MARS LASAR

When Worlds Collide

Sound Manipulations (2000)

Cynics - beware! The very first cut of the new album from Mars Lasar features a vocal refrain from a chorus of children's voices. And, as if that weren't enough, the refrain inlcudes the lyrics, "We are the souls, we are the shamans, let it be known, we are the children of the new age." So, you are now forewarned! But, damn if the music on this cut doesn't blend seamlessly with these words. Pounding drums, thumping bass, and layered keyboards all combine to drive this one into the stratosphere. You may think it's hokey but I'm having a good time listening, so leave your negativity at the door, if you please. This kind of unabashed sincerity is something that I find refreshing (especially when accompanied by music that kicks ass!).

Mars is certainly a talented and versatile composer. And When Worlds Collide shows the latter in spades. Swinging between sub-genres with amazing dexterity and ease, the album encompasses a variety of styles: dramatic keyboard-driven overtures (" Kingdom"), Berlin-school sequencer bop-fests propelled by ferocious drums ("Transfusion"), and Enigma-like urban-tribal numbers ("Grace"). In addition, there are songs that reminded me strongly of the superlative work done by Pete Bardens on his Miramar release Watercolors ("Searchin' for Love"). Bardens was a master of the melodic hook and Lasar has been to the same well of inspiration. I have always maintained that writing a great hook was a showcase for real talent. When Worlds Collide is full of solid refrains and hooks so I remain convinced that this is an art form - and the elitists be damned!

Not having heard Mars' album The Eleventh Hour, which is alluded to in the liner notes, I may be missing some of the impact of this release. Maybe there are some clues scattered here and there about how this CD "fits in" with that one. But I can tell you based on this one album that Lasar has a lot of talent and knows what the hell to do with it. Proponents of "no vocals," however, need to be told that some numbers have singing on them, such as the accessible (almost soulful) "Keep Faith." Additionally, the extremely funky "Let's Get It Together" may strike some as out of place on the album (since it sounds like it belongs on an r 'n' b recording or a world fusion release). People looking for something more sedate or more "new age" will be running for cover on this song!

But if you're interested in an album full of diverse and infectious music, such as the vaguely drum and bass-flavored "Midnight Mirrors," or the neo-romantic "Amy's Lullaby V," When World's Collide is a recording that will reward you with a wide assortment of tunes and moods. This is almost certainly not what the ambient or spacemusic crowd is looking for, but those who are on the prowl for melody and variety will be find a lot to like on this release! "Reach," the CD closing track, may be the best thing here. Fusing Miles Davis-like trumpet with midtempo tribal rhythms and a great jazz fusion sound, Mars shows that he's less interested in being categorized than in infusing his music with soul and personality. To that end I say "Amen!"