DAVE KERZNER

Relatable Heartbreak Roadtrip Music

Here's the new album from progressive rock veteran DAVE KERZNER and a stellar cast of venerable progressive rock musicians adding their talents to the mix.

To these ears, the progressive rock quotient is fairly low, with a number of references to other great, atmospheric, sometimes cinematic, melancholic tunesmiths like Al Stewart, some of Lou Gramm's music, Bon Jovi (I'm thinking of track 3, "Dreaming in LA" here), and even John Mellencamp- none of whom would probably ever be called "progressive" musicians.

Pink Floyd and Beatles

Yes, these might have some progressive cred, and the presence of the lung-power of the McBroom sisters naturally calls to mind some classic progressive rock, yet overall, despite these strong references (and of course there are others I thought I heard, like Steely Dan and CS&N) this heartfelt and enjoyable release is best heard with fairly low expectations of progressive rock ingenuity, intricate compositions, grandiose passages, or symphonic grandeur.

None of which is to degrade the impact of "Heart Land Mines, Vol. 1". I think it has a potent emotional punch, especially if you are one of the "lucky" ones who has had to wend your way through such land mines, trying VERY hard to maintain equilibrium and balance despite the ongoing threat of sinking beneath the waves of pain and rage and loss, when one's love is lost.

Autobiography

Dave makes no bones about the intentions and motivation- which I took to mean that he was involved with a uniquely messed up lady who broke his heart, so he packed his stuff and hit the road- a time-honored trope- the grieving and torn person who seeks answers in the open road.

Meaning, the power and impact of this concept album is the power of an honest, poetic story-teller using the ways he's gifted to have, to tell the tale and find healing on the journey.

Themes

So from stem to stern this album draws from ambient sounds to set a mood- things like gulls crying over sounds of the ocean, or a car starting, for instance. Dave uses the acoustic guitar and his husky voice to great effect, and of course the power of his keyboard repertoire.

There's the obvious theme of a person on a quest for inner peace, and Dave weaves musical themes in and out, both gentle and edgier to great effect. Here I think of the tracks "Manic Calm" and "Too Far Gone".

Then there's the related theme of the intense inner struggle of finding some kind of acceptance for what has obviously been an earth-shaking loss, attaining a brief measure, only to once again be inundated with feelings and hopes and hurts.

Strengths

Dave has a strong sense of melodicism, a discerning ear for sonic clarity, a passionate love of classic drum and guitar and vocal and keyboard sounds. The flow and depth of each track is laudatory and germane to the tale being told. He surrounds himself with fine musicians who seem incapable of hitting a wrong note or setting a wrong scenario.

The Sour Note

For me, the track "Dirty Girl" while a catchy and charming tune- also a stylistic departure from the rest of the tracks- troubled me due to its suggestion that a lonely, conflicted woman who offers comfort and sex and solace to a weary traveler, is a "dirty" person. How? Why?

Overall

This would be rated 4 stars if it had a stronger progressive edge, which is the main reason (it doesn't) I'm rating it 3 stars. Mr. Kerzner has given us a slice of his real life with poetic turns of phrase and many enjoyable musical moments. I look forward to hearing more volumes if/when forthcoming.

'Another Lifetime' sound close to FLOYD for the orchestration and BEATLES for the air; solo by Perdomo and drumming by Minnemann; the instrumental part on 'Duke' of GENESIS and KANSAS. 'Ghostwritten Fables' with innovative percussion and staccato, symphonic title with organ where the voice brings back to that of the Archangel. 'A Time in Your Mind' on a pop-rock tune from GENESIS 2nd version, with a half-reggae hit and a BOWIE- like phrasing at the end. 'For Granted' for the acoustic melody with a striking spleen, soaring tune with Dave's voice as an aerial hymn and a melodic prog sound.

'Here and Now, Part One' goes on with a short crescendo interlude which launches 'Better Life' on a soft AOR tune, a pop sound of MIKE and the MECHANICS, still a base of memory; Francis releases a crystalline guitar solo all in sensuality but the most remains this easily heady chorus. 'Cannot Get It Back' and the new, more melancholic interlude, a short nursery rhyme with Nick now on drums for a melting piano arpeggio variation. 'Feels Like Home' follows in this great progressive piece on an airy, soporific and hypnotic melancholic tune; well done with these choirs flirting on the ALAN PARSONS. 'Here and Now, Part Two' ends the album with a Yessian intro à la HOWE, then it's on the synths of BANKS that it finally starts; a remembrance title remodeled to the sound of 2020, on a possibility of GENESIS sound if they had not aged and continued to play, staggering. The synth twirls around and becomes fresh, airy, fruity, warm.

Album associating the different progressive climates of the 80s with the collaboration of major artists who seem to have a field day between keyboards, drums, guitar and voice. A tribute to the sound of yesteryear that risks making you overwhelmed by memories and emotions and leaving you speechless in front of so much mastery. A mix of GENESIS, YES, a voice oriented on that of the Archangel for a magnificent experience.

I only have a digital promotional copy, so do hope there are full details in the booklet of where each song originally appeared, as although this is a compilation it is mostly made up of previously unreleased songs, alternate versions or live cuts. For example, "Acceleration Theory Part 2: Annihilation," features vocalist Jon Davison of Yes, yet was actually co-written by Kerzner and Yes co-founder Jon Anderson (now that does strike me as somewhat strange). He even goes back as far as Gilbert's 'Thud' to provide us with a live version of "Joytown". As to the personnel on these tracks, it is namedrop after namedrop as not only is there Jon Davidson but Steve Hackett (Genesis), Francis Dunnery (It Bites), Durga McBroom (Pink Floyd), Lorelei McBroom (Pink Floyd), Fernando Perdomo, Marco Minnemann (Steven Wilson & The Aristocrats), Nick D'Virgilio (Big Big Train), Matt Dorsey (Sound of Contact), Colin Edwin (Porcupine Tree), Heather Findlay (Mantra Vega and Mostly Autumn) and many others.

But even though this is a compilation of songs from a twenty year period, they have all been re-recorded, mostly with Kerzner on lead vocals, and the result is an album which is far more consistent than one might imagine. This is gentle Americanised crossover prog which is rarely bombastic, but is far more smooth than many may imagine. One song gently drifts into another, polished and serene. There will be quite a few people who are not aware of Kerzner given the way he is more often associated with bands than his solo work, and I am sure this release will raise his own profile in the way he wishes. It is a great introduction not only to him, but also to some of the bands with which he has been involved over the years, as we get alternate versions such as LoFi Reistance's "Chalk Lines" and Mantra Vega's "The Illusion's Reckoning". There will also still be plenty of people who have not previously come across Kevin Gilbert, his solo albums or Giraffe (although plenty will have come across some of the songs he had written given that his girlfriend at one time was Sheryl Crow), so to hear "Joytown" being performed live is wonderful ? one wonders what Gilbert would be doing today if he hadn't passed away so tragically in 1996. I don't know if that is one of the tracks featuring D' Virgilio but it would be nice if it was, bringing it back full circle.

21 songs, nearly two hours in length, this is a great introduction to Kerzner and his music and is certainly worthy of investigation.

This is an album I have had around for half a year or by now, and I actually started doing this review back in November. Life. the universe and numerous other obligations have kept me away from it until now though, and Kerzner appears to be immersed in so many other projects at this point that I do not know how much time he has, if any, to still promote this album.

This is a production well worth having a look at though. As far as progressive rock diehards are concerned it may come across as a bit on the simpler side, at least as far as song structures are concerned. This isn't a go to album if you enjoy songs constantly changing in tempo and main themes, as many of the songs here have a more conventional nature to them in that context. Quite a few are fairly easygoing as a matter of fact, at least as far as main structure is concerned. Thus it is also an easy album to become familiar with. The melodies are generally compelling, the atmospheres created alluring, and all in all this is material that has a likeable quality to it throughout. Some of the lyrics are strong enough to warrant a mention as well, as they manage to make an impact also for someone mainly listening to the vocals as an instrument. A song like 'Trust' in particular impress, more of a ballad-oriented affair that will touch the heart and soul of quite a few that have been in long lasting relationships I'd imagine.

For progressive rock fans in particular, the big thing about this album will be the arrangements. They alternate quite nicely between sparse and relatively simple on one hand and being layered, rich and complex on the other. Kerzner isn't a stranger to use unusual sounds either, so while we get plenty of atmospheric laden keyboard and Mellotron sounds as well as more dramatic keyboard solo runs, as well as a wee bit of alternating guitar parts of similar nature albeit a bit more subservient in general if my notes and my memory serves me well, there are also a fair few instances of less conventional sounds making it into these arrangements. From exotic sounding timbres by string instruments to Frippian twisted guitar textures, noise details and other effects that flavor the soundscapes with more of an uneasy, nervous and tension-filled atmosphere. Fairly often with a dark, oppressive touch to it.

Otherwise I do note some recurring details that reminds me of Yes, often in the bass guitar, lead vocals and vocal harmonies department, while the guitars, keyboards and general atmosphere gives me more of a Gilmour-era Pink Floyd vibe at times. More often than not one, the other or both are given a slight hard rock touch though, or perhaps AOR touch is a more appropriate description. Hence such details giving rise to associations to a much greater extent than being described as being of a distinctly similar nature.

As is often the case for me I do not bring out the great superlatives for a production such as this one. It is well made on all levels, and the quality is perhaps a tad better on the technical side of things than many others out there as well. If this is a future classic time will have to tell, but as far as it's status right here and right now is concerned I'd say that this is a prime example of high quality, modern day progressive rock. If accessible and easy to enjoy progressive rock is your thing, and you have a soft spot for music of this kind to feature arrangements that can be and often are much more elaborate that what you get on initial listens, this is a CD to take note of.

My conclusion: succeeded. And so Dave has added another excellent album to the prog table in 2017. His purpose is to tell a story in a melodic musical way. Hereby the further instrumental core is consisting of drummer Derek Cintron as well as Fernando Perdomo, Randy McStine and fellow SOC band mate Matt Dorsey on diverse guitars. It's a 'progressive rock opera about the clutter and chaos in modern everyday life', especially the 'hypocritical and corrupt characters in politics, media and society today'. There are enough examples to name in these days, all over the world, or what? Anyway, above 70 minutes filled with entertaining prog music, what more could one want?

When listening you will stumble upon similarities or maybe even intended references to diverse known bands here and there, needless to say. The song couple Quiet Storm and Dirty Soap Box makes my day especially, reminding a bit of the earlier Porcupine Tree days. The nice dreamy psychedelic title track sounds close to RPWL somehow. Some charming Beatles reminiscences are to detect, though overall this comes as a very unique DAVE KERZNER affair. The album grows with every minute, culminating in the epic The Carnival Of Modern Life, which shows quite an eclectic flow and a wondering mix of impressions. As for that 'Static' turns out to be a really respectable achievement, art work contributed by Ed Unitsky, also important to mention.

Dave Kerzner is a prolific musician that has been into the prog scene for several years, and in this decade he entered with his solo project, creating an amazing debut album entitled New World, a solid example of modern progressive rock with an obvious Floydian feeling. In the album, several wonderful musicians were invited to participate, such as Steve Hackett, Simon Phillips or the unique Keith Emerson, among others, an album that received positive critics since it guarantees over an hour of great music.

This great studio music was shared live and played in its entirety during different shows, leaving intact the order, so the band respected the concept . So "New World Live" is the result of those live shows, it is actually a blend of two different concerts with two different lineups, one from Europe and one from America, both showing high quality and confirming how good Kerzner is as composer, performer, and how well accompanied he is by the other musicians.

A thing I liked is that despite it is a performance of the studio album, it is not a full copy of it, I mean, the live vibes produce different sounds and even feelings, so the experience is not the same in any way. Kerzner's voice is wonderful and sounds clean, there are some parts in which the musicians put new elements, the McBroom girls produce goosebumps with their voices, and the keyboards also play a main role. As I mentioned above, there is an obvious Pink Floyd feeling here, Gilmour-ish vocals and guitar, but in the end the sound of the music is very personal from Kerzner's signature.

The whole album is very solid, not really weak moments, and some songs I totally adore such as "Into the Sun", the instrumental "Crossing of Fates" and of course, the amazing final epic "Redention" which closes the album in a magnificent way. I've been listening to this live album recently becaude I will be lucky enough to see Dave's band performing at ProgtoberFest, which really excites me, because it is evident their live performances give the audience priceless moments.

Of course, my invitation is to first listen to the studio version (if you haven't discovered it yet), and then listen to its live representation in this great record. Enjoy it!

The album is a long programmatic piece (or "concept album" as prog-heads call it) about a chap making his long way home across a desert, which gives the artist a broad, flexible canvas to paint some lyrics. The lyrics are not abstruse - IMHO something that is welcome as I don't need to undertake some Tolstoyesque deconstruction.

Musically, it is full of melody and sweeping harmony, avoiding discordance along the way. Whilst being programmatic, it is not gapless, with brief pauses between each track. This probably doesn't help, but to get an idea, my other half hates prog, but she described this as quite acceptable and inoffensive! (Dave, if you read this, that's not an insult. Honestly.) The guitar solos avoid squealing cacophony and stick to the easier-on-the-ear noodles. The quality of the musicianship is second to none ' this really is an assemblage of the very best ' and it sounds like it.

Only one teensy weensy niggle: is that creative digital clipping I hear on Ocean of Stars? Not a fan: personally, I would personally have gone for the unclipped version on such a melodic track, or for some mild limiting at most. (And if it's not clipped: my bad. :) )

What do I think? Well, I love melody, especially big sweeping melody, and when I first heard this, whereas my normal reaction on hearing a good track is "hmmm' that's not bad", when I first heard this album, my reaction was "f**king hell - this is extraordinary!" as the hairs on my neck erected! I don't just like it, I love it; and, if you also love big sweeping melodies, you'll also love this. Indeed, of this particular sub-genre, I'd say that it is essential listening - a masterpiece - and for that reason, it must get the full 5. Already looking forward to album 2 and a UK tour. :)

One other note: I recommend buying the 24-bit 96k FLAC download, which also includes the shorter non-deluxe version. The shorter version includes less tracks and also some of the tracks themselves are shorter. Personally, I prefer this version: in the age of "unlimited" digital downloads, why leave good quality music on the cutting room floor?

Tremendously entertaining Prog album from Kerzner, a sort of Alan Parsons for the new millenium. It is impossible to get away from the Pink Floyd influences painted with broad brush strokes across every inch of the album so if that is going to irritate you then steer clear. There is very little originality in terms of the music but sonically Kerzner is a wizard at finding interesting ways to elevate the (relatively) mundane into a neat set piece or tour de force. There's also a who's who of Prog luminaries involved including the ubiquitous Steve Hackett and Francis Dunnery plus cameos by Keith Emerson and Colin Edwin. It's an unabashed slice of Prog popcorn and should appeal to anyone who can get over the fact that it wallows joyfully in its influences.

Normally I would give 3 stars to this kind of thing but it's done so well and sounds so good that it gets the 4 star salute here.

It was time for a solo album that would focus on his personal likes and he simply followed his heart and opted for a 2 CD opus that, for all intended purposes, out floyds Floyd! "New World" was put together lovingly with intense admiration for the Ummagummars, Dave having invited a stellar crew of cameo artists ranging from the prolific Steve Hackett, the super busy Nick D'Virgilio as well as Heather Findlay (ex-Mostly Autumn), the legendary Keith Emerson, drummer extraordinaire Simon Phillips, It Bites mastermind Francis Dunnery, Yes bassist Billy Sherwood, Porcupine Tree bassist Colin Edwin and Big Big Train vocalist David Longdon, among many others.

There are pieces on Disc One that are beyond the Dark Side of the Moon, such as the multi-suited 11+ minute opener "Stranded" , a delirious journey to echoing islands of mood-altering sonics that grabs the jugular right from the first note. Steve Hackett adds his usual high gloss glissando guitar to shine up the proceedings, soaring mightily like only he can. Blending the familiar with some experimental stylistics create an immediate impression that favors the thumbs up, Kerzner's resonant piano and echoed voice finds itself harnessed by bashing rhythms as well as whooshing backing female vocals that just ooze class. A thoroughly enjoyable entrance into the 'New World'.

Then you have an outright PF sounding classic like the huge epic "Into the Sun" which cries out for immediate standing applause. This is so PF, the law firm crew of Mason-Gilmour & Waters just might be compelled to sue, applying the proverbial retribution screw. Colin Edwin holds down the low end and this just might be the most immediately appealing track on the album, certainly among the top ones. Gently gliding along from the outset, the melody is sublime and yet so simple, as if heard and seen previously in one mind's eye. Mellotron basks the chorus in shimmering rays of sunlight, fresh, bright and subtle, eliciting a genuine sense of soaring flight, 'far away from every one', as if Icarus just refused to see the danger and willingly perish trying. The bombastic vortex builds into a cinematic kaleidoscope of sounds and effects that reach for the farthest skies. 9 minutes of total bliss. "The Lie" actually resembles uncannily the recent German RPWL's recorded output, a clearly influenced Floydian pop psychedelia that is well-constructed, effortlessly delivered and instantaneously addictive. Certainly more immediate than the previous extravagant compositions, this sounds like a psychedelic pop song, something "Sky Moves Sideways' Wilson would expound. 'You can't escape the lie, no matter how hard you try' sears the message firmly, sealed by some fiery guitar soloing from Fernando Perdomo. Interspersed are brief 1-2 minute keyboard-propelled snippets ("The Traveler" and "Reflection") that mirror the Wright-led experimentations so recognizable on "The Endless River", bubbly gymnast synthetics amid a vaporous interplanetary vivacity.

The seductive "Secret" could have been a piece off the aromatic "Meddle" album, a soporific melodrama that induces daydreaming and sunshiny euphoria, luminously pastoral and deliciously naïve. The voice in particular conveys a hushed phantasmagoria of sky gazing, very Gilmour and quite fleecy. The melody is once again instantly permeating, a winner in the classical sense, with 'papa pa pah, pah pah' choirs that rekindle the spirit of '69, flower power era-naïveté at its zenith. Horror movie tension greets "Under Control", as it hints at spookier climates espoused in spirit by that often delusional mad man Roger Waters , a slightly schizoid and 'marching hammer' paranoid vocal from some unyielding man without eyebrows and even less morality, a willing tool of the system. The ticking clocks convey both sweltering dread and unsuppressed anxiety, forlorn piano and slippery orchestrations playing the shadowy game accordingly.

The equally heroic "Premonition Suite" conjures an onset of chic decadence as the majestic piano and magical flute weave solemn charm, Francis Dunnery shows off some dynamic guitar skills that cannot go unnoticed, manhandling his fret board with glee. A sweeping intermezzo only serves to up the tempo, as another menacing whirlwind lurks on the horizon, giving Kerzner the opportunity to ride his organ and synthesizers into a fine workout frenzy. Female choir aids and abets in bringing on the sinful enchantment. This is way more urgent, brash and delirious than the previous tracks, whisked by an obviously heavy vibe and a grandiose arrangement that seeks out emotion and intense introspection.

Things get floating with the vivid vocals on "In the Garden", loaded up with sublime whispered melodies and those trademark backing female vocals that always seem to be forgotten when talking Floyd (wailing voice provided here by PF singer Durga McBroom), an anthem of entrancing, sweeping and misty magnificence. Here Kerzner winks at "the Great Gig in the Sky" yet the main male vocal is sensual and the chorus to die for, weary and sincere as the floral arrangement keep blooming nicely. Stunning!

The muted vocal on "The Way Out" again veers near Yogi Lang (RPWL) territory, a cool piano leading the charge, once gain imbued with a clear sense of adventure and beyond. The bright synth solo as well as all the solar sonic glare that shrouds this piece makes for some inspired easy listening, elevated with booming crescendos and contrasting ebb and flows. A simple slide guitar solo welds itself to a synth foray, et voila! Damage done, unaware and content. Its companion piece, the luxuriant dreamland that is "Recurring Dream" finishes off the first CD on a very high note indeed, as not a single second has been corrupted by pap or filler. Just good strong melodies with superlative and restrained ego soloing, a sizzling exercise in memorable playing and singing.

CD 2 is perhaps even more progressive, chock full of more brimming melodies, percolating with wondrous technique and inquisitive fantasy, which is what a great prog album should source in the listener's mind. Attention to detail becomes evident on 'Crossing of Fates" , as sweeping synthesized orchestrations, rollicking organ runs, hammered piano and jaunty guitar take the stage, pushed along by slick bass work from the talented Billy Sherwood and Simon Phillips' polyphonic drum fills (Man, what a drumster!). Then throw in Keith Emerson's ridiculous cameo synth solo that hurtles along like some careening F1 speedster and your jaw lies bleeding in your hand! This is one hell of a super-groupy song, masters at work and play. Intermingled are transitory 1-2 minute keyboard-propelled extracts (" Biodome" and "Erased") that emulate the Wright-led research so identifiable on "The Endless River", effervescent acrobat synthetics amid a hazy interstellar animation.

For a slight deviation from the Floydian menu, the swirly "Theta" swims along in aquatic guitar splendour, showing off some hallucinatory Hillage-isms (Tablas, long extended notes, lady space whispers, fret scales like from some rising electric fish) that are just plain charming and unexpected. I mean, wow! This bleeds right into the gaseous "My Old Friend", another narcotic brick in someone's wall, exploring a breeze of slicing sounds, shifting rhythms and 'unexpected curves'. The overall mood here is highly soporific and densely cloudy as the hush sweeps along unrushed. Guest guitarist Russ Parrish (Steel Panther) unleashes a series of electric discharges that heighten the verve.

The buzzing "Ocean of Stars" is definitely choppier, yet still drenched in moody psychedelia, bouncing from one dream to another, once again not that far removed from RPWL'S recent output. This is a very good track though a small step down from the previous jewels, perhaps needing more repeat listens to catch the finery and the details. "Solitude" has a natural simplicity that begs attention, Kerzner's piano and mellotron greeting the listener with waves of gentle abandon, hushed sample voice effects, upfront "oooooh" backing vocals and front end wailing from Emily Lynn and Lorelei McBroom make this a true killer piece, intoxicating and invigorating at the same time. Phew!

Boom-boom drums scatter the leaves as the sweeping hurricane slams through the speakers, a mighty anthem and colossal production that beckons the listener to pay attention, the hurtling "Nothing" has an almost steam-roller disposition. Nick D'Virgilio ponds greatly throughout the album but here, he really slams hard. A little snarl in the vocals does great justice to their appeal, this is certainly not syrupy or saccharine by any stretch. In fact, there is a lot of sound design here that goes way beyond the normal PF clichés.

Three 5 minute 'songs' are set up to prepare for the home stretch, little ditties that tell 'sympathetic stories' , beginning with the resonating "Realign", a story of contrasts between steel and silk, seemingly effortless but enjoyable. The echoing chorus really hits raw nerves by its urgency and desperation. The clanging "Nexus" is mournful, aggressive, fizzy like an erupting volcano, though instrumental and quite experimental in terms of construction. The sad piano walks through the shimmering walls of sound, as if searching for some shadow amid the glare. Actually a tremendous piece, a definite highlight. The title track is an almost Beatles-like composition, sounding very RPWL again in its immediacy, a clever vocal that sticks to the theme of universal hope for a somewhat better future, the collision between yesterday and tomorrow, the endless human river of wondering what the hell is going on?

The deluxe edition ends with a smart-ass 21 minute epic that mirrors the opening suite, "Stranded Parts 6-10", aptly titled "Redemption", once again featuring the illustrious Hackett and the impressive Dunnery, exchanging glitter and gold, surrounded by a hedge of aural genius , hell bent drum patterns and solid backing vocal support. Measured and deliberate, the arrangement sprouts some orchestral sounds in no apparent haste, judiciously adding sonic bricks into the symphonic wall, letting the talented musicians let loose and carve some serious expanse. The electric guitars spare no prisoners, lurking in the shadows, ready to pounce unsuspectingly at the slightest provocation. Needless to state that combining glorious epic pieces like the 10 part "Stranded" suite that also happens to book end the album, clocking in at over 33 minutes in total , gives the progressive enthusiast all the drool needed to then enjoy the more accessible tracks, basking in the adventure of it all. Drama, scope, contrast, atmosphere and bombast are all sitting in on the party.

Any dedicated prog fan should appreciate the incredible quality here on display, if this would have been Pink Floyd's "New World", I have no doubt that it would be sitting at the very top of the charts. Dave Kerzner has created a massive, opulent and timeless piece of psychedelic prog that will stand the test of time. Needless to say, the production is first class, as well as the artwork and booklet.

5 new-fangled realms