In too deep, the progressive movement recognized a lot of changes upon the decade of reminiscences or refulgences that was the 90s, and many of those changes proved worthy of excellent appreciation, whilst others really missed (or still miss, since they share an on-going resistance in front of time and composition) their chance or, if not, their quality. I myself don't know how well, how much directly or in what exact way to speak about Magellan's breakthrough and everlasting proposal of progressive rock (one existing, but sometimes giving confusion like it would be part of the art, one finding open vivacity, but sometimes realizing it is, even with that, far behind the clock and pulse of good music) , since I am not such that much of a fan or an impressed listener on most of the Gardner trio's programs and projects. Nevertheless, the idea of its creation has definitely something clear, anyway anyhow, about the movement of a new sound and of a different orientation. Whether that's something that truly changed the discretion of progressive rock or made it have a fuddle look.
Out of a discography that will seem so ravishing over the next years, plus also under the close reminder that the Gardners broke into many other projects, with typical or unusual, evolved or imploded, common or (in)different styles, Magellan's prime opus, with a name worthy of a concept and a music worthy of some bickering, titledHour Of Restauration, is impatiently, but also very relaxedly, an album which defines Magellan's roots and the new-wave of style progressive rock can get from it. A new-ave pretty much artificial, explosive, intangible and nerved, with occasional artistic works and aesthetic meanings; much like Versus X or King's X, Soniq Theater or Enchant, or even Erik Norlander from across the more spacey music (though these artists and bands relate little in any broadly way) have discovered a sense of popular, artistic, pulp-challenged and deeply sojourned progressive modern rock, pop and, bit, heavy art. The expression is comfortable and innovative, but hardly enough to not raise a few questions about how smaller or bigger hissings of density, ergodicity, true concepts or fascinating dynamics could have been used. In style with, mostly, the classic Kansas losing its orientation, the "American" expression of power and control, but also with the fainted power, of the unique kind, that shouts after some neo-progressive impenetrable bombastic moves, some art rock gloomy or reluctant impressions of...well, art, plus a prog metal skeptical but valid kind of dynamic and hard to beat down energy, Magellan do the trick and even impress beyond what's rightful and listenable. They simply get the credit.
As music and surround, Hour Of Restauration is between good and sadly trapped in those already mentioned "perfect" and "programmed" ways through which Magellan gets a brand and an new-time affection. As a debut, it can't be under-valued, since it isn't a typical waste of beginning's art, nor a frantic incoherence of pulses and orientations. In fact, liking this album rather than much weaker, though mature and already acquainted, future albums, is a good idea, entirely. The bit of stress will come when this entire "hour of progressive restauration" will not be seen as fantastic and overwhelming as the feeling would take it, but few will be the moments Magellan really play a sorrow excuse of rock, pop and sound-operatic fusion. The weakest signs are those of melody, of intentional new-wave and new-age (I have the feeling of Rick Wakeman playing bigger and booster rock, but only in some points), of heartless bombastic traits and of the kind of "rhetorical" art, much addressed to the listener's joy, but hardly making him enjoy it. The shorter pieces, like Winner, Union Jack and Turning Point will prove that. Instead, Hour Of Restauration sounds okay thanks to vocals (not sure if songwriting as well), impressively clean and exciting, thanks to hard-edge rock, something less piquant than expected yet very incisive, plus some concept rhythms, impossible to feel good except they do indeed progress up to a standard of breathing freshness. And Magna Carta, like any esteemed epic (without exaggerations), tops this.
Magellan will become an important figure of progressive rock "restauration" and "reanimation" over the years and the next full albums, with little visible importance on whether that's a deserved or much spoiled quality and recognition. Hour Of Restauration has all the pros and cons Magellan's style can perform, pondering, afterwards, on being a decent album.
Track Listings
1. Magna Carta (14:45)
2. The Winner (2:07)
3. Friends of America (3:27)
4. Union Jack (9:08)
5. Another Burning (5:04)
6. Just one Bridge (2:15)
7. Breaking These Circles (5:17)
8. Turning Point (1:24)
Total Time: 43:36
Line-up/Musicians- Trent Gardner / keyboards, lead vocal
- Wayne Gardner / guitar, back Vocals
- Hal Stringfellow Imbrie / bass and backing vocals
- Magellan / drums and percussion
Link : http://rapidshare.com/files/148817654/magellan_-_Hour_of_restoration_1991.rar
Ripped by : evermoreblues
Artwork included
The double-disc Look What I Did! was simply too much for anyone but the dedicated Joe Walsh fan, which makes the release of the 15-song, single-disc Joe Walsh's Greatest Hits: Little Did He Know so welcome. Drawing highlights from his solo career and his early records with the James Gang, Greatest Hits contains almost every song that most fans would want -- "Funk #49," "Rocky Mountain Way," "Life's Been Good," "Meadows," "Turn to Stone," "All Night Long," "A Life of Illusion" and "Ordinary Average Guy." In other words, it's more definitive than Look What I Did!, even if it's shorter. ~ Stephen Thomas Erlewine, All Music Guide
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