LUNAR CLOCK

A quartet from The Netherlands uses music to express their interpretations of the works of Edvard Munch-- exploring one of the sure-fire domains of the potential of progressive rock: the interpretation of other art forms through music. A little too saccharine and simple for my tastes. Could be the BEACH BOYS 2020 because of the vocals, melodies, and experimental song structures and forms expressed here.

1. "Frieze" (2:50) synth waves/wind with percussion and voices. Reminds me of the opening of MOON SAFARI's highly acclaimed 2008 album, Blomljud or something by New Jersey's ADVENT. (4.25/5)

2. "Skrik" (3:05) more shoreline water sounds with electric keyboards and electronic percussion open this one for 50 seconds before the band bursts forth with a two chord foundation over which Robin Boer displays his prowess on a Moog-like synth. Still more introductory and cinematic, not a fully formed song. (8/10)

3. "Sadness Under the Belt of Venus" (3:33) an interesting sound palette for the opening 90 seconds before everything turns left into a solo piano base for Robin to sing over. Nice solo instrument palette though most everything (other than guitars and drums) are keyboard generated. (8.5/10)

4. "A Winter Storm on Spring Blossoms" (4:05) BRIAN AUGER meets JOE SAMPLE with a MOODY BLUES-like rock palette in the (sparse) vocal sections until the second half when everything goes full-on rock. (8/10)

5. "Equal Adoration" (4:28) nice liturgical-like vocals and melodies over piano. Flutes only enhance the angelic feel. Once again, however, this song feels incomplete. Still, a top three song for me. (9/10)

6. "Bridge of Anxiety" (2:39) military drums and background bouncy organ are soon joined by electric guitar power chords and guitar-like synth chords. Nice Moog soloing over the top. (4.5/5)

7. "Despair (2:51) brooding piano joined by Robin's Thom Yorke/Steven Wilson vocal. Another top three song. (4.5/5)

8. "Metabolism I: The Tree of Life (2:41) opens with cheap 1990's keyboard synth strings over which electric guitar delicately cries. (4.5/5)

9. "Metabolism II: Mother Nature's Sanctuary" (6:03) (8.25/10)

10. "Metabolism III: Spring (6:42) nice PINK FLOYD-like synth foundation over which guitarist "Shardan Stream" finally gets to shine. Nice tune. (8.75/10)

Total Time 38:57

B-/3.5 stars. Worth checking out!

Good news from The Netherlands.

Dutch four piece formation Lunar Clock evolved out of the band Rams & Bulldogs that focused primarily on playing songs by The Beatles, Paul McCartney and Wings. When the band fell apart in 2014, Robin Boer and Dirk de Gooijer (bass and guitar) moved on writing their own original material. Then drummer Karsten van Straten joined the band, and after different unsuccesful guitarist and additional keyboardist auditions De Gooijer left. Shortly after bass player Achille Regazzoni and guitar player Shardan Stream joined, forming the current line-up of Lunar Clock in 2015. At first the musical approach was focused on progressive pop, with a mixture of The Beatles, 10cc, ELO and early 70s symphonic rock. After the departure of De Gooijer, Boer decided to stick to the 70s symphonic influence, because of some musical ideas based on the famous Edvard Munch painting 'The Scream Of Nature' which were played in that style, with mellotron, Moog synthesizers and Moog Taurus bass pedals. Both Boer and Stream developed the suite, which turned out into a 40 minute piece of music. Although the band rehearsed the material for quite some time, at a certain point it became a sole studio project.

The band starts its debut album with a short a capella piece entitled Frieze that strongly evokes The Byrds and early Yes, due to the cheerful vocal harmonies. Then a spacey sound in Skrik (Scream), halfway a sumptuous outburst featuring Moog synthesizer flights and powerful drum beats. The next song Sadness Under The Belt of Venus delivers first a tight beat in a bombastic climate, then a dreamy atmosphere that contains warm vocals and piano (Kayak inspired)), wonderfully blended with sensitive electric guitar and Mellotron flute, and subtly ending with Brian May-like guitar. Now variety rules in A Winter Storm On Spring Blossoms. First a swinging rhythm with jazzy electric piano runs, along clavinet and soaring strings. Halfway a flashy synthesizer solo with use of the pitchbend button, and a wah wah sound, very spectacular! And finally a fiery guitar solo with howling runs, in a spacey fading out.

Next the dreamy track Equal Adoration, a beautiful and refined blend of styles featuring theatrical vocals with delicate piano play (like Seventies Queen), a Mellotron flute and finally tender classical guitar play, really a nice musical idea. Back to more powerful music in Bridge Of Anxiety: a catchy beat and a bombastic atmosphere, coloured with rock guitar, Hammond organ and Moog synthesizer, the more dynamic side of the band. In Despair again the sound of Kayak is obvious with wonderful piano and warm vocals, topped with vocal harmonies and sensitive electric guitar, romantic symphonic rock at its best.

In the final part of this album Lunar Clock 'goes epic' in a 3-part composition entitled Metabolism (I. The Tree Of Life, II. Mother Nature's Sanctuary and III. Spring). The first piece starts with melancholical classical orchestrations and subtle volume pedal guitar work, finally tender classical guitar runs, and short sequencing, another fine musical idea from the band. The second part delivers lots of flowing shifting moods (from a slow rhythm to bombastic eruptions), blended with warm vocals, varied guitar work (classically, distorted and Brian May-like), Mellotron flute and sparkling classical piano, often Seventies Queen and 10cc come to my mind. The third and final part is my highlight on this album: it begins dreamy with a steel guitar-like sound and Mellotron violins, then spacey Moog flights join, followed by an intense and beautifully build-up guitar solo (in the vein of Nick Barrett from Pendragon), topped with Mellotron violins and again Moog flights, this is a Symphonic Rock Heaven, the strong climax of a fine and varied album.

This quartet has its homebase in the Netherlands and provides a very nice progressive art rock album with strong symphonic traces. Apart from the origin and the involved musicians there's yet, at this time, not much known about LUNAR CLOCK. However, the debut album 'The Scream Of Nature' reflects a very intensive engagement in the works of Edvard Munch, a Norwegian painter. Alongside with the album title the cover art shows a clear reference to his probably most famous work 'The Scream' from 1895. All the ten songs are inspired by different paintings. When it comes to the particular deeper sense ... they recently have started to describe their approach on the official facebook page.

Without exception all musicians are (inter)acting on a high level. Robin Boer serves fine lead vocals, the kick-off Frieze comes with great attitude definitely, while setting up an ambitious polyphonic presence. And moreover he rules while taking care of diversified keyboard stuff, oftenly symphonic tinged as noted beforehand. The second track Skrik aditionally adds a space ambient note, while the excellent A Winter Storm On Spring Blossom provides jazzy electric piano too, lively bass input and expressive guitar solo on top. And finally Part III of Metabolism puts another cherry on the cake.

Do not skip! Otherwise you might miss something. I would say there is not any centerpiece song given really. Many contemporary genre albums are provided with an extended title track, where the respective crew is willing to give all blood and sweat at once. Each and every song comes relatively short here, but I'm sure the concept includes that you absolutely should listen to the entire album in one go. Respect! LUNAR CLOCK have recorded an essential addition to your progressive rock collection.