HAVEN OF ECHOES

After reading some reviews on ProgArchives praising this album, I decided to give it a try!

It is a project that unites the vocalist of Spires, Paul Sadler, and the multi-instrumentalist and visible head of Frequency Drift, Andreas Hack. I have to admit that I haven't heard anything from these two bands, so I faced the listening to this album completely unaware of these musicians and their collaborators, such as Nerissa Schwarz playing the electric harp and Wolfgang Ostermann on drums.

They describe themselves as cinematic progressive rock, but if I have to give my opinion, for me they would be melancholic crossover prog, very melodic, with musical bases based on piano melodies (which sometimes become somewhat repetitive loops for my taste) and that sometimes they will remind other groups like Porcupine Tree, Leprous or Agent Fresco.

So far so good, but I have to say that Paul Sadler's vocal approach doesn't quite convince me, and after repeated listening it ends up tiring me. I'm not a fan of this style of singers who base their melodies on affected gurgles, as happens on Leprous. I'm sorry if this may offend anyone, but it's my personal opinion and it's something that without a doubt detracts from the record for me.

On the other hand, I find it a very interesting release and despite not being entirely to my liking, it does have an unquestionable musical value and is capable of offering musical moments of a very high level.

Recommended! And if you are able to connect with the singer, I imagine that you will like this "The Indifferent Stars" much more than I do.

Best Tracks: Sirensong (it introduces us fully into the intense and dense style of this band), The Orator's Gift (a simpler and more direct track, but which contains the best vocal melodies on the album) and Let Them In (the longest and most progressive song on the album, with some instrumental passages to take into account)

I decided to listen to The Indifferent Stars after seeing it on top of the ProgArchives charts for this year; unfortunately, I found myself very underwhelmed by the album. The album is not necessarily derivative, but it's a fairly generic combination of atmospheric prog like Airbag, a kind of moody Wilson-esque vibe, and a more gothic/darkwave influence akin to The Cure, or even early Cocteau Twins. However, it falls short of achieving the emotional energy that makes those styles really work.

To start off with some more positive thoughts on the album, the vocals on the album are fantastic, and I really enjoyed some of the vocal harmonies throughout. Furthermore, while it's not very prevalent throughout most of the album, there is some very excellent guitar work on the last few tracks, especially the closing song "Let Them In". That being said, let's dig into the various issues that drag the album down.

One of the more superficial comments I have is that the lyrics aren't necessarily the strongest (from "Sirensong": "When we meet again / It will be across the wild and raging river / So when we sing again / Will your melody release me / Or drag me to the depths?"). That being said, it's nothing more than a bit of clunkiness and awkward phrasing, so it's not exactly a dealbreaker.

However, my real problem lies in the sheer lack of coherence both within and between songs on the album. Many of the songs are fairly disjointed. They don't really follow any logical song structure, but rather feel like they've been slapped together as a combination of a few different ideas. Some songs are more guilty of this than others, the most offensive probably being the closer "Let Them In". While it's completely possible to make the argument that the song takes the format of a "suite" or whatever, the sections of it feel completely unrelated. For example, the aforementioned fantastic guitar solo, which comes after a brief solo piano moment, has no transition and jumps into an entirely different key center than the section before. Later on there is another completely different section of the song that only feels less abrupt due to the extensive atmospheric section before it. The end of the song is ALSO very abrupt; it feels like they picked a random downbeat to end on. As many of my reviews, it may seem like I'm getting hung up on a single song, but it is an example of an issue that permeates the whole album.

The songs also lack cohesion between them; they don't feel related in any thematic way. They sort of just feel like 6 different songs by the same band, rather than 6 songs that belong on an album together. That being said, it is difficult to distinguish any of the songs from each other when reflecting on the album, which I suppose is a bit contradictory, but ¯\_(ツ)_/¯. The listening experience generally felt like a slog through 44 minutes of music.

Perhaps the strongest moment of the album is the last two minutes of "The Lord Giveth...", which I felt was a really impactful ending that had a lot of excellent energy. Unfortunately, the preceding four minutes are nothing special, and blend in completely with the rest of the album.

Overall, I think the album has some excellent vocal work, and I do like the combination of influences that the band draws upon; however, the songwriting just isn't there to support the performance.

Haven Of Echoes is the new project of Paul Sadler and Andreas Hack accompanied by his faithful Nerissa from the groups Spires and Frequency Drift. Current cinematic melancholy progressive standing out with the voice and the atmosphere of the Frequency Drift sound and the metallic power at the doorstep of art-rock.

'Sirensong' heavy, ponderous, reverberating, a bit on Crippled Black Phoenix, on Archive, further than the Killing Joke precursors offered; dark rock in what Soen does too; atmospheric rock tinged with a melancholy violin break, chilling and catchy new-wave with synth pads behind; the enjoyable finale letting the sound burst with a screaming voice at the bottom, om to finish. 'The Orator's Gift' atmospheric intro, tribal pads, heavy vibe that a Gabriel could have released for a BOF; Paul launches his voice on a binary pop tune leering at Leprous; cinematic break is the fashion, test to decarbonize your speakers, sublime. 'Stasis' goes further in dark rock-pop, on the edge of a Depeche Mode, still Leprous for the superb voice of Paul; Nerissa distills some magic harp notes, accompanying Andreas in every corner; the voice-instrumental association becomes bewitching.

'Endtime' is intended to be fresher, ethereal giving Paul the incantatory place that befits him; rhythmic, dynamic, jovial; raw break, moment with a lonely piano on the crystal voice, it rises like a mantra, lyrical and Teutonic crescendo until calm. 'The Lord Giveth?' ah that intro, it sounds like a 'Silent Hill' game; slow, dark, gothic tune, contemporary rock freeing itself from prog markers while providing the mood; unhealthy, sublime, countdown bell, chilling. Title that is dreamlike and dedicated to musical atonement. Classic finale 'Let Them In' with the start of the orchestra, jousting between the voice of Paul sensitive to emotion and the instruments; flute, piano, guitar arpeggio, mandolin, harp, everything is beautiful to make you vibrate; ruptures in this exceptional title releasing emotion in bars and where Paul delivers vibrant solos.

Haven Of Echoes one day project? In any case, they have everything to please, the airy and fruity melodic rock of the Frequency Drift has here been transformed into neo-classical beading with emotion and archaic sensitivity, where the atmospheres create singular ambient climates between romanticism and melancholy overflowing with beauty and cinematic touches, amen.

The recent core of FREQUENCY DRIFT are pared down to three multi-instrumentalist and genius leader Andreas Hack, harpist/keyboard player Nerissa Schwarz, and drummer Wolfgang Ostermann are joined by vocalist extraordinaire Paul Sadler, previously of the Tech/Extreme Metal band Spires to make a new band, Haven of Echoes. Welcome!

1. "Sirensong" (6:11) What a great opening! Vocalist Paul Sadler sounds like a cross between Einar Solberg (LEPROUS), Ian Kenny (KARNIVOOL), and That Joe Payne (THE ENID, METHEXIS, JOHN HOLDEN, solo). He's extraordinary. The sound that Andreas' genius and Nerissa's electric harp bring are perfect--especially that deep bass coming from the keys. (I always loved Andreas' unusual mix of keys and Nerissa's harp presence in Frequency Drift.) And Wolfgang's drums are the perfect pacer--steady yet syncopated without being flashy or ostentatious. The cello interlude in the fourth minute is gorgeous, perfectly setting up Paul's great multi-track vocal finish. Great music, great vocal performance(s), great lyric; great song. One of my favorite songs of 2022. (9.5/10)

2. "Orator's Gift" (4:49) opens feeling quite a little like something off of PETER GABRIEL's 1988 film score masterpiece, Passion. Layers of keys gradual build upon the percussion foundation to break into the song's full form at 1:18. Paul's steady, theatric voice enters but doesn't really do anything extraordinary until it doubles up into two harmonizing tracks in the third verse and chorus. A sudden break at 3:10 leads into a passage with industrial sounds coming from both percussives and keyboards before piano and Paul's voice re-enter 20 seconds later. Beautiful music over which lies a less-than stunning vocal/lyrical layer. (8.5/10)

3. "Statis" (5:31) with piano base and syncopated drum play, this song starts out sounding almost like a continuation of the previous one. But then the vocal takes a couple turns with the keys in support to show different. This song feels much more as if a vocal exhibition with everything else serving only as minimal support as Paul's layers of vocals fly and weave in varied directions and styles. A lull in the very middle leads into some eerie keyboard sounds and cool layered/woven vocal passages. (I think I hear at least four separate and distinctive vocal lines being woven together.) The music is sparse and at times a little weak and simplistic, but I think that's to give further attention/light to Paul's vocals--which are great. Great section at the four-minute mark lead to crescendo and dénouement. (8.75/10)

4. "Endtime" (9:03) fast--paced electronic sequence opens this before full band joins in to establish a heavier driving pace. When Paul join's in I feel as if I'm hearing Einar Solberg's most nuanced, sensitive voice--just astonishing. Very familiar melodic flow in the chorus--almost like a combination of early Pure Reason Revolution and Frequency Drift. Great multi-track vocal mix in the second verse. I love the chunky bass play and presence of strumming acoustic guitar. A quiet interlude settles in at 4:10 with harp and distant snare the lone instruments supporting Paul's ever- so sensitive voice(s). Gorgeous! My favorite passage on the album. The next motif is also awesome--very different and refreshing--almost electronic and anthemic. (18.75/20)

5. "The Lord Giveth" (6:03) eerie deep space opening shifts with the arrival of Paul's plaintive voice at the 0:30 mark. Gorgeous vocal performance--great, emotional melodic choices. (So much like the supreme talent of That Joe Payne--or Sylvan's Marco Glühmann.) Quite the bombastic finish over the final 90 seconds. Wow! (9.25/10)

6. "Let Them In" (12:15) sounds like a more sensitive, less aggressive Frequency Drift epic. Great multi-track vocal offerings from Paul. Love the "strings." Nice guitar performances in the seventh minute but the drums and voices are even better. At 7:38 we move into a tension-filled yet more sedate section of deep synth washes and seaside sounds before piano, harp, and acoustic guitar interplay take over. Another angelic vocal weave joins in to help us float up and away--just before some power chords and drums take us into a very SYLVAN-like passage of insistent compounding and building, but the, at the very end of the eleventh minute we turn back into a more symphonic prog motif to support Paul's finish, both vocally and with his lead electric guitar. (22/25)

A-/4.5 stars; a minor masterpiece of progressive rock music. Let the news ring out: Andreas Hack is back with a new band and they are GOOD!

As my revered prog reviewer, friend, and colleague Lazland (www.lazland.org) so eloquently stated in a recent message: "Anything new from former Frequency Drift members is to be looked forward to". I concur! Multi- instrumentalist and songwriter Andreas Hack contacted me with some new information that he has now moved on after 8 gloriously succulent albums with FD (the last one being Letters to Maro in 2018), altering his inspiration into an innovative format, with a fresh moniker: Haven of Echoes and a novel line-up as well, as his new musical partner is vocalist/guitarist/songwriter Paul Sadler (Spires), giving Andreas the responsibility on all the other instruments, though long-time FD members Wolfgang Osterman is manning the drum kit, as well as the incredible Nerissa Schwarz on the e-harp.

"The Indifferent Stars" is the proprietor of a drop-dead gorgeous cover, containing six well-crafted compositions for a total of 44 minutes of utter magnificence that have a definite cinematographic quality, an attribute that certainly pervaded previous FD masterpiece albums like Ghosts (2011), Laid to Rest (2012) and Over (2014), a trio of consecutive releases that hold a very distinct place in my collection and my heart. The mood is still very original as it blends classic prog tendencies with very organic options that make it all seem very recognizable and an occasional hint of gothic avant-garde. Bayreuth has always been a renowned musical city in Germany as well as worldwide, and it seems that the great musical tradition continues with this stunning release, as Paul introduces his athletic voice that has a rather unique attribute in that he exposes his masculine side with powerful vocals that can run the gamut between smooth and muscular, but he also has a feminine side that has a incomprehensible quality in that you swear it's a female voice. Now that, ladies, gents, and children, is quite an achievement that few vocalists can pull off convincingly. I actually had to verify the credits to see if there was, perchance, a female vocalist anywhere and its is written: all vocals by Paul Sadler! Oh My!

The meteoric glow of "Sirensong" wastes little time in getting hypnotized, a whirlwind track of impetuous ardour and resonance, boisterous guitar slashes, bombastic orchestrations, and magnetic rhythmic appeal. As Paul grabs the microphone, it only takes seconds to realize the man can sing like the wind as well as expressing himself with unabated passion. Andreas writes some of the finest melodies anywhere and he is in fine form, providing the musical platform to elevate the breathless pace and offer the spotlight to the vocal storytelling. 'Sirenengesang'! The decidedly more Gothic "The Orator's Gift" has a fragmented drum beat that is quite intoxicating, establishing a sense of anguished paranoia that is totally compelling, as it's a prelude for the tenderly velvet voice to infuse, beguile and seduce, occasionally tossing in a whisper, then forcefully emoting with delirious conviction. The contrast between the syncopated beat and the elegant piano motif gives this piece a sense of bewildering splendour that hooks you hard! What a voice, "donnerwetter"! The ostentatious "Stasis" (I am sure this is not a clever wordplay referring to the former DDR state police, though you never know) showcases the anguished high voice, the feminine one mentioned earlier, collides nicely with the riveting piano, a sheer world class singing performance. By this time, three tracks in, I find myself hopefully seduced, especially when I begin giggling like an effervescent child, intimidated I rarely am, but here?. I surrender "Kapitulation"!. 'Push back, push back' he whispers?. indeed?

The dynamic vivacity in "Endtime" captivates instantly, as a suave sound lays down obediently on the carpet, the male/female/choir voices are consummate (Freddie, you have company) , atop a melody so expressive , it is like an arrow through the heart, crushingly persuasive. A mellow liquid pond of calm only furthers the enjoyment, searching to heighten the quaking thrill. 'Endzeit'! This next track "The Lord Giveth" is so unbelievably fabulous, I have no other fathomable recourse than to quote a famous movie line" It was so good, I almost peed my pants". This Nerissa Schwarz composition is overflowing with pathos, drama, gothic scintillations, funereal drums, and a heavenly charm. It seizes you and never lets go, with a solo vocal to perish for ever more and willingly so! A cinematographic mid-section of oblique sounds and tic-toc deflection, angst-laden mood, this verges on rock opera to be fair and it is the killer track here, among the musical murderers' row menu. 'Unglaublich'! Nein,nein, nein , this one is the acme, the Everest, the 'Spitze': "Let Then In" is a 12 minute exercise in sonic slaying, serving up not only another mind-numbing vocal ,very much in the same general vein as all the preceding tracks but (and obviously on purpose) , out of the thick mist comes a long, blistering, voluptuous guitar solo (Paul Sadler) that sets this whole album on volcanic fire, followed by the most ornate Andreas Hack piano etude ever, a magical contrast that soothes the heat , as the glorious voice returns for another lustrous bow. A final electric guitar and piano duet puts this masterpiece to bed! This will soon be a classic prog track that will stand the test of time, without a doubt. 'Wunderbar'!

As the setlist on this debut slowly descends towards the finale, the musical quality and the vocal prowess just keeps mounting, intoxicatingly influential. With many exceptions duly noted, Prog's Achilles heel has always been the singing, sometimes okay, at others quite poor, which is why I personally prefer instrumental prowess (no shortage of that commodity in Progland) but here the vocals are some of the finest anywhere, any genre, any style. Glimmering, shimmering and gleaming, Paul Sadler is a name to remember on the microphone. Andreas Hack has the pedigree with his previous efforts, here, he just kicked it up a notch. Among the top 4 albums of 2022.

5 Oasis of Reverberations