BREATHING SPACE

Fast on the heels of their sumptuous debut, I simply had to comply with my urge to see if the follow-up is of the same exceptional level and provide another wordy but precise appreciation via review. With a plethora of fans and critics globally who are raving about this band of expert instrumentalists, I somehow feel that Prog Rogue won't be too "rogue" and anoint this disc with the loftiest praise as well. The Hackberry line-up has not altered one iota, the quintet is rock solid to the core. With twin guitarists Marijn De Boer and Francesco Bonardi pushing the electric envelope, keyboardist Tim Hidskes colouring gloriously the backdrop, while the devastating Rhythm section pummels the propulsion into overdrive.

First, a word about the cover art, which is simply breathtakingly alluring, at least to this reviewer, with a winning combo of purple and violet being such a charming design combination. Four colossal tracks weighing in for a total of 49 minutes is what is offered here. The proceedings kick of with a grumbling bass line that will take no prisoners, Simon Venema quickly becoming my new four-string hero. Not only is the meaty tone deadly but the execution is devastatingly effective. The bulldozing nearly 16-minute mammoth "Lunares" slaps the unsuspecting listener with a thunderous wallop that will be maintained and at times, even heightened during the course of the set list. The instrumental prowess displayed here easily competes with the perhaps more famous leaders of the heavy prog genre, names such as Metallica, Rush or Riverside (less the vocals). The main difference is that the Hackberry material is composed of longer tracks with no fluff, no cliched licks and genuinely a more progressive disposition, in that their style is way more adventurous, subtle textures mean as much as crushing riffs to these stalwart musicians. Throw in change of speed and pace, radiant swerves, and death-defying dives, and you catch the sweeping drift. I imagined this piece in a live setting and my heart thumped vividly during the entire affair. Hidskes in particular whips out the Hammond organ and supplies that iconic oomph when the axe storm needs a little hurricane-force gust, tossing even some howling mellotron to boot. The softer moments are lovingly expressed with ornate piano solutions that really hit their mark. Simply glorious musical artistry in all facets of their talent.

A woven cord of interspersing acoustic guitars set the tone for "Solitary March", a poignant introduction of a what will become an epic journey, the trembling bass guitar deliberately setting the road to be travelled, as the storm clouds suddenly darken the mood, with bombastic electronic orchestrations galore, jostled along by the authoritative percussive display from Chris Bechtum. The dual interlaced guitars are mind-numbingly audacious to the point of impertinence, fortifying the massive foundation. Then, out of the heaviness, a wicked series of lead guitar solos, amid the back-and-forth deviations and returns, a solemn and SOLITARY piano ending the arduous trek.

The ominously brooding delivery on "Foreshadow" is the perfect example of setting a premise, the foundational platform on which the lads can investigate new sonic horizons whilst incorporating bruising riffs, a stimulating synergy between masculine action and feminine reflection, a mesmerizing trait that this crew does fundamentally as well dazzlingly. The sonic layout is enthralling, pulsating, courageous and daunting. Controlled chaos, organized thunder, intense lightning and evocative to the nth degree, all is present for the outcome. The suspense is skin deep, the cinematic qualities undeniable. And, as per norm, a delicate piano presage finishes off this gargantuan monolith as it plants itself deep into the arid desert sand, between the chimpanzees and the gorillas. There are some bones nearby, Hal.

Can such an onslaught keep on giving? Oh, not just giving but Hackberry kick it up a few notches with a tornado track of mythical proportions, cleverly titled "Manticore", based on the ancient legendary beast. Churning organ blasts only serve to enhance the criss-crossing guitar saturnalia, concussive trappings serve only to further confuse and dazzle and the trembling bass heaping depth onto the matter. Heavy, nasty, stubborn, and resolute, not a single note is taken for granted. A dozen bewildering minutes that encapsulate the intrinsic qualities of a band that should, by these overt standards, become the next sensation in progressive rock. So much for my (false) reputation for loving only pastoral, folk-tinged vaporous ditties whilst eschewing anything with muscle. Well brains and brawn make for a perfect melange in my sonic lair. The piece ends with their usual finesse and class. Surely a top 5 finalist for 2023 album of the year.

5 gasping rooms

A relatively new collective from Holland (they formed in Groningen in 2015 of veteran musicians) here releasing their second full-length studio album since 2017 (third including their 2016 EP, Desert Orchid). Their style of technically precise instrumental music is more Heavy Prog despite plenty of metal passages.

1. "Lunares" (15:48) impressively precise and coordinated heavy prog with many themes/motifs, time and dynamic shifts, employing a variety of musical styles that provoke some surprising emotional responses. My only problem with this song is that there are several AC/DC- and OZZIE-like sections that are absolutely begging for vocals. (26.5/30)

2. "Solitary March" (10:21) an acoustic guitar opening. (What else would one need/want in order to check off all the boxes for "progressive rock music"?) A nice plodding theme follows over which a single lead electric guitar plays a long solo of continuously sustained notes as the band beneath gradually builds in intensity to match the emotion of the solo. At 2:51 things come to a halt as the band adjusts for the next, more power-chord oriented driving theme. The Hammond beneath the two guitars and bass is noticeable. Mellotron choral voices join in at 4:51 while the theme continues and the twin guitars ramp up. Hammond finally comes to the fore for a flashy solo in the sixth minute but then is pushed aside by one of the electric guitars until 6:10 when the other guitar establishes a new melody riff before everything comes to a stop for a brief guitar picking bridge before everybody comes back over a steady bass and drum line with the twin guitars doing their THIN LIZZY thing, occasionally breaking ranks for individual solos. Interesting song even if nothing is very complex or innovative. (17.75/20)

3. "Foreshadow" (11:44) an interesting collage of somewhat familiar metal styles and themes rendered through a wide variety of (mostly traditionally-prog-related) instrumental inputs. My favorite motifs are the one that begins in the fifth minute and the melodic one that starts at the nine-minute mark with the lead guitar stepping to the fore. (17.5/20)

4. "Manticore" (12:06) again, a song with several familiar motifs. (Reminders of THIN LIZZY came up several times.) Very nice use of the twin lead guitars--and they are used a lot! Also, this song contains some of my favorite melodies on the album--especially in the middle sections and the excellent lead guitar solo of the ninth minute. The bass solo in the tenth minute is nice. And I like the slowed down passage penultimate to the finish. (22.5/25)

Total Time 49:59

The compositions could be a little more complex, thus further earning their inclusion beneath the prog umbrella, but more, they really could use some vocals. The four songs are all solid though very few risks were taken. Also, I wish the drums felt a little more present/forward in the mix so I could hear the nuances better.

B/four stars; an excellent addition to any prog lover's music collection--especially if you like variable instrumental Heavy Prog from highly proficient musicians.