HUNTING THE FOX

"Hunting the Fox" isn't exactly a complex elaborated masterpiece of Progressive Rock, but happily, I'm surprised by what I listened to in here. To be the debut album by the German band commanded by talented keyboardist Ines, it shines with a light of its own by being so damn proposing and challenging; it deserves not the appellative of "underrated" but of "overlooked" since the work put together in here sounds differently peculiar with a taste of the "great ones" in Neo prog. By flowing so melodic as compassed, this 1994 production leaves a great first impression inside ones ears, provoking the listener to stick around while the album decides to come to an end. Then, you will be ready to play it again.

Among the curiosities this album's got, I was able to distinguish that it is comprehended in two separate parts. Firstly, I noticed that from "Overture" to "Union part II", is mostly all about Ines showing off her skills on keyboards, proving why she earned the right to name a band after her, and let me tell you, the musical arrogance this woman displays (if I may call it such), certainly pays off pretty well. After the instrumental intro, "In the Distance" breaks into the scene. A well written song by Ines herself and lyrically exposed by Hansi FUCHS (all the lyrics by him actually), that relives the pure essence of IQ on albums like "The Wake" or parts of "The Seventh House". Vocals by Kikko GROSSO and Hansi resemble a little bit to the spirituality delivered by Peter NICHOLLS on "Widow's Peak" or even on "The Wrong Side of Weird".

Harald BARETH follows pretty much the same vocals vein on "Water" and "Mother Moon", but with a very unique style that stands out from the rest of the singers who lent their voices for the realization of this album. "Union Part I" is a beautiful prelude to the sequel, where Massimo MICHIELETTO skillfully plays quite an educated acoustic guitar, turning this strings passage into a delightful moment to ones ears. But with geniality, comes misinterpretation. Maybe that's why I don't give total recognition to this first half of the album, maybe it is too Martin ORFORD and Mark KELLY on keyboards, and due the musical arrangements, the vocals had to be balanced unevenly on it. The resemblance to the top English Neo Progressive bands is unmistakable, so heavily floating in the air, that it sort of blurs the entire and mere intention of the image "Hunting the Fox" tries to picture for us.

Now, moving on to the latter half of this album. The "Hunting the Fox" experience takes a sudden turn when riding on to "In the Dark of the Night". Unrecognizably great to me and to strangers in the first place, the almost ten minute suite carries around the restless spirit of INES. I'd dare to say this is the most representative track not only out of the entire record, but also of the whole connection in between the subsequent productions by the German band. It's like listening to a complete different band from the one you've been paying attention to during the last half hour of running, it's unbelievable. In the beginning, it may sound off quite "pop" and aimless to you, but just let it flow and you'll be amazed like I was the first time I listened to it. "The Inner Flight" follows, so energizing and invigorating, but with less powerful vocalization and unelaborated lyrics. "Earth, Sun and Moon" isn't exactly what you would call "out of this world", it is audible alright, very sassy in my personal appreciation.

Coming up next, "Hold on to Dreams". What is really remarkable here, is that far from relating Ines' performing to a GENESIS sort of vein, her work is simply outstanding. The moody spaces are filled with a nice bass twanging off convincing and soft vocals by Harald BARETH. Apparently, "Meet Me on the Mountain" and "Innocent Girl" bring out the romantic touch of the album, described mushily throughout the lyrics sustaining both pieces and the peaceful guitar interludes. And finally, if there ever was going to be a guitar standing out individually from the rest of the instruments, it was going to be included in "Wasteland". Not elaborated or complicated riffs, just string presence on the track. The self-titled song pretty much wraps this up in a melancholic, introverted mood easily breathed all around the track. Ines wanted to save the best in her for giving the album the perfect, suitable ending.

So, this is one of those albums filled with innumerable contrasts. It can go from outstanding to plain, from provocative prog rock to the burnt out formulas. I seriously considered giving it the almost perfect rating, but since there are some spaces in between and impreciseness, the "good but non-essential" evaluation suits this album perfectly. Despite how contradictory this review may look, it's entirely your call. Whether you're intrepid enough to put up with the comparisons or audacious to completely overlook and disregard what I've just written up above and go for it. I'd do that if I were you on this one.

It is unusual in itself to encounter a female keyboard player in prog. To have her front a band that takes her name is even rarer. Most shocking is that, although she looks like she possesses a lovely voice, she does not sing even once, preferring to hire an array of guest male vocalists to fulfill these mundane duties. Finally, although the music is in general keyboard oriented, plenty of latitude is left for guitar fills, so this does sound much more like a band than a solo artist.

What of their sound? It's pretty much a descendant of Phil Collins-dominated GENESIS circa 1980, with aspects of the Gabriel Era (the opening cut appears to be watching the skies quite closely for instance). More aggressive guitars reflecting the more modern neo prog movement are also in abundance, but I can't help noticing how drummer Thomas Schaufler dominates frequently, and how much he seems to like Phil Collins. Ines herself possesses a fat "Eleventh Earl of Mar" Banksian phenotype that completes the picture while making embryonic efforts at her own identity.

The array of singers acquit themselves well, passing as English language practitioners regardless of mother tongue. My interest was initially piqued by the presence of Harald Bareth of ANYONE's DAUGHTER, and indeed his performances on "Mother Moon", itself possessing a superior melodic progression, and "Earth Sun and Moon", an ALAN PARSONS styled light mystery, are among the highlights. So are both parts of "Union", the first a delicate acoustic guitar instrumental and the second an equally sweet synthesizer oriented ballad reminiscent of GROBSCHNITT's mellower work, although I suspect I am missing the prime reference.

The keystone cut is the 10 minute "In the Dark of Night" which, by virtue of its length, permits more development, remaining within a loosely song oriented structure, but complexity is clearly not Ines' strong suit. As impressive as the album's high points may be, much of the material is mundane, particularly in the latter half. "Inner Fight", "Hold the Dreams", and "Meet me on the Mountain" suffer from a lack of dynamism and a sense that the song is secondary to the musicians, ambling along with a lackluster gait like a fox with a bum knee.

This debut by Ines might not be the main prize, but if caught incidentally in your quest for something gamier, I daresay you will keep it around.

Nice Progressive/Art Rock band from Germany, formed in 1994 and named after talented female keyboardist Ines Fuchs.Next to her we find her husband, guitarist Hansi Fuchs along with an all-star session line-up from the Prog Rock scene: Former Asgard members Chicco Grosso (vocals), Chris Bianchi d'Espinosa (bass/guitars) and Massimo Michieletto (guitars), ex-Lanvall musicians Ulbi Ulbricht (bass) and Thomas Schaufler (drums), German legends Anyone's Daughter's singer Harald Bareth, Bel Air's guitarist Klaus Meyer and another vocalist, Baggi Buchmann.The debut CD ''Hunting the fox'' from 1994 was released on WMMS/Music Is Intelligence.

This is very good, mainly mainstream-Prog with excellent vocal performances, satisfying compositions and some trully nice keyboard work by Ines Fuchs.All tracks have simple structures with catchy choruses, however there is plenty of instrumental madness in here to satisfy the prog listener, coming out of Ines' flashy synths, which sound both bombastic and melodic, recalling the early work of MARK KELLY with MARILLION.The overall approach reminds bands or projects like LANDMARQ, CASINO or SHADOWLAND.Very strong lyrical performances by a group of gifted vocalists blended with easy-going Neo/Symphonic Prog Rock arrangements, often with an evident Hard Rock touch.A few tracks are instrumental with both acoustic and electric passages, quite virtuosic and cinematic still very melodic.With so many guitarists on board the listener will have the chance to listen to some very good riffing and soloing in ''Hunting the fox'', however it is Ines' work on synths, which really shines in this album.

Great Neo Progressive Rock with a heavy amount of keyboard instrumentals and very tight compositions.A must-have for fans of the style and a decent buy for anyone, who searches for a break full of accesible but well-crafted Progressive Rock.Strongly recommended...3.5 stars.