WILLOWGLASS

I always feel a little trepidation about buying an album by a newcomer that does all of his own playing on his own compositions. But rest assured, Marshall is a talented performer, the compositions are very well written, and the recording quality is professional and excellent. This is a very good album.

Lasting 46 minutes in total, the ten tracks are all instrumental with early Genesis and Camel similitudes. In fact, if you took some of the best early Camel instrumentals like Lunar Sea or the Snow Goose material, and accompanied it with a LOT of mellotron (of which Camel didn't make much use), you'd have a pretty good feel for most of this album's longer cuts (Remembering, Garden, Tower of the King's Daughter, Into the Chase, and A Blinding Light). The gently propulsive bass lines, the Latimer/Hackett guitar leads, and the sophisticated but elegant melodies remind me most of Camel. Marshall also does some admirable keyboard soloing reminiscent of Tony Banks during the Gabriel era of Genesis.

Mind you, this is not exactly ground-breaking music; it is clearly derivative, albeit with some inspired and original interpretations of some early prog cliches. It is mostly mid-tempo, but actually much more full-band sounding than the impression I got from other reviews of this cd. It's not nearly as "pastoral" or wimpy as the beautiful cd artwork by Lee Gaskins might lead you to believe, though there are a few passages (the intro and the other shorter tracks in particular) that sound very similar to some of the acoustic work on Anthony Phillips' solo stuff.

I really enjoy this cd, despite its inclination to sound a bit derivative. As I've said in past reviews, when something new uses as a reference point something old that I love (in this case, early Genesis and Camel), I forgive all transgressions. The melodies here are enjoyable and varied, painting aural pictures that are filled with emotion. I will indulge in listening to this well-done classic progressive album from Willowglass with frequency. Recommended.

The trouble is that his compositions are not as strong as his second CD Book Of Hours. Besides, I still think he should consider having lyrics and a good singer on some tracks. As charming as some of his melodies are, there are moments of repetition and a need for something extra that simply does not arrive. Sometimes you get the feeling of hearing a fantastic introduction to a great song, but that´s it. Of course those moments do not appear very often, but it does annoy me. As usual, the production is very good and the right influences are all around (I just love those Gabriel-era Genesis sounding keyboards!). The cover art is also beautiful!

It seems that Wilowglass is a band that could go very far if only Andrew Marchall would be a little bolder and realize the full potential of a more "conventional" prog band format (yes, I mean having a good vocalist!). The Dream Harbour is still a very fine record and should be heard by anyone who likes good melodic and pastoral symphonic prog music. But, even if they haven´t disappointed me, they also haven´t fulfilled their initial promise yet. Maybe next time.

Rating: between 3 and 3.5 stars.

"A House Of Cards Pt. 1" is the over 20 minute opener. I find the synths annoying to start as the violin and drums join in. We get a GENESIS-like rhythm as the flute joins in. The organ starts to pulse and then we get a calm with violin and piano before 6 minutes. It's darker a minute later then it kicks back in with flute, drums and more. More pulsating organ and some intricate guitar before 10 minutes then the violin returns before 13 minutes. A change follows as the mellotron and drums lead. Great section! More violin and then the pulsating organ returns 15 1/2 minutes in. A calm just before 18 minutes as mellotron and flute join in as it stays pastoral to the end.

"A Short Intermission" is just that, a 1 1/2 minute piece that's quite bright well at least until the flute arrives. "A House Of Cards Pt. 2" opens with the synths and drums leading the way then it settles in as the violin starts to play over top. Good stuff. Gotta love the flute after 3 1/2 minutes. The pulsating organ becomes prominent as well. I like how it turns dark with mellotron 6 1/2 minutes in. "Interlude No.2" is acoustic guitar melodies and percussion sounds. "The Dream Harbour" is a Symphonic piece with sweeping mellotron sounds and acoustic guitar. The violin joins in changing the flavour slightly. Flute, drums and violin lead later. "Helleborine" is another short piece at just over 2 minutes. Beautiful is the word. "The Face Of Eurydice" has such a great intro, so majestic. Not a fan when it changes after 1 1/2 minutes but when it changes again before 3 minutes i'm smiling right to the end.

3.5 stars. I just don't think it's as good as the previous one, well not according to my tastes but it you like beautiful Symphonic music you should check this band out.

Willowglass is the name of the Brittish musician Andrew Marshall from Yorkshire. He has released three records under the name "Willowglass" of which this: "The Dream Harbour" came last year 2013 and is the third. The cover is amazingly full of elements. We see a colourful harbour with mountains inspired by Roger Dean but the people seams more inspired by Genesis' cover pictures. Andrew Marshall plays guitars, keyboards, bass and bass pedals, Hans Jörg Schmitz plays drums and percussion and Steve Unruh plays violin, flute and guitar on the album.

I most make this clear, this is a wonderful record in every aspect and if you like the brittle symphonics of the early seventies, this is a perfect record for you. I could compare it with Genesis' "Trespass" which has parts that go in the same style. The musical inspiration and the themes of Willowglass is not totally new but it feels to totally fresh and honest. I was overwhelmed of the music whichs also grows for every playing. The introducing epic "A House of Cards Pt.1" is one of the true gems. It contains everything I could want from prog. Well the only thing the record lacks is song. i haven't thought about that so perhaps it's not a shortage. The title track "The Dream Harbour" is also totally lovely and the acoustic guitars is known from Genesis but here they are deepened and more thorough in their world. Some tracks on the record are short intermissions and they are lovely as well, especially "Interlude No.2" and "Helleborine".

Andrew Marshall should be really proud of this prog heaven he has created. I am glad I found it and purchased it. I recommend it for every prog lover but especially fans of the melodic and light seventies spirit. The sound aren't pretentious or very grande but the more delicate. My rating will be 4.7 and five stars. A wonderful record!

The showpiece of the disc is the opening masterwork `A House of Cards', a grand epic that, excluding the playful interlude `A Short Intermission' in between, runs for almost 30 minutes and will no doubt be a big selling point for listeners. It has everything a symphonic prog fan could want - frequently medieval flavoured, full of triumphant fanfares, victorious marches and adventurous strolls, running through endless tempo changes and different emotional textures. It's dramatic, whimsical, frequently tense and thrilling, and always impossibly pretty. There's endless washes of Mellotron and spiraling Moog, regal organ, with more emphasis placed on acoustic guitar passages over electric soloing, and special mention must go to dancing flute and stirring violin player Steve, his exquisite and restrained playing covers many significant sections of the piece. He also knows when to let loose, and these moments comes close to the wild and reckless sound of the defining Italian bands of the 70's. So maybe one or two sections in the overall piece drag on a little long and become a tad repetitive, but there's no denying this is an epic composition expertly executed and one that that Symphonic fans will relish.

Perhaps the second half of the CD might be even better! Yes, the influences become more than a little blatant here, but it's still amazing music. `Interlude 2' is a divine madrigal acoustic guitar piece (how I would love to hear Andrew and company release an album completely in this style), and the title track is an open love-letter to all things Genesis, with the same Steve Hackett-inspired chiming guitars and scratchy dreamy Mellotron washed all over every single beautiful second of it. `Hellborine' is a placid and delicate 'Tron and flute acoustic duet. The opening of album closer `The Face of Euridice' crackles with the same glistening Mellotron as `The Fountain of Salmacis', and it turns quickly into a imposing piece full of pomp and glory. Schmitz's powerful and commanding drumming really stands out here, and very quickly the mighty 'Tron takes on a very sinister and delirious wicked glee. All of these pieces together surely rank among the best Mellotron tracks of the year, and they are all simply gorgeous.

In some sections, it's still a little obvious this is an artist painstakingly cutting-and-pasting everything together, but there is no denying how much love and time has gone into carefully composing and performing this work. Some will scoff at the clear influences on display and dismiss the album as merely lazily recycling past ideas, but that would be missing the point. `The Dream Harbour' relishes in it's prog heritage, and seeks to lovingly offer music in the same tradition. Andrew Marshall and his fellow musicians have delivered the strongest Willowglass album to date, and, along with Trion's `Funfair Fantasy' and `Progenesi's `Ulisse: L'Alfiere Nero', it's one of the defining symphonic instrumental albums of 2013.

Four stars.

In parts, flutes, acoustic and classical guitars, give it a unique baroque and medieval touch. In other sections mellotrons and keyboards adjusted and accurate proliferate. All very neatly executed, and without fanfare. Changes and variations without abruptness, pristine production.

Controlled role of electric guitars and keyboards. Completely instrumental, well supported by the warm drums performed by Brightman.

The five pieces are of similar beauty, simple and cozy. Only vary in length, but not in quality.

4- stars.

Willowglass is the brainchild of the English musician Andrew Marshall. The Dream Harbour (2013) is his third album. The album was produced by Andrew himself and recorded at Maythorne Studios in the UK, Under The Ark studios at Germany and InvisibleStudios in the USA. The marvelous artwork of gatefold design was made by Lee Gaskins, who has already worked with Willowglass and also with the band Pilgrym.

The Dream Harbour (2013) was self-released in May and it was recorded by Andrew Marshall (electric & acoustic guitars, 12-string guitar, classical guitar, keyboards, bass guitar and bass pedals), Hans Jörg Schmitz (drums and percussion) and Steve Unruh (violin, flutes and guitars).

Willowglass is an instrumental project, but their music is focused on the melodies, not on the complexity. The opener track 'A House Of Cards Pt. 1' is very clear in showing us that. This epic is almost 21 minutes long and has clear signs of Jethro Tull. Well, to tell you the truth, it is quite hard to have flutes in your Prog band and not sound as Ian Anderson. In Willowglass case they're far away from being a copy. Not just that, Steve Unruh violins give the music a Classical feeling. Some passages with violins and acoustic guitars are just wonderful. The keyboards are on the background most of the time, but they make the perfect counterpoint to the riffs. Astonishing track! Second track, as the name suggests, 'A Short Intermission', is just that, a short theme based on flutes, keyboard and bass. Then we have the closing of the first track with 'A House Of Cards Pt. 2'. This track is one of my favorites. There's a Triumvirat feeling in it, especially because of the synths. Also, the Steve violins once again play a big role in Willowglass' music. In fact, Steve himself plays a big role in Willowglass third album. Of course, Andrew Marshall compositions are the strong point in here, but Steve added so many colors to the album. On top of that, we have some well played drums by the German Hans Jörg Schmitz.

'Interlude No. 2' comes to 'divide' the album, as a second side in an LP. As the name suggests, this is an interlude played exclusively by the classical guitar. Some Steve Hackett influence for sure, but at the same time, this is the old classical music period, and pieces like that are spread throughout many musical genres. The title-track is very Genesis influenced. The duo keyboards/acoustic guitar was quite a trade mark of the English band. The flutes on the top came to crown the song.

'Helleborine' is once again an intermission, short track based on flutes, shy keyboards and acoustic guitars. 'The Face Of Eurydice' is the final track in The Dream Harbour (2013) and it comes just to conclude what we know since track one, Willowglass is very much influenced by the Prog bands that carry classical music background. In this track we have a fragile keyboard melody followed by good drums and a simple bass line, at least till the middle. After that the song takes a different path, a bit more chaotic, a bit more King Crimson if you like. The final track is a good one, but very different from the rest of the album.

The Dream Harbour (2013) was my first meeting with Willowglass' music, but I can surely say that the compositions are mature, well-structured and the addition of violins and flutes was a great idea, they just come to add more and more pretty colors to the music. Usually I have some trouble to get through instrumental albums. I admit that an instrumental album is much better than an album with a bad singer, but I like Prog Rock with vocalists. I think it adds another dimension to the music. But, when it comes to the new Willowglass album I have got no problem at all. The melodies speak for themselves.

All in all, despite the obvious influences here and there, The Dream Harbour (2013) is one of the strongest albums I've listened this year so far.

(Originally posted on progshine.net)

Line-up / Musicians: Andrew Marshall - Electric & acoustic guitars, 12-string guitar, classical guitar, keyboards, bass guitar, bass pedals Hans Jörg Schmitz - Drums, percussion Steve Unruh - Violin, flute, guitar

1. "A House Of Cards Pt.1" (20:43) too derivative, contrived, and cerebrally composed and executed; not enough flash and flair (except when Mr. Unruh steps up front and center). (31/40)

2. "A Short Intermission" (1:35) like a true theatrical intermission! (4.5/5)

3. "A House Of Cards Pt. 2" (9:08) after the slightly TANGERINE DREAM-sounding opening, a JTULL-ish passage bursts forth with fiery violin and flute taking turns with the "Watcher"-like organ soloing. Unfortunately, the solos outclass the foundation (which becomes tedious). At least Andrew is being forced out of his (Genesis) comfort zone a little by his new collaborators. (16/20)

4. "Interlude No. 2" (2:05) classical guitar of the Spanish ANTHONY PHILLIPS kind. (4.5/5)

5. "The Dream Harbour" (7:17) a near-perfect Neo Prog song (though too-blatantly imitative of GENESIS ["take a little trip with Father Tiresius"]) Great three-part intro with flute, arpeggiated 12-string/harpsichord and Mellotron. This then gets expanded nicely in the third minute by drums, violin, electric guitar and organ before regressing into a organ and electric guitar duet. The main theme returns with the full band at the 5-minute mark while flute, synth, and violin trade turns at the lead. (13.25/15)

6. "Helleborine" (2:15) you just can't go wrong with Satie-esque alternating major and minor seventh cords. Then add Mellotron and flute soloing above. Heaven! (5/5)

7. "The Face Of Eurydice" (7:36) has some excellent parts but also lacks from feeling a bit disjointed and inconsistent. There are some keyboard passages that incorporate sound choices that sound like Keith Emerson or Rick Wakeman. The "Fly on a Windshield" passage in the sixth and seventh minutes is too blatant for me. (12.75/15)

82.86 on the Fishscales = B-/four stars; I will give this album a four star rating because of the wonderful tradition of bucolic soundscapes that Mr. Marshall is championing--and for the fact that he is doing a very fine job of it. Keep on trying, keep on growing, Andrew, your masterpiece is coming.

'The Dream Harbour' is a shimmering and glimmering musical cove, a recording that exudes a strong sense of pastoral beauty, a sonic reverie for the dreamer who aspires to transcend the boring routine of life in the technological age. I like to call this 'Sunday morning prog' (a new category, chaps?), a restful respite from the vagaries of stressed-out existences, nothing too jarring and certainly never boring. The album has some epic pieces (such as the massive opener , the 20 minute + 'A House of Cards Pt1' and its subsequent 9 minute companion, 'Part2 ' , interspaced with 3 short interludes, as well as two tracks that fit into the 7-8 minute frame. All are sheer aural delights of the highest order and again, mellotron fans will have to purchase 'wetnaps' to soothe their exhilaration.

The first dramatic impression is one of subtlety, Marshall having now personalized his style, moving away from direct Genesisian influences into a more keyboard-oriented package that simply elevates the classical/orchestral feel of his music. In fact, I pleasantly detected some Gryphon-like influences, a strong sense of playfulness and textural contrasts, mostly due to the violin mentioned earlier. Highlights include of course the previously mentioned 'House of Cards' suite, a constantly evolving blossom of sound, sprinkled by a multitude of variance moods and detail touches (flute is another welcome addition), deft soloing and a sense of journey and escape.

The title track is also a worthy competitor, a glittering musical prize very much in the hallowed tradition of classic Genesis (the only return to the past here) with intricate acoustic guitar phrasings, augmented with wispy string mellotron waves that induce storybook daydreaming. Playfully majestic, the symphonic mood revels in its pastoral beauty to the listener's pleasure. The second segment involves spirited synthesized flights, sizzling violin runs and intense contemplation.

'Helleborine' is the short medieval tinged intermezzo, with mellotron and flute conjuring images of grandiose splendor, as perfect prologue for the lush finale. 'The Fall of Eurydice' invokes the majestic Steve Hackett but with enormous doses of quirky rhythms, whopping cascades of mellotron, terrific drumming amid a massive symphonic swirl. There is a slight sense of more complexity and playfulness which was not always apparent previously, showing the attention to detail within the tight symphonic parameters Andrew chooses to follow. Cool organ phrasings, military march drumming and extensive soloing rule the arrangement, creating an entertaining finale.

Willowglass has progressed to another level, perhaps less saccharine and more experimental and orchestral, with noticeably less lead guitar soloing, nothing wrong with all those mellotrons blazing the road ahead. Unruh and Schmitz have given Marshall a new direction which this writer feels more than exalted with. Lovely stuff indeed. 4.5 Fantasy wharfs