Outer Limits - Stromatolite

Cesar Inca
(César Inca Mendoza Loyola)
SPECIAL COLLABORATOR
Symphonic Prog Specialist

Stromatolite is the name of a primary type of rock, and it's also the name of a definitive 2007's prog masterpice, more specifically, the comeback album of Outer Limits, an exciting work full of diverse nuances and varied elements merged into a unique, cohesive symphonic style. Despite the major line-up change implied by the absence of the band's traditional lead singer Tomoki Ueno (extravagant vocalist, charismatic frontman, proficient supporting keyboardist), the remaining quintet manages to display such an array of musical inventive ideas that, in the end, "Stromatolite" signifies their absolute peak. Hopefully, this will mean that this resurrection phase won't be ephimeral. Bassist Tadashi Sugimoto assumes the lead singer's role and even adds extra duties on stick, cello and contrabass to the fold, in this way increasing the band's sonic sources. The guitarist's robust riffs and Frippian solos are great assets, and so are Tsukamoto's pyrotechnical deliveries of orchestrations, solos and textures on his multiple keyboards, but it is clear that violinist-violist Takashi Kawaguchi stands out as the main protagonist instrumentalist. In terms of style and compositional tendencies, the album's overall vibe may remind us of “The Scene of Pale Blue”, regarding the elegant use of disturbing moods, the somber magic in the melodies' arrangements and the fluid bridge built between the versatile keyboards and the solid rhythm section. ‘Cosmic Velocity’ kicks off the album with an infinite fire that seems to whirl around forever: the spiralling violin lines, the Fripp-meets-RIO guitar phrases, the dissonant neurosis displayed in the keyboard adornments, all of them are brought together in a sonic machinery within a dynamic rhythm basis. The abrupt ending feels totally ordained as the closure of a perpetual climax. What a beginning! And things go on with ‘Consensus’ - the first sung number -, which brings an aura of mystery and disturbance in a sort of "industrial progressive rock" with a playful hook (as paradoxical as it may sound). The reflective ‘Lullaby’ sounds like a bittersweet daydream that emerges from the distant past evoked by ghosts in a Rococo palace's garden; Sugimoto's vocal delivery feels like telling us a long kept secret under blankets of sadness. There's nothing more to say about the string section except that it is tremendously wonderful in its magnificence. Things get punchy again (in fact, punchier) with the instrumental ‘algo_rhythm.c’, which finds the band creating a mixture of Bozzio-era UK and ELP with added Gothic and almost-metallic nuances. ‘Caprice’, an amazing violin solo piece Baroque-style serves mainly as a prelude to yet another powerful instrumental, ‘Spiral Motion’. That's why the last lines of teh violin solo turn into a dissonant mood, in this way opening the door to the oppressively myterious ambiences of ‘Spiral Motion’. Once again, the Fripp-like guitar leads are featured here among the fiery violin interventions and between the meanders set by the keyboards' architecture. ‘Dahlia’ is less frantic in tempo but remaing incissive regarding the elaboration of disturbing ambiences. Even the lead guitar is more featured here than on any other track of the album, despite the fact that the violinist remains the most recurrent soloist. Anyway, the instrument that gets most of my attention is the keyboard, with its cosmic ornaments set in a sinister frame, in this way consistently paving the way for the impending explosive coda that closes down the track in an explosive fashion. As if the band intended to give us some relief from the general oppressive mood that has been developed so far, ‘Pangea’ displays motifs that trend toward more epic realms, something like a crossroad between action-movie's soundtrack and "Masquerade Overture"-era Pendragon. Anyway, Outer Limits, true to themselves even in their most candorous moments, insert some mysterious nuances in the brief violin-bass dual interlude (more like Abraxas). Track 9 is what its title implies, a chamber-inspired pipe organ piece that bears some relative resemblance to the solemn side of Devil Doll. The last track occupies the album's last 10 minutes - it is ‘Constellation’, an optimistic progressive chant that bears a candid spirit, not unlike contemporary Pallas. Although there's a definite twist in the musical mood, the closing track's density inherent to its melodic bombast (somewhat dominated by keyboards) oddly enough makes a connection with the previous repertoire. With this plethoric display of colorful musicality “Stromatolite” comes to its climatic end - Outer Limits has made a hell of a comeback.

Posted Saturday, July 28, 2007 | Review Permalink

 Prog-jester
(Igor Sidorenko)
PROG REVIEWER

Japanese Prog has always being some kind of mystery for me. Known for its virtuosity and unconventional nature, it's also a hard thing to find. "My ways are strange" (c) GG, but I've found some OUTER LIMITS albums, and the first one I've fully appreciated is "Stromatolite".

First of all, the rating is 3.5 stars. It could have been even higher, but the main problem are song-based tracks. Vocals are not enough enjoyable, and the whole idea of "playing a song" is not suitable for a band like OUTER LIMITS I think. Their best abilities can be shown in instrumental tracks that feature fiery virtuoso violin, thoughtful guitarwork, powerful keyboards and wonderful rhythm-section. When they play instrumentals, the only word that fits is "astounding", and the only bands I can compare them with are KING CRIMSON (73-74), UK, KOSTAREV GROUP and their fellow countrymen INTERPOSE+. But when it comes down to songs...please don't!!! The same problem I have with Russian LITTLE TRAGEDIES band - it's awesome until it's instrumental :) As a person who simply can't enjoy album as "a collection of songs", only like "a solid piece of Art", I had to lower my rating to 3.5 stars. Highly recommended nevertheless!!!

Posted Thursday, December 06, 2007 | Review Permalink

 Gatot
(Gatot Widayanto)
SPECIAL COLLABORATOR
Honorary Collaborator

I knew nothing about this Japanese band unless my prog colleague, Koni, introduced me to this new album by the band (that the name was I thought inspired by IQ song) named as OUTER LIMITS. By instinct, I thought the music must be something like IQ or Pallas, judging from the band name. But I was shocked knowing that the opening track demonstrates a grandiose rock orchestra with tight and excellent composition. I have sensed a flavour of King Crimson and After Crying at first spin of the album. Honestly, it blew me away at first spin and I was willing to re-spin over and over. It’s basically pretty simple: I love the combination of classical music or orchestra with rock or progressive music. I remember vividly when I saw a cassette labeled as “Rock Meets Classic” to label the Jon Lord’s “Windows” when I was childhood. It was quite hard for me to digest but the more I listened to it, it grew on me steadily.

Having been exposed with the kind of marriage between rock and orchestra, I have found no difficulty at all digesting this album at first experience. The idea is basically quite simple: marrying prog rock with orchestra or string ensemble. This album spells out this clearly through significant use of violin combined with great keyboard work. After the mellow song “Lullaby” the music moves wonderfully to another grandiose composition “Algo Rhythm C” which demonstrates how violin contributes aggressively to the music accompanied by music in the vein of King Crimson and sometimes PFM (Italy). I have to admit that this instrumental track is a masterpiece as it combines a well balanced ups and downs with great maneuvers of violin as well al mellotron which make the song is quite inspiring. I bet those of you who have been liking the early sound of King Crimson and PFM would love to enjoy this song.

“Caprice (Violin solo)”(1:32) reminds me back again to After Crying and it moves wonderfully to “Spiral Motion” (6:04) in medium tempo with full demonstration of violin combined with organ work in vintage style. The soaring organ sounds that appear during breaks accentuate the song really well especially when it is then followed with violin solo which moves steadily from simple solo to complex one augmented by pulsating organ sound. It’s so symphonic!

The concluding track “Constellation” (9:54) is probably the best place and time to get musical orgasm due to its tight composition blending colossal orchestration, great violin solo and keyboard solo. The song structure is quite varied in forms as well as textures while each segment of the music delivers excellent textures resulted from musical instruments as well as its sound effects. Well, the melody is actually not that catchy. But that’s not the point, because I believe that the band intended to create this song as composition-orientated piece of music instead of melody line.

Overall, I highly recommend this prog rock album with great orchestration to those who can appreciate this kind of music. In fact, I don’t see any problem at all for newbie in prog rock to taste this album first, because it’s excellent. It deserves a 4.5 star rating. Keep on proggin’ ..!

Peace on earth and mercy mild – GW



Posted Monday, January 21, 2008 | Review Permalink