ONE IN A MILLION

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POVERTY'S NO CRIME's fourth album "One In A Million" is a really professional album that places them in the forefront of the melodic0 progressive metal genre. As a result of some line-up changes this album was recorded with only three musicians. While recording the album they found a new keyboard player, Jörg Springub, but they're still looking for a new bass player.

The musicians are playing tight and heavy riffs with technically brilliance. The vocalist though is just OK, and he's not one of the best in the genre. If you're unfamiliar with POVERTY'S NO CRIME they have reminiscent to DREAM THEATER, RUSH, THRESHOLD and VANDEN PLAS. The first limited pressing contains RUSH's "Distant Early Warning" as a bonus track. It's impressive however that they dare to cover RUSH, but they don't get away with it that good.

Although their professionalism and technical skills their music doesn't leave any lasting impressions. As the progressive metal genre is quite over-represented right now, you'll have to be really special to become interesting. It doesn't matter how well-performed the music is, because they won't be "One In A Million" as long as they lack originality.

Although recorded during a big crisis within the band (losing two key members), One In A Million is a fantastic prog metal CD. Unlike many other groups opf the same style, Poverty´s No Crime always put songwriting and melody before virtuosity. The songs are real songs, not a mere showcase for indivudual skill. All the musicians are very good but they concentrade in writing good tunes and the songs have an excellent structure. Insightful lyrics, creative and tasteful arrangements together with a crystal clear production all help to bring one of the best prog metal CDs I have heard in a long time.

Their mains influence is surely Rush, enhanced here by their fine cover version of Red Sector A, but the bands sound is much more than that and - mercifully - their Rush influences do not include high pitch vocals like so many others. Geddy Lee is not easy to imitate and I´m thankful this band does not try it.In fact, Volker Weisemann´s voice is quite unique and fits just perfect to this style. This is a very good album that balances equally the powerful aproach of heavy metal with the subtletly and complexity of prog without sacrifying nothing of melody. Recommended!

After having and reviewing previous album Slave to mind, I've decided to check anothe r album from this band , who sounded very promising and tight. So I purchase this week this album together with the next one from 2003entitled One in amillion from 2001 by the excellent progressive metal band Poverty's no Crime. I like a lot what this band offers, not an everyday prog metal, the musicianship is very tight and the ideas are better then on most bands from this genre. The album is solid with some fantastic pieces like Ancient lies or Incognito, each musician did a great job here with a plus on vocal department offered by Volker Walsemann. I like this band specially because, they don't have every second that boring and endless instrumental passages with many unintristing noodleings like late DT stuff, they are more concentrated on how to compose a piece not to show to the listner how good I am on ainstrumenta or aother. The rsult is obvious a solid and very tight album, with serious great ideas and good pieces all over. 3 stars for this album, a good one all the way , little less intristing then previous one and for sure less good then next one who is almost a masterpiece of prog metal. Great band.

The fourth album by German prog metallers Poverty's No Crime shows them in fine form. The summer sees them on the road with Spock's Beard, Threshold, Pain Of Salvation, Symphony X, Flower Kings and Devin Townsend so they are certainly being kept busy. But while the press release states how much heavier the band have become, it is an effect that is glossed over just a little too much in the production. The impression is that here is a band that can really play, and has some great ideas, but will be totally different in the concert arena where the sound will be much more raw.

On the plus side, there is a great version of Rush's "Distant Early Warning", another band that also suffered at times from too much fiddling in the studio (it is easily one of the best Rush covers/tributes I have ever heard). I did enjoy the album but will probably be turning to label- mates Threshold for this type of music.

Originally appeared in Feedback 63, July 01