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Review:
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Once in a blue moon, there are albums that take their
very charming time in blooming, initially a tightly shy
bud that will blossom with a modicum of TLC. I was inspired
to purchase this mysterious unveiling by our "synthphony"
who lauded its values and since I am a sucker for prog from
the Netherlands, I finally landed this one. My first unfocused
audition scored a mere 3 stars, my next one 3.5, then I
shoved it in my car CD player and it has progressively (hmm,
that word again!) evolved into a 4.5 flaming asteroid.
Mind you an album entitled "The Thomas Tracks" when
your name is Thomas is kind cool, but I didn't let that
deter from any positive considerations. This Dutch symphonic
crew builds up quite a musical storm with hints from all
the usual suspects (Genesis, Yes, Gentle Giant etc?) while
retaining some exceedingly original timbres and contemporary
accoutrements. The music is based on a published novel written
by drummer Rob van der Linden. The vocals by Piet Roelofsen
took a little time to enchant , a bit like a less twangy
David Cousins but the rest of the performers are stellarly
competent if not outright excellent. The bass manned by
Martin Thoolen has that trebly wobble that fuels the majestic
Rickenbacker and the drums are superbly modernized with
various beats and percussive adornments that are definitely
new school. Guitarist Enzo Gallo has an oblique style that
will remind some of Steve Howe (yeah, the steel guitar?)
but has its own distinctiveness.
The keys are handled by Luke D'Araceno who weaves all
manners of passionate pianos, orgasmic organs, sublime synthesizer
that will place him squarely in the Wakeman/Bodin pantheon
of ivory wizards. "Didymus" sets up the first girders ("brick
by brick your temple rises") , deliberately building the
symphonic structures as the "boom tchak-tchak" drums rifle
in the 21st century beats , sweeping mellotron entering
the fray and power guitar riffs as the synths loop in judicious
folly. In "Babylonian Curse Revisited" Gallo duels with
D'Araceno in diminutive bursts of loud lucidity, entirely
Genesisian in feel and spirit, soaring into an intricate
concoction of tempo shifts and moods, where vocalist Roelofsen
actually acquits himself with exceptional brio.
The instrumental sections are mind blowing, the buzzing
Mini-Moog ceremoniously jostling with the guitar slashes,
swept by torrential mellotron cascades. The rhythm duo keeps
it tight, inventive and propulsive, like they are supposed
to but they do it with style. "On Calpe's Rock" we plunge
deep into a SEBTP mood, with key and fret boards ablaze,
all shuffling along merrily (some wonderful volume pedal
work on the guitar and elegantly romantic piano), Piet struggles
a bit in hitting the higher notes but the passion is definitely
there. The bass dances into the bustling beats and shovels
the path into the symphonic heavens (a huge Howe-like axe
brush clears the way) and the soft piano waves goodbye in
respectful delicacy.
The 10 minute "The Spell of Eternity" is the strongest
track here, a mix of Hawkwind/Ultravox in the pounding drumming
with manic synth loops introducing a massive barrage of
instrumental genius from each and all, the Rickenbacker
propelling the proceedings like some immense sonic lizard,
Piet fox-trotting his Gabriel/Fish-isms with impish glee,
while Gallo does a 60s Perry Mason theme on his crunchy
guitar (amazing!) while screeching out a series of solos
that defy description.
The ultra-modern drum patters recall a train on twisted
tracks keeping one's breath in constant expectation; as
the keys run rampant it becomes apparent that this is grandiose
sympho- prog that deserves your ear and your heart, I certainly
applauded forcefully when I actually "got it". After a short
bass and acoustic guitar interlude that has Rutherford/Ant
Phillips all over it, "Tricks & Treason" pursues the themed
story with a playful organ, some forceful rhythms and a
melody that stick in the mind with jubilating ease. The
mood here is quite upbeat and positive with more dramatic
vocal gymnastics that serve the structures well. A serene
mellotron/acoustic guitar bridge is simply marvelous as
the water effects flow under the bridges, a wispy organ
meanders with purpose and authority. There are some polyrhythmic
exercises that recall the Gentle Giant and astoundingly
deflect from any "neo" connotations.
The drop-dead gorgeous instrumental "Lovernius'Song"
elicits dreamy memories of past prog glories, supple, classical
Anthony Phillips-isms bathing in dense electronic orchestrations
(another winning piece) that will provoke deep emotions.
The epic "Batavian Revolt" is a romping upbeat affair with
rather sunny melodies and generally enthusiastic playfulness,
with some contrasts in mood and energy. A restrained guitar
solo searches for the distant boundaries of prog discourse,
where the Steve Howe influences really come through.
Next up, "Amazons & Haven" rekindles the Genesis sound
in a perhaps dreamier setting, wispy synth washes swarm
in harmony with a light tempo and content to deliver a grandiose
setting (the orchestrations are magnificent) with "seagull
squawking guitar fills to boot. This is where the band seeks
out to stretch their instrumental limbs with fervor and
even abandon, drumming heightening in intensity, bass rumbling
in frenzy, while the keys and axes run rampant.
The final track "Signs on the Wall' really sounds like
a finale, full of rebounding themes, excited choruses and
various mood contrasts that take their time in developing.
This is not an easy album to digest, requiring multiple
auditions before it starts weaving some magic. When the
structure is finally erect, your ears will flutter with
pleasure. For those who enjoy a complete experience, the
full libretto is available on line within the confines of
the band's website.
5 Bridges
Tszirmay
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