TARDIGRADE

Talk about progressing! Swedish prog band Simon Says finally fulfills its obvious destiny with this scintillating piece of brilliance. With 1995's "Cenwein" and the even better "Paradise Square" released in 2002, it was only a question of time and maturity that would propel these lads into Prog's version of nirvana , a.k.a. by our own Erik Neuteboom as that elusive place he calls (and we all aspire to) , "Prog Heaven". I was never really apprehensive as long as the lead would be kept by Stefan Renström, a sizzling bass virtuoso and competent songwriter/arranger/producer whose day would come. Well, that day is here and now. My esteemed PA colleagues Erik and Tarcisio both gave this new recording a resounding thumbs up, distributing 4+ ratings with seemingly no hesitation. That kind of communality is always impressive, so how could I resist enjoying this! Well, after only a couple of spins, I believe ""Tardigrade" to be even better than I expected. What a bloody delirious symphonic prog ride this is , wearing its references well and unashamed, the boys certainly go for the one. The festival roars onward straight from the gun, "Suddenly the Rain" is a 14 minute epic stunner with Renström's buffalo bass leading the way, astute keyboardist Magnus Paulsson throwing in all manner of organ, synthesizers and mellotrons, while guitarist Jonas Hallberg contributes both delicate acoustic work and a multitude of rousing guitar fireworks. Fans of IQ, The Flower Kings, Yes, Galahad and Satellite will certainly revel in the blitzing pace, the numerous twists and loops but I must say the musicianship level here is ridiculously self assured, verging on genius. Drummer Matti Jarlhed keeps things ultra tight, a little hint of Le Orme's Miki Dei Rossi in his solid timekeeping, while vocalist Daniel Fäldt remains an incongruous acquired taste but whose obvious skills remain uncontested. The arrangements repeatedly veer from the gorgeous refrain into adventurous instrumental outings, searching out new areas to explore. What a beginning! Whew! The title track speeds along at breakneck speed, zipping amok within dense poly rhythms, nearly into complex Gentle Giant territory, very taut, very precise. The organ churns, the guitar slithers reptilian, the bass punctuating the fury, winking sadistically at the manic percussor. "The Chosen One" where sweet acoustic guitars chime in a breezy ballad, washed with haunting mellotron and a serene vocal, out of the blue exploding into a massive symphonic prog blowout that would make Yes say Yes, chock full of the usual suspects. Again, a small salute to Stefan whose bass just anchors all this bedlam nicely. A Vocodered voice only adds to the thrill. Jonas Hallberg shows his considerable acoustic/electric mastery on "Moon Mountain", a lovely interlude and respite from all the previous hysteria. A plethora of sampled special effects atmospherics ushers in the rather medieval-inspired 10 minute +, the masterpiece "As the River Runs", the band obviously having researched my avowed weakness for Renaissance/baroque inspiration, here augmented by some somber Mellotron tapestries, Fäldt's voice pleading convincingly. Supple piano adds to the furious mix, suckering the bass to rumble even louder, harassed by some howling synth blasts. When Hallberg does his pseudo- Steve Howe pedal steel flights, carousing openly with Moogs deliciously insane, Oooh Erik, this IS Prog Heaven! Where is my white flag when I need it! "Strawberry Jam" seems to be just that, a recorded moment where the lads just decided to let it rip and may the tapes catch every note. Incredible little ditty full of fury, speed, technique and gusto, featuring a short bass solo that will make Reingold, Hopper , Jones and company take notice. "Circles End" actually showcases Daniel's vocal ability, a perhaps too rich for prog voice that has a hugely contemporary sound which is far removed from the classical male rock voice of yore. Some sultry flute and oboe add plenty of emotive colorings to this pastoral, convincing piece, decorated with some stunning synth and piano work. The band has learned to augment their sound palette but also judiciously know when to add what where. The term is maturity and the next 26 minute whopper will be the litmus test here for most fans, because as magnificent as the music has been up to now, a lousy, misguided or plodding epic can be the "Bacio della Medusa" (Kiss of Death). Hi Finn! From the very first seconds of "Brother Where You Bound", they go straight for the undefended jugular, Daniel Fäldt sounding like a cross between Peter Nicholls and fellow Swede Twin Age's amazing vocalist, with fiery Hammonds ablaze, the monstrous bass shooing every one from its destructive path and the beat hammered mercilessly. Obviously with such a wide berth, all the musicians get to stretch out there considerable chops. Magnus Paulsson is the new century's Wakeman, displaying a dizzying command of all sorts of keyboards, shining significant charm on all his forays as well as superb technique. Hallberg can supply some riveting leads, combining passion and fire, constantly proposing at least a half dozen new tones and textures. Hey, did I mention the bass? When I am asked what constitutes a masterpiece prog album, I usually stick to same old time worn credo: listen to the entire disc while concentrating particularly on one instrument (but still hearing the others) and after alternating the exercise with all main instruments, you will know exactly just how magnificent that recording is. Going through this album while just listening to the bass should be enough to convince most proggers. What an epic smorgasbord this is! "Tardigrade" is certainly among the top symphonic prog albums of 2008 and probably one of the best ever from Sweden. That's saying a lot (well it was a long album and even longer review). The Flower Kings better look over their shoulder, Simon Says: It's a Beautiful Day. Skoal! 5 Swedish golden crowns.