Paragon with Ian Hunter
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FLUX, the Paragon CD featuring (from a BassSick point of view) Ian Hunter, is the reason I decided to do these ReVuz. When I first heard the disc I remember thinking, "Wow! This is just the kinda band I always wanted to be in, but couldn't find the right drummer. This is great; everyone should have one of these CDs." Then I recalled some of the other music I've acquired over the internet, and said, "Why not mention discs I like, and have the BassSick visitors tell me what they think about these albums?"
So tell me. Wuddyathink?
Paragon, the band, is more of a verb than a noun with their music. The word flux has many definitions, and Paragon lets you know from the opening cut that they use all of them. The trio moves in and out of intricate space & time as if they are 2 molecules of oxygen and one of hydrogen. On this album they put their talents to launching us on a wonder-filled journey, a sojourn of sound, and making sure we always arrive at a different port of mood each venture. I like music that interacts with your feeling rather than dictates to it, though it's necessary to have a tune that lifts your spirit when nothing else will. (Thank you, God.)
FLUX opens with "Influx." The chord changes throughout the album are more like movements of mood, or breathing colors, in the Vollenwieder style. But you know from the castoff that this is not a band to lull you to sleep. Within the first 30 seconds of "Influx" you'll find your spirit leaning over the bow waiting for the next wave. The constant spray in your face continually refreshes your quest. Three minutes into the trip you'll find yourself scrambling for the main sails as the bass casts a 6-beat call to arms. From that moment on you know you're a mate and not just a passenger on this voyage.
The second track starts with our guy, Ian Hunter, doin' his progressive, 6-hand alá Stu Hamm thing. How does he do it? Or course we all understand that the bass is the most defining part of any good tune, but a good drummer clarifies that definition for those not so gifted in judgement. Graham S. Harding's work on this disc is excellent. He reminds me of Carter Beauford from DMB by how he can manipulate a tune just before it reaches the listener's ears and provide a whole new interpretation to consider. Listen to his 16th notes on the kick of "Red Shift." The keyboards of Nick Stauffer are the beauty of FLUX. No pretentious Emersonian sound-alike, nor Kitaro-like 20-minute trance. Just good, creative feeling. But, sorry guys, no more than a professional nod to your ingenious contributions; afterall, this IS a BASSsick site.
All three of these talented technicians contributed all the feeling that makes FLUX flow. Fom "Influx" to "Arrival" we are treated to an auditory odessey with an interactive onboard system. Treat yourself to FLUX, and learn who played Larry Schmidt's guitar. It's stamped on your ticket to the adventure.
The beginning of the last tune, "Arrival," is reminicent of Close Encounters..., the tune the ship played when it landed. Only on this landing it's more like WE are the ones arriving.
Don't listen to this disc with an A&R mentality. That is, don't just give it a few seconds of play, then toss it off mumbling it's not a hit. Often music is better than what the record companies want to provide. Sometimes it's better when the music hits you instead of a chart. FLUX is a journey. Press play and be on your way to a new arrival.
©All music is copyrighted, and used with permission.
Opening of Sanctuary Kick on the Red Shift Don't fret over Aerial's Departure A bit of Biosphere 6
©1999 Mello-Dee-O-Dough Music