THE DREAM HARBOUR

While I have to agree with other reviewers that Andrew Marshall's instrumental compositions are maturing--and that his more-showcased flute playing has definitely improved--I still find the song elements, sounds, and stylings too derivative of (mostly) classic and Neo-GENESIS. The mysteriously separated two epics at the start of the album, "A House of Cards" (Parts 1 and 2), are, in my opinion, too disjointed and all over the place--they lack flow and sense-making shifts and turns--and are, again, often incorporating sounds and riffs too close to something from a classic 70s Genesis or Jethro Tull (or even 2000s Nektar: "Heaven") song. Steve Unruh's contributions are wonderful; he has a presence that shouts "prog elite."

Line-up / Musicians: Andrew Marshall - Electric & acoustic guitars, 12-string guitar, classical guitar, keyboards, bass guitar, bass pedals Hans Jörg Schmitz - Drums, percussion Steve Unruh - Violin, flute, guitar

1. "A House Of Cards Pt.1" (20:43) too derivative, contrived, and cerebrally composed and executed; not enough flash and flair (except when Mr. Unruh steps up front and center). (31/40)

2. "A Short Intermission" (1:35) like a true theatrical intermission! (4.5/5)

3. "A House Of Cards Pt. 2" (9:08) after the slightly TANGERINE DREAM-sounding opening, a JTULL-ish passage bursts forth with fiery violin and flute taking turns with the "Watcher"-like organ soloing. Unfortunately, the solos outclass the foundation (which becomes tedious). At least Andrew is being forced out of his (Genesis) comfort zone a little by his new collaborators. (16/20)

4. "Interlude No. 2" (2:05) classical guitar of the Spanish ANTHONY PHILLIPS kind. (4.5/5)

5. "The Dream Harbour" (7:17) a near-perfect Neo Prog song (though too-blatantly imitative of GENESIS ["take a little trip with Father Tiresius"]) Great three-part intro with flute, arpeggiated 12-string/harpsichord and Mellotron. This then gets expanded nicely in the third minute by drums, violin, electric guitar and organ before regressing into a organ and electric guitar duet. The main theme returns with the full band at the 5-minute mark while flute, synth, and violin trade turns at the lead. (13.25/15)

6. "Helleborine" (2:15) you just can't go wrong with Satie-esque alternating major and minor seventh cords. Then add Mellotron and flute soloing above. Heaven! (5/5)

7. "The Face Of Eurydice" (7:36) has some excellent parts but also lacks from feeling a bit disjointed and inconsistent. There are some keyboard passages that incorporate sound choices that sound like Keith Emerson or Rick Wakeman. The "Fly on a Windshield" passage in the sixth and seventh minutes is too blatant for me. (12.75/15)

82.86 on the Fishscales = B-/four stars; I will give this album a four star rating because of the wonderful tradition of bucolic soundscapes that Mr. Marshall is championing--and for the fact that he is doing a very fine job of it. Keep on trying, keep on growing, Andrew, your masterpiece is coming.