END OF THE AGE

After many repeated listenings, I can only say that this appears to be a "slightly tongue in cheek" nod to the pro-masters of old. Some beautiful solo work with strong clear vocals. Interesting arrangements. The only drawbacks are the canned percussion and weak lyrics. This is one to watch for in the future, once Mr. Saunders fleshes out a whole band. Fans of Glass Hammer may enjoy this style of Symphonic Prog.

This album boasts a number of interesting symphonic experiments that may bode well for future efforts. All 3 long tracks have intriguing sections, with the middle one being the most likable, thanks to a mellotron-laden early Barclay James Harvest feel. As regards the quavering 'tron, comparisons to Hostsonaten have some validity there as well. We find sections that sound almost minimalistic, others schizophrenic, and still others somewhat AOR. Sometimes a true solo effort such as this would benefit from other band members off whom to bounce musical ideas both literally and figuratively. But all in all, a decent album that warrants 2.5 stars, rounded down because there is nothing I really feel the need to come back to very often.

I bought the album used on Amazon for $1 plus shipping, I thought to myself, A Symphonic prog with 3 long songs and nice album cover for a $1 what the hell... I was into the biggest surprise of the year!

Firmly in the 70s context of things, End Of The Age has but three tracks'long tracks: "Copernican Principle" (18:23); "From Melting Made" (10:30); and "End Of The Age" (16:20). Zen's influences range from Pink Floyd, Genesis and Camel, to Billy Thorpe, Tangerine Dream and Ashra. Melodic quality is not compromised by track length, with shifting meters, stylistic swings, and plenty of Mellotron.

Long instrumental stretches dominate the second half of "Copernican Principle" with wonderful solos on analog-y patches beginning around 10:15, and requisite interplay between keys, guitar and [emulated] flute. The percussion is not organic, and minimally mechanical'it is programmed and well done. Drum patterns vary ad infinitum and invoke a very live feel'in some instances, there could be live drumming. Toward the end of this first, longest track, the keyboard melodies emulate Peter Bardens much more than Rick Wright.

Like progressive bands of the past, each of the three songs on "End of the Age" takes you on a journey for both your ears and mind. Once the CD ends, you find yourself hitting the repeat button to restart the journey. With many epic songs, I always tend to look at the time or the clock and wonder when this song will be over but not here.

"From Melting Made". It begins with the immortal Mellotron strings (in tune, so they're samples) and sweet Latimeresque guitar leading us in. This 2nd track sounds almost like it could have been recorded 3 decades ago, except for the production. It has a somnolent (dreamy, not dragging) conviction, and the vocals are sung with enough conviction to not overtake the tune's vibe. Yes, the 'Tron strings are heard throughout the entire track, for the most part, and dashes of e-piano skip across the waves. The sixteen-minute title track could have been fused onto the end of "Melting" (perhaps it was one long track, separated), though it is thematically different by way of the lyrics. Speaking of the lyrics, they seem more impromptu, or stream-of-consciousness, than those of the first two tracks'I definitely prefer the lyrics of "Copernican Principle" over the other two.

The single most startling thing about Zen Rock and Roll is that it's not a band at all, it's the product of one man: Jonathan Saunders. Rob Higginbotham and Eric Gentry are credited with "thematic ideas" on "From Melting Made" and "End Of The Age," respectively. Still, the band is one Jon Saunders, which makes this all the more impressive. An impressive pastiche of modern & retro values!

If you can get past the name, you are truly in for a BIG treat here. Highly recommended! 4.5 Stars