Terra Incognita: Beyond the horizon --- Roswell Six --- 2009 (ProgRock)
Hands up those of you who like progressive rock. Okay. Now hands up, anyone who likes science-fiction. Hmm. I see a lot of the same people raising their hands, but that's okay, because as it happens this project will satisfy both of your cravings. Based completely on a sci-fi novel series written by author Kevin Anderson, and with music by superprogger Erik Norlander, “Terra Incognita: Beyond the horizon” is in fact the first of two discs, two separate albums tracing the story in Anderson's books. Roswell Six are a supergroup made up of some of the biggest names in progressive rock, the likes of Norlander's wife, Lana Lane, Shadow Gallery's Gary Wehrkamp, Asia's John Payne, James LaBrie from Dream Theater and IQ and Jadis' Martin Orford, to name but a few.
It's an epic undertaking, and in order to realise Anderson's vision, Norlander has worked closely with the author to create the music and most importantly lyrics that reflect the storyline of his novels. The album opens with dramatic organ and vocal chorus, rolling drums setting the scene and really making this quite an overture. It is in fact the longest track on the album, right off, at just over eleven minutes, and as the guitars and keyboards mesh, “Ishalem” gets underway, with beautiful, clear vocals by Lana Lane and (I think) Michael Sadler , a great slab of proto-symphonic prog rock, similar to the sort of thing you get in rock operas. Superb keyboards to rival the best you'll hear in classic Yes, ELP or Genesis alongside guitar riffs that just grab you by the throat. What an opener!
Much of “Ishalem” is instrumental, which probably accounts for its almost bloated length, though the rest of the album is much more realistic in length, with the next two tracks the second and third longest, at six and a half minutes and six minutes each. “The call of the sea” is much faster and heavier than the immense opener, with trumpeting keys in the best tradition of Asia, and a rollicking, rocking rhythm that carries the song along. Lana Lane again sings on this track, but detailed information on this album is very hard to get, ie who sings what track, and I'm not familiar with the vocalists --- though I've heard some of them --- nor experienced enough to be able to identify one from the other. It should perhaps be explained here that the actual Roswell Six are: Erik Norlander (keyboards) and wife Lana Lane (vocals), Kurt Barabas (bass) and author Kevin Anderson with his wife, who is also a novellist, Rebecca Moest. Shawn Gordon, head of ProgRock records, makes up the sixth member of the group. The others are all guests, and do not form part of the band, though they are certainly integral to its success.
I do know that Dream Theater's James LaBrie guests on vocals for “I am the point”, a dirty, crunching, heavy track much more guitar-led than the previous two, and certainly the heaviest on the album so far. I'm fairly familiar with John Payne's voice from his work with Asia, so I think I may be able to say with a little certainty that the first two tracks were sung by Saga's Michael Sadler, though don't hold me to that. “Letters in a bottle” has some beautiful violin from Kansas' David Ragsdale and acoustic guitar from Gary Wehrkamp at his laidback best, slowing things down for the first time, and I'm fairly sure that's Sadler on the vocals there. Lana takes centre stage for “Halfway”, a semi-ballad with insistent keyboard behind her, guitars breaking in after about a minute. The melody almost borders on reggae, but maintaining its rock core all the way.
Lovely, expressive organ introduces “Anchored” before it breaks out into a hard rocker, LaBrie again behind the mike, and Wehrkamp rocking it out as only he can. The organ continues throughout the song, Norland providing a symphonic backdrop to the melody, while adding in some dazzling flourishes of his own. Is that “Kashmir” by Led Zep I hear? No, this is one of the standout tracks, the symphonic and epic “Here be monsters”, which features all three vocalists --- Lana Lane, John Payne and Michael Sadler --- in a true
tour-de-force that will take your breath away. Real sense of drama and of the story coming to a
denoument here. Majestic.
More heavy guitar work from Shadow Gallery's axeman allies with mesmerising keyboard and beautiful piano from Norlander to create “The sinking of the Luminara”, an almost six-minute instrumental, with a really great bass solo --- yeah, that's what I said! --- from Kurt Barabas. Then “The winds of war” has Lana back on solo vocals for a galloping rocker as she wonders
”Why do they hate us?/ What did we do?” I suppose in retrospect it would be helpful to have the novel, or at least the liner notes, to go by, but as I didn't buy the physical CD --- haven't done that for years now --- I don't have that luxury, so the actual story is a little of a mystery to me. But this song definitely seems to involve some sort of sneak attack by an unknown enemy.
And she stays at the mike for “Swept away”, a heavy rock cruncher which at times gives way to some lovely gentle keyboard before powering back in courtesy of Wehrkamp and Chris Brown's guitars. Sadler partners Lane on this track, their duet quite intriguing. “Beyond the horizon” is another lovely ballad, piano melody leading what is essentially the title track on the album with some lovely keyboard runs and insightful drumming. Another contender for standout track, with a truly exceptional classical guitar solo from Chris Brown, and some very timely and effective flute from IQ's Martin Orford.
Penultimate track “Merciful tides/ Letters in a bottle (reprise)” is just that: a reprise of the first ballad on the album, with again Lana singing her heart out and a gentle but powerful keyboard melody keeping pace with her, and Wehrkamp adding a beautiful and entrancing solo to bring to a close the vocal part of the album. Closer “The edge of the world” is a powerful finale, instrumental as I say, allowing Norlander and Wehrkamp to have the final word. Starting off with synthy wind noises the track goes from symphonic prog bombast to hard rock and back to prog rock in a heartbeat, sliding effortlessly from one to the other, throwing in some more Orford flute along the way as the song speeds up, slows down, speeds up again, so that you're somewhat dizzy by the tremendous conclusion. But a great way to end the album.
Certainly a unique proposition, it's clear from this first album that the concept works, and everyone who has had a hand in this project has absolutely worked themselves as hard as possible, putting everything they have into it. It works as a prog rock album, as a symphonic rock album, and as a concept album. It works as a showcase for the vocalists, it works as a vehicle for Norlander's spellbinding keyboard work, and it works as a media through which to disseminate Anderson's novels.
Like I say, on every level, this works. Can't wait to review the sequel!
TRACKLISTING
1. Ishalem
2. The call of the sea
3. I am the point
4. Letters in a bottle
5. Halfway
6. Anchored
7. Here be monsters
8. The sinking of the Luminara
9. The winds of war
10. Swept away
11. Beyond the horizon
12. Merciful tides/ Letters in a bottle (reprise)
13. The edge of the world