OUTER LIMITS

Vocals are weak and in both Japanese and English. Some mellotron on a couple of tracks but not a lot and I would say the guitar gets a minor role with the violin and synths being the driving force along with the drums and bass. And there's some great sounding bass on here. I do like how they add samples like on the opener we hear a door slam shut then footsteps, heavy breathing and the phone being dialled quickly. Also the wind to open that long title track is cool. I just have a tough time with parts of those first four tracks but I feel it ends very strong with the last two songs.

All a matter of taste I suppose but a lot of people whose opinions I respect have given this 4 stars but I just don't get it at this point.

In their Crimson meets UK and FM mould, OUTER LIMITS manages to be both technical and comforting, something that could rarely be said of those references, or many other bands in general. The few criticisms that tend to be leveled against "Stromatolite" focus on the vocals, but I actually find them quite charming, sung on tune mostly in English, with affirming melodies and exalting breaks on an arsenal of keys, strings and guitars. They only appear on 4 tracks and I think the album is better for it, perhaps otherwise lost in the in the amorphous jumble of rudderless instrumental prog albums.

As is often the case with such unified works, it's unjust to single out a few prodigies from this advanced class but I'm going to go with two instrumentals and one vocal number: the Bolero like "Spiral Motion", the cinematic "Pangea" and the uplifting "Constellation". A listening experience with "Stromatolite" is like a first time rock climbing, sky diving, or perhaps most applicable, caving adventure - you get all the exhilaration but the guides never abandon you. OK one more analogy - "Stromatolite" is a generous deposit that magically appears in your musical bank account when you need it most.

A more dominant string section, the heavy presence of soaring synthesizers and the display of a concept via regular or distorted vocals and narrations show a turn by the band from the very ethereal style of their debut to a more dark and mysterious sound with plenty of KING CRIMSON and U.K. similarities, although touches of THE ENID and GENESIS are still apparent.The romantic soundscapes and symphonic textures are now partially replaced by haunting violin-driven arrangements with a Chamber Music feel and a more complex guitar presence with ROBERT FRIPP overtones.The talent is there, name to me a set of bands, which could actually combine symphonic tunes with technical power and sinister atmospheric values, still I miss the band's impressive melodies and constant cinematic edges from ''Misty moon''.In fact it's hard to believe that in 1986 a group could launch such a complex symphonic effort, Outer Limits did so however, sacrificing a grandiose sound for darker and more bombastic ideas.The concept though seems like a good reason for combining Film Score-like Music, orchestral arrangements, KING CRIMSON-esque Prog and storytelling vocals, some moments are quite excellent, but as a whole this effort sounds a little inconsistent plus the vocals are too melodramatic and theatrical without any particular color.

A bit of a letdown compared to the band's magnificent debut.Still a valuable work of 80's Prog, extremely intricate and instrumentally challenging with a strong theatrical taste.For fans of U.K., GENESIS and KING CRIMSON.Warmly recommended.

This 2007 release was Outer Limits' first album in twenty years. Prior to this, they released a few albums in the 1980's. I don't know anything about their earlier efforts, but this album is quite a piece of work.

First, there are ten tracks of which six are instrumentals. If you are worried about the lyrics you should know that they are all in English. The singing good enough and the accent not nearly as strong as some indie bands I have heard, though the incorrect pronunciation of some words is still typical of many Japanese speakers and the lyrics sometimes sound peculiar. Overall, though, over the passing grade.

The music is a cross between a seventies symphonic prog band with lots of rock guitar and organ or synthesizer and more symphonic groups as the violinist, Takashi Kawaguchi plays some mean strings and there are also horns that emphasis the symphonic approach.

"Cosmic Velocity" is a great opening track immediately showing us the charging energetic rock band side of Outer Limits but with some fiery violin work. There's a mellower section with more violin just past the middle. I can picture this as a movie soundtrack.

"Consensus" is musically a very interesting track with a bold horn section and some orchestral instruments making it sound like a movie soundtrack again. The vocals come in, two vocalists, singing low and almost hypnotically. The effect is good but the lyrics have me with a question mark over my head. For example: "Excuse me, you're too noisy. Excuse me, I hear you everything in mixture. Excuse me, don't understand you. It's all I have to do to comply." Getting past that, however, the music is quite an achievement of music for rock band and orchestra. It had me thinking of The Enid in a way because the rock band seems to be part of the orchestra rather than accompanied by an orchestra.

"Lullaby" is the first disappointment for me. A sappy ballad with lots of violin, I can't get interested in this song until near the end. The lyrics about "my princess" turned me off from the start. The mispronounced "blocken smile" stands out, too. But what is this song about? One line says that she "can't hold things down". Does this princess have the stomach flu?

"Algo_Rhythm. C" rocks out like a piece of Kansas. There's heavy guitar and organ and more blazing violin. There's also a pleasant acoustic passage for guitar and violin that adds a nice surprise. This is followed by "Caprice" which is a classical violin solo. It's good I guess but it's not my taste so I can't say whether this performance is brilliant or not.

"Spiral Motion" is another favourite instrumental track of mine. It's a decent length and sticks to its musical motifs without wandering around. There's more rock guitar and a pipe organ, too. At one point I found myself thinking of Alan Parsons Project. In fact, there seems to be a strong late seventies prog influence on much of the album.

"Dahlia" begins with what sounds like a prog guitar instrumental and then turns into a late seventies prog rock song. There's some nice piano and later synthesizer. The vocals are pretty good and suit the lead vocalist's range. At times I feel it sounds foreign like RPI, though I have only heard three RPI albums so far. There are some surprising intense moments in the music that swiftly turn back to smooth and more emotive music, and then once more jump back to heavy.

"Pangea" has a mysterious beginning but soon the horns are back and once more I'm thinking Alan Parsons Project. Then there's a strange synthesizer solo and the violin is back. Now it sounds like Yezda Urfa meets Premiata Forneria Marconi. Clearly, though, music composition is Outer Limits' forte.

We get a short pipe organ solo which for me is once again nothing outstanding. Then we reach the final track, "Constellation" which gives us everything we've heard so far and more. Heavy guitars, horns, synthesizer, acoustic guitar. This is a 9-minute plus epic song that delivers various musical motifs before the lyrics even come in. It sounds a bit typical of late seventies pop prog but cliches aside, this song is executed remarkably well. The harmony vocals are good and at one point a female guest sings with a soft operatic voice. This has to be the best "song" on the album.

Though you are not likely to find this album at a low price anywhere, I do recommend fans of late seventies symphonic prog to check it out. This is a very solid effort here!

As many Japanese groups of the time, Outer Limits played Classical-influenced Progressive Rock, but unlike many of their compatriots, who had a very synth-drenched style of music, the symphonic influences of the album were proposed through the extended use of violin and the Classical orchestrations.Thus, the band sounded like the Asian version of U.K. and THE ENID, delivering bombastic groovy parts with deep bass work combined with awesome violin interludes of a Classical nature and lots of symphonic arrangements.The result was an album blending the romantic flavor of Symphonic Rock with more upbeat tunes, while three out of the four tracks of the original issue clock at or exceed the 10 min. mark.No need to say there is some huge room for instrumental workouts, full of captivating melodies, angular violin solos, muscled rhythmic parts and dominant breaks. and The limited vocals come in English with a very JOHN WETTON-like style of singing and far from the annoying, heavily accented color of most Japanese singers.The shortest track ''Saturated Solution'' contains also some excellent synth runs in full interplays with Kawaguchi's violin, creating a bombastic symphonic atmosphere.

One of the best Prog albums of the 80's out of Japan.Non-commercial, grandiose symphonic-oriented Progressive Rock, characterized by series of monster instrumental themes of a superb composing value.Highly recommended.

1. "Cosmic Velocity" (4:33) I violin lover's dream! A top three song for me--right out of the blocks!(9/10)

2. "Consensus" (6:33) great music, horrible vocal and lyrics! Luckily, it gets better as it gets deeper into the song. (8.25/10)

3. "Lullaby" (4:34) reminds me of "Book of Saturdays" from KC. Not a great vocal but wonderful neo-baroque music throughout. Another top three song. (8.75/10)

4. "Algo_Rhythm.C" (5:22) not as full or finished as the previous songs; more Neo Prog-like. (8/10)

5. "Caprice" (violin solo) (1:32) Wow! (5/5)

6. "Spiral Motion" (6:04) great rondo-like start--makes you hunger for the rest--but then it goes awry with cheesy distorted guitar strums and pipe organ. Once the violin has rejoined, it gets better, but still very flawed--a lot of too-simple play from the support instruments--organ and violin are doing all the work. Bombastic full organ sequence helps; a new motif is established within which a veritable Robert Fripp guitar solo plays. Then violin. Wow! What a difference that second half makes. Still, flawed by the embarrassingly simplistic foundation. (8.25/10)

7. "Dahlia" (6:47) another more aggressive, angular guitar-driven King Crimson-like intro which shifts rather suddenly (and unexpectedly) into a more melodic vocal section. The vocal here works in a David Sylvian kind of way. The instrumental section in the middle is amazing--with Fripp-like guitar and amazing synth and violin soli. Even the a cappella vocal bridge works. Combination Yes and KC. Probably my favorite song on the album. (13.75/15)

8. "Pangea" (5:05) MIKE OLDFIELD-like with its medieval-sounding banked horns--it sounds like some kind of a processional at a castle. Even the incidentals enhance the Oldfield flavor. I love the presence/contributions of the Stick. (8.5/10)

9. "Organ Small Works No. 4" (pipe organ solo) (3:28) good but I've heard better. (TPE & Anna von Hausswolff). (7.5/10)

10. "Constellation" (9:54) opens as if it came from YES' 90125--organ, searing guitar soling, Moog and synth strings banks, and even Steve Howe mimicry. Here, however, the keyboard sounds do feel too aged/outdated. Once again the arrival of the vocals notes a diminishment of the quality of the music. Still, a very competent and ambitious imitation of the prog masters' 1980s mantle--even down to the famous Yes harmony vocals. (16/20)

Total Time 53:52

#7. "Dahlia" is not on all releases of Stromatolite. On some releases the album ends with: "Lunatic Game" (4:48) a very ELP-like song--even down to the Greg Lake-like vocal. (7.75/10)

The music and musicianship throughout this album just feels so effortless, so second nature to these performers.

B/four stars; a mixed bag of products, some stellar and virtuosic, some amazingly simple, unfinished, and contrived. Highly recommended for your own assessments.

Outer Limits is said to be one of the more original symphonic prog bands from Japan. I don't know about that. But I would agree with a claim that they are a very good band. Unfortunate; great musicians and technical abilities does not always equal great albums.

Outer Limits comes across as a blend of Dream Theater, Ars Nova and ELP. They have a very modern orchestral sound. The music is driven forward by violin, electric guitars, some vocals and various organs. From church organs to plastic sounding synths. The latter ones is something they could has spared us for.

Both the songs and the sound are good throughout. I am not happy about the too synthetic synth sound which dominates too much of this album. I feel this sound kills some of the best songs here. But if this type of sound is your cup of tea, this album should be purchased. Besides of the disagreeable parts of this album, this album is rather great. My other gripe though is the absence of any truly great tracks on this album. Hence my lack of enthusiasm. But still; it is well worth checking out this album.

3 stars

Okay I think OUTER LIMITS or the album Stromatolite be the golden standards of symphonic progressive rock scene. Indeed I can understand they remind us the sounds by King Crimson or UK because their sounds should be heavier, stricter than of another Japanese band. Their symphony is very steady and well-balanced, without one projecting instrument. Each instrument solo is so terrific, intensive and massive that all may be harmonized with others. And Takeshi Kawaguchi's violin sounds are very graceful and beautiful, without the violence or aggression by David Cross...there's an evident difference from King Crimson, I consider. In Cosmic Velocity he can lead the play by the whole outfit, of course, with all playing steadily. Consensus's greatness, Lullaby's easiness to listen and keep on our mind, or the violin solo in Caprice, the fantastic sounds of organ in Organ Small Works No.4 - they should be like lots of brilliant gems in a treasure box. Till the last surprisingly impressive hugesong Constellation we must hear and dunk their works into our mind with bated breath!

"Cosmic Velocity" is a top three track for me. It opens with the sound of waves before it kicks into gear. Great sound ! Violin 1 1/2 minutes in and organ follows. Angular guitar 3 minutes in. "Consensus" has vocals and I just can't get past them to enjoy this one. "Lullaby" has some orchestral sounds with vocals.Yikes ! "Algo-Rythm.C" is another top three tune for me. A good heavy sound with violin and organ. It settles 3 1/2 minutes in. Intense a minute later. "Caprice" features a 1 1/2 minute violin solo. "Spiral Motion" is the other top three song for me. It opens with violin and a beat. Organ replaces violin before a minute as they continue to trade off. Love the angular guitar after 3 minutes with mellotron and drums. Violin is back before 4 minutes, organ follows.

"Pangea" is haunting to start out before it kicks in. An orchestral flavour here. It then settles with violin as contrasts continue. "Organ Small Works No.4" is a pipe organ solo that is fairly gothic. "Constellation" features pulsating organ and some good guitar that comes and goes early. Vocals 2 1/2 minutes in, synths a minute later. "Lunatic Game" opens with synths while the organ to follow sounds incredible. We get both English and Japanese vocals on this one.

Good record that would be even better if it were an all instrumental affair.

I really dig new bands giving the old school a chance, and Stromatolite is a good example of a modern sound with a 70's symphonical Pink Floyd taste. Outer Limits is aiming at true symphonic grandeur (Conscensus) although mixed with sharper guitars than Wobbler for instance.

The intense (digital) orchestration is versatile, giving some softer moments, although a bit to Disneyesque in the case of Lullaby. But this is merely one song, the rest being pretty upright and hard-edge guitars. One thing I really like is the constant venue of the violin putting a wholethrough classy texture, reminding Kansas or mainly Gentle Giant. But I guess why it's attracting me so much is the fact that it reminds me so much of Curved Air Phantasmagoria. You know, symphonic but a little twisted.

A real winner, mostly instrumental and will satisfy the ELP/ Gentle Giant/ Curved Air fan in you. Somewhat unknow, this album has to be one of your priorities if you're looking for something professional, with variety and orchestration oriented.

Classy, clean and crisp but done with lots of professionalism. A real keeper.