Artist description Four piece ensemble dedicated to flights of cinematic, thought-provoking epics.

Music Style Cinematic, Symphonic Rock

Musical Influences Progressive rock bands that started in the 1970's. The tone poems of the late romantic composers

Similar Artists Rush, YES, Pink Floyd, Dream Theater, Bartok, Mossourski

Artist History Prologue In 1981, Randy Graves meets the keyboardist Michael STOUT, 24 years old, in a music store. The two musicians decide at first to work together on a single song, but their harmony with each other is so good that their association will prove more durable than foreseen. At that time, GRAVES did not want the constraints of a group and was very satisfied with the duo format. He would quickly change his mind with the arrival at the beginning of 1982 of Gary STOUT, 27 years old, the brother of Michael, at the drums. First Phase (1982-90) With a strong new energy, KALABAN begins in the spring to record their first opus. Unfortunately, the group already finds itself confronted with problems: in the first place, professional jobs that were demanding and often incompatible, in the computer industry; after that, there is the impossibility of finding a permanent singer or bass player. For the singer, it is Randy GRAVES that takes over more or less well; on the bass, KALABAN sees a large number of applicants file by. . . Don't Panic! is the same label that is found on the first cassette of KALABAN, released in 1986 . . . "This was one of to tell the people who would listen to it: Don't panic, some day you will come to understand this music . . ." smiles GRAVES. 6 pieces make up this opus, recorded in different studios in Utah Valley: Procyon's Demise at the Osmond Studios in Orem in April 1982, Mutants Over Miami at the AudioVision studios in Lindon in October 1982, and the other pieces at the Alive studios in Provo in August 1985 with Robert JOHNSON at the bass. This cassette will excite a certain interest in many different progressive music fans around the world. It is thanks to one of these that the group's music is brought to the ears of Greg WALKER, the owner of the SYNPHONIC label. An astounding story: "An Argentine student who was in Utah took the cassette to his country. He sent a copy to the spanish magazine "Moon Child", who sent a copy on to "Marquee", the Japanese progressive magazine. . . The editors of this magazine, seeing that we were an American group, wrote to Greg to inform him of our existence. Somehow, he got a phone number. He contacted us to propose that we put Don't Panic out on vinyl, and we started to work together. We are very thankful to him because he really got us started, he believed in us, so much so that we became real partners." Released in 1990, the vinyl version of Don't Panic was welcomed with enthusiasm by progressive music critics from around the world. Unfortunately, the excitement was short- lived because 1990 is the pivotal year when LPs almost totally disappear in favor of CDs. In 1992, Greg WALKER will release the album in a digital format. Don't Panic (1990) In this second version (total length of 43:46), Don't Panic opens directly with "Intro" (1:47), which, for several seconds, reminds one of "Unquiet Slumbers for the Sleepers. . ." from GENESIS before transforming itself into bouncing rhythm where the guitar and the keyboard successively take the theme. With "Procyon's Demise" (9:52), we find ourselves at one of the high points of the album. It begins with a intro where the crystalline notes from the guitar rest lightly on the delicate arpeggios of the piano, then a very classisant interlude of harpsichord/acoustic guitar. Then the rhythm section comes in and for the next few minutes, various rhythmic and melodic themes are heard with numerous rhythm breaks serving as transitions. Then, there is a calm spell with the fluid, pure arpeggios from Randy GRAVES and the warm synthesizers from Michael STOUT. Finally, the group resumes the initial theme and the piece finishes as it started: with a piano solo. Magnificent! The album ends with "Midnight Comet Dreams" (12:56). It is introduced in a very dramatic manner. Guitar arpeggios dissipate to give place, a second time, to the very feigned voice David THOMAS, who uses a very characteristic vibrato. The refrain reminds on of "In the Court of the Crimson King" from KING CRIMSON, with the use of choirs and similar melodic line. After a double couplet, the rhythm accelerates to support a synthesizer solo which is very baroque and then the polished guitar. After a brief return to singing, a wide, serene passage reminds one of the second piece of "Tales . . ." from YES with its coming-and-going of the guitars and evanescent keyboards. A great moment. Suddenly a powerful bass/drum duo enters the scene (which makes us regret the absence, heavily felt on other parts of the album, of a real bass player). The rhythmic theme is repeated until it vanishes, progressively leaving place for a short conclusion on keyboards. As a whole, this album turns out to be, and this is its main quality, very modern and innovative. Originality is found not only in the group's sound, but in its inspiration. KALABAN thus allies technical strictness with the haunting delirium of very captivating melodies. The music is undeniably complex, without this becoming a handicap, as it can at times when the corollary of sophistication is the absence of emotion. Second Phase (1990-93) Resistance is Useless (1993) From the first moments of the album, we are resubmerged in the environment of the finest moments of Don't Panic, with an introduction in Michael STOUT's purest style, where the synthesizers create melodic, rhythmic, and intermixed motifs. Harmonies are slowly grafted in followed discretely by percussion. A crescendo of guitar precedes the majestic entrance of the drum set, accompanied by piano arpeggios characteristic of Michael STOUT. Finally, in an abundance of keyboard and percussion, we are in the grandiose pinnacle. There we are, in this "Dance of Shiva" (3:49), finally at the interior of the new KALABAN, ready to discover its splendors. A change of scenario with the entrance of a dry guitar, accompanied by a tambourine, soon paralleled by a melodic line played on the electric guitar. This is "Hotash Slay" (14:05), a long composition by Randy GRAVES dating from 1986 (which has had three successive versions before its definitive recording in April, May, and October 1992). A solemn chord at the piano closes the song's opening. On a suspended rhythm, the piece's theme is played in a dialog by the guitar and the organ. The rhythm is then stabilized; a few more piano chords, then the voice of the King of Synthesizers, the moog, for a solo of extraordinary beauty: too short! Jealous, the guitar quickly takes it up . . . This musical extravaganza will continue throughout this song (and the album, as well, but let's not get ahead of ourselves . . .); keyboards and guitars will not end until they establish between them a safe conduit to carry them, detouring the solos or the arpeggios, towards the progressive regions that until now have been unviolated. "Hotash Slay" is one of only two pieces where David THOMAS comes on the scene: his register has developed considerably since the first album, and shows itself to be more varied. His vocal maturity appears to no longer be doubted . . . Now we are at "Sleepless" (9:50), the song that was found on the SYN-PHONIC compilation. It has been re-recorded in 1991, with a bass player recruited specifically for the session, Matt DeSPAIN, afterwards returning to his studies in Oklahoma. In his characteristic style, Michael STOUT is highlighted again with a sumptuous introduction where his piano arpeggios, which will be found throughout the piece, are marvelous. "Sleepless" is essentially centered around the technical quality of the instrumentalists, more than their great aptitude to arouse us; the warmth of the colorful melodies of the previous piece is now lightly erased to give way to a less enthusiastic atmosphere yet one that is still filled with stunning virtuosity. Faced with the excellence of Gary STOUT's inventive drumming and Matt DeSPAIN's "squirienne" bass playing, the rhythmic component of the piece is highlighted for the listener. "Shroedinger's Cat" (3:16), which follows, is a piece dense with a complex rhythm, upon which a guitar with echo is brought out. The numerous rhythm breaks, sort of a trademark for KALABAN, again lends structure to this composition, which, by successively making the atmosphere more improvised, extravagant, even savage, provides vigor, dexterity and beauty. The album closes with the imposing "Eyes of a Seer" which at 21:14 minutes is one of the most ancient compositions of Randy Graves, since it dates from 1980. However, it was not reworked until the autumn of 92. The piece begins with a calm introduction which is almost atmospheric of four minutes. Preparing us with gentleness for the instrumental sounds that follow. Then starts the overture of themes. The instrumentalists are more than ever in total cohesion, each one showing his ability without the total sound of the band being obscured. All the arguments that have been previously advanced to describe the first four compositions can be retold here. Any slightly negative comments about the previous songs do not apply to "Eyes". Especially those concerning Kalabans' tendency to get bogged down in uncertain meanderings of an instrumental complexity which is too great... One could even believe that Kalaban has expressly presented to us up till now, a music which is not completely pure, containing some (very rare) imperfections so that they can hit us on the nose with "Eyes of a Seer" and so they can hear us exclaim about the work of art. This writers eyes don't want in any way to be those of a prophet when I say to the happy listeners of these 21 minutes that this group from Springville is definitely one of the (arrow of fire) blazing pioneers of the progressive movement worldwide. This long suite continues to amaze us in the mastery of Kalaban to subjugate us and completely surround us in the complexity of their music. The conclusion can't be anything but brief since faced with this review, one can be no more sincere. The current talent of KALABAN, and even more its potential, surpasses all words, subjective or not, that any critic may write. Resistance is Useless (52:13) is so exceptional that it can virtually create an objective and definitive unanimity around itself. This opinion is born simply from a observation: the music of KALABAN does not appear to be able to be classified into any sub-style of progressive rock . . . Isn't this the ultimate argument to convince you to jump without restriction into Resistance is Useless?!? From all points of view, Resistance is Useless represents a second birth for KALABAN. An era of serenity appears to be beginning for the group, after the numerous problems encountered while releasing the definitive version of Don't Panic. We hope that they use it, this time, to really take flight!

Group Members Michael Stout (Keyboards) Randal Grave (Guitars) David Wilbur (Bass, Vocals) Gary Stout (Drums)

Instruments Guitars, Keyboards, Bass, Drums, Vocals

Albums Don't Panic, Resistance is Useless, Past Present Future, Progfest 1994, Eyes of a Seer, Possible Worlds, Turn to Flame

Press Reviews "Don't Panic, because.... Resistance is Useless...!!!" Kalaban is, next to Echolyn,the most innovative and progressive U.S. band, since they likewise do not fall into any particular category or musical trend. The inclination towards elaborate instrumentals with jazz influences is even stronger in Kalaban than with Echolyn. Nevertheless, the mix is very fresh and out of the ordinary. Originality sums up Kalaban's music. Energetic, instrumental songs predominate, while songs with vocals are in the minority. All of the songs are quite complex and imaginatively composed. Even their first album, "Don't Panic", clearly shows the solitary direction in which the band has set out. There are six pieces on "Don't Panic", of which four are purely instrumental, and three songs are quite long (10-13 minutes). All together the CD is a respectable length of over 46 minutes. Although the "Intro" stays very symphonic, and "Between the Lines"is more of a nice, typically symphonic song with vocals, the rest of the songs, which are extremely long and instrumental, really pick up steam. (continually fly in pieces) The symphonic-rock piece "Grayslayer" starts it off. It is also interesting that the three concluding long tracks each have an accompoanying story printed in the booklet. Good idea.! The three long pieces are first-class, and deftly alternate between genius and madness, ie; between symphonic, imaginative, jazzy passages and virtuoso, soothing acoustic passages with guitar or piano. Nice! But with such an unusual group, each listener must decide for themselves wether they like the music or not. What especially appeals to me about Kalaban (and similarly Echolyn) is their courage to risk trying something new, without emulating any previous models. This music has power and tension! This year Kalaban brings us a new album, "Resistance Is Useless". It is approximately 52 minutes in length and presents the band's five newest compositions. The music is again very imaginatively arranged, and the compositions are even more mature than those on "Don't Panic". The cover of the CD deserves special mention (again a hardcover in LP-format), but unfortunately we cannot appropriately display it. Too bad, because the cover alone is worth the price of the CD. Those who like complex, experimental music and fans of the first album will get their money's worth, since "Resistance is Useless" is even better than "Don't Panic" (in my opinion, at least). This is certainly one of the best albums of the year, and one that one must really listen to often. About the Songs (only two of the five songs have vocals) 1. "Dance of Shiva" Instrumental introduction. The beginning is reminiscent of Mike Oldfield, and then grows ever more powerful and symphonic. 2. "Hotash Slay" One of the longest works on the CD and has vocals. It begins typically of Kalaban with very experimental and symphonic instrumental passages. Then it becomes soothingly acoustic with vocal and instrumental sections. It ends with an explosion of fresh ideas rendered in true Kalaban style! This is a great piece! 3. "Sleepless" A very light and jazzy instrumental piece with many different moods. Interesting ideas! Very imaginative! 4. "Schroedinger's Cat" A short very experimental instrumental piece with interesting partially acoustic guitar parts. The second part of the song is symphonic. A short interlude before the impending storm. 5. "Eyes of a Seer" This work begins svery ethereally and does the title justice. A beautiful, dreamlike work, long and with intoxicating diversity. This is the second song with vocals. One is easily captivated by the instrumental harmonies. A complex, but crazy piece. I won't reveal anymore! If you want to investigate Kalaban, I recommend "Hotash Slay" or "Eyes of a Seer" since they are the most memorable. If they don't appeal to you then this music is not for you. To me though, this is a real treasure. (Tim)

Location Irving, Texas - USA

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