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(More customer reviews)What are the chances of a member of a major recording and touring band like Yes becoming involved in reforming their old pre-fame 60's outfit for the fun of it? And what are the chances of it being any good, much less being current or modern and vibrant and not particularly wallowing in nostalgia? Not knowing anything about The Syn other than the fact that Yes bass maestro Chris Squire and original Yes guitarist Peter Banks were involved and that one of their songs called 'Flower Man', I was pleasantly surprised.
First word is that this is not a Chris Squire solo band project, and it sounds nothing like the post-modern cut-and-paste sound of Conspiracy with Billy Sherwood. This is Squire in the context of a band- the same bass/backing vocals role he serves in his day job with YES, just with different musicians. Whereas Conspiracy was sleek, modern and heavy on Sherwood's glossy production and stop-and-go arrangements, The Syn's sound is more dry, warm, organic and 'Summery'. I'm not sure how close they sound now to the 'original' Syn, but 'Syndestructible' poses the intriguing scenario of: What if Yes never formed in 1968? What if the Syn moved on into the 70's. What if 'The Yes Album' were released by The Syn? The same goes for Peter Bank's FLASH. Parts of this sound like an imaginary Syn of 1974. There is the inevitable YES comparisons with Squire's bass up in the mix and his trademark backing vocals. THE WHO is another infuence that can be heard, they were always heroes to Squire and Banks. On the other hand, there is a timeless modern sound as well. Clearly this is progressive rock to enjoy, not overcomplicated noise to anylize and write a thesis on. Yet most of the 7 songs are somehat long and many of them run together(think Abbey Road or Dark Side Of The Moon).
Though musically involved and vibrant, the album is also strangely laid back. Singer Steve Nardelli may have something to do with this. One expecting anything like Jon Anderson will be shot down. Nardelli's voice is more of a rock & roll ringer, more bluesy and 'rootsy', while the lyrics are a long way off from the cosmic pretensiousness of Yes. The lyrics are simpler and more direct. Nardelli, I believe a Catholic, has a preoccupation with Angels which reoccur in several of the songs. There's no preachiness, though the songs are every bit as positive as Yes lyrics- just simpler and direct. Nardelli should get credit for a lot of the direction of the Syn. Having been away from the music business for years, he had been involved in business for a long time, and the label this record is on(Umbrello Records) is partly his label. The production is good, but basic, the sound is more organic- guitars, voice, bass, hammond, piano. Synths are kept at minimum and only come in to serve the music. The vocal harmonies are distictive- it's nice to hear Squire backing any singer, be it Anderson, Nardelli, Sherwood or Trevor Horn. The results are always powerful.
Today's Syn consists of original members Squire and Nardelli, with keyboardist Gerard Johnson, and brothers Jeremy Stacey(drums) and Paul Stacey(guitars). Alan White from Yes is drumming for them on tour, while original Syn members Andrew Jackman and Peter Banks are not involved(jackman sadly died a few years back and Banks had left the project). Banks was originally involved but dropped out, leaving a scathing letter about his departure on his website. Whether Banks cruelly got shafted by Nardelli and company or whether he is just a bitter guy with an anger management problem who can't function in a group is up for debate. But it would have been nice to have his somewhat jazzy/Townshend/midi-guitar styles on the project. Anyway, here's the tracks:
BREAKING DOWN WALLS: the intro is less than a mere minute and consists solely of interlocking, almost church choir-like vocals. The first three tracks are pretty much one track.
SOME TIME, SOME WAY: When Nardelli first comes in, you'll be shaken out of that subconscience 'I'm listening to a Yes record' feeling that the inro set you up for. His vocals may take getting used to, but they do fit the more laid back, rock sound of the Syn. Of all the tracks, this one may be the most ordinary, but the album gets better. They save the best material for later. But there is this laid back, 70's vibe on display here that you can't help but bob you head along to it.
REACH OUTRO: the previous track moves into this: a somewhat half Yes, half psychedelic jam done rather tastefully with no real wasted notes. Mid/late 70's Yes or even German band Eloy come to mind with this section.
CATHEDRAL OF LOVE: this is supposedly the 'hit' or airplay track that some progressive or underground stations have been playing to promote this record, and an instant classic. The album's anthem, the guitars recall Steve Howe, as Nardelli sings of finding love during a dark period of life. The song goes into a Deep Purple-like middle section before returning to its main themes. This is a well written song, with a beginning middle and end, and already a well loved album track.
CITY OF DREAMS: this is a good rock track with different sections. Squire provides a plodding bass line and Stacey provides some appropriate slide guitar twangs. The middle section is kind of 'Neo-prog' and reminds me of bands like early Marillion or Pallas, before moving back to the main themes and a long fade-out similar to 'Silently Falling' from Squire's solo album 'Fish Out Of Water'.
GOLDEN AGE: Not to be confused with either the unreleased YES track nor Billy Sherwood's WORLD TRADE track, both with the same name. This is a rock & roll track recalling Zeppelin, Mott The Hoople and similar bands. It is here that Nardelli's voice works best, when he opens with 'I was standing in a courtyard...'. He works well with Squire in the more progressive rock styles on the album, but his more down-to-earth delivery best suits the more bluesy rock styles best, where he excells rather than merely handles.
THE PROMISE: is the album's 'epic' track(13+ minutes), which goes through many sections, and is an undisputed high point of the record. A dreamy ballad moves into a dramatic anthem section, powerful instrumental fanfare, recurring themes and finale and fades out 'Close To Edge'-style with Squire's trademark bass getting the last word in. This is the kind of epic track that YES had been incapable of producing for some time now, the last great YES epic being 'Endless Dream' from 1994's TALK. Finally here is something here to rival it. Great ending to a fine album. I hope there is more to come.
With Yes stalling for time these days and not producing any new music, The SYN are lined up to take their place, and are a suitable clean slate for Squire to rediscover his music and possible futures. This will appeal to Yes fans, but also to rock fans who like the instrumentation of Yes but shy away from their more ponderous, pretentious side. The Syn aren't Yes but exhibit the same attention to detail and strong musicianship, but with a more rootsier atmosphere and wider appeal. I wouldn't be surprised to hear this in a pub somewhere on the docks. Let's hope there is more of The Syn to come.
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This is the new album from legendary pre-Yes prog-rock pioneers, featuring Yes bassist Chris Squire and original vocalist Steve Nardelli, joined by world-renowned musicians Gerard Johnson, Paul Stacey, and Jeremy Stacey. The result will herald the "prog modernist" movement and is receiving rave reviews worldwide. The single, "Cathedral Of Love" has been described as a masterpiece and is the most requested track on prog rock radio stations across America.
