LOBATE SCARP

The timing may have just been right for me. After listening to several new purchases of albums released in 2022 and finding something to like on all of them but also finding plenty that would require further listens to "get", this album settled into my ears and wrapped up with me feeling that this was the kind of album I wanted to hear: something that I could "get" from the first listen and be thrilled about.

"You Have It All" by Lobate Scarp got mentioned on a few prog albums of 2022 lists presented in YouTube videos, and I decided it was one that I certainly should have home. I knew little more than Peter Matuchniak of Kinetic Element, Bomber Googles, Gekko Projekt, solo, etc. was playing guitar on the album. But a cursory listen on YouTube intrigued me.

The album is a collection of various approaches to song-writing with some more cross-over type tracks, two longer tracks with multiple parts and lots of intrumental work, a couple of tracks with a bit of a harder edge to them, and a couple of tracks that are more like intermissions between the busier music. And that is one of the points I really enjoy about the album. It's not a slab of four epics that you have to wade through over and again before they start taking shape in your memory. This album offers variety in track length and flavour, and features a nearly uninterrupted flow of music that takes me for a ride. Another thing I really love about the album is the variety of sound. In addition to the standard vocals/guitars/keyboards/bass/ drums set up, there are also violins and violas, a string quartet composed of these and a cello, some french horn, and a diruba, which is a tradional Indian instrument. During the first listen I was enthralled with all the surprises that came up and in some cases unpredictable moments that went a different way from what listening experience had told me to expect. With each subsequent listen, I kept tuned in for those moments that thrilled me so much the first time.

Other reviews describe each track, so I don't need to go into detail, but for the first time reader of reviews of this album, I'll add my own notes.

"Conduit" is an instrumental track that gives each soloist a moment in the spotlight, and that includes a violin solo. It seems to wrap up dramatically after four minutes but then slows down and a mournful French horn comes in with the dirupa contributing its distinctive flavour to the sound palette. The bass guitar smoothly announces its presence and takes us into the next track, "Nothing Wrong". After a mysterious and unsettling atmosphere, the song takes shape and evolves into a affirmative and resolute statement about choosing to life life one's own way.

I personally find "Life Line" to be a very beautiful and uplifting track, a kind of orchestral rock song that lifts the spirit and conjures feelings of soaring or dancing on dunes by the sea. A little further down the track list, "Beautiful Light" has a similar feel but with more of a folk touch to it and some pretty woodwinds. For those who like sweet sentimental songs with some orchestral power to send you to the happy skies, these two tracks are the tickets for the ride.

The title track is the first of the two longer tracks and quite confidently asserts the potential of Maestro Adam Sears and Co. to create a powerful piece, but for me, it's the album closer, "Flowing Through the Change" that offers so many delightful moments that it's easily my preference of the two. There are two or three motifs in the music in the final track that reprise once or twice and sometimes not so obviously at first. For example, after one exacting build up, a synthesizer breaks from the crescendo and sails away with a pleasing singing melody. Later in the track, after another powerful built up with the string quartet and vocals, the music drops to a simple acoustic guitar and rhythm section with the guitar picking out the same melody delivered by the sythesizer earlier, but it takes a second listen to recognize it if no one told you to expect it. "Flowing Through the Change" concludes with a dramatic orchestration of rock band and string quartet for a fitting end to a wonderful album.

I'm jumping around a bit, but I would be remiss not to mention the exciting "Our Test Tube Universe". The atmosphere on this track is unique on the album. The song lyrics describe a scientist conducting experiments and not understanding the results. It has a strong eighties feeling to it but in a rock/new wave way but with some cool organ effects.

A final thing I want to mention is the quality of Adam Sears's voice. I really like it! He can sing with a powerful alternative rock voice or in clearly enunciated half-whispers. He complements the mood of the lyrics and music very well with his vocals.

There's a host of musicians participating on this album including some pretty big names like Jon Davison, Ryo Okumoto, and Jimmy Keagan. Working together with Adam Sears, Peter Matuchniak, and other band members and guests, I think the whole team has created a wonderful piece of work that satisfies the symphonic prog fan, the cross- over fan, and the fan of ambitious and creative rock. My personal rating is a full five stars and after multiple listens I am still excited about nearly every track. But for Prog Archives, I'll give it four stars because I know a rating of "essential: a masterpiece of progressive rock music" should be very thoughtfully given.

But once again for the record, I love this album!

Ten years after Adam Sears and friends entered Prog World with their debut album, 2012's Time and Space, Adam engages a bunch of veteran prog rockers from the symphonic NeoProg persuasion of musical production (of which several contributors were members of that original Lobate Scarp lineup) to jam (in some form or other) over and with some of his songs--taking turns offering solos over some of Adam Sears' very basic groovin' chord progressions.

1. "Conduit" (7:00) (12.75/15)

2. "Nothing Wrong" (6:17) spacious ambient Indian opening turns into full-blown bombastic NeoProg beneath Paul's impassioned if repetitive singing. Again, the solos are everywhere--even while Adam is singing. (8/10)

3. "In the Night I" (0:55) Are you serious?!! I've recorded better ditties than this little keyboard children's play on the toilet! (3/5)

4. "Life-Line" (5:55) sounds like a song by MISTER MISTER, GENE LOVES JEZEBEL, or MIKE + THE MECHANICS ("All I Need Is a Miracle"). Saccharine melodies, simple pop chord progression, with Adam's gentle 1980s vocal. Jimmy Keegan's drums are solid. The finish has its merits. (8.5/10)

5. "You Have It All" (14:25) a crossover prog song that blends classical instrumentation with prog rock electronic instruments quite nicely. The protracted delicate pastoral section that begins at 3:30 is particularly nice--with particularly well-matched drumming from Suicidal Tendencies' Eric Moore and some nice singing from vocalists Billy Sherwood and Jon Davisdon. This pretty section builds after Billy Sherwood's vocal into a prog lover's wet dream with great lush keyboard supported electric guitar solo and then finishing with an impassioned vocal from Jon Davidson and more great lead guitar shredding (from Peter Matuchniak or Rich Mouser?) At the end of the tenth minute things smooth out for some nice violin, keyboard, and different guitar solo tradeoffs. Easily the best, most truly and refreshingly proggy song on the album. The keyboard work in the twelfth minute gets a little dull despite some great drumming. And, unfortunately the plagiarized BEATLES final two minutes is a let down for the poor vocal "hook" being repeated. (27.5/30)

6. "In the Night II" (1:14) considerably better than its prior twin. (4.33/5)

7. "Beautiful Light" (5:46) nice MOSTLY AUTUMN or MANTRA VEGA beginning and Prog Folk foundational music before Adam's pleasant vocal. (His voice here reminds me of a West End version of Kevin Ayers.) (8.667/10)

8. "Our Test Tube Universe" (7:33) nice classically constructed song featuring Ryo Okumoto and Jimmy Keagan of Spock's Beard and, of course, the guitar talents of crossover/eclectic sessions and solo artist Peter Matuchniak. (12.75/15)

9. "Flowing Through the Change" (17:24) I know that drummer Eric Moore's presence is one of the things the band touts in the promotion of this song, but there's something about the mix that makes his drums stand out in a rather awkward way. The mix (and performance) are so much better on "You Have It All." Also, the lines/transfer points between each of the suite's five subsections are not as clearly delineated as one might hope for. Still, it is definitely a well constructed NeoProg epic. (30.75/35): - i. Futureflow - some similarities to ASIA's "Heat of the Moment" in the opening. - ii. In the Night III - then things settle into a slow pleasant synth-based foundation with the most annoying bass-line front and center. Thank got it goes away when Adam starts singing (though it is soon picked up and regurgitated ad nauseum by the electric guitar). The instrumental section following the vocal contains a nice electric guitar solo followed by some nice "strings" chord progressions. - iii. Dreamflow - instrumental section. - iv. A New Beginning - poppy uplifting music beginning at the end of the tenth minute has some nice hooks and strings work. The repeating four chord progression over which the section is constructed grows old fairly quickly. - v. Dreams Are Coming True - More prog-like music with some interesting time syncopations, drumming, and interesting NeoProg solos. Nice MYSTERY-like ending.

Total Time 66:29

A pleasant, unoffensive listen--especially if you're into solos and not creative structures or stories. It is nice, however, that almost all of the album's songs have a corresponding video presence on YouTube--created by Adam and the band members.

B-/3.5 stars; a nice addition to any NeoProg lover's music collection and not a bad listen for someone looking for more adventurous "progressive" rock music.

Finding quality new music these days can be tricky. Thanks to Twitter I discovered Lobate Scarp and really glad I did. The album starts with an instrumental. The feeling it gave me was that it reminded me very much of the old prog stalwarts Camel. You know a track is good if you don't realize it's 7 minutes long, Conduit is one of those and leads very nicely into the rest of the album. This is not going to be a track by track review, I don't have the eloquence to make that sort of review interesting enough! 😁 The album as a whole is musically interesting, played by superb musicians and allows you to escape into those places only great music can take you. Anyone who likes prog should give it a listen you won't be disappointed.

Yeah, now we have it all! It definitely took some time, several attempts, one can say ten years in the end. But now it's on the bench since May 2022, the band's new fully-fledged release. Strictly speaking, you may also take it as an expansion to the 2019 EP 'Spirals And Portals'. Anyway, who cares, the typical LOBATE SCARP ambience is coming back, that's assured, important. First and foremost due to Adam Sear's distinctive singing voice, I'm really fond of over and over. And then he makes the conductor here again, has composed most of the available material, cares for the keyboard range too. Some minor exceptions anyhow, for example the opening instrumental Conduit sees Ryo Okumoto enhancing the crew. This just comes in the vein of a well-concipated warm-up, also covering some nice ethno world impressions towards the end. In addition the songs are of a rather symphonic nature right through, especially because viola, violin, cello, and keyboard strings respectively patterns are generously present all over.

In consequence the contributor list turns out to be a huge one. This certainly also due to the fact that the entire song material formed over quite a longer period of time. Apart from those who are particularily proactive, finally all power comes from the collective of musicians. In sum just a great advantage when expecting something skillfull and entertaining. That's the real secret, or what? Please don't blame me if I will name only a few involved in the further course. As there would be Andy Catt (bass) first and foremost, being at Adam's side since the beginning. And Peter Matuchniak (Kinetic Element) needless to say, who is responsible for most of the electric guitar duties, providing one hell of a job. Finally the regular drum work will be shared by Eric Moore, Jimmy Keegan and Mike Gerbrandt. Including Hoyt Binder delivering the lead guitar Nothing Wrong is fading in next, connects to the newer pieces without any problems. The main refrain intensively invites me to sing along, still.

And then the album's title track sees other famous vocalists partially taking the lead, just another prove that Adam is pulling the strings with a proper portion of unpretentiousness. Let me emphasize Our Test Tube Universe next, which comes with a rather heavy nature due to a stomping drum beat, but you won't miss the lovely Mellotron in between, gorgeous! The extended Flowing Through The Change bears a bit of a jamming appeal, nevertheless, or just due to that evolves to the album highlight the more I'm listening. One of the two generously offered so-called long tracks, where a composer brings all his blood and sweat into operation. Maybe also a lot of tears, but perhaps the latter is more relevant to the listener? This is well achieved prog music, just for the record. I recommend to check that effort out. Fans of Spock's Beard, Enchant, IZZ, Echolyn and similar should set the anchor here in any case. Im sure, who already liked the prior album 'Time And Space' will feel comfortable with this too.

Lobate Scarp released their debut album in 2012, and it has only taken them 10 years to come up with the next one. Mind you, I seem to recall it took five years for the debut, so does that mean it will take 20 years for the third? Only time will tell. The man behind Lobate Scarp is Adam Sears, who provides lead vocals and keyboards, and the only other full member of the band who played on the debut is bassist Andy Catt (although guitarist Hoyt Binder does appear on one track). These days the guitarist for the band is none other than Peter Matuchniak who has had a load of fun playing on this while also working on a new album with Kinetic Element as well as some solo albums. Most of the heavy and lead guitar is him, with rhythm shared. There are a load of "names" on this album, with Jimmy Keegan, Ryo Okumoto, Jon Davidson and Billy Sherwood just some of the ones who should be mentioned, while Rick Mouser is again at the production helm, but all of this talent would mean nothing if the album itself was no good so what is it like?

If I can count, then there are more than 20 musicians working on this album, but that is quite a lot less than the debut, but somehow, they are all pulled together so it seems like a single unit. This is crossover prog with neo-prog tendencies, and the result is a very melodic progressive album which is easy to listen to the very first time of playing and just gets better the more it is repeated. I was fortunate enough to hear some of this prior to them appearing at RoSFest, which just made me feel incredibly envious of all those who were able to attend, as I am sure hearing these songs in live setting was just something else.

There are a couple of songs which break the fourteen-minute barrier, and they have everything one could wish for from a lengthy progger with lots of sections and changes of style throughout. But there are songs which are barely a minute long, plus others in-between, and these more direct numbers show a different side of the band, all with Adam's vocals at the heart although they are also prepared to provide lengthy instrumentals when the time is right. We move from times when Adam is accompanied just by an acoustic guitar, and others when it is full bombast yet always with the melodic punch which keeps the music interesting and accessible on very first hearing. It is packed full of dynamics, loads of twists and turns which keeps the listener coming back for more.

Let's hope there are loads more gigs and not much long to wait until the next album as this is a superb release which needs far more attention paying to it. One for all progheads to enjoy.

This album was released all the way back in 2012, but I have only just come across it after I reviewed last year's 'Spiral and Portals' EP. At the time, the line-up was Adam Sears (lead vocals, keyboards, piano), Hoyt Binder (lead guitar), Nate Olmos (guitar, vocals), Adrienne Woods (cello, vocals), Andy Catt (bass, upright bass, guitar, vocals) and Dustin Prince (drums) plus on this album there is also a full choir as well as percussionist Alex Acu'a who will probably always be best known for Weather Report but has appeared on countless other albums as well. The album was produced by Steven Leavitt and mixed and mastered by none other than Rich Mouser (Spock's Beard, Transatlantic, Neal Morse), who is still involved with the band today.

There is no way this sounds like a debut album, and one can understand why it apparently took more than five years to record. It is wonderfully layered, with percussion and drums having an incredibly important part to play, the bass providing the bottom end, cello providing both depth and lightness, guitars to the fore, plenty of keyboards and then Adam at the front singing his heart out. The band are happy to switch between different lead elements and moving into long instrumental passages is not a problem for them. I am not surprised Rich Mouser was involved in the band, as the music is quite reminiscent of Spock's Beard at times, and when the choir comes in such as on the title track it really takes it to a new level. That song is more than 15 minutes long, but it seems to fly past with different musicians taking centre stage, solos swapped between the band (take a bow Andy Catt whose bass playing is simply incredible).

There is so much going on, but the album never feels cluttered, rather that every single note from every instrument is needed at that exact moment. They can turn on a dime, changing direction and even end songs unexpectedly so that the listener stares at the player. Against that, the songs are all very easy to get inside and enjoy the first time of playing, and like Morse, Sears has an innate understanding of what makes a great song with wonderful arrangements. It is strange to think this is the only album to date, but Adam tells me the band are currently working on a new one, although they are finding it difficult in isolation. This may have passed me by when it first came out eight years ago, so if you are in the same position this is something you need to check out right now.

This is the first time I have come across Lobate Scarp, who released their debut (and to date only) album back in 2012, followed it up with a single in 2016 and are now back with an EP. The band is based around singer and keyboard player Adam Sears, while other stalwarts have been Andy Catt (bass, vocals) and drummer Mike Gerbrandt: it is also interesting to see the involvement of none other than Rich Mouser, the famed Spock's Beard producer. There are three new songs on this 25-minute-long EP, plus a slightly shortened radio edit of opening song 'Nothing Wrong.' Aside from the core band, they also bring in many more musicians when the time is right, although not as many as on their debut when (including the members of the choir) they boast more than 50 people were involved.

This is pleasant melodic rock with progressive tendencies here and there, but there are some interesting sections and approaches which made me think more of neo prog, especially on the rambunctious chorus for 'Nothing Wrong'. I was enjoying what I was hearing, without anything massively resonating if I am being honest. Then I came to third song 'Beautiful Light', which is different to the others both in style and content. It soars, it is commercial, it contains more diversity and spread than the others, and I sat up, paid real interest, and wished there were more like this. Hopefully, this EP, after such a gap, shows that the band is more active again as I really want to hear a full album from these guys.

Lobate Scarp is a Crossover Prog band from the US, founded in 2006. In 2012, the band released an ambitious album called 'Time and Space', what they describe as a space opera that featured a cast of over 50 musicians, if you count the choir. Other than this album, the only other two recordings are both EPs

In September of 2019, the band released their 2nd, 4 track EP called 'Spirals and Portals'. There is once again, quite a large cast of musicians and performers for this EP. It starts off with 'Nothing Wrong' (6:56). The spooky sound of a slow developing introduction is accented by a dilruba, and eventually vocals come in and the music finally settles into a mid-tempo track that is quite straightforward except for a few progressive fills here and there. There is some stellar guitar and violin work mixed in with synths during the instrumental break, but the straightforward sound hardly gets interrupted. The chorus is also quite repetitive. With all of the voices and instruments, it all still seems like there is nothing really outstanding going on here. 'And We Tried' (7:31) is a much slower and softer track. It's an okay melody, which eventually picks up tempo a bit, but again, it's all quite straightforward. Adam Sears' vocals are really not that dynamic either, though they are okay to listen to, but again, about as average as the music. There are less musicians involved on this track, but quite honestly, you would probably not notice. As before, there are some good guitar and synth fills, but even the increase of intensity later on in the track really doesn't do much to up the energy level.

'Beautiful Light' (6:00) brings in more musicians again. The music is again mellow, full of acoustic guitar and synths that try to evoke expansiveness. There is a use of strings again, but they are not utilized very well, and don't really stand out much. They even brings in woodwinds to try for a symphonic prog style, and utilize the extra singers to make an attempt at rock opera styles, but they fail at both. The melody is uninteresting and a bit corny. This EP ends with a 'radio edit' of 'Nothing Wrong' (5:11). Nothing different here, just less meandering in the introduction, the singing starts earlier.

This EP is a good example that tracks over 6 minutes, fancy album artwork, and a host of musicians and guests don't make music progressive, nor does it make a mediocre song any more interesting. The 'cast of musicians' just don't make the music anymore interesting, so unfortunately for the band, all of the extras are nothing but filler. You can't make music more interesting by adding more people or by repeating lyrics to make a song longer. These things do not a progressive band make. It's all just much ado about nothing.

'There's nothing wrong with my life, I'm doing what I wanna do' ... yeah, lucky you, good to know. After about seven years here we have a new statement from the band, which is still headed by Adam Sears. Back then their debut album made my day really. And seriously, though being able to school myself in patience, at some point I wouldn't make a bet that there ever might be something following. But things often will not turn out the way you expect, you know, this time with a promising result. 'Spirals And Portals' is comprised of three new songs, plus one radio edit. Sounds like produced with spirit of optimism, as for that I'm sure there will come more soon. Hopefully.

'Spirals And Portals' is able to cheer the heart of many passionated prog fans. A balanced unity of charming and heavier rocking parts. Well, there's nothing totally different on the table. Hence the recognition value, the typical band flair is somewhat evident. First and foremost due to Adam's exceptional singing voice and keyboard magic. With that said, they are drawing on the debut somehow, even some musicians like Andy Catt (bass) and Hoyt Binder (guitar) are present again when it comes to the comprehensive line up. The focus is on melodic rock compositions as usual, equipped with stunning vocal arrangements and some exceptional instruments.

And so Nothing Wrong for example is showing a rather psychedelic opening, including dilruba input provided by Rich Mouser. Powerful furthermore though, a remarkable refrain, this for sure will heavily stimulate the audience on a live gig. My favourite, so much to explore. An opulent atmosphere is given, diverse keyboard variants, also implying violin and viola. And We Tried follows as a strong companion, shines with varying speed and mood too. Beautiful Light finally derives from a 2016 attempt with diverse wind instruments, appears a bit more ballad-esque and mainstream rock oriented. Definitely with hit character, if ever intended. 'Spirals And Portals' marks a successful rebirth. I mean you will rapidly be convinced that this is made of adorable songs with heart and mind.

The contradiction will bring us together ....

oh dear ... maybe this album comprises a little course in dialectics? So what ... at least it has offered more than one contradiction to me in the early beginning, when I came in contact - it must have been Summer 2013 eventually. Firstly, album title and artwork obviously point to kinda space rock opera, but musically this is - very simple to recognize after a while - far away from any space rock stuff, basta!. And furthermore, as I'm listening to a lot of new albums - which forces to cull with intense - in most cases after the first listening session I'm sure to know when having something to stick at. Not in this case - while blatantly melodic and catchy, like 'Space And Time' appears, I was inclined to sort this out to the prog related table at first.

Luckily enough though, just Save My Soul saved my soul in this case, a song that fortunately attracted my attention and soon went over to my phone player, amongst other things due to a fantastic fusion intermezzo. And then after a while this convinced me to take it with more mindfulness .. and to load the other tracks too. So in the end I've been listening to 'Space And Time' on my trip to work (back and forth) at least twice a week - while learning to love it furthermore. As noted before - instead of space rock - here we go with symphonic, neo and heavy prog oriented tunes. The title song comes underlayed with remarkable percussion equipment, I bet Alex Acuña is involved here. Two words - clever song-writing.

Adrienne Woods' mournful chamber cello opens this affair, probably causing mixed feelings - but hey, they soon switch over to a good-mooded behaviour, which luckily will stay over the rest of the course. By the way, a real attraction is Adam Sears' versatile keyboard input, certainly approved on the following short but definitely tricky Jacob's Ladder featuring funfair organ, soaring and bubbling synths, symphonic strings aso. - bravo! Beginning Of Us drifts into pop rock fields then ... but they don't keep in that way while weaving a very nice guitar dominated intermezzo in.

The Contradiction at first rocks the house with slightly bizzare overburdened vocals, but again there is a change to state after a while into a lovely flow including piano, electric guitar, cello and violin. The heart-warming The Moment seems to be placed as a ballad and The Mirror sums all the band qualities up then and evolves to a real progressive rock parfource run. Man! Something forgotten to mention? - oh, yes, Adam Sears seems to be the head of this combo and kudos are adressed to his strong song-writing abilities ... and he provides an excellent singing voice on top of it.

The LOBATE SCARP crew offers an unpredictable blend of neo/symphonic, fusion, heavy and popular rock music, partially comparable to bands like Jadis or Bolus, which are coming into my mind. There's a lot to sing-along after a while. The compositions are top-notch all the way through, full of melodic moments, that's it what really strikes me. While most frequently used in recent months 'Time And Space' is a matter very close to my heart, an extraordinary appearance - I still can't find anything to grouse about - which finally deserves the highest rating which is possible.

... and will tear us apart ... (No way! Not in this case!)