Syn live

The Syn
Martyrs’, Chicago
Wednesday, January 11, 2006

Progressive rock has experienced a revival of sorts, from the bombastic nature of The Mars Volta to the dreamy etherealness of Elbow to the reckless randomness of Porcupine Tree. But long before these relative newcomers landed on anyone’s radar, the movement developed throughout the late 1960s and into the early ’70s with a slew of British-based bands. One of the leaders was unquestionably The Syn, a staple of London’s famous Marquee Club and an extremely popular underground act sought to this day by vinyl collectors.

Though the group never concocted an official full-length album or toured extensively, its legend has grown thanks to opening slots for The Who, Pink Floyd, Cream, and Jimi Hendrix in his first ever U.K. appearance. At that show, members performed in front of all four Beatles, The Rolling Stones, Jimmy Page, and Eric Clapton, who all looked on fondly.

And here it is 40 years later with essential figureheads Stephen Nardelli (vocals) and Chris Squire (bass) hoping to reclaim the magic it once had and reacquaint the public with its experimental and exciting expressions. Of course the two figureheads reached commercial heights far beyond their original identity, perhaps most notably with Squire starting up the iconic Yes, while Nardelli’s strides in the fashion industry. Yet even in such a lengthy absence, The Syn has gone on to inspire many groups including Yes, Genesis, Asia, King Crimson, GTR, and Emerson, Lake & Palmer, all of whom also found greater fame.

Despite the four-decade drop off and somewhat obscure state in America, Martyrs’ was filled with faithful who’ve been salivating ever since the break-up for an undertaking of this nature to occur. And though it was disappointing original guitarist Peter Banks wasn’t on board (instead replaced by Oasis’ Paul Stacey) fanatics were more than elated to have Yes drummer Alan White behind the skins. This last minute fill-in for Stacey’s twin Jeremy came after his contractual commitments to Sheryl Crow’s tour, though everyone (along with classically trained keyboardist Gerard Johnson) gelled seamlessly. Together, the 90-minute set bordered on magical during most moments, tipped occasionally towards the pretentious and thankfully strayed away from overcooked nostalgia.

Rather than trying to recreate its storied past or use Yes’ catalog to fill space, The Syn is touring behind a brand new disc, Syndestructible (Umbrello), and performing it in its entirety with fervor and flair. Just like the record, the show opened with the moody, atmospheric build-up of “Breaking Down Walls,” which laid ground work for the swelling “Some Time, Some Way,” bathed in chunky guitars, placid keyboards, and much more rugged vocals than anything Jon Anderson could ever muster in Yes. Though comparisons have constantly been drawn between the two frontmen in record reviews and Web sites, Nardelli indeed stands worlds apart from the high-pitched wailer, though it’s only natural for Anderson fans to gravitate towards Syn-based on the stylistic similarities and the Squire connection. In fact, it was his entrancing bass playing and a sea of harmonies that transitioned the band from “Some Time, Some Way” into the placid “Reach Outro.”

In keeping with the epic nature of prog rock, “City Of Dreams” and “The Promise” clocked in near the 10-minute mark (if not longer), once again demonstrating the players’ precision. However, a downfall to these somewhat dragged-out pieces was a tendency towards self-indulgence and more doodling than necessary. Granted, it was not nearly as laborious as some of Yes’ 20-plus minute numbers, but in a club setting with most people standing, patience was tested towards the end. “Golden Age” was slightly more accessible, though still lengthy, developing with a sensitive glow at the beginning that eventually bubbled over with more muscular temperament.

The evening wouldn’t have been complete without a few Syn standards from its first go around, packed together tightly in a medley including “Grounded” and “Flowermen.” Both tracks were extremely rare until a recent reissue package (Original Syn 1964-2004) hit streets, though they were hardly stale from being on the shelf for so many years. Each came alive as if introduced for the first time, while being updated to a classification the band refers to as “Prog Modernists.” Even if this segment and the other material presented will only be appreciated by a specific niche of people, at least they were pleased to the utmost degree. Though it’s unlikely the comeback will achieve globe-conquering status (especially with Squire and White’s commitments to Yes) at least The Syn has not been forgotten and hopefully won’t wait nearly as long before releasing its next body of work.

— Andy Argyrakis

Category: Live Reviews, Weekly