SCIENCE NV

As with the first set, this also contains a long number in the 27 minute "Roderick's Tale". There are also guests involved again, but not nearly as many as on the debut and no saxophone, which definitely gives a very different feel. Also, the musical repetitions that worked on the first part feels far more laboured here, with a result that quite quickly I found that I was struggling to get through it, which is never a good sign. It's not that it is bad album as such, but rather that there just isn't enough direction and pace within it. With no understanding of the storyline due to it yet again being issued with an insert, and no booklet, I did start to wonder what was going on. When the music started to become more complex and move in different directions, I found myself trying to work out where I was being taken and what the rationale was behind it. It was hard to pick up on the musical and lyrical threads, and trying to weave them into a collective whole was rapidly becoming far more difficult.

That it is an ambitious undertaking is never in doubt, but I found myself coming away wondering if I had heard a masterpiece or missed opportunity, feeling that it is was probably more the latter than the former. As a complete album, it is the first that works best, while the second doesn't really contain the same level of vitality or different vocal styles that had such a positive impact. For any band to release two albums in the same year is a big ask, and there are few modern prog bands that have managed to do so, and although it is commendable to have put these out close to each other to complete the story, I am not sure if that was exactly the right approach.

ScienceNV was formed in 2005 by Larry Jay Davis (guitar and bass guitar), David Graves (keyboards), Jim Henriques (guitar and keyboards) and Rich Kallet (drums). They released their debut album, 'Really Loud Noises' in 2008, following it up with 'Pacific Circumstances' in 2010 and 'The Last Album Before the End of Time' in 2013. Whereas those albums were instrumental, this time they have expanded the band and expanded the concept, so instead of releasing one album every two or three years, they have now released two albums in 2018 which tell the story of Prester John. Apparently Prester John was a ruler of legend in the ancient world. His kingdom was rumoured to be in various parts of the world ranging from India to Central Asia and Ethiopia depending on the century. A letter purporting to be from Prester John circulated around Europe late in the twelfth century and at least one expedition was sent to bring greetings to the ruler and his kingdom.

I must confess to being new to both the story and the band, and although this is an independent release it would have been nice if they could have stretched to a booklet explaining what was happening, instead of just an insert. What I do know is that after a short introduction 'Fanfare' we are treated to the longest song on the album, the thirty-two-minute 'Eloise's Tale'. The total length of the album is 55 minutes, with eight songs, so it shows just how dominant this is. The quartet have added a number of additional singers and musicians to this album, and in some ways it is hard at times to understand exactly what is going on in terms of musical progression. They definitely have more in common with bands from the Seventies than today, with Gryphon probably being top pick, but there is also a great deal of jazz, as well as more medieval themes and styles. It is a complex, layered, piece of work, often with acoustic guitar at the base.

There are some times when the vocals appear a little sharp, but that must be by design as generally the singing is very good indeed. The more I listened to this album, the more I felt quite enthralled by it, as it is just so very different to everything else I listen to. I could imagine a young Robert Wyatt being involved with this, with gentle orchestrations also bringing an additional edge. There are times when it doesn't work quite as well as it could, but overall this is an intriguing and interesting album.

This US band with the strange name, linked with the relation of all members with somekind of scientific field, comes from San Franscisco, California.Larry Davis (guitar, bass), David Graves (keyboards), Jim Henriques (guitar, keyboards) and Rich Kallet (drums) are the four pieces of Science NV, which debuted with the album ''Really Loud Noises'', an indepedent work from 2008.

Of course there are no really loud noises in this all instrumental release, I would call it more really sophisticated noises, and what impresses the listener but simultaneously hurts the album's consistency is the different sounding tracks of the album.''Devil in Witches' Hands'' is like listening to GUADALQUIVIR, great Latin-spiced Jazz/Fusion with excellent guitar work, while the ''Bolero'' adaption has both strong and weak parts.The opening cheesy synth parts are followed by nice spacey keyboards and symphonic grandieur.The show goes on with ''Rim'', like listening to a more complex and keyboard-based RUSH of the 80's, while ''Mountain Pass Blues'' is an attempt by the group to come up with a soft, jazzy sound, based more on atmosphere than technique.''Chacooonne'' is another different story in the line.A mix of KING CRIMSON-influenced Guitar Rock with Orchestral Music, producing fantastic soundscapes, really nice and original music.''Number Five'' reminds me of DAVID SANCIOUS softer moments, delicate and accesible Jazz/Fusion with the piano leading the way.''After Math'' is closer to modern Art Rock, a low groove texture with a nice electric solo supported by background keyboards and a hypnotic rhythm section, while ''Jalapeno Swamp Gas'' is a mix of Electronic Music and Fusion, based on spacey synths and a nice, jazzy guitar delivery.This works as an intro to ''Hard Break '', which is actually pure Electronic Music with a symphonic tendency, despite the short guitar presence.The closing and longest track of the album ''Violet Sky/Karnival'' is unfortunately boring Electronic/New Age Music of limited diversity and interest.

I am really surprised how these Americans came up with such an array of different musical weapons.Most of them are quite good, rising logical questions of their music education.Not very balanced work but certainly well-executed.Recommended overall.