SIGHS OF THE WATER

Compared to the compilation album Meridian by this same band this output by Gerard is really different. Where structured noise was the trademark on Meridian, Sighs of the Water is much more restrained and it's actually a bit harder to detect it as a true Gerard release.

It already becomes obvious with first (tilte) track, a kind of sound that comes much closer to bands like ELP and CAIRO, something you would not think when you hear Meridian. On the other hand the recognizable features of Gerard like the typical way the keyboards are played and on second track the vocals sound are too present to ignore and convince that this is Gerard for sure.

Ands it's absolutely not a laid back style that Gerard is playing on Sighs of the Water, just a bit more mainstream than we are used to on earlier releases. Melodies are always carefully composed and are the main reason why I love Gerard so much. And it's probably also the reason they are ultimately placed in the neo subgenre, as we know the category where melody is one of the most prominent features.

Sighs of the Water is a high class performance by Gerard, an album with seven strong tracks, so strong that I'm almost contemplating 5 stars here. But since it's not a true masterpiece I will give four in the end (4,4).

Gerard are a Japanese trio from Japan who, on the evidence given by their newest offering on Musea, are very heavily influenced by Emerson Lake & Palmer. Although the band released their debut album as long ago as 1983, they settled into the current line-up in time for their 1996 album 'The Pendulum'. The music is mostly instrumental although drummer Masuhiro Goto provides vocals on two songs, and a guest vocalist is used on another. Although the drumming and bass playing is top quality the focal point of the music is very much keyboard player Toshio Egawa.

With no other melody instrument (not even a guest guitarist), it is very much in his hands to provide all of the musical styles necessary to drive the songs forward. In many ways this is music out of time as it belongs in the Seventies, long passages designed to keep the listener's jaw firmly on the floor as the speed and dexterity of Toshio is designed to amaze. It is not all frenetic stuff though, and there are dreamy interludes to counterpoint the more rampant excesses.

Any fan of ELP will surely enjoy this release as much as I have. Originally released only in Japan, the Musea version contains a bonus track.

Originally appeared in Feedback #69, Aug 02