Gibraltar Encyclopedia of Progressive Rock

http://www.gepr.net/geprfram.htm

3/27/08

Strangelet, the first new album from Dallas-area-based Hands since their acclaimed Twenty-Five Winters from 2002, has been released. Initial release is electronic-only, on the usual places ... iTunes, Rhapsody, Napster, AmazonMP3, etc. Soon, there will also be a high-rez release from the Hands website, which is currently being upgraded but nearly complete and ready to go. Lastly will come the "hard media" ... a special edition CD with extra tracks, video, booklet and autographs, which will be available from their website, and finally a commercial CD available from the usual online retailers like Amazon,  DGM, etc.

I haven't got to hear the new release yet, but I should be able to soon. When that happens, I'll update the Hands entry with my thoughts. In the meantime, check out their MySpace page for download links, lyrics, liner notes and all other news concerning the release.

-- Fred Trafton

La Caja de Musica (in Spanish)

http://www.dlsi.ua.es/~inesta/LCDM/Discos/hands_strangelet.html

Siendo una banda sobreviviente de la oleada progresiva sementera estadounidense, es casi un milagro que Hands todavía pueda ser una banda activa

sobre los escenarios y en los estudios de grabación, aunque sea de forma tan esporádica. De hecho, pocos son los integrantes originales que quedan todavía (Myers y Clay), pero ninguno de los recientemente incorporados es tampoco un principiante. Por ejemplo, Mark Cook es un veterano guitarrista que lleva años concentrándose en el Chapman Stick y el Warr Guitar, y justamente es este último instrumento el que trae dentro del renovado arsenal de Hands. “Strangelet” es el nombre del disco que Hands aporta en este año 2008 para el placer melómano de los fans progresivos de todo el mundo. Se trata del primer ítem discográfico sin un violinista y sin un vientista, y también del primero con dos bateristas-percusionistas. Teniendo a un guitarrista, un bajista y un teclista que añaden más partes de guitarra de vez en cuando, y un Warr-guitarrista, y no olvidando que el grupo tiene dos miembros a cargo del departamento percusivo, no es absurdo esperar que este disco muestra alguna faceta más agresiva de lo habitual en Hands - esto sucede a veces de manera muy

marcada. Como anécdota especial, el grupo dedica el disco a la memoria del fenecido baterista Ian Wallace, con quien estos músicos trabaron una estrecha amistad e incluso compartieron algún proyecto musical en los últimos años.

El tema homónimo ocupa un prólogo sintetizado que no dura siquiera tres cuartos

de minuto, aterrizando en ‘Dark Matter’, que dura todo un cuarto de hora. Las primeras sonoridades de esta pieza ofrecen un esquema híbrido entre Gordian Knot y Djam Karet, explorando una alternancia de ambientes medio-orientales con

otros más tirados hacia el space-rock. Los adornos de tinte pesado en ciertos riffs ayudan a mantener el aire de elegante extravagancia que el grupo pretende

a todas luces plasmar. La sección bucólica que comienza al arribar el séptimo minuto aporta un momento de estilizada serenidad que poco a poco elabora una vía para el surgimiento de otra sección más fastuosa que se prolonga hasta después de pasado el duodécimo minuto y medio. El epílogo tiene un cierto acento yessiano en su actitud contemplativa, así como en su pomposo broche. Progresivo con todas y cada una de las letras bien puestas, ‘Dark Matter’ deja un listón muy alto para el repertorio restante, pero tratándose de Hands, es razonable esperar un disco con altos estándares de principio a fin. ‘Tambourin’

se basa en el protagonismo del piano, el cual transita fluidamente entre el emersonismo jazzero y el lirismo melancólico tipo HTM – una pieza muy bien aprovechada en su espacio de 5 ¾ minutos. ‘Running Room’, con su inocultable cadencia inspirada en la etapa psicodélica de The Beatles, puede acusar ciertos

parecidos “peligrosos” con The Flower Kings o el mejor Spock’s Beard. Al superar la barrera de los 4 minutos, algunos arreglos gentlegiantianos entran a

tallar para aumentar un poco la intensidad sin romper con la bien fijada estructura melódica de la pieza. ‘Entry of the Shiny Beasts’ tiene un tono jazzero muy juguetón, emparentado con el Chick Corea de fines de los 70s, aunque también se notan ciertos adornos inspirados en el patrón de Happy the Man. ‘Miracle in the Mind’ ofrece en su primera sección una peculiar mezcla de Gentle Giant y crimsonismo ochentero en clave semi-acústica: de este modo, la preservación de un ambiente mayormente sereno permite a la pieza ser más evocativa que chocante. La porción tribal se explaya eficazmente en cadencias tribales, tornando después hacia un frenesí fusionesco adornado con soundscapes

frippianos y ruidos de gente en la calle. Los últimos 2 ½ minutos se basan en una retoma del primer motivo, intensificado con una reiteración de trucos frippianos de guitarra. ‘Rotten’ es la última pieza del disco, grabada en vivo en el estudio Cristal Clear Sound: un sólido ejercicio de crimsonismo al estilo

más reciente, tal vez con una acentuación de la faceta hard.

Al igual que lo que ocurrió con Happy the Man y su aventura “The Muse Awakens”,

Hands sale muy pero que muy bien parado con este manifiesto de la fase en que se encuentra actualmente. Si la estrategia de HTM había sido la de reciclar su esencia conocida a través de un sonido más enérgico y modernizado (al igual que

Cathedral), Hands opta por integrar sonoridades nuevas con otras más tradicionales en su inconstante historia. Aquí tenemos un grupo bien insertado dentro de algunas pautas del progresivo del nuevo milenio, pero bajo sus propias reglas.

César Mendoza

Babel Fish translation:

Being a surviving band of the sementera progressive big wave American, is almost a miracle that Hands still can be an active band on the scenes and in the recording studios, although he is of form so sporadic. In fact, few are the original members that still are (Myers and Clay), but any of recently incorporated is not either nascent. For example, Mark Cook is a veteran guitarist who has been years concentrating in the Chapman Stick and the Warr Guitar, and exactly it is this last instrument the one that brings within the renewed arsenal of Hands. “Strangelet” is the name of the disc that Hands contributes in this 2008 for to please music lover of fans progressive worldwide.

One is the first one record item without a violinista and a vientista, and also of first with two drummers-percusionistas. Having a guitarist, a bear and teclista that adds more parts of guitar from time to time, and Warr-guitarist, and not forgetting that the group has two members in charge of percusivo department, is not absurd to hope that this disc shows some more aggressive facet of the habitual thing in Hands - this happens sometimes of way very marked. Like special anecdote, the group dedicates the disc to the memory of concluded drummer Ian Wallace, with whom these musicians united one narrow one friendship and even shared some musical project in the last years.

The homonymous subject occupies a synthesized prologue that does not last three quarters at least of minute, landing in `Dark Matter', that lasts everything a quarter of an hour. first sonoridades of this piece offer a hybrid scheme between Gordian Knot and Djam Karet, exploring an mean-Eastern atmosphere rotation with others more throwing towards the space-rock. The heavy dye adornments in certain riffs helps to maintain the air of elegant extravagance that the group tries obviously to shape. The bucólica section that begins when arriving seventh minute contributes a little while of streamlined serenity that little by little elaborates one via for the sprouting of another section more lavish than one even extends after spent the twelfth minute and average. The epilogue has a certain one yessiano accent in its contemplative attitude, as well as in its pomposo clasp. Progressive with each and every one of the put letters good, `Dark Matter' leaves a very high ribbon for the remaining repertoire, but concerning Hands, is reasonable to wait for a disc with high standards of principle to aim. `Tambourin' one is based on the protagonism of the piano, which journeys fluidly between jazzero emersonismo and the melancholic lyricism type htm - a piece very well taken advantage of in its space 5 ? minutes.

`Running Room', with its inocultable cadence inspired by the psychedelic stage of The Beatles, can accuse certain “dangerous” similarities with The Flower Kings or the best Spock's Beard. To to overcome the barrier of the 4 minutes, some gentlegiantianos adjustments enter a to chart to increase a little the intensity without breaking with the determined good melodic structure of the piece.

`Entry of the Shiny Beasts' has a tone jazzero very juguetón, become related with the Chick Korea of aims of 70s, although also certain adornments inspired by the landlord of Happy notice the Man.

`Miracle in the Mind' offers in his first section a peculiar mixture of Gentle Giant and ochentero crimsonismo in key semi-acoustics: in this way, preservation of an atmosphere mainly night watchman allows the piece to be more startling evocativa that. The tribal portion explaya effectively in cadences tribal, returning later towards an adorned fusionesco frenzy with soundscapes frippianos and noises of people in the street. Last the 2 ? minutes are based on one retakes of the first reason, intensified with a reiteration of tricks frippianos of guitar.

`Rotten' is the last piece of the disc, recorded live in the study Crystal Clear Sound: a solid exercise of crimsonismo to the style more recent, perhaps with an accentuation of the facet hard.

Like what it happened with Happy the Man and its adventure “The MUSE Awakens”, Hands leaves very but that stopped very well with this manifesto of the phase in which one is at the moment. If the htm strategy had been the one to recycle his well-known essence through a more energetic and modernized sound (like Cathedral), Hands chooses to integrate new sonoridades with others more traditional in its fickle history. Here we have an inserted good group within some you rule of the progressive one of the new millenium, but under his own rules.

C é s a r   M e n d o z a

ProgArchives

http://www.progarchives.com/Review.asp?id=168540

Atavachron

(David)

Special Collaborator Art Rock Specialist

4/23/08

The Texas prog scene has always been reliable and Dallas veterans Hands keep that tradition on track with this 2008 release. In fact, if it's possible for TexProg to have a sound, it would probably be encapsulated by these guys. Guitarist/singer Ernie Myers and keyboardist Michael Clay have been plying their brand of art rock with an edge since the 70s and though generally pegged as 'symphonic', there is a lot more going on. The production is roomy, warm and understated, and the band reflects subtle prog influences while maintaining a fairly original identity. Especially pleasing are the contrasts between Clay's classical piano breaks, Myers' guitar, percussionists Martin McCall & John Fiveash, and Mark Cook (Warr guitar) and Steve Powell (bass) holding the bottom together. Occasional reminders of everyone from the Crims to Rush as well as newer acts like the Flower Kings and even fellow Texans Thirteen of Everything but again, nothing blatant.

An electrical quaver and a distant vibration of alloy puts us on hold until a bit of riffage starts 'Dark Matter', growing into a 15-minute monster of multiple changes, acoustic interludes, hard rock and Myers' slightly nasal sneer. A beautiful jazz line from Clay's piano and some fiery organ/drum exchanges for instrumental 'Tambourin', great prog here with reflective passages of jazzicality and tight playing. Sentimental and odd 'Running Room' vaguely recalls later Beatles with a symphonic facelift and shows this ensemble's wide range. Bouncing 'Entry of the Shiny Beasts' slows enough to allow in a bit more jazz and some fun with the keyboard, the spirit of Roger Waters is invoked for 'Miracle in the Mind' complete with acid freakout, and very Crimsonian 'Rotten' to finish, a pounder with a delicately laced little midsection. Very cool stuff, especially for those interested in contemporary U.S. prog.

ProgArchives

http://www.progarchives.com/album-reviews.asp?id=18132

Cesar Inca

(César Inca Mendoza Loyola)

Special Collaborator Honorary Collaborator

6/27/08

Being a real prog survivor from the 70s and with a wide array of influences and notions in its musical style, it is just a pity that Hands' discography hasn't been so consistent. It is also a miracle that in the idological-commerical circumstances that have shaped the music industry for the last 28 years this band still manages to make music in the new millennium. Not a miracle at all, but an absolute pleasure it is the fact that Hands' 2008 effort Strangelet happens to be one of the most solid and creative  albums to be released in the current experimental rock scene.

This album features a strong presence of guitars in many places: besides the habitual guitarist, the keyboardist and the bassist als oadd guitar inputs, plus veteran Stick/Warr Guitar player Mark Cook enters the band to make his own contribution. This is also the first Hands album without a violinist and without a wind player, so I didn't kwno what to expect before getting it, but now I am totally convinced that the band remains as colorful as always, taking advantage of the present instrumental strategy.

The opener is a very brief interlude that leads to the monster track ‘Dark Matter’, which lasts 15 minutes. The first sonorities offer a hybrid of Gordian Knot and Djam Karet, exploring an alternation of exotic Eastern-like textures and dense space rock- influenced passages. The heavy-friendly twists bring occasional ornaments in order to emphasize a sense of extravagance. The bucolic section that gets started at minute 7 bring a stylish serenity that gradually builds the elaboration of another bombastic section. The relatively Yessian epilogue tha tfills the track's last 2 minutes state a contemplative stance, with a cleverly ordained pompous closure. This track is pure progressiveness incarnated in a frame of modern sonic structures - ‘Dark Matter’ is a world in itself within the world that is Strangelet.

‘Tambourin’ features the piano on a prominent role: this piece goes to a different mood, combining the jazzy side of Keith Emerson and Happy the Man's lyrical reflectiveness. The instrumental approach takes fair advantage of the 5 ? minute span.

‘Running Room’, with a cadence that bears an unhidden inspiration from The Beatles' psychedelic era, may bring some memories from the early stages of The Flower Kings and Spock's Beard, more specifcially, during its first 4 minutes. Then comes a series of Gentle Giant-like tricks that brings an augmented intensity to the instrumental development, adding a variety so fluidly that it doesn't kill the natural flow.

‘Entry of the Shiny Beasts’ is based on a playful melodic approach to jazz-rock, stating a midway between late 70s Chick Corea and Happy the Man.

‘Miracle in the Mind’ offers a semi-acoustic portion that reminds us of a hybrid of King Crimson and Gentle Giant: there is an inevitable weirdness that fills the overall relaxing scheme. Things get more intense with the emergence of a tribal section, in which the plural drumming frenzy is augmented by soundscapes and street noises. The last 2 ? minutes retake the opening motif with an extra touch of neurosis.

But nowhere does this album get as neurotic as in the closing track, ‘Rotten’, which was recorded libve at Cristal Clear Sound Studios. This is a solid study of Crimsonian tension with a neccntuation of the hard rocking aspect.

This album is a must for any lover of prog rock with a tight eclectic approach and abundant traces of creativity: in a few words, good prog  rock music. This album is dedicated to the memory of drummer Ian wallace (a friend of the band's), and honestly, I cannot imagine a better tribute than this magnum opus. Write down this item's name -  Strangelet... and take into your collection!!

ProGGnosis

http://www.proggnosis.com/MUSIC_DBCDInfo.asp?txtCDID=26084

Jean

Published on: 13 May 2008

Hands’ new album Strangelet is a serious statement. The band has changed their well-meaning-gentlegiantish-violin-dominated sound to a much much darker style. The music is full of attitude. You don’t want to meet these guys on a dark alley - anymore.

The guitars and heavy bass dominate the sound of Strangelet although there are two songs, Tambourin and Entry of the Shiny Beasts, where keyboards take the leading role. Although sound compositions, these two are a bit out of place here. But the rest is pure magic!

The band has composed some great songs, like pinkfloydish Running Room. Dark Matter is a 15-minute journey where beatles-sounding vocal parts take turns with heavy instrumentations. The album ends perfectly and leaves you mouth-opened with crimson-style guitar riffs of Rotten.

Beware! The dark lord of Texas has risen!

Progression

http://progressionmagazine.com/

The Quarterly Journal of Progressive Music

Issue #54 - Summer 2008

HANDS: _Strangelet_

2008 (CD, 49:09); Wheelhouse Publishing WH-100121S

Style: Melodic progressive

Sound: HHHH Composition: HHHH Musicianship: HHHH

Performance: HHHH Total rating: 16

This Texas collective has been going strong for 30 years, with nearly as many personnel changes (19, at last count) as Yes or Jethro Tull. The band's latest outing _Strangelet_ -- its eighth full-length release -- is nothing short of a melodic-prog masterpiece, showcasing the impressive talents of the band's current six members, led by Michael Clay (keys) and Ernie Myers (guitar, vocals).

From the opener -- the 15-minute epic, "Dark Matter" - it's clear that these gents are rooted in the traditional prog of the '70s masters, but are striving for more than nostalgia style points. The complex, ever-changing passages of this suite - and virtuosic playing of Clay and Myers -- stand alongside the classic works of Yes, Crimson and ELP, but also push the envelopes sketched by Mahavishnu Orchestra, Spock's Beard, Flower Kings and Happy the Man.

Strong musicianship. Tight ensemble jamming. Solid song structures. Hair-raising instrumental passages. It's all here, making clear that these Hands - and hearts - are in the right place.

- Nick Tate

Progressive Area (in French)

http://www.progressive-area.com/index.php?option=com_content&task=view&id=735&Itemid=2

Écrit par Renaudoo    

30-05-2008

Groupe Texan (et oui, même au pays des cow-boys il y a du rock progressif !), HANDS n’est pas extrêmement prolifique (c’est leur cinquième album et leur second depuis leur reformation dans les années 2000) mais privilégie sûrement la qualité à la quantité, ce dont bon groupes « prog » devraient s’inspirer (non j’ai pas dit les FLOWER KINGS !).

Découverts par bon nombre d’entre nous en 1996 avec la sortie de l’album éponyme sur leur label Shroom Productions, nous avions été soufflés par les influences affichées : GENTLE GIANT, notamment (étonnant de la part d’un groupe américain pur sucre). Cet album en est déjà à sa troisième réédition ! « Palm Mystery », sorti deux ans plus tard, compile lui aussi des enregistrements de 1977 à 1980. Deux albums essentiels. Il faudra attendre 2002 (même si en 2000 paraîtra « The Early Years 1974-76 », un album de démos pré-Hands) pour que le groupe sorte de son coma avec un album de reformation titré « Twenty Five Winters ».

Il reste malheureusement peu de « survivants » du groupe d’origine : Ernie MYERS (chant, guitares, composition) et Michael CLAY (claviers, guitares, composition). Même si la présence en « invités » de John FIVEASH (batterie sur cinq titres) et Steve PARKER (chœurs sur un titre), anciens du groupe, rassure un peu.

A l’écoute, si le HANDS nouveau est quand même assez différent de son homologue original (nettement plus fougueux et aventureux), il n’empêche qu’il est sacrément goûteux ! Pour ce nouvel opus, le groupe s’est encore transformé avec le départ et l’arrivée de plusieurs musiciens. Ernie MYERS et Michael CLAY constituent toujours la base du groupe, John FIVEASH est toujours crédité à la batterie, tout comme son homologue Martin McCALL (déjà présent sur le disque précédent), les petits nouveaux se nommant Mark COOK (Warr Guitare et Devices) et Steve POWELL (Basse, Guitare, Choeurs, Claviers Additionnels, Sons et Samples).

L’album est coproduit par Ernie MYERS et Steve POWELL et tenez vous bien, c’est Adrian BELEW (et Saul ZONANA) qui se sont occupés de la masterisation, au studio Belew à Nashville, Tennessee!

Les membres du groupe, comme d’habitude, se partagent les crédits de composition, Clay, McCALL et MYERS signant chacun trois morceaux, avec seulement deux morceaux co-signés, un par Myers/McCall et l’autre par Myers/McCall/Powell. Musicalement, il est notable de préciser que la grande différence avec « l’ancien » HANDS, est l’absence totale d’instruments à vent (tenus à l’origine par le talentueux Skip DURBIN) et de violon, violoncelles et autres (joués par Paul BUNKER et Mark MENIKOS). C’est assez étrange que le groupe ait choisi (volontairement ?) cette voie, le rapprochant plus du groupe de rock progressif de base et l’éloignant de ses deux modèles avoués, j’ai nommé KING CRIMSON et GENTLE GIANT. Qu’en est-il donc de ce « nouveau » nouvel HANDS ?

Et bien, étonnamment, le groupe s’en sort particulièrement bien, avec des compositions longues et extrêmement bien écrites et jouées. La musique est plus moderne qu’avant, l’absence de ces instruments « classiques » y étant pour beaucoup, bien sûr. Et enfin, les influences sont moins évidentes. Après un début atmosphérique de 40 secondes, le groupe entre dans le vif du sujet avec un « Dark Matter » anthologique (tiens ? c’est le titre d’un album d’IQ, ça !). Suit « Tambourin » avec son piano volubile (CLAY est définitivement un grand pianiste). « Running Room » est plus axé guitare (normal, il est signé MYERS) et donne à entendre la voix très agréable du guitariste sur un morceau, somme toute assez simple de facture.

C’est avec « Entry of the Shiny Beasts » me semble t’il que le groupe signe sa plus originale création (rien que le titre vaut déjà son pesant d’or, rappelant les meilleurs GENESIS « The Return of the Giant Hogweed ») : donnant à découvrir le saxophone alto de CLAY, ses arpèges de piano superbes, ce court morceau de moins de quatre minutes mixe allègrement le prog avec le jazz pour un moment intemporel vraiment réussi ! Mais c’est avec « Miracle in the Mind », morceau de près de dix minutes, que le groupe fait très fort. Chanté admirablement bien, l’on suit les circonvolutions du groupe avec attention et passion ! Ce break en milieu de morceau, introduit par des percussions tribales, est fort original. Enfin, « Rotten » est enregistré live (at Crystal Clear Sound) : avec son vrai faux départ sympathique, l’on entre en terrain connu : KING CRIMSON et plus particulièrement l’album « Red » ! Autant dire que les quelques 7 minutes du titre, avec guitares saturées et frappe de batterie à la BRUFORD sont exceptionnelles : à faire obligatoirement écouter à tout fan du roi cramoisi ! Si je garderai toujours une préférence pour les deux œuvres du groupe « original », il faut quand même avouer que le Hands de 2008 est toute de même fort fringant !

A noter la superbe pochette signée Steve DENNIE (www.stevedennieart.com).

Babel Fish translation:

Écrit par Renaudoo    

30-05-2008

Group Texan (and yes, even with the country of the cow-boys there is progressive rock'n'roll!), HANDS is not extremely prolific (it is their fifth album and their second since their reformation in the years 2000) but privileges surely quality with the quantity, that whose good groups “prog” should be inspired (not I did not say FLOWER KINGS!). Discovered by good number among us in 1996 with the exit of the album éponyme on their label Shroom Productions, we had been puffed up by the posted influences: GENTLE GIANT, in particular (astonishing on behalf of a pure American group sweetens). This album in is already with its third republication! “Palm Mystery”, left two years later, compiles to him also recordings of 1977 to 1980. Two essential albums. 2002 will have to be waited until (even if in 2000 “The Early Years 1974-76 will appear”, an album of pre-Hands demonstrations) so that the group left its coma with an album of reformation titrated “Twenty Five Winters”. It remains unfortunately little of “survivors” of the group of origin: Ernie MYERS (song, guitars, composition) and Michael CLAY (keyboards, guitars, composition). Even if the presence in “guests” of John FIVEASH (battery on five titles) and Steve PARKER (choruses on a title), old of the group, reassures a little. With listening, if the new HANDS is nevertheless rather different from its original counterpart (definitely more impetuous and adventurous), nevertheless it is goûteux sacrament! For this new opus, the group still changed with the departure and the arrival of several musicians. Ernie MYERS and Michael CLAY always constitute the base of the group, John FIVEASH is always credited with the battery, just like its counterpart Martin McCALL (already present on the preceding disc), the small new ones naming Mark COOK (Warr Guitare and Devices) and Steve POWELL (Low, Guitare, Choeurs, Claviers Additional, Sons and Samples). The album is coproduit by Ernie MYERS and Steve POWELL and hold well, it is Adrian BELEW (and Saul ZONANA) which dealt with the masterisation, with the Belew studio in Nashville, Tennessee! The members of the group, as usual, share the appropriations of composition, Clay, McCALL and MYERS signing each one three pieces, with only two Co-signed pieces, one by Myers/McCall and the other by Myers/McCall/Powell. Musicalement, it is notable to specify that the great difference with “the old” HANDS, is the complete absence of wind instruments (held originally by talented Skip DURBIN) and of violin, violoncellos and others (played by Paul BUNKER and Mark MENIKOS). It is rather strange which the group chose (voluntarily?) this way, bringing it more closer to the basic progressive rock group and moving away it from his two acknowledged models, I named KING CRIMSON and GENTLE GIANT. What is it thus of this “new” new HANDS? And well, surprisingly, the group is left there particularly well, with long compositions and written extremely well and played. The music is more modern than front, the absence of these “traditional” instruments being there for much, of course. And finally, the influences are less obvious. After 40 seconds does an atmospheric beginning, the group enter the sharp one of the subject with anthological “Dark Matter” (hold? it is the title of an album of IQ, that!). “Tambourine” with its voluble piano follows (CLAY is definitively a large pianist). “Running Room” is more centered guitar (normal, it is signed MYERS) and gives to understand the very pleasant voice of the guitarist on a piece, altogether rather simple of invoice. It is with “Entry off the Shiny Beasts” seems to me you it that the group signs its more original creation (only the title is worth already its heavy of gold, pointing out the best GENESIS “The Return off the Giant Hogweed”): giving to discover the alto saxophone of CLAY, its superb arpeggios of piano, this short piece less than four minutes briskly mixes the prog with the jazz for one timeless moment really successful! But it is with “Miracle in the Mind”, piece of almost ten minutes, that the group makes very extremely. Sung admirably well, one follows convolutions of the group with attention and passion! This station-wagon in medium of piece, introduced by tribal percussions, is extremely original. Lastly, “Rotten” is recorded live (At Hook Clear Sound): with his true false start sympathetic nerve, one enters in known ground: KING CRIMSON and more particularly the album “Red”! As much to say that the few 7 minutes of the title, with saturated guitars and battery to the BRUFORD strikes are exceptional: obligatorily to make listen with any fan of the crimson king! If I will always keep a preference for two works of the “original” group, it is necessary nevertheless to acknowledge that Hands of 2008 is very in the same way strong fringant!  To note the superb signed small pocket Steve DENIES (www.stevedennieart.com).

Progressive Ears

http://www.progressiveears.com/default.asp?bhcp=1

(go to Reviews under Main Menu

then CD Reviews

then H for HANDS)

Member:  ffroyd 

Date:  4/27/2008

The Texas band Hands has a history dating back to the mid-seventies when they released their self-titled debut album. For many years this was the only album available from the band and it was fairly hard to come by. In the late nineties, the label Shroom records reissued that album and there was a renewed interest in Hands, not only from a fan’s perspective but also from the musicians themselves. In 1998 they put out an album of excellent material taken from their archives called Palm Mystery. Another compilation of music came out a few years after that entitled The Early Years 1974-76. Finally in 2002, the band released their second full-length studio album, the fittingly-titled Twenty Five Winters. Even though there have been numerous members throughout the years, Hands has been able to keep it together and now have released a brand new album, Strangelet.

There are only two original members of the band left: Michael Clay, who plays keyboards, guitars and sax, and singer/guitarist Ernie Myers. Joining them here are 700-string Warr guitar player Mark Cook (if you’ve ever seen a picture of this monster, you’ll know I’m only mildly exaggerating about the 700 strings.) The band has two percussionists; John Fiveash concentrates mainly on the drum kit and Martin McCall plays all sorts of other interesting stuff as well as his own drum kit. Rounding out the band is Steve Powell who provides additional bass, guitars, keyboards, backing vocals and lots of other stuff. There is quite a bit of extraordinary talent in this band.

The music on Strangelet is very dynamic and quite current. While they’ve been around for a while, their sound is quite fresh. They’ve been compared in the past to bands like Gentle Giant but they’ve obviously been keeping up with the contemporary progressive rock scene. The current Hands music could easily hold up alongside today’s bands like Spock’s Beard, Izz and Echolyn.

The disc opens up on an atypical note with the short 40-second title track. This is a strange (how suitable) electronic intro piece. This goes right into “Dark Matter” with some nice guitar and drum work. While the title might suggest a similarity to a band like Porcupine Tree, I’m detecting more of an early Spock’s Beard sound. Like the Beard, the band goes through a good amount of different moods here. There’s a really nice heavy plodding part in the middle with some great atmospheric keyboards. There’s also some latter Yes influence on this one as well. Parts remind me of something from the Keys To Ascension albums. The tracks 15 minutes goes by way too quick.

The next piece, “Tambourin” contains some interesting piano playing that brings to mind Bruce Hornsby for some reason. I don’t think anyone could claim that this band isn’t diverse. This is a wonderful instrumental with a very nice mellow symphonic section in the middle. The percussion on this one (and throughout the album for that matter) is excellent. After a brief pause, we’re treated to the ballad “Running Room” which has a sort of psychedelic edge that’s almost Beatles-ish. After a nice keyboard/guitar solo duel, the pace picks up a bit with a nice phased-out section. By this time, I realized that I was going to really dig this album.

“Entry of the Shiny Beasts” is another keyboard-driven instrumental. This one has a nice upbeat “shiny” feel to it. There are some bits that bring to mind Rick Wakeman slightly but this is a very original piece, one of my favorites on the album. “Miracle in the Mind” has a more pop feel at first but goes into some wild jungle percussion part in the middle that totally throws things in a different direction. Towards the end there are some wild animal guitar parts. Oh yea, speaking of that, this album was co-mastered by Adrian Belew at his studio. And speaking of him…the final track on Strangelet has a definite King Crimson approach. “Rotten” is a really heavy track that sounds like something that could have come from Crimson’s Thrak or The ConstruKction of Light. I don’t know if it was because of them working with Adrian that they did something like this but I will say it is one of the highlights on here.

Even though Hands has a history of more than 30 years (and through those years, 19 members have passed through) the band maintains a fresh approach to their music and I see no problem in recommending this to folks who like older and newer progressive rock. Strangelet is a fresh, diverse and wonderful work.

Progressive Ears

(from: Hands-Strangelet thread)

Just popped this CD in. I must say, "Dark Matter" is really good track. I hope the rest of the album is this good!

Append: Okay, it was. Excellent CD. Congrats, guys!

Chad

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June 20th, 21st & 22nd, 2008

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Sea of Tranquility

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=6393

Hands are one of those prog bands that originated in the 70's during the 'classic boom' of prog, but never actually made much of a name for themselves except in underground circles, which is really a shame considering just how solid their material is. Hailing from Texas, Hands have seen many musicians come and go over the years during their brief moments of recorded activity, and currently the band are a sextet consisting of original members Ernie Meyers on guitars & vocals and Michael Clay on keyboards & sax, plus Warr guitarist Mark Cook, drummer John Fiveash, Martin McCall on drums & percussion, and bassist Steve Powell. Strangelet, their new CD, is actually their second release this decade, 2002's Twenty Five Winters being their triumphant return after a lengthy hiatus.

As you make your way through Strangelet, you can hear the occasional influence of such acts as Gentle Giant, Yes, King Crimson, Kansas, and Jethro Tull pop up here and there, which should surprise no one if you've loved the band's self-titled debut from 1977 or the follow-up collection Palm Mystery, yet there are also some modern sounds creeping in that might remind you of current acts like The Tangent or The Flower Kings. "Dark Matter" is the big epic of the album, a 15-minute long prog rock gem, featuring no shortage of vintage sounding keyboard textures from Clay and lots of interplay between Myers and Cook. This piece is dramatic, symphonic, and highly melodic, with plenty of catchy vocals and excellent instrumental bits. The somewhat haunting and jazzy "Tambourin" allows Clay to show off his exquisite piano skills, while "Running Room" is a dark prog monster, with rumbling Hammond organ and beefy guitar riffs from Myers providing plenty of muscle, yet the vocal melodies almost remind of The Beatles at times, which makes for a nice contrast. Some of the instrumental sections on this one have that Red-era King Crimson feel. The quirky instrumental "Entry of the Shiny Beasts" follows, this one a great vehicle for the two drummers and Clay's nimble keyboard lines, with Myers and Cook eagerly following along. Add in some smoky sax and you have a fun Canterbury flavored piece. The band goes for a more straightforward approach on "Miracle In the Mind", a song that has a lot in common with the material that Spock's Beard have been releasing the last few years, featuring catchy vocal hooks, tight rhythms, vintage styled keys, and layers of acoustic and electric guitars. The last track "Rotten" was recorded live, and is a raging instrumental rocker with Myers and Cook really grinding it out, and again, the comparisons to King Crimson are instantly apparent. A killer, killer track.

If you've doubted whether Hands could come up with another winner, think again. Strangelet is an extremely strong modern prog release, with a few songs that border on absolute brilliance, showing that these veterans are still capable of being more than relevant in todays progressive rock landscape.

Added: May 18th 2008

Reviewer: Pete Pardo