When I first heard the name “Mars Hollow” in 2009, my initial thought was “how perfect a name that was for a neo-progressive rock band.” When I subsequently heard the band’s initial, self-titled release, I was impressed. The term progressive as applied to music can take one in a myriad of directions. To be a neo-progressive band should imply much more than a rehash of what was progressive in 1971. Does the band delve into new arenas? How does a modern artist foray into these new areas? The band’s rookie release proved to be an intriguing, hauntingly soulful sound I hadn’t experienced before. When a band can authenticate an identity without drawing a series of musical comparisons that would render any sense of uniqueness moot, this to me is a statement of artistic victory. The first album was just such a release. To be sure, it had me excited to stay tuned to the progress of completion of the sophomore release by the band, World in Front of Me, available now. If I hadn’t been a Mars Hollow fan before, I would have easily become one with this new release. The integrity and the beauty of the first album was no fluke, and this second one shines even brighter.

Los Angeles proggers John Baker (Guitar, lead vocals), Jerry Beller (Drums, vocals), Kerry Chicoine (Bass, vocals) and Steve Mauk (Keyboards, vocals) comprise Mars Hollow, signed to 10T Records, a growing musician-centric label. The band’s Facebook page places the instrumentation credits ahead of the also notable fact that all the members actually can sing. The performance is beyond proficient and squarely in the category of elite playing throughout the entire album. In fact, the production to me is reminiscent of the work done in the 1990s by Billy Sherwood on Yes’ Open Your Eyes. That would likely be because Sherwood has stepped in to really push the production envelope with Mars Hollow. It possesses a very current twenty-first century sound that gives the listener a multi-dimensional aural focus. The recording is rich in depth, albeit not overly layered. I like the production very much.

The musical balance on the entire album makes each song distinct and acutely enjoyable. Beginning to end, the songs make a wonderful volume. I would consider Mars Hollow to be a band that will withstand the test of time for the advancement of the progressive genre. If you haven’t yet acquainted yourself with the soulful sonorities of World In Front Of Me, you may be missing out on a future classic. I can only recommend that you treat your ears to the set.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2011  Volume 4 at lulu.com/strangesound.

After the power vocal ensemble chords at the beginning, a multi-metered instrumental feature introduces the listener to the band’s bold virtuosity. The syncopated accents and meter breaks build some nice tension grooves before settling into a beautiful vocal line in A-Minor. What intrigues me is how a melody like this can really capture emotive spirit, strongly driven forward lyrically. I hear evidence of Celtic and Appalachian folk influences in an almost mournful, psychologically intense but haunting expression that strikes me in a primal way. My first listen was solely music oriented, so when I read the lyrics I was surprised at the topical depth. Lyrically, it speaks of the failures of growth and change in connected relationships, the free will of opportunity, and hope in the act of letting go when one is not prepared to move forward contiguously. Thus, the individual has to walk on alone. The construction is excellent, well structured in soloing and overall ensemble. Chicoine’s lyrical solo, followed by Baker’s sensible guitar feature to match his vocal track, all work to get the listener begging to hear more!