LOVE REMAINS THE SAME

I decided to finally give this album the time it deserves, and listen to it from the beginning to the end. Listened well and closely. This album was released some time after their second one, which was a great musical success. In the end, this one ended up to be a success too, but rather on the marketing scale in my opinion. The soundscapes are still there, as original as usually, but it's obvious the Von hertzen brothers got a bit pompous while writing the music for this one.

The album has a 10 minute opening track, which to me suggested prog for a long time, and finally I got the ones who decide on the addition of them it to agree. The opening track is nothing like what you would expect from a well selling album. It's pretty relieving to notice, that the Finnish audience is finally ready to take the last step and really overcome the steep climb that is the prgressive border. There are musical changes, obviously, with all the brothers writing songs and new studio artists playing on the background. But still, it's the best rock musicians Finland has to offer at the time. I was surprised how often an organ is used on this track... Surprised, but not disappointed. Especially on Bring out the Sun (So Alive) the hammond is really great, and stays true to their obvious examples from the past.

The indian/hippie style is still there. A lot of the stories are about beautiful things around the world and about good things happening, really major-driven music. Also, the Indian influences are still to be heard for example in Spanish 411, although at first I was looking for something like Spanish Caravan, according to the name. Well this song is a pearl.

There was a writer, who wrote a good review on the second album, basically everyone was praising the album, the musicianship back then. This journalist however caught my attention by mentioning how the singer is the best Finland has to offer. I had never agreed and still don't. Mikko von Hertzen sings OK, but mostly his voice relies on the overused sustain and multitrack EQs they use. This is a thing that made me actually dislike them for a while. The singing is made way too pompous by adding multiple tracks on each other. And most of the time the second and third voices sing in falcetto, which after a while starts to annoy the listener a lot. Well, this same reviewer mentioned, that that album was their first, forgetting the debut, and lost my respect, but that's another story.

Freedom Fighter played in the radio for quite a while. It's got a tricky drum pattern and some quiet, hymn-like bridges. Not something you'd expect the mainstream radio to play, but in the end, it got really popular. The song is really dynamic and absolutely not a weak link, even though I don't really like the chorus, which again sounds like Mikko von Hertzen trying to sing higher than he could.

Like the last song, these songs don't sound at all that they would sound good live. Well I had the chance to see them play live last summer, and with that, I regained my interest in them. For one, Freedom Fighter was a great song, as were the rest. The guys never showed any particular techniques while playing in their late assemblies, which is sad, but at this time all I can say is that this family got lucky. The thing that is wrong about their stage-act is basically, that the guys look like mannequines from a fashion-booklet, and they play like they had quite a tool in their tight jeans, however, they claim to be shy and more of the contemplating kind. I assume for the purpose of getting some interest from the female sex.

Somewhere in the Middle is one of those songs that really got the crowd yelling. In the 3 minutes they use for the song to start people are used to a normal pop song to end. At this point everyone was expecting quietly and when the good chorus started there was no-one who wasn't singing. After such a performance, I could even see these guys bringing home some international success.

Of all the tracks, my favourite is In the End. It's more close to the old material, which I like better. It's good to see a band developing, but I wouldn't have said no to an album just like the one before. This is a song I would recommend to anyone who ever was interested in Finnish music. It's got some good chord changes and a melody written with a twinkle in the eye. After say, 9 years, I expect this to be on the best of album. At least if they go on that long.

The album is long. Almost an hour. Luckily they've got enough variation between the songs to keep the listener intrigued until the end. Along with the rock, they've still got several Yes-like passages, like when the songs change from In the End to Faded Photographs. This song has really nice lyrics, but to the common proghead, it's a bit straight-forward. With just 3 plus whatnot minutes, this song is one of my favourites as well. It's really good as a single listen while some of the songs are only to be listened along with the album. I'm deeply surprised why this song was not their sell-out single. Might have worked for more than just the few. Well, they released it later on as one. However, in Finland, people don't usually buy singles.

Silver Lover reminds me somewhat of folkrock bands and then of Jethro Tull for example. The song has obvious influences of Indian music. The main instrument is an acoustic guitar, but we also hear a sitar playing something like Mahavishnu Orchestra. If one would like that, this would be a good track to be recommended.

Well, here's the slow song to settle the album down. This, the second last song, I Came for You, reminds me of Pink Floyd at their best. The soundscapes are overwhelming like from the Dark Side of the Moon. Sums up the album rather well, though it's not a very special album. This one is obviously composed to end the album and/or all the live concerts. It's good for throwing candles in the air and waving them around.

If Bring out the Sun was the intro, this, Willing Victim ends the album just as well. It builds up slowly, like a good novel and reaches a grand ending about how love remains the same, which, in fact, seems to have been the carrying theme of the whole album. Love, it's mysterious. Love, it's beautiful. Love, it's joy. Love, when it lasts, is grand. Quite a concept, and well arranged.

Well... I thought a while after buying this cd. I borrowed it from my friend and listened to it some times. Later on I had to get it. It's not something that opens on the go, which in my opinion is a good thing. As cross-over, this album is in a way on the same scale as their latter album, and I couldn't bring one above the other. I'm in the middle here, but as the 3 star system states, that it's non-essential, I must give this alubm the 4 stars it deserves. Please, do buy this. Not for the money they'll get, the record sold very well anyway, but for the musical enjoyment you'll recieve with it. My recommendation

-Tuomas--

I had some doubt rating this album. Finally I decided to give a 5 - maybe it's not the second Dark Side or Red, but this album is a sign of the times, it shows that progrock is alive and in a great form. Classic symphonic rock meets here pop and alternative rock (a bit in a Muse way), compositions are catchy and easy-to-listen but complex and ambitious. This music really has a potential to attein a commercial succes despite prog roots.

Soft chords of Bring Out The Sun (a half of the 10-minuts opening track ia an intro) don't promise such a hit tracks as Freedom Fighter or In The End. Every each track has a great atmosphere and suspence changes. The only thing I dislike is a final - it gives a promise of some repetitions but is faded out just after a climax. It leaves me with a feeling of lack (like Genesis' Calling All Stations CD). Lyrics are affirmative and optymistic, what is uncommon in progresive world;) I like the vocal, but backing choirs seems to be too pompous sometime. Fortunately we have also some soundscapes and moody moments to take a breath. Musicians to their best (I love Kuoppala's keys). I didn't have a feeling of genius, but really love this album and use it to convince my no-proggy friends to this kind of music:)

When compared to The Von Hertzen Brothers' first two albums, Love Remains the Same proves comfortably familiar in its overall sound, but at the same time much more ambitious and realized. Time has proven to be a friend to the Brothers, who have used it to hone their style and focus their energy to create yet another album that delivers more depth than its predecessor.

At first though, this might not be readily apparent. Admittedly, I was a bit ambivalent upon first listen, but I decided to give it another go. And another. And another. As a matter of fact, as I loaded up Love Remains the Same for the seventh time in the seven days prior to writing this review, I was thinking, "I'm going to absolutely ruin this album for myself by overplaying it." However, it was today's listen during which the album really blossomed -- a good sign, considering I didn't fall in love with many of my favorite albums without first giving them the necessary time to grow.

The Von Hertzen Brothers' sound is anchored firmly in the sea of '70s prog and psychedelic rock, with lots of Zeppelin grit, Floydian drama and rich vocal harmonies that rival Queen and Styx at their best. Even "Freedom Fighter" sounds like it might have Jim Steinman at the keys. But jutting out of the depths of these giant influences are inspired islands of modern-day knowhow and attitude that give the music its real flavor. The way Mikko von Hertzen's Scandanavian-accented tenor sits atop the thickly atmospheric "The Willing Victim", it might make one think that they're hearing Opeth's Mikael Åkerfeldt singing something off of Damnation. The air of mysticism and mantra-style delivery of the chorus outro in "I Came for You" evokes thoughts of Kula Shaker, as much of the material was penned in India. But it is the confident, dynamic displays of flair that course through the veins of bands like recent-era Muse that firmly set the hooks of songs like "In The End", and wind up providing the strong pulse for The Von Hertzen Brothers' latest creations.

One of the most wonderful things about the song structures on Love Remains the Same is that they often mirror the dramatic structure of classic story writing, not necessarily through the lyrics, but through the music itself: Exposition, Rising Action, Climax, Falling Action, Denoument. The best example of this can be found in the opening track "Bring out the Sun". The first three minutes and forty seconds are spent creating texture, feeling and pace before introducing swirly, lush vocal harmonies that would make Crosby, Stills, Nash and Young break out in goose bumps. The action phase starts at the five-minute mark with an accelerating pace, developing sense of urgency that finally comes to a climax of wailing keyboards and voices that will send you right back to Kansas, 1976. Or maybe Boston. The high energy continues straight through minute nine as the music ebbs and flows through tense but restrained verses that could have been written for Freddie Mercury. Finally, everything resolves on the song's anthem-like choral motive and bombastically plods its way to a quick wind down and resolution that segues seamlessly into the next song. A substantial listen to say the least, and a powerful lead-in to the rest of the album. Not CD. Album.

The problem with so many music releases I come across is that they're really not much more than a tossed salad of co-recorded tracks, or an afterthought dinner of musical leftovers, and so long as there's an occasional juicy tomato or a bite of steak to be had, the modern record industry usually doesn't care that it's sandwiched between leaves of boring Iceberg lettuce or sitting beside dry and pasty mashed potatoes.

But occasionally, you get a feast that's been thoughtfully arranged. All of the ingredients were specially chosen to work well together, and the dishes have been skillfully prepared so that each bite will segue smoothly into the next. It's a complete experience, and it's engaging from the moment you place the napkin in your lap to the moment you place your fork on the empty plate before you. Love Remains the Same is that feast, and I'm salivating in anticipation of the next banquet.

I´m absolutely charmed by this album and somewhat surprised that these three Finnish prodigies (& Co. of course) are relative unknown inside or outside Prog Rock community! Five stars are fully outright here, because that´s a masterpiece without any doubts!!!

The first star is for vocals. Naturally, this is the strongest link of Von Hertzen Brothersand the first thing which comes first to everyone´s mind. Vocal range of Mikko is really unbelievable, I mean boldly comparable with legendary Freddie Mercury. (Besides, everyone can find their excellent cover version of Bohemian Rhapsody on YouTube...) But his timbre is clear and soft also in heigths. Harmony vocals, on the other hand, remind (unless Queen) perhaps Crosby, Stiil & Nash or even The Beatles...

The second star is for sound. There is a marvellous blend of guitars (including my favourite Telecaster), playing most often heavy riffs like e.g. Porcupine Tree, then Kuoppala´s keyboards (including my favourite Hammond organ), Kaakkurinniemi´s energic and glowing drums and, incidentally, other instruments - sitar, flute, trumpet, knackers, etc.

The third star is for tunes. Simply, pleasant, easy-to-remember, but not catchy. Most emphatic melodies are: Bring Out The Sun, Freedom Fighter, I Came For You, The Willing Victim.

The fourth star is for songwriting and arrangements. This is really strong and one of reasons why VHB is rightfully included in Prog Archives. Usual song structure "verse - refrain - verse", isn´t used here at all. Frequent changes of rhythm, tempo or dynamic range - that´s also typical elements for Prog - and for this album, of course. Every song is actually little epic (except above mentioned excellent and concededly the best song of the album - Bring Out The Sun, this is namely real Epic).

The fifth star is for production. All instruments, including aforesaid vocals, are clearly hearable and properly mixed. Nothing is protuberant, nothing is tucked.

For your last endeavor

Are you ready now?

For Love that lasts forever

Are you ready now?

For the final journey

Are you ready now?

To find the end for yearning

Are you ready now?

(From "I Came For You")

Though steeped in some classic rock themes and sounds, the Von Hertzen Brothers have melded a collection of heavily layered and complex yet highly melodic songs in an album which feel fresh, original and which has an amazingly consistent quality. I consider this album a modern masterpiece.

It has taken me a long time to get to know this album because of the myriad layers and intricacies of each song--but it has been a 'labor' of love doing so. The numerous catchy hooks, fine production and truly clever and creative songwriting and performance will keep you coming back to this album--for years.

If there is an artist I would compare this album to it'd be DEVIN TOWNSEND. If you took away the constant tongue-in-cheek lyrics and story telling and the overwhelmingly loud, sound-crushing 'metal' quality to Devin's songs, you'd have the sophisticated music and melodic mastery of the Von Hertzen Brothers.

1. Bring Out the Sun (So Alive) (9/10) is a nearly-instrumental (there is the song's title being sung as a chorus for the last third of the song) which opens sounding like some Green Linnet artists playing "Scarborough Faire." A slow folk melody is gradually, slowly, joined by a building wall of support instruments--like one of MIKE OLDFIELD's epic insturmentals--setting up the first appearance of the gorgeously harmonized chorus ("Bring out the sun, to shine on everybody...). At 4:55 vocals disappear and the song switches to a kind of Jethro Tull/Strawbs feel (acoustic guitar strumming) faster and faster with a synth floating chaotically over top until, finally, the full rock band joins in to help support the chorus' melody line. Around 6:45 the vocals rejoin and then there is a brief rockin' part that helps the song transition into a WHO-like vocal section at 8:00. The final minute returns to the choral with big sounds all around. What a ride!

2. Spanish 411 (9/10) opens with a kind of ethereal 'Egyptian rock' feel to it until the vocal enters at the 0:45 mark. The vocal somehow reminds me of Tim Smith, Elvis Costello, and Ken Hensley all wrapped up into one. At 3:00 enters a Spanish-sounding trumpet; 3:45 guitar and synth melodies play off one another (very cool section!) At 4:30 chorus leads into a very NEKTAR-like section. 5:35 back to tight vocal section.

3. Freedom Fighter (8/10) starts with several layers of attention-grabbing activity. This song has much more of a straight-forward rock feel to it BUT it is so heavily layered--there is so much going on, so many subtleties! Again, some very strong NEKTAR similarities.

4. Somewhere in the Middle (9/10) opens with again layers of multiple sonic "hooks"--melodies which then all fade away to be replaced by a synth 'silence' à la Richard Wright/Pink Floyd. Guitar plays a bluesy soloover many layers of soft subtleties for over a minute before a delicate vocal over piano takes over at 2:20. By 3:00 the song has become a 'stadium rocker' in the vien of STYX, TOTO, REO SPEEDWAGON. Very catchy melodies. At 5:22 twin guitars battle it out à la THIN LIZZY. 5:50 introduces a killer melody line on piano with vocals and guitar activities embellishing awesomely! Great tune!

5. In the End (8/10) opens with a spacey SOUIXIE & THE BANSHEES feel before straightforward vocal with piano rock support takes over. SQUEEZE & 10CC come to mind here. "In the end..." chorus arrives and is much more rocking--and is followed by "Free Bird" guitars. At 2:42 it switches to Hendrix guitars and vocal harmonies again like 10CC or Godley & Creme. Such an odd song! It never seems to be sure where it's going and contains nods to so many classic songs and artists. Not my favorite song here, but an amazingly constructed hodge-podge that works! 5:40 sees a devolution to almost classical piano sonata! which then turns out to be the intro to:

6. Faded Photographs (7/10) is a very straight forward rocker in the vein of URIAH HEEP.

7. Silver Lover (8/10) has a bit of a 'South of the Border'/Mexican/XTC feel to it. The vocal arrives at 0:38 with a familiarity reminiscent of THE MARS VOLTA, THE MOODY BLUES, ERIC CLAPTON, GEORGE HARRISON, and ANDY PARTRIDGE/XTC! In the end it is the XTC feel that wins out over the The Mars Volta. 8. I Came for You (9/10) has quite a bit of a DEVIN TOWNSEND fell to it. Happily, it never really mounts the deafening mind-numbing walls of sound that Devin does (and which I so dislike in his music); the Von Hertzen Brothers restrain themselves admirably. At 3:15 begins a very pretty piano and vocal section--again, very Devin-like (using an incredibly familiar Devin-like melody). Support instruments begin joining in and building momentum as it repeats--almost church-/worship-like. This is the best Devin Townsend song that Devin could never do! (Unless he were nearly unplugged).

9. The Willing Victim (9/10) starts with a Middle Eastern sound. A second guitar joins at 1:00 and then violin at 1:37. A very delicate, beautiful vocal starts at 2:05. As it develops I am transported to ANATHEMA's We're Here Because We're Here album (even though Love Remains the Same came out a couple years before WHBWH) with some sensitive, plaintive vocals and familiar melodies. The shift at 3:05 deepens that Anathema feel. 4:05 enters a synth "horn" solo à la Pink Floyd and Genesis. 6:10 shifts into Devin Townsend territory--more power and with very Devin-ish melody--like the previous song. It builds to a very theatric climax--with guitars soloing--from 7:05 through 7:50. Incredible! The Von Hertzen Brothers' "Comfortably Numb"!

Again, this is an album of incredibly well-crafted, multiply-layered, quirky, melodic songs. There are very few songwriters crafting together songs of this calibur--now or ever.

A perfect balance.

The key to Love Remains the Same's success is its tone: it flawlessly maintains a very specific tension between restrained energy and sunlight-soaked psychedelic bombast. The music always carries you on the edge, while being thoroughly enjoyable. It's emotionally-charged and never idle. The album flows very well as a whole, with peak after peak of the restrained energy breaking loose, but always returning to a degree of reservation before it outstays its welcome. This is a band to watch out for, and with Love Remains the Same, The Von Hertzen Brothers have created a masterpiece. Essential listening for anyone.

Rating: 9/10

A true love of mine?

Two years after the release of their breakthrough album, in Finland at least, the Von Hertzen Brothers repeated their enormous success in that country with this their third studio album. The drum stool this time is occupied by Sami Kuoppamäki, the line up being further augmented by the arrival of keyboards player Juha Kuoppala.

The album sees the band consolidating the vast strides made between albums one and two, with many of the tracks once again being developed beyond their core pop rock structures to become prog style compositions running between 6 and 10 minutes.

Things begin rather deceptively with the almost imperceptible melody of "Scarborough fair" offering a decidedly folk tinge. As synthesisers gracefully pick up the tune, the more familiar harmonies of the Brothers Von Hertzen gently transport us towards their true vocation. At almost 11 minutes, "Bring out the sun (so alive)" is a superbly ambitious opening statement. Swishing Hammond organ sounds and floating synths adorn an ever ascending anthem which moves from the soft folk of the intro to a full blown metallic blast.

"Spanish 411" has a slightly retro feel, the frantic tempo supporting a complex arrangement which includes bullfighting horns. "Freedom fighter" is the first of three singles taken from the album. While the commercial aspects of the song are apparent, for me it is a weaker point on the album. "Somewhere in the middle" returns us to a more interesting arrangement, the piano and lead guitar intro leading to another majestic anthem.

"In the end" was also selected as a single. The song has similarities with the album tracks of Aha (an under appreciated Norwegian band, chastised for their singles success). The vocal performance here is particularly strong. The last of the singles on this album is "Faded photographs". While featuring a strong hook, the arrangement of the song is probably a bit too complex to succeed as a single, yet too pop orientated to appeal to prog fans. "Silver lover" has the sound of single B side; it has the familiar tenets of the better Von Hertzen brothers songs, but this time they do not pull together well.

"I Came For You" is a comparatively downbeat affair where the emphasis moves to an emotional delivery of a romantic eulogy. As the track builds through a repeating refrain, the harmonic singing becomes increasingly chorale. The closing "The willing victim" has similarities with the opening song, as both run to around 9 minutes, and both open with a soft acoustic passage. Here though the track remains subdued until it bursts forward with a refrain of the album title and a magnificent guitar crescendo. A delightful end to the album.

"Love remains the same" may be a bit of a daft title for an album such as this, but the quality of the music is undeniable. Here, the Von Hertzen brothers consolidate the progress made on their "Approach" album, while displaying an ever increasing willingness to realise the full potential of their compositions. "Love remains the same" sits on the edges or prog, leaning distinctly towards the commercial. It does so though from a position of being among the best in that field.

9.5/10

Today is my birthday, and honestly see this as a gift. It's been a while since I've been trying to get this album after hearing the fantastic Somewhere In The Middle on the site, and now I had my chance I can say that I was not disappointed! Hands down one of the best albums of recent times!

Von Hertzen Brothers has been at the fine line between a style of progressive rock music accessible and more complex, and Love Remains the Same is no different. According to the listeners of previous albums this album is no different in terms of style and composition, but somehow it sounds as if the band was at its best. Although this is my first experience with HBV is sufficient to form a concise overview of what they have to offer and motivates me to learn more of his work!

The album itself sums up the spirit Crossover: a perfect fusion of rock art (popular music) with progressive rock. The songs offer different levels of accessibility and complexity: Faded Photographs is a very short song way, while the opening Bring Out the Sun (So Alive) is a grand epic that begins softly, but slowly builds up until it explodes with powerful vocals. It is difficult to describe it in its essence, since it passes through several other times and is the absolute highlight of the album. But beware: no song is off the record harvest.

The music reflects many influences, this album will find many references to both the great bands of the past - such as Pink Floyd (especially in Somewhere In The Middle) or Yes (in the middle section of Spanish 411, which reminds me of the atmospheric Tales From Topographic Oceans) - to bands like alternative rock and progressive rock of the new century. Since the band members deserve praise for their great skills. I really have a I really have a crush on vocal harmonies , and Von Hertzen Brothers did not disappoint in that direction! For me the highlights beyond the voices are well-crafted guitar and keyboard atmospheric and poignant.

In short, all I can say is that Von Hertzen Brothers won a new fan. 5 stars!

Just when you think you have heard it all before! Stupid ignorant me! To think that some people have the nerve to get bored with prog, not realizing that no other form of contemporary music contains as many sub-genres, damning those incompetent idiot naysayers who foolishly believe that prog is just early Genesis revisited! Shame on you! The Von Hertzen Brothers came as quite a shock for me, I was inspired by the positive reviews and I took the blind plunge, expecting something good but not necessarily great, I mean Deep Purple, Zeppelin and AC/DC as influences do not necessarily bode well for the sympho-proggist that I am. It took me a few run throughs before I could really get into their rather unique sound but I do like courage and audacity, traits that seem so distant in our cellophane cell phone world.

These taciturn Finns certainly take no prisoners, playing a highly melodic, fast-paced, bruising style of prog that has all kinds of hues and colors. There is not much like them out there that's for sure. First area of note are the eccentric harmonies as well as some powerful lead vocalisms that saturated the eclectic grooves. Secondly, the hard-prog attitude shown by the hard/fast guitars, slithering organ and synths and bruising drums (Mikko Kaakkurinniemi is a monster!). Tracks such as "Freedom Fighter" and "Spanish 411" are perfect examples of this edgy strain. They can also opt for the grandiloquent and the flamboyant as on the brilliant opener "Bring Out the Sun (So Alive)", the opulent "Somewhere in the Middle" or the epic closer "The Willing Victim". Then you have some ditties that are pop-rock gems that evoke various aromas (I like that Aha analogy by our Easy Livin'!), with the full understanding that North American radio will never pick these up. Songs like "In the End" and "Faded Photographs" have that smudge of weirdness that spooks the saccharine ear-candied horde who like to sing along to their draft beer and embrace their acne-ridden girlfriends (oh, be nice, Thomas!). "Silver Lover" has those Zeppelin tinges straight out of Houses of the Holy (the fleet guitar rhythms par exemple), and it's quite a pleasant ride without being derivative. The final 2 tracks are really splendid, "I Came For You" is by far my fave piece, at times similar to Sylvan in its poignant vocal delivery and rather quirky backdrop. Strong contrasts between the mellow and the harsh, fueled by some stupendous vocals ending in a magnificent heavenly chorale that is sheer aural bliss. As stated earlier, the finale is another treasure; "The Willing Victim" is a symphonic slow builder with delicate acoustic guitar and pastoral setting of impeccable pedigree, as per the fluid synthesizer solo that graces the mid-section, a composition full of unbridled passion and barely containable restraint, settled by a colossal explosive lead vocal hurl. Wow! And when the lead guitar blows through, you just know that feeling is there once again. This is precious stuff!

I probably will require some further spins before I can truly be the good unbiased judge that I am (and modest too!) but it must be said that this is neither symphonic, neo nor space. Rather a rock band that are not being dictated to by some corporate pirate and do their own thing. Bravo to you, heart brothers! I need to get used to the harder tracks and digest them properly before bestowing any higher marks.

4 suomi wrestlers

I've heard about this band for a couple of years now but to be honest I never had the desire to check them out mainly because of how commercial they supposedly sounded, and also I kept seeing QUEEN mentioned as a reference. Also females apparently often made up the majority of their audience. And yes they are superstars in their home country of Finland. As I combined all these thoughts I just didn't think i'd like the music. Yes I have egg all over my face as I write this (haha). It took a few listens but man did I get sucked into the VON HERTZEN BROTHERS vortex. How do they do that ? MUSE I think is a good reference along with KINGSTON WALL.

"Bring Out The Sun (So Alive)" is the longest track at almost 11 minutes and by far my favourite.The intro is mournful and it goes on and on for almost 4 minutes. It does start to build after 2 minutes and vocals come in just before 4 minutes. A change 5 minutes in as we get silence then synths and strummed guitar. It kicks in at 6 minutes. Hell yeah it does. Some killer organ here and the vocals follow. So emotional. Kicking ass a minute later. Incredible track. "Spanish 411" is guitar and synth led as the organ joins in. Vocals before a minute. Killer stuff. The guitar is lighting it up before 4 minutes. "Freedom Fighter" hits the ground running with lots of piano too. Synths come in just before a minute with vocals. Damn this is so uplifting, then it turns intense once again.

"Somewhere In The Middle" calms down just before a minute with guitar and atmosphere. Reserved vocals and piano before 2 1/2 minutes then it kicks in again. There's a Brian May reference 5 1/2 minutes in. "In The End" is one I enjoy a lot. It kicks in fuller around 2 minutes with a great sounding instrumental section with prominant guitar leading the way. "Faded Photographs" is such a passionate song. "Silver Lover" opens with some cool sounding guitar that reminds me of THE TEA PARTY. Yes there is an Eastern vibe to this one. "I Came For You" has some good contrasts between the laid back and more intense passages. Great section before 3 1/2 minutes with vocals and piano. "The Willing Victim" has a beautiful instrumental intro and we get some violin after 1 1/2 minutes. Reserved vocals follow. It's maybe a little too ballad-like 3 1/2 minutes in when the vocals get more passionate. It's building 6 1/2 minutes in and guitar comes to the fore late. Nice.

So yeah I have to reluctantly give up 4 stars for this one despite my earlier reservations. I'm so glad I checked them out.

I find that, on this album, when the Von Hertzen Brothers strive toward traditional progressive rock, the result isn't nearly as satisfying as the band's catchier, less complicated rock music. The simpler tunes are just excellent. The more "progressive" songs tend to have a lack of flow. That said, there is plenty to enjoy here, especially for Heavy and Neo-Prog and fans. Standout tracks for me are "Somewhere in the Middle," "Silver Lover," and "I Came for You."

"Bring Out the Sun (So Alive)" Light, swirling tones wash over the listener in the beginning of the album before beautiful harmonies take over- an excellent build, but unfortunately anticlimactic. Midway through, a quiet synthesizer lead emerges. Intense rock with generally light vocals pummels the listener.

"Spanish 411" As the name implies, this Spanish-flavored song has rapid verses with hushed harmonies underneath. The electric guitar chunks out the strident chords. The music behind the trumpet sounds just like a segment from Yes' "The Remembering (High the Memory)."

"Freedom Fighter" There's far too much going on here, with jarring guitar riffs, an overabundance of drum fills, and shrill vocals. It becomes increasingly painful toward the end.

"Somewhere in the Middle" A gritty guitar performance over soft bass and keyboards kicks off a soft passage on the album. The vocals are initially sung over quiet piano before the rest of the band enters. The melody is excellent and soars, reminiscent in content and tone of The Flower Kings; it is a very nice progressive pop rock tune.

"In the End" This is a decent moderate rocker with good electric guitar riffs and a catchy hook.

"Faded Photographs" I'm rather reminded of It Bites with this one. The vocals are gritty but melodic, and the instrumentation is appropriate, complementing the singing.

"Silver Lover" Moving in a more acoustic direction, this is a happier tune with exotic traces. It feels like "Reason to Be" by Kansas. It picks up and adopts a very different, heavier feel.

"I Came for You" This song possesses a quiet, Porcupine Tree-like middle passage. The repeated line "Are you ready now?" is evocative and perfect for the piece.

"The Willing Victim" The gentlest song on the album was saved for last, it seems. The vocals remain soft and airy, as does the music. The final three minutes bursts into an arena rock "power ballad," complete with the obligatory screaming guitar solo.

This is what crossover prog should be; this is the sort of album against which all other crossover albums should be compared. This is music without pretension, music that is content to forgo lengthy technical sections or extended instrumental show-offs in favor of irreplaceable composition. Every song is incredibly melodic, with infinitely sing-able choruses and vocal lines that will give you chills. This certainly isn't particularly difficult or challenging music, but it's darn good, and some of the most listenable stuff I've heard in a long time.

"Bring Out the Sun (So Alive)" begins the album with a slow buildup. A slow repeated melody that's repeated over and over, being added onto by various instruments until vocals enter and the track takes on a spacey, laid back feel aided by psychedelic keyboard parts and great vocal harmonies. At about 5 minutes in the track abruptly changes tone, taking on a much more up-tempo feel and launching into a scorching organ solo that helps introduce a new main melody. Despite the fact that more or less the same melody is used throughout the track it never feels repetitive, which is due largely to the strength of the melodies used and the brilliant pacing. Small changes are made in the music throughout to give the song a sense of drama and it works brilliantly, with the result being that "Bring Out the Sun" comes off sounding like a bona fide prog epic despite its generally homogeneous composition.

"Spanish 411," as its title might suggest, has a bit of a Spanish folk music flair to it, though it's also quite a rocker. The vocal melodies are again spectacular, as are the use of harmonies, and there's some rather understated but still very effective horn playing that eventually increases in its intensity as the track goes on. This all results in a kind of prog-rock mariachi sound that culminates in a great reprise of the vocal melody. A stellar track and some of the catchiest prog music I've ever heard.

"Freedom Fighter" is another highlight of the album. Beginning with a punchy, syncopated guitar part, the track quickly develops into a driving, upbeat little song that's as charming as it is easy to sing along with. Excellent interplay between keyboards, guitars and strings really helps to bring out the melodies as well, ensuring that this song is one that will likely get stuck in your head. How much prog can you say that about? Add to this the fact that every note in the song hits like a train despite its catchiness and you've got all the makings of a pop-prog classic.

"Somewhere In The Middle" takes the tempo down a little bit, trading in driving guitars and cheery horns for a melancholy introductory verse backed by tender piano. Once the song gets to about the three minute mark, however, the grandeur of the previous 3 tracks returns, with vocals soaring towards the heavens and spot-on perfect interaction between guitar, percussion and piano. Again, the vocal harmonies cannot be overlooked, with multiple voices blending together to transform great melodies into holistically great sung parts.

"In The End" opts for a slightly darker sound, with some spookily atmospheric keyboard parts faintly lurking behind a guitar and piano part that wouldn't sound out of place in a neo-noir film. The vocals in this section are suited to the music perfectly, with a proper degree of restraint and mystery; however, the real high point of the song is the chorus. Guitars crash in and the already spot-on singing ascends to new heights, with incredibly passionate and raw delivery. Following this is a bit of an interlude section, with a slower tempo and lower, more restrained vocal harmonies that eventually build back up to reprise the chorus. It's an incredibly effective compositional technique, so much so, in fact, that by the final chorus there's a strong urge to simply stand up and belt along with the singer. The end of the track returns to the slinkier, darker motif for a brief moment before a brief but very good keyboard duet closes out the song and leads into the next.

"Faded Photograph" begins with a brief instrumental section that can only be described as triumphant. While the track overall is essentially a simple verse-chorus number, the fantastic instrumental interplay, wonderful melodies and stellar vocals ensure that the song is the farthest thing from ordinary.

"Silver Lover" begins with a wonderfully carefree strummed guitar part that's quickly elaborated on by percussion, keyboards and even some faint wordless vocals. The song on the whole is far more stripped down than some of the other more symphonic numbers, relying primarily on fairly simple instrumental parts and the charm of the vocals to keep the track going. There is, however, a gorgeously spare instrumental section in the middle that proves the old idiom that "less is more." The end of the track does crank up the orchestration quite a bit, but the pacing of the track is brilliant and the extra arrangement never sounds busy or forced.

"I Came For You" again starts off subdued, with an almost martial percussion beat and a low, almost sinister vocal part. This more restrained approach, however, is juxtaposed against some brief guitar parts that offer sledgehammer chords. The contrast is brilliant and helps to emphasize the heaviness when it is used. Midway through the track switches gears and introduces a repeating motif that is elaborated and built upon for the rest of the song, much in the same way that "Bring Out the Sun" was structured. The effect is much the same, as well, despite this latter section's repetition it's incredibly powerful, with multiple voices and a large variety of instruments having joined by the time the song draws to its close.

"The Willing Victim" begins much the same way the album did, with a softly repeated instrumental motif that is built on until vocals enter. When vocals do enter, they're high and ethereal, effortlessly serving as the center of the track without needing to overpower the instruments behind them. The introduction of strings confers upon the track a sense of cinematic finality, and after a brief instrumental break that features an excellently dramatic synth solo, the vocals re-emerge stronger than ever. There's another brief vocal section, and then the track drops down to nothing, briefly leaving the listener to wonder whether the album has ended on an early anti-climax. Fortunately, this is not the case, as the final three minutes of this album contain some of the finest music I've ever heard. Very faintly, guitar and vocals re-appear before building to a stunning climax that features typically soaring vocals, wailing guitars, and of course all manner of other instruments. It's a breathtaking climax to an album that comes as close to perfection as music is capable of coming.

Thus, if you are looking for a pop-prog fix, look no further. This is one of those albums where every song seems better than the last and where my favorite song is the one that happens to be playing. A stellar example of songcraft and proof that music doesn't need to be mind- bendingly complex to be good. As I said, as far as crossover prog goes, this is the standard for the genre to live up to.

5/5

This is a terrific album! This crossover prog band has a great melodic style. They don't try to overdo it on technicality or speed. They write beautiful music that arouses the emotions and lifts the spirits. Amazing, soaring melodies are the key here. The band even plays around with some Spanish sounds here, too.

This album is great from start to finish. "Spanish 411" and "Faded Photographs" are both fantastic songs, but the unequivocally best song on this album is "The Willing Victim". This song is simply stunning in every way. The structure is superb and the vocals are breath- taking!! It takes you and allows you to soar on the crest of the melody. This would have been a 5-star album for sure had the rest of the album been as fantastic. As it is, it is a strong 4-star album. Highly recommended!

Accessible melodic rock prog outfits who draw heavily on Pink Floyd are thick on the ground and often leave me cold, but on Love Remains the Same, their third album, Von Hertzen Brothers overcome my usual scepticism about this style thanks mainly to the fact that they don't just regurgitate the same tired old Floydian motifs (echoed telephone vocals, etc.) but actually seem to have some appreciation of the old masters' compositional style, as well as some intriguingly cryptic subject matter to apply it to rather than the usual tired old moaning about modern life. The end result is an engaging and entertaining album which deserves your attention.