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(63 min, Musea) TRACK LIST: 1. Overture 5:43 2. Astral Transascension 7:12 3. Isle of Dislexia 3:14 4. Medicine Man 5:30 5. The Hidden Room 3:42 6. Crossing 5:10 7. My Tantric Gatito 3:49 8. Eclipse 2:48 9. Wanderlust 2:38 10. Eternity 1:57 11. Reprise 1:35 12. Delirium 5:00 13. Falling 2:23 14. Slightly Behind All the Time 5:57 15. Gaia 6:10 All tracks: by G Sherman, except 7, 15: J Sherman, 4: Cook & 6, 14: Glass. Produced by Glass & J. Evans. LINEUP: Greg Sherman - Hammond, Roland, Grand Piano, ARP, Korg Jeff Sherman - electric bass, bass pedals; keyboards Jerry Cook - drums & percussion With: Phil Miller - guitar (15) Hugh Hopper - bass (3) Richard Sinclair - voice (15) Paul Black - percussion (15) Prolusion. The first part of history of the American trio GLASS begins and ends in the seventies. The group was formed in 1973. Four years later, they had one studio album ready, and one compiled of their best live performances. Unfortunately, no labels were interested in releasing the material at the time, which resulted in the band's break-up in 1979. Glass's brainchildren saw the light of day only in the new millennium, as Musea Records issued them as a double CD album, "No Stranger to the Skies". The set has achieved a notable success among the Prog Rock fans and critics both. Having perked up, the trio reformed and went on recording a completely new material. Here it is, entitled "Illuminations". Analysis. To say simply and unpretentiously, the new music of Glass is vastly, at times radically, different from their older stuff. Gone are elements of Jazz-Fusion, and generally, this release has little to offer for the more or less adventurous listener. There are relatively few tracks here featuring the entire trio, and much of the music sounds like Greg Sherman's solo effort rather than a Glass album, which is in some ways explicable, considering that Greg penned the majority of the pieces. Although his arsenal of keyboards is still credited as being consisted almost exclusively of famous vintage models (see lineup above), he uses them much less frequently than modern synthesizers and so-called electronics. What I am talking about here is not criticism as such, especially since the band still retains one of the most important values of any true artist, namely originality. But the matter reflects the feeling of a fan learned that his heroes in many respects betrayed their symphonic roots and turned towards a more accessible and more fashionable sound. Only four out of the fifteen tracks on the album represent a full-fledged symphonic Art-Rock by dints of a classic keyboard trio: Overture, Eclipse, Delirium and Slightly Behind All the Time, though the third of them is overloaded with an absurd speech (perhaps as the title calls for), which rather strongly mars the impression. While structurally accessible, they are highly complex metrically and, besides that, are filled with a truly magnificent atmosphere. Wanderlust and Reprise are similar, but are extremely straightforward, emphasized on melody, featuring no tempo changes. The last composition, Gaia, is a kind of symphonic extravaganza, with certain avant-garde tendencies. It would've been very good had it been free of random solos and (once again) colloquial experiments, no matter whether they're done by 'Big Names'. The rest of the disc plows through fully predictable chord changes etc, though a couple of Space Rock-like compositions, Astral Transascension and Eternity, and also a sketch of Classical music, Falling, are at least beautiful. Medicine Man and My Tantric Gatito are, respectively, just drum and bass solos, which would have suited a concert recording, but seem odious on a studio outing. The remaining three tracks: Isle of Dislexia, The Hidden Room and Crossing are something between ambient and electronic music, abundant in sequenced sounds, even though the latter has a swinging axis provided by the rhythm section. Conclusion. I understand I would've been much more positive if I were into electronic and ambient music, but I am not, thankfully. What I've gathered from Glass's new music is that they have well learned the prevalent tendencies on the modern Progressive Rock scene. Considering the distinct originality of the band's sound, I can count "Illuminations" a good album overall, but it doesn't mean automatically that I feel satisfied. VM: October 14, 2005
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