SKYROVER

The second of a trio of Omega albums from the latter half of the `70s which combined meloncholic themes with quixotic spacey images it probed even further out into the astral domain than it`s predecessor, Time Robber. Seemingly undaunted by the advent of more perspicuous musical styles which were beginning to prevail during this period it was business as usual for the Hungarian masters of rock who continued to churn out sentimental art rock in the tradition of the early seventies while western counterparts scurried to conform or succumb to the changing face of popular music.

A haunting instrumental prologue (Overture) prefaced by an excerpt from Beethoven`s Fifth sets a moody atmosphere for this excursion through time and space. Replete with eloquent grand piano passages, fine guitar lines and traditional earthly themes the 7 tracks are musically dissimilar but are connected thematically. The regal grand piano entrance on the title track the album sends the listener aloft on this album which contains an abundance of cosmic portraits that deal with themes of isolation, separation and new found destiny. There is a lot traditional folky gypsy influence here that is also evident on much of Omega`s prior work which is updated with the use of synths and electric guitars although a balalaika can be heard on the ballad Russian Winter which perfectly conveys a yearning for a lost love with swirling wind and howling wolf effects to reinforce the sullen meloncholia. Another haunting ballad appears in the form of Purple Lady with supple female back up vocals and some fine lines from guitarist George Molnar which acquire a more shiny jazzy feel on The Lost Prophet which is coloured by laszlo Benko`s subtle synth washes. The only real anamoly on the album is the more straightforward harder rocking High On The Starway which clashes with the overall dreamy atmosphere of the whole album with it`s forgettable back up vocals, although it contains an interresting underlying acoustic rhythm guitar part if listened to carefully. Although hard rocking as well, Metamorphosis adheres more to the art rock form and recalls Omega`s 1973 synth-led trademark Help To Find Me. The Hope, The Bread And The Wine with more traditional folky inspiration appropriately closes the main section of the album before a restatement of the initial theme and closing bars of Bethoven`s Fifth on the concluding Final which leaves the listener with a sense of closure. A very enjoyable listening experience which is not as foreboding as other takes on the spacerock concept by bands such as Hawkwind or Eloy.

Simultaneously released by the Hungarian label Pepita Records with a Hungarian language vocal track with identical instrumental back up those with an affection for early `70s art rock sensibilities will have no problem appreciating with this Omega classic which went gold in their native Hungary. A word of caution though, vocalist Janos Kobor`s English diction can be somewhat difficult to understand at times but for the most part he nails it. The Hungarian version contains some variations in lyrical meaning but either version is recommended. The only qualm that arises is the dated costuming on the cover photograph which makes them look like glam rock hippies. Another cover is available on a rare Canadian vinyl pressing on Passport Records which depicts a winged horse soaring above a celestial backdrop for fantical collectors of Vinyl.