GREAT ESCAPES

German multi-instrumentalist Frank Bossert released a stunning third album in 2013, depicting the tragic arctic Shackleton expedition and was well-received and applauded upon its release. My review wished to highlight the glacial mood, the windswept gloom and the despair of those who knew that they would perish, frozen. The overall atmosphere played a huge part in the enjoyment of this work. Total change of focus for this one, as Frank felt an urge to return to more song-oriented material, and thus create a more personal musical statement. The man has experienced the shameful injustice of being forced to fight the legal battles to see his only child, a rather unjust yet still way to common occurrence that defies understanding and causes the most unholiest of pain. Partners that once mattered can turn into the vilest of enemies. This is not quite a concept album like 'Shackleton's Voyage', but still strings together some clever compositions that are all intertwined in spirit if not in content. The artwork is absolute first class, a collision between nature and human achievement that depicts the adventurous nature of life and the need to escape the dreary routine and enjoy what our planet has to offer.

RPWL mastermind Yogi Lang has been recruited to assist in mixing and his neo/Floydian pop feel is everywhere to be heard, guiding Bossert into the realm of personal songs that have meaning for more than just the artist. After a short introduction that hearkens back to the icy Shackleton opus, 'Animated World' nods closer to Rush, what with the slashing guitar, the looping bass and madman drumming, all very identifiable, including a vocal delivery similar in style though not necessarily in tone. The lyrics are about the mania that compels naive and frustrated youth to delve into the lowest forms of apathy and video game carnage, thus 'he left the house with a fatal mission, out to the sun with a gun in his hand'. The recent Winnenden mass shootings come to mind. Gulp!

The tragedy of an abducted child is a horrible nightmare that any parent would dread. Sadly, it's not purely the domain of the father to be the culprit but, now more than ever, the victim. PAS (Parental Alienation Syndrome) is a problematic sign of the times that needs more attention than ever. The insanity of such an abduction of body, mind, spirit, love and conscience is truly deplorable and is understatedly expressed on 'Stolen Child'.

Next up are two basic rock songs that are short and to the point, with quite limited prog leanings. 'One Million Stars' is another existential critique, a woeful essay on the technological apathy that governs our dreams. The song is straightforward musically and the message is bold. The brash 'State of View' is a typical pop-rock song dealing with urban alienation and social dysfunction, armed with a slashing guitar solo and a bruising pace. Just as a slight tinge of disappointment kicks in, the progressive quality suddenly surges through the clouds and a string of amazing pieces follow one another, until the finale. The 6 minute + 'Chasing the Dream' is a progressive recounting of Lindbergh's mythical Trans-Atlantic solo flight and serves up some fine atmospherics, with slick bass fingering the way ahead. The slick guitar work hints at Andy Summers, stinging (oops, excuse the pun!) chords and clanging thrusts fluttering amid the storm sheets of rain.

Shorter track but quite pleasant is 'Escape! ', a bass-fueled mini-romp, at first very rocky and very rolly , steam pressed with some dynamic drums and an anguished axe solo, a real highpoint that shows off Frank's instrumental talents. Too bad, it's so brief. More please! The expressive 10 minute+ 'The Big Picture' is undoubtedly the album's core, a truly epic adventure that does propose the big picture if you will, the extended guitar and Frank's synth soloing giving the necessary room for dreaming and adventure, grandiose and expressive , heartfelt and personal. Airport drama effects sling the voice into action, cutting guitar in unison and lots of dynamic choir voices to enhance the depth and resonance.

The brilliant 'Solid Ground' is light but intense, bolstered by a lovely main melody and truly astounding backing vocals and choir work. The oozing axe solo is gorgeous and the ultimate feeling is positive, despite all the pain previously expressed.

A fine personal effort from a consummate musician, leaning more towards the poppier side of things, more commercially accessible than most artists being song-based above all. 'Shackleton' remains a favorite still, though.

4 Vast emissions