FROMAGE

Extermination opens the album with its synths and heavy guitar riffing. A brief flute line introduces the vocals which go with the music. Later, there is a nice extended mellow section, chill singing, pastoral piano and guitar leads. Anyways the song returns to the heaviness to close off the song. 3.5/5

Inspiration Philology is a more upbeat shorter song, punctuated by 80s pop synth patches and guitar squelches. It has a nice bridge with vibes and flute 3.5/5.

Ultimate opens with with a jazzy piano line, thenheads into an angular riff with flute adding its soft touch. Acoustic chords subsume this, then are in time consumed by the sections return. Shortly, guitar breaks into a pleasant solo with some neat stops that add an extra oomph. The song has a nice coda where the instruments work well together. Short but sweet 4/5

Ondine opens with gentle singing and and piano, punctuated with guitar. More is added to the mix, which goes until it builds up into the tracks echoey refrain. Back to the sparse verse, then chorus again, then tasteful, brief electric guitar solo which heads into piano that builds to the chorus. After this the rhythm continues with piano playing in the background.the guitar returns after a bit, now supported by piano. The song then fades out, it's a great, emotional song that could have developed better in its seven minutes. 4/5

The worst would have to be Colour Vision Night where the singer struggles to sing in English because they clearly don't speak the language. This song is laughable at best. Fortunately, it's only 3 minutes. 2.5/5, the music is okay and the vocals aren't wholly irredeemable, mostly bad due to the execution.

Tsuki No Hoeru is nearly 18 minutes long and just majestic. It opens with quiet flute fluttering for a minute till piano and mournful vocals come in. In another minute the song picks up and one is graced with strong singing delivered in a powerful manner. A matching guitar lead comes in, flute subtly enriching its melancholic playing. A calm transition occurs with instruments whirling till a new section unfurls it's petals. Acoustic guitar, vibraphone, bass and drums establish a rhythm. Soon the vibes are replaced by more symphonic synths playing. Flute briefly takes the spotlight before the song heads to a good 80s section, complete with vocals. This section is short and after 30~ seconds a duet of piano and flute replace it. The flute is in turn replaced by bass and drums. A new section finally sets in with a punctual bassline underscoring beautiful flute/acoustic guitar lines. A string synth cleanly takes over and hides the change beneath it. Just as the song seems to be pattering out a mighty drum fill introduces a strong electric guitar lead. Then, bam, the vocals from the song's opening moments return to my immense gratification. Guitar returns to take the song to its fade out finish. 4.5/5, I dislike the guitar solos.

Overall this is a pretty good album, although I recommend one listens to the compilation album Tsuki No Hoeru before this album.

New band members does not necessarily means a change in the music style and Fromage remained faith to the sound of their debut, this is typically 80's-styled Japanese Symphonic Rock in the style of MUGEN or TERU'S SYMPHONIA.While the overall approach is still quite grandiose, Fromage belonged to the list of bands that avoided the Hard Rock cliches of many of their compatriots, though their sound had always a strong pompous flavor, especially when synthesizers were in full use.However the majority of the album is a very atmospheric and often melancholic Symphonic Rock with downtempo song structures, good instrumental parts with a Classical edge and expressive Japanses vocals.The new members had fully adapted the band's style, established by Manabu Higashizawa.Ohta delivers some excellent melodic guitar lines, Tanaka offers deep and solid bass lines, while Kitamura had the most difficult work to do, filling the compositions with his keyboards colors, and he did a great job in all these bombastic synth moves, strong organ waves and soft piano interludes dominating the album.Only a couple of shorter tunes are closer to a more accesible Neo Prog sound, but these sound charming as well.

Very good Japanese Symphonic Rock, suffering a bit from a mediocre production, but the music in here has a great value.Grab the CD reissue of Belle Antique, which contains a live version of ''Toma'' along with excellent symphonic mini epic ''Seruroido no sora'', which sounds even better than the tracks of the original issue.Recommended stuff.

The album opens with ''Extermination''.Interesting flute work,careful use of synths,some great breaks but also a cliche groove and ultra-cheesy vocals complete a fine but rather uneven track.The following ''Inspiration'' is pretty awful.Sort of bluesy Pop Rock mixed with 80's synths and unbearable vocals,a total failure.''Ultimate'' is a winner to say the least,instrumental keyboard-driven Symphonic Rock with a slight commercial edge, headed by the fantastic flute work of Higashizawa,the nice synths of Shimamura and the STEVE HACKETT-influenced guitars of Kondo.The eponymous track is actually a long symphonic ballad with good electric solos and decent synthesizers in a very grandiose mood,not unlike early GERARD.''Color Vision Night'' is the worst track by far,absolutely uninteresting Synth- Pop with distorted guitars and horrible poppy vocals.The band however decided to save the best for last,the 17-min, grand epic ''Tsuki-ni-hoeru'',a composition with a fair amount of diversity.Melodic symphonic Rock with hints of CAMEL on the flute work, pretty nice use of synthesizers in a GENESIS vein and a touch of FOCUS on the guitar lines.And the only track along with the eponymous one,where vocals are pretty bearable.

Two CD reissues followed by Belle Antique in 1994 and 2007 respectively,I would definitely recommend the second one,which features the decent 10-min. bonus track ''Kishibe no nai umi''.Pretty commercial but certainly well-played Neo/Symphonic Prog with some nice breaks,fiery hard rock soloing but also very interesting keyboard and piano parts in the vein of QUASAR,surprisingly the forefront bass work is also very good.

Not an excellent album,but ''Ondine'' holds a fair amount of interesting material to satisfy the Progressive/Symphonic Rock fan.Typical Japan product of the time,if you skip a couple of embarassing tracks,the rest of the album is easily recommended.

What's nice, are the peaceful flute interludes that brings a definite prog side to this track. What's not nice are the extremely poor vocals (but this is not the first Japanese band to deliver this). If only this track would have been purely instrumental...

The music alternates between gentle and sweet flute combined with heavy rock elements during which the guitar is soaring jolly good like during "Ultimate" which is my preferred song from the whole album (it is also purely instrumental).

Melancholic symphonic music can be experienced during the title track: a simple structure, a nice melody and a catchy guitar break are definitely pleasant. Just a pity that there are some vocals in here?

The long closing number "Tsuki-ni-hoeru" allows the band to expand more in the several directions which they have investigated with the shorter tracks from this debut album.

More subtle moments, more great guitar parts; but not more vocals (thank god!). Some jazzy and groovy passages also provides some eclectics to this song which is pretty enjoyable to listen to. A fine moment in perspective for symphonic prog fans. (like the good bonus track as well).

Three stars for this good album that could have been rated higher if only the vocal department would have been on par.