TALL TALES

It’s really too bad these guys didn’t stick with their careers as a neo-symphonic band. Their legacy will apparently remain one really excellent album (this one), a so-so one (‘Curtains’), and some impressive appearances on their resume - BajaProg, NEARfest, ProgDay among them.

The Rush influence is very strong and undeniable throughout this album, particularly in the vaguely mystical lyrics, Bill Esposito’s vocals (exactly what Geddy Lee would sound like with testicles), and the spacious arrangements that manage to sound meaty without overwhelming amounts of fluff, percussion, or extraneous trappings.

Right from the opening “Over the Falls” the band establishes their credibility as a fastidious studio group with very precise tempos, guitar and bass laying down a wall of sound without dominating the lighter flute and intricate keyboards, and Esposito weaving tales in a strong and ear-pleasing voice.

The flute is most prominent on “The Poet Liar” and the Imp’s Tale multi-sectioned second half of the CD, while keyboards dominate on “Find the Line” and the guitar/bass duo make up the bigger part of the lengthy and varied “Lords and Leeches” (although the multiple tempo transitions here give each band member an opportunity to contribute).

“In Ancient Tongue” features guitar and eerie keyboards in almost an Opeth (Blackwater Park) or Green Carnation (Acoustic Verses) kind of way – a very calm and intoxicating tune, although it does seem slightly out-of-place on this album. I believe there may also be a bit of dulcimer on this track, but the liner credits don’t call it out so maybe not.

“The Salamander” and “Land for Sale” are pretty unexceptional, very smooth keyboard/guitar interplay and solid vocals, but these two tracks seem to kind of fade into the woodwork between the lofty “Lords and Leeches” and the Imp’s Tale.

And speaking of Imp’s Tale, this is a very entertaining twenty-one minute, seven-part fantasy tale that even Arjen Anthony Lucasse would have been impressed with. The story is fiction noodling and not really of any particular consequence, but the music is quite good. The guitar work here is much closer to metal or neo-progressive, the tempos vary but are generally more aggressive than on the rest of the album, and the singing is really kept to a necessary minimum so the instrumental passages can be highlighted. This is the kind of work most progressive music nuts got hooked on in the first place; Crucible are clearly true believers and are offering up a solid testament to their ‘faith’.

This is a very solid four star work. It probably would be five were it not for the couple of rather bland tracks in the middle, and the too-obvious Rush influence. Those things aside, a highly recommended work, and a great addition to any collection.

peace