BEYOND THE SEVENTH WAVE

The Utrecht-based progressive band Silhouette creates music that is more beautiful than its shadow, or at least that's how I perceive it and I'm sure many others agree. Most of their albums can be described as excellent, but the one we're discussing here, "Beyond The Seventh Wave" from 2014, is much more than that. What a sublime masterpiece this fourth album of the band is and what immeasurable depth Silhouette showcases here. All of this certainly calls for further explanation.

Since its formation in 2005, Silhouette has been involved in creating excellent melodic neo-prog, featuring the fantastic keyboard playing of Erik Laan, emotionally high-pitched vocals by Brian de Graeve and Erik Laan once again, atmospheric guitar parts and decisive rhythms. On "Beyond The Seventh Wave", they excel in every aspect. This is largely due to the addition of guitarist Daniel van der Weijde, as his playing gives the band's sound a tremendous boost in two ways. Firstly, his sparkling solos bring a delightful lyrical quality to the music and occasionally, he adds dynamic power leaning towards prog metal. Another aspect that adds depth to the music is the integration of acoustic instruments such as flute, clarinet, violin and cello. Additionally, the band occasionally incorporates the organic sounds of piano and acoustic guitar. All of these additions give the band's sound a beautiful classical touch at times.

The album, consisting of eleven tracks, is built around an imaginative concept. "Beyond The Seventh Wave" tells the story of a man who is unjustly serving a life sentence on the so-called Devil's Island. It is clear that the inspiration for this concept comes from the book Papillon by Henri Charrière from 1969, although the concept has a broader meaning as well. The album is essentially about the longing, the yearning for personal freedom, a theme that is relatable to everyone. Silhouette skillfully presents this concept in a colorful way. Let the butterflies fly.

Throughout the hour-long album, Silhouette manages to create a captivating variation of short and long songs, vocal and instrumental tracks and powerful to ballad-like pieces. The first two songs immediately immerse you in their beauty. Prologue is a beautifully composed piece with warm keyboard chords that seamlessly transitions into the bombastic Betrayed, featuring an infectious synthesizer theme and a short guitar solo.

After this introduction, it's time for the first epic of the album. Web Of Lies is a two-part composition that clocks in at almost thirteen minutes. The first part is driven by a Saga-like riff, with enjoyable organ play providing a platform for various keyboard and guitar solos, while vocal harmonies and changes in tempo offer the necessary diversity. The second part has a calmer atmosphere, thanks to the presence of acoustic instruments, particularly during the drumless sections.

The following ballad, In Solitary, is my absolute favorite, largely due to the melancholic vocal melody that runs through it. The sublime guitar solo that concludes the song never fails to give me goosebumps.

With the instrumental track Escape, the music takes a grim turn, evident in a piece reminiscent of the intensity of Threshold. The standout feature here is the multitude of keyboard solos reminiscent of Clive Nolan of Arena. Such intense passages can be heard in several songs and it is this versatile style of composition that makes the album so appealing. The epic Lost Paradise delivers several powerful moments, alongside a delightful Moog solo. Devil's Island is also a perfect example of anything goes with Silhouette. We hear a mid-tempo song transitioning into almost classical music, supported by heavy guitar parts. The exuberant title track sounds somewhat conclusive, yet it is not the final piece. Notably, the thunderous bass work stands out, although it's not entirely clear who is responsible for it. The original bassist, Gerrit-Jan Bloemink, left halfway through the recording process, so Erik Laan and Jurjen Bergsma completed the task. Together with the dynamic drumming of Ron van Nieuwenhuijzen, who is new to the lineup, they form a fantastic rhythm section. The album concludes with the atmospheric Wings To Fly, which refers back to the Prologue.

Now, for the final verdict. Let me summarize the album in three words: neo-prog, quality and butterflies.

Originally posted on www.progenrock.com