ON THE ROAD

Hear ye, hear ye! Another new talent has arrived in the form of Dutch newcomers Minor Giant, (not related to their British "Gentler" cousins, lol), a collective of inspired musicians that aspire for progressive rock that is accessible, grandiose, ear pleasing and superbly delivered (sublime playing and brilliant melodies), some will say that is prime neo-prog of the likes of IQ, Galahad and fellow countrymen Silhouette, among many others. Everything here shines quite brightly, long well-crafted arrangements that offer an entire banquet of sounds , from flighty synthesizers on a dense mellotron carpet, delicate piano and occasional raging organ, lasered by some slicing electric guitar. Two keyboardists supply the orchestrations, band co-founder Rindert Lammers and Jos Heijmans, while the guitars are handled by Jordi Repkes. Bass duties are expertly displayed by Harry Hartog, while Roy Post is both the other co-founder, as well as the drum meister. Knight Area's Gerben Klazenga supervises the sound and production, which gives this project its letters of noblesse. Everything is in place in order to achieve maximum enjoyment and yet?..

I am not at all famous for criticizing or nit-picking senselessly but I realize now that I have a problem with the vocals on this album, something I initially dismissed but that has since grown in stature and I am no longer able to pretend it's not there. Jordi Repkes may or may not possess a weak voice, which would only mean that they were poorly recorded but there is a lingering lack of lungs in his delivery, as if 'mouthing ' his singing. Not bad vocals by any stretch but absolutely no power, no modulation, no hysteria or grit. In all fairness, I slipped the CD in the car, boosted the volume to ear-splitting level and the outcome became even more obvious= great playing but I caught myself wincing often at the vocals.

The title track is a kick-ass 12 minute plus rambling opus, cleverly sculpted in two distinct phases, superb mellotron and vocals that sound like a weaker version of IQ's Peter Nichols, again a voice devoid of both power and presence! But this is a thrilling track musically, cleverly symphonic with strong winks at IQ. Quirky at times, shuffling along with impenetrable gusto and nicely loaded up with effects, the mood shifts to a harder edge that is most welcome, guitars and synthesizers ablaze. Little jazzy piano interlude amid the synth-swept canvas, the arrangement is well stretched out and carefully orchestrated. The main theme returns a second time with the hot mellotron whooshing ragingly. A truly promising beginning, verging on a classic prog epic!

The vaporous "Dream with Eyes Open" is another luxurious aural voyage, funneled by some desperate Repkes guitar stylings that will shock the uninitiated casual listener, doing 6 string pirouettes that defy gravity. Lots of keyboards on as well, synths and blasts of mellotron to add to the depth. This is arguably the most satisfying piece here, just a perfect prog epic, clocking in slightly past 10 minutes, again high marks for composing material that captures ones attention from the get-go. Vocoded vocals give the intro a gaseous appeal, a lovely melody to boot, with compact drums, contrite bass and a burly guitar disposition as the tune explodes into a rambunctious affair. Feathery synthesizers recall the legendary stylists (Manfred Mann) as Repkes does a little Jan Akkerman to fit the bill as both den Hartog and Post thrust this one along. Championship piece!

Three shorter songs follow and unfortunately, the first one constitutes a bit of a letdown when compared to the previous two dozen minutes! More accessible as a pop ballad, the conventional and short "Lead Me Home" is lame and it's precisely on such a vocal-oriented track where the spotlight is on the microphone that one has to concur with my colleague friso in relation to Jordi Repkes' vocals lacking oomph and hence, impact. The wee synth solo is great but the voice is reedy at best. This is a skipper.

Thankfully the middle piece is a return to swirling brilliance with the determined "Hand in Hand", a typical Neo- prog ditty, possessing all the classic elements in scope and effect, sounding like a lost Genesis-Trick of the Tails track. The vocals are a bit insipid and sound shallow, so the initial impressions are not subjective to some deluded interpretation, they are really acceptably weak. On the other hand, the thrilling guitar solo is anything but, a twisted guided missile of emotion and feel. The synthesized follow-up no slouch either, these young lads can play. Vinyl grit adds an old school veneer to the swooping symphonics.

"We Are Strangers Here" is again closer to convention and suffers from some 'hum-ho-ness', an okay sung track that has a slight nasal tone that I sadly pick up, quickly and effortlessly anesthetized by the instrumental playing and melody. There is still a fair amount of pleasure deriving from the emotions expressed, this will do.

The finale is the longest piece here, "The Last Road" clocks in nearly 16 minutes of progressive expression and the band throws everything into the fire, starting out sunshiny, fresh and upbeat, before gradually delving into more melancholic ruminations that are best expressed with the lead instruments, two talented keyboardists and a slick axe player. Both Lammers and Heijmans really lather up the ivories (Ivory Snow?) and unleash some nifty interplay. The second part is as powerful neo-prog as one can hope for, the grandiose guitar rant is full-on tremendous! Post drums like a confident madman and genuine applause should greet this kind of exuberant playing. Shall I bother to talk about the vocals? Nah. They are what they are.

Get a cool and confident Dutch singer like De Graeve or Smits, and they will become Major Giant! Pretty good and promising debut, though.

3.5 underage hulks