THE MUSIC THAT DIED ALONE

"The Music that Died Alone" is the recording debut of this ambitious "supergroup" project that combines members of The Flower Kings, Transatlantic, Van der Graaf Generator and other groups. The line-up of this band changes almost every time they release a new album, but this one is a serious contender to be the strongest they've ever had, and the proof, of course, is this album.

The album's signature suite is the one that kicks it off. "In Darkest Dreams" is divided into 8 parts and starts with frenzy and with the energy charged to the max, already squandering it from the start. "Prelude - Time for You" has an 8/8 tempo that makes the most of its space and charges the listener's ear with electricity in a matter of seconds. Very dynamic and potent, at times similar to the powerful instrumental sections of Dream Theater's previous albums - great start! The eclectic character is more than presented right from the start, changing style and atmosphere every few moments. Since the prelude is all instrumental, the second part of this suite "Night Terrors" features Roine Stolt, consistent as always, singing already embedded in his nocturnal demons from disgrace and loss of direction, as if he is close to death or already inside it. All of this exaggerated by the inherent drama of the night's hours close to sleep and heightened loneliness. The song drops down a gear but is still very rhythmic and leaves no room for respite. The instrumentation shines second by second and there is really nothing to put down. There are albums that require a gigantic predisposition from the listener, and this is certainly one of them. The third section "The Midnight Watershed" is again instrumental and faithfully continues the idea and purpose of the album, but doesn't stand out as a particular section. "In Dark Dreams" does. It enters from a fretless bass with calmer, more melodic melodies, and introduces Andy Tillison on vocals. With a spectacular, deep, and leading saxophone, the lyrics seem to connect with those of the second section, but in a very special way: Andy Tillison represents a sort of counsellor/angel who speaks to the protagonist of the second section from understanding and wisdom, while an airy instrumentation reflects on the skies of the auditory world the listener lives and flies over. "The Half-Light Watershed" is the fifth section, an instrumental that continues the end of the fourth section without a jolt. The sixth brick of this suite is entitled "On Returning (0:50)" and brings the third vocalist into the ring: Guy Manning (but very briefly as it only consists of one verse and lasts no longer than a minute). "A Sax in the Dark" is the seventh part and I don't think I need to explain what this sounds like. Just let yourself be guided by the visual image that the section title wants to create. The eighth and final section entitled "Night Terrors Reprise" brings Roine back, with his character of impaired vision at night and unbearable nightmares from which he tries to draw some strength. A wonderful (in the grand sense of the word) and fanciful suite, despite the darkness of the lyrics.

The second song is called "The Canterbury Sequence" and consists of 3 parts. The first, "Cantermemorabilia", begins with a keyboard riff that seems to be taken from a Gentle Giant song. This resemblance fades as soon as the other instruments enter. It sounds like light jazz, but it's weird, because at times it sounds like an Emerson, Lake & Palmer song. Andy's voice on this song is a perfect mix between Lake's and Sinclair's (Caravan). This album has serious influences from many great bands: Yes, TFK, Hatfield... A very particular section that works perfectly as a particular song, very volatile and creative! You can question some things about this album, but there is one thing you can't: the fluidity of its course. It glides as if oiled by some magical and unknown elixir. The second section "Chaos at the Greasy Spoon" is instrumental and flows over an equally jazzy and light 13/8. Great cover evolved from the very short song originally released by Hatfield. It's almost miraculous how successful the mix of styles is on this album. There is more than composition and theory here.... The melodies were given birth through a very particular and very musical inspiration. "Captain Manning's Mandolin" is the last section, and it is short and "cinematic". As if to relax a little after the concentration used in all the previous sections.

The third song is entitled "Up-Hill From Here" and is the only song on the album that is not divided into parts. Completely different from what you hear before. This album simply leaves no moment without surprises. The energy that inhabits this song (which for me is the lowest level) is similar to that of the first sections of side 1. It sounds like a jam where the solos seem to be improvised. It's another "rocking" piece, I just don't find the same essence as the others, and it seems to be a bit of a filler. I'm not saying it's bad! The truth is that the rest of the album sets the bar too high. It is also the least progressive song on the album.

The closing is provided by the 4-part suite named after the album: "The Music That Died Alone". The leap in quality is remarkable! The first part "A Serenade" is simply piano shimmering alongside ethereal arrangements. Again some jazz combined with symphonic rock. Andy again takes on the power of poetry in the second section "Playing On...", with lovely melodies. The character speaks as if he has little time left to die (or retire from his plane), remembering the good times and criticising the enormous amount of time human beings waste in life. "Pre-history" is a rather simple, funky instrumental section that closes the album. It's great to connect the composition with the sense of the end. Difficult to grasp as well. Sam Baine does a superb job here and throughout the album. The last section "Reprise" brings some scat singing from Andy and a repeat of lyrics from "Playing On...", as the name suggests. This works well as a closing to an imaginary and intense album. The instruments seem to say goodbye, giving the last of their strength and fading into an empyrean setting.

This album is a must for fans of eclectic progressive. Lots of interesting novelties. It falls short of being essential, but it is still spectacular and worthy of many listens and much enjoyment. Undoubtedly one of the greatest triumphs in each member's career!

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