SILHOUETTE

The twelve-track album opens with the bombastic sounds of Concert Hangover, immediately immersing you in the atmosphere of the album. Then the band slows down a bit and drummer Jos Uffing guides you through the song with his warm, passionate voice. A strong moment is when keyboardist Erik Laan unleashes his Mellotron sounds and Moog riffs upon you. His finesse is emblematic of Silhouette and it's safe to say that his bandmates are just as smooth in their playing.

In the next three songs, guitarist Brian de Graeve takes on vocal duties. His high, clear voice can be compared to that of Mark Smit (ex-Knight Area), Bart Schram (Mindgames) and Martin Scheffer (Taurus)?typical neo-prog style. Crafting pleasant vocal melodies is something the band excels at. This is evident in Don't Threaten My Peace Of Mind. In Searching For Her, he constantly alternates lead vocals with Jos Uffing and despite their contrasting voices (clear versus swollen), the album maintains a cohesive vocal sound. Meanwhile, Laan keeps riffing away and in addition to the numerous Mellotron sounds, he occasionally provides heartfelt piano playing. The album flows smoothly and it's worth noting that the band hits every note spot on. As a guitarist, de Graeve doesn't leave a significant imprint on the music. His playing is mostly supportive in nature, with the occasional melody or solo courtesy of Aldo Adema.

An exceptional track is Unreal Meeting, where Silhouette captivates you for over ten minutes at their best. What's great about the band is that you won't find any superfluous notes anywhere on the album. Other notable songs in the final stretch are the instrumental title track Moods and the well-constructed Another Bed Time Story, in which the guitar shines. Oh and when I listen to the thematic title track, I hear a melody from the opening track reappear. That's a nice touch.

The album concludes with the bombastic The Answers, completing the concept about a love drama devised by de Graeve.

"Moods" is a recommendation for neo-prog enthusiasts and it's a treat for keyboard aficionados. The emotional value you'll derive from the album is on par with that of later albums like "Across The Rubicon" and "Beyond The Seventh Wave". Admittedly, those are qualitatively better albums, if I may say so, but "Moods" certainly deserves to be in the same league.

Orginally posted on www.progenrock.com

Since its formation in 2005, Silhouette has been involved in creating excellent melodic neo-prog, featuring the fantastic keyboard playing of Erik Laan, emotionally high-pitched vocals by Brian de Graeve and Erik Laan once again, atmospheric guitar parts and decisive rhythms. On "Beyond The Seventh Wave", they excel in every aspect. This is largely due to the addition of guitarist Daniel van der Weijde, as his playing gives the band's sound a tremendous boost in two ways. Firstly, his sparkling solos bring a delightful lyrical quality to the music and occasionally, he adds dynamic power leaning towards prog metal. Another aspect that adds depth to the music is the integration of acoustic instruments such as flute, clarinet, violin and cello. Additionally, the band occasionally incorporates the organic sounds of piano and acoustic guitar. All of these additions give the band's sound a beautiful classical touch at times.

The album, consisting of eleven tracks, is built around an imaginative concept. "Beyond The Seventh Wave" tells the story of a man who is unjustly serving a life sentence on the so-called Devil's Island. It is clear that the inspiration for this concept comes from the book Papillon by Henri Charrière from 1969, although the concept has a broader meaning as well. The album is essentially about the longing, the yearning for personal freedom, a theme that is relatable to everyone. Silhouette skillfully presents this concept in a colorful way. Let the butterflies fly.

Throughout the hour-long album, Silhouette manages to create a captivating variation of short and long songs, vocal and instrumental tracks and powerful to ballad-like pieces. The first two songs immediately immerse you in their beauty. Prologue is a beautifully composed piece with warm keyboard chords that seamlessly transitions into the bombastic Betrayed, featuring an infectious synthesizer theme and a short guitar solo.

After this introduction, it's time for the first epic of the album. Web Of Lies is a two-part composition that clocks in at almost thirteen minutes. The first part is driven by a Saga-like riff, with enjoyable organ play providing a platform for various keyboard and guitar solos, while vocal harmonies and changes in tempo offer the necessary diversity. The second part has a calmer atmosphere, thanks to the presence of acoustic instruments, particularly during the drumless sections.

The following ballad, In Solitary, is my absolute favorite, largely due to the melancholic vocal melody that runs through it. The sublime guitar solo that concludes the song never fails to give me goosebumps.

With the instrumental track Escape, the music takes a grim turn, evident in a piece reminiscent of the intensity of Threshold. The standout feature here is the multitude of keyboard solos reminiscent of Clive Nolan of Arena. Such intense passages can be heard in several songs and it is this versatile style of composition that makes the album so appealing. The epic Lost Paradise delivers several powerful moments, alongside a delightful Moog solo. Devil's Island is also a perfect example of anything goes with Silhouette. We hear a mid-tempo song transitioning into almost classical music, supported by heavy guitar parts. The exuberant title track sounds somewhat conclusive, yet it is not the final piece. Notably, the thunderous bass work stands out, although it's not entirely clear who is responsible for it. The original bassist, Gerrit-Jan Bloemink, left halfway through the recording process, so Erik Laan and Jurjen Bergsma completed the task. Together with the dynamic drumming of Ron van Nieuwenhuijzen, who is new to the lineup, they form a fantastic rhythm section. The album concludes with the atmospheric Wings To Fly, which refers back to the Prologue.

Now, for the final verdict. Let me summarize the album in three words: neo-prog, quality and butterflies.

Originally posted on www.progenrock.com

A 50 minute recording with six tracks including the 18 minute "Symphony For A Perfect Moment" which is certainly the big attraction here, the best thing they have created according to many. I also really dig the shortest piece on here under 3 minutes called "Sakura" which is an instrumental with guitar and atmosphere mostly. But those first three tracks before the epic really set the tone to this album. Neo prog is very much hit and miss for me, mostly the latter but here is a fine example of doing Neo right.

As an aside I actually knew a guy who was convinced that the Earth is flat and the reasons why etc. and he certainly wasn't shy in expressing this view despite the evidence to the contrary. This album is the real deal though and one I think Neo fans should track down. A nice record.

This acclaimed Dutch four piece formation is rooted in 2005, between 2006 and 2007 they have released five studio- albums, their latest effort is The World Is Flat And Other Alternative Facts from 2017 (and considered as their best one). In that year Silhouette also recorded a live CD. This review is about their second effort entitled Moods, after touring with other Dutch progrock band Knight Area their keyboard player Gerben Klazinga did the mixing and mastering.

Silhouette have worked a while on this second album (from 2009), after their debut CD A-Maze from 2006. That effort has paid off with a wonderful sound and 12 tastefully arranged compositions, alternating between 24-carat symphonic rock (Genesis) and neo-prog (IQ and early Marillion). Keyboard player Erik Laan has an important role with his vintage keyboard sound, he colours the tracks very beautifully, from violin- and choir Mellotron eruptions to fluent Minimoog flights and lush Hammond organ waves.

In general I enjoyed listening to this album because of the pleasant shifting moods (from dreamy with twanging acoustic guitar to bombastic with majestic choir-Melltoron), the use of acoustic guitar (the distinctive Ovation) in some songs, the strong work on keyboards and guitar and the fine build-ups and grand finales in the longer compositions. Silhouette often reminds me of other Dutch progrock bands Mangrove and Knight Area, this is also very pleasant music that will please the symphomaniacs and neo-progheads.

My rating: 3,5 star.

1. "March Of Peace" (5:38) solid prog-by-numbers on the heavier side of Neo Prog. Actually kind of irritating. (7.75/10)

2. "The Flow" (8:46) a tender Neo Prog ballad enhanced nicely by classical instruments (violin, oboe, flute, French horn) and female background vocalistsi Nice fusion of heavier sides of Neo Prog with the traditional acoustic instruments. Just not catchy enough with melodic or lyrical hooks. Great guitar solo near the end and wonderful neoclassical finish. (17/20)

3. "Six Feet Underground" (9:35) opens with solo barroom jazz piano. Full band enters to establish its intentions at the end of the first minute. Everything drops out for solo synth strings to support Brian de Graeve's lead vocal. Piano and 12-string guitar join before the music builds back up into full spectrum dynamics. The almost-catchy melodies and lyrics remind me of soul-less American Neo Prog-by-the-numbers band SPOCK'S BEARD. Solid music littered with too many standard and therefore predictable (almost embarrassing or laughable) prog "tricks" or "gimmicks." Plus, the plastic sound of the drum hits annoy me. (16/20)

4. "Symphony For A Perfect Moment" (17:56) is this the same band? It sounds so much more relaxed, so much smoother and melodic. The sound palette is much more like BIG BIG TRAIN or LIFESIGNS. There's a wonderful AMBROSIA-like palette to the vocal harmonies and melodies. I think the relaxed pace and warm palette suits this band much better than that of the heavier Neo Prog. Plus, the multi-voiced side of the band is quite beautiful. The band hits all of the right notes, chords, and shifts without being predictable or too repetitive. How can a band that sounded so one-dimensional in its previous three songs suddenly sound so fresh and creatively perfect? (33/35)

5. "Sakura" (2:50) nylon-stringed guitar solo with synth support. (4.5/5)

6. "Turn It Off" (5:29) opens with classical guitar and synths before Brian enters to tell his sad story. The "orchestral" music here may be entirely generated by synths (except for the guitar and voice). Oboe enters in the instrumental section to solo before the music burst into a full electric prog rock range of instruments and sound. The use of oboe and other acoustic instruments is perfect. (8.75/10)

Total time 50:14

B/four stars; an excellent (if diverse and inconsistent) Neo Prog release that would make an excellent addition to any prog lover's music collection.

For me, I will always associate Progress Records with Hansi Cross, who sadly passed away earlier this year. But, although Hansi is no longer with us, the label he left behind continues to release albums of incredible stature and worth. That is definitely the case with Dutch band Silhouette's fifth studio album. 'The World Is Flat and Other Alternative Facts'. Somehow, I missed their last studio album, although I did manage to hear their live album which was released earlier this year. I gave a 4 * review to their third album 'Across The Rubicon' which came out in 2012, and there is no doubt in my mind this is superior.

This has everything I want from a prog album, great melodies, wonderful musicianship, soaring vocals, layered arrangements that can appear almost simple at times, and never forgetting that the music always must come first. They may all have wonderful virtuoso skills, but how does that fit in with what is needed? Brian de Graeve (lead & backing vocals, 12-string guitar), Daniel van der Weijde (electric & acoustic guitars), Erik Laan (keyboards, bass pedals, lead & backing vocals), Jurjen Bergsma (bass, acoustic guitar, backing vocals) and Rob van Nieuwenhuijzen (drums, percussion) have created something that contains elements of Yes and Neal Morse alongside more melodic rock elements, as well as plenty if prog. The vocals are superb, and everything somehow gels together seamlessly. One can't imagine another instrument or note needed anywhere, yet there is nothing superfluous in what they are doing. This is majestic, soaring prog that makes me smile each time I play it. And I have been playing it a great deal indeed.

When discerning progheads compile their top albums of the year list soon, there is no doubt that this will be one to reckon with. From acoustic 12-string to heavily layered arrangements to rock guitar, this has it all and so very much more. I love it. This is simply essential to anyone who dares call themselves a progger.

In 2014, Dutch band Silhouette released their fourth studio album, 'Beyond The Seventh Wave'. In 2016, they were filmed and recorded performing the album in its entirety, and this has now been released as a DVD and CD set, along with a few additional songs on the DVD. They wisely had a few additional guests make appearances, the most important of which is an additional guitarist who was there for the whole set (he did try to stay at the back of the stage and out of the way), who assisted in providing some additional heaviness to proceedings, allowing Daniel van der Weijde to provide some delicate solos on his seven-string guitar.

Although their sound is more in common with bands such as Saga than IQ, I did keep being reminded of the former in the way they set up the stage, the use of a backdrop film throughout, a keyboard player who also provides superb vocals when needed, and a rhythm section that just keep it locked down so that the others can take centre stage. Brian de Graeve has a gentle vocal style, never showing any strain, while Erik Laan uses a myriad of keyboards and sings in a similar fashion, so that when they harmonise they do so with aplomb.

This is a powerful album, with lots of drama and dynamic shifts in the music as they tell the story of what happens to the main character (which has been reproduced in the centre of the digipak so that even those who haven't heard the original knows what is happening). Somehow, I have managed to miss all of Silhouette's albums apart from 2012's 'Across The Rubicon', a situation I am going to have to address. The concert footage is well filmed, with multiple cameras and angles, and this is a great introduction to the band.

Coming from Netherlands, they are a part of local prog scene that cherishes the melodic approach (Knight Area, Odyssice, Ixion, Trion etc.), but Silhouette takes it to yet higher level. The potential of their previous album ("A Maze") was largely brought down by downright bad sound quality, but on "Moods" equipment is much better so sound can hold itself together. Wisely engineered by Gerben Klazinga (of "Knight Area") sound is very fragile and it gives the special charm to this kind of melodic neo-prog. In these circumstances, music can fall apart if it's not backed with excellent melodies (like it happened to a lot of 80s English neo-prog), but this album holds it together thoughout the album by this magical beauty.

I can't really pick up any highlights here, because it all is excellent and catchy, but let's showcase "Far Away" - starting seemingly straight-ahead, but then diversified by various keyboard moods (no pun intended, honestly). with beautiful verse followed by super-catchy chorus and the keyboard runs of enormous beauty. The vocal department is not a best side of this music, but singers (and there are a couple) do their best, still maintaining a charming naivety.

To sum it up, this is a band that doesn't have any trick up their sleeve to make music appear better than it is. "Mood" is the album that calls every card, coming out as a winner every time. A certain triumph of imagination, dare I say. 5 stars of course - the world needs more of it.

Erik Laan is the name of the ivory tickler and he profoundly impacts the dense sound that can be delicately romantic only minute with precious piano colorations and darn right snarling with fiery organ and synth barrages the next. Legendary Dutch keyboardist Ton Scherpenzeel (Camel, Kayak) is given a cameo opportunity, so needless to say there are plenty of symphonics here. The ballistic guitars are split between lead vocalist Brian de Graeve and newbie Daniel van der Weijde, giving plenty of meat and flesh to the arrangements, while the propellant tandem of bassist Gerrit-Jan Bloemink and phenomenal new recruit Rob van Nieuwenhuijzen on the drums, provide added acceleration.

The material is perhaps not as strong as on the previous masterpiece but there are some expressive mini-epics presented here, such as the 2 part 'Web of Lies' (14 and a half minutes of bliss), the tremendous 10 minute + 'Lost Paradise', the disturbing 'Devil's Island' and the title track. Toss in some exciting snippets and a flabbergasting instrumental 'Escape' and you finish off having a wholly acceptable segue album to an unassailable previous gem.

The grandiloquent 'Web of Lies part 1' kicks off with a muscular disposition, a memorable chorus within a thumping melody, tortured by a Saga-like instrumental platform for soloing, Laan in particular doing some serious damage on the warbled synthesizers, while the dual guitars assist in the assault, vaulting a tricky solo to boot. Part 2 alters the mood by introducing some lovely cello amid acoustic guitar adornments, massed mellotrons adding fuel to the impending fire, as the mighty drums roll on like some cannonade, urging even more desperation in the vocals. Very entertaining epic, hovering near fellow Dutchman Ayreon territory. The elegant piano outro is sublime.

'In Solitary' is a piano-led beauty, typical of the neo-prog school of delicate balladry, garnished with some illuminating electric guitar passages, celestial flute and romantic vocalizing. Both Laan and De Graeve handle the lead vocals, though I personally prefer the latter's more passionate delivery. As with Rubicon, I feel De Graeve should be the main (if not only) lead lung but that is not my call to make. Great simple tune. The entirely instrumental 'Escape' is a bruising monster, explosive drums, reverberating bass and simply titanic guitar and keyboard interventions make this a sizzling intermezzo. Van der Weijde throttles his guitar with manic abandon, Laan screeches on his synths like a modern day Manfred Mann, yes it's heavy and powerful and I like it!

The 10 minute + 'Lost Paradise' smoothly entrances the bedazzled listener with lovely Spanish guitar, the velvety vocals seem only to be inspired to aim for some distant utopia, 'dreaming of running away'. A luminous e-guitar slithers into the gentle fray, soon to be joined by a mellifluous synth foray. This little exchange goes on, like two lovers intertwined, impervious to any set of pre-determined rules. The mood actually increases in modulation, so as to almost become a cry in the night. Things get pretty perspiring, as the howling guitar rages into the deeper horizons, trembling and sizzling with little restraint. A churlish organ creeps in, spookier than Dracula's teeth, you just gotta admire the sweeping beauty of it all. Sweeping beauty? It's time for a kiss!

'Betrayed Again' is so overtly Genesis, you can only smile in admiration. A sweeping keyboard melodrama that serves only to announce the next epic, the majestic 'Devil's Island'. Inspired by the infernal penal colony in French Guiana and the book and movie Papillon by Henri Charriere , 'Le bagne de Cayenne' was an Alcatraz-like prison of hopelessness and despair, nowhere to escape to, just resignation and eventual miserable death. Typical prog subject matter, all that would be missing is a reference to Alfred Dreyfus, the most illustrious prisoner. As such, the music is dense like the Guyanese jungle, sweltering and pervasive, with hopeful reprieve coming with its ultimate demise in 1953.

The title track is a rambling affair, pretty aptly defining this crafty Dutch band style, namely a bright, crisp and exalted take on neo-prog, nothing lame or by the numbers. This piece in particular navigates the two extremes quite well, voyaging between sweet and wild, turning on a dime if required. Brian de Graeve shines on lead vocals, his high-pitched voice exemplifying the passion within his soul, contrary to what previous reviewers have stated, I do not find his voice 'forced' but I will admit that Erik Laan's can be a bit pushy on occasion.

'Wings to Fly' ends this fine affair, an intense cry for freedom and liberty, well-performed and loaded with passionate detail. Violin and cello provide coloring to an urgent and imperative chorus, a classy bit of entertaining music.

A perfectly acceptable follow-up to Across the Rubicon, great artwork, production and a well-paced set list of fine neo-progressive nuggets.

4 surfing shadows