Fire of Unknown Origin

TRACKLISTING:
1. Walk On Alone (12:31)
2. Voices (6:24)
3. Weapon (6:52)
4. What I Have Done (5:56)
5. Mind Over Matter (2:38)
6. Prelude (1:48)
7. World in Front of Me (11:19)

LINEUP:
John Baker – lead and backing vocals, guitars, guitar synthesizer, mandolin
Kerry Chicoine – bass, backing vocals
Steve Mauk – keyboards, backing vocals
Jerry Beller – drums, percussion, backing vocals

A quartet of experienced musicians based in Los Angeles, Mars Hollow were brought to the attention of progressive rock fans by the release of their self-titled debut album, almost one year ago. The highly awaited disc did not disappoint, and the band were immediately invited to perform at the 2010 edition of ProgDay, where I had the pleasure to meet them and see them on stage. In spite of the dreaded word ‘hype’ rearing its ugly head, or of those who may point out that Mars Hollow’s music does not really bring anything new to the prog table, and that it is also too poppy for its own good, the band’s dedication to music-making is undeniable, as is their professional attitude.

These days it is certainly not usual for artists to release an album a year, and long waits are often in order for fans of any musical genre. This seems to be even truer in the world of prog, when it is not uncommon for acts to let at least three years pass between releases – mainly due to those practical issues that I have often mentioned in my writing. Mars Hollow, however, chose to buck the trend by going into the studio a mere two months after their successful ProgDay appearance – with a well-respected musician and producer like Billy Sherwood (of Yes, Conspiracy and Circa fame) at the helm, and a strong commitment to delivering the goods in an even more impressive manner than their debut. Needless to say, the band’s sophomore effort – heralded by another prestigious live appearance, this time at the 2011 edition of ROSfest – was even more highly awaited than their debut, though the anticipation was tinged with the kind of anxiety engendered by far too many examples of anything but lucky second times.

While Mars Hollow, with refreshing honesty, have never claimed to be purveyors of daringly cutting-edge music (as is the case with some acts that, in my opinion, are nowhere as consistently good), World in Front of Me rises way above any considerations of innovation, progression, or whatever you choose to call it. Even though their self-titled debut was a hugely enjoyable slice of catchy, melodic prog with modern production values and all-round excellent performances, World in Front of Me is, simply put, pure gold – an album possessed of an almost timeless quality, a flawlessly executed homage to the best that progressive rock has to offer that, in many ways, transcends the very definition of prog. Odd as it may sound, I would compare it with another recent release that has left a lasting impression on me – Black Country Communion’s debut. Now, while the latter are definitely more of a classic hard rock act than a progressive one, their first album is also one of those very rare efforts that manage to reach a very high standard of quality without reinventing the wheel, so to speak.

Clocking in at a perfect 47 minutes, World in Front of Me is bookended by two 10-minute-plus tracks which – like “Dawn of Creation” on their debut album – eschew the tired, worn-out template of the ultra-convoluted (and ultimately patchy) ‘epic’ in favour of an orgy of enchanting melodies, splendid vocal parts, and scintillating instrumental interplay. With consummate sense of balance, the five tracks sandwiched between those two display a variety of moods, from the melancholy, mainly acoustic “Mind Over Matter” to the jagged, somewhat tense “Voices” – shorter, yet no less dense and involved. To use a cliché, Mars Hollow are like a well-oiled machine, their individual skills honed by years of experience and a genuine love of their craft, creating layer upon layer of lovely sounds that, while sustaining that uplifting quality so evident in their debut, are tinged with a hint of gentle sadness suggesting the wisdom that comes with maturity. And mature is probably one of the most effective descriptions for World in Front of Me: though lacking anything as infectious as “Midnight”, it is hard not to find yourself singing along the title-track or “Walk on Alone”, as well as listening raptly to the seamless ebb and flow of the instrumental passages.

As was the case with the band’s debut, World in Front of Me is strongly keyboard-based, with John Baker’s guitar used in a supporting (though indispensable) role rather than as the star of the show. However, Sherwood’s crystal-clear production has given the rhythm section a much more prominent role. Jerry Beller’s dynamic yet sophisticated drumming is not merely propulsive, but adds a lot of dimension to the music, sometimes following the melody laid out by the keyboards and guitar, sometimes playing in a sort of counterpoint; while Kerry Chicoine’s rumbling, pneumatic Rickenbacker bursts out of the densely woven fabric of the sound in a way rarely heard since Chris Squire introduced his ‘lead bass’ approach to the instrument. Indeed, Yes might be mentioned as probably the biggest influence on this album – though, rather than the toweringly unapproachable Yes of Close to the Edge fame, Mars Hollow bring to mind the band that, with their first three albums, gave the music world a textbook-perfect example of contamination between classic pop-rock and the fledgling progressive trend.

Steve Mauk handles his array of keyboards with impressive aplomb, supported by the relentless work of the rhythm section. While the gorgeously wistful, rippling piano piece that is “Prelude” puts him directly in the spotlight, his lush yet sedate contribution to the overall sound perfectly complements John Baker’s understated guitar work and commanding vocal performance. As I stated in my review of Mars Hollow’s debut, Baker’s voice – a soaring, admirably controlled tenor reminiscent of a smoother Geddy Lee, with touches of early Steve Walsh – may not be to everyone’s taste, but his handling of the somewhat downbeat, meditative lyrics (mostly focusing on the end of a relationship) is nothing short of masterful, and the harmony sections suggest the effortless grace of vintage Yes and, occasionally, even Gentle Giant.

As regards the individual tracks, opener “Walk On Alone” and the title-track are classic prog heaven, blending memorable melodies – catchy, though in a very subtle fashion, and dispensing with a conventional verse-chorus-verse structure – with instrumental passages of stunning elegance and understated complexity. While the former number is more airy and relaxed, the latter seems to slowly build up to a climax, with a sense of tension occasionally surfacing. “Voices” and “Weapon”, though shorter, are conceived along similar lines, successfully merging haunting vocal sections with intense instrumental passages; while “What I Have Done”, with its more streamlined approach and catchy harmony vocals, comes closest to the spirit of Mars Hollow’s debut, though without the bold airplay potential of songs like “Midnight” or “Eureka”.

Down to its stylish cover photo, depicting the stark beauty of the Death Valley desert, World in Front of Me is a supremely elegant album that succeeds in the task of combining accessibility with dazzling technical proficiency and a genuine feeling of warmth. Let us forget for a moment about ‘retro-prog’ or any such ultimately pointless labels. Mars Hollow’s intention was never to revolutionize the music world, but rather to produce an album that people will enjoy, cherish, and possibly relate to in terms of their own experience. A pleasure from start to finish, this is definitely a very serious contender for album of the year.

Links:
http://www.marshollow.com/

http://www.10trecords.com/

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