ATLANTIS

Vocals are good along the Jobson quality with the Moev leanings. Get this, I even picked up some Missing Persons in "Deux Ex Machina". I heard O'Hearn and Bozzio moments in the overall rhythmic structure. Track three, "The Olde King", absolutely slayed me. I shant begin to describe the synethesia I felt. Yow! What a monster!! When the tubular bells kicked in I nearly had an out-of-the-body experience. It was a heavy UK/ELP(Tarkus/Brain Salad Surgery) flashback in a 90's rockin' package. Turn this one up! "One for the Money" was also a heavy hitter in the ELP("Knife Edge")/ Moev thrust with an ominous mid-song breakdown that I wished was three times longer.

This band also knows how to mellow/space-out and drift off as done so nicely on "Run from the Past". Song six, "Little Man", gripped my soul as it is dedicated to a young son gone back to the Eternal Father. I too, know that road. They cannot return to us yet we shall go to them one day. Thanx for that one guys.

This seven song offering has my vote for very well done progrock and ya know, from this critic, it don't come easy.

They described their sound as modern Symphonic Rock and that's what's exactly going on listening to their first offering, which is pretty complex at moments, visiting the stylings of compatriots MAGELLAN, CAIRO and SPOCK'S BEARD and looking back to the 70's and the epic sound of YES, the E.L.P. grandieur and the pompous orchestrations of GENESIS.But there are no analog keyboards in here and they sound quite modern to a disturbing point at times, because some programmed instrumental parts are pretty weak and plastic.Fortunately the level of the compositions is pretty high with constant changes and extended instrumental parts with big symphonic textures and melodic overtones.Most of the tracks are quite long with CHRIS SQUIRE bass lines and keyboard parts with both flashy and dramatic edges, somewhere between E.L.P. and MARILLION.The atmosphere ranges from bombastic and complex to mellow and dreamy, where sporadic acoustic guitars are thrown in next to an omnipresent keyboard forefront and background.Vocals are pretty laid-back and of questionable range with Jaquess singing in low pitches.But the focus is usually on the music, which is very convincing despite the recording mediocrity.

Solid album, downgraded by the mass of digital instrumentation.Very symphonic at times, full of interesting melodies and instrumental efficiency, but not quite recommended for fans of natural instruments.To my ears it is pretty good and a decent purchase for lovers of the Neo/Symphonic Prog genre.

The downfall, to me, are the weak lyrics and unfortunate vocals of David Bodnar. Like Brad Marler's whiney, overdramatic efforts on Glass Hammer's "Chronometree," Bodnar tries to sing as if the lyrics were a heartfelt ode to his mother, sappy and annoying. Pray for Rain would have gained a star in my rating if it were mainly instrumental.

That said, "Again," the lone instrumental, is my favorite track. Emersonian keyboards, soaring guitars and technical bass.... way too short. Holdsworth's solo (just over 1 minute long) in "Oceans to Cross" is patented Allan, yet it's nothing he hasn't said or alluded to before. "Hills of Time" piano break reminds me of, egad, Motley Crue's "Home Sweet Home" (I'm embarrassed to know the tune). "Magnificent Desolation" has that pop styled sound of the 80's Asia/GTR, maybe even a touch of mid period Rush. "Pray for Rain" and "Forest Cathedral" clock in at over 10 minute each, but get dragged down by weak lyrics and vocals.

Fans of Enchant, Magellan, IQ or Marillion may find this disc engaging.