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Poprock Record

Great Event Syndrome - Get the new record!

 

 

Chris Lund's Great Event Syndrome wastes no time at all establishing where it's coming from.   From the album's cocksure cover to the "Oh Girl" call and answer backups opening the first track, Lund offers little doubt as to his musical direction.  Fortunately here, in this self-produced album recorded  entirely in his home studio, it pays off - in Spades.   Listen Here!     

In the aforementioned first song, Tell Me, the chiming descending guitar figure that opens the entire proceedings morphs briefly into a blues shuffle and then is immediately intruded upon by a pleading lead vocal, power chord crunches, and two-part call and answer harmony which slams the song into the hook-driven rock territory the album cover promises.  This is expounded upon all the way through to the song's end with soaring bridges, Spectre-like choruses, and a chopping slash-chord guitar and drums breakdown before a bending, moaning guitar solo joins the all-in final chorus.

The haunting and modal Elliot Smith-like acoustic strains of The Path, the record's second cut, twist and morph with increasing layers by the track's end into  Alice In Chains/Sabbath styled monster rock with an ominous guitar and vocal unison riff - a warning to those who take the easy way out.

Glimpse takes off with Thin Lizzy style guitar leads and a heavy pop verse and then dissolves into an easy-listening mid-tempo Americana style groove for the chorus reminiscent of early  Eagles.  This all drives toward a Raspberries style break-down and Lund's Plant style vocal that hints at the super-tough exploding and ascending acid blues guitar riff that follows, taking us to the final refrain and harmonized leads which close the track.

The mood then turns darkly beautiful with 700 mph, a song about a plane crash into the sea, which echoes psychedelic era Hollies, or perhaps Oasis, with a chorus haunting in it's inevitability.   In the verses the singer, after death, reflects on his life and the fatal event.   After a heavily reverberated snare crack following the middle 8 section, a guitar solo enters with slow groaning low-string bends then gradually accelerates into almost classical runs before plunging back in to the Lennon-ranged chorus vocal.   Lund utilizes a gentle background falsetto over a single acoustic guitar in both intro and outro to bookend the song, perfectly accentuating the desolation left on the water by the crash.

If this were a vinyl release, Remember the Daze would likely be the final track of side one.  And, it would be well-suited as such.  It is pure rock and roll sentimentality.  A highly personal look back at the glories and bittersweet pain of youth, it is a dreamy mid-tempo rock memoir  with an almost whispered verse, kick in the gut bridge, and hook-driven chorus laden with soaring harmony vocals.

 

Along the same lines, What's Her Name, which probably would have started off side two in the days of vinyl would have been equally well-situated.  Here a new element creeps in with a nod to psychedelia and more prominent synthesizer, which oozes in and out of the tapestry.  The acoustic guitars have a Lennon-like feel along the lines of Day In the Life or Cry Baby Cry.  The song is as an acid-like dirge with searing harmonies and ominous bubbling syth rising and falling with the tension.  Lund's lyrics and vocal evince the singer's inability to recall what may have been a night of carousing resulting in a one-night stand.  The terror of any personal committment(s) that may be the result of the liasion is addressed in the bridge.   and the line, "It has to be something grey" states just how the singer would like to leave things.  This cut foreshadows an element of the wierd and eclectic that will permeate the rest of the proceedings.

Little Man, which follows is pure progressive pop satire with likely homosexual lyrical overtones.  The courtly and eccentric guitar fills throughout the track drive home the feel and are perhaps nods to Brian May and Queen.  The mood is toughened up mid-way by an angry and clever ripping Hendrix styled modulating guitar solo.  Chris' tom-oriented start and stop drumming are more than a bit "Ringo" here

Girl Done Wrong takes the satire to it's ultimate limit in it's homeage to the late Devil of the Blues, Robert Johnson.  With just a lone vocal and acoustic guitar, Lund is having fun here and appears in on the joke as he leaves the little imperfections in, maintaining a back porch live feel.  Yet, with it's shivering, slashing slide guitar and wailing over-driven vocal, you can sense the affection here for Johnson, the progenitor of what would become modern rock and roll.

The mood is back to rocking with the next song.  Do It Now, with it's twisted, heavy metal mutatated  James Bond/Peter Gunn style guitar figures, militant snare and whammy bar dives might work best as a car-chase action movie soundtrack.  However, the middle section with it's 80s style synth and Queen-like three part harmony finally bursting into Lund's rapid-fire heavy metal/blues morph solo more than justify the ride.

The album immediately takes another hard left  turn with Chris showing his softest side on The Juice.  With Lund's skillfully fingerpicked acoustic as it's backbone, Greek Chorus backup vocals, and siren synth sounds to give a dreamy effect over the top, the tortured narrator achingly deliniates his inevitable escalation into fatal domestic violence.  The lyrics belie the song's surface beauty.

Track eleven, Fall On Me Rain, approaches epic-style rock but only ends up clocking in  between 3 or 4 minutes long.  Starting with Lund's lonely and isolated (almost spoken rather than sung) vocal narration and bare-bones 12 string guitar the song at mid-point, comes to a pause with the entrance of  a descending electric guitar chord/riff wake-up call.  Then, drums, bass, and numerous guitars riff into a Physical Graffiti style heavy rock crusade with an underlying synthesizer to pad things out.  

The final cut is Fare Well.  At a break-neck pace and appropriately titled, the song pays homeage to Punk rock and New Wave with it's synth bass, taunting vocal, and quirky arrangement.  Yet still, Lund manages to incorporate his ripping guitar leads and three-part harmony into the proceedings.  The influence  of the 80s acts such as the Cars, Sex Pistols, and Cheap Trick are evident here in Great Event Syndrome's final salvo.

By the way, you may want to look up "great event syndrome" to get the title of the albums meaning.  It's not nearly as pompous as it sounds.

It is perhaps all the more impressive to note that Lund wrote and arranged all the songs, performed all vocals and all instruments, and mixed and mastered the project in it's entirety at his home studio. 

We highly recommend that you contract a case of Great Event Syndrome!  You won't regret it.

 

**For those who enjoy Great Event Syndrome, you should visit Chris' website, www.chrislund.rocks and check out Lund Bros, the band that Chris formed with his brother Sean in the 90s and still plays in.  They have released six highly respected albums over the past two decades.

 

Pop Rock Record

Power Pop Aholic

RockUnited.Com

Power Pop Aholic

"sounds amazing"    "700 mph one of the best songs of the year"    "a great power pop album that is highly recommended"