HOMMAGE SYMPHONIQUE

Well this is my first contact with Erik Norlander, although already I had listened to his work in Ayreon and Star One. So here is my attempt to make a review.

1. Conquistador: This song begins with violins and a trumpet doing a classical "spanish lead", the song has a 60's vibe througout, even the hammond included!!!

2. Sir Lancelot and the Black Knight: This one begins with typical medieval feel, the voice sometimes reminds classic Deep Purple?, has a sweet chorus, then one synth/hammond/synth/hammond/ solo. Later in the song there is a section with "military feel" snare that turns into a spacey synth solo. Then the sweet chorus again and the song fades with medieval feel.

3. Turn of the Century: Here the voice reminds The Police, with a very calm piano, then there is a piano and woodwind interlude. Then the drums enter for awhile but keeping the mood of the song.

4. Pirates: This begins with strange keyboard sounds and effects, creating a "dramatic" intro, then a marching snare is accompanied with keys. The voice enters with a very "mocking" tone and the mood is circus-like throughout the song. Then there is break that turns into a keyboard solo. Towards the end of the song is a mood change to a classic rock' n roll. This song is funny but had to be much shorter.

5. Clasp: This song begins with medieval feel, then turns to 80's pop rock, this mood shifting keeps throughout the song.

6. King Of The Universe: Begins like The Phantom Of The Opera (the musical), then when the voice enters, the song becomes into a very 60's "hippie" feel which stays throughout the song. Except for the outro which is equal to intro.

7. Children of Sanchez Overture: Starts very strip down, with only voice and subtle keyboard, accompanied by occasional acoustic guitar. Later is interrupted by a very percussive section which turns into a latino section with trumpet and hammond which stays until the end of the song.

8. Starless: This begins very calm with sax and stays thus by awhile.Then the mood becomes dark and jazzy, giving entered to a dark guitar solo. Then the song turns into a jazz with a very rapid sax solo which interrupted by a flute and the sax solo is taken again until the end of the song.

Conclusion: The album is very varied but some times the songs become very long

A cover album.

Cover albums can be good stuff, but most often isn't. This one? At least it's somewhat of an original take on the concept.

8 different songs from 8 different artists, to some extent rearranged if my ears doesn't decieve me. All of the songs here to a greater or lesser extent is played as by an orchestra (good synth work, plus some added instruments), which certifies that the take on the tunes is somewhat different from the originals.

And it works on most songs as well. My overall feel for the album is to give it a rating between 3 and 4 stars - upping the score for a slightly original take on the old cover album thingy.

Oh, musical style: Synth heavy, no regular guitars (but NS/Stick and bowed gtr), contrabass, regular drums. Some brass and stuff in most tracks. Don't know what to call that mix - art rock perhaps?

Personal highlight: Children of Sanchez Overture - after the first 3 somewhat bland minutes, we get 6 minutes of latino prog fireworks Santana couldn't have done better.

Well usually I don't like any tribute album introducing a classing symphonic rock genre like this one, especially as I'm fond of such a classic and new experimental symphonic progressive music in the vein of bands such as After Crying or Isildurs Bane. Moreover - as a fun of the old Yes - I've been very curious listening to another different version of "Turn of the Century", which actually can be another bad emulation...naturally I'm still just a little bit perplex about the present music project, nevertheless you can find some interesting passages within, by forgetting the performance of the bass player as well as the oddest vocal break through, sometimes strident in a couple of songs... of course it's not an hard rock album and the style of the vocalist is closer to that style, but at the end you can appreciate the honest approach by Erik and for me that's enough!

Make your own choice!

Are we in a wrong direction?

It's just a logical question I pose to all of you about where the today's prog music is heading. The chief reason is this: I have just posted a review on Jordan Ruddess "The Road Home" couple of weeks ago and in a matter of days my prog colleague Rizal Prasetijo added his views on this masterpiece album. And now, I am spinning for the fourth time the "Hommage Symphonique" by ERIK NORLANDER. The similarity between these two albums is very obvious : both of them are making their trip to the past by delivering songs made by legendary bands from ELP to ELO. And - I don't know whether or not this is coincidence - the two albums referring the same call of the past says music with something about "home". So then I ask that question: Are in a wrong direction, musically, with prog music development?

Why?

The term "home" can mean something about being "cozy" or "feel comfortable with" or something like that. Do these two albums deliver similar message that Jordan and Erik feel at home with legendary music? Or it can mean something that these two musicians have gauged the recent developments of prog music which have made them not happy with it (in a wrong direction?) so that they want to send a strong message to prog audience that we should all come back to the root? Back to basic? This is something important that I need to ask you, to "think about it".

So let's talk about this Hommage by Mr Norlander ..

First off, I was extremely happy when I spun this album for the first time. First, the collection of songs reminded me that I should remind all of those great tracks from Procol Harum, Jethro Tull, Yes, etc. Second, it reminded me that some tracks that initially I did not put as my favorite is in fact included by Norlander right here. A good example is "Clasp" by Jethro Tull. I had never paid attention to this track and I just considered it as "good but not essential" track. But, how come Mr. Norlander likes it? It makes me more curious about the track and I spun the original version due to listening to this tribute album.

Third, this album really cheers me up because I like another version of masterpiece "Conquistador" by Procol Harum, "Sir Lancelot and the Black Knight" by Rick Wakeman. These two tracks are really wonderful. In fact, Conquistador's vocal style is really attractive especially during the second part with high register notes. Kelly Keeling is a great vocalist. I am amazed that Norlander took this track by Rick Wakeman that I thought not that many people like it. High five for you!

Most of the music presented here are not much different with the original versions except two tracks that I mentioned above. However, it does not mean that the other ones are not listenable and, in fact, I doe enjoy listening this tribute album in its entirety. One thing that I thought it was a bit misplaced was track 7 "Children of Sanchez Overture" by Chuck Mangione. Don't get me wrong, I love this track in its original version. However, the name of Chuck Mangione is not common in progressive land than he is in jazz / fusion music.

Overall, this is a good tribute by Erik Norlander to the legendary bands who pioneered the progressive music in early 70s. This might satisfy those of you who have embraced the beauty of 70s music. Keep on proggin' ..!

Peace on earth and mercy mild - GW

A cover album

As implied by the title, Hommage Symphonique is a tribute to Norlander's musical influences. It contains eight cover versions, most of which are all-time classics of progressive Rock. Most of the giants of Prog are represented including songs by Yes, Emerson Lake & Palmer, Jethro Tull, and King Crimson.

The disc opens with Procol Harum's Conquistador. The lead vocals are ably handled by Kelly Keeling throughout the whole album. It continues with Rick Wakeman's Lancelot And The Black Knight, Yes' Turn Of The Century, Emerson Lake & Palmer's Pirates, Jethro Tull's Clasp, Electric Light Orchestra's Ocean Breakup / King Of The Universe. The only tune that I was not previously familiar with is Children Of Sanchez Overture originally by Chuck Mangione. The disc ends with King Crimson's Starless.

All of the covers are well-made, though as usual with covers, I prefer the original versions. Norlander is an amazing keyboard player and producer. He is great composer himself as well, so there wasn't really any need for him to record other people's material.

I can recommend this for fans only