SE7EN

This Dutch band started out in 2000, as their debut 'Square the Circle' (and I have reviewed here) unanimously impressed the community with a high scoring, rather delightful opus that made melodic vivacity, impeccable playing and creative arrangements paramount features of their craft. Though labelled Neo surely due to the staggering number of hooks presented, comparisons to the other mainstays of the genre are misplaced childhoods, as closer analysis reveals a subtlety that is rather uncommon and will permeate their ongoing work. Their previous album «Safe Ground » was a complete mind blast, a phenomenal , now fully instrumental prog album of the finest order, with four gifted players, who have now stayed together for a quarter of a century with no line-up changes, a trait worthy of applause. Forever comprised of Martijn Paaschens on keyboards, superb guitarist Roland van der Stoep and the rhythmic duo of Jan Willem Verkerk on bass and percussor Paul van der Zwaal , "Se7en" announces the departure of Martijn for greener pastures in the USA, so the remaining trio each took on keyboard duties and magnificently so, may I add. As one can guess from the title, seven well sized tracks are offered, and take us into an hour-long expedition of blissful pleasure.

The title track sets the mood with an abundance of various mellotron settings (strings, choir and flute, never a bad thing) with brooding bass synths, pugnacious percussive syncopations and Roland showing no paucity of savoir- faire (another classic Dutch word like maréchaussée and paraplu), carving a wide palette of tones from his galvanizing electric guitar, with seemingly effortless passion. The mood is thus set.

Demi van der Stoep plays warbling flute to open up the nearly 10 minute "The Tree", a perfect example of how non neo their style really is, as Triangle are bold in the experimental side as well, repeatedly hinting at Rush-like prowess and atmospheres that verge on the extravagant. Let us plant some foundations right now: this is no nonsense primo progressive rock without any sub label embellishments required. Verkerk shows off immaculate skills as his plowing bass digs deep into the ground, spreading the roots in all directions, as van der Zwaal branches out with flair and precision. Roland then applies a wide diversity of leafy guitar tones that defy description. The brilliance of "Red Sand" maintains the charm by canalizing (another classic Dutch trait) interesting variations that sound almost inspired by Southeast Asian cultures (Indonesia was once a colony), tingling acoustic sounds merging with breezy melodies as if transported briefly to Bali. Before long, the peaceful arrangement morphs into more synthesized orchestrations, laced with sizzling electric leads that gleam in the night sky and an impulsive chiaroscuro sense of mystical sonorities colliding in complete harmony. The acoustic revisit is breathlessly beautiful. Convincing soundtrack music in the finest progressive rock sense. The choppy rhythmic waves splash against the breakwaters on "Inconvenient Lies", again suggesting a subtle arrangement with tons of intertangled keyboard resonances, ultimately bullied by hurricane-sized mellotron and string orchestrations. The composition is laden with oblique guitar splinters, tick-tocking percussives, a constant ebb and flow, the whole becoming an entire masterclass in controlled sonic confusion. Absolutely no amount of neo here, an engrossing symphonic assault on the senses becoming the norm. Pinocchio has fallen.

Flipping the intensity switch , "Pyrrhic Victory" reboots the feistiness this band can unleash at will, a stinging, biting and snarling stream of glitter prog, both ultimately liberating and reflective, showcasing the futility of pride in any battle, as the exertion needed takes a brutal toll on the victor as well as the vanquished. This is why war (a subject I have sadly studied for half a century) is a game played by tyrants at the expense of countless innocent lives. This theme is thoroughly examined as the piece transitions from violent ligature to serene surrender and acceptance. The flute adds to the melancholic, deeply regretful guitar lines that plead for understanding and compassion. A gorgeous melodic piece of music once again.

The symphonics are preserved on "Exit Way Back", perhaps where the tag neo plays a large role as this starts out as a neo-classical keyboard orchestration that sounds immediately familiar, equally grandiose and dramatic, the unshackled bass navigating the tight flume, the gleaming guitar shining the path ahead, and the pace reverential and impulsive, eventually revving up into full throttle, before dipping back to acceptable levels of departure. I knew from the get-go that the epic was left for last, that had me secure in the thought , that the band would give us something to drool over as a finale and of course, they do not disappoint. The ultra cinematographic "Sign" clocks in over 15 minutes and perhaps best encapsulates the entire album, as all the intrinsic details described above come out to the front of a stage and take an extended series of bows and genuflections, tossing in a few fist pumps for good measure. Densely choreographed, the experiment in restraint is immediately apparent, an absorbing musical passage from river to the sea and then perhaps the oceans beyond, all very deliberate and controlled. No technical showing off needed, the pristine simplicity of the playing only enhancing the desirable effect, each musician dedicated to elevating the intensity, a sudden transition into a watery expanse of piano reflections, windswept strings, rudder bass directives and propelling drum helixes. It is meant to extoll the virtues of tranquility, the fundamental sign of internal peace one possibly could hope for. In a world that knows no silence and reflection , just go-go-go , this comes as sensorial panacea. The finale is magic.

In the end, Triangle has morphed into a symphonic prog band of the highest quality. A more than worthy follow up to the magnificent "Safe Ground" and an album that showcases the competence to consistently maintain quality works of music, 25 years and going?.The triangle is now in 3d.

5 Geometric trios

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