addition to the list of atmospheric laden progressive rock artists that comes from Germany. This is compelling, inviting and dreamladen music, where the challenging escapades are tucked safely away for other occasions and the focus is on creating, crafting and exploring careful, elegant and often hypnotizing landscapes. The rhythm section is carefully supporting arrangements dominated by gentle and often plucked guitar details, softly delivered vocals and layers of keyboards, organ and piano. Soft echoes of what might be post-rock is a part of the opening cut, and subtly cosmic sounds by the keyboards makes numerous appearances throughout. But the heart and the soul of this production is one I'd describe as alternating between later day RPWL and late 70's Pink Floyd, with the latter aspect mainly due to some neat, Gilmour style guitar solo runs. A few tighter and harder passages make appearances here and there, and function well as impact moments to maintain nerve and tension in landscapes that might otherwise become a bit too soft and smooth. Everything is really well executed too, with a mix and production that highlights the strengths of an artist and composer relying upon delicate and subtle details to draw the listener into his universe. At the tail end of this mini-album we are treated to something a bit different though. Indie and alternative rock aspects are brought in for the final song here with staccato, almost marching guitar and rhythm patterns, and with the vocals gaining a harder edge along the way too. In one of the parts of this song what sounds very much like metal riffs are added to the arrangements too, but in a much dampened variety and providing a hard, constant undercurrent when present. While perhaps not quite as mesmerizing and haunting as the rest of this production, also this step away in style and approach is really well put together and functions as a standalone feature as well as a concluding part of the trio of songs it is a part of.

Conclusion. Sebastian Schleicher and his fellow musicians have made a fine debut mini-album of the kind that should have a broad appeal inside of as well as outside of the progressive rock universe. Atmospheric laden, compelling and inviting music with layers of soft sounds with dreamlike qualities is the order of the day here, with a harder edged concluding cut that draws the listener away from the dreams and back to reality in a rather striking manner. For my sake I'd recommend this album to just about anyone that enjoys a band like RPWL in general and what that band has been doing for the last decade or so in particular.

Progmessor: November 2020
The Rating Room