Approaching Translucence by Art Griffin’s Sound Chaser
Release date: November 21, 2025Label: Self-Released
It’s been three years since Art Griffin’s Sound Chaser had unleashed a new album since 2022’s The Seven Ages of Starlight. One of the most excellent musicianship’s Art has given into this world of progressive genre. And I had reviewed the album on Echoes and Dust and given it a glowing review. So far, with two albums in the can, there’s no denying that Art himself has taken himself up in the sky to his next follow-up for 2025’s Approaching Translucence.
Recorded and mixed from 2022 to 2025, Art has delved into the instrumental orientation once more by creating something extraordinary and something wild worldly that’ll keep you on the edge of your seat in IMAX form. With the who’s who from Randy McStine, Derek Sherinian, Marco Luciani, Marco Minnemann, Kelly Kereliuk, and Victoria Yeh, they aren’t just regulars, but more like a family to lend Art a helping hand by bringing his creation to life.
There’s plenty of incredible playing that’s on this album. From the moment the title-track kicks in, you imagine yourself, being at the studio, watching the ensemble crew laying down some powerful improvisations that brings to mind French progressive rock group Atoll and their 1976 album L’Araignée-Mal followed by the sounds of Weather Report, and Return to Forever with its mind-blowing arrangements.
‘So Fine’ sees the drum patterns going into this fiery display, maybe even eruptive blasts coming out of nowhere with its dooming clavinet’s, heavy violin work, and tap-dancing to eternity. Almost has this video game-like sound, something straight out of the Super NES years which will make your jaw drop with unexpected results.
Elsewhere, ‘The Universe Has Its Ways’ enter the ambient world of trip-hop experimentation. This is where Art himself envisions himself into that genre by opening up the door, and seeing what kind of magic lays inside that void. I believe its Randy or Kelly, laying down those powerful solos that sends shivers down your spine before the synths send us into the Camel-like world of Moonmadness with its Fusion-esque sense of beauty.
The militant attacks behind ‘Stormbringer’ tightens up the electricity by sending us into a futuristic view of 30th century of parallel universes with its classical orientations in which Yeh herself has given carte blanche to shine brightly throughout the sixth track whilst Griffin lays down the funky grooves on ‘The Yin and the Yang’.
This is where Griffin channels the bass-playing styles of Bootsy Collins, Chris Squire, Stanley Clarke, and Sly and the Family Stone alumni Larry Graham, adding in the thumping and plucking techniques that defied jazz-funk rock to the core, but with a powder-keg of Herbie Hancock’s Headhunters-era that speaks volume.
The 10-minute electronic turned spacey, industrial elements of Hawkwind speaks volume on the two-parter ‘Chordal Mover’. You almost want to head into the dance floor in a club somewhere in Canada as this track hits, the electric lights, laser lighting prisms, you really want to sweat like crazy until the crack of dawn for those techno-like orientations.
It is unexpected, but Art knows he’s more than just the four-letter P-word. He wants to branch out and prove to himself by spreading his wings and fly across the Canadian countryside and see what’s over the hills in its beautiful landscape. But once the electric guitars kick the door down, all bets are completely off the table. Again, I believe Randy and Kelly are taking turns with each other’s solo, making each of the ensemble team taking turns with one another on their improvisation’s.
Sly, in your face, and rule book thrown into the fire, Approaching Translucence has a return to form that Art himself has shown how far he’s come. It’s always great to see how undoubtedly, he is, a true visionary, and a composer for the wonderous adventures he’s brought the listeners to the big screen.
