QUANTUM FANTAY

For their debut album, Quantum Fantay scores. These five musicians managed to deliver 50 minutes of delight. Listening to Quantum Fantay will certainly bring you reminiscences of Ozric Tentacles & Tangerine Dreams... and to a lesser extend of Mike Oldfield, Sigur Ros, Arkenstone, JM Jarre and (good) electronic productions of the early 80s. However, Quantum Fantay has a personality of his own and is by no way just a clone of Ozric Tentacles. If the first half of the album shows clearly the proeminent electronic influence (which is by no way a critic as these tracks are really great), the second half has a more mixed influence including more rock elements. The album alternate lower & upper tempo and manages always to bring you in a travel with the tracks. Well, I should avoid the term "song" here as this is a fully instrumental album. The title track and Lantanasch are maybe the high points of this album but, this said, there is no real weak track on it. Unfortunately, Quantum Fantay is not widely known (even in his homeland) and would certainly deserve more press coverage. Anyway, I invite you to discover the band's discography and especially this excellent album.

From Lokeren, Belgium, comes this interesting Space Rock band, started in 2002 as an offshoot project of three members from Ghiribizzi, ending up being the main vehicle of the two of them, more specifically keyboardist Pete Mush and guitarist Dario Frodo.The third member was drummer Gino Bartolini, while the line-up included also bassist Jaro and flutist Charles Sla.Actually the name of the band was the result of a type error of ''Quantum Fantasy''.The first album of Quantum Fantay ''Agapanthusterra'' was recorded between 2004 and 2005 at Pete Mush'es studio (called the Mushroomland) and released as a private work in 2005.

Many compare Quantum Fantay to OZRIC TENTACLES, which is partly true, but the sound of the Belgians seems to go through plenty of variations, always under a Space Rock concept.The main force of this all instrumental debut are Pete Mush'es spacey and cosmic synthesizers, not surprisingly he is also the composer of all the music in here.His work passes from sharp, intense and cosmic synths to extreme Electronic soundscapes, producing sonic textures of another world.He is accompanied by a great supporting group, which has its own room to develop the sound.From the groovy and heavy guitar rhythms of Frodo to the beautiful, psych-flavored flute drives of Sla, the spacey atmosphere of Mush obtains another dimension, trully attractive and imaginery.The rhythm section is very consistent with a pretty pounding performance all the way and the sound of the group is certainly among the most original of the scene.''Agapanthusterra'' contains among others lots of impressive and powerful rhythmic parts to satisfy listeners even outside the genre.

Personal mix of Psychedlic Rock, Space Rock, Prog Rock and Electronic Music in a promising package.Strongly recommended to all lovers of cosmic soundscapes and powerful musicianship...3.5 stars.

'Bridges of the Old Fishingmine' - Quantum Fantay (7/10)

There's really no better place to experience psychedelic music than in a lie setting. If that fails, then a recorded performance should suffice, at least in the case of these Belgian spacemen. Although it may be less than ideal for me to be introduced to the music of Quantum Fantay through a live album, 'Bridges of the Old Fishingmine' is a strong manifest of what the band is all about. Upbeat rhythms fuse with explosive leads and quasi-metal riffs plant Quantum Fantay on the heavier side of the space rock spectrum. Their style may not feel original, but they execute it with excellence.

The one band that comes to mind when listening to Quantum Fantay is the quintessential space-jam rock band, Ozric Tentacles. In many ways, it feels as if Fantay picks up where the Ozrics left off, circa their 'Jurassic Shift' opus, and before they ventured into more dub- oriented territory. Luckily, Ozric Tentacles happen to be my favourite space band, so despite my usual apprehension against bands that sound too much like another, I do not find myself yearning for these guys to 'go their own way'. The lack of an 'original' sound aside, 'Bridges of the Old Fishingmine' demonstrates this band's fantastic skill and talent for playing this sort of music. Whether they are playing a laid back 'world music' interlude or a fast-paced rock theme, the performance is tight, especially considering that 'Fishingmine' presents the band in a live context.

As a live album, 'Bridges of the Old Fishingmine' is an oddity. On top of the anticipation of hearing a band do something 'new' with their compositions, I often associate live albums to hearing applause before and after a song begins. 'Fishingmine' has very little in the way of audience interaction, instead focusing on the music itself. The instruments are very well mixed, often to the point where I would not have blinked twice under the impression that I was hearing a studio recording. Pete Mush's keyboard work is performed and produced excellently; the recording manages to pick up all the nuances of his sequencers, as well as some of the more blistering 'solo' work that pops up.

I feel that Quantum Fantay are a little too comfortable to rest on Ozric Tentacles, and while not quite as mind-bending as the sounds they emulate, there's no doubt that Quantum Fantay have plenty going for them. Strong production, tight performance, and some surprisingly memorable melodies make 'Bridges of the Old Fishingmine' a worthy recommendation.

It's clear that the main reference for this band is OZRICTENTACLES, and this is mainly because of two things: all the songs are instrumental (execept for some vocoder) and the very "clean" production that makes this band sound quite similar, but I think that there are also important differences which likely come from different musical experiences of the band's members.

The album opener, "T.N.S.F.P.", is based on a keyboard sequence that can remind to the Tangerine Dream of the 80s, but it also has a flute which provides a touch of Canterbury and the already mentioned vocoder. All those things together are not too far from the Pink Floyd of the post-Waters period. Another band which comes to my mind is the Dutch "35007". Those are the impressions from the first track.

When "Lantanasch" comes, I can't not think to be listening to the Ozrics of Waterfall Cities, but what makes the difference is again the flute both in the uptime and in the quiet parts. It's interesting the fact that in the uptimes it sounds almost "classic prog" while in the quiet the effect is even "celtic". Apart of the flute, this band seems to have many connections with the old times. After the "celtic" moment there's a part with a tempo reminding of Genesis or neo- prog and the "liquid" final of the track is very close to Tangerine Dream.

"Spiral Flame" is based on minor chords and this makes it sound a little darker. However, in this kind of electronics I can hear reminders to the late 70s/early 80s like Jarre, Alan Parsons and Camel. The reggae part is very 80s as well. Does anybody remember the final of David Gilmour's "Cruise"? Or the Wishbone Ash of Pilgrimage?

The title track, whatever the title means, makes a huge use of vocoder. It has a mini-suite structure, with many different themes coming and going and touching a lot of genres. The more I listen to this band the more I'm sure that they have their roots in the classic prog. They are not sticking on classics only, anyway. This track shows some influences of Porcupine Tree as well.

"Wintershades" confirms the link with PT but with a touch of Pink Floyd, too, as it's a more bluesy track and the keyboardist seems to walk on Rick Wright's steps of the Pompeii time. A great track this one.

"Trip Escape" has an intriguing title, isn't it? The bass still plays "reggae" and so has to do the drummer. The keyboard soundscape is close to Tangerine Dream so what comes out iresults in a contrast or a fusion. It's another very good track. The only thing that I would have liked different is the guitar: the production puts it in background even when is leading and the sounds used are too clean and similar to the keyboard and this makes it a bit flat.

"Wais Dame Dilamp" has a middle Eastern flavor. Camel's debut and again the Wright of Pompeii mixed in an electronic format. This is where the link with 35007 and Ozric Tentacles is stronger.

Gilmour's Floyds seem to inspire the following track: "Chase The Dragon", at least before the bass goes again in a "rub-a-dub" style. as it happens with the guitar, there's an excellent flute that it's kept in the background. I think what the production wanted was the fusion of all the instruments without peaks or solos. The music has to sound "liquid" even when the guitar becomes distorted. The second half of the track is a sort of electronic metal, and also in this they are similar to 35007 that more than Ozric Tentacles is the band that I feel more similar to them, even geographycally. This crescendo is a great way to close an instrumental album.

So I like the band, I like the whole album and I strongly suggest it to people who likes any of the bands that I have mentioned, but it's still non-essential. More stars will come with the next albums.

This reminds me of hard-driving OZRIC TENTACLES songs except fresher, more organized to showcase a variety of instrumental sounds and solos (yes, even more than Mr. WYNN et companie). the driving, propelling bass playing is noticeable--and greatly appreciated--throughout, as are the very dynamic and upbeat synthesizer soli and accompany-work. Though the first song "Kukuriki, Pt. 1 (Bridge one)" (7/10) starts like an amped-up TALKING HEADS "Cross-eyed and Painless" (if you can imagine that!?!?), it's Eastern influences give it its own identity. 2. "Follow the Star (Bridge Two)" (8/10) takes on a WEST INDIA GIRL plays PORCUPINE TREE's "Sky Moves Sideways" flute-led jam section. 3. "Shiver Moments (Bridge Three)" (6/10) is the album's heaviest jam with some near-metal guitars ("Apocalypse in 9/8"?!) and structures. 4. "Portable Forest (Bridge Four)" (6/10) loses out because of its disco drum beat and fairly simple and straightforward rock jam showcasing. 5. "Counter Clockwise (Bridge Five)" (8/10) is the album's only 'slowed down' tune, with a kind of Ibiza-Ozric sound to it (though no techno-beats). Still, truly awesome keys and bass playing! 6. "Kukuriku, pt. 2" is the most OZRIC-sounding of them all. Check out this cool and tasteful collection of cruisin' songs! It's a joy ride! And really great musicians. Looking forward to more in their future. And look: a new bass player to watch! Kudos, Jaro!

QF's third studio, album is not a big departure from their first two albums, just as their "Maître? de-pensée" Ozric Tentacles never really changed their soundscapes throughout all their discography. And indeed Fantay seem so infatuated with Ozric that one doubts if they didn't purposely take out an "s" in the second part of their name, because it's rather obsessive. Even in the artwork dept; they manage to be Ozric-ian with this self-made (by bassist Jaro) Easter Island and Vikings artwork.

The quintet (that's the standard prog quartet and a flutist) develops an almost-instrumental rock (only the opening Spirit and Zwar Tysch tracks have vocals ? by guests too), that is very danceable, joyous and ultimately peaceful. Just like OT, QF has some/many programmed beats that give their music a slight robotic feel, but it is nothing shocking either. Despite the joyous nature of their music, I find it a bit sad that by this third album, QF has yet to find its own original soundscapes ans still rely on their almost-unique OT influence. I guess that there is maybe enough space for two in that special niche. Maybe that's Quantum's ultimate Fantasy and they have the chance to live it. All the more to them in that case.

If you look well enough, you'll find this third album coming with a bonus homemade DVD disc of theirs that includes low-resolution homemade film about life on the road in Germany (rather abruptly assembled) of relatively uninteresting tidbits (no naked groped groupies and the "de-rigueur" usual horsing around), a low-res home movie about their home studio (on how to bury the drummer in the basement so you don't hear him) and finally a local Flemish festival (equally low-res film), where, if you still needed proof or confirmation, QF is happy in their OT clone. Well QF does manage to have some success at what they like doing, so all the more power to them.

Belgian outfit Quantum Fantay has built up a reputation as a band exploring musical territories prety cloe to Ozric tentacles with their first two efforts. And while the similarities still exist on this third studio effort of theirs, the similarities are less obvious on this venture.

Swirling synths and atmospheric flute soloing is still features found on most efforts, and the space-tinged searching guitar soloing is also evident on many occasions this time around. But the musical foundation on quite a few efforts have more of a distinct hard rock sound to it, and big - at times massive - dramatic synth layers have more of a symphonic and art rock touch than space and psychedelia on many occasions.

Although different in sound and style, the elements used to some extent reminds me of German band Eloy on their Colours album from 1980 - but at least at this point in their career Quantum Fantay are unable to mix these elements to creations that make an impact above the ordinary. At least in the studio.

The best efforts on this album are the ones closest in sound to Ozric Tentacles as I regard it, and there's enough such ventures here to recommend this album to followers of bands pursuing that style too. At least as long as perfection through and through aren't expected.

"Vincent, are we satisfied ?" Well, depending on what you're looking for. So, where's the real treat here. Lantanasch gave great deal of flute combined with space sounding synthesizers. Spiral Flame on the other hand reminds me more Jarre's work (even only album I've heard was this most famous Oxygene part, I don't know now what part exactly, just that my mother had it and there I heard it), maybe little bit Vangelis (also, I don't know his music so well to be so sure, but sounds like it.

In general, there is big part of ambient thing here. But instead of Vangelis (Ah, another one, Mike Oldfield at times, now that's everyone influential here I hope), Quantum uses electric guitar sound more prominently. Everything fits in space theme and that's where it stands and falls. Do you love this kind of music ? Do you want less ? Because (even I first hated this saying, I came to realization that) less is sometimes more. After listening to their over- combined, 2009 album, which sounded very promising before first listening, I have to say that I'm satisfied. I never though that I will prefer less complex one instead of more difficult.. Chase the Dragon is exception here, faster pace and heavier guitars in the end.

4(-), melodies, true holds its name as Space rock (or ambient).

And if something can describe them, space rock feeling will be it. Music, which is almost transcendental, very light hearted (using of calm sounding synths and prominent use of flute), but sometimes this ever present, electronic background sounds annoying (when you concentrate exactly on it, same as when you're listening rock and try to find bass sound there). So feeling if you'll like it or hate it also depends on how much you can handle this synth riff (sounds like that and bears many similarities), which sometimes takes solo part. And you should also know that it's not normal synth sound, this is modified one to suit space tune. Record is walking on this curvy and thin border between 3 and 4 all the time.

Of course, this is not psychedelic, at least in classic way of this word. This is little bit crazy, space by sound of synths. It bears some traits of krautrock (some, little bit, almost unnoticeable). Expect guitar solos, this is symphonic trait. In fact, synths reminds me Arena (for example Moviedrome ends of solos) and Ayreon.

EDIT: First, when I saw Prog-J's review, I though that it's quite unfair. But then, I realise what he meant by it. And I understood better what he meant when I heard it by myself. Well, 2 stars isn't exactly what I would give, this record deserves little bit more (but just a little), but it's not my style to counterweight rating of others, as I saw to do some on other servers (if your favourite movie has 40% and you like it for 70%, it's pointless to give it 100% just to it have average rating you want). Therefore, my opinion is just for

3(+)

Ha-ha, the first written review is mine again!

But I won't be wordy on this one. First, this is definitely NOT Psychedelic/Space Rock, so genre's fanheads, beware. And hey, I wanted to say the same for anyone else - listen before buying and stop complaining then :) QUANTUM FANTAY seems to be a Dream Band for every progger: they play like Dream Theater, sound like Jethro Tull, filled with electronic like Ozric Tentacles; they are melodic like Italian Prog, complex like Return to Forever; they have dark like Porcupine Tree and light like Yes. The only problem is that all these elements hardly work together, and the band remains faceless. Just a group of well-skilled musicians, knowing how to play good in the manner of some prominent bands. The only difference between prominent bands and QUANTUM FANTAY is that QF are not prominent. I'm not trying to insult the band, it's just me, my ears and my heart. What my ears have heard, my heart haven't, sorry. Average, though listenable