THE FADING THOUGHT

a glimmer of hope

During these dark times, this album comes as a lifeline. Deeply personal, extremely well-crafted, cathartic and adequately bizarre to cause prog excitement. Jargon retains the goth/dark-wave aura of Verbal Delirium's sound in his personal debut and does away with most of the heaviness and guitar distortion. Interestingly, there is a glimmer of hope and optimism coming out of an abundance of minor chord progressions.

Jargon creates on piano, mostly modern classical/cinematic music, which filters influences from 70's Genesis (Time is Running Out) and sounds resembling great (but disparate) classic and more modern composers - Greek Manos Hatzidakis and Russian Gleb Kolyadin come to mind. Marillion and Saviour Machine hints can be heard in the dystopic ''How Can I?'', Jargon's soft spot for Muse is revealed in (perhaps the least impressive number) ''Window to the World'' while the aura of Peter Hammill is - as expected - more than evident.

The three instrumentals are stunning pieces of self-expression with impressive buildups and the violin literally and metaphorically striking some sensitive chords to the point where I am brought to tears in the opening ''The Film'' and ''Light'' (feels like Rock Progressivo Italiano has managed to creep in the latter - reminds me of Gnu Quartet's recent work). The bombastic ''Dance of the Framed Words'' makes me smile and wander back to Gryphon's ''Red Queen to Gryphon Three''.

It is unlikely that you will find this album any less than intriguing. A highlight for 2020 with thanks owed to the composer for sharing his inner, fading, thoughts...

4+

This is the debut solo release from Jargon (who provides vocals, keyboards, and piano), the lead singer from Greek band Verbal Delirium. He has been joined on the album by Nikitas Kissonas (guitars), Leonidas Petropoulos (bass) and Verbal Delirium drummer Wil Bow. Another very important part of the album is the use of a string quartet, whose music was arranged by Kissonas who is also ex-Verbal Delirium but who I will always think of as Methexis, whose debut album 'The Fall Of Bliss' I reviewed some 12 years ago (and I note Jargon provided piano on one track). This is very much a singer's album, a songwriter's album, based primarily around the piano. Sung in English, the album revolves around Jargon and there are times when he is the only player involved, or just with strings to accompany him. There is no need for the band to all be involved, and the result is an album which has room to grow and develop.

There are times when it is incredibly layered, others when it is quite simple, so much so that one never really knows what is going to happen next. Bow is happy to provide rim shots as much as simple snare, often playing more in a jazz fashion than normal rock, while Petropoulos has a strong approach which keeps it all tied together. This allows Kissonas to do whatever he likes, which even could be nothing at all, or providing string riffs or solo. Even the use of electric piano at some points does not come across as twee, but rather something which is being used for a particular sound. The use of a real string quartet as opposed to using synths definitely provides more depth and breadth, allowing for more force and presence to be deployed.

Strong vocals, rough and anguished at some point, delicate and almost playful at others, centre the album. The band I kept being reminded of this is Discipline, as there is something about this which really makes one think of Matthew Parmenter, although possibly with even more piano. It is theatrical, passionate, emotional, and one of the best albums I have heard from Greece in some time. Jargon may not be a name known to many but based on this album that will soon change.

Though familiar from the their work with Verbal Delirium, this is considered a solo effort from one of the VD members, singer-pianist Jargon. From Greece, the lineup includes the often subtle contributions of guitarist extraordinaire Nikitas Kissonas (who has his own page on PA as "Methexis"). (I have to admit, that alone got me excited enough to check this album out.) What turns out to be the biggest shocker is the tremendous effect Nikitas' strings arrangements have on the music--on the whole album. The pervasive and often predominant chamber music feel is, to my mind, a strength of this album as well as a display of one of the greatest means to the full realization of the potentialities of progressive rock music: the successful blending of classical with rock.

1. "The Film" (5:33) opens with beautiful grand piano playing in a soft, warm, romantic classical style. In the second minute Jargon's piano is joined by strings--most prominently a viola--and in the third minute cello. An absolutely gorgeous chamber song. At the 3:00 mark there is a slight shift as piano works back into the lead while high-register long-sustained violin notes provide the accompaniment until 3:57 when the rest of the strings joins in to create an absolutely stunning harmonic weave. Wow! What am I in for?! (10/10)

2. "In Search of the Invisible Thin Line" (4:53) piano and strings punctuated by rock band instruments to create a dramatic weave over which Jargon sings in a plaintive though restrained tenor. (I say "restrained" because I can tell he has much more power in reserves--which he begins to hint more at in the chorus.) After the second verse and chorus an instrumental passage ensues that is quite theatric in its arrangement and use of frequent punctuated "bridges" threaded within the otherwise smooth flow of the chamber composition. Such a refined composition! It's only shortfall is in the fact that Jargon never really lets go to reveal the full power of his voice (and, I must admit, the lack of any "breakout" moments for guitarist Nikitas Kissonas). (9/10)

3. "Dance of the Framed Words" (2:38) Theatric-cabaret-like instrumental dance interlude with some nice guitar fire in the second minute and beyond. Nikitas goes from from raunchy, slash style to screaming infinity guitar and then frantic Robert Fripp all in two minutes! (4.5/5)

4. "The Fading Thought" (7:17) There's a bit of QUEEN/LUCIFER'S FRIEND in the sound and stylings within this one before it goes to an instrumental section at 1:20. Nice guitar over the brooding piano-jazz foundation. When vocals return it's a powerful MATTHEW PARMENTER-like performance (especially in the choruses) over some very DISCIPLINE-like music. This is remarkable! One of the best songs I'ver heard from 2020! (14.75/15)

5. "Light" (3:54) piano and strings in a more uptempo chamber arrangement. Beautiful! (8.75/10)

6. "Time Is Running Out" (6:54) a classic art rock song base that sounds as if it comes from both 1970s QUEEN and PETER HAMMILL with several strong hints of BURT BACHARACH's orchestral charts. Jargon feels as if he's losing his momentum in the sixth minute but is saved by the instrumental finish. (13.75/15)

7. "How Can I?" (6:22) a more JOHN TOUT/RENAISSANCE-like classical bombast opening (with a "Mother Russia"-like chord base), pulls away for the entrance of Jargon's whispered vocal. In very short order, the song bursts forth into a heavy, more DISCIPLINE-like palette and feel as both Jargon and Nikitas let loose with impassioned vocals and emotional lead guitar performances, respectively. A quiet interlude in the fifth minute allows for some ominous That Joe Payne-like vocal theatrics (demonic laughing) and music before we break back into the full-scale sonic barrage for the finale. Wow! That went by so fast! Very powerful! During the third and fourth listens I was able to really appreciate all that the strings brings to support the power and emotion of this song. Astonishing! All that progressive rock music should aspire to. (9.5/10)

8. "The Last Temptation" (7:10) more beautiful cooperation between piano and strings opens this before giving way to a piano-only-supported low register vocal entrance. The second verse brings in the strings and while Jargon doubles his voice to sound like the lead vocalist from either PHIL LYNOTT (THIN LIZZY) or the 1980s band LOVERBOY. The choruses only reconfirm Jargon's Matthew Parmenter connection. The middle section surprises me a little with its continued repetition of the previous sections, but the choruses continue to help me avoid getting bored. At the 5:00 mark there is a pause and then launch into a very DISCIPLINE-like emphatic chorus. Then the song smooths out into a kind of traditional rock jam-outro with slow fade and rather sudden cut into the album's final song. (13.25/15)

9. "Window to the World" (4:54) probably my least favorite song on the album as it pounds its music and impassioned message of personal philosophy into my brain with little or no let up or mercy. (8.5/10)

Total Time 49:35

Wonderfully dramatic song constructs exploring the best combinations and permutations of classical piano and string quartet with bombastic prog rock instruments and styles. Though Discipline and Peter Hammill come to mind often, the music here stands amazingly well on its own--holds no debts or allegiances to anyone else. Plus, there is also an oft-present artistic flair more akin to Freddy Mercury and Queen.

A-/five stars; a minor masterpiece of masterfully constructed progressive rock music--one of the best albums you'll hear from 2020! Jargon and his team are a revelation--they're genius!

Review # 110. The Fading Thought is the debut album of Jargon, the lead singer and leader of the Greek band Verbal Delirium. I know the band, I have all their albums, I have seen them on stage lots of times, so I am very familiar with them. When I heard about Jargon's first solo effort I knew that it would be good; I just didn't expect to be THAT good!

The Fading Thought is a modern masterpiece in my opinion, and I'm not trying to advertise it. I bought it as soon as it was released, and I keep listening to it since then.

I will not get into details for each song; other people did it before me, so there is no reason to do it again. But the songwritting, the production and the structure of the songs are superb! And for that we also have to congratutale Nikitas Kissonas who did the orchestra arrangements.

Do yourselves a favour; find and - at least - listen to this album! In my opinion is one of the best releases of this year, without a doubt. 4.5 Stars from me, but I will give 5.0

The Fading Thought is the debut solo album of Greek keyboardist Jargon. Prior to this solo effort, he was one of the founders of the progressive rock band Verbal Delirium. There are some obvious sonic overlaps, but he's managed to differentiate his solo sound from that of his band. The band's efforts hew heavily toward certain prog-rock clichés; organ and bombast permeate the music. Jargon's solo album, though, borrows extensively from chamber music and film scores. Piano and strings are given prominent roles throughout The Fading Thought.

The opening track, "The Film", lacks traditional rock arrangement altogether. It's a quiet, bittersweet instrumental led by piano with lush string backing. This flowing composition serves as a strong introduction to this record's overall tone.

"In Search of the Invisible Thin Line" follows with some sinister interweaving of rock and classical elements. Despite the darkness of the opening moments, the chorus of this song is surprisingly sweet. (I understand the prosodic reason for saying "Invisible Thin" versus "Thin Invisible", but the phrasing does strike the ear a little oddly.) Often when artists incorporate strings into their music, it can sound tacked-on, but the integration in Jargon's music is seamless and complementary. "Dance of the Framed Words" segues smoothly from the closing moments of "In Search of the Invisible Thin Line" and artfully plays demonic piano, violin, and guitar lines against quieter moments subtly suffused with jazz touches.

The album's title track features some particularly David Gilmour-esque guitar lines in its first few minutes. Around the three-minute point though, a sudden shift occurs, and a quiet, palm-muted riff takes center stage, topped with electric piano that sounds straight out of a Porcupine Tree song. The song's climax is one of this album's highest points. This intense song is followed by the airy instrumental "Light", which, much like the opening "The Film", features no rock arrangements.

"Time Is Running Out" channels some A Passion Play vibes in its bouncy, yet dark rhythm. The guitar solo is a bit schmaltzy for my taste, but it's a forgivable sin in this context. "How Can I?" features more echoes of Steven Wilson's work, with the opening being especially reminiscent of "Raider II". Once the song moves past its intro section, though, Jargon reasserts his own unique sound. Heavy effects are applied to the piano at moments, and it contributes to the sinister, downward-spiraling feel.

Despite its apocalyptic title, "The Last Temptation" remains fairly light through most of its runtime. The final two minutes see the intensity cranked up, however. The Fading Thought closes on "A Window to the World", one of the most consistently-heavy pieces on the album.

The Fading Thought is a strong debut effort, and my initial impression is that it is considerably more enjoyable than Jargon's work with Verbal Delirium. The blend of artsy piano-rock, chamber music, and menacing heavy prog comes together brilliantly.

Review originally posted here: theeliteextremophile.com/2020/06/15/album-review-jargon-the-fading-thought/