LOST IN TIME

It seems a great injustice and a true `comedy of errors' when a particular undeserving (to my ears anyway) title gets a ton of discussion and attention, and one such as Flamborough Head's latest, that all but set the standard for the Neo genre in 2013, is more or less unrecognized and essentially ignored by all but a few. `Lost In Time', their seventh studio album, is simply one of the most richly symphonic collections of recent years, a perfect marriage of heartfelt female vocals and rich lengthy instrumental arrangements, and it's truly a masterclass example of progressive sophistication that is bristling with excitement and confidence.

You won't find a more memorable and emotionally heartfelt progressive rock track than the opening 12 minute title track, and it's simply one of the most effortless and classy symphonic pieces to appear on any prog album in 2013. A reflective lyric that I take to be about being confronted by past choices and confronting decisions, it's the sort of tale we can all respond to in some way. The words are sung with such pained beauty by Magriet Boomsma, moving between sad longing and dignified pride, and she has even the smokey sophistication and confidence of an Adele-like James Bond theme singer to my ears in a few spots! The striking and solemn front cover art perfectly conveys the emotions of the piece too, and would look so impressive on vinyl. The music around Margriet's voice is just as wondrous, with endless, yet always purposeful extended instrumental passages dominating the piece, and all the musicians receiving several moments to stand out. Gert Polkerman's clean and emotional guitar soloing passages remind me instantly of Pink Floyd, and the stirring piano and orchestrated synths of Edo Spanniga (on something of a roll in 2013, also with his sublime new Trion album `Funfair Fantasy') recalls the grandiosity of some of the classic Renaissance discs. Sheer perfection.

`The Trapper' is an old-time touching story of a young boy working in a coal mine to support his mother. The music perfectly captures the excitement and hopefulness of youth with the same upbeat jauntiness of those nifty early Pendragon albums with dazzling synth-play, then contrasts it with respectful and delicate drama of the confronting danger and situation the subject finds himself in. Instrumental `Dancing Ledge' is a winning showcase for Polkerman's dramatic electric guitar soloing, with brooding Mellotron, Koen Roozen's heavy stomping grooves, bristling Hammond organ and wistful recorder and flute backing him up.

`Damage Done', a somber `relationship broken' lyric full of hurt, contrasts moments of brooding and frantic heaviness with Camel-like majestic flute trills, and the lyrical theme takes a more unsurprisingly angry tone on the aggressive `I'll Take The Blame', Marcel Derix's chunky galloping bass, spiky guitar work and scratchy Mellotron a highlight. The lush closer `Andrassy Road' thankfully takes a more uplifting and pleasing mood after the previous numbers, and with dancing flute, classy Mellotron veils and a preference for sprightly acoustic guitar passages over its variety of tempo changes back and forth, it takes on a near-orchestral prettiness.

Lavish doesn't really begin to adequately describe this luscious symphonic styled progressive jewel. There's not a trace of filler to be found anywhere on the disc, just exquisite compositions with superbly executed instrumental transitions in addition to one of the most sublime and distinctive modern female prog vocalists. It also perfectly compliments the above-mentioned `Funfair Fantasy' Trion album beautifully. One of my absolute highlights of 2013, `Lost In Time' is a truly magical progressive achievement.