TRAJECTORIES

The reviewed album has two components. The first one is completely instrumental music played by keyboards, violins, flutes and other instruments. This music is highly original, although may remind early British art-rock (in the first place, King Crimson) and After Crying. Imagine that songs like "I Talk to the Wind" and "Epitaph" are performed in Allegro (or Moderato), with virtuosity, complex chords and changing measures, tempos and moods by classically trained and (therefore) high-skilled musicians, and. and nevertheless we will not get a clear idea of this unique music (but track 12 contains some undisguised guitar "borrowings" from King Crimson of "Larks' era", although this track is nevertheless great). This is a something like an original, fine and "lyrical" mix between classical symphonic prog and neoclassical music played by people with higher musical education. Perhaps, the best instrumental tracks are 2 (imagine perfected and developed "Matte Kudasai" with excellent violins and flutes but without vocals), 3 (some associations with, first of all, Soviet symphonic music, perhaps, like Sviridov, and again, although in a lesser degree, Crimson of "Larks' era") and 14 (very fine, melodic, dreamy and pretty one containing tunes from track 7 and some associations with "Bolero - The Peacock's Tale").

The second component is music with vocals, that is, songs in a narrow sense (tracks 4, 7, 9, 11, 13). Well, mail vocal can be described as a tender, sentimental, dreamy, fond, affectionate, delicate and "loving". There are some associations with soft and intelligent versions of Soviet variety ("sovetskaya estrada"). This vocal is not for any Prog-fan, but is both beautiful and professional. I like it (and especially tracks 7 and 13)! Music of all these songs may remind early King Crimson (or After Crying) ballads and is consistent with the style and the mood of the album. I understand refusal to use this vocal in more later work(s) by the band. I repeat, it is not for any Prog-fan, many "hard-core" prog-lovers hate any vocals, especially if these are original and/or "standing out" (and/or dissimilar to Lake, Wetton, or Latimer). But often success among "Prog-specialists" and the Creation of Masterpieces are not the same thing. These words are not a critique of the second album by this band (well, unfortunately, I did not hear it so far).

Absence of good and "catching" melodies in tracks 5 and 6, perhaps, is the only (small) defect (if we also do not take into account the fact of "secondarity" of some "Crimson- based" musical ideas), at least, for me. Sometimes it seems that musicians really tune instruments. But this feeling is wrong. These tracks can be treated as a special kind of avant-garde, and they create some atmosphere and are not bad.

As a whole, this is a more than excellent addition to any prog collection! Highly recommended! Lost World has created the New World of Beautiful Progressive Music!

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