Common sense dictates that progressive rock should be both inventive and unusual, but neither adjective comes to mind while listening to Canada's
Heaven's Cry, whose first album in a decade (and third overall), 2012's
Wheels of Impermanence, sadly fails to deliver on the promise of its title. The problem can basically be traced to uninspired and indistinctive songwriting, plain and simple. After all, there are numerous highly successful song- rather than muso-oriented proggies out there -- bands like
Queensrÿche,
Crimson Glory, and even post-'80s
Rush -- that rarely venture beyond the common verse/chorus/verse/chorus/bridge/solo/chorus song architecture, but these bands' creativity within relatively safe frameworks puts
Heaven's Cry's limitations in depressing context. Songs like "Empire's Doll," "Compass," and "A Glimpse of Hope" (errr, not bloody likely!) come and go leaving no impression whatsoever. And while some mildly memorable melodies and synthesizer parts manage to elevate "The Hollow" and the title track out of complete anonymity, rare cross-genre departures like the semi-funky, saxophone-enhanced, gang-chorus swamped "Consequence" just crumble in a painful heap. In sum, here's a group that's instrumentally accomplished but nothing to write home about if you're accustomed to
Dream Theater-level virtuosity; their lyrics are certainly thoughtful but never really thought-provoking and their all-too-safe songcraft is largely bereft of surprises. All of which suggests
Heaven's Cry should have probably left well enough alone, rather than reuniting around such a mediocre display of prog rock. ~ Eduardo Rivadavia