THE INDIFFERENT STARS

The recent core of FREQUENCY DRIFT are pared down to three multi-instrumentalist and genius leader Andreas Hack, harpist/keyboard player Nerissa Schwarz, and drummer Wolfgang Ostermann are joined by vocalist extraordinaire Paul Sadler, previously of the Tech/Extreme Metal band Spires to make a new band, Haven of Echoes. Welcome!

1. "Sirensong" (6:11) What a great opening! Vocalist Paul Sadler sounds like a cross between Einar Solberg (LEPROUS), Ian Kenny (KARNIVOOL), and That Joe Payne (THE ENID, METHEXIS, JOHN HOLDEN, solo). He's extraordinary. The sound that Andreas' genius and Nerissa's electric harp bring are perfect--especially that deep bass coming from the keys. (I always loved Andreas' unusual mix of keys and Nerissa's harp presence in Frequency Drift.) And Wolfgang's drums are the perfect pacer--steady yet syncopated without being flashy or ostentatious. The cello interlude in the fourth minute is gorgeous, perfectly setting up Paul's great multi-track vocal finish. Great music, great vocal performance(s), great lyric; great song. One of my favorite songs of 2022. (9.5/10)

2. "Orator's Gift" (4:49) opens feeling quite a little like something off of PETER GABRIEL's 1988 film score masterpiece, Passion. Layers of keys gradual build upon the percussion foundation to break into the song's full form at 1:18. Paul's steady, theatric voice enters but doesn't really do anything extraordinary until it doubles up into two harmonizing tracks in the third verse and chorus. A sudden break at 3:10 leads into a passage with industrial sounds coming from both percussives and keyboards before piano and Paul's voice re-enter 20 seconds later. Beautiful music over which lies a less-than stunning vocal/lyrical layer. (8.5/10)

3. "Statis" (5:31) with piano base and syncopated drum play, this song starts out sounding almost like a continuation of the previous one. But then the vocal takes a couple turns with the keys in support to show different. This song feels much more as if a vocal exhibition with everything else serving only as minimal support as Paul's layers of vocals fly and weave in varied directions and styles. A lull in the very middle leads into some eerie keyboard sounds and cool layered/woven vocal passages. (I think I hear at least four separate and distinctive vocal lines being woven together.) The music is sparse and at times a little weak and simplistic, but I think that's to give further attention/light to Paul's vocals--which are great. Great section at the four-minute mark lead to crescendo and dénouement. (8.75/10)

4. "Endtime" (9:03) fast--paced electronic sequence opens this before full band joins in to establish a heavier driving pace. When Paul join's in I feel as if I'm hearing Einar Solberg's most nuanced, sensitive voice--just astonishing. Very familiar melodic flow in the chorus--almost like a combination of early Pure Reason Revolution and Frequency Drift. Great multi-track vocal mix in the second verse. I love the chunky bass play and presence of strumming acoustic guitar. A quiet interlude settles in at 4:10 with harp and distant snare the lone instruments supporting Paul's ever- so sensitive voice(s). Gorgeous! My favorite passage on the album. The next motif is also awesome--very different and refreshing--almost electronic and anthemic. (18.75/20)

5. "The Lord Giveth" (6:03) eerie deep space opening shifts with the arrival of Paul's plaintive voice at the 0:30 mark. Gorgeous vocal performance--great, emotional melodic choices. (So much like the supreme talent of That Joe Payne--or Sylvan's Marco Glühmann.) Quite the bombastic finish over the final 90 seconds. Wow! (9.25/10)

6. "Let Them In" (12:15) sounds like a more sensitive, less aggressive Frequency Drift epic. Great multi-track vocal offerings from Paul. Love the "strings." Nice guitar performances in the seventh minute but the drums and voices are even better. At 7:38 we move into a tension-filled yet more sedate section of deep synth washes and seaside sounds before piano, harp, and acoustic guitar interplay take over. Another angelic vocal weave joins in to help us float up and away--just before some power chords and drums take us into a very SYLVAN-like passage of insistent compounding and building, but the, at the very end of the eleventh minute we turn back into a more symphonic prog motif to support Paul's finish, both vocally and with his lead electric guitar. (22/25)

A-/4.5 stars; a minor masterpiece of progressive rock music. Let the news ring out: Andreas Hack is back with a new band and they are GOOD!