| The
Review |
This is Magellan's fourth work (and also the last one
with Magna Carta Label), a band with classic prog and hard
rock influences, also with a contemporary metal spirit. Magellan
is related with many bands that have continued, during the
90s, the way of the 80's Neo-Prog in adapting classical prog
rock structures, sounds and references into their actual contexts,
with personal touches of AOR and Heavy metal, specially in
north american groups. Magellan showed these influences with
great skills in their previous albums: "Hour of restoration"
(1991), "Impending ascension" (1993) and the darker and more
riff-oriented "Test of Willis" (1997). Echoes of Yes in the
vocal harmonies, Rush in the potent riffing, Genesis during
the keyboards textures, ELP...***
During 2002, Magellan released this CD after the two
monumental Explorer's Club albums (power progressive with
some intrincate meter changes and a metal taste), and the
Gardner bros were assisted by Joe Franco (drummer of the 70's-80's
hard rock scene with Good rats or Twisted Sister), Robert
Berry (who worked and released an album with Emerson and Palmer),
Ian Anderson (Jethro Tull's frontman), Tony Levin (King Crimson,
Peter Gabriel, Liquid Tension Experiment...) and the virtuoso
guitarist George Bellas. The music of "Hundred year flood"
is very interesting and diverse, recommended for people who
like both the classic prog-rock (1st half of the album) and
the more experimental and contemporary roots (2nd half). ***
THE GREAT GOODNIGHT is a long suite (about 34 minutes
and divided in 13 parts) dedicated to the memory of the eldest
brother of the Gardners, who was killed in Vietnam (at the
end of the album there's a special dedication to him by Trent
himself). The lyrics reflect all the pain and their most emotional
side with very great music. In the beginning there are very
special vocal arrangements, in Queen or Gentle Giant ways
and a gospel feeling with percussive bass vocals and references
to martial rhythms. During all the suite there are multiple
parts, contrast changes, and a complex combination of heavy
riffs, instrumental sections, intimate and aggressive vocal
parts, nice melodies and good solo passages. In conclussion,
this is a very enjoyable track for all prog-rock fans who
like bands like Camel, ELP or Kansas, and the more power prog
numbers of Dream Theater's Images & Words. Again, we have
the chance of listening to Trent's trombone, played with a
funk-jazzy feeling. ***
FAMILY JEWELS is an instrumental track which starts with
a beautiful flute part, played by Ian Anderson with his habitual
registers and spectacular techniques. After it, the music
turns into an epic atmosphere full of synthesizer arrangements
and orchestral percussion, in an Emerson way. It would be
a great soundtrack. The ending is darker, with some surprising
special effects. ***
BROTHER'S KEEPER represents the darkest and most experimental
face of the band in this album. It's more riff-oriented, kind
of Pain Of Salvation style, with mixes of some hip-hop vocals,
funk drumming and a very sweet folk section with acoustic
guitars and fiddle keyboards. And there's Tony Levin on it!
***
To sum up, this is a very interesting and complete album
from a band that has been developing and maturing his musical
style, extending their classical 70's classic, prog and hard
rock preferences to alternative rock, metal progressive and
some funk, ethnic and jazz elements, creating a very personal
sound combination. After this album, Magellan have released
"Impossible figures" (2003) and "Symphony for a misantrope"
(2005), where they continue exploring those musical ways showed
in "Hundred year flood".
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