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SUSTAIN

Symphonic Prog • Netherlands


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A Dutch rock project SUSTAIN have got started as a quartet in 1976, by Giezel VOORSLUIJS (bass, voices, percussion), Hans GRANDIA (drums, percussion), Wallie LATUMETEN (guitars, voices, percussion), and Coert COEHOOM (keyboards, voices, percussion). In 1977 they recruited Frank Van HELVOIRT (alto saxophone, percussion) for forming a quintet and recording a debut album. Their eponymous debut release has come out into the world in 1978 finally. They launched their second (and last) album "Time For A Change" leaning towards more of 'pop' in 1981 under the moniker of SUSTAYN.

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SUSTAIN discography


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SUSTAIN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.05 | 3 ratings
Sustain
1978
0.00 | 0 ratings
Time For A Change (as Sustayn)
1981

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SUSTAIN Reviews


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 Sustain by SUSTAIN album cover Studio Album, 1978
3.05 | 3 ratings

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Sustain Symphonic Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

3 stars Another cloudy obscurity released in late 70s from Netherlands ... as for Netherlands, we remember some symphonic progressive combos like Earth And Fire, Kayak, Coda, Focus or Finch (at least for me, an excellent electronic-avantgarde-jazz act Niew Hip Stilen or one of psychedelic progressive pioneers Ahora Mazda comes to mind actually though). Looks like a Dutch short-lived rock quintet SUSTAIN emitted jazzy, symphonic musical presentation seasoned with psychedelic flavour and avantgarde texture, that cannot notify us especially of anything Dutch symphonic.

A weird sleeve appearance (slightly horrible indeed), mysterious melody lines, freakout saxophone vibes could be well mixed and matured, and drunken-cheap-karaoke-bar-ish voices might be added as tough discordance ... although the sound structure or framework is so-so strict. Their musical idea apparently inspired by some intensive artists in the progressive rock scene on the decline around 1980 was not so bad indeed, but sadly sounds like they would have had a 'daily' battle against the audience upon an 'overused' stage.

Frank's uptempo, flexible saxophone play is quite active and powerful everywhere upon the bilateral vinyl surfaces ... it's fine, so fine. On the other hand, possibly all guitarists and percussionists would have played very hard, and with gazing straightly the instruments, not for the audience. Imagined the lead vocalist might have sung with self-satisfaction or narcissism. And the production, direction, mix all are a tad cheap ... It's sorta pity juts because this whole album is melodically interesting. As a result, we can easily understand why they have been disbanded soon, with only one album (and some material?) left in the world. An authentic obscurity.

Thanks to dAmOxT7942 for the artist addition.

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