BY THE WATERS OF TOMORROW

Upon first listen to this album I didn't think it was as good as the three live albums I own by VESPERO: Foam, Liventure #19, and Liventure #21. But, I was wrong. Yes, I miss the wordless singing of Natalya Tujrina, otherwise this studio album is an amazing accomplishment of collaborative creativity.

1. Daphne (9/10) starts the album off with a fast paced jam in which the mix of synths are used very creatively and in which the drumming is mesmerizing, captivating.

2. Percious (8/10) has a very slow, spacey beginning but eventually picks up. Around 4:30 it feels like the drummer gets lost!? The music slows and thins at 4:50 with only pluck-echo-guitar and cymbol play for a while. At 6:30 it picks back up with some jazziness--and with some awesome 'trumpet'-sounding violin!

3. Amaryllis (8/10) starts slow but builds quickly until at 1:40 things really kick into high gear. Great searing guitar solo but, by 3:30, the band sounds a bit discombobulated. Perhaps going a bit too gang-busters. This is soon coorrected. 4:30 sees a shift to interweave of arpeggios by guitar, bass, and keyboards played against a very fast drum beat. At 6:30 there arises a discordant screaming guitar (reminds me of TODD RUNDGREN on 1973's "Todd"'s "In and Out the Chakras We Go")

4. Gao Zült (7/10) starts with drum brushes! Guitar, synths, violin join in in a PORCUPINE TREE way and play together for a minute and a half before bass and fuzz guitar take over against new frenetic drum patterns. The drummer is going so fast with such a syncopated line while the spacey background keyboard wash tricks you into hypnotic sleep--until 3:00 when 'harmonica/accordian' sound and countrified electric guitar. Then at 4:10 a real Mexican fiesta sound/beat takes over. A real hodge-podge of interesting time signatures. Ends with Gypsy-ish violin solo playing over same Mexican rhythm.

5. Tall Tree (10/10) begins with a slow, hypnotic violin. An unexpected key change at the 1:25 mark brings us into a "White Rabbit" chord progression. Here there is INCREDIBLE drumming! The guitar lead takes over at 3:38. At 5:23 there is a return to the ambience of the intro section and brief violin solo until 6:12 when an arpeggio weave paves the way for the return of the screaming electric guitar. Another key shift at 6:51 until at 7:11 the electric guitar bottoms out to fade.

6. Punto Fijo (8/10) starts at a frenetic pace with a kind of "Rasta-punk" feel/beat. The guitar takes the melody, but from behind-- from a floating place in the background! At 1:30 there is a long pause/interlude of synth noises, drones and echoed guitar 'Frippisms.' At 3:40 enters tympani and violin. From 4:50 wah-ed guitar strums join in until 6:00 when a GILMOUR-esque "slide" guitar solo takes over. Again: the drum playing is absolutely fascinating here! 7. Pavane Lacryme (9/10) is a pretty little song with treated guitars à la ROBIN GUTHRIE. Synths, violin solo and jazzy drums.

8. Seagulls Sing (When it Rains) (10/10) opens with an X-FIles-like modulated synth playing eerily over jazzy cymbol play and guitar and violin harmonies. The drumming--especially the cymbol play--is fascinating. A female voice joining in at about the 2:30 mark is a beautiful and welcome touch. Turns jazzy with nice 'flute' and, later, synth soli. That drummer!

9. Aurora Borealis (10/10) opens with a great, driving ELOY/"Blade Runner Main Title"-like keyboard bass-line around which all other instruments jam (violin, synths, awesome percussion). Again, the drums and percussion (and violin) are fascinating to follow. At 8:20 a distorted guitar enters, followed by the fadeout of all other instruments. Interesting way to end a song and album!

As I said above, it took repeated listens for this excellent album to grow into me. And boy has it! This is a masterpiece of creative, experimental jamming. Kudus to all involved. Thank you, drummer, for an amazing ride.