REDEMPTION

How to evaluate a subjective human expression such as music? This is a very complex subject, and in benefit of synthesis, I'll make a very simple and partial approach to it. If you think of music by its quantity, you'll measure the songs by the number of harmonies (or of complex harmonies) and/or instruments present on its execution. I do observe that many listeners do absorb what they hear mainly by these criterions. But I also do notice a bunch of folks that consider the quality of the harmonies, at least as much as the quantity; or even more than the quantity. Now you must be thinking: what does this have to do with this album? Ok, then, I'll go straight to the point: here, quality is the mark, much more than quantity. I'm not saying in advance that this release has a high standard quality (it has, most of the time). What I'm sating is that you won't here complex harmonies and constant changing of key signatures and arrangements, but the tunes, phrasings and singing are very immersive. Before jumping to the album's review, let me give some examples of songs where quality defines them: Rush - The Trees; Yes - Soon; OK Goodnight - The Raccoon (and the Myth).

One of the peaks of this work are the performances on the acoustic guitar. There's even a track - the 4th - that has only this instrument. And it's wonderful. Another highlight are the vocal harmonies, very elaborate and sophisticated. On my first hearing the tones of the singing didn't please me, but that quickly changed on further auditions, because I could pay more attention to the versatility they develop on this topic, along the record. Besides, I appreciate another characteristic of their vocals: the originality. This is because most neo-prog albums that I'm aware of usually show difficulties to detach from other known singers. To say it directly, generally they look similar (in a negative way, IMO) to Peter Gabriel, Fish and/or Phil Collins. On this album this is definitely not the case, fortunately. They have their own style, and when it seems to some other vocalist, it's not excessive.

The first track is centered on a phrasing, initially assumed by the piano, and therefore executed by the synth and other instruments. Looks boring, huh? Not for me, because of their ability to make great changes on arrangements and also for the very fluid and consistent way they exchange and combine instruments along the composition. Notwithstanding, on the half of the song, they go for other phrasings and ideas, what brings more richness to the song.

The rythmic section of the next track starts quite exaggeratedly simple, but delivers good vocal interpretations and arrangementt. Guitar is a bit more heavier, turning it to a more enjoyable performance. Not so far, harmonies become more interesting and dynamic. Nothing brilliant, but at least its attractive and genuine. On its last third part they assemble with a lot of intelligence the previous ideas, delivering remarkable musicality.

The introduction on the 3rd song has a cheesy riff on the piano/synth, with the poppy tunes on acoustic guitar, and a what-a-marvelous-world vibe on vocals... what can I say? Tedious. It's a tough one to hear. But don't give up, because on its last third they get phantastic. Almost saves the composition of being the less inspired of the album.

Very serene and inventive tunes, combining perfectly rythym and melody, are made by the acoustic guitar on the next track. This kind of music is one of the proposals from 70's prog rock that I truly miss on contemporary Progressive rock. It's very nice when sometimes an acoustic yet elaborated song comes along. Outstanding!

Some brief psych noises give the start on 5th track. Soon some very intense and lusty harmonies are executed, with excelent phrasings on drums and a penetrating guitar. Vocals fit incredibly well, and synths contour gently and emphatically the other instruments. Later on, great piano tunes find its space on the composition. On this point the listener will probably conclude that this is the most complex song of the album, and he's right. There's a lot of changes on arrangements, cadences and on what instrument(s) take(s) the leading role. Coherently, this is the longer track, with 11min. Closer to the end, they add some pompous parts.

The concluding track is very short, less then 2min. Starts very intense and fast. A killer execution on keys and guitar. Suddenly it becomes very slow. This transition is strange, doesn't fit. Another track less stronger.

Musically I'd give them a 3.8 stars. But in face of the fact that they emphasize on quality rather than quantity, something I miss a lot, I'll raise them to a 4.2.