Last year, we previewed some of Marc Soucy‘s archive ANTARTICA tracks, namely, Mayhem In Antartica, and The Out Cats, so when we heard that Marc had released the entirety of the record, Antartica Live, we were curious to say the least, and couldn’t wait to immerse ourselves in his universe once more.
Antartica Live opens with Mayhem In Antartica, which sounds like a cinematic progressive-rock epic that begins with regal, synth melodies and textured percussion before evolving into a high-octane fusion of Spaghetti Western atmosphere, cyberpunk energy, and vintage analog synth virtuosity. It feels like the soundtrack to a frantic 1980s car chase, driven by live bass, fierce syncopated drums, and psychedelic, mind-bending synthesizers that make the whole piece feel both timeless and intensely futuristic.
Next up is Charlie Backwards, which opens with an 8-bit cerebral energy with whirring synths, expanding into a playful and divergent almost 1960s vibe which sounds like something one might experience in a video game. We appreciate the trippy and psychedelic notions and the fast-paced energy that manifests. It builds with drama, and the tempo shifts keep us enthralled throughout.
This leads us to When I Take The Five, which fits the same cinematic universe, but this time with rolling keys and more jazz inflections. The piano performances are out of this world and what strikes us the most is the ability to perform at such a high velocity.
No This Isn’t Jazz Either further cements this psychedelic and high tempo energy that really demonstrates the skillset that ANTARTICA has to offer. For some background, ANTARTICA is a progressive fusion trio from Boston that emerged in the early 1980s, built around the instrumental compositions of keyboardist Marc Soucy, alongside bassist Jeff Carano and drummer Ray Lavigne.
We appreciate the highly cerebral, almost haunting twist that No This Isn’t Jazz Either has to offer. It’s rather meditative and certainly trippy, the astral synths are built on with a subversive bass and eventually transmute into a more whimsical hysteria that once again cements the masterful ideologies that come with this resurgence.
The Out Cats, which we previously featured sounds like a surreal progressive jazz-fusion adventure, blending cinematic storytelling, virtuosic instrumentation, and playful video game-like synth textures into a mysterious, psychedelic journey. It moves between dramatic crescendos, intricate breakdowns, and colourful 8-bit inspired passages, creating the feeling of an avant-garde sci-fi soundtrack where prog, humour, and conspiracy-fuelled imagination collide.
Next is Accelerator, which opens with rolling drums and cosmic detailing. The track is dynamic and captivating, especially with the vocals and shooting laser textures, tapping into further sci-fi motifs. Turn For The Worst opens with a more dramatic energy, like a scene from a Superman movie. We appreciate the melodic depth of the piece, and the rhythmic build, again tapping into that video game sentiment, like a Sonic The Hedgehog score. There is a euphoric energy that transmutes here that feels like a spiritual ascension.
The City serves as a more nocturnal synthwave piece with astral arpeggios and a brooding melodic performance. The detail is intricate and again the crescendos and sonic switch-ups are totally hypnotic. We appreciate the dimensionality of the track and the subversive undertones. The trio’s influence from progressive giants like Frank Zappa, Gentle Giant, Return to Forever, and Emerson, and Lake & Palmer really comes to life here. The psychedelic synth that emerges is out of this world and almost feels like the climax of a movie scene, and a highly pivotal moment for the album as a whole.
Then Clem’s Cakewalk opens with a rhythmic respite, giving us some space to breathe with repeated motifs that feel calming and grounding. Broken Latin opens with drama and intrigue and builds with passion and sonic excellence. Again the track allows the trio to truly show off that they work together so cohesively, resulting in a track that feels like a moment from a detective film. The piano riffs are excellent.
Finally, we experience Actual Snow which is a fierce and futuristic bass-driven moment, infused with the signature jazz inflections that have made up the whole album thus far. The lyrics are a nice touch, and add narrative to the piece. The emotive midpoint of the song allows a more introspective journey before the trio once again showcases their visionary instrumental skillset by building into a bold and pulsating futurist jazz expression, leaving us yearning for more.