HOLOPHINIUM

Back in the early 70s, when the Golden Age of Prog was dominating the charts, the airwaves and the record stores, at a time when the Internet was still a hippie hallucination in some Seattle geek's mind, the only real source of information was the credit listings that would adorn the vinyl albums. I started already back then compiling my favorite musician names and seeking out other projects they may have been involved with. It was great way of shopping, a myriad of cataloged hints and clues combined with imagination or the odd published review in some prog magazine (France had both Rock 'n Folk, Best). Today, we have so many more resources to add to this mix, but in purchasing Karibow's latest opus, the 2cd "Holophinium", I was triggered to purchase by hearing that the irascible Colin Tench, a guitar virtuoso of the highest order was involved in this project and that got me imagining things. Then I read that Michael Sadler of Saga fame was also involved with this hitherto unknown to me German band. Time to remind everyone that Canadian band Saga was HUGE in Germany, more so than anywhere else and by a zillion miles. Finally Unitopia keyboardist Sean Timms also appeared on the horizon and I made the plunge rather comfortably.

Sinking one's teeth into a massive double Cd of new music is always a colossal challenge for even the experienced pundit, so I began researching a bit more and thus finding out that Karibow is actually quite a well-known rock act in Germany, both on record and in concert. Leader Oliver Rüsing is a very capable vocalist (a bit like Iva Davies of Icehouse in a way) as well as an über-talented multi-instrumentalist/composer/producer who particularly shines on the drum kit but is equally adept at the keys, bass and guitars, while leading a seasoned guest list along for a convincing ride into progressive realms. While the music is perhaps more upfront prog rock with AOR leanings with occasional daubs of electronica, truth is there is a lot to sink your musical teeth into, the drum work in particular showing some oomph and well as dexterity, expertly displayed on the title track and neatly followed by the luscious "E.G.O.", an eleven and a half minute frolic that sets the tone for the remaining set of songs. Why wait until later to impress right away, nicht wahr? It features an immediately appealing structure, a terrific rhythmic carpet on which slippery synths forage through a swift arrangement that is both luminous and exhilarating. Oliver's lead vocals are a true delight, both convincing and bright, draping suavely over a solid melody, the ending has a sublime symphonic crescendo that is to die for, sparkling lead guitar shining towards the horizon. Truly 'ausgezeichnet'!

It becomes very critical for a 97 minute opus to be architecturally sound, yet always on the lookout for another thrill, in order to keep the pleasure nodes stimulated. The judicious placement of songs becomes quite apparent as the amazing "E.G.O." is followed up by "Victims of Light", a more arena-rock styled piece that has a divine chorus that would grace any anthem, muscular polyrhythmic drums on the forefront and Oliver's whispering and then bellowing vocals. This is followed by the sweeping ballad "Some Will Fall" and its sorrowful groan, melancholic clouds floating in the air, mirrored pools of reflective thought as the sun goes down majestically, an acoustic and then electric guitar along for the drive. Things get jaunty and quirky with "Connection Refused", definitely stop and go rhythms and another breath-taking vocal, keeping things breathtakingly interesting.

Another massive highpoint is the splendid "River", a Michael Sadler's cameo appearance on a deliriously enjoyable track that is augmented by its overt Ian Crichton?like guitar buzz, those serpentine synths, Sadler's immediately evident voice and a drum beat that would rekindle memories of the binary monster that Steve Negus once was. There is little doubt that this is the best Saga song never penned by Saga, a luminous reverberation of a flowing melody that meanders along, determined and focused to arrive at some delta paradise. "Angel Scent" has this lyric 'Your emotional symphony is unpredictable' that made me gasp audibly, neatly placed within a lilting dirge, with hushed vocals and another thumping drum track, surprised by a sensual saxophone blurt out of nowhere , that again caught me unawares. The guitar-launched mood here is urgent and passionate, near to Anathema and Pineapple Thief territory. Guest Daniel Neustadt really shines on fretless bass. The relatively straight forward "King" is enjoyable in its determined forcefulness, with vocals that are straight out of the 80s, and some passion-fueled lyrics.

Another perfect piece on the first CD is its final one as "Quantum Leap" does its title justice by flinging this jewel well forward into nirvana, expertly marshaled by Australian Sean Timms' delightful keyboards, a very underrated talent that needs to be further discovered (try Unitopia and Southern Empire). Oliver's gorgeous voice, explicit guitars, bass and drum work really boost this into the stratosphere. Wunderbar!

To stamp their career with outright prog stamp (earlier material was a tad more accessible and ear-friendly), Karibow introduce a second CD that contains an extra 37 minutes of musical joy and adventure. Sub-titled "Letter from the White Room", this 7 part suite details the space race, a unique event in the late 60s and early 70s that was THE major topic of conversation in homes, workplaces and schools all around the world, when man sought out its destiny of exploration by forcefully going where no man had gone before. The Moon and beyond was the target, not only of human urgency but also out of political necessity. Space travel deeply affected those chosen to discover the outer universe and many an astro/cosmo-naut came back altered and perhaps even illuminated by something beyond our bland humanity. Buzz Aldrin in particular has a few interviews on the net that may seem bizarre. And yet?Musically, the electronics take a greater hold over the material in a more progressive pursuit, fusing into the mix a classic instrument like the sublime mandolin (on the mercurial "Walk on Water", an epic little gem) , while "Orbital Spirits" will give guest Karsten Stiers the front stage to show off his vocal talents. On the spiritual lullaby "Eden", Oliver's voice really reminds of Iva Davies, easily one of Australia's finest vocalists, what with the long held notes, the hushed tendencies in counterpoint and the ability to push the lungs further along. The extended epic "Lifelong" takes the smooth path in orbiting the pleasure nodes, circling patterns of delightful sound and passionate power, in a rather dreamy and moody expanse that morphs constantly into new sonic realms. Tinkling piano and diaphanous voice add to the desire. Colin Tench (Corvus Stone, CTP) gets to molest his fret board on "Part of The Century" and he absolutely never disappoints, quite the contrary as he is a brilliant axeman (and occasional humorous loon) with a storied recent career. Finally, with "Plutonian", the aural travellers land back on earth, deliriously satisfied and enthralled, flush with excitement and adventure.

Oliver Rüsing is quite the talented artist, a wizard and a true star. His slavish work here oozes devotion and determination, as everything is spot on, crystalline production, lush artwork, instrumental prowess and sensational vocals all built around thoughtful compositions. Currently on tour, one can only aspire to even higher praise in the future.

4.5 Lunar Briefs