Oblivion Sun

Around the year 2000, we received new signs of life from the Happy the Man camp. With their proper fusion of prog, jazzrock and light classical influences the cult prog act from the east of the U.S. had been well-known for years among insiders as the crème de la crème of their field. In a sense, they were akin to Gentle Giant: frivolous, yet more polished. Eight years hence, the group's resurrection at NEARfest is still fresh in the minds of many visitors. In addition, “The Muse Awakens” from 2004 was by no means a disappointing effort and it turned out to be the perfect follow-up to the band's magnum opus, “Crafty Hands,” which was released in 1978. For the next four years, the various band members worked on a variety of projects. Guitarist Stan Whitaker and keyboardist/saxophonist Frank Wyatt (founding members of the band) now present their latest project, “Oblivion Sun,” a group which further consists of keyboardist Bill Plummer (HtM's sound engineer), bassist Dave Demarco and drummer Chris Mack (of Iluvatar-fame). Originally, the band would be called Pedal Giant Animals, after that they renamed themselves Spirit Noise, but ultimately, they turned out their eponymous début album under the name of Oblivion Sun.

Ah... but what to expect from a company who look so distinguished on paper? The answer is crystal-clear: just prick up your ears and enjoy the nine pieces which together make up almost forty-five minutes' worth listening. Once again Whitaker and Wyatt have managed to beautifully shape their guitar and keyboard sounds into stirring and melodic compositions. Fanfare, Noodlepoint and Golden Feast in particular are instrumental gems that show diversity without turning bombastic or too overwhelming because of ideas that are too 'hot.' The saxophone combines marvellously with the high-paced keyboard sounds and keeps the jazzrock-influences alive — as if little has changed since HtM's albums (just for fun: first listen to Steaming Pipes and then play No Surprises!). The end result is less strict, though, and it seems as if the musicians play their parts somewhat more loosely these days. The album effectively alternates between vocal and instrumental tracks, a juxtaposition in which the former stand out in their 'rockness' (such as, for instance, The Ride), but that is actually quite refreshing. In addition to Whitaker's vocals the guitar parts work out beautifully, especially in Re: Bootsy, which is a sort of refined progfunk that has the lovely tendency to lose self-control at times. Like a true madman, drummer Mack flies sublimely through the song, followed suit by bassist Demarco. However, Mack also knows when to hold back a little — top class!

“Oblivion Sun” is without a doubt one of the progressive highlights of 2007, being an album that deals in an authentic fashion with melodic themes and which stays clear of musical clichés. The group may well prove to be a sensation on-stage — I really do wish that that is where things will lead. None of our readers will be surprised to hear that this record is absolutely compulsory for HtM-fans, while other people interested in Oblivion Sun can be assured that by purchasing this album they will be getting themselves top value American progressive rock.

Wouter Bessels