Artist: Deluge Grander
Label: Self-released
Release: 2009
Runtime: 53:49
Rating: 4.3/5
Deluge Grander are a relatively young American band led by keyboard maestro Dan Britton. They formed in Baltimore in 2005, and by September the following year they’d already put out their debut, “August in the Urals”, which critics warmly welcomed. Less than three years after that record, Deluge Grander have treated us to a new album – this time called “The Form of the Good”.
Dan Britton is still the man in charge, since he wrote most of the material and also does the lion’s share of the playing. But without the rest of the crew, this record wouldn’t be nearly as impressive. The first album already had quite a few guests who added some truly lovely instrumental parts, but this one is even more varied in that department, and the guests add another layer of symphonic color to the music and make it even more majestic.
Although they usually get filed under symphonic rock, you could say Deluge Grander stylistically feel like a blend of symphonic and some avant-garde approaches. The keyboards undeniably bring the symphonic touch, especially with the great use of organ, mellotron and piano, but on those same instruments Britton can also be menacing and more adventurous, and he’ll remind you of King Crimson at their greatest (especially when it comes to the mellotron) and sometimes even of Magma (certain piano parts). So this is a very tempting combination of two pretty opposite poles of the prog world (even if some other bands have done similar things), and the prospect of pulling those two poles together the right way is enough to make your mouth water. It gets even tastier when you hear the music, which delivers on every promise – a perfect fusion of symphonic and avant-garde.
Someone might think that with so many guests on the album, the band itself would end up somewhat overshadowed. But the moment the first notes of “Before the Common Era” ring out, it’s clear those worries were unfounded. Dan Britton is still the main man with his wealth of keyboards. He’s not exactly playing in the style of Wakeman or Emerson. His style is more subdued and polished, maybe even along the lines of Tony Banks. Sometimes his lines remind me of Magma’s, especially on the piano. The rest of the members fit Britton’s vision nicely. The standout is the guitarist, who delivers some excellent solo melodies and heavy riffs. The rhythm section is super tight too. I was especially impressed by drummer Patrick Gaffney. His style pulls you right into the song, and I wouldn’t say that about just any drummer. The guests on the album matter as well. The choir arrangements are beautiful and at times downright creepy (they recall the vocal parts on Guapo’s Elixirs), while the strings and other instruments add even more symphonic flavor.
Like I said, Deluge Grander try to mix the symphonic and avant-garde sides of progressive rock. They pull it off brilliantly, with a little help from plenty of role models, of course. I personally hear a lot of Yes, Genesis and Kansas on the symphonic side, and King Crimson on the more experimental side. As I said, I also hear certain Magma elements in the music, but maybe I’m stretching it a bit there. Either way, whatever goal Dan and the rest of the lineup set for themselves, it works really well for me.
Of all the bands that have tried to cross the line between symphonic rock and the avant-garde, Deluge Grander are among the best. They play their own subtle style, neither too experimental nor too symphonic. They cross the gap between the genres without breaking a sweat and have come up with a really good album that will appeal to fans of symphonic progressive rock and to those who prefer more adventurous stuff. If I were judging by this album alone, I’d say Deluge Grander are one of the best at what they do, and I can only hope they keep making this kind of intelligent music that makes you stop and think properly.
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Deluge Grander is a relatively young American band led by keyboard wizard Dan Britton. The band was formed in Baltimore in 2005 and in September the following year they already released their debut effort, entitled “August in the Urals”, to much critical acclaim. Less than three years after the debut, Deluge Grander honour us with another album, this time called “The Form of the Good”.
Dan Britton still remains the band leader, as he wrote most of the material himself and has the biggest instrumental role on his keyboards. However, without the rest of the band this would not be such a noteworthy effort. Although there were quite a few guests already on the first album, adding some fine instruments, this album is even more diverse in that respect and the guests add an additional symphonic flair to the music and make it more majestic.
Stylistically, you could say that, although mostly classified as a symphonic band, Deluge Grander seem like a mixture of symphonic stylings and some avant-garde approaches. The keyboards definitely give a touch of the symphonic at most times, with great use of organ, the mellotron and piano, but Britton can be menacing in a more adventurous manner on the same instruments, making one think of the great moments of King Crimson (especially the mellotron use) and even Magma (certain electric piano segments are reminiscent). This is a very intriguing combination of two quite opposite poles in the progressive world (even though some other bands have done the same), but the prospect of fusing these two poles correctly is mouth-watering. It becomes even more appealing when you hear the music, which is everything it promises to be – the perfect fusion of symphonic and avant-garde.
You might think that with all these guests on the album, the core of the band would be slightly overshadowed. But the moment you hear the opening notes of “Before the Common Era”, you become aware that those worries were unfounded. Dan Britton is still the main man with his multitude of various keyboards. He’s not a Wakeman or Emerson character. His style is much more subdued and refined, perhaps even reminiscent of Tony Banks. Sometimes his lines remind me of the lines in Magma’s music, particularly the electric piano bits. The rest of the band fits well with Britton’s vision of the music. The most notable element is the guitarist, who comes up with some great solo melodies and some heavy riffs. The rhythm section is extremely tight. I am particularly impressed with Patrick Gaffney, the drummer. His drumming really draws you in and I don’t say this for many drummers. The guests on the album are very important as well. The choral arrangements are beautiful and haunting (reminiscent of Guapo’s work on Elixirs), while the strings and other additional instruments add a more symphonic flavour.
As I already mentioned, Deluge Grander try to fuse together the symphonic and avant-garde sides of progressive rock. They do this superbly, but you can still see certain influences coming through. I for one hear some elements of Yes, Genesis and Kansas on the symphonic front and King Crimson when it comes to the more experimental side. As I said before, I also hear certain elements of Magma in the music, but that might be stretching it a bit. In any case, whatever Dan and the rest of the band set out to do, it works extremely well for me.
From all the bands that I’ve heard attempt this same crossover between experimental music and symphonic progressive rock, Deluge Grander are one of the best. They play their own style, which is neither too experimental neither too symphonic. They bridge the genre gap effortlessly and have produced a fine album that will appeal to fans of symphonic progressive music, as well as fans of more adventurous styles. If I were to judge solely on the strength of this effort, I’d have to say that Deluge Grander are one of the best in the game and I can only hope they keep producing such intelligent and thought-provoking music.
Lineup
Dave Berggren – guitars
Dan Britton – keyboards
Brett d’Anon – bass
Patrick Gaffney – drums
Guests: Nathan Bontrager – cello, Frank d’Anon – choir, Brian Falkowski – clarinet, flute, saxophone, Heather MacArthur – violin, Jose Luis Oviedo – trumpet, N. Aaron Pancost – trombone, Kelli Short – oboe, Megan Wheatley – vocals
Production
Deluge Grander
Tracklist
1. Before the Common Era (5:22)
2. The Tree Factory (14:08)
3. Common Era Caveman (6:26)
4. Aggrandizement (19:12)
5. The Form of the Good (8:41)
