5BRIDGES

I'm actually surprised there aren't more negative reviews on here like Bonnek's complaining about another GENESIS clone band. And this really is like listening to someone do a paint by numbers piece of art.It looks great it's just that there isn't a lot of creativity right? And yes this album sounds good to me and to be honest if it wasn't for the vocalist i'd probably give this 4 stars anyway because so called clone bands have never really been a turn off for me if it's done well and with some of that creativity. THE WATCH is a good example of a band who is no doubt hugely influenced by GENESIS yet there's emotion and some amazing songs. Anyway, from the vocalist to the guitarist to the keyboard player this is GENESIS -101 pure and simple.And it's done very well over 74 minutes.And yes this is a concept album to boot. I know i'm in the minority here but repeated listens haven't changed my mind.I like it but not enough to award it 4 stars. 3.5 stars it is.

Symphonic Rock lovers, rejoice! For what 5Bridges have done here is create some excellent music that any lover of symphonic rock will enjoy. There isn't much here in the way of innovation (bar some strangely effective combinations of electronic effects/drumming + real instruments in parts), but what they lack in newness, 5Bridges makes up for in quality.

I can't help but envy Rob van der Linden. Beyond the obvious fact that he can play drums (a skill I hope to acquire someday), he not only gets to write books, but then gets to go and create a prog rock band based around the events in his book ... and write lyrics for them? Let's see, plays drums, writes books, writes music, plays prog ... yep, I'm definitely feeling some envy here.

The band he has assembled sure seems to know what they are doing. The album runs close to the full length of the cd, a length that most bands can't seem to fill effectively, but there isn't really a single note in here that leaves me feeling bored. It all seems to flow so naturally, from the first note of the first song to the ending of the album.

Personally, I don't quite see the correlation between lead singer Piet Roelofsen's vocals and Peter Gabriels. For one, I am too aware of his accent, and secondly, I think his voice lacks some of the theatric power that Gabriels had. While Piet sings with passion and emotion, I think of Peter Gabriel's vocals in "The Musical Box", and they really sound quite different to me.

When I'm listening to this album, I can't imagine it being anything but a 4 star album. When it's off, it drops to three in my mind, because I can't think of any high points in the album. But the tricky thing is, this whole album is full of excellent music - very consistently excellent music - and there aren't really any low points either. If this album were a graph, it would be a pretty straight line.

I've lived with this album now for four months, and can confess that only this week have I really begun to enjoy it in its entirety.

There were a few standout moments like track four, "The spell of eternity" and track 6 "Tricks and treason" that kept me listening for so long in the hope that further magic would rise to the surface. Well my endurance has paid off.

What may seem like a fairly dry uninspired 74 minutes at first does actually bloom into a consistent, thorough, and rich concept album that I suspect will keep getting better as time passes.

Once penetrated, The Thomas Tracks reveals that its beauty lies in its subtlety. From what I read, 5Bridges seems to be made up of mature musicians. At a guess I'd say that some of the band members are at least 45years+. The kind of understated music that is presented here, I feel, can really only be successfully written and performed by those that have a solid foot in the past. A way to illustrate this would be to compare Marillion's "Misplaced Childhood" that is full of drama and indignant outbursts, with a later album like "Marbles" that is performed by a band that has greater control over the way it chooses to express itself. So although The Thomas Tracks is a debut album, I get the feeling these guys have been around the block a few times before.

There is no filler on this album, indeed one gets the feeling that the foundations had been firmly mapped out and secured before any artistic development began. I read just recently that the concept is based on a novel published by the drummer Rob van der Linden. He and the band obviously know the source material intimately and it shows.

Comparisons with Genesis? Absolutely. There are phrases in the music that reference Genesis very delicately. Does the singer sound like Peter Gabriel? Hmm..kind of, but with his Dutch accent I fondly say that he sounds in some places a little like Peter Gabriel impersonating Gold Member from an Austin Powers film. Don't let that put you off though.

Acquiring this album wasn't the easiest of transactions I made last year and I've read in other places that I am not the only one to have had that experience. I hope that future 5Bridges albums are available in conventional outlets.

This is a concept work and the sound is very Genesis like but at the same time different. Parts of it reminds me of the lamb lies down on Broadway. The album very much flows from one track to the next. Yes, there are highs, but the overall strength of the album is the consistant high quality of its material.

The work needs quite a few listenings for the listener to discover how good the work is. Why is this I ask myself. Perhaps because the work flows and does not repeat much with many of the tracks being long and involved. Frankly, the more I listen to it the better it becomes. Could in years be regarded as a classic album.

This is my first review and what an album to start with. For anyone that has already reviewed this and rated it less than 4, listen to it a few more times and see if your opinion changes. You may be missing a masterpiece of symphonic rock!

Access to purchase the album is difficult, but in view of the comments of other prog rock reviewers I finally managed to obtain the album through the bands own web site.

Very Genesis sounding, but at the same time the band have their own identity. This is a concept album and one track flows nicely into the other. There are highlights immediatly obvious such as "On Calpes rock", "The spell of Eternity" and Sign on the wall." The tracks however are not immediatly catchy and it will take the listener a few plays before you discover how good the album is.

I have to admit to being a Genesis and Camel fan and bands of that ilk. Often I found that the bands found it difficult to turn out consistantly good material throughout an album. And this was in the days of far shorter albums at 40 to 50 minates an album. The good thing with this album is that it is strong throughout. Its also an album that you can keep playing and get more out of.

My teenage daughter I will (almost) give the final word to. After half a dozen listenings she said to me. "Dad this is a really good album, can I put it on my i-pod." Its up to us prog reviewers now to give this album by word of mouth the publicity it deserves. I understand that this is only the first album by this band. I will certainly be buying the next one to which I await with interest.

So we are 2009. Apparently that has not yet dawned on the part of Holland where this retro-symphonic rock band comes from. Now, I have nothing against retro if it's done with style and inspiration. I marvelled at Astra's Wierding album this year. But even in the heyday of prog rock, this Thomas Tracks album would have passed by completely unnoticed.

This is just an average revisit of Genesis, complete with a Hackett-clone and a Gabriel-clone on guitar and vocals. I think they even re-used some Nursery Cryme melodies and they certainly must have got a good bargain on some of Mr. Banks' antiques. Stuffy moogs and organs aplenty.

Normally, I would try to smooth my verdict by defending they do their kind of thing quite well. Really, I can handle derivative albums if they at least feature some adequate playing or good songs. Unfortunately, the occasions where this gang of retro-proggers could claim this are few: the opener Didymus and The Spell of Eternity come close, but no, not really. The result is unimaginative music, amateurish, devoid of personality, passion and creativity.

When prog re-established itself at the end of the 90's, I had really hoped that this time we would be spared of the kind of stale stuff that appeared after 1974. Wrong guess. For me, this is every bit as disappointing as Yes's Tormato, Camel's Breathless or ELP's Works. But, as you noticed from the other ratings it's just me again, poking my nose into other's people's pleasure. I should be ashamed!

— First review of this album —

This demo was shoved in my hands about a year ago by a friend and he specifically asked me what this new and unknown band sounded like in my opinion. The only band I could think of was Genesis obviously thanks to Roelofsen's voice which resembles it about 90%. He agreed but also mentioned several other names of bands which I don't even remember because I totally disagreed. This is so Genesis retro prog, it almost equals The Watch and Puppet Show in this respect.

Another thing that struck me when hearing this is the strong compositions it contained. Apart from the first track that is clearly the lesser of the four, the other three are battling for first place as best song and really this is a tough call. All three are amazing but in the end Curse of Eternity probably wins. And funny enough it's the only track that's not on the official release by 5Bridges.

Up till now I'm still hesitant to buy the real album because I have the feeling on this demo the best four songs are featured. If not, it's my bad luck because I think I will leave it with this demo. It's a great demo but if you don't have it yet, go for the whole album and you will not be disappointed. Highly recommended.

Unexpected surprise from the Netherlands

Unlike the previous two years, 2009 has been a bit slow, almost none of the albums released has impressed me and the ones I waited with more obsession have absolutely disappointed, but yesterday I received "The Thomas Tracks" by the Netherlands' band 5BRIDGES, and the hope in Progressive Rock has returned instantly, because I found the album delightful from the first to the last note.

As the guys from Haarlem say, each one of he five members is a bridge between the 70's and the XXI Century, playing pristine Symphonic as only the pioneers could, but without copying anybody. It's true that Piet Roelofsen's voice is extremely similar to Peter Gabriel's in range, intonation and style, but I don't feel anything forced, by the contrary, everything is absolutely natural.

The band's sound has clear GENESIS influence, but strangely Luke dAraceno's on keyboards doesn't sound to inspired in Tony Banks, as a fact I find a lot of similarities with Rob Reed from MAGENTA, similarities which are enhanced by the excellent guitarist Enzo Gallo, who has a lot in common with Chris Fry from the above mentioned band. So unless they are some sort of evil genius who copy bands from the 70's and also their coetaneous from 30 years later, we are talking about an original sound with respect for Symphonic Prog in the style of the classics.

"The Thomas Tracks" is based in the novel 'De Handelingen Van Thomas" by "Rob Van Der Linden" (Yes the drummer of the band), and as any respectable conceptual album done by a talented band, flows with perfect coherence from start to end, placing the efforts in the whole project rather than individual tracks, something that is evident when discovering that despite the different moods and radical changes, the basic atmosphere is respected all along the album.

"The Thomas Tracks" begins with "Didymus" and it's beautiful but dramatic introduction based in vocals and keyboards, this section is at the same time nostalgic and powerful, because while the vocals keep the soft atmosphere, the organ goes "in crescendo" with a constant repetition of chords that keep the suspense.

The choirs are absolutely tasteful, and when the band starts to join, you know something radical is going to happen...............and it happens, when guitar and keys join the music increases in intensity and strength, but the explosion is not abrupt, by the contrary, it's coherent and by stages, as if they tried never to loose control over the music, just wonderful.

Even when most of the tracks are linked one to other, for purpose of review I will try to describe them as individual songs instead of an integral entity as "The Thomas Tracks" is, so "Babylon Curse Reversed" starts with a beautiful keyboard melody that gives pass to a strong guitar, when the vocals take the lead, a stubborn organ keeps hammering in the background as a constant and the excellent drumming of Van Der Linden keeps the song in perfect time.

"On Calpe's Rock" starts with a beautiful piano soon followed by the drums and bass, a Moog solo breaks the soft rhythmic entrance with brilliance and the distorted guitar returns us to the Rock universe, all vibrant, but suddenly the vocals break this wonderful chaos and even when they enter into ballad territory, the radical changes and breathtaking synths don't let us forget we are before a Prog band.

"The Spell of Eternity" have a strong connection with "The Lamb Lies Down on Broadway", the same desperate and claustrophobic atmosphere is present, and of course the massive Mellotron are the delight of the 70's fan. The fun part is in the vocals, because as Gabriel, Roelofsen does an outstanding job playing with different voices and adds narrative passages.

"Tricks & Treason" is much more romantic and soft, now they seem closer to GLASS HAMMER, with a fantastic interplay between Luke dAraceno and Enzo Gallo in the keys and guitar, but the vocals always bring us back to GENESIS because of the range so similar to Peter's, this time the organ is fast and frenetic, everything is just perfect.

"Lovernius Song" is a total change, while the other tracks had a bright even when mysterious atmosphere, "Lovernius Song" starts obscure and a bit haunting, mostly based in organ and acoustic guitar keeps the listener at the edge of the seat.

"Batavian Revolt" as he previous song starts acoustic, but soon they move fro this adding all what they have, Enzo Gallo makes the guitar cry and the organ maintains the suspense but Roelofsen keeps the sanity with his voice that seems to control everything. The changes are multiple but the atmosphere remains intact from beginning to end, somehow this song reminds me of "Trespass".

The only thing I will say about "Amazons & Heaven" is that we are before a spectacular song from start to where the keyboards are out of this world, a fantastic 11 minutes epic with everything a classic Prog fan needs to listen.

The album ends with the soft "Signs on the Wall", a softer but dramatic song that gives a correct closure to the album, again the organ is amazing and absolutely unique, something that is a constant along "The Thomas Tracks", they remind of GENESIS but don't play like GENESIS, the sound like a 70's band but with a unique distinctive sound that takes the best of the glorious decade but add the modern sound of this new century.

I never rate a debut album with more than 4 stars because I always expect more from the new bands, and even when I'm sure that 5BRIGDGES will give us more surprises, I will make an exception and give 5 solid stars to "The Thomas Tracks", because not doing this would be unfair and lack of consistence, I believe the album is in the masterpiece level and I'm giving them nothing they haven't earned.

In many respects- sound, composition, and even vocals- this what I would imagine early 1970s Genesis to have been like had they remained together, hadn't gone pop, and it was the 21st century. The guitarist sometimes goes long sections without playing anything at all with respect to lead guitar, and when he does, it's pretty reserved and isn't flashy, much like Steve Hackett's work. Weird as it may be to say, the drumming even sounds like that of Phil Collins, both in technique and overall sound. The lead singer even sounds an awful lot like Peter Gabriel, in terms of tone and even harmonies. The downside of this is that while there may be genuinely excellent music here, the sound is nothing unique- I liken it to Starcastle's debut, and how it is considered imitation Yes and therefore lambasted despite great compositions and performances. If 5Bridges is not heavily influenced by Genesis, then it's the biggest damned musical coincidence I've ever heard of. As for the theme of this recording, it's a concept album with really esoteric lyrics that come from various characters. From what I can tell, it talks about the commander of a first century Roman garrison, Munius Lupercus, who was sent to Veleda, a female Bructerian seer. Ultimately, though, this album is loosely based on The Acts of the Apostle Thomas, who was the evangelist of the Parthians and Indians according to tradition. According to the band's website, this is merely the first part, and the band entreats listeners to "be prepared for the next episodes."

"Didymus" Soft, almost musical box-like keyboard begin the first track- how apropos. Strings and background singers gradually ease their way into the scene, and then electronic drums take over, giving this piece a completely different and rather modern sound. What follows is unexpected though, as the track takes on a techno flavor, complete with synthetic rhythms and sampled handclaps. Toward the end, there's promising synthesizer lead that unfortunately is very short-lived- ditto the guitar solo. Didymus, by the way, is the Greek name meaning the same thing as the Aramaic name Thomas- "twin."

"Babylon Curse Reversed" Where the lead guitar left off, it picks up here immediately. The gentle music is gorgeous, and the heavily-accented vocalist sounds excellent over it. The synthesizer and guitar teaser from before return, but this time they trade off in a majestic way.

"On Calpe's Rock" This very bright track reminds me in many ways of similar Kansas songs, like "Question of My Childhood." The introduction ceases and gentle piano comes in, serving as a lovely base for the singer to maneuver over. The synthesizer lead is especially strong on this one, and in that respect, it reminds me of Genesis, particularly "The Cinema Show." A gentle piano and vocal end the track.

"The Spell of Eternity" This is initially a very upbeat track with some strange vocals in the beginning and throughout. This is a song that is heavily-based on various keyboard instruments like piano, harpsichord, and diverse synthesizer sounds. Over electronic drums, there's a guitar lead that was lifted right off of "The Eleventh Earl of Mar" by Genesis. Alongside constant organ and a static bass line, a rapid keyboard solo ensues, which sounds like it could have been right at home somewhere in The Lamb Lies Down on Broadway.

"Martialis' Reveries" Gentle acoustic guitar and bass begin this more pastoral work.

"Tricks & Treason" Acoustic guitar and organ make up the beginning of this one following a short spoken bit. Shimmering guitar and organ assume control in the second half, welcoming the singer over some aquatic sounds. Generally, it's an upbeat, if sometimes generic progressive rock track that should sit well with most folks.

"Lovernius' Song" Beautifully calm organ and clean electric guitar build a wistful sense of intrigue on this one.

"Batavian Revolt" Acoustic guitar, Mellotron, organ, and drums set the build for this exceptional and lengthiest track. Again, this piece reeks of Genesis, but is rife with creativity in terms of composition. Gentle organ lets the subtle electric guitar wander over it until the verse returns again. For once there's a strong break from the Genesis sound, but the band adopts a Yes veneer, with Howe-like lead guitar (clean jazzy "shredding) over a solid organ.

"Amazons & Haven" The sounds are bright, but the composition is dim- the opening of this piece makes me think of twilight. This lengthy song is laced with acoustic and electric guitar, synthesizer, and that ever-present organ, all weaving in out of each other, even during the verses. A church organ (like it is on analogue tape) plays what sounds like a blend of Stravinsky's finale from his Firebird Suite and Mussorgsky's main theme from Pictures at an Exhibition.

"Sign on the Wall" Improvised-sounding percussion and fretless bass finish up the album. Various themes that seems to jump in throughout the album comes back here in full force for one final chance to imprint themselves onto the listener's memory. It is quite a brilliant way to end such a great album.

Once in a blue moon, there are albums that take their very charming time in blooming, initially a tightly shy bud that will blossom with a modicum of TLC. I was inspired to purchase this mysterious unveiling by our "synthphony" who lauded its values and since I am a sucker for prog from the Netherlands, I finally landed this one. My first unfocused audition scored a mere 3 stars, my next one 3.5, then I shoved it in my car CD player and it has progressively (hmm, that word again!) evolved into a 4.5 flaming asteroid. Mind you an album entitled "The Thomas Tracks" when your name is Thomas is kind cool, but I didn't let that deter from any positive considerations. This Dutch symphonic crew builds up quite a musical storm with hints from all the usual suspects (Genesis, Yes, Gentle Giant etc?) while retaining some exceedingly original timbres and contemporary accoutrements. The music is based on a published novel written by drummer Rob van der Linden. The vocals by Piet Roelofsen took a little time to enchant , a bit like a less twangy David Cousins but the rest of the performers are stellarly competent if not outright excellent. The bass manned by Martin Thoolen has that trebly wobble that fuels the majestic Rickenbacker and the drums are superbly modernized with various beats and percussive adornments that are definitely new school. Guitarist Enzo Gallo has an oblique style that will remind some of Steve Howe (yeah, the steel guitar?) but has its own distinctiveness. The keys are handled by Luke D'Araceno who weaves all manners of passionate pianos, orgasmic organs, sublime synthesizer that will place him squarely in the Wakeman/Bodin pantheon of ivory wizards. "Didymus" sets up the first girders ("brick by brick your temple rises") , deliberately building the symphonic structures as the "boom tchak-tchak" drums rifle in the 21st century beats , sweeping mellotron entering the fray and power guitar riffs as the synths loop in judicious folly. In "Babylonian Curse Revisited" Gallo duels with D'Araceno in diminutive bursts of loud lucidity, entirely Genesisian in feel and spirit, soaring into an intricate concoction of tempo shifts and moods, where vocalist Roelofsen actually acquits himself with exceptional brio. The instrumental sections are mind blowing, the buzzing Mini-Moog ceremoniously jostling with the guitar slashes, swept by torrential mellotron cascades. The rhythm duo keeps it tight, inventive and propulsive, like they are supposed to but they do it with style. "On Calpe's Rock" we plunge deep into a SEBTP mood, with key and fret boards ablaze, all shuffling along merrily (some wonderful volume pedal work on the guitar and elegantly romantic piano), Piet struggles a bit in hitting the higher notes but the passion is definitely there. The bass dances into the bustling beats and shovels the path into the symphonic heavens (a huge Howe-like axe brush clears the way) and the soft piano waves goodbye in respectful delicacy. The 10 minute "The Spell of Eternity" is the strongest track here, a mix of Hawkwind/Ultravox in the pounding drumming with manic synth loops introducing a massive barrage of instrumental genius from each and all, the Rickenbacker propelling the proceedings like some immense sonic lizard, Piet fox-trotting his Gabriel/Fish-isms with impish glee, while Gallo does a 60s Perry Mason theme on his crunchy guitar (amazing!) while screeching out a series of solos that defy description. The ultra-modern drum patters recall a train on twisted tracks keeping one's breath in constant expectation; as the keys run rampant it becomes apparent that this is grandiose sympho- prog that deserves your ear and your heart, I certainly applauded forcefully when I actually "got it". After a short bass and acoustic guitar interlude that has Rutherford/Ant Phillips all over it, "Tricks & Treason" pursues the themed story with a playful organ, some forceful rhythms and a melody that stick in the mind with jubilating ease. The mood here is quite upbeat and positive with more dramatic vocal gymnastics that serve the structures well. A serene mellotron/acoustic guitar bridge is simply marvelous as the water effects flow under the bridges, a wispy organ meanders with purpose and authority. There are some polyrhythmic exercises that recall the Gentle Giant and astoundingly deflect from any "neo" connotations. The drop-dead gorgeous instrumental "Lovernius'Song" elicits dreamy memories of past prog glories, supple, classical Anthony Phillips-isms bathing in dense electronic orchestrations (another winning piece) that will provoke deep emotions. The epic "Batavian Revolt" is a romping upbeat affair with rather sunny melodies and generally enthusiastic playfulness, with some contrasts in mood and energy. A restrained guitar solo searches for the distant boundaries of prog discourse, where the Steve Howe influences really come through. Next up, "Amazons & Haven" rekindles the Genesis sound in a perhaps dreamier setting, wispy synth washes swarm in harmony with a light tempo and content to deliver a grandiose setting (the orchestrations are magnificent) with "seagull squawking guitar fills to boot. This is where the band seeks out to stretch their instrumental limbs with fervor and even abandon, drumming heightening in intensity, bass rumbling in frenzy, while the keys and axes run rampant. The final track "Signs on the Wall' really sounds like a finale, full of rebounding themes, excited choruses and various mood contrasts that take their time in developing. This is not an easy album to digest, requiring multiple auditions before it starts weaving some magic. When the structure is finally erect, your ears will flutter with pleasure. For those who enjoy a complete experience, the full libretto is available on line within the confines of the band's website. 5 bridges