Author: Peter Podbrežnik
Artist: Simon Says
Label: Progrock Records
Release: 2008
Rating: 3.5/5
Simon Says are yet another relatively new (neo) prog rock band coming out of the Swedish prog rock scene, which is known for its extensive use of the Mellotron. They released their debut “Ceinwen” back in 1995, but then a full seven years had to pass before the second album, “Paradise Square” (2002). “Paradise Square” was regarded by most prog rock fans as one of the better prog releases of that year, so you’d expect at least a decent follow-up, if not a more mature one. Simon Says, like most neo prog bands, faithfully follow the legacy of Genesis from the 70-77 era (you can mainly pick up some influences from “The Lamb Lies Down On Broadway” and “A Trick Of The Tail”). Still, on top of the sonic elements typical of the genre, they constantly weave in a bunch of interesting and varied ideas, reaching from experimental jazz, classic rock and classical music to folk-rock acoustic pastoral, and they interpret it all in a surprisingly mature way (by the usual modern neo prog standards).
Besides Genesis, you can pick up a few sonic nuances from their cult countrymen Anglagard (especially in the sweeping orchestral waves of Mellotron), Spock’s Beard (sudden tempo shifts and energetic electric guitar work), Marillion from the Fish era (the keyboard work), Manfred Mann’s Earthband (the way the Minimoog is used), and there are also similarities to IQ (especially the vocals). On top of all that, the modern production keeps the keyboards noticeably tuned to a 70s sound, which is definitely welcome given the quality use of cult instruments like the Mellotron, Minimoog and Hammond organ, even though keyboardist and bassist Stefan Renström occasionally treats himself to some modern-sounding electronic passages on the synths. As with most bands of this kind, the keyboards are mostly pushed to the front of the mix on Simon Says’ record too.
But the other players also have their instruments down cold and give every composition on the album the breadth it needs, so even the longer instrumental stretches stay interesting and keep the listener’s attention the whole way through. Guitarist Nils Stenström has a technique varied enough that he’d fit right in in pretty much any genre. The acoustic guitar is handled exclusively by multi-instrumentalist Renström, who loves pastoral-sounding chords. Singer Daniel Fäldt also brings a particularly convincing energy and a mature delivery. His voice is certainly not for every taste, since he’s not one of those technically trained singers typical of classic rock, but has a pronounced theatrical delivery, typical of all the prog rock singers who come out of the Peter Gabriel school of vocals. Music connoisseurs, though, will know how to appreciate his poetic voice, which is good and varied throughout, and which occasionally even leans toward Peter Nicholls (IQ) in tone, which is definitely one of the best compliments he could get.
On “Tardigrade,” Simon Says have taken a noticeable step forward in maturity compared with their previous releases. The album is varied enough for even the most demanding taste and has everything the heart of most classic prog rock fans could wish for. Alongside the sprawling, bombastic symphonic epics with their many tempo changes, theatrical singing and rich layers of keyboards, there are moments of intense, energetic jams on the synths, as well as shorter, mostly acoustic instrumental guitar passages that loosen things up a bit and calm down the bombast of the longer epics. There are three of those epics on the album, the last one running almost 27 minutes.
“Tardigrade” also contains a philosophical concept that, mostly thanks to the likes of Gabriel and Nicholls, feels pretty worn out by now. It revolves around Simon, an exceptional individual endowed with special abilities, who finds himself completely alone and misunderstood in his efforts toward an (inner and outer) social revolution in the middle of a crumbling society set somewhere in the near future, one that could easily be our present. In the end Simon experiences his own “revolution,” a shift to a higher level of awareness, while leaving the decadent society to its final collapse. Fäldt’s theatrical vocals tell the story very solidly, though it offers nothing new at all. The individual compositions create neither overly cheerful nor overly gloomy moods, but drift nicely between the two shores the whole time, which back in the day was also typical of most of Genesis’ compositions.
Simon Says don’t beat around the bush and get to the point right at the start of the album. “Suddenly The Rain” greets us immediately, a nearly 15-minute magnificent epic full of unpredictable tempo changes, rich layers of keyboards led by sweeping Mellotron curtains, and theatrical singing. A grand, melodic chorus is in there too. “Tardigrade” has numerous melodic passages on Minimoog and Hammond that would get the blessing of both Tony Banks and Keith Emerson, with a theatrical yet mighty vocal laid over the top. Stenström’s extremely tasteful guitar solo also chips in, adding some classic-rock energy to the track. “The Chosen One” is, in its first part, a gentle pastoral ballad built on rich Mellotron waves, acoustic guitar and a melancholic vocal, before the second, instrumental part morphs into classic neo prog with prominent synths and a wound-up rhythm typical of early Marillion. When the vocal comes back in at the end, you can’t avoid the comparison with IQ, though the guitar sits noticeably further in the background than is usual for that band.
“Moon Mountain” is a shorter pastoral ballad on acoustic guitar in which you immediately catch the classical guitar influence of Steve Hackett. “As The River Runs” is an epic of more than ten minutes, marked by unusual, avant-garde opening effects, broad layers of keyboards with an emphasis on Mellotron, piano and Minimoog, choral backing vocals and plenty of dramatic transitions. An excellent, theatrical vocal performance and a wealth of ambient-sounding keyboards are the main hits of this splendid creation, which will charm everyone who’s in love with the Mellotron. “Your Future” is a short a cappella piece, similar to the ones King Crimson occasionally used. “Strawberry Jam” is, true to its name, an all-out wound-up instrumental jam built around lively keyboards, a long guitar solo and plenty of rhythmic shifts. The pastoral-tinged “Circle’s End” opens as a gentle acoustic ballad built on a melancholic vocal, acoustic guitar and Mellotron. The middle section moves through a Minimoog solo into an instrumental part with sweeping Mellotron waves and acoustic guitar, which leans a bit toward the classic “Mad Man Moon” from the Genesis album “A Trick Of The Tail”. That’s followed by the centerpiece of the album, the epic, bombastic, 26-minute-plus “Brother Where You Bound?”, which is easily the best composition on “Tardigrade”. There’s no point in describing every one of its wildly varied and vivid sections, where the Mellotron once again takes the throne among all the instruments. Suffice it to say that it’s one of the most polished and majestic prog rock epics made in recent years, one that doesn’t just put on an impressive technical display but actually has that necessary fire and energy that sets Simon Says apart from all those bands who just copy their idols and neglect their own spirit. The album closes on an upbeat note with the short acoustic folk instrumental “Beautiful New Day”.
With “Tardigrade,” Simon Says have shown that they’ve matured into a band with its own energy, one that uses the influences of its great idols in its own vivid way and has a specific vision. Throughout the album you can feel that energy where you just know the musicians had an immense amount of fun and enjoyed themselves while recording. Still, listening to “Tardigrade” will be a lot more immersive and relaxed if you don’t compare Simon Says with other bands in your head and approach the album completely unburdened by the sonic legacy of the prog giants mentioned above. Maybe the answer to why Simon Says sound noticeably more mature than most of today’s neo prog bands lies in the fact that they don’t churn out albums on an assembly line, but take enough time to realize musical ideas varied enough to satisfy even the most demanding prog rock connoisseurs, led by all the fans of classic Genesis, who are the ones this release is aimed at first and foremost.
Lineup
Daniel Fäldt – vocals
Nils Stenström – electric guitar
Stefan Renström – keyboards, bass guitar, acoustic guitar, electric
guitar, voice
Ola Johansson – drums
GUEST MUSICIANS:
Niclas Dyrendahl – vocals
Pia Gustafsson – vocals
Hans Möll – vocals
Kenneth Magnusson – special effects
Production
Simon Says
Track list
1. Suddenly The Rain (14:47)
2. Tardigrade (3:43)
3. The Chosen One (5:44)
4. Moon Mountain (2:33)
5. As The River Runs (10:40)
6. Your Future (0:29)
7. Strawberry Jam (2:32)
8. Circles End (6:19)
9. Brother Where You Bound (26:33)
10. Beautiful New Day (0:43)
Album length: 74:11
