|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Review by Bill Binkelman
I know that multi-instrumentalist/keyboardist Mars Lasar has many fans who enjoy his dramatic forceful music. Those folks will doubtless enjoy Panorama 11.04 with its assortment of musical styles, some of which deliver powerful punches of melody and rhythm. However, I couldn't warm to the CD much, despite numerous attempts. I found too many times that I longed for some simplicity and restraint. On the other hand, I don't think that is part of the formula for this particular artistic side of Lasar. This music is supposed to make a strong statement with its thundering percussion, sweeping layers of keyboards, chorale and vocal samples aplenty. After all, per the back liner notes, this is the sequel to the artist's Eleventh Hour series and addresses such weighty issues as "hope for a world in crisis." I don't enjoy world beat chants integrated into new age/electronica as much as I used to, so the tracks that featured it (e.g. the mystical "Eastern Dawn") failed to inspire me, as did the operatic female ones which are a big part of the neo-classical "Rapture" with its gradual evolution from introspective piano/vocal piece to overpowering crescendo and swooping synth strings. "Untouchable" represents one of the few soft moments here, somewhat reminiscent of Vangelis' quieter music for Blade Runner (using the identical type of reverberating bell tones at the start). However, other tracks, like "Fortune Teller" seem a tad bombastic or overdone, at least to me. Lasar sure does cover a lot of bases on this CD. "Caste One Stone" presents contemporary electronica, even introducing pseudo-glitch elements into pulsing beats. Likewise, "Between World's" plays like an amalgam of Patrick O'Hearn and Enigma with a smattering of chill-out. "Panorama" fares better, integrating flute samples with synth textures and refrains and a nicely developed ambient dub rhythm. "The Only Answer" is a straight-up vocal track, (sung by Colette Barron Reid), and possesses those overly earnest new age lyrics that make me cringe, even though I know how well-intentioned the sentiment is to both Lasar and Reid (who wrote them). Weirdest of all, though, is the closing '60s gospel hymn-like "Set On Freedom" (thematically, it belongs, I suppose, but musically it seems bizarre to say the least, especially the Dixieland jazz finale). I can't tell if this is a sampled excerpt from a period recording or was done for this CD, not that it matters much. Production and engineering are solid and Lasar displays his usual musical talent. It's just that the scattershot approach is too unfocused for me and then there are those tracks where he underlines and bold-faces the intended emotion as if we wouldn't "get it" otherwise. One good thing he does is open with the arguably strongest track ("Diabolique," a fusion of jazzy sax, funky trap kit and bass beats, and plenty of dramatic synth and piano work). On the other hand, starting with a song that good means the rest of the album suffers in comparison. Fans of The Eleventh Hour will hopefully embrace this recording, though. |
|
