Many fans of ex-Genesis Guitar virtuoso Steve Hackett will since 2012 or thereabouts know of singer Nad Sylvan. Having been recruited by Steve to sing on his Genesis Revisited II album and then becoming part of Steve’s touring band touring the Genesis Revisited shows all over the world. However, Nad Sylvan (Born Erik Christopher Stewart) had a rich musical history before landing such a prestigious gig as the Hackett touring juggernaut’s gregarious and dandy gothic vocalist. Releasing albums under the guise of Sylvanite in 2003 and the much Genesis inspired Unifaun in 2008, proved himself to be a very competent multi instrumentalist especially playing keyboards and guitars. After being spotted by Flower Kings stalwart Roine Stolt Nad went on to form Agents Of Mercy, releasing four albums and touring extensively. Thus far Nad has released four solo albums for the Inside Out label and recently released the fifth.
Monumentata is without doubt the most personal album that Nad has ever recorded. The first three albums were very much a gothic trilogy and the previous album Spiritus Mundi a tad more conventional. Just as the previous ventures there is a stella line up of musicians throughout the album including Randy McStine and David Kollar on guitars, Tony Levin , Nick Beggs and Jonas Reingold on Bass, Marco Minnermann, Mirko De Maio and Felix Lehrmann on drums, Sheona Urquhart Smängs and Jade Ell on backing vocals. Just about every other instrument is played by Nad himself with the exception of violin played by Jo Deninzon and a rather nice synth solo by Lalle Larson. First out of the trap is Secret Lover. With an eerie opening terminating in a loud shriek, this powerful opener parts company from the polite and Proggy musings of old and demonstrates Nad’s rockier side. Presenting with a seismic punch and rhythmic drive provided by drummer Marco Minnermann, and bassist Jonas Reingold. Secret Lover also has a killer guitar solo executed admirably by Czeck guitarist David Koller. That’s Not Me continues the heavier Style with another rock out tune tamed only by some classic keyboard sounds. Tony Levin’s turn on bass adding to the edgier overall sound of the song. There is a more forceful sound to Nad’s voice in this song too conveying some personal angst and frustration.
There is certainly a lot of feeling gone into the song writing process here, none more so than Monte Carlo Priceless. Nad excels himself throughout this song playing all of the instruments with the exception of drums. The tale of a young lady who makes her way from Nova Scotia to Monte Carlo, has a face lift and becomes a lady of ill reputation. A bizarre tale that differs from the more personal nature than some of the other songs. To fully understand the sentiment behind this album it is really worth taking time to read in full the foreword written by Nad Sylvan himself contained on the second page of the CD booklet. It makes you appreciate in full the quality of the song writing and the presentation of each finely crafted unit throughout the whole story telling nature of the album. Flowerland well and truly betrays Nad Sylvan’s Swedish heritage and gives out more of a hippy vibe more in keeping with his place of birth, West Corvina in California. A tail of an old hippy couple setting out on a road trip exploring both themselves and the landscape. Extremely radio friendly with some great Mellotron and Rhodes piano, the melody is a sure earworm giving out a lot of positivity. Randy McStine lends his slide guitar which is the nearest I think you will ever hear Nad singing a country song. Of course, the recent years of touring the world as part of a closely united troupe has a toll to take and this is described throughout the up beat Wildfire. Nick Beggs takes on bass duties and Karmakanik keyboard player Lalle Larson adds a subtle, though flowing synthesiser solo. It’s a huge sounding piece and the frustration and tensions of being on the road and playing huge venues really does fall from the lyrics like confetti. It’s a storm of a track as the title suggests.
Nad Sylvan’s relationship with his late father Hugh W Stewart,who was a tennis pro in his day, seems to be the topic of Make Somebody Proud. Hugh played at Wimbledon and as part of the Davis cup team in the 1950’s. Once again a fabulous melody with a punchy beat and helped along with some great backing vocals by Shoena Urquhart Smäng and Jade Ell. This song has a very American feel about it and without clarification I am unsure as to whether the song is about Hugh making Nad proud or him seeking his late fathers approval, or making him proud. Of course with everything musical, it is open to personal interpretation. There is also another great guitar solo by David Koller helping the song to be one of the best on the album. I do think that along with the previous album Spiritus Mundi, Nad Sylvan had shed the skin of the gothic vampirate character portrayed in his first three solo albums. However, the musical livery returns in the smile raising I’m Stepping Out that is quite obviously Nad’s coming out hooray. Despite the fact that many suspected his orientation for some time, the song informs his public of what his nearest and dearest have known for many years. It has a cheeky pep in it’s step and given an extra touch of pizazz by the inclusion of Jo Deninzon’s quirky violin. I thought it was a joy to listen to and reminded you briefly of his earlier songs too. Without doubt though, the most thought provoking song on the album, is the title song Monumentata. Felix lehrmann’s lightly brushed snare and Tony Levin’s slower pace allow Nad Sylvan’s heart to bleed publically. His piano and keyboards seem to accentuate the feeling of sorrow. As I started to feel the hair on my next standing up I realised just what a gem this song is.
Those who buy the cd option will get to hear a bonus track included, Unkillable. A very much self contained song that finds Nad singing and playing all of the instruments himself. Though I am unsure what the lyrical content is referring to, I enjoyed listening to it as a whole. It bops along quite nicely and a fitting up tempo conclusion to what is without doubt Nad Sylvan’s best work to date. A scratch card of an album in the way that many of the songs reveal just what is beneath the surface once the silver coating has been scratched away. It would be nice to see him tour this album with a band of his own and for once bask in his own limelight.
