DAY FOR NIGHT

After exploring some more straightforward arrangements on 'The Kindness of Strangers', Spock's Beard had decided to go full-on pop-prog on their 1999 release 'Day for Night', a delightful little treasure in the band's catalogue that focuses on generally shorter and more "radio-friendly" compositions as well as serving as a peculiar example of what a Neal Morse solo album could sound like, since his presence and compositional force is significantly more pronounced here than on many other albums by SB. Capturing in a beautiful way the sounds of the late 90s alternative rock and pop scene, 'Day for Night' is an album that might not appeal as much to more traditional prog fans, which is why it might often end up neglected by fans and critics alike, but the truth is that this is another very solid release by the Beard that impresses with the array of styles that are tackled on this album.

Opening up with the catchy title track, one could not be bothered by the slightly cheesy instrumental intro, or the tongue-in-cheek lyrics, as the joyous music sweeps you in and carries you throughout the entire album. Certainly, we have less intricate arrangements and a stronger affinity for hooks and melodies, which serves the band well as the album is packed with memorable and sing-along SB classics - just lend an ear to 'Gibberish', 'Skin', or 'The Gypsy'. The band preserve their signature sound and present the centerpiece of the album, the 20-minite suite 'The Healing Colors of Sound', made up of several shorter tracks, each of which kind of keeps the album spirit up and serves as a short piece that has its own character and significant sound. Each little track that makes up the big piece is fantastic and catchy, and the 'Day for Night' album is overall really solid, even if it is a much more lighthearted version of Spock's Beard.