CHROMA KEY

You have to come to this realase with an open mind -yeah, your'e a prog fan so you have it, but I've seen more critics inside the prog fans than in the mainstream music-. The music is full of synths, patches, and a lot of keyboard layers that surrounds Kevin Moore's voice and the result is like a convulsive dream... the moods are kind of sad and cynic, and the music is slow and kind of dreamy...

Is similar to his previous work, Dead Air For Radios, but a lot more electronic, there are less pianos and drums, and there's more synth and drum programing... the robotic voice of Moore give a lot of space to wonder what he's saying through the words... like he's always meaning something else than what he's saying, so is nice to put him attention...

About production and quality, is a tip top... but I guess the difficult part to appriciate is the instrumentation... there's no too much of it... there's good amount of music, but there's no solos or something to show off... pure ambient and all the songs work for that goal... get a proper ambient of this space-ambient music...

Needs a lot of hearing and you most have to be in the mood to this kind of music. It's special to hear with headphones... what a journey... just close your eyes and enjoy... I'm about to do it... just nice...

Comparing two albums ignores the objective of a review: you read an album review to find out about the album you've clicked on. But to compare this album with Moore's previous Chroma Key album is perhaps the easiest way to review You Go Now (that, plus it's getting late and I'm lazy). So, if you've not heard Dead Air for Radios, here's the potted summary: straightforward, atmospheric, keyboard-driven songs similar in structure to Peter Gabriel's work, with Kevin Moore's plain and soothing voice singing down-to-earth lyrics. That's a long sentence, but if you can stomach it, it gives you the gist. Or, you could read the reviews on the DAFR page. Your choice.

Comparing YGN and DAFR is sensible because YGN is a progression from DAFR: it takes what DAFR started and brings it on to the next level. DAFR was Kevin Moore with some session musicians (who happened to be from Fates Warning as I recall). In contrast, YGN is a collaborative effort between Kevin Moore and guitarist David Iscove. Iscove's guitarwork adds a lot to the album in terms of the atmospherics, and Moore's synth and keyboardwork has developed further from the first album (many tracks use the crackling of old vinyls to add to the atmosphere). Lyrically, the album feels more concentrated than DAFR: most of the tracks use some sort of metaphor or audio sample related to astronauts (Moore said in an interview that astronauts were used a lot as metaphors for loneliness). This means that as an album, YGN holds together much stronger than DAFR, and feels more cohesive.

In terms of the actual songs, the two albums feel very similar in terms of quality. I would say YGN has the edge over DAFR. DAFR was more variable in terms of quality, but YGN is more consistent and generally has the bar raised a bit higher (likely due to Moore's maturing as a songwriter).

Both albums have mellow tracks with distorted vocals (Colorblind and Mouse on DAFR and Get Back in the Car and Subway on YGN). Both albums have one energetic track (On the Page from DAFR and Astronaut Down from YGN). However, when you compare the number of "normal" tracks (that is, standard song structure with no bonuses like distorted vocals) and ambient tracks, you notice a shift. DAFR has four "normal" songs (Even the Waves, Undertow, American the Video, S.O.S.) whereas YGN has just two (Another Permanent Address, Nice to Know). And this is where you really notice the shift: DAFR has two ambient tracks (Camera 4, Hell Mary), and YGN has four (Lunar, When You Drive, Please Hang Up, You Go Now).

That was an incredibly long-winded way of saying there's a greater shift towards instrumental ambient tracks on this album. There's a much greater Brian Eno influence evident on this album, the spacey tracks with their guitars and synth sounds greatly reminiscent of Eno's Apollo: Atmospheres & Soundtracks. If you listen to the third Chroma Key album, Graveyard Mountain Home, you can see a trend in the albums towards more ambient, instrumental pieces and fewer straightfoward songs.

There are some wonderful songs on this album. Get Back in the Car is a dreamy, atmospheric piece. Another Permanent Address is a mellow, emotionally-charged song which rivals Space-Dye Vest in its beauty (note that Another Permanent Address doesn't have arrangements by a progressive metal band, though). You Go Now is one of my favourite ambient tracks of all time, simple yet haunting in its atmosphere.

Unlike DAFR, there are no tracks which I feel an urge to skip. It's a question of "Which tracks are less good?" rather than "Which tracks aren't very good?" The weakest track is probably When You Drive, a mellow, almost minimalistic track where the audio samples take centre stage (I prefer it when the music takes centre stage, myself). Lunar is also in the same category, but not so guilty: there's more music and the audio samples contribute to the atmosphere better.

The single biggest criticism I have is in the order tracks appear on the album. Like many prog fans, I'm a stickler for the album format: I don't say "which track shall I listen to now?" I say "Which album shall I listen to now?" As Steven Wilson (of Porcupine Tree fame) said, albums are supposed to take you on a musical journey. The trouble with You Go Now is that the first three tracks are all very samey. Get Back in the Car, Another Permanent Address and Nice to Know are three tracks which have a similar mellow feel, have the standard song structure and are about the same length. Individually, they are good songs, but stacked next to each other they feel monotonous and get boring. With the exception of Astronaut Down, the rest of the tracks on the album are much more ambient, much spacier. There IS variety on this album, but it hasn't been exploited. It doesn't do much to give you a good first impression. This is one of the few albums I know that would benefit from use of the shuffle button.

Moore's voice is for many a bone of contention. If you didn't like his voice on DAFR, you almost certainly won't enjoy it here. The only real difference is that he uses a smaller vocal range (he went quite high on On the Page as I recall). But his plain vocals DO fit the sound of the album and do complement it.

If you enjoyed Dead Air For Radios you will almost certainly enjoy You Go Now. If you enjoyed Graveyard Mountain Home... well, that's largely irrelvant as GMH is so much more different from the first two. This album is the transition from the first to the third Chroma Key album, which makes it a good starting point for Moore's post-Dream Theater career. If you had a choice between Dead Air For Radios and You Go Now, I would recommend You Go Now. A deep, atmospheric, emotional album. Highly recommended for anyone who values substance over style.

I always came to the music of Kevin Moore waiting for something that really makes me dive into another reality and let me flow into a strange ambient... this is really succeded in this particular album, wich is properly a soundtrack of a weird movie... that I don't have seen yet... and I really don't mind to...

Musicaly, the theme is repetitive and slow pace through the whole album. Someone could say is boring... but really you have to let you flow through... The samples, the repetitive keys, the soft guitars, his robotic voice, the slow drum kit, everything moves you to a relax environment where if you aloud yourself, you can discover depressive feelings... So yeah, is though to get into this album if your'e too happy or excited... is ideal before you go to bed, or in a rest time period... is really something that demands more than attention to the structure, it's just about an strange scape trhough deep emotions... guess Moore always was an emotion type and we find some in his Dream Theater fase...

So, for the prog fans, aloud yourself to let aside your addiction to fast and crazy rock solos and get you to another level of understanding of music... the feeling... yes, this is too sad for some people but that's the exciting thing, at least for me... music is about feelings... and this piece can really mess up your mind... and your emotions... so is good for the heart... really...

Then, listen to the speech in the song Human Love... is kind of crazy, but you really get somethings that you won't find nowhere else... I recomend this album for anyone who wants to get emotion from music... is very experimental and ambient... ideal to listen at night... 4 stars... it really worth it...!!!

To be completely honest, I'm sure must prog fans could hate this album, but non could denied the talent and the master mind of Kevin Moore... sure here there are not guitar solos, not a single one, there's not long epic songs, is difficult to listen a heavy driven guitar... this is just... different... but great in every department...

The album is oriented to piano, moody ambient and a lot of electronic samples. All works to make the journey very unique. The slow motion start of the album is perfect to set the mood... a lot of samples, piano and a very robotic-feelingless voice... just great... cause the lyrics are very cleaver, mental and left without too much emotion... but you have to feel the music, let you surrounded with the ambient to really discover what he really means... is very tricky and very ethereal...

Ok, for the prog fans... if you listen to the prog rock is cause you have an open mind -sure, must don't, but it suppossed to be- you might enjoy this strange journey... your'e warned, there's no long heavy fast music.. this is ambient-rock... or space-rock... that you should dive in to get a chance... but depends a lot in your mood... is better to hear at night, with the lights off... jajaja... but i'm being serious... really... and hear it as a whole piece... 'cause sometimes takes a while to dive in... for me is great, maybe one of my favorites albums... but for prog fans... I say.. .4 stars... 'cause it really woth it...!!!

Those who dislike the album will do so because of Moore's vocal performance and the apparent monotony of the songs. It is true that Moore isn't the greatest vocalist; however his voice fits well with the mellow, atmospheric music. The minimalistic melodies may put off those used to the complex music more typical of prog.

My initial favourites when listening to this were On the Page and Colorblind; however, after listening to the album many times, I have no clear favourite tracks. The weakest track is Hell Mary, a speech synthesiser talking about the end of the world, which is great... except for the fact that there isn't any actual music to accompany it. Camera 4 is probably the next weakest track, with no discernible tune. It's still a good track, but is much more ambient than other pieces.

I love this album for its atmosphere, for its emotion, for the moods it so perfectly evokes. If that's what you look for in music, then I cannot recommend this album highly enough.

Well, to be honest I have to say that this one is not as bad but still: ecstasy is not on the rendezvous while I listen to this work. These synthetic and electronic moods are not my cup of tea; and when they are just performed like here, I am even less keen to appreciate.

Some tracks are above average and rise a bit the global of this effort (Mother's Radio. But most pieces holds as much passion as a faded rose (White Robe, Salvation and the awful and repetitive Before you started).

It might well be a good remedy if you are insomniac: just put this CD into your player and it is guaranteed: you should fall asleep pretty rapidly like during Come In Over even if some guitar at the end might slightly wake you up.

Like Jeff perfectly summarizes in his review: this is a background music album. In this case, it might do the job. But while you are listening to it in a concentrated way it definitely doesn't. At least I feel so.

Two stars.

This work has more to do with electronic and passionless music. Very few to none songs are moving: on the contrary, they almost sound of the same and boring stuff. The dull and monotonous vocals are not of a big help either.

This short album holds no interesting songs IMHHO. Some portions of them only might be valuable. It is difficult to be attracted with such songs as the electro beat "Lunar" or the dreadful "When You Drive".

This album has very little to offer in terms of just good music. I wasn't thrilled by the musical solo debut and this follow-up is just a poor one. I just dislike these computerized vocals as they are featured in several songs

This is a very weak album IMHHO. I really don't like this work; at all.

One star. I guess that I 'm not able to rate it lower.

As mentioned previously, the music featured here has nothing to do with DT: it deals more with electronic and sampling than anything else. This means that it sounds somewhat cold and impersonal.

Some tracks are just bearable and draw this album on the down side ("Undertow", "America The Video"). Actually, there are hardly a great song out of this debut album; I would say that the Floydian "Even The Waves" is the closest one to come to this standard.

When I listen to "SOS", I wonder if he was not calling out for help: this is flat and uninspired and those samplings sounds are truly indigestible during "Camera 4" which sounds more as an experimental and dull number than a true piece of music.

Moore can't be considered as a great vocalist either, which makes this album just an average experience. At times, some more pleasant melody like during "On The Page" is welcome, but let's face it: we are far to be in front of a masterpiece.

If you are in for artificial sounds, this might be for you. But I don't feel a lot of interest for such an album. The repetitive and boring Mouse together with the indescribable "Hell Mary" definitely put this album on the lower rating side.

Two stars.

Also a household name in the prog community, Kevin Moore will likely never be able to shake of his ex-Dream Theater tag that's followed him around for so long. Even if the music that he makes could not be further removed from his old band at all, most people might come marching into his other project expecting a similar sound. However, as mentioned before, these people are likely to be let down. Chroma Key is Moore's first solo venture and it really sounds like he was trying to do something different. More of a venture into electronic psychedelica than a prog-metal affair, this is a spacey album who's overall ''darkness'' factor is a little more than overwhelming.

Characterized by piano, synths and Moore's voice, this was obviously a project where he intended to show off his strengths. He does so very well, because while he may not be the best singer in all the land he certainly knows his limits and stays well in them. His voice often comes off as hypnotic, and I remember the first time hearing it wondering if they had added a constant effect to it. They haven't in all cases, the man simply sounds like a computer. This is a good thing though, because his voice suits the music just so and he doesn't ruin it by trying to be flashy. Comparisons to other bands here are not easy, but the easiest comparison (perhaps obviously with the ability of hindsight) is to his future project OSI but without the guitars. Perhaps a more spaced out and electronic, guitarless Tool would also be a fair comparison for those who haven't heard Moore's other projects.

The songs themselves are rather short, there's no sprawling compositions here to speak of. All of the songs as well are quite evenly matched and stay within the confides of a (kind of) set theme, as well, they're quite catchy with some memorable hooks without becoming too simple for the proghead to enjoy. Ironically, between all the computers and the computer sounding voice there is a very real emotion to be had behind all the songs. Even in the computerized spoken word coda Hell Mary there is a terrible sense of fear and sadness given the context of the words and the ambient music in the background. This is the most extreme example on the album of course, as it's more of an outro than a song, but the real songs on the album do much the same thing. The for example the amazing On The Page, one of the highlights of the album, here we have a delicate piano melody led by Moore's mechanical voice and given life by some very melancholic lyrics that all combine with a good hook to create something very special. Other standouts on the album include the opener Colorblind, the frantic drum beat of Undertow, the accusing America The Video and the haunting Mouse.

While hesitant to give this one a full five meaning 'essential' since some people may not be able to enjoy the electric feel of this album it is certainly an amazing disc which deserves a spin by everyone wanting to give it a shot. If you enjoy dark music driven by keyboards then look no further. People who find something to like about this one but think it needs to be heavier should definitely look up OSI. Highly recommended, this one gets 4.5 cameras out of five. Very near perfection, and an excellent addition to any prog collection.