SPARTACUS

Definitely not as creative as Trilogy, but both are similar in the quantity of songs(9 both), as well as having 2 moderately long songs. Though Triumvirat has already proven that they're no ''ELP clones'' with their previous effort, pittily with Spartacus they loose much of their creative strength, still the musicianship is top notch.

Triumvirat goes and plays the role of Tommy or even Jesus Christ Superstar, based on the true story of Spartacus, the gladiator. One of the main falls of the album, in which the concept takes control of the moods of each song, so Triumvirat couldn't break free as creative as their previous, though still making it highly enjoyable, though lacking that true feel spirit of their previous.

Jürgen Fritz this time dedicates more time with the synths, rather than the balance use of organ and synthesizers he delivered in the previous. His capability on the synths is definitely shown in songs like in the up-lifting instrumental of The Hazy Shades of Dawn or in The School of Instant Pain which is divided wisely in 4 parts, in which each is dedicated to one type of keyboard(Piano, Moog and Organ) or in the haunting and depressing March to the Eternal City, which is definitely one of the best songs of the album. Jürgen's great moments on the Hammond are definitely in The Burning Sword of Capua or in The Walls of Doom, which in the later(Walls of Doom) it'll be balanced with Moog work.

Helmut Köllen goes Greg Lake, writing The Sweetest Sound of Liberty in the like of Lucky Man. Definitely enjoyable to some extent, as well as being well placed to calm the organ-driven sound of it's previous, The Burning Sword of Capua. But unfortunately this is not the only ''ballad'', The Deadly Dream of Freedom is another one, being more repetitive and lacking the energy of The Sweetest Sound of Liberty.

Spartacus makes a place of it's own in Triumvirat's catalogue, as well as the German Prog catalogue, though it's definitely one of the least creative and essential ones.

3 stars, a good release, though not essential by any means, the synths overall have become somewhat unbearable, with the exception of the real killer solo on Marching to the Eternal City.

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