FANTASIZER!

Dean Watson continues to show his mastery of fusion and the world of keyboards. The emphasis this time is on the symphonic side of the spectrum, while in many places the piano accentuates the jazz element, with plenty of seventh chords and disjointed bass structures. While some of the compositions feel like patchwork pieces, the content of those pieces makes this easy to overlook. Although I enjoyed Unsetlled, this third album surpasses that in both technical skill and composition. The music doubles down on a single premise: Adventurousness. I am mainly reminded of Kerry Livgren's 1989 instrumental album, One of Several Possible Musiks, although Watson's work of course has a more modern sound. I recommend this to fans of Spock's Beard and The Tangent.

"Fantasizer!" Mobile piano dashes about symphonic washes that serves as an introduction to a series of stellar melodic movements. One semi-metal excursion exists halfway through the piece, which does a mesmerizing job moving the listener back into organ-led symphonic-jazz fusion.

"Twig" Ascending jazz chord voices create an ominous vibe alongside the choral keyboard. The synthesizer lead moves like a hummingbird evading capture. A delicate piano piece interrupts the otherwise forceful nature of the opus.

"Freak" Transitioning from light keyboard to breakneck synthesizer riffing and back again, the overall feel of the piece is especially like the music found on the aforementioned Livgren album.

"Nomad" Moving into more traditional jazz territories with light ride cymbal and dazzling electric piano runs, is "Nomad." In spite of a title that evokes restless wanderers, this is largely a relaxing piece of music- very smooth stuff.

"At Odds" The title could be describing the eccentric time signatures present, or the battle between Tarkus and the Manticore, as this piece thunders in with bursts of organ. Whether this was intended as a nod to ELP's second (and best) album, I do not know, but to my ears it is a fitting tribute.

"The Anomaly" A more straightforward rock piece, the velvety synthesizer bends set it apart and give it a sense of grace and beauty. It evolves into some inconspicuous heavy jazz rock and thankfully returns to that ear-catching main theme.

"Linear Tendency" Used primarily to highlight individual instruments, "Linear Tendency" features some fun percussive soloing and fuzzier synthesizer lead tones.

"Caged Creator" The longest piece initially conjures up thoughts of home, maintaining an uplifting and halcyon melody bathed in jazz. The middle section is less inviting, driven with a solemn urgency.

"Solemn" Here is a sad, beautiful postlude to an otherwise lively album.