MORE GRAINS OF SAND

Someone once gave me a cassette tape with the bright sounds of "Hologram," the debut album by the Swiss neo-prog band Clepsydra. It was the early '90s, and I was completely blown away. The piercing guitar tones and lyrical solos reminiscent of Steve Hackett deeply moved me, and the high, emotional voice of the singer hit me hard, not to mention the Marillion-like keyboard play. So, when their second album "More Grains Of Sand" was released in 1994, I was among the first in line.

I've since learned that a clepsydra is a water clock from ancient Greece, but it's also the name of a dragonfly species and a pond plant. However, much more important was the fact that I could finally put names to the previously anonymous band members. What an incredibly passionate group of neo-prog musicians I had discovered. The fiery playing of Lele Hofmann on guitar, combined with the keyboards of Philip Hubert, the bass guitar of Andy Thommen, and the drums of Pietro Duca, creates the perfect music to let singer Aluisio Maggini shine. As a fan of bands like Marillion, Pendragon, and IQ, I felt completely at home with Clepsydra, and I still do.

"More Grains Of Sand" consists of 13 tracks, divided into two halves of seven and six songs, respectively. Each half forms a cohesive whole, and since both the first and last tracks reference an hourglass, one could reasonably assume that there's a concept at play here. So let's just go ahead and ask: could it be about 'time'?

In any case, the short instrumental opener The First Grain throws the door wide open to a powerful chunk of neo- prog, so much so that the significance of the lyrics takes a back seat for the moment. There's just so much beauty to take in, like the following track Moonshine On Height. It's not just that the guitar solos and keyboard riffs are sublime; it's the composition itself that makes a lasting impression. The band shows incredible growth here. The vocal lines are brilliantly conceived, and although Maggini's accent is strong, his charm always prevails.

With the tracks Birthday Party and Eagles, the band continues in the same vein, and I must say that the vocal lines in Eagles particularly resonate with me. Such moving intensity is rare. It soars as high as the peaks of the Alps, and Maggini often harmonizes with himself. A long guitar solo sweeps by, and before you know it, Hold Me Tight begins. It's a calm track with yet again intense vocals. A beautiful shift in atmosphere occurs as a lingering guitar solo emerges. Man, oh man, how much I love this.

My absolute favorite, both from the album and from neo-prog as a whole, is No Place For Flowers. This track is full of tempo changes, generally moving at a brisk pace. It's an amazing experience to let yourself be carried away by the immense imagination that this track exudes. I often imagine myself as a keyboardist or guitarist having the time of my life. The fact that unbelievably good sounds are coming out of the speakers is a given. The driving keyboards and dynamic guitar chords in the finale form a powerful whole that gradually loses momentum, seamlessly transitioning into The Outermost Bounds. This keyboard-dominated piece feels quite ethereal with its electronic piano sounds. It's a beautiful conclusion to the first half.

Almost immediately, Fly Man begins, a catchy track with hit potential. It was even released as a single at the time, and rightly so. The brilliance of the first half is mirrored in tracks like The River In Your Eyes, The Prisoner's Victory, and Vienna, although it must be said that there is some repetition. However, you're more likely to see this brother cheering than complaining about that, especially when the magnificent closing track The Last Grain pours its guitar sound over you.

"More Grains Of Sand" is a sublime neo-prog album that I (and presumably you as well) can't get enough of. More, please!

Orginally posted on www.progenrock.com