| Musical Style: Rock | Produced By: Roland Dale Benedict |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2017 | Artist Website: Gregorian Rock |
| Tracks: 12 | Rating: 75% |
| Running Time: 52:12 |
Despite introducing what I like to think of as a new hybrid hard music form, Gregorian Rock is a bit of a quandary. As its namesake implies, Gregorian Rock explores the mostly uncharted musical waters of Gregorian chant and contemporary music styles, or at the very least is one of the few attempting to incorporate both. Whereas it is unique in its approach, the project of San Antonio, Texas native Roland Dale Benedict stays true to the ‘rock’ aspect of its moniker, and with the exception of one song off its 2017 third full length offering Fire, does not go under a “Gregorian Hard Rock” or “Gregorian Metal’ heading for a reason. This being how it makes generous use of keyboards, bass and acoustic guitar (not to mention cello and woodwinds) while relegating electric guitars to the backend in playing a mostly soloing role. No, nothing wrong with this in that as we shall see in the song breakdown portion to the review, songwriting quality is not compromised in that overall Fire holds up well with repeat listen.
Problem, however, and this also rears its head on the 75% Angelic Warlord reviewed 2015 Gregorian Rock sophomore album 2, is that there are some production misgivings. To the artists credit, Fire reflects a more transparent sound to feature the fuller low end backbone; and while making improvement in the area, he still struggles to accurately duplicate what I like to refer to as the ‘multi-layered choir-like baritone monks coming from the subterranean depths of a monastery’ associated with Gregorian chant. In attempt to achieve that Medieval Gregorian effect, Benedict takes layered vocal melodies and adds significant processing. Results are mixed. On one hand, as a vocalist Benedict is a solid performer with a rich, middle register style that fits well with the low-key nature to the music at hand. On the other, you will also encounter the overdone if not overproduced feel often associated with processed vocals.
For those wondering, following is what Gregorian chant should sound as part of a contemporary rock song:
I do not wish to be unfair in that I understand that the artist does not have the privilege of calling up the local tabernacle choir to meet him at the monastery down the street in order to record vocals for the latest Gregorian Rock album. I also understand that he does not necessarily have the deep production pockets afforded a mainstream artist such as LEAH. That said, perhaps he could also reach out to contemporaries in the hard music community whom might offer advice in terms of better depicting Gregorian chant without breaking the bank.
Fire in my opinion features some of the finest Gregorian Rock material, beginning with opener “Consuming Fire”. The song brings the qualities one expects of a Gregorian Rock tune, with big bass and classical keyboards leading the up-tempo way alongside choir vocals continuously repeating the phrase ‘for the Lord thy God is a consuming fire’. Several instrumental stretches to feature show-stopping lead guitar round things out.
“Reap What You Sow” ensues but at a more truncated - three and a half as opposed to four and a half minutes - pop basis. Mirthful, playful and exuding a forthright melody, the song dances as buoyant keyboards play off periodic instrumental excursion home to added exciting lead guitar, of which I am quite impressed.
On repeat listen, I decided to check the liner notes to find out who said skilled guitarist is only to discover it is non-other than Phil Keaggy! Credit the artist for the depth of talent Keaggy brings to the project, although disappointedly he appears on only one other song.
“Skies Proclaim” maintains the musical significance. This one also includes its share of electric guitar, crediting instead to Vinnie Moreno, which joins with overriding bass and quirky groove underpinnings to create another setting of an infectious capacity. All the while, the song repeats its lone verse from Psalm 19:1: ‘The heavens declare the glory of God, the skies proclaim the work of His hands’. The church organ to close things out brings to mind classic AD track “The Fury” (off Art Of The State).
If album drops off somewhat over its next three it is only slight. “Unwelcome Goodbye” comes across in the form of a calmer, ethereal piece as piano and atmospheric keyboards situate over a foundation of Gregorian chant, while “Fire From Heaven” takes a similar musical stance but faster and with a jazzy instrumental break closing out its final minute. Lyrics draw from Revelation 20:9 but entirely in Latin. I favor “Blood & Fire” from how it mingles church organ and a rolling bass line with a catchy melody. Musically, while I find nothing wrong with the three, they might have better stood out further if imbued with electric guitar as opposed to being entirely keyboard driven.
Halfway through and I am impressed with the albums progressiveness. Yes, there are different forms of progressive, including extremely lengthy songwriting, multiple time signatures and twists and turns and melding various musical forms within the same song. Gregorian Rock, however, sidesteps this with its non-conventional song structuring from eschewing the typical verse-chorus-verse format in favor of interspersing Gregorian chant with manifold instrumental moments.
Next four are better but are also keyboard based. “Pillars Of Fire” ranks among my favorites as a faster, pensive cut yielding an industrial dance groove in repeating its lone verses based around Exodus 13:21: ‘and the Lord went before them by and night, pillar of fire’. Ensuing instrumental “Talon” takes a lively jazz fusion heading (with a cool drum solo to boot) in leading the way to “Remember The Name”. Slowing things to a mournful sigh, it plods its worshipful length in ruminating upon Psalm 20:7: ‘some trust in chariots, some trust in horses, but we will remember the name of the Lord’. Final of the four, “Ashes”, is also instrumental as atmospheric keyboards carry its gradual four-minutes.
Fire closes to two top of the line heavy hitters. “Wisdom” is that lone song in question to cross the hard rock threshold, with Pat Neil providing the forward rhythm guitar penchant. Church organ returns to lend a darker edge as what amounts a cinematic scene almost touches upon the epic if not symphonic in capacity. Rollicking lead guitar credits to Jay Pilkington. This is Gregorian Rock at its finest!
Six minute “Interra” takes the progressiveness to the next level. Final cut to feature Keaggy, it begins to grand piano that hearkens back to prime Kansas prior to moving its remaining span to as catchy a keyboard line you will hear as guitar feedback fades in and out. The closing instrumental minute reflects upon the majesty and splendor of Kerry Livgren’s “Ground Zero” (off his 1980 solo album Seeds Of Change). Again, the artist visits the Psalms in terms of his prose (27:13): ‘I am still confident of this, I will see the goodness of the Lord in the land of the living’.
Hope I am not unfair in my critique of the Gregorian chant production on third Gregorian Rock album Fire. Noting how the artist by no means falls flat on his face, and he has made steps and strides production wise compared to past efforts, room for improvement remains. Fact is I see great potential in terms of what Benedict is doing with the project, keeping in mind few if any artists are even attempting to combine Gregorian chant with contemporary musical forms. That potential realizes on the songwriting throughout Fire, which reveals at minimum a half a dozen well above the line songs and everything else quite solid. Bringing in Phil Keaggy was a coup, although on any future projects, I would encourage the artist to place greater emphasis on electronic guitar: he does not need to cross the line of metal or hard rock- simply making guitars more of a focal point would be sufficient. In the end, if interested in something unique with a progressive edge, then check out Gregorian Rock and its third album Fire.
Review by Andrew Rockwell
Track Listing: “Consuming Fire” (4:38), “Reap What You Sow” (3:33), “Skies Proclaim” (4:22), “Unwelcome Goodbye” (3:34), “Fire From Heaven” (3:57), “Blood & Fire” (4:39), “Pillar Of Fire” (4:28), “Talon” (3:20), “Remember The Name” (3:05), “Ashes” (4:28), “Wisdom” (4:06), “In Terra” (6:56)
Musicians
Roland Dale Benedict - Lead Vocals, Keyboards, Stick, Wind Controller & Programming
Scott McCullor - Lead Vocals
Phil Keaggy - Guitars
Vinnie Moreno - Guitars
Jay Pilkington - Guitars
Paul Neil - Guitars
Dara Benedict - Cello
John Adams - Bass
Kyle Benedict - Double Bass
Sean McCurley - Drums
Paul Garretson - Drums
