INCREMENTAL CHANGES, PT. 2

The instrumental chant on the first track, the richness and touching harmonies, altogether make a great entrance for this work.

On all the tracks drummer delivers some excellent paces and double-tempos. Gerald uses many piano, that with the the soft and velvety chant fits perfectly with the sliding effects made on the seabord. You may think this gives the work a strong new-age mood; but the complexity of harmonies and the variety of rythyms situates the executions considerably more to the symphonic side of prog. Besides, sometimes Gerald uses some notes on the keys that are similar to a electric guitar. I couldn't imagine that a Seabord could have so many musical possibilities.

All those features, along with the fact that there are lots of superb tunes on this album, leads me to rate it 4.4.

Note 1: Gerald released at 2017 the EP 'Incremental Changes, pt. 1'. Too much close to classical music for my ears and mind.

Note 2: he has a masters degree in Multimedia and Software development. Applying this knowledge to the keys on his keyboards, as well as his very fortunate technology-based clothes, makes a splendid visual impact on his performances (maybe his passage as a musician for Cirque de Soleil helped). Some of these inovations were used by Jordan Rudess on stage during concerts by Dream Theater.

This Viennese composer and keyboardist is quite the talent! There must be something in the Danube water that sprouts incredible musical abilities. Gerald has carved out quite a career, having played in 2013 with fellow countrymen Circle of Illusion (more prog metal) and in 2015 with prog band Inspirational Corner. His first solo album was a classical oriented EP, Incremental Changes Pt1, released in 2017, has also worked with Jordan Rudess and finally had a nice stint with Cirque du Soleil. This second chapter is a whole different presentation, a splendid work that combines electronic, symphonic prog, jazz-fusion, as well as cinematographic soundtracks that really raises all the eyebrows, and piques the ears with some incredible playing.

On the effortless introduction "Prologue", the ornate elegance of the piano dances through the electronic orchestrations with apparent facility, as Gerald's fluttering fingers roam over the ivories with impunity. The emotions are dramatic as proven with a sprinkling of neighbourly Hungarian gypsy violins that segue into the incredibly metallic synthesizer motif, complete with emphasizing drums courtesy of Aaron Thier, in flinging "Enigma" into the void, a thrilling explosion of bombast, pomp and circumstance. Orchestrated choirs only serve to decorate the delectable mood, dripping with bluster, like an homage to Brain Salad Surgery, by you know who! A remarkable kick in the butt! Complete alteration of mood on the more tranquil yet quite exotic "Flow", as the acrobatic piano twirls as if on a carousel in the Prater amusement park. Quickly transitioning from classical to a jazzier lounge reference, drums well in tow, the technique is there to admire. More choirs add to the recipe. Its fun and frantic, serene as well as crafty. "Transformation" opens a window into a darker expanse, a murkier plane that evokes the title quite succinctly, with a momentary Bond-like chorus arrangement that oozes danger and suspense. Midway through, an evil and tortured synth outburst alters the style into a chaotic and explosive maze of jumbled streaks that fizzle uncontrolled. Very technical and impressive. Within the very first seconds of "Submerge", the classical inspired melody on the grand piano creates an indelible effect as the beautiful melody is achingly poignant, as if Liszt, Mozart, and Chopin had decided to be an influence. When the seaboard kicks in, its quite overwhelming and I daresay jaw-dropping, as the powerful expression takes over. The transition into a jazz solo piano display is off the charts as the wicked drums shove the piece along. The return to the main melody is equally brilliant as nothing overstays its welcome, constantly blossoming into a next level of genius.

On both "Gleam" and "Timeless", Gerald channels his inner Wakeman, as these tracks showcases the playful spirit that makes the golden caped legend such a joy to behold. Lots of inventive takes on keyboard prog, with mind numbing variations on piano, synthesizers and the seaboard which has such a distinctive and limitless variety of sounds to offer. As the title would suggest, "Pulse" is rambling affair, sped along by some sublime percussive interventions from Thier, seemingly underlining the need for speed and finished off by a solo from guest guitarist Martin Miller. Voice modulations take precedent on the vaporous "Epilogue", with a gentle piano serenely expressing all the effort put into this work, a well-deserved closing ceremony. With guest and possibly mentor Jordan Rudess guesting on the final half of the 10-minute closer "Finale", you get a perfect recap as to what went on the previous 9 tracks, a fitting summary. The collision between sweet solo piano and monstrous synthesized electro pomposity is there in plain earshot. Dazzling technique, speed, agility, tone, tempo, intricacy, and inspiration is all there to admire. Rudess takes over when the maelstrom hurricane finally cams down, showing he can play with all the greats and why he has such as stellar reputation. He craftily brings it back to its explosive glory as befits a finale! A sweet piano nocturne puts this to bed.

Should you be a fan of maestros such as Emerson, Wakeman, Jobson, Vangelis or Rudess, it would be imperative for you to check out this release and revel in all the talent displayed. 4 Increased alterations