TARDIGRADE

Simon Says has a third album that is soaked with inspiration from classic symphonic progressive rock bands, most notably Yes. There is one major difference- the lead vocalist Daniel Fäldt sounds nothing like the symphonic heroes of the field- no second-rate Peter Gabriel or Jon Anderson epigones here. The vocalist has a deep tone, but reaches into the higher registers with an unnatural falsetto that despite the judgment a first impression may render, really fits and is welcome in its uniqueness. On the other hand, the guitarist Jonas Hallberg could easily be Steve Howe's Benoit David, with those characteristic swells, octave leads, rapid picking, and little distortion on the guitar. This is recommended for all, but especially for fans of Yes, The Flower Kings, Wobbler, Spock's Beard, and ELP's Trilogy.

"Suddenly The Rain" Sturdy symphonic progressive rock comes blasting through the speakers from the first moment. A saturated organ forms the basis for the first vocal section. The refrain is outstanding, and serves as a sweetly memorable delight almost directly from the outset. The latter half of the lengthy instrumental section is a Bolero of sorts, with steady marching drums and sinister synthesizers. The following guitar lead is extremely tasteful, allowing the rest of the music to dictate its direction. For a variety of reasons, "Suddenly the Rain" reminds me of Yes's Going for the One. Though the band offered their best piece at the outset, the quality doesn't henceforth decline.

"Tardigrade" The title track is one of the shortest musical chimeras ever, and played at a lightning-fast speed. While initially I felt the segments themselves seemed forced together, and the vocal melody didn't go with the music much at all, the guitar and organ fuse the bits together as best as they can, and after subsequent listens, it seems more natural.

"The Chosen One" Acoustic guitar and vocals begin this gentler one, a much needed contrast after the heavier fare of before. Velvety Mellotron backs it all up, and a sugary sweet synthesizer serves as the precursor for the fullness of the rest of the band. Once again, powerful organ is the main rhythm instrument.

"Moon Mountain" This is a brief duet played on the classical guitar and electric guitar.

"As The River Runs" Minimalistic synthetic sounds make up the beginning of this one, and various instruments trickle in over time, creating a polyphonic effect. Soon, a static drum and guitar tick along while the Mellotron handles the chords and the singer moans over it all. A piano section reminiscent of the part just after the quiet vocal section on ELP's "Trilogy" serves as the transition to heavy drumming, guitar through a wah-pedal and fancy synthesizer. The soft section that follows has something of a Van der Graaf Generator feel, with somewhat dramatic vocals over piano, guitar, and bass, and then it's back to the Yes feeling, with slide guitar and a wicked synthesizer lead. The band throws in some organ soloing and completes this fascinating progressive rock journey.

"Your Future" This is an interlude with a vocal fed through a Vocoder.

"Strawberry Jam" Frantic drumming and bass work introduce a wild ride of electric guitar and synthesizer. A bulbous bass solo concludes this short instrumental.

"Circles End" A dark acoustic guitar and subdued vocal makes up the beginning here. Mellotron, whistling synthesizer, and electric piano add a fuller dimension to this downcast but eloquent piece. This is a welcome respite from the robust and busy music that dominates this album.

"Brother Where You Bound" No, this is not related to the Supertramp song by the same name (I checked). The vocals and heavy instrumentation begin immediately- one cannot accuse this band for pussyfooting around, as they often get right into the meat of their work. One of the musical themes is very similar to a motif in the Yes song "Yours is No Disgrace." Like the opener, this song has an excellent and memorable refrain. The rolling synthesizer lead, as well as more low-key, um, keys, is perhaps the highlight of this very extended piece, which focuses more on the instrumental prowess of the band. No doubt this song will take more than a few listens to digest, but the band throws the hearer several lifelines in the form of memorable hooks and captivating charm at every corner.

"Beautiful New Day" Like Jethro Tull's "Grace" from their wonderful album Minstrel in the Gallery, Simon Says tacks on postlude, as it were, made up of acoustic guitar and vocals, which clocks in at under a minute.