THE FAR MEADOW

Where Joys Abound is the debut album by the British progrockers The Far Meadow and frankly, I think it's to this date their magnum opus. The songwriting here is truly remarkable. The band mixes a lot of styles, from jazz and groove (Where Joys Abound) to symphonic and neoprogressive rock (Pipe Dreams?) to even things like middle eastern sitar music and breakbeat (Of Feats), giving the listener a lot of memorable motifs and passages to enjoy. Eliot Minn's smart selection of keyboard palettes (and there is a ton of different delightful sounds used) enhances the flavor tremendously. Personally however, I think that this album wouldn't be so good if it hadn't been for Nok's theatrical vocals. His vocal sound is a perfect mixture of Fish's actor-esque vibe and Michael Schubert's (Kyrie Eleison) tone. His range is much broader than for instance Peter Gabriel's or Cyrus's and that's absolutely amazing. In addition to that, Jon Barry's guitar work on this album really shines. And, I mean, darn, really shines. The solos are simply beautiful. The guy has some serious chops. He's equally as good whether he's playing the fast shredder or the bendy emotional soloist. Last but not least: the rhythm section makes it all come alive. I absolutely adore these little funky bass and drum licks thrown in. Perfect!

Unfortunately, the band only managed to record this album with this particular lineup and one can only imagine what other amazing things they would've done had Nok, Barry and Mallatratt not left. What if....

The result is for the most part solid neo-prog, more in keeping with the likes of Galahad and Credo, with definite nods to IQ, rather than Magenta or The Reasoning. Denis Warren's guitar interplay with the keyboards is incredibly deft, and it is actually possible to overlook all the work he is putting in, as he plays less chords than one might normally expect, but rather is weaving Chandler and Hackett style lines throughout, linking in strongly with the keyboards to provide additional layers while bassist Keith Buckman stays firmly in the background providing the balance.

The keyboard sounds used within the album are interesting, as they are often fairly dated, but as well as the more 'traditional' sounds a proghead is used to hearing there are also plenty from the Eighties, which again provides a different feel. When there are vocals the band tend to stay more in the background, yet when they are allowed to flex they are counterpunching in and off the beat, syncopated when the time is right, never prepared to stick within any particular style, always pushing forward. During the title cut the band move into pure lounge jazz, while at another Marguerita sings a capella. There is a real confidence within the band, something that only comes from many hours of playing and understanding each other.

I can hear I've missed out by not coming across these guys before this, ensure you don't do the same thing.

1. Travelogue (18.55) : An intro with soaring keyboards and spacey synthesizer flights, then bass pedals and an accellaration featuring bombastic Emersonian synthesizer runs, Banks-like organ, a strong rhythm section, moving guitar, and powerful female vocals. This is very pleasant fluent up-tempo prog, with hints from Magenta, but more dynamic and harder-edged. Now the music alternates between more mellow and bombastic parts, very flowing and melodic. From halfway lots of shifting moods, from instrumental with church organ and catchy riffs to a mid-tempo with strong female vocals and a swirling Hammond organ solo (Emerson inspired). In the final part it turns into more mellow with sensitive volume pedal guitar runs, sparkling piano, a bass solo and wonderful vocals. This is topped with a long and compelling guitar solo, from howling to fiery, with deep bass and tight drum beats, now I am in Prog Heaven! The conclusion is a short build-up from dreamy to bombastic featuring strong vocals, moving electric guitar and again Emersonian keyboards, this epic is a very good start!

2. Sulis Rise (8.22) : It starts with beautiful orchestral keyboards, then many flowing changing climates featuring strong work on guitar (evoking Saga) and keyboards, topped with the excellent voice of Marguerita, what an ace. We can enjoy a fluent pitchend bend driven synthesizer solo, a harder-edged guitar solo with fiery runs, a sparkling Banks-like synthesizer solo and a moving electric guitar solo. And every time in between that pleasant and strong female voice.

3. Mud (5.11) : After a short but sumptuous church organ sound the music turns into a dynamic and often bombastic piece with strong work on guitar and keyboards. The female voice does a very good job in every climate, and the band delivers lots of interesting musical ideas.

4. The Fugitive (8.38) : First a swinging rhythm with exciting work on keyboards and guitar, then a slow rhythm with dreamy vocals and beautiful piano runs (Dutch Flamborough Head comes to my mind). Halfway a break with strong interplay between guitar and piano, followed by a fiery guitar solo with slap bass, it sounds as swinging jazzrock, another good musical idea by the band. Finally again those dreamy vocals (with a melancholical undertone) and beautiful piano runs, culminating into a more lush sound, slowly fading away.

5. Foreign Land (11.08) : The intro delivers a mellow atmosphere with subtle dreamy guitar and keyboards, topped with the varied female voice, gracefully meandering through the multiple flowing shifting moods in this alternating final track. The interplay between the vocals and piano is wonderful. Halfway a captivating instrumental break with bombastic keyboards and fiery guitar, how exciting! Then a mellow part with a buzzing bass, dreamy keyboards, after an accellaration follows a long and flashy synthesizer solo. Now it has become the realm of jazzrock featuring a strong, distinctive scale-acrobatic driven guitar soli, supported by a dynamic and powerful rhythm-section. Finally bombastic keyboards and wonderful vocals, in a compelling symphonic rock grand finale with choir-like keyboards, fiery guitar runs and a powerful rhythm-section, wow!

To me this outstanding music, topped with superb female vocals, sounds as adventurous Neo Symhonic Rock, highly recommended!

This review was recently published on the Dutch progrock website Background Magazine, in a slightly different version.

The next thing to catch our attention are the vocals of Marguerita Alexandrou. Going to be honest here - at first impression I was taken back and a little unsure if I was going to enjoy the album as her vocals are indeed unique! While the first few verses came across to me a little shrill, as the first song progresses her vocals calm down and become more melodic, in a quite fascinating way. Her voice grows on you very quickly, albeit in the high range. As there are no shortage of male singers in prog that are up in the higher vocal range, it's certainly not a foreign concept to expect high pitch singing. In fact, looking for a frame reference as most of us are inclined to do, my thoughts pondered if her vocals weren't almost the feminine antitype of vocalists in the vein of Geddy Lee - a compliment from my perspective as I am pretty big Rush fan. That being said, it may be a vocal type you will love or hate, but as for me, after a few spins of the disc, I am in the love her camp. Indeed, I believe that her vocals are big part in creating and defining the individuality of their sound.

Another thing that I loved about CTTE was the guitar solos and big base, the soft and the loud. So, is this old love satisfied here? Yes, while Foreign Land is lyric-centric to feature their singer (and wisely so!) there is ample room made for all types of instrumental excursions that are enjoyable, of adequate length to satisfy, and executed brilliantly. The interplay back and forth between keys and guitars is well done, each getting their fair time to shine. While most of the guitar work is in the prog- rock vein, there is also some wonderful jazz flavored influence, especially in the title track that just blows me away me each time I hear it. The production of the album itself is clean and crisp, the instruments pop with clarity, and it is just a delight to listen to. By the way, not to forget the drumming, it is top caliber and rounds out the propulsion of this album.

As far as a track by track analysis, I will leave that to others that likely can do a far better job; however, I will say, in my opinion, there are no weak tracks. The opener is an 18 minute block buster full of big keyboard chops, and guitar responses, and they never look back from there. The three shorter tracks that follow - maybe not that short as two of them clock in at 8 minutes - each develop different themes and soundscapes that will keep you listening (no skip tracks here!) to the title track finale, which will surprise and delight specially if you like a little jazz influence in the mix.

While I have mentioned my CTTE correlations with Foreign Land, it's not as I said at the outset, so much about the two albums sounding like one another, as the impact they had on me. Really I don't think they sound much alike at all. While it is apparent that The Far Meadow have numerous musical influences that we all know and will likely recognize, they don't sound much like any of them, but have a quite individual sound - something that's not so easily accomplished these days! This has helped keep this disc in my personal heavy rotation for a few weeks now and I don't see it being bumped anytime soon.

And as a parting observation, I have to mention the album art - beautiful and powerful! It's what got me to investigate the album reviews, which got my interest aroused to take a listen, and I am sure glad I did. To me, the art used fits their music perfectly. I hope they use the same artist on their next effort. It's my impression that this album is moving The Far Meadow to get a fair amount of attention, and it is well deserved. I am eagerly anticipating their next offering already. Hopefully it won't be 3 years between like last time! But in the meanwhile, if you are looking for something fresh and invigorating to check out then this is the one.

So, I am giving this 4.5 stars (is any album really perfect?) + .5 stars for giving me that early CTTE sense of musical exhilaration, so make it 5 big stars!

An entertaining composition - the extended Travelogue immediately requires full concentration. I would especially highlight Eliot Minn's widely varied keyboard presence due to hammond, piano, (church) organ, strings, synths aso. The tricky Mud is showing diverse tempo changes and multiple heavy guitar tracks offered by Denis Warren. Decorated with amazing piano lines The Fugitive also evolves to a real band showpiece. Produced by a homogenous unity 'Foreign Land' leaves nothing to be desired. With roundabout fifty minutes running time this album is highly entertaining, anything but overproduced music. This means I'm sure they are able to transfer their skills and spirit to the stage in the same way, well and truly. Definitely a must have for neo and symphonic prog connoisseurs.

Works quite well! Hereby they are dealing with dinosaurs, warriors and sirens amongst other issues. Every track has its own characteristics. For example when they are adopting the traditional 'Scarborough Fair', probably bestknown due to the Simon & Garfunkel implementation. Not difficult to recognize, but this is artfully wrapped up by the contrasting Seamless Shirt anyhow. Hence it will not take long until the band's potential is fully evident. The album's centerpiece is made of four intriguing tracks. Starting with the tricky symphonic Industry which incorporates some classical and Flamenco impressions. 'And she loves her country ...' - in between they are sending us A Gentle Warrior - somewhat smart and charming.

Some Dinosaurs dare to feature a rather jazzy interlude and the extended Himalaya Flashmob comes in two stages. In the meanwhile I really adore the second instrumental section, playfully presented, including those Himalayan Sirens. Lobate Scarp, District 97, Touchstone, Big Big Train are bands similar in sound, at least partially. Sending a bravo to the far meadow now. I'm still detecting new facets. All the instruments are played with proper variety, no exception. Thus consequently 'Given The Impossible' has reached for a place on my 2016 Top Twenty List. I strongly recommend to have more than one or two listening sessions.