FOREIGN LAND

You know, good things take time, in general. I already was impressed by the sophomore effort 'Given The Impossible' from this London based band. Which sees fabulous singer Marguerita Alexandrou taking part for the first time. That was three years ago. And now the follower album, again released on Bad Elephant Music, appears as another matured issue. Health food in terms of the artistical approach. I'm simply thankful for such inspired songs. Produced by a stable line up, which also includes a compelling staff of musicians taking care of guitar, bass, keys and drums. I can certify a well balanced rate of vocal presence and instrumental scope, which means room for some solo excursions will be scheduled too.

An entertaining composition - the extended Travelogue immediately requires full concentration. I would especially highlight Eliot Minn's widely varied keyboard presence due to hammond, piano, (church) organ, strings, synths aso. The tricky Mud is showing diverse tempo changes and multiple heavy guitar tracks offered by Denis Warren. Decorated with amazing piano lines The Fugitive also evolves to a real band showpiece. Produced by a homogenous unity 'Foreign Land' leaves nothing to be desired. With roundabout fifty minutes running time this album is highly entertaining, anything but overproduced music. This means I'm sure they are able to transfer their skills and spirit to the stage in the same way, well and truly. Definitely a must have for neo and symphonic prog connoisseurs.

The Far Meadow's Foreign Land offers a style of sunny, optimistic neo-prog which puts me in mind of the best work by the likes of Jadis or Magenta - but with the complexity level dialled up just a tad, taking the music to the periphery of symphonic territory. Marguerita Alexandrou's vocals are a major asset, offering a welcome combination of technical chops and a characterful approach, and the compositions are well judged such that vocals and instrumentals support one another rather than getting in each others' way. With a running time of 50 minutes, nobody should feel shortchanged but equally the band don't outlast their welcome either, with a running order which is largely all-killer, no-filler.

This is the first time I have come across London-based prog band The Far Meadow, who apparently are incredibly active on the gigging front, but somehow New Zealand has not been on their list so far, surely a minor omission. 'Foreign Land' is their third album, and the second for BEM, and even before putting it on the player I was intrigued as the opening song, 'Travelogue', is nearly 19 minutes long. That is a real statement of intent, so I put it on and waited to be impressed ' it didn't take long. A few layered gentle keyboards lulls in the listener as Elliot Minn warms up his finger. A drum break announces the change in tempo, and while guitar and bass keep it simple, Elliot starts to provide complex runs while Paul Bringloe provides jazz-style drum patterns. But when singer Marguerita Alexandrou joins the fray she then lifts it to a new level, and I found the production of her voice incredibly interesting as it has been kept relatively dry with little of the reverb which can often be found, and this combined with drums being more to the fore than one would expect (the snare is particularly prominent, at times possibly too much), gives the band a quite different sound even before getting into the style of music they are playing.

The result is for the most part solid neo-prog, more in keeping with the likes of Galahad and Credo, with definite nods to IQ, rather than Magenta or The Reasoning. Denis Warren's guitar interplay with the keyboards is incredibly deft, and it is actually possible to overlook all the work he is putting in, as he plays less chords than one might normally expect, but rather is weaving Chandler and Hackett style lines throughout, linking in strongly with the keyboards to provide additional layers while bassist Keith Buckman stays firmly in the background providing the balance.

The keyboard sounds used within the album are interesting, as they are often fairly dated, but as well as the more 'traditional' sounds a proghead is used to hearing there are also plenty from the Eighties, which again provides a different feel. When there are vocals the band tend to stay more in the background, yet when they are allowed to flex they are counterpunching in and off the beat, syncopated when the time is right, never prepared to stick within any particular style, always pushing forward. During the title cut the band move into pure lounge jazz, while at another Marguerita sings a capella. There is a real confidence within the band, something that only comes from many hours of playing and understanding each other.

I can hear I've missed out by not coming across these guys before this, ensure you don't do the same thing.