ELEGANT SIMPLICITY

— First review of this album —

Steven McCabe is back with his eighteenth full length album, and again he has been joined by Christopher Knight on drums while Steven provides all of the other instruments. The album contains just four songs, but two of these are over seventeen minutes long while the other two are no slouches either. The longest song is the title cut which is over twenty minutes in length and also contains some vocals, here provided by Stephen Lyons. What is immediately apparent that Steven has decided to produce an album that while maintaining the Camel/ Floyd traits that we have come to love, has also decided that it is also time to produce music with a harder edge to it. This will never of course be a hard rock album but there is more concentration on riffs and chords from his guitar as opposed to just sinuous complex guitar lines. These are there as well of course, but here he has allowed his heavier influences to come through.

This is prog music that is going to appeal to a wide amount of listeners, and while he never gets into prog metal territory this slightly heavier approach is going to gain him new fans. If you have never come across Steven previously then you really need to do so. His website is one of the best prog sites around and there is plenty of music there to listen to, to get a flavour of what this guy is all about. If you have never listened to Elegant Simplicity then you owe it to your ears to do so. www.elegantsimplicity.com

1994 was by far Steve McBabe's most prolific period with the musician being in an absolute creative orgasm, releasing one cassette after the other.''Crying to the Future'' was his fifth production and the second from the year.McBabe still plays all instruments and is responsible for all the arrangements and album's production.The album was reissued in CD format in 1999 by Proximity Records and since 2007 it is available as a digital download with a bonus track/guitar mix of the eponymous track.

His style was always defined by the evident CAMEL influences in a more Neo Prog approach, resulting an album full of nice melodies, intricate arrangements and strong resemblances to PENDRAGON and CYAN.His guitar touch has obvious references to the style of ANDY LATIMER, ROB REED and NICK BARRETT, but McBabe is sure to accompany his inspired hooks with tons of keyboard and piano lines.All of his compositions have something to offer, going from flashy performances with synthesizers on top and passages with his guitar in evidence to piano-based introductions and melodic parts with some nice solos.What always spoils his early efforts is definitely the poor and very mechanical drum programming and at moments the dull keyboard sounds.The final taste though remains positive, nice modern Neo/Symphonic Prog with a good sense of intricacy and melody.

This man was really talented still since his early releases.''Crying to the Future'' is another sign, which shows that, if you love what you are doing, you can come up with a great result, even if you are all alone.Recommended to fans of Classic, Neo, Symphonic and Melodic Prog.

Elegant Simplicity aka Steven McCabe start to be a serious contender among Melodic/Neo/Symphonic Progressive Rock acts after the mid-90's.''Reversal of Time'' is another good proof of the fact,the 9th studio effort of Mr. McBabe with Ken Senior on vocals, released in 1997 (Proximity Records).

No grand epics like the 43-min. ''The nature of change'' this time from McBabe, but still the album holds a couple of 15-min. tracks along with some shorter compositions to develop another nice package from Elegant Simplicity.McBabe's sharp guitar style and melodic hooks are again the leading force.CAMEL, MIKE OLDFIELD and PINK FLOYD are the obvious reference points.These excellent guitar leads are supported by the nice and careful use of keyboards, often presented under symphonic arrangements, to rise McBabe's talent for one more time.The arrangements are on a great level.The themes constantly change from radical and sharp guitar instrumentals to piano/keyboard-driven mellow passages and the combination of old school Symphonic Rock, Melodic Rock and Neo Prog soloing along with a touch of OLDFIELD-ian New Age parts is again lovely and attractive.Of course the drum programming and the minor keyboard flaws hold the album from being absolutely essential, but the huge amount of interesting moments make it worth owning.

An endless source of good and melodic Progressive Rock, Steve McBabe deserves much more of a promotion.''Reversal of time'' is nothing else than another inspired, consistent and tight album from this talented guy along the realms of both modern Progressive Rock and vintage 70's Prog.Warmly recommended.

Soon after ''Purity and despair'',multi-instrumentalist Steve McBabe proceeded on the recordings of the 11th studio album of Elegant Simplicity in just seven years-time with some significant changes.Gone are Peter J. Douglas and Gilbert Ross,who helped Steve on drums and bass,and this time he collaborates with bassist Ken Senior (of Parallel or 90 degrees fame),using not his bass abilities but his voice and leaving the whole instrumental side of the project apart.

Musically the album follows the succesful path of the recent future.Very melodic progressive rock,alternating between keyboard- and guitar-based themes with scarce flute passages,close to the likes of CAMEL and PINK FLOYD.McBabe's guitar style remains the center of the album with some excellent soloing throughout,keyboard work changes from analog ones (light mellotron and atmospheric organ) to mellow piano parts and flashy synths.Drums are again a main problem,too mechanical with a standard programming,leaving a cold feeling.Senior's lead voice and backing vocals are too carefulmquite decent though,adding another dimension to Elegant Simplicity's music.

I will say this again.This artist deserves some more attention.Of course the frenetic rhythms of producing albums prevents him from creating a masterpiece,but ''Moments of clarity'' is (for one more time) a very good album of melodic progressive rock,close to the quality of full bands.Warmly recommended.

'Purity And Despair'' marks the 10th overall release by the overproductive project named Elegant Simplicity,led by multi-instrumentalist Steven McCabe.But it doesnt mark any significant changes regarding the sound of the band.

And it seems that Elegant Simplicity is a name perfectly chosen for this project.Because the five instrumental epics and mini-epics of the album are quite simplistic and accesible,but at the same time so elegant,delicate and why not challenging.Mc Babe delivers modern Progressive Rock based on refined melodies and a smooth atmosphere with good and careful use of keys,not far from soft Symphonic Rock bands like CHANCE or THE FOUNDATION.The later tracks feature also a more symphonic structure with some nice flutes and CAMEL are a great comparison point.Not everything of course goes the right way,as the electronic drums sound too mechanical and the album has a rather ''digitilized'' sound overall...But nobody's (or almost nobody) perfect.

I enjoyed this album very much despite its weak points to the point asking myself why this band and such a talented artist are so overlooked.You should give them a shot,especially if delicate,smooth,melodic Classic Prog Rock is your thing.

Very interesting one man band from the UK. It is one fo those outfits that is not very well known despite the fact it has no les than 19 CDs recorded since its start in 1992. I was quite surprised by their music: It´s highly melodic, well done and tastefu, with some bits of jazz here and therel. Not very original, but very good anyway. If you like thesofter, laid back side of prog chances are you´ll enjoy this album very much (even if it starts iwth the rather frantic instrumental Mood #10). Composer and multi instrumentalist Steven McCabe plays almost everything here, but he is helped by the very able Christopher Knigh on drums (thank god he did not rely on those programmed drums!) and Ken Senior on vocals.

It is obvious that McCabe loves old fashioned prog: he uses basicly vintage sounding keyboards all over the record. His guitar solos are nice, smooth and melodic following the school of Camel´s Andrew latimer style. Vocals are only average. So why only 3 stars? Well, I found Too Many Goodbyes one of those CDs that apparently has everything I liked on prog music. The main issue, if I can called it that, is the fact that the songs did not excite me much. it´s like hearing a record that lacks a kind of conviction and spark that abounds on so many others I love. All the tracks are pleasant and good, but not really that great. His compositions are quite strong like the second tune Unconditional, but his guitar solos seem only adequate, as if he hadn´t tried hard enough to show the tune´s feeling. And to make matters a little more the vocals are too bland. Those small faults really take away the song´s power. Over the CD it happens way too often. For the style he chose, it should have more passion. And passion is what neo prog is all about, right? Well, at least that´s what I felt. Still, the music is very good.

Steve McCabe is a talented guy and I really think he has everything to stand out both as performer and songwriter. This is my first entry on his lengthy discography and I´m looking forqard to hear his other works. This one is good, ok, but I feel he can go much further.

— First review of this album —

This free compilation album is meant as a promotion tool and is the first of two free compilation albums from this band.

I am no fan of compilation albums. But in the case of this pretty unknown band, which so far has released 19 albums without getting a proper breakthrough, I fully endorse a compilation album. The second of two compilation albums cannot come fast enough in my view.

Based on this compilation album, Elegant Simplicity should please most of the ProgArchives community members. The basis is symphonic prog in the vein of Camel. The music is keyboards and solo guitar based. The guitar solos sometimes takes their sound into the fusion landscape. Some vocals are added too on some songs. Something which takes Elegant Simplicity into neo-prog land. But my main comparison is Camel.

The quality is good throughout. Sometimes great too. Steven and Elegant Simplicity is very talented. I would like to sink my teeth into their albums too and that is probably where I am heading next with my credit card. As a promotion tool, this compilation album is an excellent idea. Mission accomplished.

3.5 stars

Elegant Simplicity is around here like forever but only got a couple of reviews for their 19 (!) albums they made since 1992. That's even more than one each year, amazing isn't it? I never heard the band before but managed to get my hands on this latest Too many Goodbyes.

If the band ever wanted to win me over with this release they did wise to put one of the better songs right up front. With Mood # 10 they show immediately what they are made of. An extremely melodic and strong sounding guitar dominated track with organ in the background. In the second half of the track keyboards do an excellent job as well. This instrumental is just about 100% my cup of tea and usually what I'm looking for in neo.4*.

Second track proves that ES also has vocals done by Ken Senior. (Mr. Steven mcCabe does all the melodic instruments and Cristopher Knight is responsable for the rhythm section). Unconditional is a more ambient track with great organ in the first part, later on alternated by guitar and vocals. This song is probably even better than the opener but it's safer to say they are different and great in their own way. 4,25*.

Everytime I think of you is not a cover of the famous Babys song but sounds completely different. Initially it seems to go the same way as the opener but as the vocals set in it appears the third one in a different style. The lyrics are biting: (you're a bitch, an unmitigated bitch). Ok someone obviously got hurt here. An emotional song apparently and third class act in a row to me. 4*.

And Pure is the second near perfect instrumental on this album. Again great alternation of the instruments. I don't think the band can pull this of live with mr.mc Cabe doing both keys and guitar. 4,25*.

Lost Summer is a bit like the second track, also this one creates fine atmosphere. These kind of songs remind me of Also Eden, another fairly unknown British neoband. Elegant Simplicity plays more energetic in general though. Wonderful song this. 4,25*.

Kiss away the Pain is the first of two more epical tracks to conclude this album. This one is also a sensitive ballad-like song. In the first half 100% with almost sad sounding vocals by mr. Senior. Halfway starts an impressive instrumental (mainly guitar) passage that lasts a few minutes. Last part of the song is dominated by the vocals once more. 4,5*.

Fragments is a pretty energetic instrumental at first, after a couple of minutes great variation sets in and the organ starts playing in a canterbury style (startling !). After this section many other new sound elements come along as if the band is showing all they are capable of. What a brilliant closing track this is ! 4,5*.

It's obvious to me that this band gets way too few attention on this site (only Thomas is doing his job so far) and more people should check this excellent band out. I certainly will buy more in the future. And for now this latest release is a first class effort to me (found myself another jewel !). Highly recommended for most neofans and the famous band ES comes closest to (style wise) is Pendragon because of their class in both the sensitive and the energetic style. The sound is very different though.

Purity and Despair is an instrumental recording from 1998 and was perhaps the first Elegant Simplicity album to hit the prog world with any impact and make a few of us sit up and notice. "When Darkness Falls" is whopping nearly 14 minute groove exercise in shifting moods and atmospheres , initially with ballsy synth and guitar-driven interventions , propelled by slick bass and solid drumming, with various flute intermezzos generally escorted by some deep mellotron surges. When the bass sets down the repetitive furrow, the signal is clear for soloist Stephen McCabe to unleash his rather impetuous multi- textured guitar style that is quite different from Latimer/Gilmour sound or even extend some magic fingers over the synthesized ivories, tossing in a few sonic effects via sampling and such. There is a definite frenzy about Elegant Simplicity that seems to go unnoticed but coats the proceedings with an urgency that keeps these long rambling instrumentals always invigorating and unanticipated. In fact, there are overt signs of angst, fury and passion salting the arrangements and no hint of any placid boredom at all. I have actually enjoyed this album while driving on extended business road trips and feeling the Prog wind blowing through my hair. "The Quantum of Solace" is not the soundtrack to the recent Bond film (you ninnies!) but a bluesy prance through dense foliage of sonic episodes, varying from silky exaltations to thicker rock manifestations, some outright piano passages that recall old fashioned Brit-Prog in all its reserved and quaint splendor . If there is a small caveat, it's squarely focused on the rather rubbery and perfunctory drum patterns from Peter Douglas that can augur a feeling of slogging along. He keeps time and that's all folks! Too bad, I say! The soloing is outright inspiring though, especially in the brilliant second half, the thrilling flute beckoning the folly, with more impetus in the synthesizer placements giving way to that sultry organ as it steps in with devastating authority. The piece then veers into a short acoustic guitar/mellotron duet that is arguably the epitome of symphonic prog with flute and mandolin adornments that elicit wonder and amazement. The nearly 20 minute "Tranquility and Drift" relies on serene piano and flute to set the scenery, delicate organ adds to the bravado until the delirious guitar chimes in , oozing a sense of purity and well,.. despair. Vacillating themes provide palatable platforms for Mr. McCabe to solo his heart out, even on exotic acoustic guitar as well as his usually seductive electric style. Hey, the man can play! When the piano settles in the glow expands into sophisticated realms and this long ride is a monumental stroke of prog genius. Many may find the arrangements to be too lengthy and some may wish for more concise pieces but this is Elegant Simplicity's style and it ain't pop either and regardless of the incorrect "neo" tag associated with this band, they like to play on. The shrieking axe makes an otherworldly appearance that constantly sketches out new sonorities and virtuosic flair. The stretched synth getaways are equally compelling and infuse even more polish to the whole. "Arching Desire" bass-booms ahead with some massive synth washes as the wallowing flute mournfully forges the main melody, all quite provocatively orchestrated with luxuriant strings, this is effectively the most overtly classical of McCabe's pieces as the Wakeman-esque grand piano enters the court with grace and style. The churning Hammond joins the harder drums in driving implicitly forward, drenched in deep melancholia and when the growling guitar kicks in, the bliss overcomes you! An anguished fret solo hits home with unabated passion, driving into the subterranean heart. An amazing slice of cinematographic prog. The title track puts this pleasant disc to rest, a serious diversion from the previous onslaughts, with a Procol Harum organ gently sweeping ahead of a beckoning flute, gently rocking the mood as a raging guitar makes a definite melodic statement, highly evocative and expressive. Not as memorable as the upcoming Architect of Light but a sure-fire addition to those who like to bliss out and enjoy great soloing. 4 uncontaminated tears

Elegant Simplicity is the most underrated, misunderstood and criticized artist on PA bar none. That such a talented musician as Steven McCabe gets so little love and affection is bewildering as most reviews are tepid, lukewarm or outright negative. There have been 19 albums since 1992 with an arid paucity of any review, mostly ignored by the PA intelligentsia for reasons that simply escape me. I beg to differ with the few reviewers who allotted poor grades to some of these discs (this one in particular) as most of the criticism is untrue and unjust. Perhaps they were suckered into expecting some boring neo-prog which this simply isn't! Maybe it's the "too prolific so its gotta be crap syndrome" but that doesn't fly with Roine Stolt and his Flower Kings, so why pick on Mr.McCabe? Perhaps some like to crucify talented multi-instrumentalists or simply have higher experimental expectations (with neo , you got to be kidding!) and I think that it has more to do with lackluster barely audible volume or outside interference deflecting the true nature of this craft from our sensible scribes, as wallpaper music this simply isn't. I mentioned in a more recent Elegant Simplicity review that I enjoy this album immensely and I do, having listened to it a few dozen times and loving it more and more. "Time to Breathe" unleashes a barrage of sonic effects with some verses ("the Architect of Light" is repeated on all tracks ) from the major opus to follow but the swift synth-led revelry is exhilarating at best, sweeping forward at breakneck velocity, that first sizzling guitar solo should rip your sullen ears apart as it flies, fries and never dies! Raging Hammond, rough guitar rhythmics, booming bass and throbbing drums add to the gratification. As the title implies, you need to catch your breath after this one, which is how the piece ends! "Stars on the Water" is not "smoke on the water" granted but it keeps the pace energetic with a wonderfully expressive melody and a delicious vocal by Ken Senior. McCabe wrestles some fabulous tones from his axe, whirling, twirling and surging with accuracy and zest. The piano makes an impromptu intervention (McCabe is an extraordinarily gifted keyboardist as well) and relaunches the theme into an even more gut wrenching summary with an added guitar blitz that is lightning fast and hyper-loaded with feeling. Sorry no plodding crap in sight or sound! The colossal "A Crack in the Sky" starts off with brisk flute that may recall a famous dromedary but as soon as the guest violin screeches into the fray, the tempo heats up considerably. The mighty mellotron takes a brief bow and ushers in another zipping guitar flight that hurtles along brilliantly, holly mother it is, guitar freaks! As everything dies down, the gentle flute cattily plays with the clanging bell synths and evolves into a different direction, the expressive vocal enters with serene aplomb gently stating the mood to follow. The 'tron returns for some more symphonic colorations weaving nicely with marimba synthesizer patches and vocal effects and gregarious laughter. Grandiose and mottled with generous melodies, the main repeated guitar solo is inspirationally meaningful, at times lusty and then suddenly circumspect, increasing in dexterity and emotive power. Again, boring this is not! The softer segments do have a certain Floydian feel , loose drumming a la Mason, whistling synth flights remindful of Rick Wright's work and that impulsive mad guitar blast that reeks of a more frenetic Gilmour (at the 12th minute). Unbloody believable, I say! This is wimpy? Are you kidding me? Flute lassos in the main theme again for a bluesier, laid-back finale that has now more overt Latimer/Gilmour overtones, passing the torch to a harder edge revisit of that dizzying theme that just won't go away! The glory then fades gently into the mist, what a ride! The nearly 17 minute title track goes for the jugular, with a flute driven romp that will remind some of Tull but has tons of whizzing keys and blaring mellotrons that recall previous themes (A Crack in the Sky) and acts really as a sequel, metamorphosing into a fervent organ rant (very vintage Traffic-like) that initiates a fluid jazzy piano digression and an astounding vocal with a chorus that will stick in your mind for weeks to come, as the flute will remind some of Thijs Van Leer's work with Focus, fluttering with bucolic wisdom. The achingly gorgeous refrain ("hush") is irresistible and the passion is obvious and invigorating as Senior heightens the inner pain with a secondary chorus that explodes with unabated power, the groove developing into a masterful guitar foray that bleeds with unmitigated pain and overt suffering, while the synth flutters in subversive interlude, the sustained lead writhes in agony, screaming its spleen and howling with complete disdain for any decorum. What a solo, OMG! So you want to rest, a little filler fluff? Nope! As the final track is a colossal 23 minute monster called "Capillary Attraction" that combines all the usual suspects in heady sonic foliage, with a new theme that has "elegance" and "simplicity" at its very core, a beautiful melody that is modeled, caressed and molded into various exhortations, the imperial McCabe guitar leading the way, bass in parallel assurance, keyboards flashing the way and the drums keeping it all tight and tenacious. The fret board lead slithers, stretches, ascends and dives with dexterity, sophisticated, classy, chic and enthusiastic. The merry-go-round even includes a brief piano waltz that is wholly unforeseen and hence proving that the craft work is conceived with flair and imagination. The piece then dips into a long groovy bliss out that has slight Traffic/Allman Brothers intonations with assorted recurring detours. Plodding this ain't! The pace is way too turbo charged to consider papering your walls while this is playing, you will make only a huge driveling and sticky mess!

Yeah, it's long and certainly demanding (as if that's a problem for proggers!) but this isn't pop music or the Ramones, so get over it and relax! There's 70 minutes of jet-propelled prog workouts here that should only illicit astonishment at the sheer talent of this much-maligned band. Give this supreme band a measure of respect, I did and I really like Elegant Simplicity. PLAY IT LOUD!

4.5 Radiance Builders