NOT ALL THOSE WHO WANDER ARE LOST

1. "The Song Of Illuvatar" (4:56) very IONA-like instrumental (with opening narration). (8.5/10)

2. "EÄ" (6:09) aggressive electric guitar-led opening turns soft with solo piano base before falling into more calmly-paced song in which lead guitar is cleverly mirrored by female vocalise and full choir. At the three-minute mark things pause for a reboot as the breathy voice of Sally Minnear sings a few words. Then a more Celtic-oriented "reel" with full prog and choir regalia. The guitar playing is impressive throughout and the choral support works nicely. Very good Celtic prog. (9/10)

3. "Into The Perilous Realm" (5:10) The words sung by Sally and choir in the middle and end seem almost inconsequential--as if they are intended to provide another thread into the musical weave, not convey anything through the English language they use. Odd. Nice melodies and very tightly performed, mature composition, though. (8.75/10)

4. "Awakened By Starlight" (6:19) starting off very gently, with a piano/keyboard base, the song slowly builds behind a strong John Serrie-like melody before reaching for stratospheric heights in the fifth minute. Again, no words, despite singers. (8.75/10)

5. "Under The Same Sun" (5:02) fast-picked nylon string guitar is joined in the second minute by Celtic instruments and orchestral instruments. Has a Hans Zimmer/Pirates of the Caribbean-feel lurking beneath--which bursts forth at the two-minute mark. (8.67/10)

6. "The Shire : A Long Expected Party" (4:46) once again, narration opens this, and then guitar and traditional Celtic folk instruments start expressing their interpretation of the events in the title. This song is very similar to an IONA song from their 2000 masterpiece, Open Sky. (8.75/10)

7. "The Pass Of Caradhras" (3:36) more Pirates of the Caribbean-like music follows the first Gandalf set up, but then the Grey Wizard speaks again, causing a shift in the music--all of which is recovered at 1:55. Two very skilled guitarists having their fun. (8.67/10)

8. "A Prayer For The Fallen" (2:11) somber piano echoes through the Vale in this sad song. Hallelujah. (4.25/5) 9. "The Riders Of Rohan" (4:18) piano and a young girl's breathy voice open this before rolling bass and swirling keyboard arpeggi move us into a interest and very theatric chase theme. (8.75/10)

10. "Minas Morgul" (4:30) dark and brooding with excellent help from the orchestral instruments. By now the John Mitchell/Devin Townsend-like guitar shreds are feeling similar--impressive but a bit like a two-trick pony. (8.67/10)

11. "The Ring Bearers" (6:56) acoustic guitar finger play opens this one. Piano and low bowed bass and strings join in as Sally Minnear sings for a bit. But by the end of two minutes she's pretty much done and the instrumental performances have taken over--plus, once again her efforts feel as if they are placed second to those of the instruments. Still, this is my favorite song on the album--there's some nice stylistic and dynamic shifts in this song that many of the others lack. (14/15)

12. "The Houses Of Healing" (3:50) echoed upper-octave piano play opens this (over gentle strings). The piano moves down and speeds up as traditional Celtic folk instruments join in. At 2:30 all the power electric prog instruments and motifs take over. The end of this one has a Roine Stolt or AYREON feel to it. (9/10)

13. "All The End Of All Things" (3:35) weepy lead electric guitar playing over deep organ-like sound palette. Part Colin Tench, part Jeff Beck, this is a nice bit of guitar playing. It comes bursting forward at the end of the second minute with some orchestrated walls of sound progressing a bombastic four-descending chords motif before backing off for the final 30 seconds. (9/10)

14. "White Shores And A Swift Sunrise" (6:03) feels like a genuine Irish "goodbye/fare-thee-well" song--before turning Disney at the beginning of the third minute with the full choir singing--with lyrics! Great etheric IONA-like protracted outro. (9/10)

Total Time 67:21

While it's instrumental performances are impressive, overall the album's string of songs all seem to lack something in the melody department for my tastes. Plus, I find it ironic that a concept album based on one of the 20th Century's most admired lyric literati offers very few words and even fewer moments of singing of lyrics. I think more use of the choir, more use of singing with lyrics, would have been nice. Still: a mighty fine concept, execution, and product.

B+/four stars; an excellent addition to any prog lover's music collection.

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