SYMPHONIC PROG

In knowless therms... This album is a fusion between Barclay James Harvest and a New Wave band The Outfield... BJH in your acoustic dynamics, The Outfield in a vocal lines...

Yes bring a great promises in Keys to Ascension (1996- 1997), but, something happens with the band in the path... If i known? No, i don't known, but something happens there, it's a correct thing.

In last case, Yes fall here. Try a new dynamic and betrayed your first concepts from Keys to Ascension duo.

The result of this? Songs with a almost without emotion and inspiration, and a fail try to reply a No Earthly Connection album from Rick Wakeman with a worst track The Solution (the parts likes the repeat previous musics or segment on track, but the difrence to a NEC album from 76, is a off of dynamic and interest...).

In other case, i liked a refrence with a Animation Jon Anderson album from 82 with a Boundaries segment in Somedays, Someshow... Jon makes the same in The Promise Ring (curiositly released in 97 too), and in The Ladder Yes album (?). But this is it...

"We Are The 3rd" blasts out of the gate - loud and bold, heavy and confident - crushing all expectations. John's bass work, as always, is stellar. How can you not love a fat punchy "audible" growly bass tone? "So Many Voices" is a short piano driven ballad. "Brace For Impact" is a heavy rocking unusual tune, is that Paul signing? "Deep Inside" is a catchy poppy song with excellent signing by Laura. Next up is the title track. It begins with a jumpy jazzy pattern propelled by the tight rhythm section. I've always thought IZZ shine during instrumental moments, and that is heard through the first 2 1/2 minutes of this song. "Sometimes Sublime" is another slower tune showcasing acoustic guitar. Paul's guitar work is outstanding as always. "There's Hope!" is an up tempo song that has a definite Yes vibe. Nice vocal harmonies. "Breathren" is totally unexpected, a very short fierce percussive jam where the drummers, Brian and Greg, let loose. I only wish it lasted longer. Is it only me, or does the beginning of "Not About Me" sound like a Frost* song? Is that Jem or Tom signing? Most definitely one of the highlights for me. "Soak Up The Sunlight" is another upbeat tune with playful instrumental jams. The album ends with "And We Will Go". I dig the syncopated drum riffs and the urgency of the tune. Leaves you wanting more. Definate Yes vibes.

Overall, this is another great release from IZZ. The production and engineering also shine. Definitely a must have. 4.5 stars, and let's round up.

1. 198x (Heaven Hill) song is a great tribute to the eighties and a great introduction to the new album, considering they haven't released an album in over 10 years. 2. Between The Devil And Me is a song that perfectly describes what this band really plays. It reminds a lot of the Journey band, a little bit of the glam bands of that era. They have a visualizer video for this song. Maybe it is the best representative from this album. The over 10-minute arrangement perfectly depicts what pop-prog influences should sound like today. 3. Emma, ​​Comme On is an excellent version of the prog influence with high pitch singing and very good synth and guitar passages. 4. A Lifetime To Learn How To Love is a song that balladically introduces the simpho - festival sound. Great singing and guitar solos. 5. Beyond The Blue is Baroque sounding track. 6. Blood Moon is just like Queen from the eighties era. A bit of synth rithm and guitar harmonies, with great vocals. 7. Teen Angel Meets The Apocalypse is totally great epic track. Just like some unrecorded movie from the past. Great classical passages, pop multiple singings, atmosferic acoustic guitars, piano synths. Progressive metal moments are very special. Just great stuff. Very original and positive track. 8. Forever , For You is a track that longer ballad should sound like today. Great polyphonic singing, acoustic instruments, just great. And after 7th minute of the track and onwards, they are showing their prog metal and pop rock skills. 9. Epilog starts with a church bells also with an organ. Singing is just like christmas tracks but in a way that this album deserves an great outro. Overall this album deserves more attention from the prog rock collectors. Such a refreshing album. 5/5

It must be said that some of this does seem somewhat like Morse by numbers, and there is no doubt we have previously heard the vocal approach on "The Argument" on songs like "Gibberish" ? it is very clever but there is definitely the feeling we have come across this before. It is a shame as the driving guitar which precedes it is simply wonderful, and then we morph into "Make Like a Breeze" where we are into classic driving prog which makes me almost forgive what just came before. The man is a genius, of that there is no doubt, but when working in a multi- instrumentalist fashion there is always the risk of not taking on new ideas and falling back on what is safe. The result is an album I have thoroughly enjoyed but is not at the heights of being truly indispensable, and given how much I enjoyed the first part I must admit to being somewhat disappointed. I understand that Neal feels it is his duty to keep spreading the word of Christianity as it is incredibly important to him, and over the years he has released some truly great albums (seeing him perform 'Testimony' in London was a very special event indeed), but if he is going to have the impact he desires then he also needs to rethink his musical approach, as while there are times when this is truly brilliant there are also others where we feel we have heard it before and are looking for something new.

It may not have been the brilliant conclusion I was looking for, but it is still worthy of investigation for those like me who have followed his career with interest ever since the arrival of 'The Light' all those years ago.

This album uses this tragic historical moment as its guiding thread. It tells the story of an Irish family facing painful separation, with the younger members departing for the United States and Canada in search of a better life. The album's title, "Harbour of Tears," alludes to the deep-water port located in the town of Cobh. This port served as the departure point for the ships carrying these people, creating an extremely sad farewell scene.

The lyrics of the album were primarily written by Andrew Latimer's wife, Susan Hoover. Though I don't have full confirmation on this, it seems that Latimer's idea for the album was inspired by the story of his own ancestors, who were Irish immigrants from that time. This personal connection adds an additional layer of depth and emotion to the work.

Musically, it's an album that blends progressive rock with Celtic and folk elements, deeply reflecting the Irish theme. Through its melodic and atmospheric harmonies, the album creates a sonic environment that transports the listener to the landscapes and stories of Ireland. The instrumental passages are meticulously crafted, creating a mesmerizing sonic tapestry.

"Irish Air," with it just under a minute, delicately and melancholically kicks off the album, notable for Mae McKenna's soft and emotive vocals. The song's atmosphere sets the emotional tone for the rest of the album, immersing the listener in a mood of introspection and sentiment. "Irish Air (instrumental reprise)" is an instrumental version of the opening track, reinforcing the central melody and the feeling of sadness and nostalgia.

"Harbour of Tears" is an emotionally charged song, whose lyrics capture the pain of departure and the hope for a new beginning. This duality between sadness and hope is skillfully expressed through the music, especially by Andy Latimer's evocative guitar, which shines over a combination of gentle chords and engaging harmonic progressions. "Cobh" is another short instrumental track with less than a minute, serving as an interlude, offering a moment of beauty and simplicity that functions as a reflective pause in the album's narrative.

"Send Home The Slates" is more dynamic, standing out for its vibrant combination of electric guitar and keyboards. The interaction between these two instruments creates a rich and engaging sound, while its lyrics emphasize the harsh reality of railroad workers, the importance of sending money home to the family, and the longing and emotional connection with loved ones in Ireland. "Under the Moon" is more introspective and stands out for its gentle arrangement and melancholic guitar that echoes like a lament. The atmosphere created is dense and emotive, evoking a sense of delicacy and contemplation.

"Watching The Bobbins" is one of the longest tracks on the album and boasts instrumentation that is truly remarkable, standing out for its ability to create a rich and immersive sonic tapestry. Latimer's guitar is the pulsating heart of the music, emitting notes that are laden with emotion and depth, while the lyrics depict the realities of a woman's life in the textile industry, highlighting difficult working conditions, physical and emotional strain, and the desire for freedom and autonomy. "Generations" is another short interlude that adds yet another layer of depth to the album.

"Eyes of Ireland" brings a sense of the green and mystical fields of the land of the Celts. The guitar, with its gentle and captivating melody, guides us through a path of memories and emotions, while subtle keyboard lines in the background add an ethereal and hypnotic atmosphere. It's a perfect instrumentation for an emotional narrative about a grandmother's memories of her life in Ireland and the importance of honoring roots while embarking on a new journey.

"Running From Paradise" is an instrumental track that features what I consider to be the most beautiful arrangement on the album, standing out for its symphonic approach and meticulous attention to detail. From the first notes, we are immersed in a world of sonic beauty, where each instrument plays a vital role in building a rich and engaging musical landscape.

"End of the Day," with its delicate vocalization, soft guitar and flute notes, stands out for its beauty and depth. Meanwhile, the flute adds an additional layer of depth and feeling, filling the music with a sense of nostalgia and introspection. Its three-verse lyrics impose a feeling of longing and yearning to reconnect with fragments of experiences and emotions that now seem distant.

"Coming Of Age" features orchestral arrangements where each instrument plays a vital role in creating a rich sonic landscape. Latimer's guitar takes on the role of a conductor, guiding the orchestra with mastery and precision. The keyboards deliver various nuances that evoke darkness and mystery. Each note seems loaded with meaning, sounding like a complete sensory experience, evoking a myriad of emotions and images in the mind of the listener who becomes enveloped.

"The Hour Candle (A Song For My Father)" is a brilliant closing for the album. The introduction with its hypnotic rhythm and the gradual addition of Latimer's guitar seems to signal the arrival of something extraordinary. The orchestral arrangements are amazing, enveloping the listener in a rich and lush sonic tapestry. Latimer's guitar shines once again through a lot of emotional expression, creating moments of pure musical magic. It's hard to put into words the depth of sensations that this music evokes. It's an experience that transcends rational understanding, leading us to a state of contemplation and ecstasy. Despite the track being marked as approximately twenty-three minutes long, from the eight-minute mark, it is filled only by gentle sounds of waves. This peaceful and serene ending serves as the perfect epilogue to the musical journey taken, bringing a sense of calm and peace that is deeply comforting.

"Harbour of Tears" exemplifies Camel's continued commitment to conceptual and narrative albums, highlighting the band's ability to create music that is simultaneously complex and accessible. Since its conception, the album immerses the listener in an emotional and imaginative journey, leading them to explore the deepest corners of the mind and soul. Although the songs may be dense in layers and meanings, they are presented in a way that is easily appreciated and understood.

Through "Harbour of Tears," Camel not only pays tribute to the history and experience of Irish immigrants but also addresses universal themes of loss, hope, and resilience that resonate deeply with anyone who listens. An ode to humanity and the capacity of the human spirit to persevere in the face of difficulties. It's a powerful reminder that even in the darkest moments, there is always hope and the promise of a new dawn.

Jesus de la Rosa's vocals continue to lead an incredibly strong instrumentation. His interpretation carries a distinctly regional essence that adds significant depth and authenticity to the music. The way he sings conveys emotions that connect deeply with the listener.

This unique essence is skillfully softened by the excellent use of keyboards and synthesizers, which play a crucial role in creating a very rich symphonic atmosphere. The instrumental arrangements are sophisticated and well- balanced, allowing each element to stand out without overshadowing the others. The keyboards and synthesizers not only complement Jesus de la Rosa's voice but also add layers of complexity and sonic richness to the compositions.

The band released "Hijos del Agobio" shortly after the death of dictator Francisco Franco, during a period when, among many other enemies, freedom of expression was obviously one of them. The album's release occurred at a time of great social and cultural upheaval. The fall of the Francoist regime allowed for an explosion of creativity and artistic expression that had been suppressed for decades. The record captured this spirit of change and resistance, resonating deeply with a generation that yearned for freedom and justice.

Musically, the album is a fusion of traditional Spanish influences with modern elements, creating a unique and innovative sound. The lyrics address themes of struggle, hope, and the search for a renewed identity in a Spain that was rediscovering itself. Lyrically, the album delivers songs that reflect the concerns and hopes of Spanish youth during the transition to democracy. Themes of freedom, resistance, and identity quest are recurring.

The album begins with the title track, serving as a powerful statement about the political and social situation of Spain at the time. Lush keyboards, subtle guitar, expressive guitar lines, finely orchestrated harmonic progressions, and passionate, intense vocals start the album in a sublime manner. "Rumor" features ethereal keyboards that contribute to a sense of otherworldliness, creating a sonic environment that seems to transport us to another realm, while its lyrics suggest reflection on the impact of rumors and the need for truth.

"Sentimientos de amor" is one of the album's most accessible tracks, presenting a captivating melody and romantic lyrics that immediately win over the listener. The skillful combination of acoustic and electric guitar creates a rich and engaging sonic texture, providing a moment of lightness and romance amidst denser, more introspective songs. "Recuerdos de Triana" is an instrumental track where the band members demonstrate their ability to create a more experimental musical line.

"Ya Está Bien" is a song that radiates energy and assertiveness, reflecting the urgency of social and political change. Both the lyrics and the music are direct and forceful, driven by a strong rhythm, where the melody is marked by powerful chords and a pulsating beat that creates a sense of constant movement. The instruments come together in powerful synergy, propelling the music forward with determination and vigor. "Necessito" is a track that, despite being the least exciting to me on the album, still showcases the talent and artistic sensitivity of the band.

"Sr. Troncoso" is an acoustic ballad that evokes deep emotion and sincerity, enveloped in a contemplative atmosphere, becoming more energetic as it approaches the end while delivering a message of hope and encouragement to someone going through a process of self-discovery. "Del Crepúsculo Lento Nacerá el Rocío" is the final track of the album and stands out as an epic piece, characterized by several changes in rhythm and atmosphere. The music evolves slowly and carefully, taking the listener on a complex and engaging sonic journey. It is a track that encapsulates the essence of the album and leaves the listener with a feeling of completeness and satisfaction.

"Hijos del Agobio" can easily be cited as one of the best examples of how rock can be combined with local musical traditions to create something genuine and powerful. The fusion of styles and the emotional depth of the album are remarkable, leaving a lasting legacy in Spanish progressive music, demonstrating the importance of engaging with the current social and political context through art.

But, in very much examples, very bands puting in their albums 4 or more versions of your musics in a refered work. U2 makes this in a Atchung Baby, Zooropa and How to Dismantle an Atomic Bomb. A-ha makes in Minor Earth|Major Sky from 2000.

But, what the Yes band have a aparenthal things with this? I answer! This single... Beyond the sucess of 90125, Yes makes a singles in LP's with a diffrent versions of some songs of this album (most precisally Leave It and Owner of a Lonely Heart). Various of this singles have an electronic version for a discohouses and a dance versions. To be honest, i don't like very much these versions (at least i like some tracks from Kraftwerk and Peter Schilling). But, if the band not rejected this release, i don't need to talk more...

Is this...

"Wake Up" opening instrumental like the morning sun, Olympian arpeggio, sovereign, all of a majestic YES intro. "Carpe Diem" continues on a melodic framework with vocals with choirs above all; a long, festive, bucolic variation with an intimate moment and a dark piano; the spleen guitar, launching progressive intonations of yesteryear varied enough not to resemble a particular group; the finale shows fine skill by revealing grandiloquent fruity notes. "Perspective I" completes this movement with another haughty arpeggio, a crystalline variation of great beauty. "Blind Faith" with a SUPERTRAMP-style acoustic guitar at the start; dynamic title where the keyboard leers at that of BANKS at the start, then taking its ease by developing an air conducive to travel, to jumps in space; note a well-paced guitar solo on it.

"My Home Is Tomorrow" solemn piano arpeggio and here we go again for a piece stamped with symphonic prog rock; the twirling keyboards with the appearance of Pat's fingers from DRIFTING SUN, on ELP, a little bit jazzy, the high voice for a very melodic nostalgic rock which goes into a slightly festive folkloric gig, far from its House; airy, spatial, contemplative finale with the muffled voice and yet another piano arpeggio. "Perspective II" for the keyboard interlude moment of plenitude, resuming your breathing before launching "Castaway" for best song it's true; rhythmic, energetic with the contribution of James on drums; vocal forward, warm choir; a keyboard that leers at the PENDRAGON, the air that smells of TOTO, STYX and more nervous; the break halfway through with the piano arpeggio and the flute that vibrate the ambient air; the time to settle down and start again with a melodic guitar solo, more in emotion than in technique. "Wake Up (reprise)" says it all, the atmosphere still dark, mysterious, solemn to close this conceptual album. Note Halfhourglass the EP with "Blind Faith", "My Home Is Tomorrow", "Castaway" and "Carpe Diem" in radio edit, durations of 5 minutes for those who fear long titles; personally I don't see the point because it cuts the intro but who knows that it's on? radio?

PATCHWORK CACOPHONY concept album giving pride of place to melodies rather than instruments; a simple, effective album that recalls old sounds without delving into vintage, a plus for the current decade. (3.5) Initially on Profil Prog.

Or, in the words of Greg Lake on "Tarkus," "The weaver in the web that he made . . . ." I would like to suggest that the lyrics of "Tarkus" are more of a meditation on The Human Condition, and less of an accompaniment to the linear "story" of the creature or entity, "Tarkus," and the album's somewhat legendary cover art by William Neal.

Lake's lyrics fall roughly into three sections. On the surface, "Stones of Years" could be considered an address to "Tarkus" in its isolation following its volcanic birth, preparing to confront its foes ahead --- "In time you'll see the sign/And realize your sin . . . ." However, this address is to a wider "audience," humanity itself. In this context, sin is the reality of removal of oneself from the world, the resistance to active involvement with experience: "Has the dawn ever seen your eyes? / . . . Will you know how the seed is sown? / All your time has been/overgrown/ Never known . . . ."

What are the facets of the realm of experience? Or, in terms of theological anthropology, what are the consequences of the Fall of humanity into self-consciousness as delineated in Genesis, chapter 3? That we know of, humans are the only terrestrial creatures capable of self-transcendence, while simultaneously aware of their mortality and finitude. In this connection, I would like to mention Ernest Becker's, 1973, "The Denial of Death."

Human experience and our collective life are products of the "weaver and the web that he made." Very loosely, in the spirit of the Buddha, "all existence is sorrow," and the cause of this sorrow is "desire." According to William Neal, "Tarkus" is a conjunction of "Tartarus" and "carcass." In Greek mythology, "Tartarus" is both a mythic location and an entity. "Tartarus" corresponds to the term "Sheol" in the Hebrew Bible.

So, "Tarkus" is a metaphor for human existence in the realm of experience. The section "Mass" elaborates the identities of the characters who inhabit this realm of space and time: "The preacher, the minister of hate, the pilgrim, the cardinal of grief, the high priest, the messenger of fear, a bishop, a cloak of darkness, and the silent choir." On one level, this list embodies the participants of the secular state and the established Church of England. And, a consequence of this state of affairs is "a cloak of darkness" that pervades human existence.

We are all too familiar with a regrettable consequence of this darkness: war. In "Battlefield," Lake describes, in 1971, outcomes of human strife inseparable from today's world: "Clear the battlefield and let me/ see/ All the profit from our victory/ You talk of freedom, starving/children fall . . . Were you there to watch the earth be scorched? . . . Know the leaves of sorrow/ turned their face/ Scattered on the ashes of disgrace . . . ." At its conclusion, will The Human Condition be characterized by "Then there will be no sorrow / Be no pain?"

Lake's lyrics to "Tarkus" form a bridge between 1969's "Epitaph" of King Crimson and 1973's "Karn Evil 9." On the often maligned side two of "Tarkus," Lake continues his exposition of human existence in "The Only Way," questioning religious belief: "Can you believe God makes you /breathe? Why did he lose six million Jews? . . . [H]ow can you just obey? . . . Don't need the word, now that/ you've heard/ Don't be afraid, man is man-made . . ."

Here, Lake "steps" into a real "thicket." To the "rational" mind, nefarious realities like the Holocaust do raise objections to the existence of the God of the monotheistic traditions of Judaism, Christianity, and Islam. Further, human history is replete with violence and warfare and unending suffering. The Greg Lake of the early 1970's might confidently assert that man is "man-made;" however, perhaps, later in his life, Lake might have admitted that humanity with no reference to something transcendent is a "train wreck waiting to happen . . . ."

I, of course, would be greatly remiss, should I not comment on the intense musicality of "Tarkus." Even before I became truly aware of Yes in the wake of the popularity of "Roundabout," I was introduced to "Tarkus." For me, the late Keith Emerson remains my favorite progressive rock keyboardist . . . Yes, I must highlight Rick Wakeman, Tony Banks, Jordan Rudess, et.al., as I state my preference for Keith Emerson. Yet, in terms of fluidity, Emerson's Hammond organ work is always legendary. As a proponent of Moog synthesizers, Emerson remains in the avant- garde. And, perhaps most memorably, Emerson was an educator. Through him, many of us first encountered Bartok, Janacek, Copland, Mussorgsky, J.S. Bach, Ginastera, Holst, and, perhaps, even, Scott Joplin.

From the opening moments of "Eruption," Palmer's percussion engages Emerson's lines as if a co-lead instrument. Despite Lake's initial resistance to Emerson's conception of "Tarkus," his bass propels "Tarkus'" structure; his electric guitars provide adept rhythmic and lead contrast to "Mass" and "Battlefield."

As a musical entity, "Tarkus" endures as an essential composition in the "library" of progressive rock . . . .

Truly, "[T]here is nothing new under the sun." Qo 1:9 (Jerusalem Bible)