Date: Wednesday, September 10, 2003 @ 13:10:00 EDT
Topic: Music Reviews
Although the title “Evil Computer From The Future” actually refers to a strange sound Pete Hoperspberger squeezed out of his synthesizer one day (and I say ‘squeezed’ because said computer is depicted by a menacing chrome juicer on the CD cover), could it also be a reference to the "machine" that churns out formulaic fashion-pop for the music industry year after god-awful-year? Thankfully, we have Space Nelson to fight that diabolical device and boldly go where few local bands fear to tread - and where even fewer succeed.
Band: Space Nelson
CD: "Evil Computer From The Future"
Label: Tralfaz Records
Released: 2002
Recorded at: Padded Cell (Steve Szanja) and MPA Studios (Chuck Alkazian)
Members:John Piasentin (guitar & vocals); ; Gary Lock (bass guitar) Eric “Fish” Fischer (drums); and Pete Hopersberger (keys & vocals).
On Space Nelson's “Evil Computer from the Future” (their third release) the Livonia-based quartet continues in the musical tradition of bands like Rush, Saga, Dream Theatre, Kings X and other North American examples of that much maligned and misunderstood sub-genre known as Progressive Rock. "Prog", as it's sometimes referred to by fans, owes its roots to the esoteric musical explorations of the mid-sixties art-college underground and produced such bands as Pink Floyd, Yes, Genesis and Emerson, Lake & Palmer.
Space Nelson's sound is characterized by stylized keyboard work, dynamic guitar lines and seadfast vocal harmonies (which sometimes sound to me like of Larry Santos of "Hot Fudge" fame singing with Trevor Rabin of Yes' 80's line-up - whatever it is, it works) that glide above a bold and punchy rhythm section. The band liberally explores syncopation and compound time signatures - all the while managing to provide hooks attractive enough for your average pop fan. That might not sound like a big deal until you do the foot-tapping math and realize your singing along in 7/8 or 11/8 time with rotating couplets of 5/8 and 6/8 (track 3 "Lost"). Whoa.
The CD begins with the snth & bass harmonic intro of "Gary's Lament", an ambitious song that owes its title to the difficulty bassist Gary Lock first had in getting his part tight. The song's verses change from common time to 7/4, 6/4 and back again without ever seeming cumbersome or awkward. Once the band became comfortable with such dynamic changes, syncopation and uncommon time signatures found their way into most of the songs on this disc (though songwriter Piasentin swears the music just comes out of his head this way); these are, perhaps, technical challenges befitting a band composed of three engineers and one graphic artist (you know, for balance).
Listening to the performances on this disc, you get the feeling the members of Space Nelson are having an incredibly good time. What might be considered over-playing from any other band comes off as gifted musicians who can barely contain their enthusiasm for having been freed from the constraints of a common-time straight-jacket: Gary Lock's bass parts are adventurous and punchy as any I've heard since Chris Squire; drummer Eric "Fish" Fishcer is all over the place but exactly where he needs to be at any given moment; Keyboardist Pete Hopersberger treats us to an entire pallete of classic synth patches, a Rhodes and a Hammond Organ that lets loose ala Keith Emerson on "My Way Home" (track 12) and guitarist/songwriter John Piasentin provides exactly what is needed for each song and not a note more. In all, Space Nelson is tight as a drum - anything less with these arrangements and it would all fall apart.
Like most progressive rock, Space Nelson's music has a decidedly major diatonic feel as opposed to a minor pentatonic feel (i.e. a classical vs. blues). Rock critics often mistake this angularity for a lack of feeling or depth and sometimes dismiss progressive music as grooveless bunk. As if to underscore this very problem and provide much needed contrast, Space Nelson include "Rudy" (track 9), an extremely groovy gem which features a percussive Rhodes piano, smokey vocals and streaming guitar lines worthy of Jeff "Skunk" Baxter (Doobie Brothers, Steely Dan).
If I had to bitch (and it seems I always do at some point), I could say Space Nelson isn't really adding anything to the progress of rock (in my opinion, rock innovation stalled with the last version of King Crimson), but borrowing from the North American tradition that's been established for over thirty years - therefore it isn't truly progressive but retro-gressive and derivative. But the sub-genre's been so neglected over the years I'm quite happy to find a band (and a local band at that) who are capable of delivering hardcore timing, great instrumental interludes, dynamic changes and a batch of songs that I'm still not sick of listening to after a ten days.
A must-buy for prog-rock fans.
-Mitch
Track Listing
1. Gary's Lament
2. Road Song
3. Lost
4. Thinking it Over
5. Never Before, Never Again
6. Change Your Mind
7. Once
8. Automatic
9. Rudy
10. Overwhelmed
11. Window
12. My Way Home
13. The Key
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