PHYLTER

The band's only release was a concept album that told the story about sailors who escaped a major storm by hiding out in a cave on an uninhabited island, the view of which is highlighted by the nice fantasy album cover art. The new world where they temporarily take refuge is the subject matter for the album's six tracks which ran the standard album's length of just over 43 minutes. The album featured somewhat standard track lengths with the closing "Down And Mood For Change" sprawling past the 15-minute mark.

Considered to exist in the symphonic prog camp, PHYLTER was just as comfortable floating in space rock terrain. The musical compositions were highly melodic and references to the timeline when symphonic prog was morphing into the pop hook infused neo-prog seems fitting due to the fact that PHYLTER delivered extremely well crafted melodies that forged instant hooks. The music was light and breezy and never really rocked out in excess but heavier passages are heard for much needed contrast. The gist of PHYLTER was multi-layered keyboard parts that featured an organ, Fender Rhodes piano, acoustic piano and a synthesizer.

The Van Bortel brother provided catchy bass and guitar hooks that prognosticated the likes of modern neo-prog bands like Arena, IQ and Pendragon with clear references to Pink Floyd but existing in a vacuous sector of space time all its own. The occasional violin adds a folk flavor as well. References to Camel or 70s Genesis are well-founded as PHYLTER existed in the same symphonic prog paradigm but like many of these rare bands sort of found its own way from the very beginning and doesn't really sound like any other band i've personally experienced.

The tracks are well varied with an emphasis on instantly lovable melodies but occasional attacks of virtuosity also find their way into the mix with my favorite coming in the middle of "Consideration." The grande finale is the 15-minute "Down And Mood For Change" which provides the greatest diversity of sounds and styles on the album. Starting out with a slow building organ lead, the track ushers in that now famous neo-prog guitar sweep before jumping into some Yes inspired vocal harmonies before jumping into some heavier rock guitar riffs. Once again the keyboards provide a brilliant contrapuntal effect to the guitar, bass and drums. The lead vocalist may not be a Jon Anderson but is pleasant enough. Nice key soloing follows. The musical motif changes keep things interesting with a recurring rock guitar heft.

Overall this is a much better album than i was expecting from the low ratings. True it may be a bit on the cheesy side due to the incessantly slick melodic hooks but if you fancy crossover symphonic prog, neo-prog and funk fueled guitar hooks then you will love this. This album has been amongst the rarest of the rare with the original vinyl on Parsifal records still highly sought after but luckily this album has found a remastered CD reissue on t he French Spalax label with unfortunately no bonus tracks. This is mostly a sleepy contemplative album which when taken in the context of a bunch of exhausted sailors who managed to find shelter during an enervating storm survival protocol, it sounds even better. Personally i find this to be quite an interesting rarity that holds up beyond the initial wow factor.

Their sound is actually closer to light space/krautrock than "real" symphonic groups like Yes or Genesis. The songs are OK, I guess, but really not that good. With time it is possible they would eventually evolve into something bigger and more exciting. Judging from their debut´s LP perspective, it is no surprise that they did not have the opportunity to release a follow up. They had a lot to learn in terms of arrangements and songwriting. Vocals are only average too. Production does not help much either, being far from satisfactory.

Don´t get me wrong: their sound is pleasant enough. I liked the 3 last songs, they are far better than the previous 3. Patrick Philips is surely the best musician here and his keyboards are the highlight of the album. Even so, I can´t say it is any better than several other bands that were struggling to get somewhere at the period. They were at least four years late in terms of style and playing.

Conclusion: more interesting than really good. Not essential at all. But if you like searching for obscure bands of the late 70´s, then Phylter might be worth checking out. The CD has a few good moments that fans of the space rock movement might like.

Rating: 2,5 stars.

4(-) (ahem, barely)

Their brand of symphonic prog is deeply rooted in the early space rock scene. Add some naive, accented vocals too and you get an album somewhere between ELP and Wylde Flowers. The star here is the keyboardist Patrick Philips who alone drags this album up from merely decent to a good album. The best song here is Dreams Of Yesterdays. A truly great song, actually. The rest of the album is pretty basic symphonic space prog and pretty decent. I am not overjoyed by this album, I am afraid. But Patrick Philips is the saving grace here.

3 stars (barely)

Based on a concept (at least I'm pretty sure) where the icy artwork gracing its cover plays a role, the album remains an honest (at best) if uninspired trip through aerial symphonic prog. The album is marred by poor lyrics and sometimes almost laughable multiple singing harmonies and even awful recording hissing in the fourth track, Promenade. Their symphonic rock is mostly based on the Camel smoothness (except in the energetic eponymous instrumental title track) and borders often the cheesy side of the style. The first side is made of four average length tracks, which do not really make the listener raise an eyebrow (except for the third noisier one). Their sound is not that easily described because it is rather unique, with Phillips (keys and vocals) is clearly their leader and Van Der Zalm's guest violin brings another touch of originality.

The second side is definitely better if not fundamentally different! After a lengthy synth intro, the Consideration track develops in an up-tempo pleasant track where the vocals can even approach the good sing-along feel. Had the group managed to get a loyal following, it is easy to see this track as a set-closer getting the fans to yell out loud the simple yet effective lyrics in order to get a triumphant return for an encore. The closing "epic" Mood For Change is obviously the main course, but fails to score all that well even if there are very good moments.

Reissued by Spalax in the early-90's, not really bad, but not that good either, Phylter's sole album does not represent that much what was typically symphonically-done in Belgium in the closing years of the 70's, but we are a far cry from the ultra adventurous dark and mind-blowing music that their countrymen Univers Zero were doing at the same era. Not really worth your investment, but not completely devoid of merit either. This flawed album is not really achieving classic status (far from it), but it does rock a bit harder than you'd guess it.