ATOMIC SWAP

I was very surprised to hear that Timelock intends to release another album this year. Their last release came out less than a year ago and it would seem that after its release there would be some break, some tour, some promotion... And yet the first press announcement of this album sounded like this: "(...) The new album contains a collection of 10 newly recorded songs, each of which tells its own story. However, what really sets "Atomic Swap" (title of the new album - note by R.P.) apart is the detailed exchange of ideas that took place between the eight musicians who make up Timelock, resulting in an album that embodies the essence of true collaboration. Each of the ten songs on "Atomic Swap" serves as a storytelling tool, taking listeners on a captivating journey. Whether you are a long-time fan or a newcomer to the Timelock sound, we promise that this will be an album that will affect you."

The title itself ? "Atomic Swap" ? is intriguing and denotes the concept of atomic swaps. "(?) Similar to the world of cryptocurrencies, where the exchange of digital assets is revolutionized by a time-locked smart contract, known as "atomic swap," Timelock invites you on their own musically transformative journey. The result is an album that reflects the fluid and secure nature of blockchain-inspired transactions" ? this is the explanation of the album's title posted by the band on their website. Will you agree that on the one hand it sounds intriguing, and on the other? hmm, incomprehensible? But please do not be discouraged, I will not delve into the nature of currency transactions in this description, nor encourage you to take a detailed interest in this subject. Let's take a closer look at the musical content of this (I guess it should be said in modern terms) silver disc.

"Atomic Swap" is chronologically the eighth album by Timelock, a band that has existed (with short breaks) since 1992, when their first album, "Louise Brooks", was released by the now defunct but then dynamic record label SI Music. Before going on hiatus, they managed to release one more album - "The Dawn" (1994) and their next release had to wait until 2002. Then the band disappeared into the depths of musical silence again and reappeared in a new, five-person line-up, releasing the album "Buildings" in 2008. Another four-year break brought another line-up change. From a quintet, the band transformed into an octet, and its new members were two vocalists - Coby van Oorschot and Laura Eradus. With an eight-person line-up, the band released two more albums - "Sygn Yn" (2022) and "Contemporary Vintage" (2023). This new tradition of releasing records 'year after year' has resulted in their latest work ? the sixty-minute album 'Atomic Swap'.

The album begins with the three longest compositions - the eleven-minute opening track "Inuit", the almost eight-minute "Stranger Within" and the almost ten-minute "Baychimo". Their common feature, and a feature of the entire album, is the participation of three vocalists. The band consists of: Martin Hendriks (guitars), Julian Driessen (keyboards), Arjan van den Bosch (orchestrations, piano), Rob Boshuijzen (drums) and David Guurink (bass guitar). The vocal side of the individual tracks is handled by three vocalists: Ruud Stoker, Laura Eradus and Coby van Oorschot. This creates an unusual image: three vocalists, two keyboardists, a guitarist and a rhythm section. This allows the band to generate a really clear and audible musical power.

Timelock is not afraid of very strong and distinct keyboard solos, which add expressiveness and strength to individual compositions. Music reinforced by the vocalists' voices attacks the listener in a strong, yet pleasant, way. There is no room here for whispers and calm plunking of instruments. From the first second we are dealing with a strong guitar supported by the rhythm section, which, combined with a very distinct keyboard tone and emerging orchestrations, creates a highly energetic wall of sounds for vocal performances. The main vocal lines are given to Ruud Stoker, but both vocalists can also be heard perfectly. If we want to compare the band's music to some other rock group, the closest association will probably be the Canadian Saga, although in all the above-mentioned songs we will find elements from well-known European rock music.

The next compositions are 'typical' five-minute songs. Like the first three, they too (with the exception of the song 'Lost In Your Mind') are based on a strong rhythm, bombastic keyboards and a distinct guitar. 'Lost In Your Mind' is a certain exception. Firstly, it is a ballad, a bit calmer, gentler. Secondly, we have a change of lead vocalist ? Laura Eradus takes Ruud Stoker's place and? she does a good job. Despite the ballad tempo, the whole song is a decidedly sonically strong song, which draws the listener in from start to finish with its arrangement based on the opposites 'strong/gentle'. Please listen to the beginning of the song 'Artificial Intelligence (Akili Ya Bandia)' with its slightly oriental opening melodeclamation in Swahili or the earlier composition entitled 'Universe' with its gentle synthesizer theme.

The seventh track in the sequence is "A Passage To Rapa Nui". It begins with an instrumental introduction lasting over a minute. Timelock is not afraid of such arrangements. "Until Darkness Calls" - a nice rock track with alternating female and male vocals. However, you may have a certain 'problem' with the track "Watch The Crime (Do We Care)". I am not sure if the initial instrumental part did not make me think of bands like Mystery and similar ones.

The last and shortest track on the album is the instrumental, three-minute ending of "Insomnia", which allows to show the technical skills of all the band members. Yes, it is still, like all the songs on the album, a very decisive arrangement, strong and rock. There are still no long stretches or slowdowns here.

Who is this album for? For all those looking for songs with a decidedly strong rock provenance. The power of synthesizers and guitars gives the album a slightly symphonic dimension, and the vocal trio really does a good job of creating atmosphere. This is not an album from the series of atmospheric, sad or deeply moving. It does not stir up any deeply hidden associations or experiences. However, it gives something very valuable: the pleasure of communion with decisive, defined and strong music that sets the foot in motion and delights the spirit... of the one searching for nice, progressive sounds.

"Inuit" starts atmospheric, S-F, a neo-prog keyboard, Arjen at the controls, Ruud on vocals; its fat heavy prog metal, very fat, captivating and reminiscent of ARENA; Icelandic break for the Inuit voices, the progressive, solemn atmosphere, choirs of Olympus. The emphatic, grandiloquent restart with sampled trumpets, energetic rhythm and keyboard solo; aerial finale that rocks. "Baychimo" fat synth intro is the word, on COLLAGE with Genesisian hints, the rhythm guitar recalling SAGA. The riff on good energetic prog metal, ARAGON and KNIGHT AREA for the atmosphere; nostalgic, symphonic neo from yesteryear. Quick break with sonar then the keyboards come back, frenetic, hard rock with Martin on guitar; vocal choir of Laura and Coby for the phrased outro. "Stranger Within" and the arrival of witches, on "Harry Potter"; the keyboard in a cathartic wall, the latent atmosphere, the enjoyable progressive instrumental. The nervous and haunting guitar guides the air; the keyboards round off the metallic angles, very/too fat, pregnant. An acoustic arpeggio slows everything down, the time to hear Ruud whisper, between singing and phrasing. Solo guitar variation launching velvety, fluid keyboard notes, exploding from a musical crater in fusion. This plus these keyboards and the heavy tone of electric ARAGON "Mouse" period; seaside finale in aerial fade.

"Lost in Your Mind" with Laura vocal in basic air, highlighting her bewitching vocal power, reminiscent of Hayley GRIFFITHS. A mid-tempo on a latency with the melting Moog and the dreamlike crescendo; solemn final piano. "The Universe" begins the last short, calibrated titles, fast intro, easy chorus, so as not to waste time. A melodic AOR piece with the little progressive break on the synth. "Artificial Intelligence (Akili Ya Bandia)" contradicts me, five minutes of solemn, military intro; a title narrated more than sung, monolithic with another prog metal air, on the overboosted MYSTERY. "A Passage to Rapa Nui" same modus operandi, high-pitched vocal, Teutonic prog metal rhythm, with its hard rock solo, astonishing with the velvety keyboard behind. "Until Darkness Calls" bis repetita, consensual air, dated pop rock chorus, nostalgic, energetic but redundant, with Julian's keyboard filling the ears. The whispered voice disturbs or helps to go on this fruity S-F journey. "Watch the Crime (Do We Care?)" opens with a grandiloquent symphonic sound; piano in variation with the fat keyboard, the one that bewitched the ears during the 80s, the sound is affected. The theatrical voice smells of ICE; very rock pop. "Insomnia" in the end, a rhythmic instrumental piece with its Dantesque keyboard solo, twirling and vintage to the end of the synth keys.

TIMELOCK offers a neo-prog narrative album with a heavy rhythm, a softer THRESHOLD with a heavy guitar and invasive fat keyboards, PALLAS more nervous. Three great excellent titles followed by the other melodic ones lacking a little soul. A pleasant sound journey agreed. (3.5) Origin on Progcensor.

Lead singer Ruud Stoker and keyboard player Julian Driessen may be the only people still there from the line-up which released 'Louise Brooks' all the way back in 1992, but since the new line-up got together a few years back they have been incredibly consistent with this the third release with the same musicians. The only minor difference is that backing singer Laura Eradus has been allowed to take the lead role on one song, "Lost In Your Mind", and I would really like to hear more of that in the future as she is full of confidence and power, somewhat similar in some ways to a young Tracy Hitchings, although more in approach than sound.

I haven't heard the last album, 2023's 'Contemporary Vintage', but I did review 2022's 'Sygn Yn' and there is no doubt in my mind there has been a significant positive shift since then. Here is a band who have never moved too far away from their Neo roots, often mixing them with a more AOR flavour, and in many ways, this takes me back to the 90's when they were on SI Music (along with loads of other great bands, I do miss that label). One could argue they have not progressed much in their musical tastes, yet there are few bands who can really say to be ploughing this particular musical furrow as they have often moved into very different areas indeed, so it is nice to see a band sticking with what they know. No, it is not truly essential, but at the same time it is a very pleasant prog album and while never earth shattering is something which the listener can play and enjoy first time through without working too hard and there are times when it is really nice to be able to do just that.