HARMONIE (France) no. 44 (April 2002), 43

I will be a lot shorter in discussing En Route than for the last album of mister Ed Macan, upon which I pontificated last time . . . Having said all that I think of the good fellow, of his science of writing, of the merit of his statements and of the respect for his music, I will agree just for the moment that it is necessary to declare one more time, Hermetic Science are like a skeleton of progressive! You do not see here any mark of contempt or of misplaced condescension, just a dispassionate observation that Macan avails himself to keyboards and percussion instruments in order to adroitly prepare a “scientific” canvas, demonstrating the construction of a work of progressive rock.  It lacks (voluntarily?) flesh, the marrow, and the juice, which make of progressive this pleasurable conglomerate so dear to our melomaniacal ears.  Superbly equipped (Hammond, Micromoog, Fender Rhodes, harpsichord, electric piano), Macan reconstructs with the fervor of an archaeologist, drawing upon a network of progressive themes that one will believe one has heard before.  Assisted in this by Jason Hoopes (bass, guitar, sitar, piano) and Joe Nagy or Matt McClimon (drums), Macan, after having served a boneless reprise of “Mars, the Bringer of War” by Gustav Holst, opens a very long suite of 44 minutes, 32 seconds, En Route, based upon the re-creative progressive manner of the “classical music” variety.  One recognizes the touch of the writer-musicologist in regretting that his rigid love for the progressive genre doesn’t give him the desire to be more exuberant despite the evident riches of his knowledge.                           Bruno Vermisse