GREEN ASPHALT

With a tidal wave of modern retro prog bands looking back to the golden years of the 1970s for their primary influences, it seems like the usual suspects of Yes, Genesis, Camel, Pink Floyd, King Crimson, Van der Graaf Generator and the Italian symphonic greats are the ones that get the most retro action. But it also seems that there have been a few so-called untouchables that sounded too bold, too unique and virtually uncopyable. Gentle Giant has been one of those bands that took all those knotty curveball prog attributes of the 70s and steered them in a completely different direction. Considered too complex even for proggers of the day, the band would have to wait several decades after its breakup for the world to catch up to its unique approach.

Enter GREEN ASPHALT, yet another Swedish band in the nation's burgeoning prog world that has taken upon itself to utilize the wealth of Gentle Giant influences that have been virtually ignored save the occasional references in fleeting moments (such as Haken's "Cockroach King" for example). Perhaps it's because Gentle Giant has attained god status in the world of progressive rock that copying their intricate idiosyncracies has become somewhat of a taboo. Here finally is a band that pays tribute to GG without completely sounding like a clone. The band has a legit connection too as it was initiated by Dan Bornemark who has been a close friend of Kerry Minnear and producer of GG's "Scraping The Barrel" box set.

The band features Bornemark on keyboards and bass with Hjördis Bornemark (vocals and presumably related), Helena Josefsson (vocals), Signe Bornemark (vocals), Bengt Baadtoft Johnson (drums), Björn Claeson (flute, saxophone) and Niklas Ekelund (guitar) joining forces on this self-titled debut that hit the world in 2022. Graced with seven tracks at a classic album running time of 47 1/2 minutes, GREEN ASPHALT is the closest thing to GG i've yet heard with a strong propensity for melodic driven prog songwriting fortified with knotty outbursts of angularity and woven tapestries of counterpoints that have the Shulman brothers' classic style stamped voraciously throughout. From the environmentalist turned poetic opening track "The Green Asphalt" to a light Canterbury-tinged whimsey of "She's A Cow," GREEN ASPHALT displays a keen sense of technical mastery along with a diverse roster of subject matter.

This band seems to leave no GG stone unturned as it employs all the rhythmic peculiarities, multi-layered polyrhythms, hairpin turns, audacious time signature use and of course vocal harmonies. Coming off more as a tribute band than an actual modern representative of the modern prog world, GREEN ASPHALT indeed has mastered all the GG-isms in full regalia with GG's entire ten year album run represented in some shape or form. The band actually spent a whopping 17 years making this album and in many ways it shows. The musical processions are fine-tuned to perfection and the production is top notch representing the modern world in all its advances. The band members have earned an honorary PHD in Gentle Giant studies for sure as they have nailed every little intricate nuance of GG's classic sound so much so that it's almost impossible to detect any other musical references in its midst.

This is an album that evokes mixed responses. There are those who are thrilled to have a GG 2.0 band reinterpreting the band's classic contributions to prog without castigating the band for being derisively derivative in just about every way and then there are those like me who don't find this original enough in content for it to stand on its own. While the GG-isms are performed exquisitely, what GREEN ASPHALT does have to offer beyond that is fairly mediocre. The lead vocals of Hjördis Bornemark are the worst aspect of this experience for me. These mopey low register utterances are simply too restrictive to unleash the full potential of a true GG retro experience. Add to that the compositions aren't anywhere near the transcendental sophistication of Gentle Giant's amazing display of competency from its self-titled debut to its last great prog album "Interview."

Some of the tracks on this one are just downright dull and insipidly stale. While the album starts off strong with the outstanding opener, the quality quickly tapers off with "Xcuse Me" and only has occasional moments of redemption. Overall i think this band has generated a lopsided effect with more attention paid to emulating the playing style of Gentle Giant without mastering the most significant underpinnings of all, namely the compositional fortitude. The magic of Gentle Giant is missing from this one and overall the album just comes off as too long for its own good without enough thought paid to the overall instant addictiveness that classic GG albums instantly demanded. A noble effort that hopefully will lead to a band effort that finds its own voice in the GG stylistic approach but as far as this debut is concerned there are too many elements simmering in unsatisfying mediocrity and copycatism for me to get overly excited about.

The culmination of a 17-year practice and refinement process by Swedish musician/songwriter (and longtime member of the Gentle Giant tribute band, ON REFLECTION), Dan Bornemark. That's a long time to practice and work out all the bugs. Enough time for your children to grow up ? and join the band.

1. "The Green Asphalt" (4:03) a meek environmental commentary delivered over some wonderful Prog Folk music that is quite reminiscent of the sounds and stylings of the great GENTLE GIANT. (9/10)

2. "'Xcuse Me" (6:33) what sounds like a long lost GENTLE GIANT song that carries a very humorous lyric and vocal performance. Absolutely brilliant! Something that could very well have come from the Free Hand album. As other reviewers have mentioned, there are also prominent sounds, themes and motifs borrowed from the realms of Canterbury and "melodic" prog. (9.5/10)

3. "Walking Her Dog" (6:21) quite a nostalgic sound and feel to this one--at times reminding me of BIG BIG TRAIN and JOE COCKER, at others like THE TANGENT and IONA, others GENTLE GIANT and GRYPHON, and even Fredrik Larsson (FREDDEGREDDE) and Damon Waitkus (JACK O' THE CLOCK). It's quite a lovely, melodic, and emotional song with many unexpected stops and starts, shifts and turns, as well as many superlative contributions of individual instrumentalists. Brilliant! There are not too many people making such interesting music as this. (9.25/10)

4. "She's a Cow" (7:17) Some very engaging music over which male and female vocalists (Dan and former band-mate Helena Josefsson, respectively) take turns giving their respective perspectives (human and bovine, respectively) of a life dedicated to being a cog the domestic food industry. Completely delightful--both lyrically and as a musical listening experience. (14.5/15)

5. "Suit Yourself" (6:46) the heaviest, densest, and least melodic and least exciting song on the album is still peppered with all kinds of odd and interesting folk instruments, rock and jazz riffs and bridges, and interesting lyrics. (13/15)

6. "200 Girls" (6:05) one of those songs that begs some questions: Would this be the kind of music The Beatles would have made in the 1970s had they not broken up, and, If The Beatles and Led Zeppelin had ever collaborated would the resulting music sound something like this? (8.75/10)

7. "Time in Your Face" (10:27) such an original and excitingly theatric folk song--as if we're following a troubadour/bard through the woods as he sings his stories--or else a storytelling troupe one might encounter at the annual County Fair. Such refreshingly new constructs and arrangements. (19.25/20)

Total Time 47:32

A band I stumbled upon because the Epileptic Gibbon (Ian Fairholm) featured them in his Top Albums of 2022, Part 2, show (meaning he'd included this in his year-end list somewhere between the numbers of 20 through 11) and because of the Gentle Giant references. As to the latter, I definitely hear the GG style song constructs, riffs, and instrumental choices in several of the songs (but not all) and I definitely understand why EG regards this album with such high praise. Though these are all wonderfully unique, unusual, and refreshing compositions, I'm wondering what they would have sounded like with A) a little better sound engineering (it's not bad, just inconsistent) and B) a younger singer in the role of lead male vocalist.

A-/five stars; a minor masterpiece of eclectic progressive rock music. Definitely an excellent addition to any true prog lover's music collection.

Brilliant stuff. What would a fusion of Big big train and Gentle giant sound like? Probably something like Green asphalt. This wonderful Swedish album is recommended music for anyone into melodic progressive rock with hints of canterbury and other stuff. There is a lot going on here and I really have to adress the superior sound of the album, everything is crystal clear and there is a warm sound to the music wich I'm specially is fond of. Or maybie it's the sound of the LP, I dunno but I like it! There are some different moods on the album, everything from full blown symphonic rock, mellow canterbury smooth jazzy parts to parts that sounds like someone let King crimson in through the door for a moment. Also great vocals by mostly the lead singer Dan Bornemark but also the beautiful vocals of Hjördis. Great stuff! One of my favourite albums of 2022 and an album that deserves to be heard by more people!

'Excuse me if I ruin your day ...' he's singing on one occasion. Eh, NO, you don't! The multi-faceted Swedish composer and musician Dan Bornemark has the hat on here obviously. Well, composing music for children is another passion for example. Though regarding progressive rock fields he's supposed to be an enthusiastic Gentle Giant fan. Anyhow, don't be afraid of, or just on the opposite, you explicitely should not request a simple clone in this case. The GREEN ASPHALT idea, respectively project, has gradually grown with not less than 17 years in the back now. Finally Bornemark has formed a prolific ensemble to realize his ideas. And it's rather unique music, yeah, so much apriori. Gentle Giant inspired stuff normally needs getting used to, over the course of years at least, even decades maybe (yep, at least my experience). Overall I'd say the seven songs are definitely accessible, at a first glance. Or just trying to express it in another way, the album flow is patiently leading the listener into the targeted complexity, peculiarity, step by step, Well, that's a great attitude, or what?

The initiating title track approaches with a superb canterbury and folk combination. Occasionally you will hear nice ethereal female vocals, predominantly provided by Helena Josefsson, yet also due to the inclusion of Bornemark's daughters Signe and Hjördis. Muh! Exemplarily to note the charming She's A Cow that comes with somewhat naive lyrics. Though actually the execution is tricky on the contrary, again equipped with a distinct canterburiesque flavour. I'm quite sure that everybody who's involved here is delivering the best job of his life. The vocals are a real sensation. During the whole course Genesis and Zappa glimpses occasionally are shimmering through. Suit Yourself still amazes me every time I'm listening. The final Time In Your Face extends to the album's greatest challenge, proves Bornemark's compositional skills as no other. Bravo! There's so much to discover, what an appealing album ...