MORE ONCE MORE

Echolyn's temporary transition into a band that in parts suggest themselves at times to be somewhere musically between UK and Bruford. Some of that stems from guitarist Scott McGill's Holdsworthian playing. The female vocalist lacks range, so offering a Geddy Lee challenge when first heard. All the tunes are reasonable to good jazz rock/prog rock. If you like Bruford's "Feels Good...", then give this a chance.

Footnote. Do anybody else find it a bit peculiar that a British independent label, Cyclops, distributed Finneus Gauge, an American band's album at the beginning of the 90's - but I suppose IQ's "Giant Electric Pea Records" label handled Spocks Beard first 4 or 5 albums...........................?

It's nearly impossible you don't like this album if you think you have strong passion in jazz-rock or Canterbury music with a bit of open mind in accepting any kind of music that flows into your ears and your mind. By design, this is absolutely a masterpiece album. This is a good example of combination between complexity (relatively high, in my opinion) and weak of melody which results in excellent harmony. Got confused? Hope you are not! My thesis is pretty simple. If you need a prog album must be complex, this album delivers it through interactions of Scott McGill stunning guitar work (sometimes in the style of Holdsworth) and inventive keyboard work of Chris Buzby. So, this album is yours. On melody line, I don't think this is the right choice for you (if you expect too) cause I think most tracks featured here do not provide what so called "melodic" or "touchy" segments of the music offered. However, these two components interact wonderfully in excellent harmony. That's the beauty of this album. You got complexity without touchy melody line but the combination of the two gives you excellent harmony. Such a simple thesis, right? Let's see how the music flows.

The album kicks off with "More Wants More" (7:34) in upbeat tempo and relatively complex arrangement plus many syncopated chords. If you get used to Bill Bruford's "Feels Good To Me" album, it'll be okay for you to enjoy this track. Next is wonderful composition "King Of The Chord Change" (5:40). As the title implies this song features some acrobatic chord changes even though the song sounds easy listening during lyrical verses. Laura Martin's voice is quite fit with the song style. Again, McGill's guitar solo is awesome. I especially like the music interlude. "Press The Flesh" (7:43) is beat-wise quite strange to my ears because it sounds like having syncopated chords. This is not the case when vocal enters the music. The music brings to a break with mellow track "Desire "(4:45).

"Doogins (The Evil Spawn)" (5:16) and "Customer Service" (5:32) are typical in nature and both have upbeat style. "Customer Service" is quite strange for my ears but I really enjoy the rhythm section. Oh man .. I really put my two thumbs up for McGill's crazy guitar solo! It's pondering into my head! I love it especially when it is interjected with Laura's singing. "Calling Card" intro reminds me to the use of Synthaxe in Holdsworth albums. It sounds alike. The music follows previous style with excellent Laura voice. If you want to feel and experience how the band delivers complex chords, sacrificing the melody line, but result in great harmony - you should listen to "Salvation". Oh it's unbelievable that the harmony can be achieved like this song.

Overall, this is an excellent album with very tight composition, complex (and it sacrifices melody line) structure, and excellent musicianship. It's not recommended for those of you who do not appreciate complexity. Neo prog lovers (me included) is note recommended to have this album unless they can tolerate songs with weak melody. The beauty of this album is in its excellent harmony. If you can accept ECHOLYN, Bill Bruford "Feels Good To Me", or Allan Holdsworth, you might be able to enjoy this album.Keep on proggin' ..!

Peace on earth and mercy mild - GW

Warping, waving, and breaking the commonness of music theory...this album should make me smiley.

Finneus Gauge followed, but softened the music style of Echolyn. I consider the softness of the style is owed to Laura Martin, the female vocalist, and her soft and mild voice. In spite of softness, their rigid and strict work and thought for music make them do complex and destructive play perfectly. They do break the tuning and rhythm, and make us listeners confused comfortably. (^_^)

I want to recommend, for understanding them easily and straightly, the songs More Wants More, Calling Card, and Salvation, because I suggest especially this three tracks express their identity well.

I wanna say BRAVO for their solid and steady potencial.

Following the transient disbanding of ECHOLYN,their keyboardist Chris Buzby formed FINNEUS GAUGE in 1996,named after Phineas Gage,a railway construction foreman of 19th century,who survived after a big piece of iron passed through his head during an accident.On FINNEUS GAUGE we also meet Chris' younger brother John on drums (later to form ''Land of chocolate'') and talented fusion guitarist Scott McGill.In 1997 the band recorded and released their debut ''More once more''.

Elements,sights and sounds met in ECHOLYN's works are also present here,but ''More once more'' is way more complicated than anything created by ECHOLYN,while the music approaches more the fusion/jazz side of prog than the symphonic one.Without being excessive,this is one of the most complex and craziest albums around!The tracks follow a fast and furious tempo,characterized by the superb guitar work of McGill, recalling ALLAN HOLDSWORTH at his best,and the obscure and challenging keyboard parts of Chris Buzby.Some mellow atmospheric intros with Laura Martin's voice on the front are somewhat needed to lighten things,but soon what is to be heard is complicated interplays between the rhythm section and the guitars or keys,accompanied by endless multi-vocal harmonies in the vein of GENTLE GIANT.All performances, especially McGill's,are excellent but be warned that ''More once more'' won't be everybody's cup of tea,despite its undoubtful high level of musicianship.This is the definition of an album,that needs a good number of spins to be appreciated.Personally,I found it very attractive, demanding and professional and an easy choice for a day,when I need something trully intricate to listen to...