YOU GO NOW

Not as good as the first one, but still a good effort. Moore uses the "change chord over same root note" trick way too often and it ultimately drags the album down composition-wise. The main elements that made Dead Air for Radios such a good release are there, however: brooding introspection, melodies and textures. Try listening to the title track when you're out one windy night walking!

To really understand Chromakey is to get out of the musical media... a true object of indie label production. I mean, Kevin Moore has tried hard enough to be some how "out" of the mainstream, in a way to be clean and consious about his compositions, and this second album is a good example. This record is a lot more ambient, more focused in the sense of straight-simple songs, leaving a dash of feeling in every part. Almost all of the record is an exposure of sadness, memories, space and so... a constant fight in-between his inner demons. However this second experiment is quite good, to good to be treated as a "collector's item", why? well... Kevin Moore is more like a rebel and the obvious anarchy he was leading was creating along-side matheos the OSI album, so, YOU GO NOW is the right link between the simple and the complex. Try to hear LUNAR in a clear night and everyone will be mesmerized as any was aroused by Floyd in earlier days. a true prog album.

First off, let me say that Kevin Moore himself doesn't consider his music progressive anymore, especially after his departure from Dream Theater. That being said, I find his music progressive in my own sense in that he keeps pushing things along, perhaps not with the time signature and tempo changes of DT, but in his own little quiet way.

Simply put, I love this album.

Kevin's lyrics are at times hard to understand (Get Back In The Car), but sometimes they tap into emotions in a backdoor, odd sort of way (Another Permanent Address). Since Kevin's compositional masterpiece (Space-Dye Vest, IMO) largely dealt with heartbreak from what I gleaned, much of his music seems to gravitate around that subject. The two catchiest songs on the album, Another Permanent Address and Astronaut Down, deal with this subject.

Kevin's vocal style is very appealing and soothing at times. He sounds "world-weary" (to steal from the OSI synopsis) and tired. His style is IMO inimitable in its range and beauty. His voice especially shines on Nice To Know, where his voices goes through a series of ups and downs tone-wise. While some might find Kevin to have a monotone singing style, I thoroughly enjoy it.

His music runs the gamut from upbeat, happy electro-pop to mellow lounge type jazz progressions. The most impressive thing I've found about Kevin's music is, the happier it sounds, the more depressing the subject matter is. Another Permanent Address and Astronaut Down, again, examples of this.

This is recommended for anyone who likes keyboards, catchy singalong tunes, and deep insightful lyrics. It'll take a few listens and/or reads before it sinks in completely however.

HIGHLIGHTS: Get Back In The Car (vocoder segment near the end esp.), Another Permanent Address, Lunar, Subway, Astronaut Down

Sincerely,

Daniel Diaz Brauch

Kevin Moore's Chroma Key project cannot be further from what you expect from the man who was a founding member of Dream Theater and OSI and a collaborator with Fates Warning. One of the most prominent figures in Prog-Metal does about the furthest thing from the flashy pyrotechnics of that genre. Instead he produces a spacey, ambient rock project which barely features any rock instrumentation instead focuses on keyboards and samples. Bass and drums are present but used purely for keeping a beat, and guitars are also there but always kept in the background being used purely for atmospheric effects.

Nothing here can be described in terms of energetic, technical, rocking, or happy. The atmosphere of the music very much resembles a late night drive in the rain. In fact, at the times the music reminds of a movie score that would be playing during the very same act. The music sounds like a soundtrack most of the time. However, instead of being dependent on a film the soundtrack Kevin Moore creates acts independently and comes equipped with its own cinema embedded in the music. Everything is highly visual and highly atmospheric. The atmosphere is impeccable throughout the whole album. Moore's choice of organic keyboard tones perfectly create their own world in your emotions. He also selects the perfect samples for the situation and the music.

Kevin Moore isn't the best singer in the world. His ability is very limited, but he rather fits this music well. His half-talking/half-singing monotonous style really fits into the atmosphere perfectly. His voice has a way of seeming detached and distant like it's almost an automated action instead of a chosen decision to sing. It fits the dark nature of the album perfectly.

His lyrical style has changed dramatically from his work with Dream Theater. Instead of the rather overt attempt to sound philosophical and use of flashy imagery, his writing is very gnomic and deceptively simple. They serve better as triggering an emotional response then they do as acting as something to read into. Again, everything Moore does is aimed at enhancing the mood of the album, and he never fails to succeed.

This release is slightly weaker than his first one having one filler track that does nothing for me and a few other far between boring moments.

Kevin Moore's Chroma Key... I hadn't tried listening to it until recently. I can certainly understand he wanted to quit Dream Theater if this is the musical direction he wants to go.

You Go Now is an atmospheric, spacey and laid-back album, with elements of melancholy, though maybe not as much as, say, MEW's albums. Moore's voice is calm and soothing, which fits the music well.

The first track, "Get Back In The Car" has various changes of tempo, some vocoder work, and a repeating lyrical chorus "Forget what you don't know yet". It's a nice song to listen to. Not rock. Not think. Just listen and relax. "Another Permanent Address" is more or less among the same lines, but with some more melancholy (especially in the pianos), as well as "Nice To Know". I can understand if people think it sounds a bit too much like the same thing (I know I do a little), but some songs really are pearls.

Like "When You Drive", a gentle ride along the night city in space. It features female vocals, sounding like she's only 8 or something. This is a unique sound and quite soothing. "Subway" is basically that, a journey underground, and sounds just that way. A nice change of pace from the spacey car ride. Unfortunately I find "Lunar" to being in the same vein as the first couple of songs.

"Please Hang Up" has a nice soft and dreamy tune, and is basically a short intro to "Astronaut Down", my favorite song on the album. Moore's voice is calming as usual. "As I found myself back in the bachelor scene, I feel like an astronaut in a submarine." I'm guessing he means he feels out of place, something I can relate to.

The album ends with "You Go Now", which is, in my opinion, not the best track of the album, but it's okay to end the album with, though I'd have been fine with "Astronaut Down" as finisher.

Summing it up, Chroma Key's "You Go Now" is a nice album to have on as background music, or to just dream away with. If you're expecting something like Dream Theater, you might be disappointed. Or you might come to love this side of musique. Hear for yourself...

Three stars...

Yours, Tailscent

I like Kevin Moore a lot, I liked his work with DREAM THEATER and FATES WARNING, and his present project OSI. And there is something special about his vocals, as soon as I hear him sing I smile. "Dead Air For Radios" is a masterpiece in my opinion and this the follow-up while not quite as good is still a very strong album.

"Get Back In The Car" is classic CHROMA KEY with that steady beat and Kevin's understated vocals. Some keys in this one too. Processed vocals late. "Another Permenant Address" again has a steady beat as vocals come in. I like the vocals better on this one than the first track. Keys and some heaviness follow. "Nice To Know" is slower with a heavier sound. Vocals come in. Great tune. "Lunar" opens with spoken vocals then a beat with piano comes in. We get a sample from "Mission Control" speaking while the beat and piano continues. The spoken words are about Apollo 11 and their condition. This continues throughout. Cool song.

"When You Drive" is funny. A man talking about positive thinking and saying that when you come to a red light you should smile at the red light, make it your friend. Haha. He goes on and on, all the while a heavy beat continues with synths and keys. Maybe it's an anger managment course, although I think Budda is mentioned. Female vocals come and go. "Subway" opens with a heavy beat and keys. Processed vocals join in. Excellent sound after 3 minutes as it gets pretty intense. "Please Hang Up" features electronics and an operator speaking. "Astronaut Down" has a good beat with what sounds like Mission Control again speaking. Processed vocals follow then Mission Control joins in again. This continues throughout although Kevin's vocals stop being processed. "You Go Now" is kind of spacey with a beat. Piano comes in and samples of someone speaking.

Very much in the same style as "Dead Air For Radios" and another winner.

Chroma Key - You go now

Most of us know that Kevin Moore, the mastermind behind Chroma Key, was the keyboard player for American prog metal band Dream Theater up to 1995. Back then he already showed the world how talented a keyboard player he was, with his atmospheric use of the instrument, as well as being a technically pretty advanced player.

However, if you are to expect a prog metal band when you are about to listen to some Chroma Key, I'm sorry to inform you that you're awaiting a huge letdown. You see, Chroma Key's music is all in typical Kevin Moore-style, but sound wise it has more in common with electronic music alike trip-hop than it has with his previous (metal) band Dream Theater.

So what is there for the listener to expect? Well, for starters you are treated to 9 atmospheric and breathy compositions, which all have their roots in electronic music (trip-hop as I mentioned before), but with a twist of space-rock added to them. The songs are an average 4.30min long, which means they're rather conventional, commercial wise, in length. Yet each of these songs has rather a lot of depth to it compositional wise. Moore's keyboards are always there, either as a lead instrument or providing that extra touch to the background.

Moore's vocals by the way are rather an acquired taste so to speak. He might sound a bit monotonous to some, but I like his vocals. They tend to blend in perfectly with the airy atmosphere of his music. For those who know Kevin Moore's other project O.S.I. (The Office of Strategic Influence): his music here is a sort of basis for his O.S.I. work, only with O.S.I. he also incorporated metal elements.

I was quite ignorant with any development that Kevin Moore made after leaving Dream Theater only that I purchased two albums of OSI (Office of Strategic Intelligence). When I got this "You Go Now" album by Chroma Key I could easily associate the similarity of the music with those OSI albums especially on the spacey ambient style of the music. The first time I listened to this album, it did not quite impress me because it sounded like a collection of repeated chords and notes. On a second spin, I dig out the music deeply and I could sense the beauty of this album. And I know why I was not quite impressed with the first spin because the fact that the music uses loop sampling as rhythms section with Kevin Moore looks after most of the instruments: keyboards and bass in addition to his vocal role.

The music is I believe very accessible to many people and necessarily having prog ears. The ambient spacey style brings forward good nuance to capitalize the music for other purposes, not just listening to it. It's just like you are listening Pink Floyd, or Porcupine Tree where you can direct your mind and thoughts to explore your thinking boundaries. It's best played during the night after 10 PM in order to get a full benefit of the music. The first two opening tracks "Get back in the car" (5:05) and "Another permanent address" (5:05) are good indication on what the music sound like from the entire album. The keyboard work sounds peculiar Kevin Moore's style providing all the nuances in spacey style. The third track "Nice to know" (4:31) might give you an impression of Floydian style especially on singing style and keyboard rhythm section.

"Lunar" (3:14) brings forward nice combination of percussion loop with keyboard work overlaid by distance voice style with nice narration. It's an enjoyable track for me personally as I like the keyboard work. On the next track "When you drive" (5:27) the band continues the narrative style. It might sound boring as the chords and notes are quite repetitive in nature. If you like something with various and sudden changes, this kind of music is not suitable for you. It continues in similar vein into next track "Subway" (4:37) where this time Kevin adds some effects to improve the textures. The concluding track which is also the album title still maintains the ambient style with soft piano touch in slow tempo. It sounds like a music for original soundtrack - reminds me to Vangelis' "Chariots of Fire".

Overall, the music of this album is good and suitable for those who love spacey ambient style. Keep on proggin' ..!

Peace on earth and mercy mild - GW

Most of the reviewers are warning that you shouldn't expect a heavy-metal oriented album a la Dream Theater. I would add that you shouldn't expect a space-rock album either.

This work has more to do with electronic and passionless music. Very few to none songs are moving: on the contrary, they almost sound of the same and boring stuff. The dull and monotonous vocals are not of a big help either.

This short album holds no interesting songs IMHHO. Some portions of them only might be valuable. It is difficult to be attracted with such songs as the electro beat "Lunar" or the dreadful "When You Drive".

This album has very little to offer in terms of just good music. I wasn't thrilled by the musical solo debut and this follow-up is just a poor one. I just dislike these computerized vocals as they are featured in several songs

This is a very weak album IMHHO. I really don't like this work; at all.

One star. I guess that I 'm not able to rate it lower.

This album is very similar to its predecessor. Dead Air for Radios and You Go Now both feature laid-back piano/synth-led tracks with Moore's trademark vocals and lyrics. The similarities mostly end there. That makes it sound like they must be very different albums, but they're not. There's a couple of very big similarities and many smaller differences. The differences do add up, though: without knowing the individual tracks, you could probably tell the difference between a DAFR track and a YGN track.

Comparing two albums ignores the objective of a review: you read an album review to find out about the album you've clicked on. But to compare this album with Moore's previous Chroma Key album is perhaps the easiest way to review You Go Now (that, plus it's getting late and I'm lazy). So, if you've not heard Dead Air for Radios, here's the potted summary: straightforward, atmospheric, keyboard-driven songs similar in structure to Peter Gabriel's work, with Kevin Moore's plain and soothing voice singing down-to-earth lyrics. That's a long sentence, but if you can stomach it, it gives you the gist. Or, you could read the reviews on the DAFR page. Your choice.

Comparing YGN and DAFR is sensible because YGN is a progression from DAFR: it takes what DAFR started and brings it on to the next level. DAFR was Kevin Moore with some session musicians (who happened to be from Fates Warning as I recall). In contrast, YGN is a collaborative effort between Kevin Moore and guitarist David Iscove. Iscove's guitarwork adds a lot to the album in terms of the atmospherics, and Moore's synth and keyboardwork has developed further from the first album (many tracks use the crackling of old vinyls to add to the atmosphere). Lyrically, the album feels more concentrated than DAFR: most of the tracks use some sort of metaphor or audio sample related to astronauts (Moore said in an interview that astronauts were used a lot as metaphors for loneliness). This means that as an album, YGN holds together much stronger than DAFR, and feels more cohesive.

In terms of the actual songs, the two albums feel very similar in terms of quality. I would say YGN has the edge over DAFR. DAFR was more variable in terms of quality, but YGN is more consistent and generally has the bar raised a bit higher (likely due to Moore's maturing as a songwriter).

Both albums have mellow tracks with distorted vocals (Colorblind and Mouse on DAFR and Get Back in the Car and Subway on YGN). Both albums have one energetic track (On the Page from DAFR and Astronaut Down from YGN). However, when you compare the number of "normal" tracks (that is, standard song structure with no bonuses like distorted vocals) and ambient tracks, you notice a shift. DAFR has four "normal" songs (Even the Waves, Undertow, American the Video, S.O.S.) whereas YGN has just two (Another Permanent Address, Nice to Know). And this is where you really notice the shift: DAFR has two ambient tracks (Camera 4, Hell Mary), and YGN has four (Lunar, When You Drive, Please Hang Up, You Go Now).

That was an incredibly long-winded way of saying there's a greater shift towards instrumental ambient tracks on this album. There's a much greater Brian Eno influence evident on this album, the spacey tracks with their guitars and synth sounds greatly reminiscent of Eno's Apollo: Atmospheres & Soundtracks. If you listen to the third Chroma Key album, Graveyard Mountain Home, you can see a trend in the albums towards more ambient, instrumental pieces and fewer straightfoward songs.

There are some wonderful songs on this album. Get Back in the Car is a dreamy, atmospheric piece. Another Permanent Address is a mellow, emotionally-charged song which rivals Space-Dye Vest in its beauty (note that Another Permanent Address doesn't have arrangements by a progressive metal band, though). You Go Now is one of my favourite ambient tracks of all time, simple yet haunting in its atmosphere.

Unlike DAFR, there are no tracks which I feel an urge to skip. It's a question of "Which tracks are less good?" rather than "Which tracks aren't very good?" The weakest track is probably When You Drive, a mellow, almost minimalistic track where the audio samples take centre stage (I prefer it when the music takes centre stage, myself). Lunar is also in the same category, but not so guilty: there's more music and the audio samples contribute to the atmosphere better.

The single biggest criticism I have is in the order tracks appear on the album. Like many prog fans, I'm a stickler for the album format: I don't say "which track shall I listen to now?" I say "Which album shall I listen to now?" As Steven Wilson (of Porcupine Tree fame) said, albums are supposed to take you on a musical journey. The trouble with You Go Now is that the first three tracks are all very samey. Get Back in the Car, Another Permanent Address and Nice to Know are three tracks which have a similar mellow feel, have the standard song structure and are about the same length. Individually, they are good songs, but stacked next to each other they feel monotonous and get boring. With the exception of Astronaut Down, the rest of the tracks on the album are much more ambient, much spacier. There IS variety on this album, but it hasn't been exploited. It doesn't do much to give you a good first impression. This is one of the few albums I know that would benefit from use of the shuffle button.

Moore's voice is for many a bone of contention. If you didn't like his voice on DAFR, you almost certainly won't enjoy it here. The only real difference is that he uses a smaller vocal range (he went quite high on On the Page as I recall). But his plain vocals DO fit the sound of the album and do complement it.

If you enjoyed Dead Air For Radios you will almost certainly enjoy You Go Now. If you enjoyed Graveyard Mountain Home... well, that's largely irrelvant as GMH is so much more different from the first two. This album is the transition from the first to the third Chroma Key album, which makes it a good starting point for Moore's post-Dream Theater career. If you had a choice between Dead Air For Radios and You Go Now, I would recommend You Go Now. A deep, atmospheric, emotional album. Highly recommended for anyone who values substance over style.

A step closer to ambient experimental music...

You have to come to this realase with an open mind -yeah, your'e a prog fan so you have it, but I've seen more critics inside the prog fans than in the mainstream music-. The music is full of synths, patches, and a lot of keyboard layers that surrounds Kevin Moore's voice and the result is like a convulsive dream... the moods are kind of sad and cynic, and the music is slow and kind of dreamy...

Is similar to his previous work, Dead Air For Radios, but a lot more electronic, there are less pianos and drums, and there's more synth and drum programing... the robotic voice of Moore give a lot of space to wonder what he's saying through the words... like he's always meaning something else than what he's saying, so is nice to put him attention...

About production and quality, is a tip top... but I guess the difficult part to appriciate is the instrumentation... there's no too much of it... there's good amount of music, but there's no solos or something to show off... pure ambient and all the songs work for that goal... get a proper ambient of this space-ambient music...

Needs a lot of hearing and you most have to be in the mood to this kind of music. It's special to hear with headphones... what a journey... just close your eyes and enjoy... I'm about to do it... just nice...

"You Go Now" is the 2nd full-length studio album by US experimental/progressive pop/rock act Chroma Key. The album was released through Fight Evil Records in November 2000. Chroma Key is the brainchild of former Dream Theater keyboard player Kevin Moore. Chroma Key should be counted as his solo project as he plays just about everything on the album except guitars, which are played by David Iscove.

The music is relaxed/laid back ambient pop/rock with a slight experimental/progressive edge. Lots of programmed sounds and samples (I love the samples about Apollo 11 on "Lunar") on top of programmed drums, synth layers, and Kevin Moore´s almost sedated sounding vocal delivery. His vocals are melancholic and soothing to the ear but the his range is limited and the emotional impact is as a consequence rather one-dimensional. There are generally not enough melodic hooks on the album, which is a bit of a shame because when those hooks appear the music reaches a higher quality level. Fortunately the 39:17 minutes of playing time is just perfect, and I don´t reach a point where my attention wanders which could easily have happened had the album been a bit longer.

The sound production is professional and suits the music well. The drum sound is a bit flat and could have prospered from a more organic tone. It´s a bit anonymous and lacks warmth. But other than that "You Go Now" is a very well sounding album. So there are both good things and not so good things to say about "You Go Now". The ambient laid back atmosphere is pleasant and soothing to the ear, and if you are in the right mood for relaxed melancholic pop/rock, this is definitely an album which could apply to such a description. The danger is that for some listeners it might end up as background music because of the rather liniar emotional output. I wouldn´t call it tedious, and there are enough layers of sounds to keep the music interesting throughout, but it´s not the most dynamic music in terms of going from mellow to harsh, or quit to loud. A 3 - 3.5 star (65%) rating is deserved.

Post-Rock meets Trip-Hop meets Space-Rock . . . being played by a Prog Metal keyboardist? What?

Yes, that's right. For those who don't know, Chroma Key is a musical project by ex-Dream Theater band member, Kevin Moore (or as Mike Portnoy lovingly refers to him, 'Kevin No-Moore'). But what are we to expect with this? Not metal, that's for damn sure. If you go into this expecting Images and Words the sequel, you're going to be sorely disappointed. So throw away any preconceptions you may have had about this, and embrace it for what it is: really amazing music!

Moore's duties on this effort are multiple; he sings, plays keyboards and bass. Drums and guitars are handled by others, but this is essentially a solo project in many ways, and of course, it is much more scaled-down as a result when compared to his other projects. But that's okay; it makes Chroma Key very special and unique.

Don't expect hard-rocking Prog epics, here; that's not what it's about. But this is very beautiful, placid, ambient music that is full of heart and worth trying out. I just love how the guy is able to mix all of these soaring soundscapes together in such a successful way. Perhaps it was best that he left Dream Theater when he did; perhaps he could sense that he would be limited musically had he stayed with them. Obviously, he could have theoretically been able to do both his other projects and be in Dream Theater, but maybe he felt staying with those guys wouldn't allow him enough time to work as hard on this other, more experimental stuff.

But whatever the reason, I am very impressed with Mr. Moore, and Chroma Key is something that surprised the hell out of me. I had no Idea I would love this music so much, or so quickly. It's not what you would expect when you hear the name 'Kevin Moore', but please don't allow that to ruin your opinion of this work. It's really quite refreshing, and while much more focused on mood and atmosphere rather than complex song structures and the like, it doesn't make it any less innovative, progressive or enjoyable.

I'm giving You Go Now a 3.8 out of 5. It's worth trying out if you like smooth, jazzier Space-Rock stylings.

Happy listening.

After the surprising Dead Air for Radios, Chroma Key's second album continued in the same style and sound. It's not that I was hoping for a style change, but the song quality suffers a bit from too much sameness, mainly due to the static mood of the pieces.

The album takes a tremendous start though, Get Back In The Car is such a pure and touching piece of melancholic trip rock that instantly sets me into 5 star mode. Moore is brilliant in mixing space rock, post rock, soft jazz and electro into his own unique type of lounge prog, for lack of a better name. Another Permanent Address is very similar but less compelling. Also Astronaut Down dwells in the same space and with a much better result. Great song.

More nice surprises come from two very atmospheric tracks. Nice To Know and the instrumental Lunar. Also When You Drive melts the trip hop of Massive Attack into deliciously lazy soft jazz. The remaining tracks, Subway, Please Hang Up and You Go Now don't do much for me.

I think that a greater diversity in mood and some progression from the previous album might have made for a more inspiring listen. On this album I miss the sweat of an artist challenging himself. Nevertheless, it's a good album with many strong tracks.

Kevin Moore's second and final solo album after leaving Dream Theater and Fates Warning--before the launch of OSI. It is, like it's predecessor, quite laid back and richly atmospheric. Obviously, Kevin has been impressed and affected by the manned space missions accomplished since the 1950s. Also, he is very much enjoying building songs around media voice samples.

1. "Get Back In The Car" (5:05) nice sleep-inducing fare. The vocal performance is, for my tastes, a little too laid back--almost as if he does really care. (8.5/10)

2. "Another Permanent Address" (5:05) a little more up-tempo, this one has a piano base that sounds like Bruce Hornsby. The vocal here is more engaged, the lyric a little more engaging, than that of the opener. Nice choruses and nice gentle piano solo in the instrumental section. (8.667/10)

3. "Nice To Know" (4:31) a slow, plodding, dramatic pace and CURE-like low-end leading soundscape supports Kevin's vocal. Too bad every vocal is fed through the exact same effects boxes; being a keyboard master, he obviously has choices of how he'd like his voice to sound. Still, it is one of the more interesting vocals on the album. The song has some cool heavier chords/sounds in between the vocals as well as an overall cool vibe to it. A top three song for me. (9/10)

4. "Lunar" (3:14) opens with TV anchor's news about an Apollo mission then piano with actual voice tapings of Apollo 11 astronaut and Mission Control intercommunication. Nice jazzy tropical outdoor lounge music in support. (8.667/10)

5. "When You Drive" (5:27) another vocal sample--this time from an Indian man--giving relaxing yoga-like driving lessons. Another vocal sample of a young girl singing in a foreign (Southeast Asian) tongue is used as well. A song with a nice groove that could fit well on one of the Buddha Lounge collections. I like it very much ... I'm just not sure how proggy this is. Another top three song. (8.75/10)

6. "Subway" (4:37) Vocoder Kevin sings over World Music / Buddha Lounge music for the first couple minutes until at 2:26 a heavy synth chord ups the intensity of tension for the following Peter Gabriel-like electric piano solo and then finally takes over and dominates for about a minute before VK rejoins. PG piano and African-like drums to end. (8.667/10)

7. "Please Hang Up" (1:59) weird, wobbly little thing that also reminds me of 1980s Peter Gabriel. Cute editing of the automated telephone operator's vocal. (4.25/5)

8. "Astronaut Down" (4:56) cool song using a nice, driving musical base over which astronaut samples are mixed with Kevin's effected voice and Peter Gabriel-like Fender Rhodes. Nice little synth solos starting at the end of the third minute and then, the second, later--all beneath astronaut chatter. My final top thee song. (8.75/10)

9. "You Go Now" (4:23) nice almost ambient Fender Rhodes-based electronica within which odd spacey sounds and vocal samples are woven. (8.75/10)

Total Time: 39:17

A very pleasant, unoffensive, often engaging if soporific album listen. While I do enjoy Kevin's use of media samples woven within the song structures, I just wish he would employ a little more dynamic diversity.

B/four stars; an interesting and enjoyably dreamy journey into the mellower side of former Dream Theater keyboard artist Kevin Moore's creative brainspace.