LANDS END

Having delivered a very promising debut in 1994, with Pacific Coast Highway (stand-out tracks: Conspicuously Empty and At Lands End), Lands End proceeded to follow it up with the less adventurous Terra Serranum (1995) (stand-out tracks: Terra Serranum and Neptune's Last Year) and the decidedly uninspired and unimaginative An Older Land (1996) (stand-out tracks: none) which displayed an unsettling combination of dubious rhythms, dodgy timing and non-challenging musicality. So a progressive deterioration; and that could have been that - another short-lived band of unfulfilled potential destined to disappear unceremoniously up its own spacey ego. But wait! What's this? In 1997, from out of the blue, and totally blitzing all that preceded it, comes Natural Selection. Setting aside the seemingly mandatory inclusion of a short excerpt of completely irrelevant and meaningless tripe i.e. the opening track - (an archetypical prog rock conceit - why do so many bands persist with this nonsense?) - this is an absolute joy from start to finish, and more than delivers on the band's early promise. The eponymous final track, in particular, is a 30-minute monster of rare beauty; but tracks 2 to 5 aren't far behind. The recurring bursts of wah-wah guitar (albeit not in the league of those delivered by Quintessence's Allan Mostert) sound fresh and are particularly welcome.

So it would appear that, with its underwhelming 1996 output, the band was simply toying with us, setting the bar artificially low and thereby totally under-preparing us for the forthcoming delivery of this wondrous gem. Neat move.

This is a terrific album, and highly recommended (if you can somehow get hold of it at this stage, so long after its release). It's great stuff.

For what it's worth, the band's subsequent (and seemingly final) release, The Lower Depths (2005) (the first part of a double-CD package), justly stands on all fours alongside Natural Selection. It, too, is a really enjoyable listen throughout. I would, however, caution that the second CD in the 2005 package (Plundering the Depths) is not worth investigating in isolation, save for the opening track, Eyes of Venus, which holds up nicely.

With ''Pacific coast highway'' Lands End came to the attention of Cyclops, which signed the band for their next albums.The bulk of their second work was recorded at the Semprini Studios in Los Angeles, where the band settled down between January and April 1995, while a few parts and the final mix took place at the Pacific Coast Studio in Long Beach.Titled ''Terra serranum'', Lands End's sophomore album was released at the fall of the summer 95'.

The debut of the band was really great, but this one deserves the highest of praises for being an awesome amalagam of complex orchestrations, refined melodies, lush sounds and vintage echoes, actually presented in a style between dramatic Neo Prog ala COLLAGE and lyrical Space Rock in the vein of PINK FLOYD.The biggest bet for the band was again the creation of three epic pieces, all were over 12 minutes long, and these tracks only proove how talented this group was.Soaring synthesizers, energetic guitars, spacious lines and laid-back soundscapes are blended in a perfect mixture, which offers a good bunch of changing climates.And, yeah, there is also some fantastic Mellotron parts in them.They avoid the trap of being too complicated for nothing or even becoming rich in sounds and sights in an excessive exhibition of talent, instead the four musicians try to focus on a modern, symphonic type of rock with a strong synth-based spaceness and the result is a seminar for well-crafted compositions.Some big symphonic sounds in the process, some edgy guitar plays and the constant display of synth waves come close to what bands like THE BODY or THIRD QUARDANT were attempting to do in early-80's.But these Americans pushed the whole thing a bit further.They sound like if PINK FLOYD really wanted to go symphonic and borrow some of the GENESIS inspirations.Really impressive music and composing demonstration.

One of the highlights of the year.Any band, which wants to go Prog and structure its sound around the FLOYD-ian principles should listen to this work.Original, imaginative, dreamy, atmospheric, intricate music, which deserves a high recommendation.

LANDS END should work for me but the combination of poor sounding vocals and songs that just haven't appealed to me have left me disappointed. "Natural Selection" is the best album I have heard from these guys and i do really like what they've done here as far as the songs go for the most part but again the vocals are just so weak in my opinion. Another long one here at 74 minutes including the 30 minute title track but there's lot to like here.

"Strictly Speaking In Geographical Terms" is a short one minute intro of faint sounds. "From The Ruins Of A Fallen Empire" kicks in right away then spacey sounds take over as the drums continue.Vocals a minute in. It settles with piano 4 minutes in followed by vocals and strummed guitar. Electric guitar replaces the vocals. Piano and synths only after 8 1/2 minutes.Vocals are back after 10 minutes. Some guitar expressions late as it blends into "Love Through The Winter And Blood In The Spring". Drums join in as the guitar continues. The guitar stops before 1 1/2 minutes as vocals come in. Drums and guitar with a pulsing sound then the synths lead. It's spacey late and we get some atmosphere as it blends into "An Emptiness That Cannot Be Filled". Acoustic guitar takes over as reserved vocals join in. It slowly builds.Vocals stop and tasteful guitar comes in soaring. It blends into "My Home" which is mellow and instrumental to start.Vocals with a beat before 2 1/2 minutes.

"Natural Selection" is divided into 4 parts although it just shows it as one long song on the stereo. It sounds exotic early on then percussion takes over soon to be joined by vocals and intricate guitar. It stays mellow for some time then it kicks in briefly, then the tempo picks up and it gets fuller.This is good. Guitar before 11 minutes and it's building. Fantastic sound here.The guitar stops and vocals come in before 13 1/2 minutes.The gutar is back after 16 minutes. It turns uptempo and it's quite catchy around 24 minutes.The guitar sounds good 26 minutes in then the vocals return before 28 minutes.

This is where I would suggest you start if you want to test the waters with this band. Some impressive instrumental passages on this one make this a 3.5 star rating.

This is a live LANDS END album recorded in Mexico. Apparently the band became good friends with the Mexican band CAST who invited them to play some shows down there.

"Natural Reflection" was originally to be part of the album "Natural Selection" but it had to be dropped. Lots of guitar-synth on this one and some Spanish sounding guitar too after a minute. "Rain Age" came out of another song intended for "Natural Selection" but it was also left off. Apparently the vocals were improvised for this one. Some nice prominant bass early on.I like the rain and synths to end it. "Breathing Deep" is another song recorded for "Natural Selection" but it was used for a "Cyclops Record Sampler" instead. Gentle guitar followed by bass, synths and drums.Vocals 2 minutes in. I like when the guitar comes after the vocals stop. Contrasts continue.

"A Castle Nanny Mother & A Warm Soft Bed" is led by strummed guitar and reserved vocals early. It kicks in before 2 1/2 minutes then settles back quickly.Themes are repeated. Not a fan of this one. "Shepherds Of The Deep" is a segment off the longer "Neptune's Last Tear". "The Revolution Like Saturn Devours It's Children" has a good beat with bass as guitar then synths play over top. Vocals 2 minutes in. Synths and drums lead 5 minutes in. Vocals are back 6 1/2 minutes and they're not good. "Love Through The Winter & Blood In The Spring" might be my favourite. I like the early drum / synth section and especially later when they seem to simply jam for an extended period. "Ashes" opens with vocals and synths. Drums join in as the vocals get passionate. Some nice guitar after 2 minutes. It blends into "The Last Word" where the guitar continues.Vocals join in. Great sound 5 1/2 minutes in. The guitar after 7 minutes starts to light it up. Nice.

A pretty good album that fans of the band would do well to check out.

LANDS END's most recent studio album is a double with the first disc coming in at over 65 minutes and the second disc over 71 minutes.That's a lot of music. As usual the enviroment is the subject matter with this California band. Some guests here including Cathy Alexander from the Folk band THE MORRIGAN on vocals, but more importantly to me we also get the great Bruce Soord on guitar for two tracks, and he sings also on one of those. I must admit i've always had some issue with this band. Either the sound quality or the poor sounding vocals, thankfully this sounds fine but I must admit that I don't like the female vocals or the regular singer Jeff McFarland. So yes this is a long freaking recording to sit through which i've done about 5 times now. I really like the cover art though.

"Digital Signatures" kicks in before a minute followed by a beat. Female vocals as it settles before 3 1/2 minutes. Synths before 7 minutes give us a Neo-Prog flavour. It settles with guitar a minute later. "Behind The Iron Gates" opens with birds singing and they hang around for some time as the music continues. "Why Should I?" is the only track i like and Bruce sings the lyrics and plays some guitar on it.

"Hope Springs Eternal" opens with synths washing in. They leave as vocals and piano come in around 2 minutes. Lots of synths late. "A New World Order" features those female vocals.They come and go throughout this over 24 minute track. I like the bass after 4 minutes and the spacey synths too. A good sound 19 1/2 minutes in as well as the guitar comes to the fore but unfortunately it's brief. "Believe In What" features acoustic guitar and reserved vocals throughout. Disc two if anything is not as good. There is some good stuff in the over 53 minute "Acquiesce To The Martinets Precept". Of course at that length i'd hope so.

Fans only.

This is another shining example of prog jewels lost in the mayhem of past glories and new releases. In many ways it is amateurish, yet it continues to spark my smile whenever I run across it in my bookcase, a luscious extravagance that has three unshakable characteristics that never fail to amaze: enthusiasm, dedication and musicianship. Yes, there are strong Floyd emanations in the sweeping compositions, laden with assorted special aquatic effects (one of their favorite themes as they come from California) but these are lads that really learnt their prog-history lessons well and espoused the spacey traditions to their fullest. They are dedicated to their own sound and the results are laudatory .As for the musicians ,Drummer Mark Lavallée is splashy and hyper, rifling beats all over the place, Fred Hunter mans a simple bass and an arsenal of keys very much in the "less is better" Rick Wright school of playing, Brazilian ex-pat guitarist Francisco Neto is a wizard and a true star, a clearly imaginative fretmeister that is an odd combination of Gilmour/Santana, while singer Jeff McFarland favors a style that may shock a few of you , a frantic, urgent quasi Robert Smith of the Cure method of delivery that is highly original. "Conspicuously Empty" is an 11 minute example of these well-designed talents, highly cinematographic and dense. The supremely ambient "Requiem of the Sea" cascades gently at first, waves of slashing waves interspersed with a dizzying Flamenco- style acoustic guitar serenade that is priceless, becoming highly arousing, with sounds of whooshing gales, images of ominous clouds and the aroma of a swelling tide. This voluptuous track is space/psychedelic prog at its shiny zenith, deliberate, unhurried, conspicuously ardent and hypnotic. A snail-like promenade on synths and mellotrons shovels the pace along, with serene vocals pleading for some nautical respite, amid the jangling guitars and the funeral procession drums. The exit lead guitar solo is splendid in first restraint and then explosion, a tremendous tour de force. WOW! "Persistant Memories" is a more upbeat arrangement while remaining deeply entrenched in the lush harmonies that this band obviously aspires to maintain! The approach here is closer to outright Space Rock, very moody at first with assorted drum rolls and strands of wispy guitar licks, then propulsed ahead by a haunting guitar riff that initiates a blistering run into a gorgeous chorus, a grandiose and memorable piece of progressive melancholia ("I still got my yesterday"), a gentle mid-section and an even more brutal charge forward, full of agony and regret. I mean what can you not like here? "At Lands End" is the longest track at over 15 minutes and it's a sonic voyage to say the least! The initial effervescence is highly electronic yet somehow disjointed until the sibilant synthesizers take over the reins with elegant command, steering the piece into even denser soundscapes. Nothing too technical or flashy, just solid sustenance for the melodies. Nothing is Rushed (sorry Geddy!), the prog Turtle versus the Hare. The diamond here is the whopping Neto guitar detonation, a virtuoso performance that would make the "Comfortably Numb" one blush with envy. "The Last Word" is my fave track , a stirring, sprawling and spooky theme that has an eerie feel thanks to some desperate vocals, a desolate slowburn that weaves into a palpable drum and cymbal-heavy space (a slight Crimson feel at times) and a clear destination as this is the finale stretch of the album, with what else but a massive guitar solo that is truly Gilmourian, big bent notes soaring high above the synthesized vortex, howling mellotrons and furious drumming all around. Floyd fans beware, this is the bright side of the moon! A masterful underappreciated epic slab of pure prog that warrants your attention. All in all , this is a fantastic album .Guess what colour the cover artwork is? Yeah! PINK .Not perfect but very very close. 4.5 Erik Estradas

I have been a fan of Lands End since their very first album, the charming and very sincere "Pacific Coast Highway" back in 1993, despite certain amateurish tendencies when compared to the technologically wealthy powerhouse legend, Pink Floyd. This multi-national musical friendship has made some wonderful albums since, namely Terra Serranum (1995) and Natural Selection (1996). But keeping together a French Canadian drummer, a Brazilian guitarist, an American singer and a transplanted Brit keyboard-bassist is not an easy chore what with family and day-job obligations. Hence, too many quiet years went by with sheer silence from these talented musicians but in 2005, the wait was finally worth it with this extensive 2 CD that has revived their status as ongoing prog stalwarts. The first CD "The Lower Depths" considers the latest configuration of Lands End bringing in some fine outside help such as inventive vocalist Cathy Alexander of The Morrigan, guitar slingers Bruce Soord of Pineapple Thief/Vulgar Unicorn and Steve Anderson from Sphere in replacement of Francisco Neto. Over an hour of masterful compositions, with two long epics liberally featuring all the newbies, first with the glittering modern prog of "Digital Signatures" starring Hunter's signature key work, weaving a simply astonishing Alexander vocalization and a typical dastardly Soord solo, as well as "A New World Order", a 24 minute three piece suite that would make a Saville Row tailor blush, chock full of artistic prowess from all the players, spotlight firmly aimed at Steve Anderson's slowly building and sizzling guitar circle ("It's musical haute couture, madame Progue"). There is little here to dislike for the same consistent reasons as before: the noncommercial, very personal adventure continues with the same aplomb, worthy of our patience. Even the shorter pieces exude a distinct quality that certainly strikes a deep chord, such as the unbridled moody simplicity of "Behind the Iron Gates", the psychedelic-pop dreaminess of "Why Should I?" oddly penned by Neto and singer Jeff McFarland both of whom do not appear on the track, replaced by supremely talented Bruce Soord or even the melancholic "Hope Springs Eternal" with its endless cascades of atmospherics emanating from Hunter's keys, the beseeching vocals hinting at some late model Talk Talk album, traversed by a simple synthesizer solo that needs little added drama. The second CD "Plundering of the Depths" is more a series of past recordings that stayed archived with particular mention of oldies "Eyes of Venus" a much improved remix from 1995 and the synth-bass driven "This Addiction" from 1996. Though some perfectionists severely dismiss any kind of "old tapes found in the attic featuring extended meaningless jams", the truth is that some super-jam bands deserve to express what they do best and the gargantuan and pantagruelic 53 minute behemoth " Acquiesce to the Martinets Precept" surely highlights those qualities that make this band so special with a mesmerizing ride, replete with insane improvisations from both Francisco Neto on shrieking guitar and Fred Hunter on a vast array of keyboards (for you perverted fans of Taurus pedals: this is an ORGY!). Drummer extraordinaire Mark Lavallée unashamedly displays his Michael Giles influences and Jeff vocalizes with total abandon. Overblown, pompous and exalted? You bet and thank you. After listening to over 2 hours of this amazing testament to prog patience, I can only rejoice in the knowledgeable soothing of one ancient, tried and true Italian adage" "Che va piano, va sano" and sit back in continued proggy amazement. 4.5 slowly sifting hourglasses

"Lands End" has rarely played live. This release is therefore interesting for their fans.

It was recorded during their appearances at Baja Prog in Mexicali (Mexico). This annual event is probably the more important prog conference in Latin America. These songs were recorded in 1996 and 1997.

The band have enjoyed these concerts and they jammed accordingly. Some songs are unreleased and some are rather transformed compared with its studio counterpart. So, it's almost an original work.

It's always a pleasure to listen to the emotional vocals from Jeff McFarland. He is so poignant at times ("The Revolution Like Saturn Devours Its." or in "Love Through The Winter & Blood In The..."). If ever you like their atmospheric and ambient music, there are big chances that this album will please you.

The band themselves recognize that this album is not perfect (mainly sound) especially in "Love Through the Winter." but nothing damaging IMO (some bizarre audience interventions though.). The relation with "Floyd" is of course even more obvious on this live album. When you listen to some early "Floyd" concerts, lots of influences can be noticed. This feeling is far to annoy me.

My favourite songs here is "Rain Age". Totally reminiscent of the Floydian atmosphere. Especially the keys which brings you straight into "SOYCD" but "Ashes" is really good as well. These guitar sounds are so marvellous and emotional. But since Neto is Brazilian, he is playing with his heart and soul ("el mago" as being introduced during the end of their show by the speaker).

The worse recording takes place during "The Last Word" which is a pity since it is one of my fave of the band. Sound is definitely not great here, to say the least. Vocals sounding very raw but the music is so beautiful that one would like to forgive the band for this.

Three stars.

I was disappointed with "Lands End" last album "An Older Land". It lacked in creativity and was a kind of hurry over (the band actually recorded in TWO days).

What I liked the most with "Lands End" were their long compositions, the great atmosphere which radiates out of them and the so special feeling one can get while listening to their music.

And this is exactly what one will get again with "Natural Selection".

I just felt in love with the great "From the Ruins of a Fallen Empire". Fully Floydian, extremely melodic vocals, great and Gilmour- esque guitar flavours. It is an excellent and emotional song. And the whole of this album will spread out the same feeling.

The second long number (10+ minutes) "Love through the Winter and Blood in the Spring" has this sweet character of their own. No shouts, no hardness. Pure passionate music. And I really like this. The keys played in this song will of course remind you "Floyd" again (even the drumming sometimes sounds as the one that can be heard during "Time") but this fact doesn't bother me.

Smooth vocals are another TM from this band. Maybe that some of you might find them a bit monochord but they fit perfectly the music. The short "An Emptiness that's never Filled" (six minutes "only") is a good illustration of this. Another great guitar solo is highlighting this good track.

"My Home" is the harder number of this very good album. The finale is a pure marvel : strong beat and wonderful melody. Another good song. But so far, this album is truly impressive.

If ever you are keen on long compositions (like myself), the closing number "Natural Selection" is probably apt to draw your attention. It is a bit long to kick off but the quiet mood of the first movement IS flesh and bones from "Lands End". Pleasant Spanish acoustic guitar for this ambient part.

The crescendo structure of the third movement breaks this feeling. A long and fascinating build up which leads to a fully harmonious and beautiful guitar solo. Background keys are sustaining and the rhythm catches up rather comfortably.

This lengthy and beautiful track evolves into a mix of purely symphonic and spacey music which certainly deserves your attention. I'm glad to see that this album has been reviewed a little more than their other works. You should really check out this good band and start either with "Natural Selection" or their debut album "Pacific Coast Highway".

These thirty minutes aren't boring at all. They are diverse, well played and should transport any "Floyd" fan into another galaxy. This aspect being maybe too present for some purists and the most orthodox of the prog fans. This is maybe the reason why I do not rate this album with five stars : personality of the work could have been higher (just listen to the finale of "The Theory And Practice Of Hell" and its fully "DSOTM" sounds.

The pessimistically titled "Awaiting Extinction" being the most upbeat section. An excellent fireworks to close this great epic which is mostly instrumental.

A super long album with super music. Four stars.

FOUR, THREE, TWO.

"Lands End" is a band that should please any space and ambient music fan. At least it did work as such for me on their first two albums. But this one will not be as good. Even if the opening and tranquil "Ashes" is very pleasant and could have announced a great album.

Actually, the first part of this album is not bad at all. Some good music as well during "Wind Across the Water" but don't expect too much of it either.

Only one excellent song : "Wake to Find Me Dead" and its incredible and hypnotic melody. It is one of my fave from the band. A highlight of course. But the best is bordering the worse. In this aspect, "Jazz Magic Potion" offers nothing magic, believe me. The worst "Lands End" song so far. No doubt while thinking of pressing next: just do it!

During "K", I have the impression that vocals are a bit forced to appear as tortured. But there no real need for this since their music is mostly atmospheric. Anyway, it is a pleasant track. Instrumental parts are very much enjoyable.

I have always like their extended and epic tracks like "Conspicuously Empty", "At Lands End" and "The Last Word" from their debut album (which is my favourite one so far). So, I was exited when came the time of "Dross". Over twenty-five minutes of music. But not great music unfortunately. Some pseudo-brass are not very welcome to my ears. This song is also too monotonous (even if "Lands End" music might appear so in a more general scope).

After this long and weak opening part (eight minutes or thereabout), the mood will turn more into a traditional "Lands End" piece of work but the guitar sounds rather strange. The song is really in the smooth territory while the vocals enter the scene. At least some depth and emotion.

"Dross" reminds me "Neptune's Last Tear" from their previous work in the way that it sounds more as a collection of songs than a true epic. There are no binding elements nor smooth links between the different parts of which most are just average. This song should have been cut down to a mere ten minutes IMHHO.

The closing number "The Last World" starts as a very good "Lands End" piece of music. The great and "oceanic" mood intro is a superb moment of this album. It is unfortunately followed by some improvisation and noisy minutes which are kind of useless.

The guitar solo even if acceptable has the same annoying sound as during "Dross". I really don't know what happened on this album as far as this problem is concerned. After a minute blank, the finale is nothing more than a noisy drum kit exercise. Can't call this a drum solo since there is some background music there. But the drums really sounds as a "bruit de casserole". Sorry, I can't translate this but it globally means that it is very poor.

As all "Lands End" offering, this album is VERY long. Almost seventy-five minutes. Waaaaaaaaaaay too long of course. Some hard work to listen to this album in one straight session.

Four, three, two. These are my ratings for the first three "Lands End" albums. I hope that the descent will stop with their next album.