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: : Live
Before the Storm : :
While I’m new to the house of High Wheel, it
appears they have a couple vacancies. I thought what better place to
start my residency than Progress Records’ two volume collection of live
material.
From the opening notes of “Open Lines”, there was no question where to
classify this semiprecious stone. I’d bury this burnished pebble smack
dab in the middle of a progressively rock-laden field.
They employ a hybrid of diamond-cutting techniques and profit from the
useful toolkits provided by many of the genres top geologist. Their
versatile drill-bits, various doodads and dremels consist of bands such
as Magic Pie, The Flower Kings, Frogg Café, and Kansas. Likewise, it has
the sparkly appeal of Kino, Arena, and Jadis. For that reason, this band
would be an ideal act for the galleries on display from Rites of Spring
to ProgDay.
That aside, their performance on this night in Neuhaus was frankly above
reproach. So much that these ears couldn’t tell if this were on-the-fly
or pre-recorded, and not at any time did their energy abate. Every song
was as long and winding as a remote country road, a rural path, or Route
66. Literally, each item on exhibit was an epic, which meant their
curators intended to give us the hard sell. It’s easy to see why a
client would procure this liberal bill of goods. As I always enjoy an
extended stay in the presence of what’s creative and precious, I was
obliged to acquire the art and invoice every single item.
Six songs were all it took to top off volume one, and the same amount
brought the subsequent cup to the brim. Altogether, the carafe was
generously poured and in turn, it overflowed past the perimeter of the
saucer.
Whether it’s hot cocoa, mocha, or a latte, let’s slurp the foam from the
first disc while it’s still warm and fuzzy:
Open Lines – It’s obvious why they nominated this number to inaugurate
the gala. It uses many renowned elements among the nouveau progressive
niche. This one in particular incorporates Transatlantic. As an added
bonus, it includes a shot of espresso and a boost of Rush. The players
merge well, but it’s the guitarist who stands out in the slush. He also
has some very endearing moments in his unpretentious acceptance speech.
The keys, however, aren’t as humble. This supercilious accessory
dominates the stage with handsprings, a brisk swing, a twirl of its
t-shirt, and a dip. With all these wild and crazy moves, the keyboardist
comes too close for comfort. As the melodies smash, he nearly causes a
collision on the dance floor. Surprisingly enough, this earns my
applause and a laugh, and it keeps the others on their feet with an
unremitting degree of conviction. Moreover, the singing is tremendous
and the bass is bloody awesome too. After reeling us into the boat
forthwith against our wishes, they take us away with a powerful finish.
The endgame is in the vein of Pallas followed by some painfully-sparse
clapping. Honestly, they deserved more, and if I were in attendance, I
would have let them know it. For the sake of a recording, it’s both a
blessing and a marvel that the crowd remained so still and silent.
Reading the chicken scratches in the enclosure, it seems that they used
this to kick off the official studio release as well. In addition, it’s
the catalyst used to commence many of their concerts. Despite the
inevitable consequence to the dolphins and the fish, we are thankfully
relieved with this one in the bucket.
Void – This is more ominous and penetrating than the pilot. The
despondent guitars and the glum drums are offset by a terrifically
exuberant set of keys. They’re also stabilized by a bass that radiates
with a great deal of glee. The singer embodies RPWL’s Yogi Lang while
instrumentally it’s more in tune with an onslaught of Ayreon guitars.
This bird can hover even though its wings are partially cut. It might be
the same mass as the last, but it gropes for more gravity. It’s
flash-frozen and fresh, and in accordance with the statute, the band
continues to amaze me. When the music picks up, they’ve drawn me in as
if I was shards of iron and they were an industrial magnet. If you’re a
gullible bee like me, you’ll be devoured as expeditiously as a Venus
flytrap dines on a flea or abducted as fast as it takes a greedy Martian
to attune its tractor beam. At any rate, the mouse trap will be set and
snapped without delay. When the song is done, the ovation overcomes
inertia. A member from the band speaks and it’s obvious this is fronted
by a foreign class of workers. By no means is this lesser than the
first. While adjacent, this star is far-off in the distance. If measured
by an astrophysicist, it might be light-years away, but nevertheless it
holds the same intrinsic girth.
The Screamer – This is Pink Floyd’s Dark Side of the Moon synchronized
with the The Never-ending Story. In this fable, I’m talking about Atreyu
the hunter and not the heavy metal hardcore band. As a group, you can
almost hear Gentle Giant in one particular syncopated strand of singing.
This fertile plant is perpetually sprayed in a madrigal mist and
humidified inside a hydroponic hothouse. Since the hydrangeas and
hyacinths are parched and in need of moisture, they drink from the
fountains of Spock’s Beard’s “The Water”. When the sower showers the
crowd with his demonstrative seed, it’s almost as if he is doing an
unscripted celebrity impersonation. His speaking pattern and tone has
the uncanny likeness to Arnold Schwarzenegger.
Gear Wheels – Every time I encounter this track, I envision Echolyn’s
“Georgia Pines”. These woody mammoths stand staunchly in the sky. As a
general rule, the song sways to the beat of “The End is Beautiful”.
Correspondingly, the bass bubbles with the attitude of an active geyser.
Keep your hands free cause I’m sure it’s scalding to the touch. It’s
enough to make coffee beans brew and a bag of tea leaves steep.
Gnihton’s Promise – Something tells me they are not talking about the
father of physics or a delectable treat. Then again, I would
wholeheartedly agree with the following affirmation. It’s a given that
the music here is as enchanting as the Upper Peninsula’s infamous cherry
pie. As Ricky Bobby says, I can’t see well with that sticker on the
windshield, but I sure do enjoy this oddly-shaped cookie. I second that
motion since it’s more than palatable. It also counts in its favor that
it’s unusually soft and chewy.
There – Under the canvas, there is a progressive carnival going on in
here. Within this tent, they have acrobats on a highwire, a horde of
elephants, and a ringleader. After the tickets are torn and the acts
appear, you’ll cheer and sing danke schön along with the clowns. On this
side of the arena, they end with an epic that lasts in excess of 26
minutes. It’s as out there as Robby the Robot on the Forbidden Planet.
Plus, this capsule is lost and drifting nowhere fast into the IQ
quadrant of space. As they traverse this sprawling region, they’re just
nigh of the Violet District. After that, this odyssey crosses through
alien precincts and enemy turf. Once they elude the Reevers, Wayne
Newton joins C3PO in the escape pod. The passengers’ hub is about as
snug as the digs used by the Dr. Zarkov and the dreamy Jeannie. Although
we’ve found safe haven at the station and reached a destination, we’ve
only accounted for one half of the itinerary.
While we’re at it,
let’s tip the kettle once more and have a second sip from the decanter:
Outside the Circles – The first is better than the second, but this disc
boasts a slightly different feel. As we enter into the colder season,
this set of ditties rolls out with several inventive features. For
starters, it flaunts a customized tread with a radically savvy pattern.
With these newfangled wheels installed, this song sloshes around in
Mastermind’s mud and off-roads in oodles of quirky quandaries. For a
time, it’s playful. Afterwards, it slips through the brush, jumps the
soft shoulder, and then slaps the familiar asphalt. In doing so, its
rubber rakes the tar and grips Tiles’ gravel.
Try an Error – Deploying the parking brake whilst keeping their pimped
ride askew, this review will let loose and take advantage of friction.
As each track shares a commonality, there is no need to be redundant. As
with a crash, I’ve engineered the frame to crumple and fold.
Consequently, the only detail in this model that requires attention is
its rosy coat. Whether parading as Kitty or 'Jinx' Johnson, this berry
is acrid and tart. So give it a second to acclimate itself with the
weather, purr or warm up.
High Wheel in the Sky (Part I) – If there is a sequel to this piece, I
want to hear it. However, these high heels are downgraded to pumps.
We’ll have to wait for Al Bundy to service our extremities at a later
visit. For now, this is the only dialogue on the agenda. On the bright
side, this is a worthwhile venture even if its siblings are absent, and
I’ll let you in on a secret. One fellow listener told me this was his
favorite. It paints with Deep Purple and Black Sabbath. There is also a
hint of those crazy cats called The Fabulous Thunderbirds. It’s
progressively funky and breezy. This cocktail incorporates a twisty
straw, an umbrella, and a triple sec of calypso. Don’t take my word for
it. Sit right back and hear this tale from Gilligan’s Island on your
own.
The Four Reasons – This is as happy as a future rider searching for and
finding that rare, sacred egg. The yarn it weaves is done in a manner
comparable to the irrational ramblings of Blackwolf the Dragonmaster. As
a result, the account is equally unbelievable and carefree as a rant
from the self-proclaimed Unofficial Wizard of New York City. The trek it
takes between the boroughs is mystically calm, sometimes bordering on
quiet. Just as a sloth inspires an idle slug, it’s guzzled from a flask
and swallowed with a glug. To lead the beautiful and medieval people,
there is a passage on a flute that plays the part of our hero. In this
parable, it panders for the role of Ian Anderson from Jethro Tell.
Into Voyage – This might be the song I cherish most due to how it
builds, the energy, and its highly-polished nature. Not only is this
precious gem unlike the others, but it’s shinier than the rest. This
goes to show their potential and in doing so, they generate plenty of
kinetic energy. This late in the game, they continue to fuel my level of
interest. It’s one of the faster pieces, but it’s not all technical
prowess and bravado that ignites my inner soul. It’s mainly that it
modulates from insanely quick to almost graceful tiptoeing. This song is
constructed like a precise device or an expertly-aged wine. While it’s
drunk early on, the cork isn’t popped until the end. How do they do it?
However they do, “That’s incredible!”
Hate Hounds – As mysterious as the mutts from Baskerville can be; my
acquiescence with this article is elementary. The purplish vibe is back.
One would think Glenn Hughes is singing and playing the bass.
Conversely, the keys are as thick as a concrete milkshake. The guitars
are flush and follow suite as if they were duty-bound to Steve Morse of
the Dixie Dregs. This is straightforward rock with syrupy keys and a
fudge ripple of drums. These creamy rhythms would be hell to a candy
addict trying to quit or a choco-holic who has run out of his
confection. For everyone else, this nutty bar is ensconced in heaven.
From the onset to the finish, they have consistently pressed on in a
devoted vogue of fashion. When they hit the final note, it feels as if
it shouldn’t end there. Ironically, this is after two whole discs of
delightfully emotive riffs.
Not much else could be said on the topic as I believe I’ve pretty much
covered everything that’s been recorded on the docket. At this point,
you can acquire a copy of your own or naively choose to change the
channel. Just remember, you are getting a signal from a rarely-mentioned
source and without your support, you might not hear mention of them
again. If that happens, that would be unfortunate. Like Firefly and
Sports Night, they are worthy of a better than average Nielson Rating.
While I may not have the authority or even a say, I’d be interested in
seeing future works from High Wheel. As for now, this concludes the
scheduled program.
8.5/10
Reviewer: Josh
Turner
Before we end this transmission, here’s a word from our sponsors:
“This recording is dedicated to the memory of the great live club KANT’N.
It was closed down and taken apart shortly after this recording was
made. Thus, the only venue for live rock music in our home area made way
for a parking lot.” ~Uncredited author from the camp of High Wheel
“The above-mentioned venue might be closed forever, but hopefully many
studio doors will open.” ~Me
: : Visit the Artist’s Website : :
: : Discography : :
1910 -
1993
Remember The Colours - 1994
There - 1996
Back From The Void - 2002
Live Before The Storm - 2006
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