WELCOME

With their epnymous debut effort, Welcome brought a very interesting input to the Swiss prog scene. Despite its formal power-trio structure, the band's sound is so more closely related to early Yes (from "Yes" to "The Yes Album") and "Remember the Future"-era Nektar, as well as the the semir-ough melodic approach of classic Novalis and Grobschnitt. The main melodic responsibilities rest on the shoulders of keyboardsman Bernie Krauer, who alternates effective leads on organ and Moog synthesizer with attractive mellotron layers that bear the usual orchestral feel that comes to be one of the essential ingredients of standardized symphonic prog. Meanwhile, bassit Jost very much emulates the vintage Chris Squire vibe while his rhythm partner Stebel develops a drumming style in the vein of Alan White's dynamics. All in all, this band does not display ceaseless pyrotechnics, which means that the core compositions are kept within a moderate use of bombastic elaboration. Welcome certainly does not hide its major influences, choosing to welcome them explicitly and organize the musical ideas around them. The vocal department is also very relevant in the band's overall sound, since there is no lead vocalist in Welcome: all vocals are delivered in harmonies that display the singing lines. All in all, the singing interventions complete the easy-going spirit of the repertoire. Since the drummer and the bassist share acoustic guitar duties, it is no surpirse that they appear in many passages of the album: strumming sections appear as an addition to mellotron layers or even dominate the bucolic ballad 'Glory'. The first two tracks display accurate examples of what the band intends to offer to the prog friendly listener. Particularly, 'Dizzy Tune' benefits from the presence of sinister undertones in the track's central jamming. IMHO, the second half of the album is its best part. 'Chain of Days' and 'Dirge' comprise the most appealing musical ideas and the most accomplished use of mood shifts. The latter includes a very pretty guitar solo, as well as some of the most energetic manifestations of Hammond organ and synthesizer. 'Dirge' is the most epic-oriented track in the album, even showing a somber side that is not in itself very usual. Jost displays a very effective guitar solo whose moderate length reveals a sense of pwer that until then he had only shown on his mostly fuzzed bass guitar - good for him! This record is not likely to particularly impress the demanding prog listener, but it sure will be a pleasant discovery for those collectors who just can't get enough of the stylish beauty inhenert to symphonic prog. "Welcome" is a very good album, indeed.