UP CLOSE AND PERSONAL

Two years after the release of the debut TDW album, Dutch teenage prodigy Tom de Wit returned in early 2006 with a second album. Once again, he undertakes much of the work himself, although he does again call upon Ramon de Wilde to help out on guitar. He also brings in a couple of other contributors, including violinist Christine Reurink. The entire album was released as a free internet download, and remains available today via the official website.

In a deliberate attempt to challenge himself beyond his comfort zone De Wit decided that this album should explore many different styles and genres, resulting in a collection of great diversity. The opening "Surface Scratching" is certainly rooted in the harder rock which was a feature of the debut, but the production shows a new sense of ambition. The track has hints of Porcupine Tree (especially in the distorted vocals), although the guitar work is bluesier and the overall sound lighter. For a sub-four minute track, it certainly packs a lot in.

"The Mourning After II" sets of with a Sabs like riff, but the keyboard backed vocals offer a contrast not generally present on albums by the band. The track mixes heavy metallic moods with melodic vocal refrains. "Jimmy" is a heavier drudge through a rather muddled affair. The keyboard sounds give the track some colour, but for me this is the album's weakest track, musically and lyrically.

"Number 7" alters the mood completely, with a symphonic instrumental played out on keyboards. Here the feel is that of old Hammer House of horror B-movies. "The Curse From The Woods" retains the cinematic style, but this time through an acoustic instrumental with orchestral overtones. Here, solo violin adds welcome new colours to the sound. The following "Fearless Speeding Maniacs" is a brief disposable indulgence featuring Andreas Jongeneel on Pots, Pans and Kitchen sink.

The bizarrely and rather inconveniently titled " :' " (the lyrics refer to "double point, apostrophe-a, Heading for Catastrophe-a") reverts to a style which resembles some of Porcupine Tree's earlier less structured works, the improvisational nature of this piece being the loosest De Wit has permitted himself to be up to this point. The album closes with the instrumental " Octave in 3", an ambitious multi-part 8 minute suite featuring a variety of keyboards and guitars.

I know when assessing music one should remain dispassionate about the protagonist involved, and focus on the quality of the results. It is though difficult not to constantly listen in wonder at the talents of one so young. De Wit was still under 20 when he recorded this album, yet it has a maturity and sophistication others twice his age can but aspire to. The diversity of sounds and styles may in reality be limited, but there is still plenty of scope here for De Wit to explore new avenues. We can only hope that this great young talent continues to develop and bring us music of such high quality in the coming years.