TMP is
the debut album by the Toon Martens Project, a 5 piece band hailing from
Belgium. Toon Martens plays keyboards, Christophe Belien is the bass player,
the drummer is Johan Van Den Berghe, vocals are handled by Guy Guisson and the
guitarist is Filip Gijbels. Influences are acknowledged and include classic
prog bands, Genesis, ELP, Yes, Pink Floyd and more including Gentle Giant,
Steely Dan, Miles Davis and……Johan Sebastian Bach.
This
is a progressive rock band that plays classic progressive rock, complex but
always accessible.
The
album comprises 14 tracks, the shortest clocking in at 2:23, and the longest
just under 9 minutes (8:56). They also feature a 70’s Suite which covers tracks
3 to 7.
As
always, the starting album track is important and in this case we have “Columbus”
(8:07). The sound builds with “strings” setting the scene for the entry of the
superb guitar of Filip and then the strings continue to build up. Beautiful
sounds fade to guitar and the vocals of Guy, which are clear and match the
music perfectly. A flute appears, constantly changing, yet adapting the music
and just after the 3 minute mark, sit back and relax into your comfy prog
armchair as the keyboards of Toon whisk you back in time. A hint of Genesis
appears at this point as the bass and drums (Christophe and Johan) drive along
under the keyboards. Synthesizer takes over above the “classic” keyboards and,
yes, it is true, prog rock rules! At around the 6 minute point then another
change takes place when keyboards/drums/bass leads into another exquisite motif
on guitar - which presents to you an absolute “belter” of an opening track.
One
of the shorter tracks follows, “Waste of Time” (3:09) with a keyboard intro
(and a clock ticking) before the rhythm unit kicks in and also the voice. Again
the nod to the past is obvious as the song flows along, instantly grabbing your
attention. The track ends again with a clock ticking, and certainly does not
mirror its title.
The
“70’s Suite”, comprising tracks 3-7, runs for a total of 22:33 minutes and is
like stepping into a time capsule. Track 3, “70” (4:22) starts with a piano
flourish and guitar before heading into a simple keyboard motif before the
guitar comes in majestically over the top. There is a slightly “harder” feel to
the track and quirky time changes are a feature. The piano motif re-emerges
then into a keyboard/piano passage as the song motors along with little retro
bits flowing in and out. This leads into the fourth track, “71” (7:42) with the
piano again to the forefront, and excellent. The rhythm engine then joins in,
highlighting a bass guitar melody and then into a swirling passage, underpinned
at all times by the superb bass and drumming. A terrific piano passage changes
the tempo and allows the vocals to enter. Clear and well-rounded vocals fit the
overall aural soundscape perfectly. The instrumental passages, with the
interplay between the instruments add another layer to the sound prior to a
return to an earlier motif. Next up is “7 Wolves” (6:25) with a smooth
guitar/keyboard intro with the voice used as another instrument initially
before settling down into another helping of retro based prog. This is another track exhibiting a “harder”
edge to the overall sound with the rhythm unit again excellent. The keyboard
passages wash over the engrossed listener hinting at those classic “oldies”
Genesis, The Nice and even Supertramp. Onto
the next part of the suite with track 6, “72” (2:23), which also happens to be
the shortest track on the album. This is a restatement of earlier motifs with a
more jazzy influenced kick on this part of the suite. Superb piano passages
from Toon are featured, with the gentle sounds building towards the final part
of the suite, namely track 8 “73” (2:41). There is an early “classic” keyboard
sound to start the track with a synthesizer meandering around in the background
and picking out a simple melody which continues on to the finale of the track,
and suite. No doubt this is an exhibition of superb musicianship and a terrific
chunk of retro prog rock.
“Free
of the Spell” (4:39) is a return to individual tracks after the concept of the
70’s suite. There is a real jazzy feel to this particular track, with keyboards
to the fore but the drum/bass unit driving the track along. Great guitar from
Filip and the keyboards then move towards the track completion.
Track
9, “Cruising” (3:43) has a very gentle keyboard/bass/drums to start with a
considerably laid back jazzy feel, almost Steely Dan-ish, and this is further
suggested by the vocals from Guy. Midway through the track, Filip gets to “let
rip” with the guitar before the electric piano takes over and the vocals
reappear to take the track out.
“Syrinx”
(6:35) is a more up-tempo track with drums/bass prominent and a very subdued
guitar in the background. This is, a “slow
burner” of a track, still retaining a feel of gentleness. All the musicians get a chance to shine on
this track, featuring some great guitar work by Filip.
The
eleventh track, “Forward” (5:51) has a very different feel to it, but initially
there is an electric piano start, then into bass/drums and vocals. Brass
instrumentation makes an appearance changing the feel of the track totally.
Very jazzy feel, especially with the “smokey” brass burbling away and then into
a Spanish style guitar ending.
“Far
Behind” (8:56) changes the style again, with a keyboard intro and a synthesizer
motif leading into the vocals, with the rhythm engine in the background, but
driven along by the piano with the guitar also in the mix. Synthesized
“strings” just before the piano comes to the fore again and merges into a synth
passage. Gorgeous keyboards pick up and then the superb guitar of Filip lets
rip but is always very controlled. A real atmospheric track which then has
subdued keyboards/guitar before the reappearance of the vocals, interspersed
with magnificent instrumental passages.
The
penultimate track,” Babylon” (4:10), has an almost menacing start, heavily
rhythmical with keyboards/synthesizers to the forefront. Guy provides the
vocals again with superb clarity. Christophe and Johan drive this song along to
its finale.
The final
track, “Ginkgo Biloba” (5:36), has “strings” and electric piano to start before
the synthesizer melody is picked out. Very neat time changes and the guitar is
introduced before a return to the starting motif. What an excellent closing
track with the standout synthesizer motif, which is simple and very effective.
This
is an absolutely superb debut album and is certainly one of the best releases
that this year has seen. Magnificent musicianship by all involved and a truly
progressive rock album, unlike some others which make that claim but fall
woefully short of the mark.
TMP is a “cracker” of an album for anyone just
dipping their toe into prog rock for the first time and one which will whet
their appetite for much more of this genre.
4.5/5 Stars
Key
Tracks: Columbus: 70’s Suite: Ginkgo Biloba
Jim “The Ancient One” Lawson
October 13, 2012
Tracks:
Columbus
Waste
of Time
70’s
Suite
i)70
ii)71
iii)7
Wolves
iv)72
v)73
Free
Of The Spell
Cruising
Syrinx
Forward
Far
Behind
Babylon
Ginkgo
Biloba
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