MIRROR

Although the band cheekily start with a very close rip on the chugging riffing of Yes' `Perpetual Change' on the ten-minute opening title track `Daybreak', the rest of the piece moves through slow- burn sax soloing, romantic Rousseau and Camel-like trilling flute over lightly humming synths and ruminating bass purrs. Some playful jig-like regal pomp and majesty could have easily come off the first Trace album, slow-burn electric guitar unfolds with dignity in the manner of the early classic Focus works, and the ethereal wordless sighing voice of keyboard player Paula Mennen reminds of Epidaurus' `Earthly Paradise'. The constantly energetic `Goodbye' lasts the same length and jumps back and forth between energetic bursts with reflective come-downs, full of frantic drumming, leaping bass and reaching, fiery Modry Efekt and Finch-like electric guitars runs, Paula's sweetly drifting voice almost calling to mind the female-fronted first album by Canterbury sound group National Health.

The second side opens with a short and melodic low-key romantic piece `Dear Boy' sung by Paula that holds an unashamedly warm and embracing quality. The mixing is a little off (her voice is either lovingly upfront or disappears completely in parts), but with its steady beat and Paula's unfanciful yet genuine voice, it's a lovely little change of pace, never coming across like a shameless radio-aimed throwaway, simply a gentle tune to enjoy. Then it's straight back to a final longer workout, and the thirteen-minute closer `Edge of Night' is another grandiose symphonic epic of great variety. While a few memorable themes emerge throughout, most striking of all is the mellow first half full of hypnotic piano and droning synth washes ala the classic Novalis albums, oboe puffing along in the background behind drifting sax, and there's even a touch of Seventies Pink Floyd/David Gilmour-flavoured bite to the guitar soloing spots here and there.

Fortunately, three of the musicians here went on to form a group called Lethe in 1978 who released another superb symphonic self-titled album with 1981. But it all started with `Daybreak', a low-key near-classic that has slipped under the radar for far too long, and now that it's been reissued on CD, there's no need to fruitlessly search for long-vanished LP copies, of which there were only 500 pressed at the time. If you're a fan of any of the above mentioned bands and lush symphonic-flavoured progressive rock with exciting playing full of ambition that also holds a frequently joyous sound, `Daybreak' could end up being your next progressive music surprise discovery!

Four stars.

Most of the tunes are led by guitarist Kees Walravensm, but the band also had Philip De Goey on oboe, sax and flute, giving the band a quite distinctive twist. The title track starts with a powerful riff obviously taken from the classic Yes song Perpetual Change, but that´s as far as they go copying that group. The remaining is mostly pastoral and tranquil, much on the Camel´s style, although never really as a rip off of anyone. As I mentioned before, they were not only excellent musicians, but also very good songwriters. I just loved Saanen´s bass lines and Mennen´s great use of the ARP String Ensemble. Production was not that great, but the performances were so good they overcame that issue easily. There are no weak tracks and I throughly enjoyed Daybreak.

Conclusion: If you like laid back symphonic rock in the vein of the aforementioned bands then you cant´miss this one. It´s really a tragedy they did not get the recognition they deserved when they released this jewel. Still, they at least produced a fine LP that still sounds as fresh and beautiful as it was in 1976. I´m really glad I got to know them.

Rating: 4 strong stars.