The Samurai Of Prog are one of the more interesting bands in progdom. It’s core members (bassist Marco Bernard and drummer Kimmo Pörsti, these days along with utility man Steve Unruh) use a talented stable of musicians from across the prog spectrum to create each new album. What sets them apart is that it’s usually the guests who are also the main songwriters and principal instrumentalists. In this instance, that job is ably covered by keyboardist and guitarist Marco Grieco. Grieco has contributed to several previous Samurai albums when not busy with his own solo projects, musicals, film scores, or his work as an author. It’s this last vocation that comes through the strongest on A Quiet Town, essentially a murder mystery set to music.
A young woman of questionable morality is found murdered in a quiet North Florida town. Her old Sunday school classmate is the detective in charge of her case, and each song delves into the multitude of suspects, their motives, and their denials. The story is clever enough to stand on its own as a work of fiction, something that would be interesting for Grieco to flesh out. Luckily for the listener, Grieco’s talent as a composer shines through, and the use of different vocalists for each character puts this one step beyond the typical prog concept album.
Chorused vocals, pounding drums and skyscraping guitar leads bear the stamp of Grieco’s stage chops as they bombastically introduce Smile Forever. You just know this is going to be an exercise in indulgence, and you would be correct. Delicate flute and piano passages dance with synths, churchy organs, and Bernard and Pörsti’s trademark heavy rhythms. The passionate lead vocals of Ron Alonso as the detective viewing the victim whose “silent lips smile forever” beautifully set up the story. A heavy guitar riff is offset by flute and violin which help to contain the musical turbulence of The Crime. Rather than tell the tale lyrically, Grieco allows a series of expressive musical passages and sound effects to pull the listener into the story. Especially effective is the solemn New Orleans-style brass and woodwind arrangement, moody and evocative.
The first suspect to be interviewed is The Priest, who describes how he attempted to rescue the victim from her less-than-exemplary life, where she enjoys the company of a married businessman, among others. The organ is prominent here, a reflection of the importance of religion as part of the storyline. The music takes another jazzy turn, one of several diverse styles packed into the song, and the priest muses, “She had it coming – didn’t she?” Violin features in the interview with The Businessman (Steve Unruh), one of the more aggressive songs on the album, full of searing guitar, thundering drums and pummeling bass. In contrast, a capella vocals open The Mayor, followed by acoustic guitar and flute reflecting the façade of a quiet town. The mayor (Ivan Santovito) puts the blame for the town’s problems on the woman. The synth solos are noteworthy, rooted firmly in Banksian homage.
The Doctor is full of Vaudevillian stylings mixed with contemporary sounds. During the interview, the doctor relates how the woman tried to seduce him before more Banks influenced synth battles it out with Pörsti’s battering drums. Bernard’s bass finally gets an all-too-brief spotlight before the guitar hogs the attention. Caught in flagrante delicto with the woman, the doctor unsurprisingly claims to be the victim, adding to the list of people with motive. Grieco takes centre stage on the solo piano piece, Dance Of Clues, catching the zeitgeist of TV crime show soundtracks while indulging in both jazz and prog side-tracks.
During the epic piece The Solution (Part I), the detective invites all the suspects together and confronts each in turn, with the music suitably morphing with each character, from gently suspicious to aggressively questioning. The words are rapid fire and sometimes difficult to decipher (no lyric sheet was provided), but – abetted by the music – their intention is clear. The doctor is accused of the murder during a dramatic musical segment and arrested as the music resignedly subsides. In The Solution (Part II) the accusations continue as each suspect has a role to play in both the problems of the town and the woman’s murder. The music is appropriately disjointed and underscores the lyrical content. Final track The Report slides in on the sounds of a manual typewriter and an alto sax. Drawing once more on the elements of prog, jazz and movie soundtracks, the music is full of character. The horns in particular play a central role in this instrumental tour de force, bringing the album to a satisfyingly different and impactful conclusion.
A Quiet Town is an album full of dynamic range and a baker’s dozen worth of musical styles. Grieco is also a fine storyteller; his characters are well thought out and could easily populate a contemporary pulp crime novel. Another triumphant concept and artful execution from The Samurai of Prog collective.
TRACK LISTING
01. Smile Forever (7:45)
02. The Crime (5:41)
03. The Priest (6:56)
04. The Businessman (7:47)
05. The Mayor (6:08)
06. The Doctor (7:17)
07. Dance Of Clues (3:04)
08. The Solution (Part I) (11:56)
09. The Solution (Part II) (7:12)
10. The Report (4:48)
Total Time – 68:34
MUSICIANS
Marco Bernard – Bass
Kimmo Pörsti – Drums & Percussion
Marco Grieco – Keyboards, Acoustic & Electric Guitars
Steve Unruh – Vocals, Violin, Flute
Ron Alonso – Vocals
Peakfiddler – Fiddle
Luke Shingler – Flute
Juhani Nisula – Electric Guitars
Olli Jaakkola – Flute
Ben Craven – Vocals, Lead Electric Guitar
Tony Riveryman – Electric Guitars
Ivan Santovito – Lead and Backing Vocals
Marco Vincini – Vocals
Michael Trew – Lead & Backing Vocals
Andy Nixon – Lead & Backing Vocals
Linus Kase – Alto Sax
ADDITIONAL INFO
Record Label: Seacrest Oy
Country of Origin: International
Date of Release: 9th February 2024