ABEL GANZ

The Life of the Honey Bee and Other Moments of Clarity is only the seventh studio album from Abel Ganz, veterans of the 1980's prog scene, this owing to a long hiatus which ended in 2008 with the excellent Shooting Albatross, although given that this is only the third since then, this is not exactly throwing works out at pace.

This is a shame, because this new work is really very good. The band are well and truly on the pastoral side of progressive rock, and those who enjoy thoughtful and emotional music will find a great deal to enjoy here. The overarching theme is one of memory and loss.

The title track opens proceedings clocking in at over 12 minutes long. It is a gentle affair, and sets the scene for all that is to come. Mick Macfarlane is a soothing presence on vocals, whilst there is plenty of room for solo artistry to shine, with a nice violin solo and an extended Dave Mitchell guitar piece. Altogether mesmerising, it draws you into the work as a whole before you really know that you are there, and therefore succeeds tremendously. With the "symphony of wings" lovingly described, there is a brief saxophone solo of virtuosity to close the track.

What follows is enough to melt the coldest heart. Duetting with Macfarlane on One Small Soul is the gorgeous voice of Emily Smith, and this is pure melancholy set to music. Jack Webb's piano literally cries, and the whole track has a bluesy warmth to it. Quite wonderful, and a highlight of 2020 for me.

Arran Shores, named after the Isle of Arran, home to a particularly fine distillery, is a short and emotional acoustic instrumental by David King. Close your eyes, and you are there, and, again, a piece of music which sets a mood perfectly.

Summerlong is that rare beast, an intelligent piece of music which evokes an emotional response and means whatever the listener wants to take from it. For me, the reality of my love and I spending lazy and hazy days together. The opening, dreamy, sequence morphs into a more "traditional" synth passage set against a symphonic backdrop, before we return to the lovers reminiscing. Really rather lovely and evocative.

The opening passage of the longest track at over 13 minutes long, Sepia and White, really hits you after this, because this is a rocker featuring a thunderous bass line by Stephen Donnelly. Normal service is, however, resumed with a gentle piano and the main passage intersperses this with guitar with feeling, and the colour of sepia keys, before building into a classic prog rock wall of sound. Lyrically, the I, I Remember You closing passage is wonderfully intelligent, marking the passage of time and long lost love to wonderful effect accompanied by some marvellous fret work and those bass pedals working overtime overseen by a guiding organ.

The album closes with The Light Shines Out, the most overtly Celtic influenced track, with vocal duties taken on by drummer Denis Smith, who adds some nice drum machine work here as well. The track reminds me a great deal of some of the better tracks on Gabriel's Ovo, including the vocals, and the wonderful thought of nicotine clouds takes one back to smoky, hazy, bars of yore.

This really is a wonderfully enjoyable record, and a tribute to some wonderful musicians who have stood the test of time. Very highly recommended, and an excellent addition to any collection.

An album of highly emotional, confessional, even reverential songs. One of the finest crafted albums of 2020.

1. "The Life of the Honeybee and Other Moments of Clarity" (12:38) a smooth, gorgeous, STEELY DAN-like gallivant through melodic bliss. The only flaw with this beautifully sounding song is that it could use some dynamic changes--even subtle ones (other than introducing soloists). Otherwise, this is one of my top five favorite LP songs of 2020. (23.5/25)

2. "One Small Soul" (5:52) part VAN MORRISON, part BRUCE HORNSBY or ANDREW GOLD, part GARTH BROOKS, this one has a bluesy Country-Western sound and feel to it--even the story the lyrics tell. It has a nice little interlude in the third and fourth minutes before returning to the opening form. (8.5/10)

3. "Arran Shores" (2:40) a solo steel-string acoustic guitar instrumental that sounds like a Windham Hill guitar piece. (4.25/5)

4. "Summerlong" (5:22) piano opens and establishes a DAN FOGELBERG "Same Old Lang Syne" ballad. It's very pretty, very well arranged (with strings) and touching lyrically. At 3:15 drums and bass kick in to launch the song in a new direction. Chunky bass and soaring synth solo definitely gives it that proggy feel. At 4:25, though, it returns to the opening piano with vocal to the end. (8.75/10)

5. "Sepia and White" (13:38) don't let those opening sounds turn you away, this song develops into quite a nice, well-constructed and, as par for the album, emotional song. (25.75/30)

6. "The Light Shines Out" (6:16) BLUE NILE-like drum machine with low synth wash opens the song before recorder solos. The Blue Nile reference is enhanced by the Robbie Robertson-like voice that sings the lyrics but the real ticket to seal the fact of this being a Blue Nile tribute is the use of many Blue Nile catch phrases throughout the song's lyrics--like "closing time," "headlights shining," "ticker tape parade," "radio waves," and many others. And I haven't even mentioned the other instrumental riffs and sounds that come straight out of Blue Nile songs. I can't think of a better band to pay tribute to--especially as its one that seems to receive far less praise or credit than it deserves. (9.25/10)

A pristinely composed, performed, and rendered album (one of the best sounding albums of 2020). Also, this album presents an ensemble of truly heart-felt and heart-wrenching songs--which seems rare in Prog World.

B+/4.5 stars; a near-masterpiece and a very welcome addition to the Crossover/Folk side of Prog World.

I first became aware of Abel Ganz when their lead singer Alan Reed replaced Euan Lowson as the singer in Pallas, a favourite band of mine in the early 1980's. Pallas had played my local music venue a couple of times and I have to say that I was spoiled as Marillion, Pendragon and Solstice also graced my wee Scottish town with their prog magnificence. I must now confess that I am a fairly recent Abel Ganz convert, after having met their new guitarist, David King, at a Genesis tribute band gig.

I have been listening to this album a lot since it was released and did the fanboy thing of buying a signed copy (you have to support your local progsters). The whole package is a labour of love, from the music production all the way through to the artwork. The album is meticulously mixed by Simon Vinestock (who has apparently worked with artists such as Texas, Blur, Robert Plant and Simple Minds) and brims with class and finesse.

The album opens with the eponymous track which reminds me in places of Big Big Train and the Tangent. It is an epic, reassuring piece which just breathes progressive rock. I look forward to visiting their back catalogue and feel quite guilty that it has taken me so long to appreciate their talent.

Next up is 'One Small Soul' which features Scottish folk singer Emily Smith, who duets delightfully with Mick Mcfarlane. This is a superb track, heartfelt and uplifting, melancholy and serene. A radio edit also appears at the end of the album.

Track three, 'Arran Shores' is a paen in honour of one of Scotland's jewels, the Isle of Arran. Written and performed by David King, it is a haunting instrumental which reminds me of Newton Faulkner in places.

'Summerlong' is a sentimental, evocative piece, which conjures memories of lives and loves past. Quite sad actually. Midway a Genesis-type keyboard solo raises the tempo before the song draws to a close.

'Sepia and White' then raises the rafters! It reminds me of Magic Pie and The Flower Kings. I love the soulful keyboard solo about five minutes in which heralds a Threshold, Dream Theater-type section. The electric guitar really shines in this track. I wish I could play like that. But I know a man who can.

'The Light Shines Out' is my favourite track. I just LOVE this song. This one takes me back to my all-time favourite album - 1984's 'A Walk Across The Rooftops' by The Blue Nile. The vocals are a cross between Paul Buchanan and Peter Gabriel. This song is now WAY up there for me. It ends with a funky section which I would have LOVED to segue into a longer movement.

Do yourself a favour. Give this album a listen and be thankful that Abel Ganz produce songs of grace, feeling, emotion and hope.

One of the closest (but not best) clones of the Genesis era between 76-81. This is the only album that I heard in its entirety from the band as other songs didn't catch my attention that much. I must say that I love the Genesis period between 75-80 with Collins as the lead singer. I like any other band, good or bad clone, that tries to recreate the atmosphere of my favourite bands. Abel Ganz are no virtuosos and the first real solo could be heard at the time mark 21:20 where the keyboard player produces a nice keyboard solo. Keyboards and vocals are most resembling Genesis. Keyboard layers, chord progressions and the choice of instruments is evident. Vocals sound more after Peter Gabriel and prefer them to the Genesis singer actually as they are not that dramatic. The drummer and the guitar player also certainly heard the song or two by Genesis. How does the album fare? They are good moody tracks, some instrumental parts and mostly focused on instrumental layers rather than improvisation or soloing. Tracks are accessible and have generally a good compositional quality.

If you're looking to broaden your arsenal with the Genesis clones than go for this one too!

In 2008 I discovered a new band (for me) and their new album. This band was Abel Ganz and their new album was then called Shooting Albatross. I played that record A LOT back in 2008 and 2009. I kept checking on the band to know if they would soon release a new record but by 2010 I lost hopes and forgot about them.

In the late 2013/early 2014 the band started to tease fans in their social media websites and their crowdfunding campaign for their new album was a success. So here we have their self titles album Abel Ganz, released in July 8 2014.

Now, first things first, this new release has certain differences from their previous album. First their have a new line up and this change any band's music. Second their new album is a bit more folky. Granted, their previous album was also very folky, but I believe Abel Ganz (2014) is more, way more. And third and final difference, the album is long, clocking almost 73 minutes.

Musically speaking Abelz Ganz (2014) is as high as you can get. High quality musicians and excellent crafting songs. No doubt about it. But as with many long albums I feel a sense of 'filler' in many songs in the album and this is the big reason for the album not get a 5 stars from me (if not the only one).

But don't fool yourself, Abel Ganz is an amazing piece of music, specially for the weak year that was 2014 for Progressive Rock. Also, the CD has one of the most amazing artwork in the last few years. You should definitely pick the CD edition and enjoy without reservations!

With the release of ''The dangers of strangers'' Abel Ganz returned to live performances, having recruited new guitarist Robert Wilson and drummer Colin Johnson, who also happened to be a studio engineer.However the line-up slump still was a major problem for the band.The places of lead singer and keyboardist had to be filled, after Hew Montgomery decided to step down.Christopher Forsyth joined the band as the new singer and Stuart Clyde became the keyboard player, leaving Hugh Carter as the only original Abel Ganz member.This formation recorded the band's fourth studio release ''The deafening silence'', released in 1994 on the French label MSI.

According to the words of Carter, Abel Ganz were dangerously flirting with becoming an average Rock group around the time and his words are pretty much reflected on the sound of the new album.While the Scottish band still retained much of its Neo Prog qualities, that made them a top entry among 80's British Prog bands, the high-pitched voice of the new singer along with the more pompous keyboards lines of Stuart Clyde had added some sort of AOR flashes in the new work.The eponymous ballad with its soft atmosphere, the following ''Hold the moment'' and certain passages in several tracks are like listening to something composed by FOREIGNER or JOURNEY.But there is also the bright side of the album.Montgomery had participated partly in the album's pieces and the recognizable sound of Abel Ganz is still evident in most tracks.Flashy keyboard themes, short-handed GENESIS prog qualities and the quirky and tricky solos along with the omniprsent sense of melodious themes are still based on the 80's British Prog tradition, offering memorable and raw compositions with plenty of energy and passion.Big symphonic synthesizers and grandiose deliveries of rich musical textures are enough to hold the listener's attention, even if not comparable to the best material written by the band.''Serendipity'' and ''Stranger in your heart'' are definitely among the striking and well-crafted efforts of the band and deserve some praise in Abel Ganz'es long repertoire.

The weakest, or better say most inconsistent, of all Abel Ganz early albums yet not weak enough to avoid a recommendation.A couple of tracks are of limited interest even to Neo Prog lovers, the rest of the album though contains signs of the band's 80's evolution with Clyde prooving to be a great keyboardist and Carter managing to keep the new formation together.Recommended.

This is an album of quite diverse and eclectic styles, though it is essentially a collection of nice retro Prog Folk in the same league as THE DECEMERISTS and ECHOLYN (though I like this album better than anything I've heard from the latter two).

The five-part epic entitled "Obsolescence" (23:22) (8/10) is a true prog epic--opening in an acoustic folk fashion like THE DECEMBERISTS, but closing with hard electric instrumentalism.

The album has a couple of full-blown world music songs, including "Heartland" (5:08) (9/10) complete with woman singing in an unusual foreign language and ENIGMA-like rhythms and synth washes, and the instrumental "End of Rain" (5:33) (9/10).

"Spring" (2:25) (8/10) and "A Portion of Noodles" (3:22) (8/10) are both Windham Hill-like solo acoustic guitar pieces. "Thank You" (6:57) (7/10) is an out-and-out Country/Western song.

"Recuerdos" (4:20) (8/10) is a beautiful, sensitive, horn-supported CHICAGO/FROGG CAFÉ-like song. There is even a modern neo-chamber piece, the album's opener, "Delusions of Grandeur" (2:12) (10/10).

"Unconditional" (14:05) is a kind of ECHOLYN-meets-PORCUPINE TREE song of suitable prog length. (9/10)

The album's finale, "The Drowning" (5:25), with its deeply stirring male vocal with only the support of a horn section, almost defies categorization and yet may be the most beautiful and effective song on the album. (10/10) What a way to end and album! This is definitely an album that has been well worth the attention and time I've given it to get to know its depths and subtleties. What I originally thought was good I now highly recommend as an excellent addition to any prog music lover's collection.

Scottish proggers Abel Ganz have a long history that stretches back into the neo-prog scene of the 80′s. Like many groups of that era, they too had a long period of quiet, with no releases following their The Danger of Strangers album in 86′ until their 94′ album The Deafening Silence, followed by an even more extended break (12 years) prior to the release of their definite return in 2008 with the critically well received Shooting Albatross. With so many years between albums one can expect that things will be a bit different each time around, and such is certainly the case with Abel Ganz, who's latest direction since Shooting Albatross has been increasingly acoustic, folky, and pastoral. Not a bad thing in my estimation.

The opener, "Delusions of Grandeur," ends up being much more than your typical instrumental intro, driving immediate interest into the album with its nostalgic, pastoral opening which soon passes to a menacing theme performed by a classical style ensemble which even manages to surprise us me in the end with the sax being chosen as the lead, giving it a very unique flavor. From here, the five part "Obsolescence" song cycle takes us deep into what the album is all about. From 12 string guitars, folky picking, woodwind interludes, and a strong celtic pop feel, "Obsolescence" takes us on a journey from light to dark and back again. The transition from the light picking of sunrise to the upbeat, even bouncy, rhythms of "Evening" is well executed, with the latter taking many elements of the former and integrating them in new ways, such as the recorders from "Sunrise" becoming integrated as harmonic counterpoint" on "Evening." Following a a pedal steel guitar solo and plenty of conga, the transition from "Evening" to "Close Your Eyes" is actually the most fascinating due to its dramatic mood change. Shifting towards a darker sound that integrates pounding bass/drum interjections under plucky acoustics, harmonized vocals, and some roaring Hammond, "Close Your Eyes" is a track that kicks the album up a few notches with its increased intensity, strong groove, and unexpected keyboard solo before a fantastic synth sequency section followed by intense drumming that reels us back in to the main song. From here the cycle continues to evolve, this time with the advent of "The Dream." Aptly titled, this piece actual does have a vivid dream feel, augmented by its somber mood, uncertain chord patterns, and fluttering flute. THe gorgeous use of vocals harmony over a delicate Mark II Mellotron flute is pure gold, and the theme at the end is a winner with its strong nostalgia inducing factor. The real highlight of the song, and the album for that matter, is the surprising organ solo at the end of the track, which starts off soft and pretty before suddenly becoming triumphant and even gothic, bringing in huge chords and drum accents followed by a Bach-like melody on synth over cathedral-esque atmosphere before returning to a joyful theme. Wrapping up this powerful musical suite is "Dawn," a guitar solo that extends the main organ theme from the previous track over growling Hammond, taking us through several key changes for an uplifting conclusion.

While the rest of the album offers many elements presented in "Obsolescence," there are a variety of tricks that Abel Ganz pulls out along the way to keep it fresh. "End of Rain" and "Heartland" were completely unexpected for me. Between their mystical atmosphere fluxes between cinematic and new age soundscapes, proving a bit of trance inducing music for your pleasure. "Unconditional," a powerhouse song oriented piece, delivers wise use of constantly changing measures that don't distract but add a strong sense of groove to this catchy piece featuring great motifs, nice jazzy sections, a blazing guitar solo, and loads of vocal hooks. The biggest surprise, however, was the use of brass on several of these tracks. It makes a brief appearance in "Unconditional" on the jazz section, but it especially caught my attention on "Recuerdos" and "The Drowning." The slow, marching quality of the brass on "Recuerdos" adds an unexpected old-school vibe to this highly folky piece, while the horn section in "The Drowning" floored me with its evocative melodies. Banking on a strong, even mesmerizing sense of melancholy, "The Drowning" is about as brilliant of an album closer as you'll come by. The lamentful brass section carefully undulates in dynamics under introspective vocals in a low register for maximum effect. Additionally, the powerful lyrics, augmented by a heart wrenching trumpet solo will just about bring tears to your eyes. Bravo.

All in all, Abel Ganz's latest shows a keen sense for songwriting that focuses on strong melodic ideas within a consistent framework of sound. That said, there's enough strategic deviation from the expected to really make focus key sections impactful. Add in the benefit of crystal clear production values and Abel Ganz shows themselves to be progressing quite nicely in 2014 with an album that is certainly worthy of being self-titled.

I kind of drift around prog finding, listening to, loving and enjoying a lot of great stuff, but now and again an album catches my ears and this is one of them. I'm getting old in my brain cells, but from time to time an album just seems to "fit", I know I like it, it's just ..............good. This is my latest one, I'm still listening, still hearing, still wondering, but totally enjoying every moment of it, almost lie a rebirth of Abel Ganz? Sorry if that's way out of order, it could be my limited listening / knowledge.

Examples - Lightbulb Sun, Seasons End, Foxtrot, Fragile, ......

What I'm saying is, I really like this, but i'm still listening, nice one guys.

Abel Ganz previously unleashed one of the finest prog albums in recent memory with the divine 2008 "Shooting the Albatross", a release that caught more than one pundit with its prog pants near their ankles. Critically acclaimed and considered by many as a one-shot surprise never to be repeated, the Scottish band went through another round of musical chairs, losing original co-founders Hew Montgomery and Hugh Carter, and looked sadly like they were done. The bass and drums have remained intact as both Stevie Donnelly and Denis Smith are back, always good to have such a solid spine in place. Guitarist Davie Mitchell is back as well. New recruit Steve Lightbody on keys does a fabulous job while long-time vocalist Stuart "Mick" MacFarlane is now standing in the front spotlight. I was overjoyed about the prospect of another exciting Abel Ganz ride. It will nevertheless be a different kettle of fish. The sound has changed into a another subtle variation of neo-prog, this time with a more wholesome attitude, perhaps nearer to what I would call "hard neo- folk", like Big Big Train, Red Jasper The Gift or even Guy Manning.

A bristling symphonic overture sets the stage for the 5 part "Obsolescence" suite, a 23 minute revelation that hits you upon first earful, chock full of twists and turns with silky flute, colossal church organ, country-style guitar pickin', slippery synths and of course, a fascinating story delivered by the more than credible "Mick". Bassist Donnelly does wonders on the low-end while his partner Smith propels with subtle delicacy. The suite has a distinct "I want to hear this again and again" feel, a trait that certainly bodes well for future returns. It certainly fits very nicely with previous accomplishments like "Sheepish", "So Far" and "Ventura".

What really caught me off guard was the delightful acoustic guitar performance on "Spring", a breathless moment where I was expecting vocals that never came, a lovely piece that has an Anthony Phillips pastoral sheen. Drop dead gorgeous. Memories in Spanish are "Recuerdos", a vivid cut of nostalgia, fervently expressed by a stunning trumpet-like theme, escorted by an elusive guitar and a fully emotional voice that will tug at the heartstrings, crickets providing the slick backing vocals. Fragile and beautiful, once again.

Finally, we reach epiphany with the deliriously stunning "Heartland", a modern, electronic symphony of intense pleasure that has children playing, screaming and innocence at rest. A female voice that winks at Hungarian folk sensation Marta Sebestyen, a world music interpretation that only proves the level of wanton progression expressed by the musicians. The Gaelic vocals are supplied by Joy Dunlop. It segues nicely into "End of Rain", a sleek, acoustic guitar-fueled track that seeks out incredible images in the listener's mind, as if trekking through the rolling hills and dense forests, fresh and brisk air massaging the skin. Donnelly caresses his bass frets in bewilderment, a sonic utopia that exudes endless reverie. The final moments are exuberant, the bass and drums doing a tight waltz. This is beyond bliss, simple atmospheric music can be so perfect.

Malcolm Jones of Scottish legends Runrig makes an appearance on "Thank You", a typical Scot country tune, closer to Runrig with blessed accordion and a Mark Knopfler-styled guitar solo that twangs and slides with pedal steel-feel. A vibrant tune that will certainly stay the course, though totally devoid of any prog references, just a nice song!

"A Portion of Noodles" is another brief folk ditty, MacFarlane once again shining on the acoustic guitar, displaying sterling technique and a mesmerizing sense of feeling. This again serves as an appropriate introduction to the upcoming massive epic, the 14 minute "Unconditional", a harrowing pot-pourri of various styles, an American Indian beat that winks at the Eagles, a tortured guitar that veers into a jazz mode and then later into hard metal territory, Mick crooning with total conviction. Trumpets indicate New Orleans rather than Glasgow but the mood is delightful, electric piano gleaming brightly, shifting drums and very cool bass undertow. Lightbody does a masterful piano solo that is straight out of the jazz universe. The arrangement acquires more raw power as the surly organ decides to rage brightly, Mick starting to howl in earnest, Gentle Giant-like dissonance taking a brief bow as the guitars start to ratchet up their rage, Mitchell unleashing a mother guitar solo, very electric, very Vai/Satriani , highly intense. Toss in some choir harmony voices, stop on a dime movements, dazzle and shine. Totally unexpected and totally brilliant!

"The Drowning" sets this one to the cradle, pulling a comfortable duvet over the tired and weary soul, a goodnight kiss that will help dream sweet dreams. MacFarlane croons, flugelhorn in tow, brassy knobs on a wooden bed. Drenched in deep melancholia, the ebb and flow of the album comes to a serene conclusion. A gloriously tired trumpet eases onto the pillow.

This album is quite different, not as linear as the thrilling "Shooting the Albatross", content to explore new sounds and new dimensions, searching out distant horizons but making them fit into a catalog of sounds that unendingly excite and enthrall. Is that not the ultimate purpose of a progressive album?

I beg to differ on the cover artwork, it is one of the most poignant ones in recent memory and perhaps I can relate better living in Alberta, where such bleak winter vistas are commonplace. The lilac sheen is inspiring. Love this precious album.

5 Clever Artilleries