Product - The Fire


Year of Release: 2004
Label: Cyclops
Catalog Number: CYCL 147
Format: CD
Total Time: 62:38:00

Product's The Fire begins hauntingly atmospheric, perhaps even less subtle than ambient, with expansive, echo-y percussion, like amplified water drops, before a moody, searing guitar solo comes in -- in a Pink Floyd like manner, a la their Division Bell period (there's even some bell like percussion to enhance this impression). To situate Product's sound - which hasn't changed from their earlier releases on the whole (that is, they've not done a 180? or even a 90?) - we'd have to mention elements of Pink Floyd, which we did, mellow Marillion (especially. in Arman Christoff Boyles' vaguely Hogarthian vocals), and maybe a bit of Porcupine Tree. But, there is no suggestion (except maybe for Pink Floyd) that any of these artists are actually an influence, but that you can hear some general similarities to the darker aspects of those bands. Gloomy is the order of the day on this album: from the dark atmospheres to the dreary, restrained vocal delivery, which has the feeling of keeping things under control so that each moment is carefully rendered; to the subject matter. It's an album that takes a while to grow on you, and is stronger in the instrumentation. As with previous Product product, while vocalist Arman Christoff Boyles has a rich voice, he understates it so much, sings too languidly too often, that it often seems? not exactly flat, but lifeless. Musically it's enjoyable, vocally, it can be trying.

This is not a happy album. But neither was their first, On Water, a tale of drowning sailor, nor was Aire, about Galileo. The last element not yet covered is earth, and that release is due Winter 2007 (but whether that means Jan or Feb of this year and the album is delayed, or it means December of this year? I don't know). The concept with Earth is about Tesla.

The Fire is a concept album about Nero, the Emperor of the Roman Empire, who lived AD 37 to AD 68 and ruled as Emperor from AD 54 to AD 68. You will get more out of the album if you are familiar with at least the highlights of Nero's life, since so many of the lyrics are more referential than expository, more reflections than storytelling, if you will. Fire figures greatly in the life of Nero, his life as historians, beginning with Tactius (c AD 56 - c AD 117), have told it, at least.

There is the Great Fire of AD 64, the fire that Nero is said to have watched burn from a tower while he "fiddled."* There's his persecution of what was then a small religious sect - the Christians - whom he held (or felt compelled to hold) responsible for the Great Fire, some of whom he set aflame to light his garden at night. And then the figurative firestorm that was erupting as Nero crossed lines that even the Roman Senate would not tolerate? Rather than face execution, Nero killed himself in AD 68. Nero was an interesting character - one we probably would not have wanted to know first hand necessarily, but certainly from the distance of history. Although he also did some good for the people of Rome and, at least for a time, was not entirely hated by the common folk (or hated by the entire common folk). That's just skimming over his life, of course; I'll leave the extra credit reading assignment of delving deeper into Nero for you to pursue.

There are two acts on this album, each broken down into scenes, or ruminations, actually. The first Act is the point of view of those around Nero - a senator, his mother Agrippina, a soldier, and others. The second Act is Nero's point of view. "From This Tall Tower I," is the instrumental that begins Act I, which, when taken as a whole with the rest of the album and its context, is rather chilling and ominous. The reprise in "From This Tall Tower II," which begins Act II, is equally ominous, but this time there are vocals, the point of view being Nero's. The tower is literal, as mentioned, but also figurative, as Boyles posits a Nero seeing the Great Fire as a new beginning. Indeed it was, as Nero built a great palace, and financed the rebuilding Rome itself (which strained Rome financially) -- in the years after his death, much of what had been his palace and grounds were built over; for example, the Colosseum was built over what had been a lake. But, it was also a new beginning as the beginning of the end for Nero?

"It Begins" is a sparse, darkly folk-like piece, acoustic guitar prominent in the mix. There's a bit more musical movement, bite, in the rockier, dark prog of "World Of Nero," which explodes in angry, bursting swirls of guitar. It's the most energetic piece on the album, a senator giving us an overview glimpse into and a catalog list of who and what Nero was. "Netting" sounds a bit like, musically, a more languid version of David Bowie's "Space Oddity" - it's the acoustic guitar, quietly swoopy effects, and the overall pacing that give this a spacey feel. This piece is told from Agrippina's point of view, and a generalized look at Nero (whereas "World?" was specific).

"Don't Talk" which follows, is darkly slinky -- mostly in Scott Rader's tattoo of percussion and the occasional punctuating throb of bass, and the whispered vocals, the latter also giving this a spooky feel. At first, I thought this might be a reference to AD 65, when Nero's advisor Tigellinus pursued the executions of those who had been part of a conspiracy to remove Nero from power. But I think now perhaps the reference is broader than that?

"All In All" has a romantic sweep, with a chime-like element that provides Arabic / Middle Eastern accents -- and not the more typical or obvious patterns -- that underscore that this song is from the point of view of an Arab, commenting on the Roman Empire's expansion east and Rome's conflict with Parthia. Parthia was a region that covered (parts of) what is now Iran, Iraq, eastern Turkey, eastern Syria, Turkmenistan, Afghanistan, Georgia, Kuwait, and Pakistan (etc.). Keyboards washes provide the atmosphere. In a way, this piece makes me think of Guy Manning, vocals aside. It has a similar folk rock like feel, indicated by the acoustic guitar textures.

"Where Or Why" (from the point of view of the historian Tacitus) falls in between the two moods heard on this album, though it's the mellow mood that dominates. Although, like most of the tracks, this track is acoustic guitar based, it has a livelier character; Boyles' soft, at-ease delivery is the mellow to the guitar's agitated rhythm.

"Jaded Love, Pt 1" is both slinky, here owing both to guitar and percussion that recalls "Don't Talk," and mournful, this in slow, languid vocal delivery? Boyles' voice unfolding as the piece progresses. Added to the mix, and given more prominence, are both piano and choir-like keys (though perhaps even some vocals are mixed in). Here Boyles croons, but doesn't break out of the tightly controlled delivery that's been established. "Jaded Love, Pt 2" is equally dark, but here guitars churn violently. Don't think metal; it's not that violent. The feeling is more like conflicted, agitated, frustrated ? as Nero is in this segment. Here, by the way, I thought a bit of Brave-period Marillion, both in the sound of the piece and in Boyles' vocals.

Bridging the two parts of "Jaded?" is the very atmospheric, yet brief, "Age." I think, perhaps, an interlude to establish a passage of time, perhaps or a break between the death of his mother Agrippina and his wife Octavia, supposed because of the next piece.

"Isis" begins pastoral and light, with a dark undertone, and soon becomes much darker, with the sound of marching footsteps? I'm sure the invocation of Isis here, the Egyptian goddess that had symbolized wife and mother, is, in part, a reference to Nero's killing of Agrippina and Octavia, though perhaps more so is indicative of his mother. Isis doesn?t appear to him as a ghost or apparition, but more a figment of his imagination that he "sees" standing in his garden.

Throughout Act II, we see a Nero that is coming to a realization about his life. We see it in "Haze," a piece that quietly drifts along on lacy electric guitar phrases and sparse percussion over a bed of acoustic guitar; in short, it sounds hazy. It is a moment where everything - his future, his legacy has become uncertain. He had been declared a public enemy by the Senate, who had named Galba, the governor of Hispania Citerior in Spain, Emperor. And Nero comes to realize that he'd gone too far, that he crossed a line, a point that Boyles takes up in the throbbing, percussive "It Ends." The danger he now faces comes into sharp focus, you can sense the dark terror, as the rhythm is almost marching, something is closing in.

The album ends where Nero's story ends, his death, and the historian Tacitus' reflections on what came after. Lyrically it makes reference again to his practice of the arts, but also to theories that Nero is the Antichrist the New Testament refers to Revelations 13:18. Chaos ensued after Nero's death, as there were no fewer than 4 who assumed the role of Emperor in the year following (in part, that firestorm I alluded to). Musically, it begins with haunting, subtle death tolls and develops into moody, watery guitar; eerie, effect-treated vocals, and "regal," funereal, rolling percussion. The same sort of soft and hazy mood that is present throughout much of the album, is restated here.

So? I would have liked perhaps more lively vocals. As I said, although the music itself is enjoyable, the vocals, however pleasant in tone are too dreary in execution, too mournful. Though a pop-bright delivery would be all wrong as well. And I think some commentary on each piece, to what it, in general, made reference to would have been helpful, too. On their website, we get a brief paragraph that centers only on the complex or palace he built. Sure, iconic of the excesses that Nero did go to, and the setting for the album does seem to be that palace? well, even that would have been a great addition to the booklet. But, I give credit of finding a historical topic that is unique and that should lead one to investigating this historical figures; I'm sure there are few concept albums about Nero out there. And The Fire is worth your time, it just needs a little more to elevate it to great status.

*That is to say, he did nothing. However, that isn't exactly the case, never mind that the whole thing may just be rumor. Firstly, the fiddle (or violin) hadn't yet been invented; more likely, as other reports suggest, he might have been singing (some say, about the fall of Troy). Nero was very much a man of the arts, fancying himself a performer, even giving at first private, then more public performances? much to the chagrin of the Senate (as actors, performers, were not then highly regarded members of society). Nero did, however, apparently demand a captive audience - literally and figuratively. Secondly, it appears as if Nero did put resources to putting out the fires, which lasted about a week, and financed the rebuilding of Rome.

By the way, if you didn't know before, it's from this Roman Emperor that the CD burning software Nero derives its name. And, I didn't know all this about Nero, really; here are my references: www.roman-emperors.org/nero.htm, www.roman-empire.net/emperors/nero-index.html, and the maybe reliable, maybe not Wikipeida at www.roman-empire.net/emperors/nero-index.html.

Tracklisting:
Act I: From This Tall Tower I / It Begins / World Of Nero / Netting / Don't Talk / All Is All / Where Or Why // Act II: From This Tall Tower II / Jaded Love I / Age / Jaded Love II / Isis / Haze / It Ends / The Fire

Musicians:
Arman Christoff Boyles - vocals, guitars, keyboards
Scott Rader - drums, bass, background vocals

Guests:

Marianna Beronski - vocal effects (2)
Michela Martini-Todd - vocal effects (14)

Discography:
On Water (2000)
Aire (2003)
The Fire (2005)
Earth (2009)

Genre: Progressive Rock

Origin US

Added: March 26th 2007
Reviewer: Stephanie Sollow
Score:
Artist website: www.flickerista.com
Hits: 2970
Language: english

  

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