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it's prog jim but not as we know it

A somewhat awkward, taciturn character, Martin Grech has steadfastly remained in the shadows since this was released.

As such, he’s never considered to be one of the most fundamentally intriguing artists of the 21st century. But this album, his debut, should be regarded as an imperious collection of musical ideas and ideals.

It came out just as Grech was getting attention, with the title track being used on a major TV advertising campaign. This sort of attention, though, didn’t seem to phase Grech. Nor did it lead to him attempting to finesse any commercial momentum he might have gained from such exposure. So, the Open Heart Zoo album is untainted, individual, and never compromises on the man’s overall vision.

It’s not easy to access. From opening song Here It Comes, Grech’s high pitched vocals are organically soothing yet also slightly distant. Not a singer who wears his soul on his sleeve, Grech is almost reluctant to bare inner emotions, preferring instead to document dispassionately. However, there’s an intimacy and warmth about the music he simply cannot deny. It’s this clash between logic and instinct that makes the song work, and this is true of everything as the album progresses.

Grech pulls in influences from 70s, 80s and 90s, straddling Anathema, Radiohead, Camel and Nine Inch Nails. In the process he builds layers of sounds, within which are weaved clever and concise lyrical imagery. Everything also interconnects. So, as Dali follows on from Open Heart Zoo, before leading into Tonight, you feel like you’re being taken on a diffuse journey through the alien landscape of Grech’s mind. Without perhaps realising it, he exposes a lot of agitation, loneliness and despair, yet never makes anything sound like a plea for sympathy.

And he becomes surreal, even pretentious on Death Of A Loved One. This lasts for over 20 minutes, but half of it is unbroken silence leading into the final four minutes of music, which is actually titled Ill. Oddly, the hypnotic resolve of the early part of this track makes the subsequent silence appear creative and the ideal resolution of the album, before Ill jumps you back to a reality of sound.

Grech also has a flair for building up a track to make a full dramatic impact. On Penicillin, he starts with a gloomy loan piano, before escalating the mood to a crescendo, and then taking it back down to a gliding outro. It’s all enhanced by Andy Ross’ sympathetic production.

Open Heart Zoo deserved to be an album feted and acclaimed for its unique twist on the more ambient side of progressive music. Grech, though, was probably relieved it got overlooked, as it’s allowed him to be artistically unyielding.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.