D'ACCORD

Fans of classic organ-and-guitar-driven heavy progressive rock take note: D'AccorD absolutely must be on your list. Yet this is a group with an interesting sound even with all those traditional elements present loud and clear. The lead singer has a voice eerily similar to that of David Bowie, to my ears- in fact, imagine Bowie fronting a band like Uriah Heep, toss in a flute, and that seems to sum up this act quite well. However, the music on the album is more eclectic than even this description allows. Now I am neither a big David Bowie or Uriah Heep fan, so one might think I would find this album unappealing, but strangely enough, I don't. I think it's quite good, and I can comfortably say that although I find the compositions themselves to be the weakest aspect of the album, since they don't exactly flow, there's an exciting and retro charm to this whole affair.

"Play By The Hall Rules" The first track, a rather lengthy one but essentially two different songs joined together at the hip, begins with an extremely catchy guitar and organ riff, and it gives an excellent idea of what this band is about and what they are capable of. I do not know if this is intentional or not, but the Mellotron in the second half of the song is the same or about the same chord progression as that at the end of Genesis's "Watcher of the Skies." Later, there's a repetition of the word "now," which is of course reminiscent of the climax of "The Musical Box," also by Genesis. Independently, these could be construed as coincidental, but together, this borrowing sounds intentional.

"This Is the One" The heavy rock returns, led by the barrage of guitar and organ. The drumming is powerful here but not overpowering- a good sound, I'd say. The shrill vocals are not to my liking however.

"BiN" Initially another riff-based rock track, the verses occur over more delicate guitar- a nice change of pace. Bluesy guitar leads collide with a chugging flute line, making me think of early Jethro Tull (not so much for the flute itself, but because of the tone of the guitar combined with the flute). The Mellotron offers further diversity, and works surprisingly well with the howling lead vocals. Slide guitar and a return to the roots of classic rock conclude the song.

"Time To Play" Light keyboards and gentle vocals make for a subdued opening bit. Despite the occasional heavy electric guitar, this sounds more like classic Bowie, juxtaposing lounge-like bits with flamboyant caterwauling, and there's even a raunchy brass segment. The quickly quavering organ solo is fantastic here, operating over a potent riff. What follows is delightful blues guitar. The major problem with this one for me is its structure- there's just way too much going on throughout and the transitions aren't always solid.

"Capitale Venditio" The softest moment of the album is the beginning of the final and longest song, employing gentle piano, lazy woodwinds, and subdued drumming. In fact, it's a complete change of direction, especially when the hushed falsetto comes in- like Radiohead does jazz. Suddenly, however, heavy drums, wah guitar, and a descending organ riff assumes command, turning it into a more theatrical affair for a while. The warm, extended guitar solo is a brilliant touch and impeccably executed.