TIMANFAYA

Compelling production from this German solo artist, who's crafted a highly intriguing album with the help from a multitude of musical friends here.

The compositions are mostly keyboard driven, with the piano as a central melodic element in carefully crafted multilayered arrangements; where organ, floating synths and multiple keyboard layers all contribute to a greater or lesser extent to flesh out a detailed, nuanced sound rich in textures and with a good amount of tension. Contrasting elements are utilized in a skilled manner; focusing on minor details rather than the big contradicting sounds. Drawn out guitar chords and acoustic guitar licks add even more details and nuances to the performances, and the drums are used in at times rather creative and innovative fashion to serve some rather unique sonic explorations.

In style we're talking a variety of Neo progressive rock, with added elements from vintage progressive rock as well as new age; lush and mellow but often majestic and rich in atmosphere at the same time; and rather energetic on a few occasions. Well worth checking out by fans of instrumental music with symphonic progressive rock as the main musical foundation.

OK, that's not exactly the look of a prog artist that you would expect, but it's someone producing surprisingly interesting music. Even not as much as I expected. There are layers in all of songs presented here and so, they're structured, completely with graduating composition, climax and aftermath that follows. However, there's something bad and instead of other albums I've reviewed today (and didn't like certain elements and was able to name them), I'm not able to describe it here. It should be interesting, it's not typical neo, but should be shouting on each of my prog senses and saying that this is very good record, but instead, I find myself without a word (I'm sometimes talking to myself, or others, or animals, trees, you know the stuff), not pleased, nor angry. Just with empty feelings

3(+), I suppose will be appropriate to describe my feelings + prog value I see in this record + how interesting this music is. Not bad, not good, average.

"German gem"

This is a musical project by the German keyboardplayer/drummer Hans Peter Hess who has invited several musicians on the five albums he has released between 2006 and 2014. The name is derived from Rush drummer Neil Peart his book "Ghost Rider - Travels on The Healing Road", it is Hans Peter his favourite one. This review is about his second effort entitled Timanfaya (2009).

On his instrumental second album Timanfaya (running time 50 minutes) we can enjoy nine varied and very tastefully arranged compositions. The atmospheres range from spacey, electronic oriented and mellow with sensitive electric guitar or Grand piano to bombastic with powerful Hammond organ and spectacular synthesizer flights. Or propulsive rhythms with fiery guitar and dynamic drums. I cannot trace a weak song but I would like to mention my highlights.

An exciting atmosphere with a fluent rhythm, sensational keyboard work and strong interplay between guitar and keyboards in the great opener Devil's Garden and the alternating Crashing Waves.

The distinctive sound of sultry sounding Indian tablas and delicate Fender Rhodes electric piano, along subtle guitarplay in the strongly build-up Crater Camels.

Wonderful keyboards (from a swinging piano to a slow synthesizer solo) and varied guitarwork (from a Floydian solo to biting wah-wah) in the captivating Observe And Learn.

And lots of dynamics, keyboard pyrotechnics and exciting shifting moods in the long Fire Mountains, this is Prog Heaven!

I am not familiar with the other albums, but listening to this CD I conclude that The Healing Road is e very interesting German musical project to discover!