MODEST MIDGET

Although some EP's were released in the time following their 2010 debut album, it took until 2014 for the second album to be made available on Lionel Ziblat's own label. This new album illustrates life, portrayed as a cycle consisting of several inner cycles, and each time a cycle ends, another one starts, and these movements are often frightening, painful and traumatic, but they also offer a chance for change and for growth. The named musicians joining Lionel in this were Tristan Hupe (keyboards), Maarten Bakker (bass guitar/keyboards) and Willem Smid (drums) with yet more guests who are un-named. I love this quote from the band, which probably does a better job of summing up this album that I can, "It might seem impossible at first to have a grip on the band's musical style. How would one go about trying to explain an inconceivable mixture of Rock, Soul, Baroque, Ska, Jazz, Punk, Symphonic Rock, Sicilian Tarantella & Romanian Gypsy music? Still, it is the great pride of the band having chosen not to succumb to any particular existing category and to simply embrace music in all its glory."

As one can easily see from the list above, this is music that is defying all attempts to categorise it, apart from throwing into the crossover progressive rock as that is really the only place that fits with their refusal to accept any musical boundary and then throwing melodic pop into it as well! This is vibrant, exciting, and their quirky ska-style take on "(Oh) Pretty Woman" must be heard to be believed. It's awesome. Towards the end of 2015 Lionel issued the following statement, "In case you were wondering about the band these days, I personally took some time off to work on several different projects, composing and arranging music for different ensembles and other productions. But I'm also contemplating recording a couple of new albums. When the time comes, you will know." I only hope that we do see him back with more material at some point as Modest Midget are a quirky, nonsensical great band.

The one band these guys do get compared to more than any other is Gentle Giant, but of course they sound nothing like them, although I can understand where some people may say that given some of the arrangements. It is spiky energetic music that at times brings in Zappa and Cardiacs, as well as plenty of British pop. I can imagine The Kinks having fun with this, but really have no idea why, nor why Traffic should also be included. But, I swear that if you hear this then it will all make sense, maybe. It is progressive, but in its truest sense, and mixed with so many Sixties pop sensibilities that one can almost see the Carnaby Street suits and swagger. It certainly sounds like an album that has come out of London, with some American influences, and not from an Argentinian who lived in Israel before settling in Holland. Confused? You should be, but all you need to know is that this is awesome.

Vibrant, varied and often fairly challenging material is what Modest Midget provides on their second album "Crysis". Challenging as seen from an accessible point of view though, Modest Midget's self-description as alternative and progressive pop says a bit about their compositions being quite accessible in terms of sticking with harmonies, easy to fathom lead motifs and similar features, the challenging aspect here comes by way of variety, unexpected stylistic developments and several instances of humorous, arguably circus-inspired music in unusual constellations. Still, it is a fairly good album overall, but perhaps one with a somewhat marginalized audience. A production that merits a check by those who find the descriptions challenging, accessible and unusual used to summarize a CD.

What Modest Midget and Lional Ziblat proposed was a rich and intense Prog Pop, which still had some flavors from the past, but was updated with the new technology, even flirting at moments with Alternative Rock due to the scratching sound of electric guitars.As a result you shouldn't expect any attempt on long, epic compositions, what you should expect though is some quirky and deeply progressive music in short cuts, which sound like being influenced by GENTLE GIANT, YES and THE BEATLES in equal doses, while I even get a taste of SYD ARTHUR in specific tracks, where the band appears to introduce inspirations from the British Psych/Prog scene of the 70's.Main characteristics come from Folk, Classical, Heavy Rock and Psychedelic Music with the sound being based on electroacoustic motives, retro colors through the use of organ and more contemporary stylings like the powerful electric leads or the use of synthesizer.Occasional additions of string- and wind instruments along with the soft piano lines deliver an even richer sound, while most of the tracks feature impressive breaks, tempo changes and shifting moods, going from elaborate and smooth textures to fast-paced and complex themes.The voice of Ziblat is excellent, very clean, supported often by some lovely vocal harmonies and often used like an instrument that goes along with the music.

Very good work of quirky Prog/Art Rock combined with poppy tunes and early 70's nuances.Multi-influenced, diverse and well-composed/-executed material, deserving some warm praise.Strongly recommended...3.5 stars.

Full Review: Much of the music on Modest Midget's new album "Crysis" was composed during an apex of global anxiety surrounding the impending 'end' of the much publicized Mayan calendar. As it would turn out, rather than heralding the end of planet earth, the Mayan calendar's 2012 expiration date ended up more closely resembling the much ballyhooed 'Y2k bug', a lot of hand-wringing and frantic build-up to... well, nothing much really. In retrospect, it appears those time conscious Mayans were busy warrior types who probably figured that the year 2012 was so very far off into the unknown future that they could afford to wait and see whether someone might discover an easier way to update their calendar before completing the required update. Or perhaps they KNEW we would all have electronic devices tracking a different calendar by 2012 anyway, so it would have been really pointless for them to have pushed the date out any further! All joking aside, here we are still on planet earth in the year 2014, thankfully enjoying the opportunity to hear a sophomore album from the inventive, catchy, quirky, diversely progressive rock band Modest Midget.

The (Grand Gate) opening track is a short atmospheric piece to set the stage, building anticipation for the album which only really gets started in earnest on track #2 "A Centurion's Itchy Belly", an excellent instrumental which in turn sets the tone musically for the entire album to follow. More than a few moments of this track call to mind Gentle Giant's "Spooky Boogie", although - truth be told - its stylistic reach is broader than that, freely incorporating folksy middle eastern elements along with those of western prog and rock. There is even a "must hear" accordion solo played in a style usually reserved for Hammond B3. Now THAT, my friends, is something you don't hear every day even from a creative prog band!!!

It is followed up by "Rocky Valleys of Dawn', an infectiously catchy up-tempo vocal rock tune worthy of airplay on alternative, progressive and new rock stations everywhere. If you program a rock station, I dare you to give this song a single week of rotation. Watch as the feedback and requests start to flow in! (Your listeners will thank you!)

Just when you think you are getting this formidable and mighty (yet ever so Modest) Midget band figured out, they change the pace with the blissful ballad 'Praise the Day', a song boasting a vocal melody grounded enough to not lose casual listeners yet one also not without more than a few unexpected twists and turns along the way (a compositional accomplishment that is by its very nature much harder than one might think). It's arrangement effectively builds lush layers before leading up to a cleverly sudden ending.

Lyrically, "Rocky Valleys of Dawn" and "Praise the Day" are a couplet of sorts. The former speaks of learning to make a life, even of learning to embrace the inevitable conflicts, challenges and suffering that will accompany the more enjoyable events we will experience along the way. The latter hints that to whatever extent we learn to truly live a day, we must also learn to accept the ending of that day. Looking at the even bigger picture, this entire album posits that what is true for a day, could also in some ways be said for an entire lifetime.

Restless rockers can rest assured that Lonnie Ziblat - the sneaky musical guide that he is - hasn't brought us to this self reflective, relaxed and peaceful point in the album for no good reason. Indeed, he deftly capitalizes on this as an opportunity to draw a sharp line of aural juxtaposition. Following the mellower tones of "Praise the Day", the opening distorted guitar chords of "Now That We're Here" ring all the more 'extra-crunchy'. The bass guitar thunders and the drums crash all the more mightily. Then, lest matters grow too comfortably familiar, a quirky interjection of joyous tomfoolery reminiscent of some of the best work of the classic Swedish prog band Samla Mammas Manna enters the fray. "Now That We're Here" is yet another one of those classic Modest Midget tracks which pack as much high quality musical content into three minutes and forty-two seconds as most classic prog bands manage to muster during an entire LP side-long "epic".

Next, the Maarten Bakker composition "Periscope Down" slows things down long enough to prove that popular vocal jazz can retain a sense of complexity, achieving 'smoothness' through sophisticated arrangement rather than devolved harmony.

Things get really fun (if a bit frivolous) on a cover of the classic rock n' roll tune "Pretty Woman" (originally performed by Roy Orbison and popularized again a couple of decades later by Van Halen). This particular rendition sounds at times as though Mark Mothersbaugh (of Devo) could have assisted with the arrangement! There are also moments where Lonny Ziblat's vocal pays genuine homage to the multi-octave ranged tenor of the great Roy Orbison himself.

The happy and care-free mood of 'Pretty Woman' segues nicely into the playfully inventive instrumental named "Flight of the Cockroach". Again, Ziblat tips his hat to none other than the great classic prog band from which his band's namesake most certainly was derived by packing more joyous syncopated content into 2:39 than most bands muster during songs triple or quadruple the length.

Modest Midget then settles in for a trio of tunes which surround the pains, disappointments and let downs that come our way whenever we realize we have expected a little bit too much from others around us (and truth be told sometimes even of ourselves). Yes, life has its joyous moments of flying high (albeit not always with Cockroaches but let's not get bogged down in playful details). A fully lived life also has more than what we might consider to be its 'fair share' of crises (or perhaps of 'cryses'). Fortunately, as the album liner notes, although we usually consider a crisis to be a problem, it can actually provide us an opportune moment for self reflection resulting in positive change, a sentiment that may at first be difficult to accept, yet in the end, will ring peacefully true in the hearts of those brave enough to have embraced it.

The album ends much as it began with the song "Birth". Just as we entered the album "Crysis" through a "Grand Gate Opening", we too entered this world through a grand gate opening. Our arrival was greeted not only by a clapping of familial hands but also by the sharp clap of a doctor's hand upon our backside. We march through pain and joy, experiencing highs and lows on our way to discovering both loneliness and love. Indeed, each and every one of these things go into the making of a full life. The lyric of "Birth" even goes as far as to speak of leaving this world behind and walking the grand opening gate yet again, and although I'm not at all a proponent of the tenets of reincarnation, I can certainly appreciate the idea of leaving this life to move on to a next one. From my perspective, as assuredly as this today leads to a tomorrow, this life too leads to an eternity. Of course, one need not believe one way or another in religious matters in order to enjoy the wonderful music of Modest Midget's "Crysis".

Although I've lived long enough to have have survived, learned from and perhaps even to have grown from a few crisis experiences, I'm hard pressed to think of very many instances in which I have actually enjoyed a crisis... This album, however, is one of those rare instances. Buy Modest Midget's latest album. It is the rare "Crysis" you too will enjoy repeating time and again in the weeks and months that lie ahead.

The CD package even includes a 24 page booklet designed by artist Netaly Reshef featuring thoughts, lyrics and breathtaking photographs. It serves as a wonderful song-by-song visual companion to enhance your overall experience of this excellent concept album.

I my search for more Gentle Giant, I came across Modest Midget, and if they are expanding their Gentle Giant approach, I write them a check. I mean, they do have the Gary Green guitar sound with the bass backing it. I just love when a band takes the complexity of their heroes and mix it with a modern sound (like Wobbler for instance). They do have a knack to make accessible mélodies in their songs (listen to Contemporary Ache) even if they serve a decent dose of complexity.

I like also the vocals, far away from GG but closer to Beardfish. In fact, they do sound a lot like Beardfish, which is far from a crime. Like I said, if you put some influences in your music, at least do it right!

Great work from newbies, you're not hearing me complaining.

Well, the most important is, that all the songs on the cd are most skilfully composed. The tunes are beautiful and catchy, and some are even danceable. In this, I definitely don't agree with the MM's claim that one can not dance on their music. I just do it, while shaving in the morning! Yeah, it is a morning music, optimistic, playful and energising. There is even a certain amount of humour in it, especially in all this style changes and composition tricks.

Amsterdam (Holland) based Modest Midget is centred around the composer, singer and multi-instrumentalist Lionel Ziblat, who also wrote all the songs on the album. Actually, the group started to exist as such only after recording of the album was finished. The recording itself was mostly managed by Lionel himself, who invited various musicians to contribute on the disk. The concept of a real rock band and playing live music crystallized eventually, involving 3 other musicians: Richard Zoer(Bass guitar & vocals), Artis Orubs (Drums) and Tristan Hupe (Keyboards), who didn't play on the disk. I wonder, how will it all sound on stage. I will definitely attend to any gig they are going be playing soon.

Here is some more bio information on Lionel Ziblat. Born in Buenos Aires in 1972, Lionel emigrated to Israel, where he worked as guitarist and composer with various musicians and theatre productions. He then moved to the Netherlands, where he graduated in classical composition, having also specialized in Jazz guitar and orchestral conducting. He composes for different ensembles and vocal groups and is also active as a guitarist, arranger and producer.

The album gets almost 5 stars from me, and it is a really high appreciation, for the originality, fun and enthusiasm of the first Modest Midget offering, 'The Great Prophecy Of A Small Man'. Let us hear more of those prophecies, please!

Every song on this album is completely accessible to both the mainstream and the midstream. Small complexities pop up from time to time but done in a very smart way. The guitar playing on this album is phenomenal. Although Lonny is no Steve Vai I find his melodies and soloing to be much tastier.

The album length is short but sweet. Just long enough for one to feel they got their monies worth. Just short enough to leave you wanting more. Major points for that. Songs are short with none clocking over 5:30. Which is preferable when implementing a prog approach to pop (or is it the other way around?) When songs are short I tend not to skip through the tracks even if I heard the songs a million times.

This album is a voyage across many genres. Both Western and Eastern music influenced throughout. A truly crossover progressive album. Most notable tracks for this are Evolution and Troubles in Heaven. Jorge Knows is my shiz right here. I can't stop listening to this song. Instrumental with a very strong composition. A very high quality performance. There is a video on You Tube of the Riccotti Ensemble performing this song. It gives the viewer/listener a better understanding of the subtle complexities found throughout this great performance.

Altogether an awesome first album and if Lionel keeps the energy flowing I see them going very far.

There are many highlights that jump out as you listen to this. Contemporary Ache has an excellent guitar hook with great soloing with speed picking and sweeps, and a gorgeous melody permeates the track. The ending is fabulous, all that twiddling on guitar is genius.

Troubles in Heaven is a short little gem with a cool melody, once again the ending is nice; very transient music.

Coffee from Yesterday is a short instrumental with superb guitar licks that drive it. Back from my Trip is a melodic easy listening treat, with wonderful guitar effects and some bizarre humour thrown in.

Home seek has vocals mixed to the front that are strong and clear to an acoustic arrangement. There are some beautiful harmonies too and it builds to a scorching lead break and organ freakout.

Baby is a sweet natured humourous ditty with cute musical box embellishments and a nice piano. The reflective vocals are like Hammill without the darkness.

Jorge Knows How Difficult a Musician's Life Can be, but then Again, Who Doesn't? is a great song title worth remembering, the music itself is polyrhythmic signatures on guitar and percussion, and is perhaps the most progressive on the whole album, though still only runs for 4 minutes. The violin is divine on this, absolutely the definitive highlight.

Evolution is a satire with a lot of organ grinding and is mainly instrumental, and the band really take off on this one.

I came, I saw, I left is kind of bluesy with ethereal arrangements and is lengthy for the band clocking 5.30. The guitars are awesome on this instrumental with slides and swells that are kind of psychedelic.

The last Straw ends it all with a song structure complete with pretty melody and clean high falsetto vocals reminiscent of Paul McCartney's style.

All in all this is an enjoyable album with some really inspired moments. It is not very progressive but it is entertaining, non threatening and easy on the ears. 3 solid stars.

Gentleman, I have been following this band since the first time I heard their EP, and I am telling you that this band is not merely just another incidental progressive attempt. In fact I believe that even Lionel himself never referred to his band as belonging to the Prog-Rock world. I would like to dispute that. None of the reviews I read realizes the true treasure that this cd is, and what a bright future this band has.

I believe that this album is so innovative and rich, complex and yet so easy to listen to that it achieves something that very few progressive bands have, if any. No two songs are the same, and no two moods are comparable. Every song is a world onhis own, waiting to be discovered. The instrumentals: Jorge Knows, Coffee From Yesterday & I Came I Saw I Left, show true compositional craftsmanship which no classical composer would be ashamed of. The texts are weird, but wonderful, and the production is spotless, managing to avoid any exhaggerated pompousness which is so often the case in Prog music.

Even a song like "Buy Me" which is often described as the simplest most commercial number on the cd,is actualy brilliant, with a great sense of humor that we so lack in this genre, very well written and perfectly performed. The quirky finale leaves no doubt who far beyond Modest Midget are in comparison to Green Day (being a Punk Rock parody song).

The rest of tracks are just as brilliant; Troubles In Heaven which sounds like a revival of the Beatles, but is absolutely original, Evolution, the magestic Contemporary Ache, and the wonderful closing track; The Last Straw. My fellow reviewers mentioned the fact that the songs were " not long " as if it prevents them from qualifying as a Prog Rock band. I think that true brilliance is independent of technicalities like length, instrumentation or even sophistication. Although it must be said that the compositions are far richer than anything that Pink Floyd, Deep Purple or even Genesis have ever done. Especialy concerning the melodies, the harmonies and chord progressions. If you haven't heard this album, you haven't heard the best of 2010. The simplistic genius of Syd Barret and John Lennon manage to mingle with the symphonic abilities of Keith Emerson and Frank Zappa. Dear friends, mark my words: The Great Prophecy is likely to be a classic within 20-30 years. I truely believe so. And I've been priviliged to be one of the first to have heard it on the same year that it came out.