METAMUSICA (Brazil), Vol. IV, No. 9, p. 72


Originality, creativity, extremely precise technique:  adjectives which are entirely pertinent to North American Ed Macan and his Hermetic Science.  As more than 30 years of the “uninterrupted existence” of progressive rock have passed, with thousands of works created, one of the greater challenges that a musician can confront is not to sound repetitive, deja-vu.  On this, their second album, Hermetic Science surmount the challenge and create an even better album than their first (already analyzed in Metamusica).  Maintaining the emphasis on his incredible marimba (a kind of vibraphone), this time Ed displays his eclecticism more clearly by the utilization also of piano, Hammond organ, ARP string ensemble, and Micromoog, as well as the recorder.  With jazzy playing, the group creates a chamber-like progressive rock which sounds erudite in its conception and progressive in its execution.  Assisted by bassists Andy Durham and Nate Perry and by drummer Matt McClimon, Ed gives prominence especially to the grand title suite (41 minutes) in six movements, based on biblical prophesies.  We would also highlight the unusual version of “Jacob’s Ladder” by the great Rush and the “Tarkus” suite of ELP in an acoustic treatment, done as a piano solo of 18 minutes duration! It is clear that this will not gratify everyone, but certainly it is a matter of an “after dinner biscuit” intended for refined tastes.  Also it is good to take the occasion to inform you that Ed Macan is finishing his second book about progressive rock, this one treating exactly that trio:  its title is “Emerson, Lake and Palmer:  The Band And Their Music.” 


(review unsigned)