SYMPHONIC PROG

Ange's seventh record was made in 1980 and got a mostly blue cover with a picture in a heyhole. At that time Ange consisted of Francis and Christian Decamps, Jean-Pierre Guichard, Robert Defer and Didier Visieux. The two brothers were the only original members left. What's most significant Ange here is the very dramatic vocals we hear right from the start in "Les temps modernes" which is a fast hard rock song with great guitar that screams in the solos. "Les Lorgnons" is a classical Ange song and the best on this record. It also features a great guitar solo and the keyboards reminds me of the German symphonic band Novalis. Just unfortunately I can not speak or understand french. "Foutez-Moi La Paix" is short but special with its uninhibited vocals. "Je Travaille Sans Filet" is also very rocky and in the end we hear a church organ and strong guitars. "La Suisse" is different. It is both mainstream and polished to an intelligent unit with a great perfektion of the sound. And what would the 80s be without languishing saxophone. "Personne Au Bout du Fil" is not very interesting, a fast rock song but "Pour un rien" contains much more interesting stuff. The ending and title track "Vu D'un Chien" ends up with a symphonic background with a praising audience.

In terms of progressivity this isn't the most complicated Ange record but that doesn't make it less good. I think Ange managed to seek out new life forms for their music with keeping its spirits. This is better than "Par les fils de Mandrin" which had som inferior tracks but not as good as "Cimetière..." or "Carricatures".

And symphonic prog in the line of Renaissance oldies.

Yes in comparison to some of their latest .."pop prog albums"....a real advance.

But well years pass....and the product can,t be (or is difficult to be)as good as the ones in the best of times....Scheherazade,Turn Of The Cards,Ashes Are Burning....

Annie Haslam vocals got tired...composition inspiration not as good... instruments playing not so genial...

Mostly all the songs are like opera little arias ....Haslam s voice now is more operaness......but in general boring songs..not inspired...

So some things of the best Renaissance...but don t expect long masterpieces of the old times.

2,5 stars for me.

Right away, "Beware of Darkness" sounds much crisper, much sharper. The quality is much better. The lyrics are a bit iffy songwriting wise, but the instrumentation is spot on. "Thoughts" is right there in the same wheelhouse. The carnival house 'chorus' is kinda cool, though. It gives the song it's own USP. Even the scattered chord blotches scattered throughout the piece add to the uniqueness of it, making it one of my favorites of this album.

Strangely, though, where the songwriting on "Beware of Darkness" is fairly average, "The Doorway" is the perfect song to weave lyrical majesty over, and Neal Morse does just that. The melodies are perfect, it's not too soft, it's not too harsh, it's a well balanced track. Funny however, though, up to this point that Spock is at it's lyrical, songwriting best when composing longer songs, as opposed to shorter songs. Just something to think about for future reference.

"Chatauqua" is a nice, quick little guitar ballad that sounds very Trans-Siberian-esque in its playing. "Walking On The Wind" is not like that. At all. In fact, the keys sound very ELP from the get-go, perhaps because this is the debut of famed keyboardist Ryu Okumoto. The composition is much more balanced, and the songwriting is improved once again as well. In fact, I can tell that the lengthy tracks on this album are much more balanced, but also better lyrically. It's as almost if Alan and Neal Morse realized that, on shorter tracks (9-11 minutes as opposed to the 23-minute "The Water") that songwriting and lyricism takes center stage over quick changes and sudden displays of musician ship that peppered much of "The Light".

Now, is that a bad thing? Depends. Everyone is going to have their own opinion over this, and has for the past 20 or so years. Some people prefer Neal's songwriting, others prefer the magic made by the instruments these men wield. I, for one, prefer the latter over the former (which is why I'm one of few who prefer the post-Neal Morse Spock albums), but I have no problem with Neal's voice or songwriting. It's just that even with these great, early songs, you can sense a conflict between the songwriting and the composition. Perhaps even in 1997, the wisest prog fan could sense Neal Morse's departure from the Beard, even then?

Yet, we come to "Waste Away", a perfect 90's radio song that's catchy, acoustic-al, Neal's pipes get a center stage showing, and it's a song that's just cool. No, it's not very proggy, but it's a radical departure from "Beware of Darkness" which is only 20 seconds shorter. Here I am, bashing Spock for not being able to be good songwriters for short songs, and yet "Waste Away" completely destroys those notions. So, what do we make of this album?

Perhaps we need to listen to the closer and headliner, "Time Has Come", to get a clearer picture. The intro, much like any Spock epic, is perfect. The atmosphere it sets is perfect, the emotion is there.

And yet, 2 minutes in, the music stops, a guitar comes in and Neal Morse puts on his best Nirvana impression.

It's not bad, but it's just not clean, the transition just isn't smooth. Instead of fading out and in to the guitar, it abruptly cuts out. It just sounds pasted together, much like "Go The Way You Go". Once it's developed, though, the grungy first verse sounds cool. The lyrics definitely fit the mood and attitude. It's just the way it starts that just leaves me feeling confused. The transition out of the grunge phrase is nice and the song continues nicely to the halfway point about 7 minutes in.

Once the fade out and and the synths re-emerge, though, it sounds like a completely different song. The hardcore grunge of the first half is gone, and the hectic, stop-and-turn- on-a-dime routine of "The Light" is back, and there's no reference of the first half at all. Now, obviously, this isn't classical music. There's no recapitulation of the main theme like in a sonata, but it still feels like they recorded the first 7 minutes one day, and then recorded the next 8 minutes some two weeks later and decided to squish them together to create one long song because they haven't recorded an epic on this album similar to "The Light" or "The Water". Neal's grungy voice tries to make a reappearance at the end, but it just doesn't have the same effect as the first time. It just doesn't work.

VERDICT: Spock fan's will surely love this record, but it's not without its faults. "The Doorway" and "Walking On The Wind" are the two big standouts. "Time Has Come" isn't bad, but it's just one of many examples throughout the album where the band is trying to progress musically rather than just technically. Yet there are still songwriting pitfalls, quality issues, and just flat-out question marks in general.

So, really, Spock's sophomore album isn't as good as the first, but its got sparks of future Spock hidden in its genes. It's a transitional album. For the better or for the worse? That's up for you to decide.

Top Tracks: The Doorway, Walking On The Wind, Waste Away

I still find it odd to this day that this was a record released in 1995. The opening track shows little evidence of its age. Perhaps the studio quality could've been a lot finer. Neal's voice at the 2:30 mark feels a bit muddled. Then again, I'm sure that was the point, but I still feel the quality could've been improved. A lot of synth stylings here also definitely hint at a bit of an 80's sound. That's not necessarily a bad thing, merely an observation.

Still, despite the obvious age of this 15 minute goliath, it's still a very enjoyable track. The melodies laid down by Alan are absolutely unique unto themselves. The way this outfit just picks up and moves into a different direction instantly is baffling to me. If you weren't paying attention half the time, you'd figure you were listening to about 5 different songs, when in reality, the song never changed. Honestly, the song goes through so many changes, it's nigh impossible to state them all. In short, this may be the first song of Spock's first album, but it's a doozy, and one of my absolute favorites.

"Go The Way You Go" is a bit of a misfit to me. Even in the intro, the song snakes back and forth between chaotic chords and playful little melodies. Right from the get-go, though, the quality sounds much better here. Right up to the moment where the entire band cuts out to go to Neal and the guitar melody. It feels a bit, I don't know, cut-and-pasted together. That said, the chorus is catchy and enjoyable. It's not a bad song, but the main reason why it's not one of my favorites is because Neal seemed to take a lot of liberties with the vocal line, and as such, the transitions seem to be abrupt and not totally smooth, same with the rest of the band. It doesn't feel as smooth connected as "The Light". The licks just don't flow smoothly into the next phrase, the key signatures just don't match up half the time.

And, I'm sorry, I'm all for the crowd noises. But that sample just sounded way too cheesy.

Still, the jams in the middle were nice. And that's always nice.

Still, in terms of length, neither of these two tracks can stand up to the 23-minute length that is "The Water". Again, from the intro, I hear no real quality issues. You'd never be able to tell how old it was if you didn't know when it was released. Until the 2 minute mark. The bell chords are decidedly 80's-ish. Still, Neal's harsh tone of voice pulls it back into 1995, while the guitar licks sound eerily 70's Pink Floyd-ish (a mash of generational sounds here). Even the female chorus sounds like it came straight out of Pink Floyd's repertoire.

Not like that's a problem though. This is, quite simply, an epic track. It's one of those you just can't listen to everyday. You have to make an occasion for it, put some time off to just encompass those 23 minutes. The songwriting is epic, you can just tell these guys worked their tails off to put this piece together. The transition (unlike the ones from "Go The Way You Go") from the bluesy ballad to Neal's "f*ck you" rant is seamless. The whole song, really, is just expertly put together, a memorable song and one of the prog greats.

"On The Edge" feels like a misfit as well. The shortest track (at ONLY 6 minutes), it's not a really great intro. There's a sense that it was quickly cobbled together to form a quick B-side track, if you will. This song definitely feels its age here. Yes, the chorus is catchy, but it definitely feels like a dated track today, and as such, it's just a bit cheesy. No fault of the Morse brothers and the rest of Spock, though. This was the sound of 90's prog, as the new age of prog was still in its infancy.

VERDICT: "The Light" and "The Water" just don't feel dated, though. They just feel better, like all those melodies and phrases were just made to be together, like puzzle pieces, and as such, you should buy this album for those two alone. Granted, the two best tracks are also the two longest ones, but that's not to say the other two are bad. They're just not in the same sentence as the former two. And, of course, throughout the record there are a few reminders that this was an album made in the 90's, where hints of the wretched 80's-pop war machine are still present. All aside, though, this is a must for any Spock fan, and a great album for anyone looking for past classics of melodic prog.

The voice is also characteristic and protagonist. A good rhythmic bass accompaniment, and drums neat, punctual. It is a product rather thoughtful and to listen carefully. Especially in Time to Fantasize perceived this.

Do not expect deployments energy or power, the pace is slow and thoughtful. With variations and twists, but never dramatic or dissonant. Keyboards solos abound and some vocal harmonies. It is close to a neo symphonic at times.

September Weeps contains a beautiful melody and folk, is executed with emotion as very quiet.

Three is more energetic, with an introduction to the style of The Knife, but instrumental. From the second minute, the music regains normal rhythm, with guitar and piano as main protagonists.

Finally, I mention Dubious Dried Ink. Close the work leaving a good musical tastes, and touring like landscapes above.

It is melodic and diverse work, but do not blow your mind. 4 stars well deserved.

Unusual for most prog albums, I expected to hear at least one song with drums somewhere, but on this particular album, they're pretty much absent. A bit upsetting for me (as i AM a drummer, after all), but considering the men making up Harmonium replaced it with beautiful ballads, sweeping flute lines and harmonious string sections, they deserve credit where credit is due. By removing one instrument from the common setup, the rest of the outfit needs to work double time.

"Vert" kicks off by doing just that. Even without a drumset to keep the beat, the opener feels like it has a groove, and halfway in, when the glorious sax lines come in, you hardly realize its absence. From the way the flute lulls you in the opening, you figure it's just your typical ballad, yet it resolves in a groovy jam session when the tune finally resolves, even with the flute making a reappearance in the closing seconds.

"Dixie" is another example of the humorous side of this record. The name implies a distinct American soundtrack, amplified by the ragtime-esque playing of the keys. And do I hear someone playing the spoons? That alone makes it awesome. The clarinet solo makes it all the more authentic, and it really shows in the musicianship that these French Canadians have.

"Depuis L'Automne" then takes the record into a more serious note. The ominous intro makes it more so before the melody softly comes in with the vocals coming in. This melody continues and grows for about 4 minutes before the string section dominates the track and takes center stage for another 3 minutes or so. With roughly 3 minutes left, a beautiful synth lick undercuts the chorus before the last section of the song begins, another guitar based melody for about a minute and a half. No, it's not necessarily an exciting track, but it does wonders when recovering from a migraine. Oh, and it's a good song too (especially as the very end of the song ends minor, much like the way the song began. A very clever bookend)

"En pleine face" is another soft guitar ballad, except much shorter and easier to listen to, with an excellent chorus at the end. The accordian makes for a nice touch though, giving the song that unique Parisian sound.

Lastly, "Histoires sans paroles", the 17 minute goliath of a track. Although, it's not really a monster. The gentle sounds of an ocean wave bleed into a beautiful melody intertwined between flute, guitar and string, before the guitar takes center stage about 4 minutes in (sounds very Jethro Tull-ish there). However, at the 5 minute mark, the song takes a turn for the very progressive worst. Tri-tones and major 7ths are plucked all around the guitar lead as the flute suddenly becomes the main attraction. Then once the dust settles, 7 minutes in, the string section leads into a glorious piano solo, with vocals layed overtop.

At the 10 minute mark, the strings and guitar continue the melody with that oceanfront sound re-emerging, with chordal backup by the flute and saxophone. The sound stays pretty much constant till about the 13 minute mark, where the guitar tone changes into a decidedly more Spanish sound, as the tempo changes into a Waltz-like movement. The bass plays V- I as the song has more of a dance-like feel, especially when the piano solo comes in. The flute melody that comes in over the top is wonderful, as is the playful chromatic solo downwards.

Verdict: This isn't a modern prog record. (Obviously), but the musicianship of this group of multi-talented individuals cannot be ignored. Although every detail needs to be cherished (since the major melodic changes are so rare on this record), it really makes in impact when you're not paying attention. I fell asleep listening to "Depuis L'Automne". That's not necessarily a bad thing, but the goal that Harmonium was aiming for is achieved with this record. It's a beautiful recording inside and out, and the changes in style and certainly the humor can be identified with the first two tracks, but the "Depuis" and "Histoires" are not for the faint of heart. They take a certain amount of dedication and patience to get through. That's why I cannot recommend this album for everyone. The lack of true excitement will bore some people. But if you just want a set of songs to soothe your head after a long day's work, look no further than Harmonium's "Si on avait besoin d'une cinquième saison".

The strengths are "Par les fils de Mandrin" with the most obvious rock sound and a grand bit of humour, "Des Yeux Couleur D'Enfants" which is a deep track with different passages, the sweeping long "Hymne a la vie" and the best track "Saltimbanques" which is the most folky track, with sweet flute and rhytm. The vocals there are dramatic and spiced with much humour.

The shortcomings are the lack of the typical organ sound and some quite boring tracks like the dull "Ainsi S'En Ira la Pluie" which feels like the band has forgotten their audience and the even duller "Atlantis Les Géants Le La 3e lune" where the singer seems to be afraid of being heard.

Over all a nice record to hear but I can't see the real highlights that brighten my mind and some tracks were unfortunately boring. Still I can sense a development in Ange's music that presumably would satisfy some fans. Ange had polished away the dirtyness in their music and made a record that was more well-behaved than before.

Best and most recommended track: "Saltimbanques" My rating: 3,44 = Three stars

Unfortunately Hansson seem to take a step backwards with this release, without further developing the dreamy, organ-drenched sound of his debut.Instead, his music remained strongly rooted in a psychedelic nature with occasional jazzy vibes here and there, like coming from a late-60's enviroment than reminding of an album following the trend of the age towards more complicated and symphonic textures.A fairytale atmosphere is still apparent on the album through the melodic flutes of Bergman in the shortest pieces of the effort, which are also the only ones resembling to the ethereal style of ''Sagan om ringen''.Acoustic guitars and the smooth rhythm section are also very nice in a typical folky mood of the Scandinavian lands.The long pieces of the release though are fairly dissapointing, without being bad at all.Mostly dated organ-based Psychedelic Rock, interrupted by sax moves or jazzy electric piano in arrangements that sound more like instrumental jams than cohesive pieces of music.Håkansson's interesting guitar work along with some of Hansson's good organ themes save them from being absolutely flat, but the strong 60's psych flavor is evident throughout a work, that should be keeping an eye in the future.

If the first two albums of Hansson were released in reverse order, we would be talking about two quite normal works.As they are, ''Ur trollkarlens hatt'' does not make it for a successful follow-up to a very good debut.Recommended only to Jazz Rock and Psych/Prog fans...2.5 stars.

It is a hugely impressive album from start to finish, with more than enough on here to interest the proghead. It is an album that is very cinematic in concept and in some ways it has more in common with shows such as Jesus Christ Superstar than to many other prog albums. I found that right from the beginning I was very involved in the music as it is highly complex, bringing in not only different keyboard sounds but also moving from pop into complicated hard rock.

Different vocalists have been used to assist in the telling of the story and this all adds to the theatricality of the album as a whole. Gentle flute and harp lend some passages a gentle tranquillity that is certainly missing from other sections! This is by far the best album that I have heard from Periferic and one that I can heartily recommend to all lovers of prog.

Originally appeared in Feedback #73, Jun 03

This double CD live set was recorded at Earthlink Live! in 2002 and they were even joined at times by a 60 voice choir. This is a compilation of many of their finest moments and while fans will always moan that there is a song missing that they would have liked, no one can argue that these songs aren't representative of one of America's greatest bands. The songs span their career from the debut up to 'Somewhere From Elsewhere' from 2000. Both "Icarus II" and "Icarus" are here, as well as numbers such as "Journey From Mariabronn", "Point Of Know Return", "Dust In The Wind" or "Play The Game Tonight". Only seventeen audio tracks, it just doesn't seem enough somehow. It ends with a gentle acoustic introduction and Steve singing "Once I rose above the noise and confusion?" The shout goes up "Are you ready??" and the three part harmonies kick off the mighty "Carry On Wayward Son".

This double disc is being released in conjunction with a DVD and as a taster the CD has been enhanced with a video of the band performing "Distant Vision", as well as screensavers, photos and links to the website (www.kansasband.com). A great collection of superb melodic progressive rock. A must have for any fan of the genre.

Originally appeared in Feedback #72, Feb 03