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Progressive Rock CD Reviews

Necromonkey

A Glimpse of Possible Endings

Review by Gary Hill

This is some pretty intriguing stuff. It’s often electronic and also often space music. This is all instrumental. It has a wide range of moods and modes and is just great stuff. There isn’t a dull moment here. There are some really shining ones, though.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2014  Volume 3 at lulu.com/strangesound.

Track by Track Review
There Seems to Be Knifestains in Your Blood

Electronica, space music and psychedelia seem to merge on this jam. This works through some great shifts and changes. It includes some theremin and that to me is a great thing as I love that instrument. Still, even without that, this thing oozes “cool.”

The Sheltering Waters
Coming in slower and more gradually building, this is mellow at first. It gets more rocking for a time, in a very space rock way. Then, though, it drops down to some pretty electronic music before starting to build out in dramatic ways. It gets into more developed space rock territory before it finally ends.
The Counterfeit Pedestrian
At less than two and a half minutes in length, this is the shortest piece here. The majority is mellow and melodic keyboard based stuff, but there is a quick burst of louder stuff right at the end.
A Glimpse (Of Possible Endings)
They follow the shortest piece with the longest. This one weighs in at almost fifteen and a half minutes. It comes in very mellow with atmospheric electronic melodies holding it for the first two minutes or so. Then a new energy and drama emerges, but still based on electronic keyboard sounds. Just before the three minute mark they take into a real rocking phase, but it’s still tied to those same keyboard melodies. Then shortly after that it works out to a more fusion like jam with some violin adding a lot to the arrangement. This has a great combination of organic and electronic sounds. It continues growing from there, turning into more space rock like stuff. By around the six minute mark, though, symphonic elements take over. Then some synthetic voices come over the top as there is a shift to more electronic rock. It drops back to atmospherics and then gradually builds out into pure space rock from there. More traditional progressive rock elements emerge beyond that segment. After that peaks we’re taken into a keyboard section that’s mellow and quite classical. Eventually that builds outward into a space rock meets prog jam that’s among the coolest musical moments here. It works out to another crescendo and then we’re dropped out into space. That’s how the piece ends – atmospheric space.
The Worst Is Behind Us
Running close to nine-minutes, this is the second longest track here. It starts tentative and almost playful. Then we get a movement that has some world music blended with electronic progressive rock. It builds gradually on that back-bone. It eventually drops back a bit, but then comes right back out from there. Before the four minute mark, though, percussion takes over for a time. The melodic elements return over the top after a bit, though. It crescendos and then we’re brought into a mellower melodic section that eventually works its way down to a droning keyboard texture to end the set.
 
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