THE ART OF NAVIGATING BY THE STARS

A German band led by the stalwart Holzwarth brothers (bass and guitars), the band has its roots in Prog Metal-- where much of their previous music may have fallen, but this one would be more appropriately labeled Heavy Prog, in my opinion, or even Crossover (due to the remarkably smooth and harmonic CSN&Y-like multi-voice vocal harmonies.)

1. "Intro: Navigating by the Stars" (0:30) effected baby noises with background synths.

2. "Sequence I: The Weight" (10:14) heavy, rolling bass and guitars with solid drums and a few rounds of gattling guns set the stage for sparse musical support of vocalist Arno Menses opening salvos--which are surprisingly soft and pretty. His voice (and the music) sounds a bit like RUSH's "Fly by Night" but the music develops and shifts in many more surprising directions--especially the CSN&Y-like perfect harmonized choral voices. At 4:20 we shift a couple gears into a faster pace for an instrumental section --though still sounding surprisingly like RUSH. Great song with some incredibly engaging music and vocals (both Arno and the harmonized collective banks); where it falls short is in failing to deliver a "knockout punch." (18/20)

3. "Sequence II: The Lonely Views of Condors" (6:14) a good song with interesting music and lots of nice use of space; they just don't deliver enough melodic hooks in the music or in the vocals. (8.5/10)

4. "Sequence III: Unbreakable" (9:00) third song in a row in which the guitarist is using the same chorus effect. When the bass and drums join in to underline the slow pace, I'm reminded of both Nina Hagen's amazing debut band (SPLIFF). And then the vocals enter reminding me of soon-to-arrive on the scene IAN KENNY from Aussie band, Karnivool. At 3:50 we switch into another "Fly By Night" motif for 100 seconds of instrumental "discipline" and soli. Then everything cuts out save for some delicately picked acoustic guitar as Arno sings plaintively. When he is joined by choral bank harmony singers it signals a shift back into more upbeat pacing--where the music almost becomes straightforward classic rock. Though they're rather infrequent, the CSN&Y-like bolts of vocal lightning are so bewitching. Still, there is something lacking? (18/20)

5. "Sequence IV: Stigmata" (8:22) more RUSH ideas taken further and made Seiges' own. Until the fifth minute, I hear a lot similarities to WOBBLER's Rites at Dawn in this song, but then it almost goes Post Rock and Brothers Johnson "Strawberry Letter 23"! GREAT shift/change at 7:40--so close to the end--to give us a kind of TOOL ending! (17.5/20)

6. "Sequence V: Blue Wide Open" (5:13) a cappella choral vocals open this one before giving way to a weave of picked acoustic guitars (at least three). In the second minute, Arno's classic rock voice sings--using two tracks to time his continuos delivery--which the guitars continue to pick away. Just before the two minute mark, the guitars switch to strumming for the chorus, but then they cut back and turn to a display of classical flourishes (two or three tracks) before returning to the picking weave of the opening section. There's a little Steve Hackett/Genesis feel here--as well as FIREFALL ("Strange Way [to Say I Love You"]). Pretty song with some awful nice guitar play and recording ideas. (9/10)

7. "Sequence VI: To the Ones Who Have Failed" (7:26) if Rush were composing for TRIUMPH, TOTO, AMBROSIA, or REO SPEEDWAGON. Then it turns THIN LIZZY in the middle instrumental section before returning to the TRIUMPH motifs of the opening half. Nice song. (13.25/15)

8. "Sequence VII: Lighthouse" (7:41) guitar harmonics with plaintive singing by Arno, but then the harmonized choral approach enters to set up the slow ramp up to full power. As we get to third gear in the fourth minute, I'm again reminded of some of the country-tinged song and vocal sound palettes. Nice classical guitar solo in the fifth minute is followed by a relaxing pastoral flute solo before everything shifts into fourth gear. Little River Band and Ambrosia come to mind here. Very nice song--also very unexpected (on a "metal" album). (13.25/15)

9. "Sequence VIII: Styx" (8:55) sadly, this one has the weakest songwriting and instrumental showmanship on this otherwise-wonderful album--almost "RUSH--for-beginners, by-the-numbers". It's not until the 4:45 mark that the band seems to finally come alive--and it does in fine fashion, in a kind of KING CRIMSON way--at least until it returns to the Southern Rock sound/style with Arno's vocal. (What happened to all of those magical choral vocals?) Fortunately, the wonderful final two minutes help salvage some of the magic. (17/20)

Total Time 63:35

There is a lot of RUSH-influence in these songs: sounds, chords, riffs, changes/shifts, drumming, even the vocals. And yet, they manage to make it sound fresh and like it's all their own. Plus, they use--to great effect--much more space and spaciousness than Rush. I love the unusual prominence of the bass and the fascinating way in which the instrumentalists play off each other both harmonically and rhythmically. Truly in interesting and refreshing. Again, if this is "metal," then I'm a convert! (It's not: I'm not quite there yet.) Also, if this is a concept album, I've not found it (i.e. the common thread).

B+/4.5 stars; a wonderful addition to any prog lover's music collection and one of my favorite "heavy" albums of the Naughties.