OCCUPATIONS OF UNINHABITED SPACE

I don't know in which conditions this concert has been played but the musicianship is still impressive just like in their previous studio recordings. There is something fascinating in the skill of these musicians, combined with a great talent of complicated composition.

This music is surely too difficult, may be too cerebral to become commercially successful. The only way to enjoy it is to sit in a comfortable sofa in the evening with a glass of old Cognac or, at a pinch, an old Porto, with just a dim light. Then let you be carried away in a tumultuous journey during which you will never have time to rest.

It is impossible to classify it. I don't find any other group to which I could refer. Heavy influences, space influences, jazz-rock influences... are obvious' with others !

Names that spontaneously come in my mind are Djam Karet, Heldon (in 'Gengis Khan', for instance), Dream Theater (in the extraordinary 'Stones of temperance'), Ozric Tentacles (in 'Raviji'), King Crimson, Explorer's Club, why not Uzeb or even Spock's Beard (more especially in 'Brother Jack McDuff')' but that's just a personal feeling because it would be too reductive to associate them directly with one or even several group names and it would be aventurous to think they really have one of these influences.

You just need to like instrumental music with complex structures and technical maestria. If you really are prog fanatics, you can only be hypnotized.

I put 4 stars to their first two studio records. This one, recorded live in studio sound conditions, is a real best of and diserve at least 4,5 stars to my mind.

When keyboard player Chris Malmgren contacted me to let him know that Ovrfwrd were releasing a new album, recorded live in the studio, I was definitely interested. Recorded and filmed live at Pachyderm Studios in Cannon Falls, MN (Nirvana, Live, PJ Harvey, Soul Asylum) on August 5th and 6th, 2017 it features music from the first two albums ('Beyond the Visible Light', 2015, and 'Fantasy Absent Reason' from 2016) as well as new unreleased music for an album they are currently working on. Chris, along with Rikki Davenport (drums), Mark Ilaug (guitar) and Kyle Lund (bass) have producing some of the best instrumental progressive rock music for a few years now, and it is incredibly to realise that this a live recording as they definitely nail it.

Influence-wise I have previously stated that they combine the likes of King Crimson and Discipline in their music, and give that much of this is taken from their first two albums there is no surprise that this is still the case, but there are times when one thinks that Spock's Beard have had a part to play, or Arena, or Dialeto, while there are times when they bring in fusion and make it centre stage. There is a great deal going on, but the guys never lose focus and there is no room for any meandering as the intent is always clear and there is just no room at all for any vocals! Al four play to their strengths, and while Mark and Chris often are taking the melody leads, the contra-melodies from Kyle and the aggressive attack from Rikki all make the music what it is.

All in all this is an incredibly intense and enjoyable progressive rock album, one that I have no hesitation at all in highly recommending to anyone who enjoys this style of music. I suggest you play the video for 'Unitopia Planitia' and then buy the album.

Should this be noted as a live album, remake, best-of collection, or what? It doesn't matter in the end. During one weekend session, taking place at the Pachyderm Studio, they are performing carefully selected songs from their first two albums, which were originally released around the years 2014 and 2015. Though not exclusively. On top the quartet delivers three previously unreleased recordings which are intended to appear on the upcoming third studio album. This certainly makes curious. And indeed, first of all, the whole thing sounds completely rounded. A special snapshot, based on the same team spirit, when considering the short-timed circumstances.

While being completely instrumental in the making, those eight songs are showing a balanced relationship of composition and improvisation overall. First one and newbie Mother Tongue then explicitly proves what I mean. A main frame, rich in variety, shines while coming along with a clever space jam in between. Appealing, piano and electric guitar are perfectly complementing. Taken from the debut album 'Beyond the Visible Light' next one Raviji sounds matured concerning the fine-tuning. They are able to hold up this high level towards the finale. What basically means the songs constantly are featuring a rather complex fundament, instrumental virtuosity and enough catchy moments. Highly recommended.

The Heavy Prog quartet with a disdain for vowels broke a three-year silence with this interim project: part compilation; part sneak preview; and in large part a warm-up (hopefully) for actual concert dates.

Technically it's a live album, albeit performed in the controlled environment of a recording studio, over a whirlwind two-day session in early August of 2017. The setlist included thrilling interpretations of older tracks off the band's first two (highly recommended) efforts, plus a test-run of two stunning numbers from their forthcoming album "Blurring the Lines (A Democracy Manifest)". The wild-card of the bunch is an energetic update of the 1981 Iron Maiden instrumental "Genghis Khan", offering a signpost for newcomers to one of the band's many influences (mid-70's King Crimson is another obvious taproot). A quick, personal side-note: I've never been a fan of Iron Maiden, but after hearing this muscular cover maybe I should be...

Revisiting their own early repertoire was a smart idea, especially after such a long absence. Like a pair of snug shoes that fit more comfortably over time, the older material played here has improved with age, and benefits greatly from the dynamic spontaneity of a live performance, even in an Uninhabited Space without an authentic audience. Because let's face it, fellow Progheads: overdubs are for pussies. The true test of any real musician has always been an ability to deliver the goods without the safety net of cosmetic editing, and Ovrfwrd ace that exam with the easy confidence of seasoned professionals.

The effort is also being sold as a 'soundtrack' album: these live sessions were filmed, and according to the Ovrfwrd website a DVD will be on the market before the end of 2018 (a fast-approaching deadline by the way, guys...) Video samples have already appeared YouTube, so I will resist further comment until the official release, except to note the monster chops of all four players, obvious even in the audio version here.

It might be only a stop-gap release between studio albums, but this set accomplishes two vital goals: it succeeds is reestablishing Ovrfwrd as a musical force to be reckoned with, and (perhaps more importantly) shows what a powerhouse live act they are. All the music, old and new, was made stronger than ever in the mock-concert setting, removing any doubt that the quartet is one of the more exciting instrumental outfits to emerge this decade.