TIMELESS

I recently reviewed the enchanting Margin debut album "Psychedelic Teatime" and immediately received some Internet communication with leader Lutz Meinert from beautiful downtown Berlin. Meinert's multi-instrumental prowess was a sheer delight to witness, especially on bass guitar, recorded up-front and centre, just the way I like it. I sent him a Tona Ohama electronic version of Jethro Tull's "Thick as a Brick" (I still have some copies left, Tull fans!) and Lutz responded by sending me the 2 For Your Pleasure albums, a band Lutz was involved with before Margin. Since my avatar is now Roxy's For Your Pleasure cover , (replacing the banned/blurred and 'lewd' Country Life album at the behest of the Google SS), it seemed to be a natural response, a gesture that shows Herr Meinert's cleverness and inspiration.

The debut "Scattered Pages" got savagely ransacked by esteemed PA colleague Apostolis and remains the only FYP review, so it behooves me to thrust my own two cents worth, confirming or redressing the situation. By Lutz' own admission, these were formative attempts at crafting neo-prog compositions were challenged by some lovely naivete but he believes that there are a few gems that deserve recognition. Well, let's take a look then! "Timeless" is the sophomore album, where Lutz handles the vocals, the keys and the drums, leaving the guitar in the talented hands of Nils Conrad (wait! I know that name, err?. I got it, he is currently the fret meister for Berlin band Crystal Palace!), while the wobbly bass is expertly fondled by Peter Stärk. Frank Brennekam adds more drumming to the mix. The cover art is a slight precursor of the Margin effort, trippy psychedelic pastiche that reflects the music within. The disc has three extended pieces in the 9 minute range that are arguably the most developed and interesting, as well as a slew of shorter cuts that have a few sparklers among them.

"Always the Same Old Introduction of War" is the first epic and it's a cute one, getting the juices flowing with some suspenseful special effects, dense dynamics and oddball vocals provided by Lutz Meinert, within the confines of clearly Genesisian vibes (winks of "Harold the Barrel") and controversial anti-war lyrics , still a touchy subject for our dear German friends. A thoroughly enjoyable romp, adorned by some delicious galloping organ, groove bass and slippery, tolling bells, strident guitar accouterments and bombastic synth cascades. Loved it!

The three minute "Sleepwalkers" is acoustic guitar and voice lullaby, with the fretless 4 string monster snoring brashly in the undertow. There is the first clear indication of Jethro Tull influence as he sings his aqualungs out (I know he is a huge JT fan, so this is not a mere supposition), having as light Minstrel in the Gallery feel that is highly enjoyable.

Peter Stärk propels the magnificent "I'm Talking" , a strong piece that has some modern pop sensibilities a la Thomas Dolby that may detract the serious listener, but the spirit is pure 'spass' (fun in German) , something our Teutonic friends are not always famous for , being such a serious lot! I had this repetitive refrain in my humming mind for days on end, smiling along the way. The electronic keys have a Peter Vetesse feel, as if an excerpt from "Broadsword & the Beast". Another winning track.

The mostly instrumental "What?" is a Nils Conrad platform to express some inner silliness in quite vivacious terms, this is a thrilling prog exercise that just progresses beyond the expected and clearly seeks out to administer some instrumental prowess. Also features Brennekam on drums and percussives . The prog label is stamped with this one!

"City Nights" is a another epic piece that throbs right from the get go, the bass playing a cool vibe, the mood very urbane and casual, all done in a serious/playful contrast that never fails to impress. Lutz does another fine Ian Anderson imitation, the keys become quite luminous as the Stärk bass continues carving like some jazz madman. The finale is riff-oriented and gives Nils Conrad the green light to radiate the six strings with laser fast licks, a truly palpitating piece of music. Tremendous track indeed.

Next we have 5 short tracks that could have/should have been incorporated into a suite, starting off with a drum and percussion onslaught that fares quite successfully, a duet between Meinert and Brennekam, entitled "Fritz". Fun and energetic!

"Stay With Me" is the commercial pop tune, a lovely ballad that has refreshingly breezy contours, some vivid playing by all, a slight countrified air as well as a loose demeanor. Almost a The Strawbs feel, which is always a good thing. (In my previous mixes, I always felt that David Cousins and Ian Anderson, while different, could always follow each other well). This song actually grows in stature with repeated listens.

Things get quite "thick" with the overtly Tullian " Goodnight and Yet?" which needs little further explanation, as Conrad does his Barre, Stärk his Pegg and , well ?.you get it! Uncanny yet wholly reverential, purists will view this with suspicion but it's all rather well executed. Its companion piece, the brief "Once on a Grey Day" offers up some fine playing once again, especially Conrad who really excels on the acoustic and electric axe. Lutz keeps the tension alive with some inspired piano.

A companion to the earlier drum frenzy on "Fritz", we have a duet with Peter Stärk's bass fondling, caressing and seducing the drums and the marimba ?like percussion. I am a sucker for such stuff, so , as basic and safe as this may appear, I just love the loose fantasy involved.

Finally "the Hole" and its near 9 minutes finish off this 'timeless' album, surely one that will not get picked up on anyone's radar, in retrospect a sad turn of events. Lutz keeps his Anderson tone intact, ("Toad in a Hole"?) in a more playful candied environment, motored by an engaging beat that is fueled by a ragingly accurate bass guitar. The arrangement goes through a series of shifts and grandiose melodies, all very successful in keeping the breathing palpable. It starts out with an obvious Andy Mackay-like oboe intro and then veers into a fully developed piece that hits all the right buttons. Great finale.

This was surprising audition, as I was expecting something quite horrid that not only did not materialize but in fact turned out to be quite a pleasant prog adventure. The best was yet to come with Margin but this is was a most enjoyable revelation. Whether for only my pleasure or maybe yours, I loved it. Just like with Margin, the brilliant bass guitar work sculpts a totally different perception to what otherwise may perhaps be viewed a lighter weight material. Like I have been pleading for over 45 years now, "just follow the bass" !

4 No more watches.