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Atlantis Pray for Rain  (Jonsongs Ltd, 2003)  

LA-based Atlantis bills their synth-dominated, light progressive metal
as "modern symphonic rock."  Their 1997 self-titled debut CD garnered
attention in the underground on-line prog scene.  On Pray for
Rain, the songwriting core of the band, Ken Jaquess (bass) and
"Teknobudd X" a.k.a Jorge Vasquez (keyboards), returns with new members
Karl Johnson (guitar), David Bodna (vocals), and drummers Hank Wicke and
Bob Craft each playing on half the songs.  

Pray for Rain sounds like a cross between the melodic prog/pop
rock of Styx and the modern production and guitar/synth chops of Dream
Theater.  The songs vary from grandiose excess to curt instrumentals and
lush pop.  The CD opens with the 13 minute title track, which moves from
a bloated keyboard intro of dated synth sounds into various instrumental
and vocal sections that transition through studio overlaps.  This prog
opus might have been better placed at the end of the CD, given the
shorter symphonic pop of all the other tunes, and the grandeur would
have felt more appropriate after 45 minutes of less pompous music. 
"Lelune" establishes a willowy and effective ballad groove in 7:8 meter,
but the added notes in the classic prog turnarounds kill the mellow
flow.  "Again," clocking in at 1:49, is a concise and tasteful guitar
instrumental, a rarity for any symphonic or progressive band.  Fusion
legend Allan Holdsworth contributes an ordinary (for him) guitar solo to
the otherwise unremarkable "Oceans to Cross."  "Forest Cathedral" starts
with a concise, snappy instrumental section that deserves to be a
separate track, and then fades into a symphonic pop tune that builds to
an evocative peak of swelling synths and melodic guitar, but it fades
out just as it reaches a climax.  "Secret Realm" far outshines the rest
of the poppy tunes as the only catchy and memorable track.  The synths
carry the melody and the sinuous phaser guitar in the background
skillfully builds tension in the pre-chorus.  The chorus drops into a
lower key and pushes lush vocal harmonies for a catchy resolution.  The
tempos of many of the songs feel too slow, including "Hills of Time,"
sections of the title track, and "The One."  This gives the music a dull
plodding feel, whereas bumping up the tempo a notch would have added the
exciting mood of wild prog abandon featured in "Again."  

The choices of samples and synth textures often spill into cliché, such
as the heartbeat and thunderclap samples and the Vangelis-style tones in
the intro of the title track.  The lyrics also tread thoroughly traveled
prog rock ground, but on the whole remain unobtrusive.  The arrangements
and the mix feature the keyboards over all other instruments, perhaps
due to keyboardist Vasquez's band role as a core member and songwriter. 
The guitars rarely riff on the bottom strings and all guitar parts
except solos are mixed low.  However, this unusual background placement
of the guitar gives the music a lighter rock feel appropriate to the
harmonized vocals and melodic chord progressions.  The higher end of
Bodna's vocal range sounds clear and airy in a classic prog style, but
his lower range often sounds thin and strident.  The keyboard and guitar
playing remain tasteful even through extended solo passages.  The
prominent and crisp bass guitar provides a driving rhythmic force.  All
instruments project clear and distinct in the excellent production, no
mean feat considering the multiple layers of guitars, keyboards, and
vocals. 

Pray for Rain offers moments of synth-drenched prog rock and
symphonic pop with great production, skillful playing, and solid
writing.  If Atlantis can build on the catchy melody and arrangement of
"Secret Realm" in their future music, they could produce some memorable
symphonic-progressive pop.  

Reviewed by Scott Andrews [scottandrews@his.com]

More Info: 
http://www.progressivemusic.cc Track Listing:
1. Pray For Rain [13:09]
2. Magnificent Desolation [4:22]
3. Lelune* [5:07]
4. Again* [1:49]
5. The One [6:30]
6. Hills of Time [5:46]
7. Secret Realm* [4:30]
8. Oceans to Cross* [4:18]
9. Forest Cathedral [10:38] Personnel:
"Teknobudd X" (Jorge Vasquez): synths/piano
Ken Jaquess: bass
Hank Wicke: drums
David Bodnar: vox
Karl Johnson: guitars
Bob Craft: drums*
Allan Holdsworth: guest solo guitar on track 8


This review featured in: John Collinge's Progression Magazine

Atlantis: self-titled (CD, 53:01); independent release 090591-1 Like Eddie Jobson's solo release Zinc? Did ya dig UK post Holdsworth in the Danger Money and Night after Night days? Well I did -- and I like this Atlantis sound as well. Mystery man, Teknobudd, (Jorge Vazquez) , is flyin' fast on keys doing a fascinatingly superb job. Matthew Hedrick belts out tight Bozzio/Bruford/Palmer quality licks on the skins whilst vocalist, bassist, axeman, and pedals riff-meister, Ken Jacquess rivals olde J. Wetton n' G. Lee. Vocals are good along the Jobson quality with the Moev leanings. Get this, I even picked up some Missing Persons in "Deux Ex Machina". I heard O'Hearn and Bozzio moments in the overall rhythmic structure. Track three, "The Olde King", absolutely slayed me. I shant begin to describe the synethesia I felt. Yow! What a monster!! When the tubular bells kicked in I nearly had an out-of-the-body experience. It was a heavy UK/ELP(Tarkus/Brain Salad Surgery) flashback in a 90's rockin' package. Turn this one up! "One for the Money" was also a heavy hitter in the ELP("Knife Edge")/ Moev thrust with an ominous mid-song breakdown that I wished was three times longer. This band also knows how to mellow/space-out and drift off as done so nicely on "Run from the Past". Song six, "Little Man", gripped my soul as it is dedicated to a young son gone back to the Eternal Father. I too, know that road. They cannot return to us yet we shall go to them one day. Thanx for that one guys. This seven song offering has my vote for very well done progrock and ya know, from this critic, it don't come easy. -- John W. Patterson



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"The Olde King" excerpt



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