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FM: Transformation

Worthy addition to a unique catalogue.

Often regarded as one of the most distinctive of all North American progressive bands, Toronto’s FM have a raft of albums which resist easy classification. Black Noise in 1977, for instance, was stark and adventurous. City Of Fear came three years later and evoked an electronically-fuelled dystopia. So, how does the new incarnation of FM live up to what the band has previously achieved?

They do it by not trying to emulate the invigorating invention of those earlier albums. Instead, the new-look band, led by sole original member Cameron Hawkins, have gone for a sound that’s both contemporary but also owes something to the late 70s.

Opener Brave New Worlds has a depressive tonality that marks out how tough it is to get to grips with the ever-changing mores of modern society. But as Hawkins’ vocals soar, augmented by Edward Bernard’s hypnotic, swaying viola and violin, there’s a final air of optimistic idealism. This is continued through Cosmic Blue, which strongly hints at a Yes influence, while never allowing this to become dominant, as the synthesiser chimes away alongside stirring string arrangements from the peripatetic Bernard.

There’s a languid, easy flow throughout Transformation, one which – from a lesser band – might suggest a sense of laziness. But that’s certainly misleading, because when you investigate a little further, it’s clear there’s a lot of density and depth to this music. Children Of Eve has a sophisticated, agitated perception, nudging along a lyrical fatality with brooding musicianship. And The Love Bomb (Universal Love) might seem to be superficially naïve in its philosophy that we will eventually find a way of stopping war, but it carries you along on its wave of positivity. This is underpinned on the subsequent Soldiers Of Life by an enduring cynicism, exploring the manner in which we have allowed technology to become terrifying.

With a languid easy flow, this music has density and depth.

But the album ends on a bright note. Heaven On Earth extols the virtues of nature and leading a simpler life, and that is the overall message. If we give ourselves over to the freedom within us all, then life holds wonders and imaginative joy. However, if we are enslaved by our own scientific advances, then fear lurks in every thought.

What FM have done is take this oft-repeated message and given it their own artistic twist. Each song stands on its own, while also being part of an arcing viewpoint. And the performances are of such magnitude that Transformation – partially inspired by Yes, Rush and Gentle Giant – is a highly plausible chapter in a story begun nearly 40 years ago.

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.