GLORY OF THE INNER FORCE

Items ordered by ending time | Showing all 6 items

Visit eBay search:'prog rock' for items
Sell your FINCH items on eBay !

No release results - showing artist results instead

Sort: Recent best-seller | Results cached

Visit Amazon tag:'Progressive Rock' for more prog rock

This quartet takes its roots in the Q65 group and released three albums in the middle of the 70's, all three in the typical "Dutch school". It's clear that these guys heard Focus and Solution or even Cargo, even if they were completely instrumental and generally harder-rocking than the afore-mentioned. Nevertheless their symphonic jazz-rock was at best enthralling (with exciting and virtuoso interplay) and at worst very cheesy, especially in the more symphonic bits. Founding member bassist Peter Vink (claiming his name's Emglish translation is Finch) and drummer Klaase provide the strongest of support for guitarist virtuoso Joop vanNimwegen and Paul Vink on keys. Upon the recording of their debut album in 75, Glory Of Inner Force, Determeyer replaced Vink on keyboards. Graced with a superb esoteric artwork and a title to go along with it, Finch's music was clearly influenced by Mahavishnu Orchestra (even the title could fit a MO album), Focus and Yes.

Just three tracks on the debut album, starting very strongly with the bombastic Register Magister, where all four members go on to show the musical skills while remaining at the service of the music. The following Paradoxical Moods, where a haunting mellotron gives much depth to Joop's guitar antics and an awesome organ solo, courtesy of Determeyer. They really thrive on fast, odd time signature jams as well as slow moody sections and jump happily from one to the other without forcing it

On the flipside, Pisces is another fine majestic piece (no pun intended), bur marred by the borrowing of a theme, reprised by the bass midway through the track until the end of it.The album closes on the brilliant Bridge To Alice, where the Yes influences seep out and impose itself as the album's highlight, even though it's not helped by being placed last in the track order. Indeed the formula of wall-to-wall solo plastering is exciting at first, but by the end of the album's one must admit that the cup is filled and one more solo would be the drop that overflowed the bucket. This is where the beauty of the vinyl (choose you side first) or the shuffle button become evident.

The Cd reissue comes with two bonus tracks, the two sides of a non-album single from the same year. Both Colossus I and II are short tracks that are somewhat similar to the album's music, although it's plainly audible it's not the same sessions. One wonders why such a risk and expense were taken on (relatively) average instrumental tracks, as the ideas are good, but you don't have to be Nostradamus to see that they were not original enough to create an impact, especially for non-sung music. But both tracks fit well enough the album to enhance the album's content. If you must have only one Finch album (it sold relatively well, back then), make sure it's this one, as this one is as close to perfection as they ever got.

A Dutch instrumental-progressive group who display the musical aura of YES with elements of a more fusion-influenced FOCUS. IMHO this masterpiece of progressive rock spends its time concentrating purely on the instrumentation, delivering complex and fulfilling moods and grooves. "Glory Of the Inner Force" was FINCH's first album and consists of four long and complex tracks with 2 bonus tracks released on a vinyl 7" to "Glory". The musicianship and playing of this band is highly energetic and highly efficient. Mellotron fans will love the keyboard talents of Clem Determeijer who also adds some tasty Hammond and moog. Leader and guitarist Joop Van Nimwegen is also multi -talented musician whose playing reminds me at times of Jan Akkerman. Bass and drumming is also quite exciting and propulsive making this album a treat to listen to time and time again. FINCH's . "Glory Of the Inner Force" is a wonderful 70's prog album that must be owned by all good music lovers out there...

I was just completely blown away by this album! I heard comparisons to FOCUS so I had to get this album. Well, guitarist Joop van Nimwegen sure got his Jan Akkerman chops down, but in my opinion, plays faster. The band was rounded out by keyboardist Cleem Determeijer, drummer Beer Klaase, and bassist Peter Vink. The opening cut, "Register Magister" just blew me away, with those intense riff and inspired compositions. "Paradoxical Moods" starts off a bit PINK FLOYD/FOCUS-like but eventually the band gets jamming and Cleem Determeijer starts wanking his organ. "Pisces" and "A Bridge to Alice" might not be as intense as the first two, but they are still amazing piece. Also of interest is this was the only FINCH album to feature Mellotron. I own the American vinyl copy released on the Atco label (in Holland, it was released on the Negram label), with the same basic cover, but different color clouds in the background (blue, rather than orange).

I quickly snatched FINCH's following two albums, both have great material, but don't quite match the raw intensity of this album. Without a doubt, the album you must start with if you're not familiar with FINCH.

If spastic, hyper, jazzy, intense instrumental progressive rock is your thing, Finch delivers. There's plenty to absorb without the distraction of a vocalist (where would a vocalist possibly find a good pocket to sing in here?), the music being busy and kinetic through each of the 4 long songs.

What separates Finch from some other instrumental combos in the prog/jazzrock/fusion realm is the solidity of their arrangements. Nothing sounds improvised or off-the-cuff. Where bands like National Health, Kenso and Happy The Man seem to come from an improvisational background, Finch delivers solid structures at every turn. Myriad parts are layered on top of each other, constantly shifting mood from one bar to the next, all of it sounding "written" rather than "jammed". Joop Van Nimwegen's guitar solos are fired off with a certain electricity that must've been improvised to some degree, but his sense of structure and timing make for some extremely memorable moments. His style is like Steve Howe (the melody) meets John McLaughlin (the speed). The Rickenbacker of Peter Vink grumbles and does some nice acrobatic turns ("Paradoxical Moods"), while the keyboards and drums color the tunes further with their nimble, fusion-esque intensity. The entire ensemble is like early Camel on a gritty acid excursion, maintaining a cool control while teetering on the brink of collapse. Their most energetic and raw excursion. A top-notch work of transcendental prog-rock indulgence.

The debut album from one of the best prog bands to come from the Netherlands during the 70s: "Glory of the Inner Force" is a record full of musical glory and lively force. Right from the starting point, the opener 'Register Magister' shows a bombastic explosion of sound, fed by the fire of hard rock and the sophistication of jazz rock, ordained by the progressive laws of variations and unexpected twists in melody, rhythm and mood. Each individual musician's skill is top-notch, and all four of them know how to work effectively in togetherness: this opener is a clear example of how the band can use the melodic structure of the main motifs and expand their potential strength without over-indulging in excessive improvisation, always keeping the focus on the logic of the motifs themselves. As points of reference, I could cite Akkerman and McLaughlin as major influences on van Nimwegen's guitar playing, while keyboardist Determeijer sounds clearly inspired by the Canterbury scene, but mostly what these guys do is find their own voice while challenging each other during the performances. The rhythm section is awesome, too: they remind me of van der Linden-Ruiter in terms of energy and precision. The high standards of Finch's intensity level is reaffirmed in 'Paradoxical Moods' - including an incendiary organ solo by Determeijer and some of Klaase's best drum rolls in the album. This piece sound to me very reminiscent of 72-73 era Focus, since its framework is heavily leaned on jamming: finally, the closing section is similar to early Camel with a harder edge. Things certainly don't get much softer with the opening section of 'Pisces', which once again sees the band mainly focused on jamming (once again Determeijer exposes his talent brilliantly, this time on electric piano), until a slower section gets in and gives room for an intense guitar solo by van Nimwegen, and somewhere in the middle, a bass extravaganza by Vink, too. I feel the symphonic ending comes somewhat abruptly, not too naturally, as if its potential bombast had been aborted, but all in all, it's still a great track. Things go back to plain perfection with the majestic closure 'A Bridge to Alice', which is also the longest and most intense piece of the album's official repertoire. All throughout the series of successive motifs there is a predominant somberness performed in a bombastic ambience. Somewhere in the middle there is a captivating acoustic guitar solo, and immediately afterwards, a spacey section that enhances the air of mystery that is displayed in many places all over the track. What a splendid closure! But the CD edition has got some more for the avid prog fan: a bonus track titled 'Colosus', divided in 2 parts that occupied both sides of a single. It is a catchy piece, indeed, but not simplistic: the prototypical Finch sophistication is overtly there. Overall rating: the maximum mark, which is just what every masterpiece deserves.

Wow! That was something!

Prog is probably the only musical genre to be known for the vast amount of forgotten/obscured masterpieces. Neither Metal nor Punk rarely care for their Past, while Prog had its most interesting times in 70s. Almost every album from that time is a guaranteed gem (with some exceptions), and getting an unknown/obscure and expensive item usually means some kind of discovery. What more can I add? FINCH suits this description perfectly, with their complex yet melodic fusion, related more to Symphonic Prog or accessible side of Canterbury scene. This one is a Must for those who seeks music from those times which is rare yet good. It is almost brilliant. Highly recommended, should not be missed!

I am always torn when I review albums that I just don't get. Since Finch is obviously such a respected name, part of me feels unqualified to comment, and opting not to throw my hat in the ring. If Finch were classified as fusion or jazz rock, or at least heavy prog, where I feel they belong, I would indeed remain silent, since there is little in those genres that I enjoy. Since I am a symphonic prog fan, I feel obliged to weigh in so that my cohorts are at least aware that Finch might be beyond our ken, so to speak.

No denying the abilities of all four members to play well, especially Jan Van Nimwegen on guitars and Peter Vink on bass, whose runs even stun the instrumentally challenged like myself. But this music is just too dense, incessant and half baked from a compositional perspective that I find it hard to recommend to fans of lighter or mid level symphonic prog. It really is instrumental virtuosity on display and little else, so if you like that you are all set, and may the inner force, and intestinal fortitude, be with you.

Not well-known (or underestimated) but highly impressive album, isn't it?

Finch was a typical rock outfit, formed of a guitarist, a bassist, a drummer, and a keyboardist. However, they could have a different musical flavour from another one. A bit different. I guess they should not play much seriously or not be hard-liners, but play naturally and be happy to play. As a liquid diet, their sound we can taste, digest and absorb easily and can get enough nutrition of high quality. The type of music style they have might be different from another one.

From start to finish, all tracks are already flexible and comfortable for us listeners. Rhythmical keyboard sounds are fantastic...basically, I always feel in this album, other sharp-edged instruments - guitar, bass, drum & percussions - are slightly behind the keyboard. No, sorry, but all have gentle sounds and can product strictly the superb song. Well at any rate all players hear to be pleasant.

At the last part of A Bridge To Alice, acoustic guitar sounds can always tremble us amazingly. Even only this song listening is my pleasure, really...

Back in the seventies when things were SOOOOO fresh and everything was experimental, I recall the naïve fondness in extolling the virtues of the manic guitar gunslingers, all 6 string outlaws trying to out duel each other and vying for guitar god supremacy. One of the most common questions at the time was who is the fastest axe ripper out there? Alvin Lee, Santana, MacLaughlin, DiMeola, Akkerman and a slew of other rock maestros and I do remember Alvin winning most of the time! There were some lesser known craftsmen as well (Hillage, Mussida, Tolonen, Manzanera) , one of which was Finch's Joop van Nimwegen all unafraid to make a name for themselves that would stand the test of time. This all-instrumental Dutch band's debut is one hell of a ride, so strap on your seatbelts, adjust your headphones and slide shut the canopy, we are flying! Like a sleek fighter, the opener slams on the turbojets right from the get go, propelling the machine into the skies. "Register Magister" sets down a complex intertwining of motifs, mostly led by the absurd keys, pushed along by the physically rotund bass and impelled by some ferocious drumming. Relentless, rapid and resilient, the mood stays firmly focused a guitar-led melody somewhere similar in spirit if not style to a faster paced vocal-less Camel with dashes of Akkerman but I constantly find myself obedient to the Peter Vink bass barrage. His superlative playing is purely scintillating throughout this recording, so bass fans better pay attention. Cleem Determejer's aisance on various keyboards is stunning; these gents knew how to play, again fast and furious. The immense 10 minute "Paradoxial Moods" is even brasher, as they blatantly showcase ultra-sophisticated musical promenades with a quasi-funky attitude, very sexual prog this may be, alternating enraged thrusting with gentle caresses and delicate groping. When Joop lets it rip, mellotron blazing in the shades, this arrangement enters the domain of the incredible, just follow drummer Beer Klaasse, if you can (no jokes here please) or Cleem's classic (and I mean Classic) Hammond solo. Brrrr, scary?.Jon Lord beware! The tremendous "Pisces" is an oddity, deliberately atonal at first, until the manic Vink groove anchors it all into place, shoving this harsh steamroller ever forward, jazzy piano noodlings vie attention with Joop's vivid guitar lines. I tend to see a distinctive and unique style in his playing, way faster in blinding speed foraging than most, yet displaying such a wide palette of sounds from his fret board. The gentle mid-section is sheer beauty, the volume pedal playing havoc with van Nimwegen's instrument, a bluesy slow dance that has enormous restraint, especially in view of their habitual propensity for delirium. When the guitar blasts its urgent solo, you know that you are in the presence of a phenomenal presence, displaying eloquence and a technical prowess that is hard to grasp. Bravo! Vink then unleashes a slithering solo that will captivate aficionados of the 4 string wonder. Can the pace continue like this? Yes! "A Bridge to Alice" is a 13 minute cavalcade of sound and fury, laden with more swift expressions from the four musicians, vibrant yet explorative. Eerily complex and intensely polyrhythmic, the group vision and the technique execution are simply supreme, highlighting the incredible exhilaration of well-played instrumental rock. The spreading guitar runs are monstrous, the raging organ glowing with phosphoric energy and the crucial bottom end is held down rock solid, a necessary prerequisite for prog validation. The mood swings into the pastoral, acoustic guitars jangle breezily, languorously evolving into a murky space feel (that two stroke bass is devilish!) which suddenly takes on added speed and emphasis, eventual walls of mellotron collide with sultry guitar leads. The 2-part "Colossus" takes this another step forward, as Peter Vink exults once again, giving Joop the platform to circumnavigate the pulse and peel off some effective licks, at first mostly highly inspired by classical music, introducing acid-drenched rips that defy description. A buzzing bass puts this appetizer to bed. Part 2 resumes the frenzy with utter conviction, each instrumentalist firing on all cylinders enthusiastically. Actually it must be said that all the material is inherently upbeat with only occasional mood dips into melancholia. Again, the musicianship is jaw dropping.

When the term Dutch Masters was coined, after the success of such bands as Focus, Golden earring, Ekseption, Trace, Supersister, Kayak and Solution , it was entirely justified in view of the incredibly fascinating progressive rock albums they released. Finch is the missing link, the little tyke who could play with the big boys. Colossal! 5 Amsterdam birds (no, not the ones you perverts are thinking of?sheesh!)

Finch - Glory of the inner Force (1975)

Instrumental Camel 2.0?

Moments of glory for the Dutch as Finch released it's first record. This gathering of musicians could be seen as the only real competiters of Focus in the Dutch progressive scene at the technical level. Peter Vink is a bassplayer with skills I've never heard before. His fast Rickenbacker playing style with lot's solo's and interplays is a feast of the ear. The not so famous guitarist Joop Van Nimwegen is one of the greatest progressive guitarist and composers of all time. He composed all the tracks, but the record never became a freakshow like modern guitarist like Malmsteen and Satriana would do. Furthermore, the interplay between guitar, keys, bass and drums is so good, as if the whole band composed the tracks! Van Nimwegen's extended guitar solo's are as technically evolved as Jan Akkerman's solo's, they extremely fast and beyond the normal guitarsolo expectations. The keyplayer Cleem Determeijer is in the line of expectations of a symphonic rock band. Some jazz influences are there, but the sounds is recognizable.

The sound of Finch could be discribe as a technically improven version of Camel (Mirage era) with lot's of haste, no vocals and no clear epic structures. The listeneres is bombarded with themes, solo's and melodies that all sound perfect and intelligent. The recording is not good enough for 1975, but I can accept that. The record has four tracks, all clocking around 10 minutes. The first two pieces 'Register Magister' and 'Parcoxial Moods' are fulltime intensive heavy prog pieces. On side two 'Pisces' and 'A Bridge to Alice' also have some easy listening parts but most of the time the music is heavy, complex and technical.

Conclusion. A special heavy progressive/symphonic rock album with a lot of surprises. The technical side of Finch is evolved to the point were they have become lonely in their kind, the emotional side of Finch is still a bit unclear. This record has been critisized for being to technical with little compositon elements of evolvement in the songs. This critisism is very acceptable and the lack of proces in the songs is the only problem of this otherwise perfect record. I will give it four stars. All heavy proggers, jazz/fusion proggers and symphoproggers must have this! It's an excellent addition!

* I have raised this record it's rating to five stars. It's an outstanding extravaganza and one of Hollands best progressive records from the seventies.

First, many thanks to Mrs. Evolver for getting me a new USB turntable. allowing me to hear ,y vinyl collection for the first time in years. This one was a great deal, as it still has the 99 cent price sticker on it.

There must be a Dutch sound, as I can really hear a strong similarity to Focus in Finch's music, as well as strains of Yes and The Mahavishnu Orchestra. The four songs (sadly, my LP does not have bonus tracks) are all instrumental epics, the shortest being over nine minutes long. The compositions are rich and complex, the musicianship superb. It's no wonder I have fond memories of playing this album so often thirty years ago.

FINCH were an all-instrumental band from THE NETHERLANDS who seemed to be influenced by country-mates FOCUS as well as YES and MAHAVISHNU ORCHESTRA. The playing is outstanding and the music seems to border Symphonic and Fusion. And that's the problem for me because I wish it was more in the Fusion camp.The lighter Symphonic sounds leave me feeling "meh", especially by the final track when i've had enough. I do like how prominant the bass is though, and the splashes of mellotron on every track is appreciated.

"Register Magister" opens with keyboards galore bfore the bass and drums join in. It settles 2 minutes in as the guitar arrives. The chunky bass is impressive. Piano a minute later and some mellotron. More mellotron 4 minutes in as the guitar solos. It sounds like Steve Howe on guitar to end it. "Paradoxical Moods" opens with guitar and drums before keyboards come in and take over. It settles with organ before 2 minutes. Some laid back guitar and drums take over as bass throbs. Mellotron before 3 minutes. Some scorching guitar 7 1/2 minutes in.

"Pisces" has an interesting intro then it settles in with some nice bass. Piano leads after 1 1/2 minutes with prominant bass.The guitar is back. It calms right down before 4 minutes.The guitar starts to solo tastefully 5 1/2 minutes in. A full sound returns before 7 minutes. "A Bridge To Alice" features some impressive drumming early. Huge bass before 5 minutes as drums pound and the guitar plays on. Organ after 6 minutes before the sound turns dreamy then calms right down. It turns haunting before 10 minutes then starts to build a minute later. Mellotron 12 1/2 minutes in. I like how they at least mix it up a bit in this one.

This is complex and bombastic with lots of solos, but it fails to excite me much. 3.5 stars.

A compelling album which sits mainly in the symphonic prog camp - but with enough jazz leanings to make it palatable to fusion fans too. In fact, the results sound a bit like what might happen if the Mahavishnu Orchestra decided to record a tribute album to King Crimson, Yes or Emerson, Lake and Palmer, with the furious guitar heroics of Jan Van Nimwegen being reminiscent of John McLaughlin, the lightning-fast keyboard wizardry of Cleem Determejer recalling Keith Emerson, and Peter Vink displaying a technically advanced, captivating, and original approach to the bass that is as individual and distinctive as Chris Squire's. Glorious AND forceful!