THE FRUIT FALLEN

With the long work being finally over and the major, so far most precious release being out in the open, the bet now goes on how this band, Edensong, with a strong, round-shaped and highly enjoyable debut, can capture attention all over places in veraciously quick time and can receive full acclaim from progressive rock fans and critics. So far it's all good.

It's been, indeed, an insanely long journey before this debut was released in the mid-April of 2008; in fact The Fruit Fallen is a project dating back in 2004. The pieces that make up this album vary themselves as D.O.C. (date of composition), over these four full years, while a couple others - if reading carefully on the band's main website - were left out of the official record. Since the basis of this ensemble was set even earlier into the early years of the decade - James Byron Schoen and Matt Cozin having been part of the original trio - it's been definitely a tough, long ride till this very moment, where plans are probably already drawn for new material or for extensive touring in other to promote this one. The way the music sounds, both complex and carrying actually a hard imprimée of over-done small things, speaks for itself.

The conceptuality marked by titles and symbols seems very peculiar regarding Edensong, since even before anything was started on The Fruit Fallen, the band conceived a rock-opera named Beyond Eden (promoted afterwards, though not in the completely same formation, in a tour, at the end of which the ideas for a new album were already starting to catch ground), while Schoen and the third member of the original trio, gone too shortly after to receive any real credit, played together in a band called Echoes of Eden. It's more peculiar, seeing this differently, that the place where this lopsided conceptuality ends is the album itself, where religion is pointed out several times, but not in a significant, nor strict way.

The music, in fact, is much more than you could imagine from just looking or reading about, the experience is heavy, regular and enlightening. Not likely to be the top band and top result of the year, still consistent, demanding and (once trialed) deserving in more than one way. At the time of The Fruit Fallen being finalized for good, in 2008, the core band is made out of Schoen playing the whole set of guitars plus being the lead singer, while Matt Cozin plays drums, two flutists literally alternate between pieces, Arthur Sugden complements with piano and organ, while violinist M. Drucker moreover refines the music's passages than having actual dense contributions. Still, Edensong's debut was also crystallized with the massive contribution of several more musicians, despite that we're talking additional dubbing upon certain pieces, the instrumental list and range not changing dramatically, except synthesizers, cello and more esoteric percussions. Once listening to The Fruit Fallen, you'll probably not be warmed more by one particular artist than by the others, they all perform realistically well, but, just for side notes, Schoen delivers gifted, sensible or strapping guitar music, while his singing, even if good (and quite excellent, towards the end), is not entirely high-praise-worthy.

As style derives from influences or undergoes the search for the original factor, we're mainly talking about a look being taken into classic progressive bands (particularly in the parts were symphonic prog can be sensed or is plainly interpreted), not important enough however, since the main drive is modern, intelligent prog rock. Edensong do have the common desire to catch an original expression, and while in sound and concept all is possible, the overall rock flavor is not something unheard; but it's neither prosaic, but fresh, stable, heavily-worked upon - all good assets. In picturing a rather active eclecticism (that includes abundant art rock, sudden symphonic structures, rather instrument-based folk, power rock, alternative a.s.), one thing might attract fans of a different caliber than art or concept rock, as the heaviness put in essential moments of unleash and grasp is not heavy rock per se, but closes in solidly on metal. So to say, the Dream Theater quarter side of the main blend gets fulfilled, while an influence was even noted to be Alice In Chains. It's something curious, at least, in terms of conception, while inside music, metal is to be fully credited, but not in dangerous quotas.

Running 71 minutes, with only 8 selected compositions, The Fruit Fallen is a truly solid work. Taking another look at the concept, almost every piece has its main idea. At least two themes - the loss of love and death, the latter approached in the last two tracks of the album - come from experience (in death's case, everything being a tribute to someone). The lyrics can have a bit of what I've mentioned to be over-done (one other thing would be instrumental passages that have a real good sound, yet lose out when talking about their essence), but it mainly sounds too developed to be taken as one-dimensional. More interesting (and undoubtedly enjoyable) will be observed the certain twist of style, color, ambition and feel in most of the pieces. Taken individually, only Water Run, the folk-alternative opener, and Reflection, a soothing ballad containing probably a very representative expression of the band, are pieces that flow overall the same. Inner changes in The Prayer (from acoustic folk to heavy rock) and Nocturne's discreet-disturbed flow (which sadly doesn't bring anything close to Chopin, despite being officially related to him) can or can't impress. The Baptism is on the other hand probably most intriguing, being the basic breakup song, but coming down the middle with church organs and intonatios that clearly bring the color of religion, while the mood turns heavier and heavier, you don't even catch up with when the vocal and instrumental drama becomes a tad extra raging. Religion, otherwise, is fully evoked in The Sixth Day, which counts for me as the most astounding piece done by Edensong so far. If ever to feel perfection and graceful music coming from the band, it's down this ending part, with The Sixth Day so imposing and One Breath To Breathe so tearful. The finale, an epic of 21 minutes called The Reunion, is actually made of two distinct pieces, 10 respectively 8 1/2 minutes long, 3 middle minutes being intermission silence. Both are evolved as also distinct, forming a contrast of rapid and soft music: in the first piece, rapid means metal, while soft actually means a full dramatic halo of vocals and rock, net superior to the second piece coming afterwards, where dynamic and progressive motives are contrasted by instant flexible moments where the tension is just loosened.

Overall, this is a very good and deep effort by Edensong, a bright progressive rock modern band on the horizon. While savoring it should only mean the music and the stylistic pollen fully reaches you, The Fruit Fallen couldn't have been a more compact and stimulating album after all the time it took to be made. Unreservedly recommended.

And on the sixth day, man created God to help see things we can't explain...

The work leading up this album took a little bit more time than including the band and the album in Prog Archives - but both were very much worth the effort.

First of all - after quite a few listens to the album, the overall picture is that if one band fits the definition of Eclectic Prog it's Edensong. Across eight very well balanced and intricate compositions, the caring listener is treated to symphonic, folk, metal (Edensong was preceded by Schoen's prog metal band Echoes of Eden, which disbanded in 2000) and even some jazz - just listen to some of T.D. Towers bass work on e.g. The Baptism). Comparing Edensong to just any one band from these genres doesn't sum up the sound of this album. Putting Yes, Jethro Tull, Malicorne, Shadow Gallery, Dream Theater in a Magimix blender may give you an idea of how this band tastes. Of course, there is not one line up responsible for all tracks, but the compositional skills of Schoen and the sheer talent of all the musicians he worked with over the past years to create this album are remarkable.

Highlights of the album for me are the two longest tracks, The Sixth Day and Reunion (the latter runs 21 minutes because it includes the 'secret track' To See But Not Believe), closely followed by The Baptism. All three are intricate compositions - using influences from the bands and musical styles mentioned above, and going through a number of mood and tempo changes. Not exactly background music - but a great choice for an evening of well played modern progressive rock.

Large parts of the album were part of what was initially conceived as a live show - Beyond Eden : A Surrealistic Pseudo Rock-Opera, on which Schoen started working in 2002. Listening to the album and reading the lyrics makes me hope that, after the disbanding of the last Edensong line up and the release of this album, James Byron Schoen manages to get a band together for touring and further releases. I'd love to see this band perform live in Europe in the not too distant future.

3.5 stars. EDENSONG is the project of vocalist / guitarist James Byron Schoen. In the liner notes he thanks "Ian Anderson as the obvious representative for the too-many-name others whose music has inspired me over the years". So not surprisingly there is flute on every track along with lots of acoustic guitar and violin. Lots of guests on this one too,so we hear a wide array of instruments.This is a very proggy album with elements of Folk, Symphonic and even Metal.

"Water Run" opens with acoustic guitar as just about all the songs do. Drums then violin follow before vocals and flute join in. Flute and drums are prominant, there is some piano and organ too. The vocals don't do a lot for me at times. "The Baptism" is more laid back to start with until flute comes in. It settles back down when reserved vocals and mournful violin take over. Kicks back in as contrasts continue. Some nice bass 5 minutes in as the organ floats in the background. "Reflection" is mellow with fragile vocals and lots of acoustic guitar and flute. "The Prayer" sounds great before 2 minutes with the heavy drums, flute and violin. Vocals join in and organ. A calm follows with acoustic guitar as contrasts continue. "Nocturne" is the only song to open with vocals and piano. It kicks in before 2 minutes which sounds much better. The bass, drums and organ standout. Some heaviness with flute before 5 1/2 minutes. A calm 6 1/2 minutes with vocals in the style of Phideaux. Great section before 8 minutes.

"The Sixth Day" opens with acoustic guitar as outbursts of heaviness come and go. Vocals before 2 minutes. Riffs 6 minutes in, a minute later and more before 8 minutes. Passionate vocals 9 minutes in. Good song. "One Breath To Breathe" opens with drums and flute and is a mellow track for the most part. Acoustic guitar and piano help out as well. "The Reunion" is the almost 22 minute closer. It opens with acoustic guitar as vocals and harmonies arrive before a minute. Some heaviness 2 minutes in. Contrasts continue. Ripping guitar after 4 minutes. Thankyou. Organ, flute and drums 8 minutes in. The song stops dead before 10 minutes and stays that way for some reason until after 13 minutes. Guitar comes in sounding great as they "rock out". It does settle at times but the last 9 minutes of this song is refreshingly aggressive.

Good album, but at 75 minutes it feels too long. The vocals are hit and miss for me, but really there's not much to complain about or rave about on this album.

Edensong is the musical creation of James Byron Schoen represting a true work of personal commitment and devotion. "The Fruit Fallen" is pure "prog" and offers a nice range of themes, moods and tempos. What I find cleverly unusual is that it works so well on many different levels.....from the heavy lyrics and harmonies to the emotive mix of cello, flute and guitar. Schoen also uses a nice selection of guest musicans and instrumentation including Tablas and African percussion. Sonically this album has been well produced and will sound great over your speakers. The first 2 tracks "Water Run" and "The Baptism" will totally transfix your ears and draw you into the whole album. Musically this album draws on a vocal style not unlike Matthew Parmenter's devil'ish side while blending the acoustic aura of IONA (flutes, cello, acoustic guitar) and the heavy musical prowess of DISCIPLINE. This is a great first album for Edensong and I recommend this album for all who still cling close to the Prog!

A real good debut album by US outfit Edensong here.

The foundation of their compositions seems to be pastoral, mellow themes with elements of folk music and classical music incorporated in explorations where acoustic guitar, flute and violin are central. As the compositions evolve the intensity of these instruments rise, folk-tinged rhythms or regular drums are added; and the songs seems to gravitate towards art rock territories most times; especially when the Hammond makes it appearance - often underscored by electric guitars or; in a few instances, cello.

The cello adds some chamber rock elements into this folk, classical and art rock mix when utilized. As the topping, most tunes also feature heavier riff segments towards the end; some of them closing in on prog metal in expression.

It's a remarkebly well made and highly diverse creation we're dealing with here - lots of nerve and tension provided in a mostly subtle manner - and one to check out for listeneres with eclectic musical tastes.

A long time in the making, The Fruit Fallen is the brainchild of guitarist/vocalist James Byron Schoen who along with the help of numerous other musicians has produced a very eclectic mix of prog. There are elements of symphonic, folk and metal present. As well as the usual array of keyboards, guitars, drums etc the soundscape is broadened by the addition of flute, cello and violin.

The music is fairly complex with a lot going on and a number of longer pieces where the band can display their musical chops which are very good. Unfortunately despite having the potential to be a very good album it's all a little unmemorable. Schoen couldn't be described as any more than an adequate vocalist and a lack of strong melodies make each track largely forgotten as they come and go, even after numerous plays. Occasional moments of inspiration lift things here and there but it is usually frustratingly short lived before delving again into competent mediocrity.

The best is saved until last; The Reunion which on first appearances seems to be a 22 minute epic but around halfway there's a long silence and an unnamed song starts. The first half in particular shows some potential with stronger melodies both vocally and musically. Unfortunately though it's all too little too late. A few more tracks along the lines of this could have raised its rating by a star.

Overall then disappointing but the music is well played and with such an eclectic blend of styles I wouldn't write them off just yet.

The apple doesn't fall far from the tree.

I really wished that Edensong would bring me a new perspective, a breath of fresh oxygen, but once again, the fruit is not falling far from the traditional new-school-of-prog.

Okay, a nice concept based on religious matter with okay lyrics, but it's just that the music never got my total attention. Here and there, crunchy guitars and violin, but I really wanted something more organic, with vintage keys and more flute. Seems to me that this concept could've used more digging, more intensity. This type of subject is well carved for mellotron and symphonic grandeur, too bad is sounds a bit skinny for me.

I felt this band is more on the verge of neo-prog like Believe, Unitopia or Knight Area; you know, a lot to say but we hoped for different stuff.

Not super-convincing but professional and applied.

Edensong were formed by two students at Wesleyan University in Middletown, Connecticut in 2002, drummer Matt Cozin, and singer/guitarist James Schoen, soon to be joined by guitarist Ben Wigler.With the help of some additional musicians they performed the ambitious Rock Opera ''Beyond Eden'' the next year.After graduating from Wesleyan University, Schoen along with a semi-refreshed line-up focused on writing and recording material for Edensong's official debut, but tensions among the members led to the band's demise in 2006.Left alone, Schoen decided to add the final touches of an almost finished album, completing the mix and mastering of it with the help of engineer Bob Katz.''The Fruit Fallen'' was its title and it was eventually released independently in 2008.

Edensong drew influences from Classic 70's Prog as well as modern Heavy Prog and even Progressive Metal to offer an album full of changing atmospheres and soundscapes.Flutes play a dominant role in Edensong's music, reasonably recalling JETHRO TULL, while the violins and organ parts resemble to KANSAS' progressive years.These vintage inspirations are combined with plenty of acoustic parts and followed by more intense and heavier moments, featuring a really powerful rhythm section and very sharp guitars.The style contains a heavy dose of symphonic-inclined Progressive Rock with balanced Heavy Prog/Metal elements and atmospheric Acoustic Music with a folky flavor.However the material lacks consistency, despite having a very rich and irritating approach.The vocal parts are of an acquired taste, lacking an attractive color, while the blend of the styles sounds far from tight and rather abstract.Additionally the album suffers from the abscence of melodies tightly linked with its symphonic nature, while most of the tracks remain forgettable after several listenings.Even the last track, entitled ''The Reunion'', is considered as a 22-min. epic, but the truth is that these are two separate tracks split with a very long pause of silence, in a move that actually makes no sense.Ironically the music on ''The Reunion'' makes sense, being the two strongest pieces of ''The Fruit Fallen'', sounding tight, well-arranged with nice shifting moods, good interplays and a bit more memorable themes.

These kind of albums tend to be the hugest dissapointment.All the right components are here (varied instrumentation, balanced vocal and instrumental textures, technical sufficiency), but the final result sounds as a package of unrelated pieces...2.5 stars.