ASYLUM

After a very promising debut album, Cressida proceeded with a stunning artwork on their sleeve, but somehow I feel that it does not work fully either as the backside of the gatefold is the same but reversed shot of the front. Heyworth had left (but not completely) but was replaced by Culley and flute player McNair also joined (but his interventions will be few). With this jacked-up sound, it is no surprise that Cressida sounds even more enthusiastic, more instrumental, and their melancholy reaching another state of fulfillingness.

The majority of the tracks are still in the short and concise manner of the first album, but there are two monster tracks making the difference. After a short title track (reminding you of the debut album), as soon as you enter the 9-min+ Munich (with strings and the organ wailing gently), the track never really takes off until the last two minutes, but are those two minutes ever wild. Shorter but charming songs, Post Office, Survivor, Reprieved refer again to the debut album. With Lisa, the strings come back, but not always well-inspired as they sometimes draw on the syrupy flavour. Summer WE is one of the better tracks on the album, but every proghead reading this review is waiting for the almost 12-min closer Let Them Come. Starting out with Strings, the track slowly develops into a Savoy Brown-like groove, until the rythms takes over and exchanging wild call and response with the strings and brass section before stopping full dead to zero and back up again with Cullen pulling his finest vocal prowess, drawing spine chills and goose bumps.

Although none of Cressida's albums are masterpieces per se, both make a must-hear obligation to progheads who are into early-70's UK prog. While this album has major highlights, I find it slightly less even than their debut, but just as worthy.