EANTCD 1032 – Esoteric Antenna (Cherry Red Records) – Time: 46:54
Tracks: 1) Time, 2) Memory, 3) Kombat Kid, 4) Headcase, 5) Eminent Victorians, 6) Broken, 7) Shadowland, 8) Entropy
Other music genres aside, I posit that many fans of Progressive Rock (Progressive Metal and other sub-genres included) have fairly high expectations when anticipating the release of an album by a favorite artist or band. The hope is perhaps for certain sounds and instrumentation—in a way, holding onto the past, the memories. I’m certainly guilty of that (I want Mellotrons, Les Pauls, E-bows and bass pedals), but I also hope for variants and invention in addition to complicated rhythms and key signatures that I associate with Prog Rock.
Music can trigger memories; hear a song and it can take one back to a long distant place and time, instantly. My memory of Nick’s work goes back to the early days of the Steve Hackett Band, in the late 1970s through the 1980s, and I certainly remember standing up front at more than a few venues close to the stage, marveling at Nick using his two (four?!) hands, feet and even elbows at times to assist with bringing Steve Hackett’s early work to life (he was a large part of the sound and technology of that era…and the transition from the analog to digital era in instrumentation and recording technology). Then, of course, I have enjoyed his solo work beginning with Straight On Til Morning from 1993.
I’ve heard some recent Prog Rock albums (even albums that I like) where the artist felt it necessary to include frequent derivative historical references and instrumentation or phrasing to other artist’s albums, but Magnus resists this temptation and takes n’monix in unexpected directions and makes it his own. The album does include many new friends as well as old; a connection to the past while looking to the future: Steve Hackett, Tony Patterson, Tim Bowness, Pete Hicks, Rob Townsend, James Reeves, Kate Faber and Andy Neve. Once again, long time collaborator, Dick Foster delivers sharp, witty and poignant lyrics that combine so well with the music.
n’monix is social commentary, history, reality and an observation of the results of technological advancements and the effects they have on us all. The more information available, the more to process, the more to remember and as a result we need devices to cope, mnemonics of many types. And curiously, even with the most tragic and unjust, we humans have such short memories; history is bound to repeat itself, it sadly becomes inevitable. We are victims of our own creations. The album is also about loss on many levels.
Time is the allegro of the symphony or the overture to the opera and it’s aggressive with firm vocals by Tony Patterson (and it will give your audio equipment a workout). By contrast (but very much in keeping with the symphonic reference) Memory is an adagio (slower tempo) waltz of sorts, which shifts from a somewhat shrouded soprano solo to broad choral treatment. Kombat Kid is an allegory. It is part march, part recitative and a story of consumption, manipulation and obsession…a reminder to step away from the keyboard or game controller now and then. Headcase is the only track on the album that even vaguely includes an homage…in this case (it seems to me!) to Gentle Giant…with quirky rhythms and lyrics—and memory games in the lyrics. Eminent Victorians is the most fantastical of the pieces on the album (with a brilliant animated video to accompany and vocals by the carnival “barker” Pete Hicks), and traces the absurdity of the served and servants, the sacrifices of the young and poor for the glory of an Empire and upper class; a familiar theme even today as income gaps grow ever wider and those less fortunate suffer even more. EV also includes prominent and most welcomed solos by Steve Hackett.
Broken is a heartbreaking lament with remarkable and emotional soprano saxophone solos by Rob Townsend (I have to admit that I had quite an unexpected emotional reaction to the track). Reality hits in the mournful resignation and loss of Shadowland and includes choral treatments and a stark guitar solo again from Steve Hackett. Some of the original themes return in the opening of the final track Entropy, an acceptance of reality and the unknown possibilities. I am certain that I have missed some of the literary, mystical and historical references…for now.
Although the subject matter of this album can be rather daunting, I find it to be somewhat lighter in spirit at times and more musical compared to Nick’s brilliant previous album Children of Another God. n’monix is impeccably arranged and orchestrated, and dances on the edge of being symphonic and operatic while including original and accessible songwriting. This is certainly not an album that collapses under the weight of a Prog Rock cliché, in fact, just the opposite–it brings a fresh relevance and viewpoint to the genre.