FINCH

Although the band is based on the guitarist Joop v. Nimwegen and bassist Peter Vink (ex Q65 (top Dutch acid rock band)) it is the keyboard player which delivers the nicest parts. Especially the solo's of Determijer on "A Passion Condensed" and "Scars on the Ego" are quiet brilliant. The solo's of Van Nimwegen are technically correct and interesting, but miss the sparkle it had on "The Glory..". Also the songwriting is somewhat less good then on Finch's debut. Especially "Beyond the Bizarre" cannot hold my attention.

This record misses the fresh energy it had on Finch's debut record. Finch has not changed in sound and therefor created a copy of the debut, which is less sparkling however and misses the fine touch. Together with a not-optimal production I conclude that this is a record which will amuse the fans, but is not essential. 3,5 stars.

Unfortunately, this work is still lacking direction - and as such - it fails to impress. To their credit, they applied some restraint here, but that is just not sufficient to elevate this work beyond noting the lack of irritation associated with their debut release.

My criteria is relatively simple. Would I listen to an album again? I'd have to say no to this one. Not whilst hundreds of potentially promising albums are sitting on my shelves, awaiting for the first spin. "Galleons" is not bad, it's just not quite good enough, either. There is enormous material available even from those early years of Prog, yet to be examined - and in some cases, absorbed - thanks to numerous releases from the vaults in recent times.

With that in mind, I couldn't possibly rate this work as essential. Life is just not long enough to fill with other, but the very best.

So, what's wrong with this album? Simply, too many notes, just too busy for little return. A typical case where less would have been more. Ambitious? Yes. Overkill? Absolutely!

Nervous, overzealous delivery, at times bordering on irritating where the credible bits are obscured by the cacophony of everyone is trying too hard. FINCH would have been really well served by engaging a capable arranger and arriving at a 4-5 star result.

I am truly sorry to say as I'd like to like this work, but the "Inner Force" here appears to be too over the top and remains without "Glory" in my books. Much refinement and substantially more subtlety would be in the order.

Reluctantly, I have to decline even a 3 as this album is unlikely to have another spin at my place. A real pity, but by my criteria I can't even see the point of keeping it in my collection.

Erik de Beer.

Before Finch was founded Jan Akkerman was arguably the best guitarplayer in the Netherlands. Joop van Nimwegen however became some real concurrence to Jan. Joop van Nimwegen seems to be really Inspired by the guitarplaying of Jan Akkerman and maybe also a bit of Steve Howe (Yes). The guitarstyl is mainly faster than in Focus, but with the same kind of intellectual songwriting (Joop van Nimwegen wrote all the songs on this debutrecord).

Besides the awesome guitarplaying in Finch, the bassguitarist does really shine on Finch's debut record. The basslines are active and really fast. This bassguitarist is not just a backgroundplayer, but shines on front of the band! The keyboardist may not be as good as Rick Wakeman of Keith Emerson, but manages to fit by the other excellent musicians and adds some nice atmosphere. The drums are just fine.

In my opinion this is the best instrumental-only record ever made. Finch showed to be better than the Mahavishnu Orchestra or Return to Forever. The same speed, but better songwriting and catchier melodies. A really exciting record - a must have!

The third (and last) album of Dutch Symphonic/fusion progressive rock band Finch is a debatable one. A change in direction made the band loose some of it's attractive elements.

Now, first of all. Finch is still a band with the best of musicians. Peter Vink on bass is definitely one of the best bass-players of the scene with his fast riffs/solo's and solid playing. Guitar- player Joop van Nimwegen is almost as good as Jan Akkerman (who referred to him as one of Holland's most talented guitar-players). The keys and drums are steady, but mainly the keys are a bit more laid-back on this third album.

The compositions are less chaotic, less fast and there are less musical ideas thrown into the mix. All tracks are still instrumental and all still have meaningless titles, as did all their other tracks. The band has as slight focus on the modern fusion sound, with lot's of slow chord progressions and a modern synth sound. The band impresses with sounding very professional. The compositions are not fully original, some of the harmonic structures and melodies remind a bit too much of their older works. Taken this in account, I like really like all the tracks and their are many great balanced bombastic and atmospheric moments, great solo's and some tracks have strong development. The atmospheres often travel between dark symphonic , relaxing fusion en exciting classical influenced symphonic hard rock. The overall result is a relaxing, yet exciting symphonic/fusion record.

The recording/sound of this album is just perfect. All instruments sound full and the overall mix is good. The warmth of the record fills the room nicely.

Conclusion. I can understand a lot of people would rather have had a more progressive record with more 'muchness' in the composition, but I actually think this is a great achievement for the band. All are great musicians, all have great moments and the record is actually quite relaxing, whilst still being impressive enough to listen to it whilst sitting in my executive chair. Three and a halve stars, rounded up (mainly because of the great recording).

"Register Magister" opens with keyboards galore bfore the bass and drums join in. It settles 2 minutes in as the guitar arrives. The chunky bass is impressive. Piano a minute later and some mellotron. More mellotron 4 minutes in as the guitar solos. It sounds like Steve Howe on guitar to end it. "Paradoxical Moods" opens with guitar and drums before keyboards come in and take over. It settles with organ before 2 minutes. Some laid back guitar and drums take over as bass throbs. Mellotron before 3 minutes. Some scorching guitar 7 1/2 minutes in.

"Pisces" has an interesting intro then it settles in with some nice bass. Piano leads after 1 1/2 minutes with prominant bass.The guitar is back. It calms right down before 4 minutes.The guitar starts to solo tastefully 5 1/2 minutes in. A full sound returns before 7 minutes. "A Bridge To Alice" features some impressive drumming early. Huge bass before 5 minutes as drums pound and the guitar plays on. Organ after 6 minutes before the sound turns dreamy then calms right down. It turns haunting before 10 minutes then starts to build a minute later. Mellotron 12 1/2 minutes in. I like how they at least mix it up a bit in this one.

This is complex and bombastic with lots of solos, but it fails to excite me much. 3.5 stars.