In 2014, former
Yes
vocalist
Jon Anderson
and
Flower Kings
/
Transatlantic
guitarist
Roine Stolt
began a musical dialogue initiated by
Inside Out Music
boss
Thomas Waber
.
Invention of Knowledge
is their result. Co-produced by the artists, it features a prog dream team:
Stolt
's brother
Michael
Jonas Reingold
on basses, keyboardists
Lalle Larsson
Tom Brislin
, drummer
Felix Lehrmann
, and a five-voice chorus that includes
Daniel Gildenloew
Waber
wanted them to extend the range of "
music." That happens, but there's way more to it.
Anderson
can still create in the mold of his former band, but he also brings his solo experience that explored a vast range of musical traditions.
was deeply influenced by
, but he's a rugged individualist. His composing, playing, and modern production ideas are informed by jazz, fusion, electronic, rock, and world musics. He refracts everything through a third-wave prog prism.
The set commences with the "Invention" suite (also comprising "We Are Truth" and "Knowledge"). It is realized through the combination of shimmering folk (English and Swedish), sophisticated pop, jazz fusion, Indian modalism, rockist dynamics, and symphonic strings. Challenging guitar, percussion, and keyboard interplay create a frame for
's contrapuntal vocals. His mytho-poetic lyrics continue to juxtapose physical and metaphysical realms, deep psychology, scientific investigation, and spiritual affirmation. His wide-eyed optimism is undiminished by time (neither is his voice). Second suite "Knowing"/"Chase and Harmony" weaves gorgeous piano and guitar counterpoint into spiraling musical feats.
's melodic invention anchors this engaging mix and encourages flight.
's weave of modern electronic soundscapes, instrumental savvy, and stacked backing vocals adds new colors and textures such as fat R&B horns, stinging bluesy guitar fills, processional percussion, and rhythmic string syncopations. The "Everybody Heals" suite embodies the segments "Better by Far" and "Golden Light." While
's mercurial guitar playing and
Reingold
's roiling bassline are the instrumental hallmarks throughout, the work's harmonic architecture was erected on a chamber string progression. The interlocking pieces are brightly orchestrated and lushly illustrated with keyboards and choral vocals.
's expressive delivery moves through labyrinthine pop, trad-inspired folk-rock, and elegant jazz, and even touches on Brit soul.
The gorgeous 11-minute closer, "Know," is a stand-alone track. Despite its length and changes in musical direction, it's a beautifully written, nearly hummable song. Its structure employs electric piano, organ, and vibes in jazzy, samba-tinged frames during the first third. Single-line synths (think
Rick Wakeman
), knotty guitars, and majestic drums append the second and uncover its third-wave prog persona, before a final section carries it out on a breezy wave of Caribbean rhythms and tender singing. On an already emotionally and spiritually affirmative album, this resonant finale is nearly transcendent.
displays the individualism of both men. They pursue grandeur, but leave out excess. They add to the depth, dimension, and legacy
established, but also make plain that the result is forward-thinking 21st century prog, free of overwrought nostalgia or self-indulgence. ~ Thom Jurek