HYPNOS 69 - THE INTRIGUE OF PERCEPTION - 2004

Hypnos 69 celebrated its 10th anniversary earlier this year, but the main action took place since 2002, as the band released an album for three consecutive years. Timeline Traveller was almost ridiculously ambitious for a debut (especially for a Belgian band trying to find its own niche in a country that doesn't have any - or few) but immediately ensured them quite a reputation among those who keep their ears open; the more diverse Promise of a New Moon displayed an impressive array of styles and sounds. Their new album, The Intrigue of Perception, is closer to the debut in terms of concept (fewer and lengthier songs) and even more ambitious. You might even say "pretentious," if it weren't for the fact that they've actually succeeded in exceeding my expectations. I was prepared for another demonstration of magnetic musicianship and delirious sound-scapes that combine the best from space-rock, progressive, jazz-rock, stoner and blues-based jam-rock, but the result actually became more fascinating and gorgeous than I dared to imagine. The musicianship is as strong as ever, but this time around the production's even better than before (such clarity is rare on a Belgian release), while the main difference is the crucial addition of sax player Steven Marx, whose presence offers the band even more possibilities. Because of the mark which he has undeniably made, the band shifted towards slightly jazzier and prog-oriented territory, with some of the songs providing the missing link between classic King Crimson and Pink Floyd. However, it's not that the band has forgotten how to rock. When you've visited one of their shows, you'll know they're capable of conjuring up a massive wall of sound, but here, it's all an integral part of a 50-minute flow. With the exception of one song ("The Next Level"), all the extended workouts managed to keep me fully concentrated from start 'til finish, as many of 'em unwind with a grace you'll seldom hear. The songs on The Intrigue of Perception are not inter-related (not lyrically, at least), but it does feel like one coherent piece of music and the band's dense arrangements (featuring several vintage '70's keyboards, as well as mellotron and even theremin) and numerous overdubs never fall flat. The dissonant opening to "The Endless Void" suggests they'll immediately storm out of the gates with their full arsenal locked and loaded, but it's a pulsating bass that next sets the tone of this slice of 70's-drenched bliss. Mantra-wise, the song gains momentum, as fluid guitar lines are added, drums become more and more upfront and the band spirals upwards with an increasing intensity that culminates in a burst of noise, a near-cacophony of sounds that barely manages to keep itself in check and displays the almost majestic grandeur of a rock symphony (and believe me, few people out there have hated bad rock symphonies with a passion as intense as mine). The good thing is that there's not one climax, but three, the last one a wank-fest with insane mellotron parts, a theremin freaking out and a frantically deranged saxophone, among others. In other words, off to a great start. "Good Sinner - Bad Saint" is led by a playful bass line that sets the jazzy tone of the song as the catchy chorus is alternated with some exquisite solo moments - none in the least an extended solo by Marx and Steven Houtmeyers' funkiest moment yet. "Third Nature" is the aural equivalent of a daydream, a combination of acoustic and electric and an absolute album highlight to boot. It's intriguing (well, that word had to come up, didn't it?) how they manage to interweave the guitar and sax parts so stylishly and when the pay-off finally arrives halfway the song in the guise of an intensely melancholic guitar solo that sends shivers down my spine each time I hear it, you'll realize that they finally managed to create what's always been there: advanced musicianship with soul and emotional resonance. It's easily the most beautiful thing they have ever released. After such a peak, it could go steeply downhill, but "Twisting the Knife," retro-rock driven by a guitar/organ-tandem is hardly a letdown, plus you get another dazzling guitar solo to top it off. Like many ambitious epics, the album boasts a multi-parted title track, which actually happens to be my least favorite "song" on the album. The first part ("Islands on the Sun") is a sonic delight, again combining acoustic and electric elements, but the multi-tracked vocals are perhaps a bit too pompous for its own good. The second part ("The Next Level") defies description altogether, as its basically an occasion for Marx to deliver a mournful sax "solo" that's supported by keyboard hums, some guitar and lots of awkward sounds. The true highlight of the suite is undeniably "A Castle in the Sky," introduced by keyboards that are reminiscent of The Who's "Baba O'Riley," and closer to "Third Nature," in that it elegantly progresses (the melting sounds of sax and mellotron are especially pleasing) towards a powerfully melancholic second half that's every bit as striking, touching and resounding as "Third Nature," (they never came as close to the ambiance of King Crimson's Red before, and yes, that's a compliment) until it gets to the reprise of "Islands." After this exhausting session, "Absent Friends" initially seems a bit of an afterthought, but its soothing luminousness (despite the song's rather depressing content) is probably the ideal way to leave the building. There are a few instances where their self-confidence maybe gets the best of them, but The Intrigue of Perception is definitely a winner. It's an ambitious album that lives up to its promises and does so with style and credibility and while its best moments are pure bliss, it's also entirely convincing - and more than that - as a whole. I don't use the word very often when I'm talking about albums released by Belgian bands (even though there are several good ones around), but there you go: it's a terrific album and something that belongs on your wish list if you can deal with material that defies the traditional rules of rock 'n' roll. Be adventurous, be like Hypnos 69.
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