All four members of Under The Sun are obviously heavily influenced by the conventional progressive styles of the 70's, but they've successfully taken it to a newer apex with their new Magna Carta release. A stunning mixture of processed layers and tastefully infused shred, guitarist and lead vocalist Chris Shryack, along with bassist Kurt Barabas, drummer Paul Shkut, and keyboardist Matt Evidon are musicians that should be heard to be believed.

Performance and technique is excellent, and vocal harmonizing between Chris, Kurt and Matt are positively 90125. I heard much Yes, much Kansas, much Rush, in just about every single track. Odd-times are experimented with during fills and bridges, while retaining Earthbound 4/4 in the balladic moments, where it should be. The synths range from almost 50's sci-fi, to straight-ahead 70's prog, to 80's lush (there's an INSANE keyboard orgy about six minutes into track 10). A scant few of the bass and guitar solos are a bit too manic and less precise, but certainly nothing cringe-inducing. Even the manic moments serve their purposes, if this makes any sense.

I'm a few minutes into track 7, and there's some stunning stuff happening here in what I'm "guessing" is at about a 15/16 signature. I am just loving all the highly inventive processing and soundscaping adventures happening here. Credit for this must go to the legendary Terry Brown who handled the mixing for the album. Terry is perhaps best known for the ten Rush albums he did (the ten GOOD ones...you know which ones I mean), three Metal Blade releases for Fates Warning, not to mention the much-acclaimed and newest Dream Theater release, Metropolis, Part II: Scenes From a Memory.

Perhaps the only criticism I would have for "Under the Sun" would be the same that I had for Metropolis II, which would be a forgiveable lack of hooks. Only a musician with an I.Q. of 180 would remember the bulk of these highly alien melodies after only one listen, but I suppose that's the point, isn't it? You really need to listen to it a few times to fully digest the unending universe of ideas and sound herein.

Make sure you give this meticulously crafted album a thoughtful listen. Get past the first few tracks without categorizing or labeling.

Reviewed by David C. Lovelace

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