IN THE REGION OF THE SUMMER STARS (1984)

Well this is one of the most surprising albums by The ENID, the most underrated band from the UK, able to create a personal style regarding of the symphonic orchestrations and their theatrical acts as well, which represented an important reference for a lot of progressive bands all over the world, in the late seventies/early eighties. This is the reason for which I like to give this work the maximum score; otherwise it is not the only one!!

Highly recommended!!

The CD reissue of the original Buk Records vinyl LP has limp, lifeless re-recordings of the best tracks (maybe all of the tracks; as soon as I listened to the two tracks I really liked, I didn't bother with the rest). The bonus tracks were uniformly mediocre. Fortunately, I found a copy of the LP at the Austin Record Covention. I've been trying to sell the CD for years, but I still haven't been able to unload it!!!! The two tracks worth hearing are "The Sun", which is marred by an overblown ending, and the title track, which sounds like a great lost Hackett-era Genesis instrumental track. Other than that, you've got some blatant rip-offs of familiar classical themes and pomp-rock cliches. Three stars for the LP.

Reading the many reviews on Prog Archives about this album I noticed that one person concluded that the CD reissue of "In the region of the summer stars" is a lifeless result. Well, I own the original LP and my conclusion is that this CD re-issue is NOT a lifeless effort! The shifting moods between the fragile piano play and the frequent bombastic eruptions are very well re-recorded, the interplay between the fiery electric guitars and the orchestral (Wagner-like) keyboards sounds very well and the instruments like assorted percussion and the new recorded bass work sound clear or warm, the producers have done a great job and justice to one of the most original progrock recordings ever. IF YOU LIKE UNIQUE AND DYNAMIC, CLASSICAL INSPIRED PROGROCK, THIS ONE IS FOR YOU!!!

This is one of those few albums that I would say is actually perfect in all respects. Robert John Godfrey turned his back on a career as a concert pianist to pursue a 'rock' career, and I'm glad he did. Since 1976, The Enid have given us a number of excellent albums, but this, their debut, has to be their best. This instrumental album plays out like a classical work, mixing real orchestrations with rock guitar, drums and synth. The lead guitar work of Francis Likerish is second to none, and sits very comfortably alongside the classical influences and references (listen out for variations on Deus Irae & Ravels Bolero) The music builds and subsides, throughout. Some pieces flow into one another and some don't, but overall there is a wonderful sense of continuity and flow which contributes towards this being one of the most atmospheric, melancholic and dramatic prog works I have ever heard.

There are no low points at all IMO, but in pointing out the absolute hi-lights, I would have to say that the opening 'Fool' and 'Tower of Babel' set the scene perfectly; with ambient water sounds and grand piano, giving way to a harder edged and dramatic, yet measured, rock feel for 'Tower of Babel' 'The Loved Ones' is a soft evocative piano dominated piece, leading into the darker half of the album, where the music moves away from the melancholic and more towards the sinister, through tracks like 'The Demon King' and 'Judgement'

The CD is actually a re-make of the original album. Legal problems with their old record label left Godfrey & co having to re-record the drums, and various other parts in the early 80's. I have never heard the original album, and I'm profoundly jealous of anyone who has. This re-make however is superb and highly recommended for all lovers of symphonic prog. I've not heard much better than this to be honest.

This one is way to orchestral for my tastes. Even my wife upon hearing this suggested if I like this we should go see Phantom of the Opera. I immediately changed the cd (haha). It sounds like soundtrack music at times and it is all instrumental.

The first song "Fool" opens with ominous piano and features trumpet and sampling. "The Tower Of Babel" is a good uptempo, bombastic song with guitar and drums leading the way. "The Reaper" is a relaxed, mellow song with strings for two minutes before the volume increases and it sounds like a movie soundtrack. It gets calm and loud again before it's over. "The Loved Ones" is serene and pastoral with piano and strings and it builds towards the end. "The Demon King" has prominate drums throughout, and the main melody is really good.

"Pre Dawn" is a short trumpet tune. "Sunrise" features trumpet, strings and cymbals. "The Last Day" is quite pastoral until 3 minutes in when heavy drums with orchestration come in. Again it sounds like a movie soundtrack. "The Flood" opens with samples of water and trumpet sounds. "Under The Summer Stars" is a song I actually like a lot, it's spacey at times,and features some good guitar and drums. It blends into the next song "Adieu" that has a lot of piano melodies. "Judgement" is another good one that is dramatic at times with guitar and mellotron coming in before the 4 minute mark. "In The Region Of The Summer Stars" sounds like a reprise of "Under The Summer Stars" with a spacey FLOYD feel to the synths. Then 3 1/2 minutes in the guitar and drums sounds great.

I know most people love this record, and as much as I can appreciate parts of it there's no way I could give it even a 4 star rating. It's good but not essential.

Majestic orchestrations and sweeping crescendos become an emotional soundtrack

My first listen to The Enid began with this album and I was quite surprised at the musicianship and the structure of the songs. There is a full on orchestral feel to these tracks and essentially you may be mistaken for an actual movie soundtrack such is the orchestration and mood swings of the music.

'Fool' begins with a staccato hammering piano chord and then some gentle piano follows, though it has a threatening edge, an ominous looming shape, as if something is creeping up from behind. This is soon joined by the effects of water and a perhaps a porpoise. The trumpets resound adding a majesty and there is a low droning. Welcome to the world of The Enid. It is unlike any symphonic I have heard in a long time and this may take some getting used to. The instrumentation is designed to evoke specific moods.

When 'The Tower of Babel' chimes in there is a foreign sound, perhaps Eastern and even a galloping guitar motif, reminding me of someone galloping on horseback through a steaming desert. The Egyptian style music helps to enhance this imaginary scene. There is a lot of musicianship here and this band is obviously virtuoso when it comes to structure and control of instruments that fade in and out at appropriate times. When it is inspired like this track, it is complex and magical. I would rate this as a highlight of the album.

The inventive music continues on 'The Reaper' that begins with a church pipe organ and a violin style pad. A melodic clean guitar picks a nice tune. It is very much like the music found in a melancholy moment in a romance movie. The chiming bell is an ethereal sound, tolling in death, as a crazed bass drum echoes thunderously and a crescendo of strings rises up. An intriguing track with many mood swings and emotional resonances. The overall feel of mystery and intrigue is essential to the music.

'The Loved Ones' begins with minimalist gentle piano and soft strings. Romantic, sweeping and emotive piano and strings follow and draw in a listener if they are prepared to immerse themselves. It is like the style of composer Rachmaninov.

'The Demon King' begins with a flight of eerie piano and a chilling heavy motif. The guitars are great on this and the heavier treatment is welcome after the lulling previous song. This has some shimmering Hammond and wah wah guitar to create the sense of impending dread. Perhaps reminded me more of Therion in a sense though there is no metal. There are some cheeky melodies adding a humorous edge but this is darker than previous material on the album. A definitive highlight.

'Pre-Dawn' and 'Sunrise' begins with a lone pastoral trumpet presenting the theme of dawn approaching is heard. This is joined by gentle music that is sleepy and dreamlike. The flute shrills and runs are well executed, as are the sweeping violins.

'The Last Day' features an estranged Bolero rhythm similar to Ravel in a sense. The tune is recognisable to those familiar with classical music. It begins slowly and softly building to the crescendo of trumpets and drums that crash fortissimo. It segues into 'The Flood' where there are musical shapes of allegro and adagio, light and shade throughout, and it builds to a rousing finale where a synthesizer and guitar are accompanied by flute, trickling harp and waves crashing on a beach. The balletic Bolero style of these pieces are music of mounting intensity, an orchestrated crescendo, a wonderful piece of music.

'Under the Summer Stars' begins with a zither twanging and a flute, joined by an off beat drum rhythm and swells of guitar. A very different piece to previous tracks. The guitar dominates with violining and picking expertise. The flute is a mystical sound, the mellotron is strong and the melody is infectious when it locks in. It is a bit like Pink Floyd and has a spacey guitar to give it the serrated edge of dark prog. Another highlight that draws this album to a close.

'Adieu' blends seamlessly from the previous track and is a farewell piece. The piano is played with nimble fingered dexterous flourishes. A synthesiser echoes the tune and a harp brings a majestic touch. And so it ends on a quiet lulling note, like the denouement of a movie.

Final words are to steer clear if you are not a classical music fan as this is genuine classical music with very little rock. The Enid had not introduced singing at this early stage but it was the beginning of great things to come. It is a nice piece of music on the whole but I can see how this will not appeal to everyone. There are moments on this that are fantastic but overall it is not something I would return to often in the same way as I have with Pink Floyd or Rush or Dream Theater, but The Enid deserve at least 4 stars for musicianship and innovation on this album.

Mention the description "60's rock band pioneers orchestral rock music" through extensive use of supplementary keyboards" and even the most casual rock music fans might reply "The Moody Blues". But ask which "70's band took orchestral rock to its ultimate and logical conclusion" and they are likely to have no idea what you are talking about. Too bad. They also have no idea what they are missing. They are missing out on "THE ENID". Robert John Godfrey's band here reaches the pinnacle of orchestral rock. Quite literally, this music is more symphonic than 99.9% of everything labeled as "symphonic prog". And it is not hyperbole when I tell you that I'm not sure whether I underestimated that assessment by about one-tenth of a percent!!

Because music of this nature from a drum kit, bass guitar, electric guitar and various keyboard overdubs is so unheard of, reviewers often seek out comparisons such as "film soundtrack" and "classical music". While these reference points are certainly useful and valid, I'd like to take a moment to call to your attention a couple ways in which THE ENID significantly differ from both of the aforementioned.

Film (Soundtrack)

Film soundtrack music is often much more incidental than it is expositional. This is to say that mood is of primary concern, far more than melodic invention or development. Removed from its pictures, much film music is unbearably tiresome. (This is not always true, but it often is.) In contradistinction, THE ENID's pieces are very concerned with melodic motifs and developments of those motifs. At times, counterpoint is employed to "sneak" the motif in again while a new one is introduced. This is high caliber composition that would be somewhat wasted on a soundtrack. (Some soundtrack compositions employ such subtlety, but not many.) This music unabashedly demands the attention of the listener, crashing in with loud guitars, synthesizers and drums whenever and however it wishes. It is "foreground" music, not background music. It was composed with the intention that one would "listen" intently and musically.

Classical

Despite its rich sophistication, this music is generally a little more melodically accessible than most classical music. Its 'payoff' comes to the listener a little faster. Rhythmically speaking, the rock drum kit provides opportunity for a power and immediacy unique to rock music. In my experience, on the rare occasions when orchestras attempt to integrate rock instrumentation, they rarely "mic" the drum-kit adequately, resulting in a very "watered down" presence. Not so with THE ENID. Timpani style drumming is used when appropriate. But when the rock drummer rocks, we get to hear the drum kit. When the guitarist cranks out a powerful lead, we are allowed to feel the power.

Lest I leave the impression that classical music are the only elements here, there are plenty of rock and jazz elements melded to the orchestral throughout the album. Atmospheric chimes and electronic synthesizers give way to a beautifully accessible guitar melody line on "The Reaper". On the final tracks, weepy guitar breezes over a rhythm section that could have been lifted straight from a Steely Dan album. A majestic rock guitar solo ensues. Mild orchestral beauty seems to prevail when suddenly a powerful electric guitar, bass guitar and rock drum combo emerge to make their presence more mightily known. Truth be told, when rock elements emerge like this, they are more compellingly powerful to me than the hyperactive exhibitionism of thrash or speed metal (although admittedly not as sinister) due to their dramatic contrast with the elements that preceded it.

This is a challenging album only in as much as it invites the listener to expand their musical horizons. Some rock fans simply do not want to learn to appreciate truly orchestral and symphonic music from a rock band. Whether one personally enjoys this musical style is secondary, however, to the undeniable fact of how monumental this achievement is for a rock band.

The Enid = the Bachs of Rock?

Probably not, but they may be the closest I have heard as of yet.

I have mixed feelings about this album. On one hand, I love this kind of music, and I certainly appreciate the guts it takes to make it, because there are a lot of ways for it to end up sounding cheesy or even incoherent. On the other hand, it seems that the Enid aren't sure which type of music they are going for: classically-inspired rock or classical music that rocks. I happen to think they are much more successful with the latter, most of which can be found on the second side of the album.

Side 1. These songs are more like singles, as in short impressions of a theme or idea. Aside from the soothing, Rachmaninoff-inspired Lovers, the other three songs could easily have been found on Hackett's Heirophant. There are plenty of good musical ideas here--and well-played too--but the songs don't really hang together well, as there seems a constant shift between relatively straight-forward rocking and more classical structures.

Side 2. This is where the Enid really shine and create something unique and majestic to my ears. The Sun includes a beautiful build-up to a tympani-slamming finale, with a wonderful lilting theme in between. This is just a teaser for final 15 minutes, which for me includes some of the very best classically-influenced music with rock instruments that I've heard. In addition, you can hear bits that refer to their influences, such as the 1812 Overture and Mars (great effect with the tympani!). If you're going to be inspired by something, it might as well be some of the best (or at least most popular)! I love the variety of instrumentation, guitar effects, and awesome, sweeping crescendos to be found throughout these pieces.

In short, the A side is largely 3-star material, and the B side is certainly 5-star stuff for me. That reasonably averages to a 4-start album. If you like instrumental, classically influenced rock--as I do--you can't do much better!

This is an album which inspires a lot of "Ifs" from me. If it had just been released a few years earlier... if the Enid and their mastermind Robert John Godfrey hadn't had such a turbulent career... if they hadn't been forced to re-record the album for CD reissue for ridiculous legal reasons... if any of these factors had been different, I wonder whether we'd regard the Enid as one of the top-flight prog bands of the 1970s. They might have had a shot, since they are one of a select group of bands - such as Genesis, Yes, King Crimson, or Gentle Giant - who could say that they carved out a style in the 1970s which was uniquely their own and could be instantly recognised as such.

Quite simply, no other band quite managed to bring together a combination of classical music techniques and styles, high-calibre technical proficiency and musicianship, and emotional breadth and depth as the Enid - and it's the emotional aspects of the music which are given priority. From the playfulness of the Fool, to the fear evoked by The Last Judgement or Death, to the warmth of The Lovers and The Sun, the compositions never fail to evoke an incredible depth of feeling that other bands of the time sometimes struggle to convey - and all without saying a word. At the same time, the emotiveness of the album itself can tend to shift in a rather saccharine-sweet direction, to an extent which I find becomes grating on repeated listens.

I highly recommend seeking out the original version of the album - I first heard the rerecording, which left me cold, but the original opened my eyes to what the Enid could do. Supposedly, Godfrey intends to do another rerecording, as part of a project to produce final, definitive editions of all the Enid albums; I'd be interested to hear how that turns out, though for now I will enjoy the 1975 version, vinyl hiss and all.

One has to wonder what might have come of the Enid, and of symphonic progressive music in general, had this album been released around 1972 instead of 1976.

By 1976 of course symphonic rock had been largely banished to the vinyl collections of stoners and the dusty shelves of used record stores (God bless those old shops!). Many believe (myself included) that the overly grandiose and self-indulgent excesses of Yes and ELP earlier in the decade were largely to blame for at least some of the waning popularity. The Enid by comparison demonstrate all that is truly wonderful about symphonic rock in an album that is both beautiful and quite accessible, even to the neophyte or undiscerning listener. The compositions on this album are well-developed, beautifully and logically sequenced, and most importantly not excessively pompous ala 'Tales from Topographic Oceans' or even 'Brain Salad Surgery' for that matter. Not that those aren't wonderful albums ? they are, but Lickerish, Godfrey and company manage to deliver their version of classic prog in a way that invites both rock and classical fans alike to share in its magic. It's kind of like pop-symph-prog, if that's in fact a genre.

I guess there were a couple of CD reissues of this record that are less than stellar; I don't know much about those but have read enough to steer clear even though copies can be had quite cheaply today. The new EMI remastered release (which you can listen to on the band's website while waiting for your preorder) is apparently a reissue from the original master tapes though, and for my money well worth the time and expense of adding to your collection.

Robert John Godfrey's keyboard work is stellar throughout, crisp and well-articulated while seamlessly gliding through the entire seven-track instrumental epic in perfect synch with Lickerish and Stewart's guitar forays and Tollet's understated bass. The shifting of high energy on "The Devil" to the sweeping and intricate "The Sun" is a feat of classical/rock melding that itself alone makes the entire album work. And the closing title track sets the stage for what would follow in terms of variety and sound exploration.

The only thing that keeps me from naming this a five-star masterpiece is the lengthy but nonetheless somewhat underdeveloped "The Last Judgement", which for me seems to make a bit too much of a shift from the mood of the rest of the album to aurally fit comfortably on the record. Perhaps the percussion could have been a bit more muted, or maybe the crescendo toward the end of bit less brash; not sure exactly but it doesn't quite live up to the expectation set by the rest of the album.

Still, this is a lost classic of sorts given the relative lack of lasting popularity of the band and their music. And that's too bad, because as the seventies wore on we could have used more of this sort of beautiful music to drown out the new-age and disco salmon droppings that were dominating the airwaves and record shops. Find this one if you can (the original vinyl or the EMI remaster), and enjoy an respite to ponder what sort of creative genius infected these guys at a time when the art of progressive rock was in sore need of heroes. Four stars for sure and highly recommended.

peace

This band have somewhat passed me buy. I recently acquired their latest release Jouney's End almost out of desperation at the lack of any decent modern symphonic prog releases. Being somewhat pleasantly surprised how good that is I quickly decided to pick up the remasters of this and Aerie Faerie Nonsense.

Certainly this is rock solid symph prog that has all the familiar ingredients on the instrumentation side of things. I suspect the reason The Enid never became that popular (other than timing,being up against punk etc) is the fact there are no vocals. I do like prog rock to have a bit of narrative and perhaps to have that human involvement.This to me gets itself mixed up between 2 very different genres not containing enough texture and layers to be Vangelis type electronic prog and not heavy or dynamic enough to threaten the likes of ELP and Yes in all their pomp and glory.The peices don't flow into each other as much as I would like either. I'm not convinced that this is their peak. Better was to come in my opinion.

First let me state that I am reviewing the 2012 remaster of the original 1976 album and not the 80's re-recording.

I am always excited to read about other symphonic rock bands of the 70s and when I read about the Enid in Stephen Lambe's book "Citizens of Hope and Glory: The Story of Progressive Rock" I was eager to give them a listen. After some sneak peeks (or sneaks listens) to samples of songs on Amazon, I ordered the album and I was not disappointed.

Most surprisingly is that while Yes and some other bands were recording rock music in a symphonic vein, the Enid appear to have been recording symphonic music in a rock vein. All tracks except for "The Lovers" (a piano solo) feature symphonic instruments with drums, bass, and electric guitar being just instruments in the symphony and not comprising a rock band that is playing with a symphony. For a debut album, the music is remarkably bold and complex. From the beginning, Robert Godfrey wanted this band to do things differently from other rock bands.

Aside from "The Lovers" which is beautiful but a little dull to me, the album is very enjoyable to listen to from start to finish. I normally have great impatience when listening to a new album as I want to find the songs I like the most and listen to them a lot. However, with "In the Region of the Summer Stars" I had a difficult time whittling down the number of songs to three or four favourites. I can now say that I enjoy "Fool / The Falling Tower", "The Devil", "The Last Judgement", and the title track best, but mention should go to "The Sun" and "Death, the Reaper" which I also enjoy still.

This is not an album for everyone and I am surprised that I like it as much as I do. But this is one of those albums that really illustrate just how far progressive rock bands could go even in 1976 when prog is said to have been on its way out of fashion.

Not an album for everyone, not an album for any time, an artistic expression unlike many others. A sound so vivid and epic at the same time, conceived in these often rainy and gloomy parts of the world, though still expressing a melancholia and optimism at the same time, round about the region of the summer stars...

An unconventional soundtrack for summer and winter, the first album under the The Enid moniker bears more resemblance to the music of Ennio Morricone, rather than "typical" progressive rock of the 70's. Classical music re-invented? Possibly. In fact, listening through its (sadly, only) 39 minutes, sceneries and movie excerpts come in mind, via pompous orchestration, sliding guitar phrases, dreamy piano and flute parts. The mood shifts quite often from the epic/grandiose/scary (yes, that too) to total tranquility and back again to complete the dance of emotions. If I had to look for references in prog rock, then those would be early Genesis and Renaissance.

The "vintage" feeling is portrayed in "The Lovers" and "The Sun", the adventure in "Fool/The Falling Tower" and "The Devil" in haunting atmospheres, and the climax is reached (intentionally?) in the closing two compositions, unraveling the quality and inspiration behind this record.

Beware: I find myself listening to this on repeat for numerous times and the same effect might have on you. You have been warned.

5 (rainy) summer stars

(Based on a book chapter.) The ENID was relatively a latecomer in symphonic prog, but in a sense the group represents the ultimate development of the genre. Hardly any other band with rock instruments has managed to sound so orchestral and classical. The frontman Robert John Godfrey had made orchestrations for Barclay James Harvest in the late sixties and early seventies. His solo debut Fall of Hyperion (recorded early in 1972 but released in 1974) already points at the style of The Enid, even though it's not instrumental; the classic poems of John Keats are sung by Christopher Lewis who has remained quite unknown.

The Enid was founded in 1974 by Godfrey and the guitarists Francis Lickerish and Stephen Stewart. Accompanied by a drummer, bassist and another keyboard player, they signed a deal with EMI and recorded their magnificent debut album In the Region of Summer Stars (released on February 1976). Just like the Steve Hackett solo debut The Voyage of Acolyte (1975) a couple of months earlier, the inspiration and the concept was taken from the Tarot pack. The partly re-recorded 1984 release has a slightly different track list. This newer version is much better available than the original.

The introductory 'Fool' starts with powerful piano chords. The watery sound effects and an ethereal trumpet pave way for more dynamic prog rock of 'The Tower of Babel'. However, both the detail-rich sound and the compositional style seem to be closer to (neo) romantic orchestral music than rock; the delicate and moody 'The Lost Ones' would almost pass for a slow movement of a piano concerto. On several tracks the synths are practically taking the place of strings, but for example electric guitar and drums are still easily recognized. On later Enid albums the technological development made it possible to take the (mock-) orchestral sound even further away from rock. In any case, as a strongly art music influenced prog album, In the Region of Summer Stars is a truly delicious work: romantic without being too sweet, and dynamic without being pretentious. A unique masterpiece.

An "updated" remake of the original 1976 release.

1. "Fool" (2:43) definitely a treated variation on a familiar classical piano intro before distorted guitar notes, water noises, and reveille trumpet are interjected. Very Vangelis Blade Runner-like. (5/5)

2. "The Tower Of Babel" (5:05) weird Dick Dale-like tremolo-picked guitar opening before Spanish-sounding melodic theme over Genesis-like rhythm pattern. This could be Renaissance! (8.75/10)

3. "The Reaper" (4:03) very Camel-esque--especially with the background synth strings. Then it turns Vangelis with tubular bells until the disturbing third minute's guitar chords and tympanic hits. Theatric but lacking substance. (8.75/10)

4. "The Loved Ones" (5:20) romantic piano bombast that sounds like sounds like THE RASPBERRIES, RICK WAKEMAN, and SERGEI RACHMANINOFF. (8.75/10)

5. "The Demon King" (4:18) not my favorite passage. I'm not even sure why elements of evil need be present. (8.75/10)

6. "Pre-Dawn" (1:12) cool horn solo--like Aaron Copeland. (4.75/5)

7. "Sunrise" (3:27) great! Rivals Vangelis! (9.25/10)

8. "The Last Day" (7:59) the slow building militaristic start seems to indicate routine that would constitute a human being's approach to a day in which they were completely unaware of the world's demise. Full theatric orchestral force at the end of the third minute. I love this section! The crescendo and dénouement, not as much. (13.75/15)

9. "The Flood" (1:12) water ? lots of it, with racing trumpet over the top. (4.25/5)

10. "Under The Summer Stars" (5:42) harps and synth horns to recapitulate an earlier-used melody. I like this second part a lot! Almost New Age beauty. The quiet mid-section followed by the ball-busting guitar solo is wonderful. (9.75/10)

11. "Adieu" (3:03) spacey piano and distant electric guitar and synth "light" provide a perfect, beautiful outro. (5/5)

Total time 44:04

When I compare this beautiful music to that of other artists or album labeled "symphonic" I cringe at the injustice and inequity. The music of In the Region of the Summer Stars is like CAMEL's "Snow Goose" composed in true classical symphonic forms and performed by truly classically trained musicians with orchestration. And I use the Camel reference intentionally because "Snow Goose" is considered a "masterpiece" by so many prog lovers! So should this be. And this re-recording is so clean and warm! (Still pre-digital?) What's even more impressive is how orchestra-strings-like the synthesizer strings sound. Obviously, classical musician Robert John Godfrey had sound quality standards that he worked hard to maintain. Not only are the sounds of the individual instruments impeccably rendered and separated, the levels and integration of the final mixes are so well spaced and yet beautifully rendered into a stage-like tapestry presentation. If there is any fault to this album it is with the relatively narrow space of pacing: there are no real steroidal pieces running away with reckless abandon, though there are plenty of spacious quiet passages to fit the cosmic direction of this album's view. Also, all of the musicians are fairly tightly reigned in, never really allowed to free-range with improvisational forays with their respective instruments: it all feels very contrived, programmed, and governed (by a composer or a composer's sheet music).

A-/five stars; a minor masterpiece of progressive rock music symphonic