ICONIC SKY: “Iconic Sky” (release date February 19, 2021)

Massive Skills, Relentless Quest

Making. Every. Moment. Count.

The genius of this album is…

…well, there are many facets to the genius of this album.

Let’s see. The gutsy move to open this debut release from ICONIC SKY with the epic-length, ever-evolving, riveting, melodic, inventive track with the infectious ear-worm “Hollywood Hates You” (and although I didn’t have access to the lyrics on this album, it sounded like a rather sardonic take on ‘There’s a great party going on, and you’re not invited’ theme).

Surprising sound palate (I think Jeremy Cubert might be the culprit here, utilizing his esoteric Linnstrument and Chapman Stick), grand keyboard passages, was that violin? cello? fretless bass? What the heck WAS that?- acoustic piano, tinkling electric piano sounds, bluesy-jazzy Hammond organ leads…

I Could Go On

So I think I will. Here’s the cast of characters.

ICONIC SKY is:
Robin Schell -Lead vocals and keys
Jeremy Cubert – Chapman Stick, keys, piano, Linnstrument, fretless tapping bass
Tom Kraus – guitars and bass
John Beagley – keys, programming, vocals, producer.

More Observations about Genius

Let’s consider those vocals. The way I’m hearing it, the ultra-high, clear, haunting, evocative voice belongs to Robin Schell (although it’s true that these aren’t specifically credited); and the mid-range clean, more pop-oriented voice belongs to the peripatetic John Beagley. (Again, just an educated guess).

Combined and layered, these voices become Beatle-esque, and sometimes Beach Boys-esque, those gorgeous melodies, sighing choral passages, the give and take, call-and-response sections that make the music an ongoing delight.

Keyboards. Keyboards. Keyboards.

There are at least THREE competent, inventive keyboardists in ICONIC SKY, and apparently no one has to be THE KING, since what I’m hearing is a lot of collaboration, cooperation, and deft composition happening.

Acoustic piano. Grand walls of symphonic sounds. Atmospheric passages. The level of composition seems high, even when sometimes, like in the epic opener, things do seem choppy at a few points. These moments seem few, and didn’t interfere with my enjoyment in listening.

That Punchy Bass

Was it Tom Kraus playing an actual bass guitar? Jeremy Cubert on Chapman Stick or ‘fretless tapping bass’, or one of those keyboard players laying down a dark synthesizer bass line? (I especially wondered this on the final track, “Writers Block” (what the heck IS that? Boy, do I love these kinds of mysteries in my music!)

Some, Maybe too Few Guitar Raves

For the most part guitar is a supporting instrument, although I hear acoustic guitar on “Anything Left of Me Now”, and some nice lead lines on the opening epic track. I’d like to hear more of all those.

Hollywood Hates You

Maybe a bit of a YES vibe on that twinkling, airy opening, but this twenty-one minute opener boasts many atmospheres and sounds. There is an amazing level of variety with soaring, high vocals with many harmonies. I do get a Beatles feel maybe from the Sgt. Pepper era. Melodies, melodies, and more melodies. Some of the feel of the arrangements and the instrumentation reminds me.

All Will be Revealed

There’s a pretty cool Youtube lyric video of this one, probably the most forceful and aggressive track on the album. I like the clean high vocals, and the lyrics are hopeful, which in certain quarters (mine) is much appreciated. I think there IS a force in the universe, and perhaps it’s not too much to ask that maybe someday things will all makes sense.

There’s such a dark energy, an inner propulsive intensity. It’s a full, driving, vibrancy that is infectious.

Week of Days

This one starts dreamy, moody, with YES-like soaring, mysterious vocals. I like the acoustic piano leading into an atmospheric passage. Such lovely vocals lead to growing intensity with massive rhythm section at work (I’d love to hear this album with a live drummer as well). There’s some lead guitar here, soaring, and swooping.

Anything Left of Me Now

This one seemed most popular-appeal in its approach with crisp acoustic guitar, then the melodic mid-range vocals and harmonies. It sounds like a heartbreak/hopeful lover who isn’t getting the feelings returned. With full choral sounds we hear the protagonist asking for love to be shared. The somewhat jarring, but just-right acoustic piano lead, that then shifts to expressive lead guitar, it’s a nice instrumental passage.

Writers Block

I confess, I’m a grammar grump- shouldn’t it be “Writer’s Block”?- but anyhow what an attention grabbing open with that zooming, deep bass line zipping around in the nether regions of the sound, and what sounds like a jazzy sax solo.

There’s that mid-range voice again in a repetitive recitative which subsides and deep bass enters. Then a wistful voice over whimsical keyboards, and wait…is that the Beach Boys in the background with those joyous harmonious counterparts?

The tune, and the album ends with a naked, vulnerable voice, with bird-calls.

In Conclusion

ICONIC SKY comes through big-time with marks of genius on this debut release, revealing some influences, yet establishing a clearcut soundtrack of their own.