Chuck Moyer, utilizing the moniker G Clef Fusion, returns to flex his massive, shirt-tearing, and oft-times delicately intricate jazz/rock/progressive muscles on Geryon Claque Fermata – his latest, and third, full-length release.
What’s it about?
Per Chuck, Geryon Claque Fermata is “slightly more contemplative than previous releases and has many, many subtle and obvious references to three, multiple dimension perspectives, [a] suggestion that things are not always what they may seem and/or musical triplets and groupings of three.”
Ready to dive into G Clef Fusion’s latest instrumental excursions? Let’s hit the highlights.
Wait. Who does what?
Chuck plays all synths, makes all sounds, and programs all percussion. Now, about those highlights….
Here’s what grabbed us:
Geryon Claque Fermata begins with “Anaglyph of the Soul.” With big, analog-twisting chords, I’m reminded of something more inspirational from ELP’s distinct catalog; like their grand remake of the beloved British hymn, “Jerusalem,” but with more of a frenetic note assault a la “Tarkus.” Amazing, almost militaristic mood-and-key-shifting opener.
“Triple off the Wall” features a more conventional organ expressing themes both comical and dramatic. A lead analog-leaning synth skips over the hilly and midrange geography for a few bars before the glassy, grassy organ and various layering synths return.
“Veridical Imagination,” besides handily winning the “Coolest Song Name EVER” award, initially features glistening electric piano, a chunky beat, and then a soothing flute over rolling, relaxed snare. I’m getting a King Crimson “I Talk to the Wind” vibe with this one; it’s very quiet, contemplative, and not overwhelmed by howling, siren-mimicking strings or melodramatic blustering. It simply is, and of the moment. Excellent track.
“Tea Among Cognoscenti” features great glass-clanging and warping synth chords. I sense a baroqueness to the endeavor; an official musical proclamation of sorts. It’s a commanding, hopeful track with a playful lead synth guiding us, with notable self-awareness, through every winding and winsome travail. Excellent stuff.
“Naiad” is a more reserved affair with quiet, floating Hammond-y organ. It’s a subdued but magisterial number that sets a tone over brisque playing. And with a final, ear-traversing delay, the song slips unnoticed through the reverberating, flickering exit.
“Pop Music Kills Brain Cells,” while proclaiming a sad truth (on some occasions, and particularly those involving Cardi B), starts with a dramatic, Moog-ish bend; and this synth flavor carries the song during its commanding dramatics. With agile lead and clever, nimble bass, “Pop Music Kills Brain Cells” also features an interesting guitar-esque synth passage that, for a moment, recalls ‘80s hair metal and hopeful futurism. Excellent track.
Album closer “When Shall We Three Meet Again?” is instantly jazzy with kinetic drums and aggressive Hammond-y chord strikes. Exhibiting time signatures I can’t successfully count out with limiting human fingers, “When Shall We Three Meet Again?” is smarter than it has any right to be; it’s shifting energy, emotion, speed, and style every few bars, and I cling to the safety bar while the music pinwheels throughout adventurous, ever-changing excursions. And then, as quickly and assertively as it arrived, it simply ends. WOW.
But is it good?
Ready for the more advanced course? The one where repeated listenings reap unlimited rewards? Then you came to the right artist, playing the right blended genres, and of course, the right album. Geryon Claque Fermata is, in my opinion, G Clef’s most melodic but adventurous album to date, and if you’re a fan of exacting, emotional, and progressive instrumentals drawing from the masters of boundary-pushing progressive rock fusion-nauts, you’re going to LOVE G Clef’s latest offering – and love it even more after listen #5, because the work engages one so profoundly, and upon so many levels. In other words, you’ll love it. Trust me. Recommended.
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