VENI VIDI VICI

I am quite severe but this is quite a let-down compared to the previous ones. I found the sound fairly poor and the inspiration also . The only time I had a chance to see him live (in Verviers), he played mostly from this album and Gothic Impression , but most of those numbers from VVV were not better live than on this album.

Besides the live album "Live In America", it's been almost four years since the Swedish symphonic rock masters PÄR LINDH PROJECT's released their previous album "Mundus Incompertus" (1997). Their new album is called "Veni Vidi Vici". A nice surprise is that they have recruited the magnificent bass player Jonas Reingold to their line-up. Jonas is one of Sweden's finest bass players and he has replaced Marcus Jäderholm who has decided to leave the group. The great guitar player Jocke Ramsell has also left the group and is replaced by John Hermansen. Personally I preferred Jocke's guitar playing, but instead I got Jonas Reingold on bass. The new album follows the same musical direction as the previous ones: pompous and bombastic Symphonic Rock with a big dose of Baroque and Classical Music influences. Heavy guitar riffs, church organ and mellotron bombardments blended with beautiful female vocals by Magdalena Hagberg. The music has a big contrast between intricate and complex instrumental passages to quieter instrumental moments. Perhaps not as good as the "Mundus Incompertus" album, but any fan of PÄR LINDH PROJECT (such as myself) won't get disappointed. You have my word on it!

This is a beautifull prog rock album.The band have really found their feet and Par Lindh finally gets away from the overt Emerson and Wakeman stylings prevailent on earlier studio efforts.This is true PROGRESSIVE MUSIC- intricate,original and challenging the listener.Top stuff!

I thought that after twenty years of Progressive Rock I couldn't be amazed by anybody, but I was wrong, a few months ago was ANGLAGARD, a band which I had refused to take seriously for many years mostly because they were not from the wonderful 70's, now is the turn for PÄR LINDH PROJECT, casually both bands are from Sweden and both incredibly good.

This is the first time when I will do a 100% objective review, because the only PÄR LINDH PROJECT album I heard is "Veni Vidi Vici", so my opinion won't be influenced by any previous experience with the band, and my impression about this album couldn't be better, it's simply amazing.

Progarchives catalogues "Veni Vidi Vici" as symphonic prog, but I believe they are the only almost pure expression of Baroque Progressive, a non-existent sub-genre that could be perfectly applied to this band.

Par Lind plays an incredible variety of keyboards as the Church organ from Vårfrukyrkan in Enköping which is simply haunting and extremely strong, Blüthner Grand Piano (My favorite piano), John Sergeant Harpsichord, Hammond organs C3 and L-100, Mellotron, etc. and the guy is extremely skillful in every one. But what most impresses me is his style, perfect and far from being overplayed (something not very common in talented keyboardists and composers).

Also impressive is the beautiful voice of Magdalena Hagberg, not as operatic as Annie Haslam or aggressive as the incredible Christina Murphy (Magenta), only beautiful and more than adequate for the music, she also plays violin with great skill.

The first track "Adagio" is a short musical piece that leaves me wishing for a couple of minutes more, absolutely classical and beautiful, perfect overture for the album, specially when followed by the frenetic "Veni Vidi Vici" creating an almost shocking contrast between the classical and the modern, but this second track also has incredible organ interruptions that would make Johan Sebastian Bach proud of his legacy, a great track.

"Gradus ad Parnasum" has a strong piano introduction supported with impressive chorus and followed by the whole band, the next section is a soft male voice with a sweet music followed by Magdalena Hagberg with her wonderful voice, several times interrupted by hard rocking parts, this is the tonic up to the middle where a powerful baroque chorus and piano announce a very complex passage where the listener can enjoy all kind of instruments, the changes keep following one after the other, almost 14 minutes of Progressive Rock at it's best.

"Tower of Thoughts" is also another great track where the contrasts are simply delightful, if the Grand Piano interpretation deserves a special recognition; the ultra baroque Organ deserves to be applauded. Incredibly the next track "River of Tales" is just the opposite, calmed, soft and especially beautiful.

"Juxtapoint" starts somehow similar to Veni Vidi Vici but at the same time has a different approach, the changes keep the listener interested but dazzled, as a bright light confuses the viewer, the brilliant musical changes leave the listener perplex. From soft vocals (male and female) to powerful organ passages and a killer guitar section by John Hermansen. The things get a bit calmed with "Le Grand Chambardement" (Chorale) and "Adagio con Flauta et Clavicembalo a very short instrumental perfectly described by the name.

"Hymn" can also be described by its name, Magdalena's voice with baroque organ, a beautiful contrast of sounds, frightening and relaxing but carefully blended so there's no collision. Amazing technique, when the rest of the band enters the contrast is even harder because of the more modern sound with a dreamy violin and Hammond.

The album ends with "The Premonition" a great closer that starts with clear ELP influence that soon turns into a Wakeman like keyboard, amazing, the guy can play with the style of two of the greatest keyboardists with no problem, only in this track the bass is played by Marcus Jäderholm and the guitar by Jocke Ramsell, who do a hell of a job.

The drummer Nisse Bielfeld does a perfect job in an album where drums have to be precise and accurate as a Swiss watch.

Still after some days I'm confused but extremely pleased with "Veni Vidi Vici", a total masterpiece that deserves to be included in every musical collection.

Today I will rate the album with 4 stars, maybe when I fully understand all the aspects I'll give an extra star, the only thing I know for sure is that I'll be reviewing more PÄR LINDH PROJECT releases very soon because I plan to buy each and every one in the next days.

After a short classical piece entitled Adagio the titletrack starts with the majestic church organ sound, followed by a splendid build-up part with swinging bass, jazzy piano and wonderful violin-Mellotron eruptions. During the other tracks on this CD Par Lindh delivers great keyboard work (sparkling piano, fluent Hammond organ runs, tender harpsichord and exciting synthesizer flights), obviously less Keith Emerson sounding than on his previous albums that often sound like a tribute to Pictures At An Exhibition! The compositions contain many strong shifting moods and often harder- edged guitar work (almost metallish). Female singer Magdalena Hagberg has a beautiful voice but she lacks a bit power in the more heavy parts. This CD also delivers some nice instrumentation with the PLP choir (Le Grand Charbardement) and violin in the final track Premonition (also swirling Hammond runs). I prefer the excellent album Mundus Incompertus but Veni, Vidi, Vici is a convincing CD that will please the keyboard aficionados.

Goth keyboard wizard Pär Lindh is back with another blend of prog rock and his church-inspired music--this one an overall more aggressive incarnation than his previous two masterpieces.

1. "Adagio" (0:56) "strings" á la Wolfgang Amadeus. (5/5)

2. "Veni, Vidi, Vici" (7:56) powerful drumming but too much Emersonian bombast. (13/15)

3. "Gradus ad Parnassum" (13:55) (26/30)

4. "Tower of Thoughts" (5:01) power drums, bass, Mellotron, and piano create the opening for this before Magdalena enters sounding like HEATHER FINDLAY or CHRISTINA BOOTH. Impressive fretless bass play. Speed changes and power chords are interdispersed before a new motif is introduced in the third minute by the organ and piano. Were it not for the proportion of classically-informed keys, this song could come straight off of a MAGENTA album. (8.75/10)

5. "River of Tales" (3:12) solo classical-styled piano ballad supporting Magdalena (and Nisse)'s voices. Beautiful on all counts. (9/10)

6. "Juxtapoint" (4:16) two chord synth intro which is quickly joined by active drums and bass. The keys, drums, and bass all show off a bit before slowing down to support Magdalena's vocal. The recording sound here is a bit out of balance--maybe the "jusxta"position that Pär Lindh is trying to "point" out. Amazing guitar speed of the soloist in the fourth minute. For me, the drums here are just too over-the-top--otherwise, this is a pretty good song. (8.75/10)

7. Le Grande Chambardement (2:13) 8. Adagio con flauto et clavicembalo (0:54)

9. "Hymn" (4:55) a beautiful, church-like choral vocal arrangement opens this song before church organ and solo female vocalist take over. Chorale chorus with stark violin solo precedes full-rock combo with thumping bass and drums backing a synth solo. Violin gets the next solo over the full rock arrangement before synth closes out this section, yielding to the returning female vocalist and her organ and choir support. Excellent song! (9.5/10)

10. "The Premonition" (7:34) now we've moved into RICK WAKEMAN territory--complete with the flaws that Rick has become known for in his too-stereotypic composing and soloing styles. The performances are all impressive, there's just too much bombast--several times it even makes me cringe. Once the music settles into a pocket, after the first round of vocals, it has a great sound and mix for the keyboard and guitar soli. The Hammond organ soli here sound more like KEITH EMERSON than Wakeman--and the alternating church organ give it the feeling as if Keith and Rick were duelling a bit. "Orchestral strings" get the next solo in the smooth seventh minute. Despite the bombastic opening, this one is quite nice--and memorable. (13.25/15)

Total Time: 50:52

Overall, the more aggressive prog approach--especially the hyper drums--don't work as well for me. Also, the sound/engineering mixing is off on a few songs. In my opinion, the best material on this album comes from Pär Lindh and Magdalena.

B+/4.5 stars; a near-masterpiece of progressive rock music--not quite up to the brillance or clarity of Mundus Incomperatus or Gothic Impressions but still worth your time and attention.