Sven B. Schreiber
I loved this album immediately after peeking into the first two tracks, and listened to it yesterday all day long. The music - mostly instrumental, with two exceptions - is quite varied, but whatever genre Evan Hause embraces, something ingenious results. It's hard to pick a favorite here... should I choose the offbeat RIO-oriented "Metempsychosis (Palindrome)", the catchy AOR song "Aileron", the stunning all-acoustic ballad "Winter Flower", the tricky fusion-infused "Running the Land", the mesmerizing, harmonically complex "Send for the Captain", the wonderfully polyphonic "Bal des Ardents", the amazing 70's-inspired "Temple of the Sun"... just to name a few... All of the tracks are charming in their own way. I don't use this word frequently, but here I can't but writing: a masterpiece!
Favorite track: Running the Land.
Composed, recorded, and edited by Evan Hause at Hossmosis Oaks, West Orange, NJ
Mixing and additional tracking by John McEntire at Soma Studios, Nevada City, CA
Mastered by Scott Anthony at Storybook Sound, Maplewood, NJ
released October 14, 2018
Evan Hause - guitars, basses, piano, keyboards, drums, percussion, ocarina, vocals, lyrics, cover art
Maureen Hurd - clarinets, bass clarinet (2, 8)
Paul Brantley - cello (1, 7)
David Nadal - classical guitar (7, 10)
Holland Jancaitis - church organ (2, 10)
John McEntire - drums (6)
Elena Hause - vocal (7)
Holly Nadal - backing vocals (7)
All of the above, first and foremost; in NJ: Morrow Church, Maplewood and The Second Saturday Record Fair, Wayne; in Bogotá: Museo del Oro and B&L Piano Pub; "The Peyote Dance" by Antonin Artaud; Wikipedia; Nora Hause (CD art); Christopher Winders (CD layout)
Evan Hause is an award-winning composer and multi-instrumentalist who traverses and fuses experimental classical and rock music. His music has been called "spectacularly audacious" and "ingenious" [Gramophone], "from the sublime and elegant to bawdy and vulgar" [American Record Guide], "delightful and clever" [Records International], "astounding" [The Denver Post], "compelling" [The New York Times], and "fresh and dramatic" [Opera News]. "Modern rock of the highest order, co-mingling influences too numerous to count...epic guitar licks and stellar musicianship." -Dave Mandl [World of Echo, WFMU-New Jersey] "a perfect fusion of pop and classical, requiring both exquisite precision and arena rock levels of passion" [I Care If You Listen]
In "Plastic Island Pentecost," his fourth and most ambitious prog rock solo album to date, he has created a journey by turns raucous, melancholy, and beautiful that conjures up mountains, shipwrecks, ritual dances, temples, and flying shamans. But this is no mood music - these are detailed musical excursions, replete with skilled guitar playing ("dude plays a mean guitar" - Dave Cantrell, Stereo Embers Magazine), a heavy dose of Mellotron and other classic keyboards, some stupendous guest musicians, and creative drumming.
supported by 4 fans who also own “Plastic Island Pentecost”
So, quite obviously, prog is alive and kicking in Mother Bulgaria! After purchasing Kalin Tonev's "Machine Years" some time ago, now I've got the pleasure of buying the latest work of his colleague Daniel Eliseev. The superb songs are inspired to some degree by the 70's, especially memories of "Yes" are triggered at times. By the way, Kalin Tonev's mighty Hammond sound appears on "Pandora and Epimetheus". And when did I ever hear a viola da gamba on a rock track? Sven B. Schreiber