SNOW QUEEN

I had so many expectations about this work...in last months many good works from British bands...and if they are from UK many possibilities to be not dissapointed .

But.....

If this band wanted to upload a music work for myspace...you tube ...Ok interesting demo to visit....But an album?

I listen and listen this album ...in there something to consider ..some passages of the songs..some arrangements?...the vocals? maybe .

In comparison to quality bands of the nowadays prog rock...this is precarious...I

In my opinion they were in a rush to get this material off.

Maybe here is a basis for the future ...maybe...

Now i don t like this music

In my opinion this work is unrespectful for prog fans.

1 star

Snow Queen is almost the alternate soundtrack to an animated movie as if they could have recorded it for the classics; The Last Unicorn and The Swan Princess and would have gotten them a huge turning point for them and success to those films, but the music itself is astonishing and spiritual at the same time and feels that you are embarking on a Magic Carpet Ride into another dimension. As expected, there's a huge inspiration of; ELP, Starcastle, early King Crimson, Camel, Genesis, and Styx in there to make it sound like a huge amount of dosage of Symphonic Rock like no other and it's quite evidential by listening to this from start to finish, that this album could have been recorded back in 1977.

Again, this album feels like a Spiritual Journey. Starting off with Secret Garden, it becomes a swooshing harmonic and melodic melody synth into soaring skies while the thrilling guitar rumbling solo by Mike Hagland makes it an exciting thunderstorm, then it becomes a folky turned into calming movement that Geoff Smith does in his vocals as to let the listener know that the story has just begun. Nightmare Days reminds me of the Grand Illusion-era of Styx with the acoustic rhythm introduction and then becoming a haunting '70s power chord rocking touch while The Prophet starts off with a middle-eastern vocalization and whispering spoken word gibberish and then it goes into the same situation of the second track then goes into the midsection of a wonderful Flute and Synth workout, to make it an excellent exercise between the two instruments.

The title track, which is an 8-minute epic, is a mind-blowing experience. A thumping guitar solo, more power riff chords, and Chris Squire-like bass lines between Mike Hagland, Andy Gibbon, and drummer Steve Leman, go into town together for a grand old time with a touch of adventure in their heart and soul as if they were working with Yes on this composition. Spellbound begins with a rumbling militant snare drum and moog/mellotron work in the styles of King Crimson as the battle rages on as it goes into an emotional and wonderous resemblance of Kansas stylization on the Point of Know Return-era that is spot on.

Fall of the Queen closes the album with a wonderful ballad, between electric, acoustic guitar, and double-tracked vocals before kicking off into the sunset with the Keyboards as Geoff sings his heart out on what will the next morning will hold for the survivors who kept as prisoners from the Snow Queen. This is perhaps one of the best albums I've listened to and while this is their second album, it'll probably be one of the best of 2012 to come out.

Times Up come from South Wales and were formed in 2006 by four rock veterans, namely Geoff Smith on vocals, Andy Gibbon on bass, Mike Hagland on guitar and Steve LeMan on drums.The debut album ''Storm coming in'' was released in 2008 and, according to the band, it was a Classic Rock album with some Prog influences.For their second work ''Snow queen'' they recruited three keyboardists, Ron Rogers, Richard Lawton and Dave Hughes with Sed Edwards providing also some bass lines.Recorded at Up The Lane Studio, the album was released in 2012, at a time when Geoff Smith had already parted ways with the group.

They have completely turned prog at this point, although the rhythmic and more Classic Rock-styled parts are never absent.Imagine the more pompous vibes of YES mixed with some Hard Rock-in' guitars and tons of flashy keyboards to come close to what this album is all about.The music is generally fast-paced and dense with a nice bunch of breaks, clean vocals, memorable vocal deliveries but also some intricate instrumental parts.The aim was apparently to come up with musicianship that doesn't lack demanding instrumental depth, but ends up to be striking and accesible and the guys eventually made a decent attempt.Powerful guitars and passionate vocals meet with neurotic keyboards, but the sound is also showered by some delicate flutes at times as well as some breaks into acoustic territories.Retro references are not absent either, light organ passages and even some Mellotron samplers are appearing every now and then to deliver a nostalgic mood.Rich, lyrical and dynamic arrangements, at the end the album sounds fresh and cheerful.Maybe the whole thing is a bit too pompous and flashy for its own good, but there is some serious talent in composition here, allowing the band to offer emphatic and quite long pieces with a balanced sound between guitar- and keyboard-led themes.

A band to keep an eye on.The long members' experience has been tranlsated into an easy-going listening, which still pays a tribute to the principles of Classic Prog.Recommended.