A new label to us is DVS Records out of The Netherlands, a progressive metal label that covers its many styles and sub-genres. It has the motto 'Music We Love For People We Like' and is prepared to give new bands a go as well as established and more polished acts. Rene Janssen has sent us their latest three releases and they really couldn't be more diverse:
Heaven's Cry - Primal Power Addiction
You could say I was pleased as Punch when Martyn handed me this cd for review. I knew HC were due to release a new record but imagine one of Canada's finest prog-metal bands turning up on a Dutch label. It has been six years since their hard to find debut 'Food For Thought Substitute' which contained timeless classics such as 'March', 'The Alchemist' and 'Gaia's Judgement'. The band has stayed pretty much intact so I knew what to expect. I just love the sound of this band. Intricate triple layers of guitars displaying a variety of textures and styles from cranked up, majestic and sublime riffing, gentle picking and acoustic delivery. The dual vocals are simply some of the best around, full of passion, expression, attitude and harmony. Add to this an intelligent rhythm section, lyrical maturity, their undoubted polish and uncluttered production and you have one hell of a band. Despite the many tempo changes, technical precision and the complexity the songs they remain very accessible, the jaw dropping melodies and an openness and subtlety that most metal bands can only aspire to. New classics on PPA include the twisting and turning '2k awe tick', the superb 'A New paradigm' and almost Queensrychesque 'The inner stream remains'. I get the impression that the band have only scratched the surface composition-wise, but hey, not another six years before the next album please. I understand they went down a storm at the recent ProgPower festival and will be touring with Threshold so it won't be long for word to get round. Canada's answer to Dream Theater? No, just Heaven's Cry doing their own thing. Highly recommended.
Chrome Shift - Ripples In Time
Chrome Shift are a young progressive metal band from Denmark and the latest signing for DVS. They acknowledge bands such King's X, Pain Of Salvation and Dream Theater as influences but listening to the band the closest sound I can suggest are some of the technical prog bands on the Sensory label, embellished by the meticulous arrangements and sound of DT. CS have one massive sound for a new band, with high energy rhythms and fast meter changes with some catchy if somewhat robust melodies. I found the vocals too strained attempting to reach the higher notes but this aside CS should be praised for a professional job production-wise and their precision playing. Highlights among the songs are the superb excursion in style 'Through', a carefully crafted acoustic / keyboard piece, more vocally melodic and reminiscent of Mind's Eye. Apart from icebreaker piano piece 'Shadowsong' the other songs I found competent if a tad samey. Also the four part sci-fi epic 'Ripples In Time' has been done a lot recently which sort of sums up my opinion of CS. A band full of promise and ability that need to up the ante in terms of material to step up to the next division.
Norwegian band Ashes To Ashes have been around for a decade and this is their second release. Their style is not your usual progressive fayre. Combinations of Gothic and heavy metal with doom and progressive leanings. Emphasis on creating dark and intimidating atmospheres. Haunting orchestrations, tension building, brutal riffs and brooding, occasionally Gregorian vocal lines with captivating, if under-used art-rock passages. In fact the band describe their unique style as Gregorian metal. Highlight is the most progressive piece, the thirteen minute 'Sic Transit Gloria Mundi', a building track and about as melodic as it gets. Overall though, I must say the album isn't my musical cup of tea but to be fair, the album is rated by many reviewers familiar with the Gothic style. Definitely a case of love it or loathe it, try before you buy in my opinion.
( I.D. ) March 2003
XINEMA - Different Ways (UNCR - 5004)
Unicorn out of Canada are the label that bought us that the excellent album from Hamadryad last year, so I was looking forward to this cd. The press notes suggest the band lie half in the melodic / AOR field and the other in the progressive realm. The Swedish three-piece have been formed out the ashes of late eighties band Madrigal and have a clear motto: 'A good song is always a good song, regardless of genre'. On listening to the cd I have to say I find it hard to see how anyone could not like this record. Immediate melodies, highly polished, smooth and effortless and so easy on the ear. Songs built on sound writing foundations, clearly the songs come first before technical and individual wizardry - that isn't to say these guys can't play. They sound very Americanised, even one of the two lead vocalists sounds like Trent Gardner of Magellan. Spacey keyboards and synths, Moog sounds and piano counter the crunchy sounding rhythm guitars. Only well into the songs does their musical prowess shine with some sublime soloing and interplay. Great use of vocal harmonies just add to a great sounding self-produced album. Its difficult to single out individual tracks as there really are no fillers here. The only draw back for the album I can see is there may not be enough intricacy or complexity for the traditional, challenged prog fan but maybe this is the direction of their already started second album. Overall, a wonderful slab of melodic prog that fans of Saga, Asia and the like will love.
RITUAL - Think Like A Mountain (TF VO 12)
Swedish rock band Ritual are another band now signed to the Tempus Fugit / Inside Out combination and will hopefully now receive the International recognition the band deserve. TLAM is the follow up to 1999's 'Superb Birth' but I must say this new album is a more consistent and cohesive musical statement. The term 'exploring the boundaries' is used to describe progressive bands such as Echolyn and King Crimson, the phrase I feel also fits Ritual perfectly. Undeniably rock and song-based, the band combines great song-writing skills, melodic accessibility, complexity, great vocals and musical expertise, with an array of styles, sounds and exotic instrumentation. Singer Patrik Lundstrom sang on Kaipa's comeback 'Notes From The Past' recently, but here he has total freedom of expression with exemplary results. There seems to be an fresh and idyllic feel to the songs, open and never over-produced. The band mainly cover themes that 'identify themselves with the natural environment', quite a lyrical and deep feeling album. The depth, density and diversity of the musical passages are the traits that distinguish the band. They think nothing of combining hammered dulcimer, bouzouki or sitar, with Hammond, crunching bass, cellos or violins, or acoustic bedding and modern rock arrangements. Such an expansive array and yet at times so surreal and earthy.
There really are no fillers on TLAM but to mention just some of the tracks: Opener 'What Are You Waiting For' combines acoustic and folk-laden grooves with Classic Rock riffs and a nagging forthright chorus. The melancholic 'Human Decision' with its musical imagery of forests and oceans, orchestrations and guitar fills. The massive riffs, expansive percussion and emotive storylines of 'Mother You:ve Been Gone Too Long' give the band a new trademark song. The psycho-strange 'Moomin Took My Head' with piano, analog keyboards, lead bass, harmony vocals and frenzied instrumental workouts. 'Infinite Justice' is such a great rock statement. Overall superb musically and lyrically, and a band that deserves a wider audience, for all open-minded rock fans and comes highly recommended. ( I.D.)
Stock is the third album by German proggers RPWL, again on the Tempus Fugit label but now getting the essential backing from the distribution and marketing arm of Inside Out. For a start, I'm already a big fan of the band and as the title might suggest, the album sees the band 'taking stock', much in the same vein of Porcupine Tree's excellent 'Recordings' album. Stock is basically a combination of new songs and leftovers from the deeply Floydian 'God Has Failed' and the more modern and song-based Porcupine Tree inspired 'Trying To Kiss The Sun' writing sessions, but also sees the band diversify and improvise more, which implies that the songs did not fit the scheme of the other albums. For newcomers to the band, I would describe them as laid back, atmospheric prog-rock, a combination of modern Marillion, Pendragon, Genesis as well as the for mentioned bands. Subtle melodies mainly and easy on the ear, with the soothing vocals of singer / producer Yogi Lang, but then again they can surprise at times with psych elements, Mellotron and Hammond passages, Coral sitar and other exotic instrumentation, loads of guitar effects and heavy rock outbursts. As for Stock the album, despite not being as accessible as TTKTS the quality of the songs still remains. Stand out track without a doubt is the ten minute 'Gentle Art Of Swimming', a spiralling prog / psych track worth the asking price alone. Also, a cover of early Floyd's 'Opel' with new tape effects. The trilogy 'Forgive Me', with haunting Gilmouresque guitars, expansive soundscapes, and haunting female backing vocals also outstanding. For already RPWL fans, you definitely need this album, but for newcomers, I suggest you start with TTKTS for a more cohesive cd. The album comes as double digipak with bonus DVD with quadrophonic sound and video footage from their European tour of 2002. (I.D.)
EVERGREY - Recreation Day (IOMCD 117)
I can't really say I looked forward to listening to Swedish band Evergrey's fourth album Recreation Day. Seeing descriptions such as 'kings of dark and morose metal' in the Inside Out advert, and labels such as heavy Gothic prog could have made the album easy for me to discount. Track one 'The Great Deceiver' seemed to confirm my reservations. Rapido double bass drumming and speed metal, aggressive overtones, countered by crunching chops and Gothic non-descript vocals. A statement of intent maybe. Thankfully the album then changes direction track by track. Some great passion drenched songs, full of intelligent time changes, monumental, heavy guitars and varied, harmony vocals in Dream Theater and Vanden Plas splendour. Great power and energy with diverse keyboards adding texture and colour. In fact an album that encompasses the true traditions of progressive metal, and then takes it one step further. Vocalist Tom S Englund has a real Classic Rock voice with a vast range and expressive delivery. Track two 'End Of Days' reminds me much of VP; heavy layered guitars, intelligent soloing, supportive keyboards and harmony vocals. Full of power and emotion, hard hitting with blinding, virtuoso musicianship. With title track 'Recreation Day' the tempo starts to vary, the emotions and moods change with subtle diversity, great use of electric piano, completed by sublime soloing and vocals. The band starts to impress. Great dynamics and savage heaviness, but an ultimate melodic sensibility. The band also change tact on track six 'I'm Sorry', a masterful piano-led power ballad. Then track nine, the acoustic Bon Jovi like 'Madness Caught Another Victim'. Lyrically, the tracks have an underlying conceptual theme: dealing with death and the loss of loved ones. Track twelve is the bonus track 'Trilogy Of The Damned', a song only available on the Japanese version of 'In Search Of Truth'. A nine minute song of piano, keyboard and vocal - an absolute blinder. A big surprise to me, an album written by perfectionists, diverse and true to their word. In you're a fan particularly European prog-metal, you need this in your collection. ( I.D. ).
EVENT - Scratching At The Surface (EU IO 03)
I heard Event's debut album 'Electric Skies' a few years back and thought there was great potential for the graduates of Berklee School of Music. Rush-like arrangements but more technical and virtuoso in style. To my surprise second album 'Human Condition' was released in the US only, but now Inside Out have given SATS a European release and I must say they have honed their song-writing skills as well taking the use of technology to the next level. Still maintaining their early progressive roots, the band now have a contemporary feel, stylised by modern crossover bands like Tool and Nine Inch Nails. Heavy, deep and layered, groove laden guitars give the band a Ty Tabor ( King's X ) foundation with complex rhythms in abundance, added to this technology enhanced distortions and effects. In fact, guitarist and main songwriter Shaun Micard 'keyboard sounds' are all now guitar induced. An ultra fluid rhythm section ( Jay Rigney - bass & Matt Scurfield - drums ), full of dynamic, individuality. To complete the four-piece, the passion drenched vocals and attitude of singer Dave Deluco, again varied by clever microphone techniques. The songs now have more immediacy and catchy hooks, as well as intricate twist and turns, and much to explore with repeated listens. Thirteen tracks, all around three and a half minutes in length and a definitely an attempt to break into the mainstream as well as cement a niche for themselves. The band choose to concentrate lyrically on emotions and relationships with deep meanings, which is where the title track comes from - 'letting people inside to see what you're thinking'. Cutting edge, innovative, modern rock and thoroughly recommended for those fans of cool, progressive groove. (I.D.)
OSI - Office Of Strategic Influence (EU IO 03)
The tag 'prog-metal Supergroup' has been banded around to describe OSI but to be honest, the final result is not that surprising. Mike Portnoy of Dream Theater ( drums ) originally wanted Jim Matheos ( guitars, programming ) on the first Transatlantic record. Also JM has been tinkering with the direction and sound of Fate's Warning on their last two studio albums. Kevin Moore ( vocals, keyboards & programming ), once of and founder member DT, then guested on these playing pre-written keyboard parts. JM and KM here form a writing team providing the bulk of the material on offer here, so I see the music on OSI as an extension of the last two FW albums, with albeit more of a moody / techno vibe. Guest musicians Sean Malone ( bass ) of Gordian Knot and Steven Wilson ( vocals on one track ), Porcupine Tree complete the line-up. As you would expect, JM is on form here: cranked up guitars, pulsating heavy riffs, groove-based guitar runs and beautiful acoustic and guitar synths. I've not heard KM's solo work, but judging by DT's 'Space Dye Vest' from 'Awake', many of the same traits are on offer: ambient textures, clever techno keyboard touches, spiralling soundscapes, new and vintage keyboards, solos and atmosphere provoking layers, and the unrelenting use of sound effects, sampling, loops and tapes. The actual story behind OSI is true to life and particularly relevant today. An 'ill-fated agency dreamt up by the Pentagon, I think, shortly after 9/11....to disseminate information' states JM. In fact the sound-bites give more away with revelations about the Bush government and American political intrigue. A great idea for a concept you may think. Coming to the vocals, in the pre-hype around OSI we were led to believe Daniel Gildenlow ( POS ) or even Steve Hogarth ( Marillion ) would be doing vocals. In the end we get KM's rather dull and understated voice - an opportunity missed in my opinion to add some fire and soul to the record - it just shows how vital Ray Alder is to the sound of FW. This apart, I did enjoy cd. Great, pulsating tracks like 'The New Math' with great guitar / bass interplay; the groove, riffs and atmospheres of 'Head', but I feel its best to judge it as one complete piece and let the tracks interact. The track involving Steven Wilson, 'ShutDOWN', I found a bit of a let-down but having said that, I still rate OSI as a good record, it just could have been better. Incidently, the limited edition version comes in digibook with bonus cd and extra material. (I.D.)
JEAN - PIERRE SACCOMANI - Music For Time MCP2202
Music For Time is a six track, keyboard album composed, arranged, performed and produced by Paris based Jean-Pierre Saccomani. Lengthy orchestral movements, Ambient dreamscapes, Classical tendencies, mood evolving, wind-swepped sound-forms, ebbing and flowing landscapes and an eiree, Gothic strangeness leave the listener to interpret their own slant on the music. Even titles like 'Cold Scene' and 'Nostalgia' don't really give any clue to the underlying theme evolving within. The layered, synthesiser washes take time to bed in, perhaps like some slowly building movie soundtrack waiting for a change of scene. Personal favourite on the album is the more varied and melodic 'Having Only One Time' with its orchestral tones and emotive, tension building layers. Overall though, I did find the album pretty tough going, whilst the small nuances and scary overtones are subtle enough, I found them to infrequent to truly captivate the listener. To much of a long haul for my tastes and therefore tentatively recommended for fans of the genre only. (I.D).
TOMAS BODIN - Pinup Guru IOMCD 111
Tomas Bodin is quite a talent in his native Sweden, keyboard player, musical director, arranger, producer, actor and session musician to name just some. In the progressive community however TB is known exclusively as the keyboard maestro with one of the world's finest in the genre, The Flower Kings. I was really looking forward to this solo disc, the follow up to '96 album 'An Ordinary Day In My Ordinary Life'. After all, despite Roine Stolt getting most of the credits in TFK, TB was chiefly responsible for the music on the hour long 'Garden Of Dreams' opus, side one on the excellent Flowerpower cd. On Pinup Guru, TB is joined by band-mates, drumming phenomenon Zoltan Csorsz and bass player Jonas Reingold. However, with no guitars or vocals as such, the album manages to create a unique feel and attitude away from TFK, with a distinct quality and depth of melody. Mainly taking influences from TB's background of Classical ( TB is often credited for his ambitious Wagnerisms ), folk, electronic, jazz plus Eno, ELP, The Beatles and traditional. Most of the diverse sounds are classic prog rock, loads of Hammond, Mellotron, Moog, Grand piano, Church organ, analogue and digital synths, strings and use of computerised midi technology. Also, its clear where some of the quirkiness in TFK lies, the odd twists and unexpected touches; the ten tracks on offer here are deep in feeling, atmosphere, humour, experimentation, complexity, and originality. The album never sticks to the stereotypical keyboard album format and keeps the listener focussed and interested, particularly after a few plays. Short opener 'Sodium Regale' kicks off the album, a Church organ, Hammond feast with a underlying theme that re-occurs later. The epic 'What's Going On' follows with its ELP bombast one second, sublime gentle spacey sections the next. A complex musical journey of time changes and multiple layers, a frenzy of styles and themes. 'Me And Liz' is quite a haunting, experimental track that ebbs and flows, featuring some beautiful Mellotron runs and strange, operatic female voices. There seems to be a fascination with modern New York on two tracks: 'Harlem Heat' and 'New In The 'Hood'. The first a stompin' rocker with a real twist mid-record. A Gospel choir with organ and cries of 'Jesus', and a smooth hummed vocal over sea breezes to close. The latter, with humorous keyboard runs, almost Latinesque with strange sound effects as the pace steadily increases to a pinnacle, then a complete change in tempo. The cinematic and symphonic 'Blood' follows with its horns, orchestral strings and angelic voices. Following a short Grand piano piece, 'The Last Eagle' soars through an up-tempo Classically inspired song, rich in atmosphere and energy. To end, 'The Final Swig' reprises track one, but extends the workout, deep bass and fretless runs to the fore, and more improvised and jazzy. Packaged in digipak format from Inside Out, a good addition to any prog collection and fans of FK are going to love this solo detour. (I.D.)
KING CRIMSON - THE POWER TO BELIEVE (UK SAN 03)
King Crimson have become a musical institution over the last 30, with their ever eclectic blend of music they have never failed to expand or diversify. With their mini offering from last October (from the same sessions this recording were done) this full length CD has been eagerly awaited by both old and new fans with its ability to blend progressive rock with its industrialist overtone. Some 30 years ago along with Pink Floyd / Genesis and many more KC forged ahead in the world of progressive rock, while many bands failed to explore further into sounds they aimed for KC took the challenge and have constantly pushed hard at changing and exploring their own sounds. With its overall harder more intelligent sound and distinctive values this CD is sure to win much favour. Opener "Power to Believe 1 - A Cappella" needs very little explaining it's a 44 second vocal offering, follow this with "Level Five" where KC push their industrial progressiveness to the full and after just 5 minutes into this CD you are already absorbed in this rollercoaster ride of sound. "Eyes wide Open" is the 3rd track (presently my favourite on the CD) and for me eclipses the philosophy of KC, complex and well wrote this manages to hold onto itself while turning away making sure the listener follows. By the time you reach half way into the CD you are into what I feel the CD is about "Power to Believe11" this is much more rhythmic whilst making use of the bands talents as musicians. Tracks 9, HWWYHTBHW leads you to jump feet first into a pool of industrial metal with hard edged guitars and pounding beats this would slip nicely on any of the crop of Nu Metal CDs around right now. The last 7 minutes of the CD are taken up with, "The Power to Believe 111 and 1V" although separate in themselves they conclude what has been a constructive hour of music. Nearly 3 years in the making emotional in nature this CD is also disturbing and nervous in sound. King Crimson still continue their musically search while exploring and removing boundaries, from the sublime to the unreal this CD is as "progressive" as you will find this year.
After their critically acclaim anniversary (for this lineup) CD 10, Stray have found new life and are again taking their stunning blend of hard-rock to the masses. This new Live CD from 2002 was recorded at one of the UK premier venues The Robin Hood Club. We all now get the chance to hear what many Stray fans have known for a long time that this band cook when live. After some 35 years in the game you would think founder member Del Bromhams (guitar and voxs) would have tired but on his performance here, not at all. From the opening medley of Come on Over (take it easy, natures way etc.) The ever enthusiastic "Robin" crowd know they are in for a night of blistering guitar work and unforgettable rock & roll! The following hour of music is made up of older numbers (which the crowd delight too) and newer and sometime less familiar songs from "10". At times the sound gets claustrophobic, but this for me adds to the overall appeal and makes for the feeling of the band playing inches from your face. Stray aim to please and this CD captures their live performance as I'm sure it sounded on the night, Highlights from the CD if I was picking would be the 8 minute plus I believe it and final number Suicide. If you are already acquainted with Stray this CD should be on your shopping list when its released on March 10th, but if like myself, you have only ever toyed with them musically I would recommend this to you (or anyone else who's in "hard rock") as this CD is sure to please, a great live set captured well.
ARENA Contagion (UK VERGLAS 03)
As British progressive rock band Arena are about to release their fifth studio album in eight years, I couldn't help think of the pre-conceived ed I was expecting. A set of carefully crafted songs of varied lengths in Marillion I Pendragon vein, melodic, symphonic and acoustic, quite good but safe prog platter and nothing really ground-breaking. Right? Also, talk of Arena re-inventing themselves and taking the band to another level?
Well I can tell you straight away, this new album is a huge leap forward in every sense and just what I was hoping for. The production and new dynamic sound is flawless, and just typical of the quality currently coming out of Thin Ice these days ( Threshold for example). It's a good deal heavier than previous efforts, and a clear sign that John Mitchell ( guitars ) is having more creative influence on the writing team of Clive Nolan ( keyboards ) and Mick Pointer ( drums ). His complex guitar rhythms, chops and solos are really something to behold. It seems CN doesn't get involved in quite so many projects these days and surely this has helped. More Hammond and Moog sounds, and he really comes to the fore in the second part of the album. Also the expansive vocals of Rob Sowden are not only pure quality, but also so controlled and emotive. I can here new and modern influences, a greater quality and consistency in the songs, more details, layers and interplay, but also contrasting breathing spaces and heartfelt subtleties. A collection of multi-faceted, light and shade tracks, covering an expanse of progressive genres, forged cohesively and interacting effortlessly to tell the conceptual tale with hidden meanings, of a `search for salvation through a dark and foreboding vision of the future'.The lengthy and detailed pre-production, technological gimmickry, recurring voices and sound effects, augment the songs into one huge roller coaster ride, rather than just a collection of individual tracks.Sixteen in all, kicking in with the crunching, layered guitars of the groove-laden `Witch Hunt'. Prog-metal overtones with throbbing bass-lines (Ian Salmon ) and catchy harmony vocals. The atmospheric piano led `Angel Falls' follows with its emotive, sombre vocal lines. Arena's great contrasting musical interplay and virtuoso playing is highlighted next on `Painted Man' and the racing instrumental `This Way Madness Lies'. JM really excels here with some great staccato soloing. `Spectre At The Feast' is more traditional Arena, less tempo, melancholic and keyboard led to start with, then gathering pace into a guitar part not unlike Anathema's latest album. The silky smooth harmony vocals dominating `Skin Game' and also the changes of acoustic and electric guitars suggest a Porcupine Tree influence. The multi-faceted `Salamander' follows, a great track that truly
ebbs and flows, multiple time changes and heavy riffing and this leads into the sublime, trademark CN keyboard solo and guitar interplay of `On The Box'. Shifting percussive and bass patterns lead `Tsunami' onto the most Marillionesque tracks here: `Bitter Harvest' and `The City Of Lanterns', deep in `Brave' era, vocally in particular. Then the keyboard dominated instrumental `Riding The Tide', followed by the deeply emotive and beautiful piano led `Mea Culpa', rising from gramophone quality for added feeling. Then `Cutting The Cards' with its expressive, complex vocal lines, vibrating fiamenco and groove filled riffs in Classic Rock vein. To close, the upbeat and reflective `Ascension' containing powerful, expansive, symphonic textures in true Arena splendour.
But apparently, the story does not end here. Two special Eps will be released with additional material, CDR features etc to be housed in the Limited Edition Digipack.Personally, I can't wait.1 must say I enjoyed every minute of this album a 1 know prog-heads will love it. What a startto 2003! (I.D.)FOCUS Focus 8 (Musea 2003)
Any band that reform and release a "new" CD after a period away from their fans of 20 years set out a difficult task. With Thijs van Leer on board ( the rest of this line is all "new") this was taking shape as a "Focus" release but with no Jan Akkerman was there going to be enough musical depth to fulfill the awaiting "Focus" fans? Personally for me I found this CD a little "light weight", there are plenty of nice touches and a feel of old Focus, esp. on Fretless Love and the title track. While overall I feel the CD will appeal to many older fans while if you are not familiar with much of Focus from old and would like to experience them for yourself this is as good as any starting point. For my ears I found the CD a little too restrained and very safe, while I think with this lineup Focus could have challenged just a little more.
ROUSSEAU - At The Cinema (Fr Mu 02)
Rousseau has progressive roots deep into 70's bands Camel and Caravan, and have recently been subject to Musea's reissue programme, re-releasing three 80's albums by the band. `At The Cinema', after a fourteen year break, is their brand new album. This is my first encounter with the German band and in truth, their music is not that easy to categorise. A mixture of progressive rock instrumentals and melodic, MOR rock songs and ballads. I must say, 1 found the former much more interesting. Sublime, fragile piano pieces such as `Welcome To The Cinema', further enhanced with Classical guitar, then electrified on sister track `At The Cinema'. The rockier, building track, ~Rendezvous' with its layered, twisting keyboards, stellar guitars and acoustic picking. Added to this the electric soloing on `Waterfront', the delicious viola playing on `Retreat' and personal favourite, the beautiful acoustic / piano / keyboard piece `Amour Fou'. Never hurried or flashy, the band certainly have the knack of coming up with catchy and yet so subtle melodies. The balladry of tracks such as `Now Or Never', `If This Is Heaven', `All I Want' and the like however, whilst good, solid, melodic songs are a shade to AOR for the average prog lover and therefore less appealing. The warm voice of Jorg Schwarz I feel also gives the songs more of a Country / Blues / Folky feel. Some surprising accordion and organ sounds give added colour and diversity, and there are some nice, but under-used instrumental workouts. I'm sure fans of the band will love this album, but I feel the band are capable of writing some great progressive songs, and therefore to summarise, a decent album that could have been a lot stronger. (ID.)
