THE LAZE

Filmed in 1925 by Rupert Julian, "The Phantom of the Opera" is one of those iconic silent movies in history that still draws attention of modern day artists. Throughout the decades many composers and performers worldwide took up to create new scores for this film. And in 2014, Belgian record-label One Way Static presented on compact-discs and vinyl another brand new "The Phantom of the Opera" re-score created this time by the UK Liverpool-based septet THE LAZE. It was the group's fourth full length album, which followed their 2008 effort "Spacetime Fabric Conditioner". Influenced by a history of classic horror soundtracks, THE LAZE blended together elements of Contemporary Classical, Progressive Rock, Jazz Fusion, Experimental-Metal, and Electronica in their all instrumental (except of the final track) effort. The band's members, as highly experienced in various music subgenres and really sophisticatedly minded sound-artists who have basically been together fifteen years, offered something more here than just another abstract soundscape or synth-orchestrated soundscore. THE LAZE's 'The Phantom of the Opera' features thoroughly composed and arranged (with lots of live strings, drums, percussions, synths, piano, clarinet, saxophone, violin, viola, and cello on board), brilliantly performed, and exquisitely produced music that fits Progressive Rock/ Contemporary Instrumental subgenres pretty well, though not without intriguing and refreshing stylistic deviations. Seamless flow of the tracks brings the effect of listener's involvements with both the dramatic plot and the music itself. In my judgement, this is nothing short of a modern instrumental Prog-Rock masterpiece with a dash of modern flavor. Highly recommended! The album's CD version (this one) includes 15 tracks clocking in at almost 50 minutes.

After the excellent Phantom release 4 or 5 years ago I thought the band had ceased to exist. So very pleased that the Laze are back with a bang with this cassette/download only self release. After many listens already, this is a fabulously varied mainly instrumental affair. Prog magazine compares the music with the likes of Magma, Mahavishnu Orchestra and VdGG. Praise indeed but this only tells half the story as it's music that really gets under your skin with every listen. The best "bonkers prog" album of the year and not for the feint hearted! Lots of highlights with the wonderfully varied Totally Sirius and the epic closer Scaffolds.

I listened to this album on The Laze's Bandcamp page where it has a more interesting album cover than the one shown here. The music of this UK group is fairly eclectic with elements of space rock, electronica, jazz-rock and even a Zeuhl flavour at times. I don't know if this is supposed to be some kind of concept album or not; the future seems to be a theme yet there are references to ancient Greece. There is a bit of narration and spoken word but rarely any actual singing. The use of sax and Moog (the big-ass modular one I'm assuming) stand out. Actually, the use of both gives the music a bit of a retro sound...but in a good way.

"Everlife" opens the album with an altered female voice making a speech. Then the track goes into symphonic jazz-rock. The main vocals are modified to sound robotic. Almost a Canterbury vibe in this song at times. Some talking along with cool sounding Moog over halfway. Starts to get more symphonic, then gets jazzier and then almost metal. Ends with a male voice speaking; the 'end of message' part was a nice idea. "Von Karman Vortex Street" in contrast is more playful and circus-like. Reminds me of early Mr. Bungle. Over halfway is some cool vocoder vocals and bass playing. I like the title of "Falling Up Ladders." This starts off almost a mix of fusion and math rock. Then it gets both more jazzy and symphonic. Gets more heavy and rockin' eventually.

"Glassdust At The Disablot" should have an umlaut over the 'u'. Opens with some sax and finger-tapping on guitar as martial drumming and Zeuhl-like chanting take over. Proceeds to get both funky and math-y. Then it changes to symphonic heavy prog. Some more chanting. Gets almost blues-rock sounding in the middle with lots of sax and guitar along with some indecipherable talking. Goes into a type of groove/riff with all kinds of vocal sounds. Then it gets very heavy with some metal-like singing. Shortly after it really grooves out with some more chanting. Later becomes slow paced with awesome Moog bass and chorused guitar arpeggios and sax...lovely. A highlight for sure.

"Time Horse" begins spacey with some narration. This continues until about 2 minutes in when the music goes through a few grooves. It becomes symphonic with more narration. I really like the jazzy and folky bit before 6 minutes; gets reprised with a hard rock edge later. The song returns to some of the earlier grooves. More narration to end the track as it finishes on a prog-metal note. If I remember correctly, the title of "Omphalos" refers to marking stones that connect different cities in the Mediterrean on a map. (Just look it up). The sound of bells and repeated Moog notes are joined by great martial drumming. Repeated minimal bass is joined by monster vocals that remind me of Art Zoyd. Immediately gets symphonic and ethereal afterwards.

The minimal bass returns later with some electric piano. Gets joined by some cool Moog and guitar arpeggios as the msuic turns symphonic again, only to go back to the martial drumming. Later gets more rockin'. The last few minutes of the track are symphonic with sax and guitar soloing. The last song is called "Run Into Space (The Ascension Of Nightjar)." It's 12 minutes long but that 12 minutes includes a bit of silence. There is a mini-song at the end. This sort of end-of-disc-bonus was common when compact discs were king. It's odd to hear this kind of thing on digital files.

The main song starts off dark and symphonic with more awesome Moog sounds. A lovely melodic line of flute (or similar) is later doubled on sax. Nice martial drumming. Goes through a few sections before that lovely melody is reprised. Gets more dissonant before the music stops after 5 minutes. Silence until 6:07 when you hear an earlier melody with horses galloping briefly. Silence again until 10:36 when it ends on a kind of synth-pop vibe with more narration. That ending part sort of reminds me of Moog Cookbook.

This is a great album, both looking backwards and forwards at the same time. The sound could be a little clearer but at least it is not too loud or compressed. This should appeal to those who like a mix of space-rock and jazz-rock (with other elements as well). If you don't like spoken word parts, this might turn you off. I'm hoping their next release will be as good if not better. This gets 4 stars.

I bought this album from the band's website last year and along with the debut album from Diagonal it has consistantly been the soundtrack to my life. Is it really worth the 5 stars I have awarded?I'm not sure other reviewers will agree but it is a modern prog classic in my humble opinion. Amazing to think that they have not been snapped up by a label yet!!! I was very impressed when I first saw them live with their powerful yet intricate style prog (fans of King crimson, Poisoned Electrik Head, Magma and VDGG should approve!) but after hearing the album and concept I really was blown away and continue to enjoy after many many playes of the album. I love all the tracks and agree with the previous reviewer that 'Glassdust at the Disablot' is the highlight. A hypnotic start withlots of chanting slowly builds up, then the barking sax which defines much of their great sound kicks in to give you a great cosmic journey which of course has the required number of time changes. For all prog fans eclectic this album really is a must. I know the band are fans of soundtrack music and Goblin's efforts in the horror genre. They seem to be taking that influence and putting together an interesting night at the FACT theatre in Liverpool next week. They are playing live to the 1925 film version of 'Phantom of the Opera'. Can't wait to hear what they come up with!

A good mixture of perverseness and strictness.

This Spacetime Fabric Conditioner was released as a limited edition only online but as honestly I say I cannot understand why they should not release this terrific album widely ... guess they hope this album can be listened to by more "aggressive" freaks than before? Anyway, eerie synthesizer movings with Daevid's "lazy" "freak-out" voices (somwhat comfortable!) can make a vigorous attack for (not against) our ears from the first track "Everlife". Yep, Perverse Stoner should be their motto I imagine - in my opinion can I say "Omphalos" be the "the sun and the moon" landscape in mosaic? Whatever happened, not simply an enjoyable upbeat stuff but massively complex and hard-touchable one each fine tune is (in some parts we enjoy Bob's guitar one-man stage, bravo!). An eccentric voice changer is also effective. Surprisingly the rhythm section (Daevid's bass and Phil's drums) can easily (for my ears) manage themselves and completely support the whole complex playing, then they can shoot harder and more metallic edges than as-it-is-said heavy metal bands around us. For me especially the fourth track "Glassdust At The Disablot" is very impressive, with underground rumblin' depth by all instruments and non-integrated but mysteriously well-united rhythmic sense. "Time Horse" has a sure, pure "Slow Space Rock" elements under the line, hypnotic spacey tempo and psychedelic magical demeanour (with slight clatter of hoofs) ... very meaningful.

Deep stoner texture with lazy atmosphere and ... definite delightful spice. A great conditioner.