ALIAS EYE

While similarities cannot be denied, largely in the vocal area but also in the attention to melodies, ALIAS EYE seems more concerned with connecting traditional song structures to more complex modern prog passages. They are less of a throwback if you will, and less given to true epic length pieces. They are also more hard rock oriented, an area in which PGM has barely dabbled. True, the heavier passages consist mostly of rhythm guitar riffs that lend muscularity to some decidedly tender melodies. In this respect they are more closely allied to SPOCK'S BEARD whom they cite as influences and with whom this album has been compared. For a more obscure reference, the Canadian project KAOS MOON is conjured.

None of this prepares one for the opening track, a full fledged gypsy/klezmer piece that includes an accordion lead just in case you missed the connection. The syncopated beat is established early and becomes a pattern through the album. "Premortal Dance" and "The Readiness is All" buddy up like two sides of the same coin lyrically, and are highlights musically, with powerful melodies, choruses and instrumental breaks, the first a cracking guitar lead and the second an outro on sax, neither of which could be easily predicted. Other favourites are "Hybrid", which describes the proceedings to a T, a blend of styles and references, and "Just Another Tragic Song".with its ominous build up and quasi orchestral break spearheaded by Vytas Lemke on keys.

None of the tracks are weak but the rest have too many ersatz qualities to captivate me with regularity, and their instrumental breaks quite outshine the vocal parts, notwithstanding Griffiths' imposing pipes. Still, this is a pretty likable album on its terms, and worth exploring if melodic modern prog with a twist or two falls within your depth of field.

Despite the fact that their most publicized selling point is the fact that their singer Phillip Griffiths is the son of BEGGAR'S OPERA's Martin Griffiths, ALIAS EYE proves to be a strong force in an area of progressive rock too often burdened by cheese and tedium. Having been around for a decade or so, this band's fourth album enjoys the sort of experience and maturity that could only come with playing together for so long. Although ALIAS EYE's focus on melody in prog rock takes a little warming up to, 'In Between' is a notable album from this German-based act.

Although it may seem counterintuitive to think that a focus on melody would mean that 'In Between' takes time to grow, it's simply not something that many bands under the prog rock banner aim for. When they do, alas, the result is one which often leads to bland power rock with the occasional synth solo, presumably in an attempt to convince listeners that whatever they're hearing is prog. There is not a song on 'In Between' where ALIAS EYE do not build around bombastic vocal melodies and choruses, but there is a much greater ambition than the arena rock drones that first made me wearing of prog's melodic face. Although those starved for song suites and half-hour flute solos will stay hungry here, the songwriting manages to find a fairly comfortable balance between more conventional 'rock' songwriting, and more left-of-centre arrangements. To the seasoned progger, many of these experiments (like the title track's flirtation with jazz) will seem tame, but taken in the context of such concise songwriting, these small leaps of ambition may seem more adventurous than they actually are.

Phillip Griffith's voice is arguably the highlight of ALIAS EYE's sound. While the instruments- particularly the guitar- are handled very well, Phillip's voice is the focal point of the songwriting. To his credit, he sounds much like his father Martin (of BEGGAR'S OPERA) who also makes a cameo on the album. Coincidentally, Martin Griffiths offers his vocals on a cover of his own band; the minor hit 'Time Machine'. Not to mention that this song feels a cut above the writing on the rest of 'In Between', it is very cool to hear the collaboration between father and son, although the two admittedly sound a little too similar to totally tell apart.

The softer, piano-driven 'Stars Shall Fall' is another great track here. Not only does it feature some of the best vocal work on the album, the piano and additional keyboard work are lushly orchestrated. It also works as something of a divide between two stylistic 'sides' of the album. Up to this point, ALIAS EYE plays a fairly conventional form of rock, made 'proggy' with its use of synths and light experimentation. Where ALIAS EYE arguably have the most promise here is on the second half of the album, which takes their melodic brand of prog and boosts it into a relative stratosphere of experimentation. 'All The Rage' is a head- scratcher after a relatively grounded string of rock songwriting; fusing metal, dance music, pop and funk into something oddly reminiscent of RAGE AGAINST THE MACHINE. 'Take What's Mine' could be interpreted as what SUPERTRAMP would sound like if they were playing DREAM THEATER-style progressive metal. All in all, it does not feel like the band lose their bearings completely on the second half, but they definitely save the wealth of their risk-taking for late in the album, and it's frankly a fair bit more engaging to listen to.

From a progressive rock standpoint, the music of ALIAS EYE is tame and at worst, harmless, although that may be judging too harshly. Where the band's strength lies is their penchant with melody, and their skill with fusing elements of prog canon into songwriting that feels neither pressured nor forced. A deceptively eclectic album from a band I'm glad I took the time to warm up to.

"In-Between" isn't a CD I imagine will find much favor amongst those looking for capital P progressive rock. Innovative features are few and far between, and if you love encountering challenging escapades this disc is one you most likely should avoid. But if you tend to enjoy accessible art rock, and especially if you enjoy classic rock and what's commonly referred to as AOR, then this is a band and a CD that might warrant inspection.

"A Clown's Tale" is my favourite, I think because i've heard it before on some compilation cd. It opens with crickets and the sound of a party in the background as sax comes in then the full band.Vocals are next and a fairly heavy rhythm. A catchy tune with some good guitar as well. "Fake The Right" opens with guitar as sax and a full sound kick in including vocals. Not a fan of this one at all. "Your Other Way" features the Spanish guitar as well as keys, a beat and vocals. A mid paced tune with harmonies. "Icarus Unworded" opens with piano as reserved vocals join in. Some lazy guitar melodies follow with light drums. Not a big fan of this one. "The Usual Routine" is catchy with a bit of spice.

"Drifting" is a short song with acoustic guitar to start as fragile vocals join in. A mellow tune. "On The Fringe" opens with pulsating experimental sounds as keys then vocals join in.The experimental sounds fade away.The tempo picks up after a minute with synths coming and going. Not a fan of the backing vocals. "The Great Open" opens with synths washing in as reserved vocals come in. It does kick in pretty good before 3 minutes and even more a minute later. "Too Much Toulouse" is not the best way to end the album,at least for my tastes.

Not as good as "Field Of Names" (3 stars) hence the rating of 2 stars.

"Field Of Names" opens with the guitar soloing then the drums kick in. Bass and vocals follow when the guitar stops. It's fuller on the chorus. Some tasteful guitar before 4 minutes. "Premortal Dance" opens with piano as reserved vocals join in. A beat after a minute then it turns fuller. Organ after 3 minutes as it settles.It builds with some good guitar coming in before 4 minutes. "Wasteland" becomes fairly uptempo with vocals and drums standing out. It settles before 2 1/2 minutes as reserved vocals join in. Aggressive guitar 4 minutes in as it picks up. "Just Another Tragic Song" features intricate guitar and fragile vocals early on. A fuller sound follows.The piano becomes prominant before 4 minutes.

"Driven" is mellow with bass, gentle guitar, piano and vocals. It does get fuller.It settles with piano 5 minutes in before picking back up. "River Running" is probably my favourite. It's uplifting and I like the piano interlude before 3 minutes. "Hybrid" is uptempo with piano,drums and vocals standing out.Great sound late. "Mystery" opens with piano but it kicks in quickly with vocals. Some nice guitar comes and goes. "The Readiness Is All" has some tasteful guitar with bass and a beat as reserved vocals (Martin) join in. It kicks in at a minute as contrasts continue. Some guest sax 4 1/2 minutes in. "An End In Itself" has these pulsating keys as soft vocals join in. Piano follows.The contrasts between the mellow and fuller sections continue.

A good album no doubt but it doesn't do a lot for me.

5(-) for all these things + being either melodic, or interestingly in other means.

5(-) for wonderful music that can bring very various music into your life.