Rog & Glenn - Close the Club review

Year : 2013
Genre : Classic Soft Rock with Experimental tendencies
Label : Independent
Origin : United States

Official site : > - here - <

Rog & Glenn is a duo armed with all the pro(fessional) tools required to realize their radical, yet exigent vision of musical extremes. The cultivation of sonic fun, fortunately, is the most important goal of this healthily sized delivery, and the set of mature compositions are not any more alien to the overall flow than an array of equally resident sonic environments specifically emerging as successful testaments of a love for old school classic rock - now orchestrated though to the instruments of icy synth pop with whimsical experimental leanings under its belt. In case that the intersection of classic rock and rampant synth pop experimentation sounds contradictory to you, then welcome to the club which is about to be closed down - a nice marketing strategy, if you ask me. And the related conclusion could not be simpler, either : you better start to party like there is no tomorrow. Read on to know more about the disc.

The album has a primordial characteristic of offering an easily identifiable anatomical structure per track, which usually gets counter-pointed by a more freely spirited breakdown throughout the - usually - thrilling climaxes. The variation in structure, luckily enough, is quite exemplary, and the guys never fall in love with their limitations, - autotune overload : included - which is a pretty beneficial sign of awareness. Track number 4, "Good As Advertised" features a kickass guitar solo that reveals the face of music Joe Satriani is looking for since 1962, so, say "Hello!" to your Lucky Day, Mr. Satriani. Or don't.

This aforementioned intent of this affair to deliver narrative compositions, doubtless reveals the most essential harmonic patterns and moods of stone-traditional piano rock. Elton John is a happy gentleman when he hears these tracks, yet the music's character also is soaked into an experimental tint that makes it more interesting than mere rock-traditionalist orthodoxies - as for accounting these tendencies, I think it is safe to compare them to a relatively early vision of borderline Nina Hagen. She kicked vast ass. The resultant sonic environment-, the uniqueness of it is the most important, while the respective components themselves hardly if ever get fetischized in non-optimal manner.

The album has its fair share of ultra-tender installations, too. Maybe too much of the lonely guy at the bar piano is looking for the present moment-rhetorics, though this is a matter of personal misery, and everyone has some of that. Anyway, "Have a Good Time" sits at an intersection of Vangelis' superb "Blade Runner Blues" and Faith No More's "Evidence", and, if this consortium does not get you excited, then I don't know what to tell you.

The reoccurring counter-pouting of classic rock fascinations with more restrained-, yet, musically more intriguing themes, is a favorite dynamic of the disc, and also one it looks the most optimal with when inspected for its premiere elements. The disc is a product of mostly muscular, fit fun and a nicely tamed vision of music which never seeks to intimidate by its sheer volumetrics. Even when the the album goes over the top - compared to its own temper, via track number 10 - it remains safe to keep the whole family in the party room, (un)dead included. This though is the exception that fortifies the rule, as the character of the disc, as noted, is rather colorful and finely constructed in its ornamentics, while weighing in as a competent musical quasi-tribute for a risk free image of the risk free soft rock of Eltohn John and Pink Fred. Wait, was it Floyd?? An especially nice contribution when witnessed for its ornamentics and experimental tendencies.

Check the duo out at their official site > - here - <.

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