BETWEEN FLESH AND DIVINE

Very similar to classic Camel, and to a lesser degree, early Steve Hackett, Asia Minor should please fans of either, especially those who liked their sound but craved denser compositions. While consisting mostly of music, there are lyrics for each piece (with one brief exception), and though I generally prefer songs to instrumentals, here I cannot say the same. The vocalist has a very lazy-sounding voice, as though he were half-asleep when the recording occurred, and his accent is extremely prominent, making each performance unfortunately somewhat cabaret. At times it is so conspicuous ("Lost in a Dream Yell"), that I honestly had to research the lyrics to determine if what I was hearing was in fact English. My biggest criticism of the album is that it's quite repetitive.

"Nightwind" Opening up with some spunky bass work in 3/8, "Nightwind" is a good representative of what this album is. Layers of electric guitars and synthesizers build until only a piano and flute remain, which serve as a brief introduction to the lyrical section. Setrak Bakirel's lifeless vocals contrast with the more vibrant second instrumental section, which features a heavier rhythm section and Jethro Tull-like flute work. The final instrumental section is fairly repetitive, but well-written and certainly not unpleasant.

"Northern Lights" Dreary synthesizer and a melancholic melody played on the flute introduce a more sinister and energetic passage, which is reminiscent of some of the darker pieces from Hackett's third studio album. Soon the heavier moment passes, leaving a more subtle section in 7/8, over which the vocals finally enter.

"Boundless" This song is as short as it is simple. Here, Bakirel's accent stands out the most. Over a simple chord progression, the instrumental section in the end relies on repetitive synthesizers harmonizing with one another.

"Dedicace" The bass guitar stands out as it had on "Nightwind," but the flute is still very much in the spotlight. The music also relies on heavy synthesizer work. The sudden introduction of heavily-strummed acoustic guitar makes me think of the similar section of ELO's "Fire on High."

"Lost in a Dream Yell" An atmospheric opening takes over, very similar to the beginning of Yes's "South Side of the Sky." The music is more minimalistic than on other tracks, relying on a clean electric guitar and synthesizer. Gentle flute takes over halfway through, and a marching snare drum rises up eventually, building to a fuller sound.

"Dreadful Memories" The only completely instrumental track on the album, the final one is the heaviest bit of music here, based around a gritty electric guitar and bass sharing the same riff. Organ jumps in thereafter, only serving to thicken the sound. The trouble with this piece, terse though it may be, is that it is utterly repetitive. The main riff is played throughout, and even the keyboard work fails to bring much variety.