EAST OF EDEN / ÉDENTőL KELETRE

I picked this one up in Budapest recently (a huge trawl that was) and have been pushing Android for inclusion (a second attempt allegedly!) , not because they are necessary to a collection but because there is a lot of potential here and are hence deserving. Prog from Hungary needs no introduction, the country has yielded so much quality music over the decades (no need to mention names, they are obvious- if not, PM me!). Here is a release that raises many complex issues about timing and style, a strangely original instrumental debut that doesn't really stretch the envelope and thus scratches the head. Don't get me wrong, this is interesting material with worthy playing that is occasionally ruined by sub-par sounds and textures. Close to recent Tangerine Dream in so many ways (a mixed bag I assure you!), displaying those hyper sanitized sounds that hurt at times. Sadly, I am a huge atmosphere freak, with a galactic palette of open-minded explorations that shows its head here often enough, such as on the dreamy opener daftly named "Prelude" but on the next piece "Flying a Kite" , an extended 8 minute + monolith , the primitive sounding drums and the cheesy (Brie, I believe) keyboards start their campaign of sabotage, ridiculing the masterful axe work from leader János Dudás, who twirls and whirls with the best slingers anywhere. He can emote, playfully cajole and later rage and rant ferociously but the Appenzeller synths (again the sound, not the technique) and that Rin Tin Tin (tinny) drumming really turn me sideways, lessening the amazing melodic quality of the arrangement. I guess they are aptly named Android then! There is no doubt in my mind that with a better choice of producer (a thumpier coloration to the rhythm section), this could be way up there in Prog Heaven. Alas, this same robotic folly is repeated on all tracks to follow. The title track "East of Eden" is perhaps the album's highlight , a moody slice of aromatic prog led by some insistent piano (a real warm tone would have been so much nicer), sibilant electronics and a wobbling synth bass, the whole verging on Yanni territory (do you get my drift, now?), saved by some spectacular guitar scales (at times hovering near Planet Hillage), a central theme of massive magnificence that winks at a guitarish version of JM Jarre and some more soaring fretboard picking. János Dudás, remember that name! The 4th track is an epic "XVIth Century of Hungary" and convinces from the get- go, burping bass and wonky tonk guitar slashes parading ahead of the show; Dudás unleashes finally a whopping foray, blister, bluster and some mustard (that little ditty was an exit for you, Lemming!). Giggling aside, this is tremendous music that is plastified into a downgrade by the prenamed suspects; why not use real trumpet instead of the shitty patch, for example! As for the percussives, Tin Drum is a Japan album, for crying out loud! The roaring guitar in the back is a joyride though and the bass is as resolute as it gets. The exit guitar barrage is pure splendor. The fact that the guitarist is all over the place, as befits a band leader the outcome swims in unabashed hope that the criticism will sink in and alter their next release. Or better yet rerecord this one, as its chock full of superb licks. The majestic "Mirror Image of a Dream" has a swirling opening fanfare (Camembert this time) and the "here comes the cavalry" axe drippings turn this into another amazing performance that again skirts the outer orbits of genius but never "beam us down Scotty". A frankly masterful melody pushes this one along convincingly. "Lost Love" is dreamily poignant, in fact almost spacey in movement, but never really takes off thus remaining a so-so track. The keyboards are savvy but the Gouda coating is not quite to my liking. Thankfully, the closer "Apocrif" really seals the deal here, a final epic that does justice to their rather noticeable talent. Liquid keys seem to float on a rustling percussion pond, a rueful organ searching its way amid the lotus leaves, with Dudás doing a fine Gilmour/ Knopfler/Trower rendering at first and later an extended guitar explosion that sears like a flaming Wal-Mart (get it?) to settle the matters with hardly a hint of uncertainty. In closing, this is great recording, with the appropriate players but definitely the wrong producer and tonal choice. Guys, go get some real analog keyboards and a smarter drum package and wow us somewhere down the line with a kick ass album that will prove me right. It was worth pestering a few admins to get these lads in. 3.5 cyborgs