VISION

Chock full of colorful music, Martigan's Vision is a grand affair, with a fair bit to like, and at the same time, a fair bit to not like. Each instrument wields tones that find favor with me, especially during instrumental sections- in lead roles, the guitarist and keyboardist are astonishing. There are several memorable passages (the refrain of "Boatman's Vision" is remarkable), and the rhythm section does a fine job holding things together. However, much of the album is droningly cheesy, almost embarrassing at times. The "Slipperman" vocals wear out their welcome quickly, and, aside from the grossly generic neo-progressive arrangements and sound, ultimately serve to drag the whole album down.

"Boatman's Vision" Two stately epics appear on this album. The first one properly begins with bright, almost frosty tones, and a majestic chord progression. The refrain is highly enjoyable, as the lead singer's voice (which sounds like a cross between Cat Stevens and Peter Gabriel with a cold) is suited to the majestic melody. Some portions of the piece drag badly, particularly those theatric, Genesis-like segments, and there's nothing groundbreaking with regard to the lengthy instrumental passages. However, none of that keeps this from being one of the best pieces on the album.

"Craze This Town" A slow, synthetic song, this rather sounds like the opening theme tune to a prime time police drama back in the 1980s. Otherwise, it's closer to a Bruce Hornsby number.

"Snapshots" Open synthesizer and clean guitar, coupled with dark vocals, make this short snippet similar to something from 1980s Pink Floyd.

"Touch In Time" Electronic tones pepper this piano-led piece. As it grows darker and heavier, the singer migrates quickly between hideous growls and high-pitched falsettos. Largely, the song is very similar to early Marillion.

"A Great Concern" Piano, acoustic guitar, and husky vocals make up this 63-second bit.

"Much More" The almost orchestral beginning is the harbinger of even more exciting music, with lovely lead guitar and a fabulous synthesizer solo.

"Red & Green" After a lush introduction, the music takes on electronic and exotic layers that make it a wee bit cheesy. That said, this, like the first track, turns out to be quite a memorable ride, despite sounding like a shameless mid-tempo dance track.

"The Contract" Airy synthesizer and light piano drip onto the blank canvas of the second large piece. After the introduction, a bubby bass and trembling organ bounce in, followed by crunchy guitar and heavy drums. That too, ends inexplicably, to allow for a piano segment By this point, things really become cliché, not just in terms of sound, but with respect to the lyrics. As a consolation, there's some fabulous lead guitar work. Halfway through, the song resumes its piecemeal tedium, never to divest itself of it again.