THE PROMETHEAN SYNDROME

Through the dark, hidden paths of ProgArchives, I was provided with a promotional copy of this album. Azureth - a band not known to me before - turned out to be one of these surprises that you run into every once in a while. The band claims to be influenced by bands like Yes, Kansas and Genesis, but have managed to make it into something of themselves. I have to admit that on occassion Vince Font's voice reminds me of Marillion's Steve Hogarth - another influence that's not mentioned? The sound is definitely 70's like, but at the same time quite modern - not surprising given the instruments used, like a 1975 Fender Custom Telecaster, in combination 21st century compositions and modern recording and production techniques.

The instrumental title track The Promethean Syndrome is the introduction to, as the band calls it, 'a conceptual Prog-Rock Opera about a man who tries to fights against an egalitarian society where intellect is discouraged in favour of uniformity'. A dark keyboard melody guides us into his world, shortly accompanied by the rest of the band for a close to 4 minute prog fan catching introduction. After this, the piano opening of Being Alive changes the atmosphere and creates the path for the first vocals of Vince Font on this album. And what a vocalist he is. The first time the album was in my CD player, I got distracted by something else, until he started singing. My attention was caught and I really wondered whether I was listening to a young Peter Gabriel, or to Steve Hogarth in good shape. The singer on Azureth's debut album Yesterday's Future Tomorrow's Past, Kenneth Aspeslåen, was far from bad, but Vince Font is more than just a replacement. Breakaway is another instrumental, with a quick fingered guitar and keyboards taking turns - but without showing off. There's a synth organ in here that I wouldn't mind replacing for a Hammond... The organ returns in Chains that Bind, a song that in a way reminds me of Aragon's Solstice (on their 1988 debut Don't Bring the Rain). Beyond the Boundaries is a great, atmospheric track of just over 10 minutes - for which old Genesis, Kansas, Camel or early Marillion would not have been ashamed - recommended to those who are investigating Azureth for the first time. Here, Azureth's own sound signature shows through. It's not just keyboards and technical guitar work, sometimes a guitar needs to be played as a rhythm instrument to make this really rock - and it does here. After this long track, we're back to an instrumental journey - this time joining in on the four minute Flight of Prometheus. A great piece of rock, with loads of guitar, bass and keyboard solos and improvisations. Recommended to be listen on head phones at night - in bed and with the lights out. This applies also to the following Shadow of a Man II - which has a laid back acoustic intro, followed by great organ work. There's a bit of drums and bass guitar behind the organ that is just sufficient to complete the sound and not disturb it. Via Into the Nowhere, another piece that shows how Azureth can create an emotional atmosphere, we end up in the Garden of Ignosense. A varying track, with a multi-vocal piece as well, and a nice prologue to closing epic A New World, which lasts almost 16 minutes. Contains some pulsing keyboard and great bass work in the rockier pieces, again as a background for great vocals.

The Promethean Syndrome has a very clear and crisp production - which is not too common among private releases. All instruments can be heard clearly, a fitting reward for the musicians that play them. The only possible improvement in that area according to my ears would be put the drums a bit more forward in the mix. Details on the concept, it's sources in literature, as well as the lyrics can be downloaded from the web site, after entering a code that comes with the CD. This band deserves to be up the charts along with other hidden - yet different - treasures like Bacamarte and Circa. Highly recommended to anyone looking for, as Erik Neuteboom calls them, 'lesser-known prog bands' - and to fans of classic and symphonic prog in general. Now what was the definition of a cult band again?

This five-piece formation contains members from both the USA as Norway, I had never heard of Azureth so I missed their debut CD entitled Yesterday's Future, Tomorrow's Past (2004). Now I am very grateful that I purchased one copy of Azureth their new CD The Promethean Syndrome in order to review it, what a great album! My good friend and fellow Dutchman Angelo (he also added Azureth to PA) asked me to have a look at Prog Archives, there I noticed a lot of 4 and 5 star reviews, now let's quickly make an musical analysis of this awesome new progrock band.

One of my first actions to make a review is collecting information like reading the biography and discography and having a look at the instrumentation, especially because of my fascination for 'vintage' instruments (like a Rickenbacker bass guitar or Hammond B3 organ). Well, Azureth didn't disappoint me on that front, in contrary: the guitarplayer owns a Fender Telecaster (Steve Howe uses it to play with power) and an acoustic Ovation DeLuxe (featuring that distinctive sound and shape) and the keyboardplayer has a wide range of great vintage synthesizer sounds like the modular Moog (Keith Emerson in early ELP) - and Yamaha CS80 synthesizer (Eddie Jobson in UK) and he also uses the Yamaha P80 digitale Grand piano to create a warm Grand piano sound.

And now the music, what a captivating musical experience! Azureth delivers 10 alternating and tastefully arranged compositions with a clear production. The one moment the sound contains bombastic keyboards and howling guitar or a heavy mid-tempo with flashy synthesizer flights and fiery guitar solos, the other moment you can enjoy mellow and accessible parts with warm twanging acoustic guitar and Grand piano or acoustic rhythm guitar with vocal harmonies. Thanks to the many fluent and exciting shifting moods Azureth succeeds to keep my attention for every second, I am delighted about the frequent excellent solos on guitar (from sensitive to biting wah-wah drenched) and keyboards, especially the use of the pitchbend button is sensational like in Shadow Of A Man II (wonderful changing climate from dreamy with acoustic guitar and Grand piano to an accellaration featuring bombastic keyboards and fiery guitar) and Into The Nowhere (spectacular guitar and keyboards). But the ultimate thrill on this CD is the final composition, the epic A New World: first a slow rhythm with a bit sultry atmosphere and soul-inspired vocals, then a cascade of shifting moods (from an accellaration with propulsive drums and fiery guitar, a beautiful part with Grand piano and acoustic guitar, an interlude with heavy Hammond and fat Moog and a blistering wah-wah drenched guitar solo) to a splendid conclusion, culminating into 'Keyboard Heaven' delivering all classic synthesizer sounds, perfectly blended with a piece of ELP (Pictures At An Exhibition) and fiery guitar runs, GOOSE BUMPS!

After the excitement of new albums by lesser known progrock bands like Simon Says, Moonrise, Nemesis, Cronico, Mind Furniture, Tricantropus and Moon Safari, again I am absolutely delighted about a new lesser known progrock band: a big hand for Azureth with their second CD!

Music is overall pleasant and straight forward. Easily accessible, it should be of definite value to all neo- prog lovers. Fine (but mellow) vocal harmonies (Chains That Bind), good and inspired keys work during the instrumental Breakaway are indeed enjoyable moments of music.

The whole album flows easily, mostly because the music played is on the soft mood, no songs will upset your senses but I also have to say that none will take lots of wow out of you either. Beyond The Boundaries is such track: the long and repetitive vocal lines which are featured at the end of the song, kind of ruined the ensemble which was good.

One song has to be considered as out of the common here. The fine Shadow II features some fine acoustic parts as well as a poignant closing full of passion. This song is one of the most complex from this Prometheum Syndrome. From symphonic to jazzy it provides eight enjoyable minutes.

But one also has to bear in mind that some of these songs are just average, mellowish and much less interesting (Into The Nowhere).

The epic A New World is another of the best moments here: some fifteen minutes of well developped music. It is diverse and holds some delicate acoustic guitar, good drumming when the rhythm catches up, along with with bombastic keyboards. A highlight.

This album is a good one, but I wouldn't rate it higher than three stars.