{"id":469,"date":"2011-03-17T05:35:16","date_gmt":"2011-03-17T10:35:16","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=469"},"modified":"2011-03-17T05:35:16","modified_gmt":"2011-03-17T10:35:16","slug":"album-review-mars-hollow-mars-hollow","status":"publish","type":"post","link":"http:\/\/blog.musoscribe.com\/index.php\/2011\/03\/17\/album-review-mars-hollow-mars-hollow\/","title":{"rendered":"Album Review: Mars Hollow – Mars Hollow"},"content":{"rendered":"

Pity the poor reviewer; he wishes to convey the sound and style of Mars Hollow<\/strong>, but finds it necessary to draw a comparison that may seem (to some readers) a lazy and obvious comparison. There\u2019s no getting around it: when guitarist John Baker<\/strong> sings (and sometimes when he doesn\u2019t) Mars Hollow sounds a whole lot like Rush<\/strong>. Baker\u2019s voice sounds unmistakably like a cross between Geddy Lee<\/strong> and Styx<\/strong>\u2019s Dennis DeYoung<\/strong>. But oddly \u2013 and fortunately for this listener \u2013 that blend is somehow infinitely more appealing than the sum of those parts. And it suits the music of Mars Hollow perfectly.<\/p>\n

The seven songs on the group\u2019s self-titled release offer up a compelling mix of progressive styles and sturdy, rooted-in-tradition ear candy pop. Kerry Chicoine<\/strong>\u2019s left-handed Rickenbacker bass provides that trademark beefy\/trebly tone for which the instrument is known, and Chicoine\u2019s assertive, muscular playing offers an original take on the style pioneered by Chris Squire<\/strong> and John Wetton<\/strong>.<\/p>\n

Musically the band does travel close to Rush territory; Jerry Beller<\/strong>\u2019s command of his large kit and enthusiastic use of roto-toms underscores the sonic similarities without aping that band\u2019s style. But it’s worth noting that Mars Hollow seem to come by their similarities to Rush honestly and without artifice. If they wanted to learn the tunes (assuming they don\u2019t know \u2018em already) this quartet could make a good career as a Rush tribute act. Better yet, Steve Mauk<\/strong>\u2019s nimble keyboards add tone color that\u2019s sometimes lacking in the Canadian trio\u2019s work. One could say that these guys out-Rush Rush.<\/p>\n

And there’s more to them than that, after all. \u201cWait for Me\u201d has shades of Discipline<\/em>-era King Crimson<\/strong> leavened with Relayer<\/em>-era Yes<\/strong>. Plenty of tricky time signatures (and shifts thereof) establish that a trip through Mars Hollow<\/em> is going to be an adventurous ride. \u201cEureka\u201d balances that prog aesthetic and an ambitious arrangement with an impossibly catchy melody line and an infectious chorus. Like all the songs on the disc, the arrangements allow space for each player to shine \u2013 listen to Mauk\u2019s breakneck, Wakeman<\/strong>-like keyboard signature — yet they always do so well within the confines of song; this isn\u2019t 9012Live: The Solos<\/em>, not by a long stretch.<\/p>\n

The group\u2019s lyrical concerns expand beyond the I\/you subject matter of pop love songs, yet avoid overly weighty and ponderous topics as well. And Mars Hollow thankfully avoids anything approaching the I-got-mine-so-screw-you philosophizing of Ayn Rand<\/strong> (That\u2019s right: I\u2019ve never forgiven Neil Peart<\/strong> for 2112<\/em>.)<\/p>\n

At any rate, Mars Hollow<\/em>‘s pleasures lie primarily in the music. Even a song such as \u201cIf I Were You,\u201d \u2013 built as it is primarily around a vocal melody \u2013 still serves up copious amounts of drama during its extended instrumental passages. And on \u201cIn Your Hands\u201d Chicoine takes over lead vocals (\u201call four boys sing,\u201d like it says on early Beatles<\/strong> albums). And when he does, the Rush similarities dissipate. Coincidentally, it\u2019s also the album\u2019s second strongest number.<\/p>\n

The award for best<\/em> song on Mars Hollow<\/span> undoubtedly goes to the long and winding \u201cDawn of Creation.\u201d And its placement as last track on the album tells a lot about the gutsy approach of this foursome. Most acts front-load their records; true, everybody tries to finish strong, but putting your best track last suggests you have confidence that the other tracks will keep the listener\u2019s interest all the way through. And when it comes to Mars Hollow<\/em>, that self-confidence is well earned. \u201cDawn of Creation\u201d veers deftly between a classic late-70s arena rock approach and more ambitious territory of showy prog. To their unending credit, they pull off both styles more than credibly, and make the blend a seamless one.<\/p>\n

I\u2019d be remiss if I didn\u2019t take a moment to point out the production values on Mars Hollow<\/em>. Quite often there\u2019s a highly polished sheen applied to progressive rock albums. The thinking goes that the music demands it, and there\u2019s certainly a compelling argument to be made in support of that viewpoint. But Mars Hollow<\/em> has a warm, immediate and inviting vibe; while the playing is note-perfect, there\u2019s a ineffable live-in-the-studio feel to the music, as if the listener is right there while it\u2019s being played. For lack of a better word, this gives the entire album a \u201cfriendly\u201d feel. There\u2019s nothing wrong — and everything right — with that distinctive approach.<\/p>\n

The group\u2019s follow-up is due out in mid 2011. While I eagerly await it, Mars Hollow<\/em> will keep me interested until then, at least.<\/p>\n

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