ORBITAL

Pig Farm on the Moon is one of those many South American bands that are currently giving a renewed strength to the prog movement from the periphery of the Anglo- Saxon musical market: with English lyrics and a style robustly based on classic Yes (multicolored nuances and massive polyphonic layers) and classic Genesis (deep melodic approach), PFOTM did a great job with their debut effort "Orbital". Their musical roots are heavily stranded on the ground of old vintage symphonic prog, but they manage to provide a modernized spirit to their music - not unlike Galadriel, H2O or Glass Hammer - in this way, managing to create something somewhat original under this recurrent prog pattern. At times, some aggressive passages may sound similar to the average prog metal (like DT circa "Images and Words"), but the band's main essence remains as old- fashionable symphonic prog. This group certainly feels quite comfortable creating, delivering and arranging wide-range numbers: three of the album's five tracks range between a 12-19 minute duration, while the remaining two are not too below the 10 minute frontier. This interest in long stuff is complemented by the penchant for epic textures and dramatic mood shifts, two things that this band accomplishes quite proficiently: the clever use of the contrasts between the energetic passages and the relaxing ones is the band's main virtue. The opening track may not be completely successful at this, but generally speaking, the diversity of musical ideas and the links between them are very effective and executed in a refined manner; the 12-minute long 'I Lost My Wings' is, in comparison, more cohesive. The 5-part 'The Queen Maibe' goes to more places, it is a very successful composition, and so is the stunning instrumental 'Genesis' - these two numbers are, IMHO, the highlights of the album. The closure 'The Return of the Rain' starts with a very up-tempo motif, displaying some of the punchier lines in the album, until the coda brings a slow, ceremonious motif that conveys the usual epic ambience - after this coda's conclusion and a few seconds of silence, a delicious Renaissance-inspired sarabande emerges upon the sound of a very worn-out vinyl record. This evoking moment serves as a proper ending for an album like this, full of nostalgia for the good old days of progressive glory. PFOTM have made a damn good entrance in the recording business with this amazing debut album: based on what I find in "Orbital", I have good reason to believe that the latin American progressive scene will continue to generate new great music in this genre.

[I dedicate this review to my Venezuelan brothers Ernesto Caldera and Felipe Martins]

This progrock band from Venezuela delivers very pleasant and alternating music on five compositions between 8 and 20 minutes, the running time from this CD is almost 70 minutes. We can enjoy lots of changing climates, accellarations, breaks and good soli on guitar (from sensitive to fiery) and keyboards (often bombastic). The instrumentation is varied (from Spanish guitar to classical orchestrations) so the style is, from folk and classical to psychedelic and metal. I notice traces from Pink Floyd, Genesis, King Crimson and Marillion but this band features such a varied progrock sound that this is not disturbing. CATEGORY: PLEASANT AND VARIED PROGROCK!

From the name of the band to the title of this release I was expecting some Psychedelic influenced tunes, or at least some PINK FLOYD sounds to come forth, but no and no. What we do have though are some varied and pleasant songs, with lots of time changes and flashes of Metal , but mostly keyboard dominated Symphonic music. They are from Venezuela but the vocals are sung in English.

I really like the second song "Genesis" an almost ten minute instrumental, with some cello and violin added to the mix. This album just didn't impress me enough to reward 4 stars, and it's a bit long at almost 70 minutes.

If you like keyboard driven music though, you should check these guys out.

3.5 STARS, ROUNDED TO 4 STARS.

I actually borrow the unmastered sample of this album from a Salomon Lerner's friend, and I had the chance of meeting the guitarist (I think it was Dario Sosa) who also happened to play at a wedding gig with my dad, so let's say I'm a bit familiar with them. You may suppose that as a fellow venezuelan I would give them plain 5 stars. First of all, I'm not a nationalist so I don't feel warmhearted by nationality alone or by the fact that I've met some of them. This is a fine work, probably the best rock album that has been produced in my country in a long time, but still it leaves me a bit disgusted. It has more influence from Dream Theater than I can swallow, but still, while I just rate 1 star to virtually every album that Dream Theater has produced (or 2 stars at the most), this certainly deserves better, as it is, in my opinion, the improved version of DT. They still founded their sound with Dream Theater, but added a bit more of Yes, Genesis, some ELP and, especially, there's a great resemblace to Steve Hackett's "Spectral Mornings" style (and if you listen carefully, you will hear a reworked version of Hackett's "Every Day" main guitar riff on "Awaken From Reality").

The musicians are as good technically as Petrucci, Myung, Portnoy and Rudess. However, their focus is not in showing their technicality but in the compositions and arrangements, and that's where they BLOW DREAM THEATER. The songs are still filled with power chords, whilst not so frecuently, so the songs are much smoother and soft- edged, with a balance of acoustic and electric passages. I will not get to review the individual song one by one, because every song has it's charm, so the whole album is very listenable without giving a headache. I just have trouble with two other things: the amount of power chords (again not as much as DT, but still a lot, considering that this is categorized as Symphonic prog) and Lidian's vocals: I don't know if it is because he is not plain american or english, so the pronunciation is not perfect (not a thing to blame... he's venezuelan), thus the singing lacks dynamics and appeals soulless; or, it just lacks dynamics and appeals soulless itself without regards of the pronunciation; his voice is a mix of LaBrie with Jon Anderson, only with lack of colour,and although he has a nice vibrato, I guess he's just not my type of vocalist.

Even with those low points, this album is 3.5 stars, rounded to 4. It's a great addition to fans of old-fashioned symphonic prog with modern touches.

Rather good one from these Venezuelans whose primary influence seems to be fellow countrymen Gerardo Ubieda and Témpano but also showing symptoms of mid-period Rush, U.K., the catchy romance-rock of Journey, a notable DT coloration, and sometimes reminds of Andy Tillison's Tangent who formed around the same time. Fairly ambitious for a debut but still with plenty of maturing left to do, PFotM do a perfectly fine job here. Little if any new musical ground is explored but the players' chemistry is excellent and the vocals tolerable, often good, and that counts. 'Awaken From Reality' is huge and varied, a bit scattered in theme but getting there with plenty of heavy guitar/keyboard volleys from Salomon Lerner and the Sosa/Ivanov twin attack. 'Genesis' better and more succinct with strong melodies, a firm direction and an engaging piano break. Strange adventures turn to useless syrup in 'I Lost My Wings' ended with a nice Schon/Perry-style flourish, difficult and cumbersome but very good five-parter 'The Queen Maibe' sees a few great passages, and sci-fi sweeper 'Return of the Rain' a thematic reprise. Three stars is just about right for this first album; it whets the appetite, and is one this extended trio can be proud of.