POSSIBILITIES

Initially chronicled on ProfilProg: POOR GENETIC MATERIAL explores rock by experimenting with sounds that are much more complex than one might think.

"Possibilities" symphonic entry with the organ, Philip's didgeridoo, Stefan's solo appetizer and the Floydian air; a gradual drift that flows smoothly. The Teutonic voice, you will have to get used to it; orchestral ambient break with rolling drums, latent bass for a sophisticated Oldfieldian moment before Pia's flute; of the crossover à la BARCLAY JAMES HARVEST. "Rain" a Hackettian arpeggio before the percussion entry and Dominik who gives it his all; the organ smells like that of BANKS; consensual ballad and chorus reminiscent of another from GENESIS second version; break which breaks the rhythm and sends on a tortured keyboard solo; flute and vocals for a soft return to the melody, a few touches of ALAN PARSONS and the airy, intoxicating chorus.

"A Spark of Ideas" the sound echoes, tune starting loud; the orchestration is meaningful, effective, a guitar solo behind it like TANGERINE DREAM did so well, bang oriental break, bluffing; the tune starts with a disconcerting bluesy guitar solo, warm with the Mellotron in the background; the nervous guitar brings the most, helped by Dennis' bass which keeps the direction; very good piece. "Old Buffoon" for the radio edit worthy of the BEATLES, the bucolic sound with Martin from BEGGARS OPERA on vocals, taking the tune to that of 'Seaside Rendez-Vous' by QUEEN, to the recognizable one of GENESIS, an Anglican title incidentally.

"An Island in Time" begins without waves; consensual tune, chorus by ALAN PARSONS; acoustic arpeggio and flute break, it smells of reminiscences of Mike OLDFIELD; the second break with a languorous Frippian guitar returns to the bewitching vintage sound; chorus with warm choirs then flute solo surrounded by roaring bass and metronomic drums; Stephan's guitar solo is complex, followed by a piano variation becoming the centerpiece playing with stereoscopic notes, crystal clear for the spleen moment; final tormented jazz-rock guitar solo à la AGUSA leading to "Contingency" with a PINK FLOYD tune; the flute appears supported by Dominik's demonstrative drums; tune from KING CRIMSON's 'Discipline' with Philip's languorous voice; title led by Pia to continue to captivate us.

POOR GENETIC MATERIAL is a hard working German-Scottish outfit that has been around for a quarter century, a rare group that successfully shifted from ambient to crossover, and in recent years has incorporated both, blending in funk as well, perhaps inspired by vocalist PHIL GRIFFITH's involvement with ALIAS EYE. This is the first full band album in 4 years, having remastered an earlier classic and released a stripped down band effort in the interim.

My first dalliance was the superlative "A Day in June" close to 10 years ago, and I was inspired to work backwards through their fine discography, then forwards with each new offering. "Absence" and "Here Now" can now be seen as transitional works that alternated atmospheric passages with traditional rock and even classically inspired flute, but the melodic quotient was declining, particularly on the latter, and more and more of the individual tunes lived in me as mayflies that met untimely deaths. This was all the more evident on 2023's "Elsewhere", whose highlights were mostly the tracks that had already appeared in the interim (eg "Stargazing").

Now we have "Possibilities" in which the transformation seems complete. With R&B overtones, harsher vocals that fail to exploit GRIFFITHS' talent as in the past, chaotic and muddy arrangements, and, most disppointingly given the band's past successes, nary a hook or groove in the mix ("Rain" being a mild exception). Worst of all, father MARTIN GRIFFITHS' singing entry this go-around is the disposable "Old Buffoon", which, to put it mildly, doesn't compare favourably to, say, "Chalk Hill Blues" from a seemingly distant and superior project. Even Pia Darmstaedter's flutes seem set apart from everything else that is happening, like the member of a clique who is no longer considered cool enough to belong, but whom nobody has mustered the courage to banish.

I suppose every band must evolve, and both artist and fan alike hope that they can grow together. This is so difficult for me as a long time aficionado. I am reminded of how I was pretty much the only reviewer who didn't like the ELOY Jeanne D'Arc trilogy, and I feel similarly alone here, with the general consensus being favorable. While I will always have time for a new PGM as it appears. I'm thoroughly disappointed, though I acknowledge the possibility that I may have missed something.