SEA OF LIGHT

There has been an intense discussion in one of mailing lists that I've participated as member since five years ago, m-claro, about "Time of Revelation", the third track of this album. Basically we discussed about how rocking this track is and how the band delivers heavier music - i.e more metal - even when the members of the band are no longer young. Yeah, this album represented the band's 25th anniversary in rock music business as it's penned clearly at its CD sleeve. For me, I purchased the CD when it was released due to the cover: it reminded me to the band's Magician's Birthday album in the seventies where the design was done by Roger Dean. As the sleeve puts it: Design by Martyn Dean; Painting and Logo by Roger Dean 1995. So I was expecting the music would be alike. In fact, I never regret having this album on my CD shelf. It's not truly prog but it's an excellent album. Overall, this album consists of good and excellent tracks which some of them I give my views as follows:

Against the Odds (6:12) kicks off the album in a very uplifting mood and fast tempo style as demonstrated by a rocking guitar work by Mick Box at the opening of the track. Lee Kerslake who looks after drums set enters his dynamic drumming to provide solid beats, overlaid by guitar solo but still maintaining the opening guitar work through rocking repeated chords. Bernie Shaw's clean voice enters the scene energetically and brings the music in an upbeat tempo with hard driving rhythm section. The keyboard part by Lanzon provides his role at rhythm section filling the gaps accompanied by floating bass lines. Structure-wise it's a straight forward rock music. However, there are many interludes the band has created that makes this track is wonderful. This is the kind of music you want to play very early in the morning to fire you up. The guitar solos are really stunning man .Rock on!

Time Of Revelation (4:02) is another rocking tune with a beautifully crafted composition. It reminds me to the band's previous creation "Return To Fantasy". Yes, it has some similarities in melody, even though they are not the same. It opens with great guitar solo on top of drums and bass lines in relatively fast tempo. Again, Mick Box demonstrates his virtuosity in filling guitar sounds through nice solo in between segments. Bernie Shaw's vocal quality reminds me to David Byron; he has a very good vocal quality that matches Uriah Heep's sound. The interlude part is filled with great guitar solo. Excellent!

Mistress Of All Time (5:33) is basically a ballad rock tune that I found it very interesting when the band played it live in one of the band's live DVDs in 2000. It starts with ambient soft keyboard sound by Lanzon. Bernie Shaw brings his voice at this quiet passage wonderfully. As the music moves with bass lines and drums, the rhythm section is taken over by acoustic guitar with keyboard filling some melodies during transition pieces. The interlude part is filled with nice piano sound.

Universal Wheels (5:39) opens with bass guitar solo in spacey keyboard sound followed with fast tempo music to feature voice line. It's basically a straight hard rock music in upbeat tempo with sort of symphonic keyboard work that gives a rich texture in the song's composition. It's a very nice part when there is people's dialogue in distant voice with short keyboard solo. It's an enjoyable song.

Spirit Of Freedom (4:14) is a nice track performed in medium tempo reminiscent of the band's traditional style. Through this track, Trevor Bolder's bass lines are obvious, augmented with keyboard and short guitar solo. Melody-wise, this is not the kind of song that produces catchy segments.

Logical Progression (6:12) is definitely a thought-provoking title. It opens with a good combination of guitar fills at background and soft keyboard solo at front, followed with medium tempo music. Bolder's bass lines provide the main rhythm section combined with guitar and keyboard work. The chorus is filled with nice bass solo followed with vocal part.

Love In Silence (6:48) brings the music back to ballad style opened with a segment where bass guitar demonstrates its dominance with piano and acoustic guitar at the back. Yes, through this track the band seems to give a chance to Bolder in forming the basic rhythm section. The music flows smoothly in medium tempo with Shaw's voice line. There is some light orchestra involved in this track. The interlude part demonstrating bass lines, orchestration and keyboard work is excellent. You may consider that this album has some prog elements.

Dream On (4:26) is a very nice acoustic-based track with excellent voice lines and guitar work. It's a ballad track, so it would favor a wider audience as the music is nice and accessible to many ears.

Overall, this album has an excellent composition. For those who like the band since its inception would find that this album still offers the Uriah Heep's sound with its unique multi-vocals singing line especially with the segment that sings "Aaaaa .. Aaaa . aaaa .aaa" (well, you know what I mean). Even some tracks remind me to the tagline melody / textures of old Uriah Heep. It's really a good album to have. Rating 3 ½ out of 5 stars.

Progressively yours,

GW