Riveryman - 2018 - Fears, Views & Stories

(50:41; Musea Records)

Track list:
1. Passing the Chamber of Insanity 6:14
2. View to a Forthcoming 1:25
3. Rumours in the Darkness 5:38
4. Messenger of God 8:39
5. Figurine of 10 Mysteries 3:36
6. Generation of Corruption 8:04
7. Flower of the Future 4:12
8. Concealed Universe 10:46
9. When the Stars Unite 2:07

Line-up:
Toni Jokinen - vocals, guitars, bass, keyboards, piano
Mika Korkeamäki - drums
with:
Esa Fors - vocals
Alex Argento - keyboards


Prolusion.
Finnish band Riveryman is the creative vehicle of composer and musician Toni Jokinen. He developed an affection for progressive rock back in the late 1990s, at least according to online sources, and that interest was put to creative use from 2006 and onward. The Riveryman project launched its first album back in 2009, and in 2018 the second and most recent studio creation by this project was released as "Views, Fears & Stories" through legendary French label Musea Records.

Analysis.
It becomes apparent fairly quickly that Jokinen has an affection for the old school, classic era of progressive rock in general and the symphonic varieties of this tradition in particular. While his material does tend to shy away from the more flamboyant aspects of the tradition, with one specific exception, he does have a great understanding of the mood and atmosphere of the more broadly appealing varieties of the form which is easily heard on most cuts on this production.

The main associations I get throughout are Genesis and Yes, with aspects and details from the legacy of both those bands making frequent appearances in the landscapes explored here. With the atmospheric laden keyboard textures and flowing guitar lines of the former very much a defining trait, while some of the sharper edges and more dramatic impulses that find their way into these compositions strikes me as being a tad closer to the landscapes explored by classic era Yes more often than not.

While the foundation is generally appealing in most of these songs, there are dimensions to Riveryman's take on this classic style of progressive rock that are a bit of an acquired taste too. For my sake I do find that there's generally too much guitar action going on. Circulating, swirling and often dramatic guitar solo overlays are a bit of a mainstay in too many of the songs, and for me that is an element that becomes disruptive when present in such an ever present manner. I also find some of those overlays to be a tad too repetitive in nature, while to my ears at least they just don't come across as all that useful in the greater scheme of things either. For how I listen to music it becomes an element that is present because it can be present rather than to serve any specific role in elevating the landscapes explored.

The second aspect of this album that for me becomes a weak spot are the vocals. Jokinen is a passable singer, but he does have a rather thick accent. And while accents can be charming, as German stalwarts Eloy have proven over the decades, in this case you probably have to have something of a fancy for this type of vocals to be able to appreciate this part of the experience.

That being said, there are some nuggets to uncover here that might have a bit more of a broad appeal too. For myself I'd select 'Figurine of 10 Mysteries', with its classical symphonic oriented arrangement seguing over to a cosmic oriented variety of the same as my pick. With the final cosmic segment giving me associations towards a certain Isao Tomita. And while this specific song is a bit of an outlier on this album, it would still be my pick for the first of these songs to lend an ear too. While those who fancy the more strict progressive rock ideals to be explored in their music probably should give a listen to the song 'Messenger of God' to experience what I would suggest is the most well-made example of what the Riveryman project is all about.

Conclusion.
Riveryman's second studio album is one that will have its major appeal among those who love and treasure the more accessible varieties of classic era symphonic progressive rock in general and then with a bit of emphasis towards the landscapes explored by bands such as Genesis and Yes. The very liberal inclusion of lead guitar overlays and the accented vocals will make this album a bit of an acquired taste however, but for those who appreciate both of those specific details there will be a lot to enjoy on this production.

Olav "Progmessor" Björnsen, January 2024

Links:
https://www.facebook.com/profile.php?id=100032084426917
http://www.musearecords.com/