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ANYONE'S DAUGHTER

Symphonic Prog • Germany


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Anyone's Daughter biography
Another symphonic German band in the vein of Eloy, Anyone's Daughter were formed in the seventies and disbanded with the release of 1986's Last Track album. The band reformed in 2000 to release two additional studios and one live album.

While the band originally recorded mostly English lyrics, they returned to their native German the last several years of their original existence. Their debut album Adonis is distinguished by the sidelong track of the same name, a four-part epic featuring heavy use of keyboards (primarily Moog), and periodic violent crescendos combined with languid guitar lulls. The band's subsequent albums were increasingly filled with shorter, often experimental works and occasional spoken-word passages. While the early music can be favorably compared to Genesis, their later work is more in the style of German contemporaries like Grobschnitt and Amenophis.

The band's musical peak is arguably their third release Piktors Verwandlungen, a ranging experimental concept album based loosely on Herman Hesse's novel "Pictor's Metamorphosis", a brooding lament of lost innocence and spiritual exploration. This was also the band's first recording in their native German tongue.

The band toured heavily in the early eighties before civil service commitments and outside interests caused their eventual fracture in 1986. With their reformation in 2000, the band has returned to English vocals, and have adopted a sound that ranges from electronica to jazz/fusion, but is primarily hard rocking with ranges of intensity.

Bob Moore (ClemofNazareth)

Anyone's Daughter official website

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AdonisAdonis
Import
101 DISTRIBUTION 2010
Audio CD$11.38
$12.68 (used)
Piktors VerwandlungenPiktors Verwandlungen
Import
Imports 2008
Audio CD$10.09
$7.89 (used)
Danger WorldDanger World
Tempus Fugit 2011
Audio CD$12.99
$9.82 (used)
Neue Sterne (Remastered)Neue Sterne (Remastered)
Import
101 DISTRIBUTION 2012
Audio CD$6.15
$6.12 (used)
Anyone's Daughter (Remastered)Anyone's Daughter (Remastered)
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Tempus Fugit 2012
Audio CD$12.18
$10.17 (used)
In Blau (Remastered)In Blau (Remastered)
Import
Tempus Fugit 2012
Audio CD$11.96
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Live (Remastered)Live (Remastered)
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101 DISTRIBUTION 2012
Audio CD$11.08
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Requested Document LiveRequested Document Live
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Pid 2004
Audio CD$19.99
$28.58 (used)
WrongWrong
Import · Limited Edition · Special Edition
Imports 2009
Audio CD$5.69
$5.67 (used)
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ANYONE'S DAUGHTER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ANYONE'S DAUGHTER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.05 | 142 ratings
Adonis
1979
3.85 | 82 ratings
Anyone's Daughter
1980
3.24 | 71 ratings
Piktors Verwandlungen
1981
3.92 | 71 ratings
In Blau
1982
3.47 | 39 ratings
Neue Sterne
1983
3.02 | 15 ratings
Last Tracks
1986
2.46 | 17 ratings
Danger World
2001
2.71 | 27 ratings
Wrong
2004

ANYONE'S DAUGHTER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.33 | 19 ratings
Live
1984
3.59 | 17 ratings
Requested Document Live 1980 - 1983
2001
3.45 | 14 ratings
Requested Document Live 1980 - 1983 Vol. 2
2003
3.09 | 3 ratings
Trio Tour
2006

ANYONE'S DAUGHTER Videos (DVD, Blu-ray, VHS etc)

ANYONE'S DAUGHTER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ANYONE'S DAUGHTER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Moria
1980
0.00 | 0 ratings
Viel Zuviel
1983

ANYONE'S DAUGHTER Reviews


Showing last 10 reviews only
 Danger World by ANYONE'S DAUGHTER album cover Studio Album, 2001
2.46 | 17 ratings

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Danger World
Anyone's Daughter Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars Even the replacement of Harald Bareth as lead singer with Andre Carswell could not by itself explain the dramatic shift in the sound of ANYONE'S DAUGHTER as they "reformed" around the year 2000 and released "Danger World". Rather, the material itself betrays a self conscious shift, to a more robust, modern rock more suited to the albeit far greater dynamics of Carswell's voice, with which I find little fault. Matthias Ulmer's keyboards, as in the original lineup, remain dominant and at times recall the original band's complexities, other than the two obvious cases when the band revisits classic songs.

While a few fine tracks emerge, specifically the enthusiastic ballads "Nina" and "I'll Never Walk that Road Again", the proggy "Helios" and the techno pop "No Return", we are also subject to some truly unredeemable material like "Good Gone Bad", "The Glory" and "Wheel of Fortune", which sound like anonymous modern rock with an above average keyboard player. The rest of the original material is mediocre, its lack of conviction magnified by the searing technique and soaring emotion of "Moria" and "Sundance of the Haute Provence", both originally appearing on their self titled second album from 1980. As a side note, I love to hear "sunbathing" correctly pronounced this time around.

From a prog perspective, there really is little to recommend here, and even from a pop or rock perspective, I'm not sold. If you must enter the dangerous world of 21st century ANYONE's DAUGHTER, I suggest doing so via the "Trio Tour" live CD, which includes the best material from this and the follow up disk "Wrong". That's assuming you have already caught up on their classics from the original incarnation.

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 Trio Tour by ANYONE'S DAUGHTER album cover Live, 2006
3.09 | 3 ratings

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Trio Tour
Anyone's Daughter Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars The version of German act ANYONE'S DAUGHTER that was reformed around the beginning of the millenium seems stalled at two studio releases, perhaps because it was able to convince neither old fans nor a younger audience of its viability. Nonetheless, their more straight forward rock approach with concessions to pop and electronica, and nods to a full on proggy past deserves better than a dishonorable discharge from whatever implements are now being used to connect ear and artist. But what of a quasi acoustic version with the singer, guitarist and keyboard player alone? Lore has it that the band was merely compiling a video to promote a tour in this configuration when they sensed that the medium might indeed be the message, and "Trio Tour" was born.

While the DVD portion consists of a mere 4 tracks identical in sound to those on the CD, it also serves to confirm the intimacy that one feels when surrounded by these three gentlemen, two of whom I should note are original members of the band that sold 120,000 records in their heyday of 1979-1983. No bass or drums are present but the sound remains textured, at times even dense. Apart from the voice of André Carswell and the largely acoustic guitars of Uwe Karpa, it's really Matthias Ulmer's arsenal of keys that steals the show for better or worse. Usually his considerable chops win the day but occasionally they are like a tugboat trying to lift the titanic, especially on endemically weak numbers like "The Wrong", "Without You", "Miscellaneous" (based unsuccessfully on a riff in "La La", off the 1982 album "In Blaue"), or the Celtic misfit "Porth Mhuirghesa".

The best tracks here bust right out of their studio conventionality: "Far Away" and "Nina" benefit most from the sparkling acoustic backing, while "I'll Never Walk that Road Again" strikes a mood more appropriate to its surroundings than in its original incarnation. Both "Helios" offerings are at least the equal of their studio versions, but it's the rendition of "Adonis II - The Disguise" that tips the scales. At a mere 2:52, it simultaneously reaffirms the compositional and technical mastery of the group's early years while affirming that they "still got it". What's shocking is that the audience doesn't seem to recognize it until the vocals kick in over halfway through, because the progression is faithful even if the instrumentation is dramatically altered. The final encore is a pleasant piano dominated version of their classic prog-pop anthem "Der Plan".

If you have not caught up with ANYONE's DAUGHTER since their reformation in 2000, I recommend this live offering over either of the studio releases, but don't expect another "Adonis" or even a "Neu Sterne". Sadly, it seems that it's just not in der plan.

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 Last Tracks by ANYONE'S DAUGHTER album cover Studio Album, 1986
3.02 | 15 ratings

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Last Tracks
Anyone's Daughter Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars It seems that at least one streaming site is now including vinyl, since as far as I know this recording has never seen a CD release, and, judging by the abysmal sound quality, it badly needs a remaster. But, hey, never let lo fi get in the way of reviewing a pivotal archival release, or, er, a less pivotal one.

Historically speaking, "Last Tracks" is intriguing in that it brackets the original years of Anyone's Daughter's run in Germany, and, since they were a fairly popular and well regarded band during a nadir for prog, it warrants closer examination.

The group was formed in 1972 but no recordings are available from before 1977, while their first album "Adonis" was not released until 1979. The last 4 tracks here are culled from 1978, and three of them had never been released in any format until this 1986 "compilation". Their successful run lasted until 1983, concluding with the gutsy neo prog of "Neu Sterne", before they bowed out to better financed UK purveyors of the movement. Their vocalist Harald Bareth left for military service and eventually became a medical doctor. He reappeared in relatively recent times as guest vocalist on a couple of albums by INES. The first 5 tracks here are from 1986 sessions with a new vocalist Michale Braun, as well as a new drummer and bass player.

This is thus two half albums in one, and, believe me, never the twain shall meet. In the LP era they are two halves of an unholy whole, but in these streaming times no break is long enough to convey the infinite gulf. Suffice to say that the 1986 tracks bear no resemblance to even the poppier material on Neu Sterne, nor are they similar to the more modern hard rock of the band's reformation around 2000. Instead they resemble what one might have heard from the garage of GENESIS (the singers delivery is strongly reminiscent of PHIL COLLINS), AHA, or ROXY MUSIC during that time period. In all fairness, the melodies are decent, especially on "Too Much too late", but the robotic programmed percussion and the lack of even the basic complexity of the weaker tunes on "Neu Sterne" render them just to the good side of unlistenable.

Three of the remaining four tracks are really why you have read this far. "I Hear an Army" is Teutonic prog in the style of TROYA's one off of 1975, with sing songy meters but searing guitar leads over organ washes. and establishes the gravitas of the group's initial releases. "Sally the Green" is quality pop and represents an early version of "Sally" that would appear on "Adonis" a year later, so is somewhat dispensable. The remaining 2 track are the ones that are seriously worth all the cringing. "Ma cherie Marquise de Sade" is a rare instrumental in a frenetic style only occasionally explored further on subsequent albums. The Emersonian organ is the predominant feature, shouting Matthias Ulmer's dexterity to the skies, but the rhythm section is holding its own as well. I can hear snippets of what surfaced on the astonishing epic live bonus tracks in the 2010 release of "Adonis".

Still, "Window Pain" is even better and more representative of what the group would become over the next few releases. While the band is often compared to CAMEL and GENESIS, not without reason, they alway struck me as owing much to the more accessible softer tracks from KING CRIMSON - think "The Night Watch", "Book of Saturday", or and parts of "Lizard", and Barath's voice is not the only reason. This monumental piece ebbs and flows through vocal and instrumental segments, the latter dominated by lead guitar even more succinct than most of what appears on the "Adonis suite", with string synthesizers soaring above and rollicking bass and drums underneath. The only reason I can think why it took so long to see the dim light of a bygone day is that the band already had one side long epic and they might have felt the pressure to change with the times. They did betray their ambitions again with 1981's "Piktors Verwandlungen", but that utilized the hook of Herman Hess narrative and, in terms of genuine musical excitement, does not come close to "Window Pain", a true lost classic.

I'm not sure if the price being charged for the few available LP versions is tenable, but hopefully more streaming sites will pick it up. Largely dispensable for the last tracks, but essential for the "first tracks", this rarely considered entry in the ANYONE's daughter contains two lengthy tracks that led to one of the pillars of early 1980s symphonic prog in Germany.

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 In Blau by ANYONE'S DAUGHTER album cover Studio Album, 1982
3.92 | 71 ratings

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In Blau
Anyone's Daughter Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars In late-1981 comes the first major departure for Anyone's Daughter.Kono Konopik decided to leave the band and he was replaced by Peter Schmidt, who had previously played with the Psych Rock band Lazarus' Bra and veteran Kraut Rockers Message.At the fall of the year the new formation visited the Tonstudio Zuckerfabrik to record ''In blau'', mixed at Conny Planck's own studio in January 82'.Another product on the Spiegelei label.

As with ''Adonis'' and ''Anyone's daughter'', ''Piktors Verwandlungen'' and the new album seem like another pair of albums by Anyone's Daughter, where the precursor work has a big symphonic sound and the following effort follows the same lines albeit with a poppier and more modernized feeling.As so, ''In blau'' sounds closer to ''Anyone's daughter'', it's ethereal and sweet Symphonic Rock with some pre-Neo qualities, however this was the second work in the row by the band to feature German lyrics.Good thing is, unlike many prog survivors of the era, Matthias Ulmer still focused on keyboard parts performed on organ and some electric piano instead of dominating a poor synthesizer.The result is that ''In blau'' still holds the stylings of their first album, although the production reveals the latter recording days.At this point the band had decided to surround the light symphonic tunes with a new dimension, that contained some folky touches and even smooth Fusion exercises, recalling compatriots FLAMING BESS.Nice melodies, emotional vocals, soft but progressive musicianship sets the sound in the same league as ROUSSEAU, even if all tracks are equal in terms of music value.The 3-part ''Tanz und tod'' dealt with the death issue and clocked at 15 minutes, becoming the album's highlight and the closer thing to early Anyone's Daughter.Romantic and energetic Symphonic Rock with an updated sound due to the New Wave-ish rhythms and synthesizers, but also featuring lots of organ smashing, piano interludes and grandiose orchestral moves.

Not the most convincing album by Anyone's Daughter, but a great work nonetheless, especially when taken into consideration that this was created in 1982.I love the fact they did not say goodbye to their 70's roots and this work sounds very fresh and clean until today.Warmly recommended.

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 Adonis by ANYONE'S DAUGHTER album cover Studio Album, 1979
4.05 | 142 ratings

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Adonis
Anyone's Daughter Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

4 stars Usually I focus my reviews on new albums. That has been my goal. But after receiving so many requests of doing reviews for re-editions I've decided to give them a try and this gives me the chance to review some classic albums or some old material that's worth mentioning.

Today I'm beginning this new section on the website with the German band Anyone's Daughter and their first album Adonis (1979).

Anyone's Daughter is a German band that was founded in 1972 in Stuttgart by Uwe Karpa (guitars) and Matthias Ulmer (keyboards and vocals) while they were still high school students. Their line-up (in their classic period) was then increased with Kono Konopik (drums) and Harald Bareth (vocals and bass).

Adonis (1979) was the first album by Anyone's Daughter and at that time the album came as a blow of fresh air to the Prog world in general. By at that time the genre was in trouble and most of the successful bands were changing their sound drastically searching for commercial success. And then here comes Anyone's Daughter and the bold album that is Adonis (1979)!

The sound of this German band can't really be compared with their English peers as it usually happens. Though certainly the band was influenced by the English famous bands their sound was much more like its country brothers Eloy (although they deny the fact).

Adonis (1979) opens with the suite of same name and its 4 parts in 24 minutes. The suite starts with a peaceful kind of Prog coming out of the speakers with beautiful melodies. Bass player Harald Bareth delivers some soulful playing and very competent vocals while the keyboard player Matthias Ulmer very often double his vocals forming then a perfect union. Also, in 'Adonis Part III: Adonis' he's the responsible for great synthesizers. Something else to pay attention to are Uwe Karpa's guitars. He doesn't show off all the time but instead he works greatly for the music, meanwhile Kono Konopik delivers tight and competent drums. All in all 'Adonis' is the main piece of the album and it should be clear to everyone with this suite the high quality of the group then, especially because this was their debut album.

The second side of the album starts with the slow instrumental piece 'Blue House'. The track was named after the house they lived and rehearsed for this album in the previous 2 years of the release. The next song is 'Sally'. This track, despite its weird tempo, is more of an upbeat song and a bit more simple in comparison with 'Adonis' suite, for example. Closing the original album we have the track that gives the band a name. 'Anyone's Daughter' (that was also influenced by the Deep Purple's song with the same name) is a building up kind of song. It begins slow and it goes on a crescendo, building its climax till the vocals start around the middle.

The original LP was released in 1979 by the labels Brain/Metronome. The version I'm reviewing was released in 2010 by the German label Tempus Fugit and has 3 bonus tracks. The first two are songs never recorded in studio. 'The Taker' and 'The Warship' were recorded live in 1977 on Scorndorf, Germany. The first has a great organ riff with galloping bass and dancing guitars. The second is more of a 'funk' piece full of twists and riffs, though it goes smooth with the verses.

I usually don't like bonus tracks as very often they don't add anything and are also recordings of a completely different period than this the album was recorded in. Not here, both tracks are great treasures for fans and they fit the studio material.

The third track is in fact a video of 'Adonis Part I: Come Away' that was recorded in 1978 in the studio Zuckerfabrick (Sugar Factory) during the recordings of the album. The remastered version of Adonis (1979) also has a very nice text on the booklet by Stefan Oswald (both in German and English) as well as lyrics and pictures of the band.

Adonis (1979) is a great album that brought the late 70's Prog back on tracks and this new edition is a must have for the band's fans and Prog lovers!

Very recommended!

(Originally posted on progshine.net)

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 Piktors Verwandlungen by ANYONE'S DAUGHTER album cover Studio Album, 1981
3.24 | 71 ratings

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Piktors Verwandlungen
Anyone's Daughter Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Here comes the most interesing part in Anyone's Daughter's history.Since the mid-70's the band developed and performed live a long piece based on Hermann Hesse's short novel ''Piktors Metamorphosis''.Always followed by a great praise by the audience, the band decided to record its final form and release it, but the management of Spiegelei refused to do so, believing that financing such a huge epic track in the 80's would be a total waste of time and economic failure.As a result the band decided to self-finance this work and, even better, they decided to perform it live, so the recations of the audience could be taped.The best place for such a recording to take place was considered the Konzerhaus in the town of Heidenheim, according to Anyone's Daughter its acoustics were simply fantastic.The recording took place eventually on January 18th 1981 and the album was released the same year.

As aforementioned, this was a single concept track, divided in 13 short pieces, where the story is narrated and followed by constant instrumental workouts.From all Anyone's Daughter influences the CAMEL reference is over the top in this album, resembling to works such as ''Moonmadness'' and ''Snowgoose''.The narrations are very nice, linked with the concept and close to the style met in NEUSCHWANSTEIN's ''Alice im Wunderland'', while the instrumental textures are closer than ever to compatriots ROUSSEAU.The music ranges from nice to simply great with mature guitar work by Uwe Karpa and featuring the beautiful and dreamy keyboard parts of Matthias Ulmer.Always in a melodic text, the album shows a slight turn by Anyone's Daughter towards their more traditional symphonic tendencies, highlighted by the spacey synthesizers, the romantic piano lines and the ANDY LATIMER-like impressive guitar work, although a certain Teutonic vibe is evident in the most dramatic parts of the album.Present are also some great Fusion vibes and jazzy touches in both the keyboard and guitar lines, but the band always hides them behind its very grandiose Symphonic Rock.

The track presented here is the final form of ''Piktors verwandlungen'', it is already noted that this piece was a work in progress since Anyone's Daughter early years.An early form of it, clocking at 25 minutes and captured in Harald Bareth's basement in 1977, is presented in the CD reissue of the album by SPV with a sound extremely close to the style of ''Adonis''.Worth investigating.

Definitely one of the longest and finest epic Prog tracks of the 80's.Lacking originality, but this is passionate and mature music, which can be listened with comfort even after so many years.Strongly recommended...3.5 stars.

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 Anyone's Daughter by ANYONE'S DAUGHTER album cover Studio Album, 1980
3.85 | 82 ratings

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Anyone's Daughter
Anyone's Daughter Symphonic Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars On the long run it may be a stretch to label this German band symphonic prog. Neo-Prog - or even Crossover-Prog - wouldn't be very unsuitable either, at least for this (2nd) album, which is not quite as symphonic as the debut Adonis (1979) that had a good side-long epic. The overall approach is slightly commercial and very accessible, the melodic songs are mostly in 4-5 minutes length with a strong dose of pop sensibility. But despite all the contemporary lightness this music clearly descends from the classic (symphonic) prog as many German bands did at the late seventies. The vocals remind me of ELOY's Frank Bornemann, or Wildschwein of GROBSCHNITT. The clean sound puts the emphasis on the melodicism of keyboards and electric guitar. One could think of Barclay James Harvest of the time, which was very popular in Germany.

A couple of songs deal with meeting a girl and falling in love, in a rather banal level, and the catchiest song 'Moria' draws inspiration from J. R. R. Tolkien - as dozens of prog bands have done before and after. I'm glad there's also an instrumental (albeit very short one) and one longer composition (of unquestionable symphonic nature) to widen up the scale. There's not a single weak or unpleasant track on this album, but perhaps it's not exactly Anyone's Daughter at their very best. After this one they changed into German language. With a new drummer they brought a new spark into their sound on the excellent In Blau (1982).

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 Danger World by ANYONE'S DAUGHTER album cover Studio Album, 2001
2.46 | 17 ratings

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Danger World
Anyone's Daughter Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

3 stars At one time Anyone's Daughter were one of the most important prog bands in Germany and although I knew that they had broken up in 1984 I wasn't aware that a version of the band had reformed in 2000. They certainly sound different to how I remember them, which is probably due in large part to Harald Bareth not being involved. They are no longer a prog band, but have moved much more into song-based rock. The vocals are extremely powerful, as are the tunes.

I could imagine John Wetton or Glenn Hughes being very much at home with this album. Some songs have sparse backing, relying on the clear melodic vocals of André Carswell, while others are much more complex and belting. The more I played the album the more I fell in love with it, and the longer it took to get it out of my car. It may be that the band are using the original name to get more publicity but with an album this strong then all I can say is the best of luck to them as an album this good deserves to be heard, through fair means or foul. If you want a great rock album that will certainly never get the kudos it deserves then contact the label at www.tempusfugit.de.

Originally appeared in Feedback #66, Feb 02

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 Requested Document Live 1980 - 1983 by ANYONE'S DAUGHTER album cover Live, 2001
3.59 | 17 ratings

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Requested Document Live 1980 - 1983
Anyone's Daughter Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

3 stars This double CD contains live recordings of Anyone's Daughter from 1980 to 1983. They were surely the most well-known German progressive band of the time and this CD shows well why they managed so much success. In Harald Bareth they had a fine singer/bassist in the style of Greg Lake while Matthias Ulmer (keys), Uwe Karpa (guitar) and first Kono Konopik and then Peter Schmidt (drums) were no slouches either.

While they sometimes came across as ELP, they were in the main not nearly as dynamic and forceful, much softer in approach although they too can produce some very complex pieces. The four tracks that form the title cut of their debut album, 'Adonis', is here at over 25 minutes, while their self-titled number also manages over eleven. But they prove that they are no mean slouches with shorted numbers either as "Moria" is a great song yet is under five minutes long.

They played over 500 gigs, and sold over 120,000 albums, something that many of the UK's prog bands would love to emulate. They are often ignored, but if you enjoy prog that is complex yet easy to listen to then this is a good place to start.

Originally appeared in Feedback #64, Oct 01

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 Anyone's Daughter by ANYONE'S DAUGHTER album cover Studio Album, 1980
3.85 | 82 ratings

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Anyone's Daughter
Anyone's Daughter Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars For their second album Anyone's Daughter left the legendary Brain label and were signed by Spiegelei, another specialized Kraut-Rock label, part of the Intercord Ton GmbH record company.The album, released in 1980, carried only the name of the band as a title and was the last one written in English from the band's early progressive years.

In ''Anyone's Daughter'' the German quartet left out the long, epic compositions for more comfortable and conventional songwriting always with a deep progressive content.Gone are also any kind of ELOY influences and the band recalls heavily the 75-80's GENESIS period, having a strong Proto-Neo Prog approach, while the symphonic tendencies remain present.But, while the songs are more easy-listening, the unique talent of the band forced them to write down some pretty nice light Symphonic Prog.The use of synthesizers is more apparent, the bass grooves become one of Anyone's Daughter's trademarks and some tracks have even some straightforward rockin' tunes.Still the tracks maintain a strong symphonic approach, the guitar leads and solos of Uwe Karpa are more than satysfying and, when needed, the music obtains a more complicated sound with light interplays and great floating synths.One though can not do else than miss the epic arrangements of the band's superb debut.

This is another very good album by Anyone's Daughter, much a product of its time, with the band flirting with the fashion of the time, creating more accesible but still impressive music.Recommended.

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