SHOW

Show is a very eclectic album- that I can't deny. It's the degree of eclecticism that throws me off. Every other track is something completely different, and different doesn't necessarily mean wonderful. Surely this group demonstrates a high degree of technical skill and a modern, if adventurous sense of arrangement, but for many reasons, this album is almost a chore to make it through. "Secret Service" is surely the highlight on the album- it's a wonderful, if sedated song. But other than a few good moments elsewhere, this album is erratic and all over the place. I'm not crazy about the electronic drums, at least not how they work with even more questionable synthesizer usages. Add to this sound clips and narratives and speeches, and it becomes a quixotic jumble. Frankly, it's just a weird album.

"NWC - New World Coming" Deep vocals carry the opener through heavy rock and quiet passages alike. It has a slight southern rock flavor (think Charlie Daniels or Molly Hatchet), but with synthesizer and flute. At the same time, it reminds me of Pure Reason Revolution's debut.

"Invisible Legion" The first couple of minutes to this lengthier track is dark and brooding. Thick brass and powerful accents create an even more menacing piece of music.

"Face to Face (The Legion)" This third piece has more spunk and substance than the previous one, and it doesn't overstay its welcome. It's almost like listening to a high school marching band with an electric guitarist and one excellent drummer.

"Welcome on Board" Quiet, melancholic piano leads to fragile female singing and synthetic bass. After this, the song becomes more akin to bad 1990s R&B or pop music- not my thing at all.

"Paradise Lost" Beautiful strings, distant bagpipe, and exotic percussion create a rich, cinematic experience.

"Remote Control" This semi-heavy rock song has an airy, if cheesy 1990s neo-prog vibe to it. Sometimes it has a 1980s King Crimson thing going. Other times, it maintains a funky, Chicago element. Whatever it is, it doesn't do it for me.

"Technopolis" Strange spoken word and even stranger music creates an odd, electronic mess of eccentricities, including a word from Charles Stanley. And oh my, it gets worse- I am at a loss in describing it.

"Globevillage at Night (in memoriam Bartók Béla)" After the previous monstrosity, this terse piano piece is a welcome relief.

"Bone Squad" This is a heavier tune with a solid rhythm section and boisterous brass. The doubled vocals are awful- one voice is flat (not in the musical sense, but in the sense of being dreary), and the other is close to Mike Oldfield's notorious Piltdown Man.

"Wanna Be a Member?" This is initially closer to symphonic rock excellence. Pop and slap bass hangs out underneath a sweet, Genesis-like synthesizer lead. However, I hope the listener likes second-rate rapping also, because that's what happens next. The female-led chorus is something of a consolation.

"Secret Service" The lengthy, quadripartite track begins with various spoken voices, as though multiple televisions are on and tuned to various news networks. The piano and vocals are lovely when they finally arrive, however- this is the sort of thing I had hoped to hear more often throughout this album. It evolves into a laidback jazz vibe with an obvious King Crimson reference. The instrumental theme is taken right from the vocals of "Easy Money." The next passage is also quite relaxed, with some pleasant harmonies from the brass and electric guitar. After that, the listener is treated to some upbeat chamber rock- well done. Later, there's another King Crimson reference- the repetitive guitar riff to "Starless." Not bad overall, but this isn't something to which I find myself frequently returning.

"Farewell" An electronic beat and bass ushers in a cool synthesizer lead but a dull vocal.

"Life Must Go On" The final piece is a rapid, jazzy excusing with a walking bass line, brass explosions, and some wild keyboard work.