FATAL FUSION

Fatal Fusion's The Ancient Tale rather blew me away when I heard it, but unfortunately Dissonant Minds leaves me cold. It's the bluesy vocals and organ which doesn't quite work for me here; Knut Erik Grøntvedt's singing voice just doesn't do much for me, with the result that whilst I find the instrumental sections fairly interesting (though nothing we've not heard before from them or from innumerable other retro/neo-prog acts), the vocal sections don't quite work out for me. It's still the same sort of "vintage Rush plus some neo-prog" mix of influences that The Ancient Tale showcased, and yet somehow it felt fresher there; here it's alright, but not more than alright.

[Originally published at The Progressive Aspect]

The last time I heard anything from Norwegian band Fatal Fusion was 2013's The Ancient Tale. It was sold to me as Dream Theater with Mellotron. It sounded to me, more like Rush with Alex choosing to play vintage keyboards. That's not necessarily a bad thing, by the way. However, what put me off the album, and why I guess I never really returned were the vocals, which were full of horribly cheesy affectations to my ears. Fatal Fusion began as a blues band, and that origin remained a part of the music of The Ancient Tale, with hints of Black Sabbath, Led Zeppelin, Uriah Heep and Deep Purple. I guess this is why I tended to compare the music more to Rush than to Dream Theater. This year's album, Dissonant Minds, is far closer to Dream Theater than Rush, though. Well, perhaps a jazzy and psychedelic Dream Theater/Genesis hybrid, where Steve Hackett is on guitar, rather than John Petrucci.

The opening of the first track, Coming Forth by Day, attracted me more than anything on the whole of the previous album I had heard from the band (they have released another album in the interim, in 2016, but I've not listened to that). It's a strong opening, that bodes well, as I admit I took this album on for review with a little reluctance, knowing my previous experience with the band had not been entirely positive. As ever, the keyboards of Erlend Engebretsen are lush, and full of expression and emotion. I'm loving it. Some beautiful acoustic guitar from Stig Selnesin in the third minute, over a malevolent background hum. It's the threat within the music that has held my attention, and yet when all threat seems to evaporate in the fourth minute, I'm still with the song. And then the singing begins. But, you know, it's not as bad as I remember. In fact, I have no problem at all, until the chorus. The strained, rough sung chorus just doesn't work for me. The verses sound natural, and the chorus just sounds forced and fake, and as a result, cheesy to me. I wish Knut Erik Grøntvedt would stick to the singing style he uses for the verses, but that's just me. I'm sure there a legion of Fatal Fusion fans who love his way of singing.

Still in song one, but it's a long one, which gives plenty of opportunity for some changes ? and I love the change around the ninth minute. It's the first time the drums of Audun Engebretsen have a chance to stand out and impress ? and impress they do, as the threatening tone returns for the first time, since the song began. Lasse Lie's bass joins in, and the rhythm section shine ? even as the other instruments soar over them. The vocals return, and again it sounds to me like Grøntvedt is attempting to sing in a voice that doesn't come naturally to him. But I have to reiterate, that as much as I have some difficulty with the vocals, it is nowhere as much of a problem for me as it was with a The Ancient Tale. The vocals are relatively sparse, and the music is strong. As the song begins to fade out, I am aware that I'm not really ready for it to end.

Lie and Engebretsen lead us into Quo Vadimus with some very nifty playing. I hate to say it, but again I'm loving the track, right up until the point where Grøntvedt starts singing. It's not bad, but I just wish he wouldn't use the gruff tone, when he sounds so good singing without it. With or without his singing, this song has a bit of a jazzy vibe that I really like, thanks largely to the rhythm section. Even when there's some bluesy guitar flying over the top, the beat keeps things from turning too blues. And, it's at this point that I realise ? of course, Grøntvedt is a blues singer. It's not that his vocals are forced, so much as they're forced into music they don't really fit into. Would I enjoy his gruffer vocals if they were in a different musical setting? I honestly don't know, but I suspect I might. This new appreciation, however, doesn't help me with enjoying them in this track. (Sorry.)

There's a dramatic change of pace with Beneath the Skydome, which works as short, transitional piece. Quiet, atmospheric and reflective, it becomes more minimalist as it goes on, until returning with an insistent marching beat. The last note fades, and there is nothing until a bell starts tolling the start of Broken Man, Pt.2. (The first part of the song, after some investigation, appears to feature on Fatal Fusion's debut album. I've not yet listened to it.) Unfortunately for me, this return to a theme from an earlier album also seems to herald a return in sound to the earlier album I have heard (The Ancient Tale), and the first five minutes don't do a lot for me. Grøntvedt's vocals do soften at this point, and the song begins to become more enjoyable, but it's another minute before I get to the point where I can actually say I like it, I guess that it the good thing about a song of this length, as it does have a chance to redeem itself. Apart from the first five minutes, this is actually a good song, with Grøntvedt's best singing.

This isn't an album I'm going to rave over, but it's considerably better than I anticipated. I'm going to assume any fans of the band will lap it up, and those who may have passed the band over in the past might want to give them another go. There's enough of interest here that I will be checking out whatever comes next from Fatal Fusion, as well as their previous album. Heck, I might even revisit The Ancient Tale.

FATAL FUSION are back with the album titled 'Dissonant Minds', a new collection of songs that should hook you with both epic drama and emotional soundscapes. These Norwegian guys weave together a riot of tonal colors into a dazzling musical stuff - very ambitious and eclectic - to prove that the ethos of 'Golden era' is still alive and kicking. High-caliber songwriting and performance offer a hypnotic exploration of retro- flavored progressive rock that's complex, haunting and unforgettable. Here, there's an odd sense of nostalgia (as if this was a lost record from the early 1970's which had finally found its way to physical compact disk). Being pretentious and diverse, melodic architectures infuse each track with its own unique character. The album kicks off with lengthy 'Coming Forth by Day' comprised of four individual parts, and it's difficult to tell which one is the most impressive. They all move through the musical landscape flawlessly, without resorting to cliche or pastiche. The consistent changes in mood and direction serve to keep the interest throughout. Enigmatic 'Another Day in the Duat' segues into emotive 'Memories of a Slave' followed by powerful 'Into the Underworld', gradually evolving to final 'Speak My Name'. Fantastic combination allows the talents of Stig Selnes (guitar department), Erlend Engebretsen (vintage keyboards), Audun Engebretsen (drum kits) and Lasse Lie (bass) to shine. The emotion laden vocals of Knut Erik Gr�¸ntvedt give an extra measure, as well as accentuating the individual skill of each instrumentalist. On the next number, 'Quo Vadimus', the core members team up with two special guests: Kjetil Saltnes who presents her nice flute, while Astraea Antal succeeds the guitar soloing. Musically, this 7+ min. piece falls into the scope of hard stripes interleaved with some soothing passages. The things turn into a different pattern on 'Beneath the Skydome', where the specific echoes of Pink Floyd can be heard - albeit without being a dominant factor. The album reaches its worthy final with an expansive epic 'Broken Man, pt.2', combining a lot of kaleidoscopic details, surprising twists and turns, different signatures and instrumental parts that walk their enthralling route forward. A monumental tapestry is divided over five segments glued together: 'Chained and Broken', 'Dissolving a Legend', 'Angry and Vengeful', 'Thoughts of Regret', 'Peace at Last'. And again, Fatal Fusion will coerce you to have a crossroad puzzle: dozen of influences, yet no direct comparisons. There are so many hidden depths and secret avenues to explore. Melodic, artful and catchy set makes up a powerful stuff which carries onto a wonderful musical journey serving like a medicine for our soul and spirit. Overall, CD 'Dissonant Minds' is versatile enough to earn a recommendation - particularly to those listeners inclined toward the adventurous style akin 70's progressive rock scene.

For the recent years now Norway is pumping out a plethora of very good groups and FATAL FUSION was no exception. On their debut CD 'Land Of The Sun' (2010) this five-piece covers a varied assortment of styles: classic hard-rock and neo-prog, funk and latino, space and jazz, blues and classical music. Just try to imagine a melting pot of Atomic Rooster, classic Deep Purple, early Marillion, psychedelic traits of Pink Floyd, at times - Carlos Santana and King Crimson, and you should understand the approach of Fatal Fusion. Skillfully balancing with tempos, fusing the loud elements and gentle ingredients, using delicious guitar playing and vintage keyboards (Hammond, Moog, Mellotron), raging bass and drums, these Norse went out to reveal a quite unique progressive product. Sure, the great asset to band's originality lies in ability of singer Knut Erik Grøntvedt to combine his bluesy timbre with a bitter-sweet performance. Each of the 7 cuts on the album has a style of its own, whilst maintaining an organic cohesion. Impressive stuff, indeed. So.. I just hope that my brief comment will induce some additional interest in what FF are doing.

FATAL FUSION have pulled off a stunner with the third studio album 'Total Absence' that checks in at seven compositions and high praise- worthy 56-plus min. What makes this new disk really special is the refreshing blend of diverse influences as well as portrayed emotion, added to challenging songs and great performances. The cohesive material shines through, especially when heard straight from the very first number to the last one. Fittingly enough, the album kicks off with a mysterious overture to showcase what Fatal Fusion are capable of. Played with sheer authority, the instrumental piece 'The Gates Of Ishtar' brings a predominant Arabian feel, providing a somewhat ominous atmosphere. Symphonic set-up is followed by martially sounding track 'Shadow Of The King', to recall the Rainbow's musical blueprint which functions like a mid-tempo rocker. From its outset, there's a solid build up featuring impeccable guitar work (Stig Selnes), huge keyboards (Erlend Engebretsen), intensive power of rhythm section (Audun Engebretsen / Lasse Lie). The structural components are fitted together perfectly, the ensemble accomplishes its mission enabling Knut Erik Grøntvedt to deliver his remarkable vocal style. A bit hoarse voice gives another sort of momentum. Next up, 'Forgotten One' adorned by prominent sound of flute. To a certain extent, it betrays an influence from Jethro Tull. Besides, The Windmill kept coming to my mind while listening to this catchy song. Afterward, sparkling 'Astral Flight', based on the reveries and instrumental grooves. A typical Jadis manner prevails, though the experimental section in vein of TFK is also present. The guitar wiz Stig Selnes and key virtuoso Erlend Engebretsen are in the spotlight, filling the air with depth and colour. Permanently audible, bassist Lasse Lie and drummer Audun Engebretsen supplement a dynamic dimension. The lead singer is kept aside here. Moving on. 'The Emperor's Letter' balances between mellow Spock's Beard and calm Salem Hill, before descending into absolute magic: flawless guitar solo is reminiscent of Steve Hackett. It brings goosebumps to my spine. Yet again, Knut Erik Grøntvedt affords a lyrical meaning to content. The further CD goes, the more intriguing it becomes. Depicting different emotional states, a lengthy composition 'Endless Ocean Blue' is a kind of prog-suite with its three acts ('Meditation', 'Ascension', 'Realization'). If you can mix Iluvatar, Marillion, Deep Purple and Pink Floyd, you will have a good idea for the general sound of this opus. The musicianship is still terrific, while Knut Erik pours his soul into every note he sings. By no coincidence, 'Total Absence' is the longest track on the whole album, clocking in at 15:30 min. Four parts ('Empty Houses, Empty Streets', 'Losing Faith', 'Night Must Fall', 'United We Stand') transfer into each other making the epic vertex. In musical ways, it largely leans on old Genesis and Dream Theater. Flows and ebbs with changes of pace and time- signatures. The front man sings with heart, creating the tangible imagery. It's curious to note, however, Fatal Fusion have decided to place a beautiful guitar solo in the final segment, providing a true Pendragon vibe. And when the music gradually fades away, you are left a fully delighted customer!!! All in all, this release is both very melodic and adventurous; it should deliver tons of enjoyment for progressive rock heads who chose to seek it out. Definitely recommended.

Vintage prog with limitations

It is difficult to categorise Fatal Fusion judging from this disc; vintage prog is probably the most accurate description since the sounds clearly rises from the 70's. From hard rock-infused riffs, to organ and hammond-filled passages, the band clearly show their keeness on keeping to their roots.

There is a mutiltude of elements and styles in their, otherwise stuck-to-the-roots, crossover prog. There are bombastic, epic intros (The Gates of Ishtar), heavy rock fantasy-driven tunes (Shadow of the King), fusionesque and uptempo melodies (Astral Flight), nostalgic low tempo tracks in the vein of Blood Ceremony (Forgotten One, The Emperor's Letter) and long epics guided by the giants of the 70's such as Pink Floyd and Genesis (Endless Ocean Blue and Total Absence). Hammond and organ dominate the sound of the album while the guitars and drums generate a more demo-like feeling, and it is unclear if this was intended or is a production limitation. Although it does stand out, it does somehow blend with the atmosphere.

Hints of Deep Purple and (more) of Wishbone Ash, some fantasy Neo-prog sounds in the vein of Marillion and a heavy rock Sabbathy mood are the strongest characteristics of Total Absence, which suffers from a major flaw: the vocals appear distinctly ''in-front'' and harsh - not out of tune but out of shape, they could put you off from enjoying this album. Perhaps this is why I find the instrumental track as the highlight of this album. Not that the rest of the music is overtly impressive: yes, the players are skilled but the tunes lack inspiration and innovation, charting on a well-trodden path. Had it not been for the vocals, I might have given this a few more chances, but as it stands it is very difficult to go back, other than spinning the enjoyable Astral Flight. Fans of vintage prog might find more to like than I did.

2.5

Finally it has happened, happened again actually! True prog fans are 'look out' people, constantly scouring the globe for something exciting or even mind blowing to surface, out of the blue. True devotees research, cross reference or analyze the credits for a familiar musician or just go with their gut feeling. This knowledge has served us well, I can acknowledge that music has given my life purpose, enjoyment, escape and panacea. We all know life is not easy, getting even more dangerous than ever before (and I am from 'the Cold War generation', I am proud to say), so you cannot fathom the sheer salvation that music was, is and always will be. Its medication, vision, courage and unending faith, all combined as a musical vehicle to dream and emote without fear or judgement. Prog certainly covers the entire spectrum of human emotions and proud to do so. While the golden years of the 70s were remarkable and highly inspired, I must say , having lived it then and today, the quality of 21st Century prog has been the best period ever, so many talented and adventurous bands out there, who make music they enjoy, not for groupies, not for fortune or not for fame. That is the true measure of how prog is evolving, spewing out jewels one after the other.

This is another one, the brand spanking new Fatal Fusion album, a Norwegian group I only recently hooked up with, after a lot of glances but no bite. Well, their sophomore album "The Ancient Tale" really blew me away, though it did take some concentration and effort, as there were many familiar things mixed in with some unexpected ones to keep one on the edge. What threw me off was trying to compare the band to anyone else out there, which was a huge mistake on my part, as I tried to take the easy road. But once I took on that album for what it was, it started hitting hard. The first three tracks certainly do smash rigid, then the set list suddenly evolves into much mellower realms that will catch any listener unaware.

On the surly opener instrumental opener "The Gates of Ishtar", Fatal Fusion are slanted more towards the masculine, testosterone-laced prog bravado, the sonic palette pumping audacious yet heavily symphonic, very obviously led by Erlend Engebretsen who shines on a wide variety of keyboards. Guitars are honed and masterly wielded, gritty when rhyming and soaring when leading. Stig Selnes is quite the craftsman, both rash and fluid at a moment's notice, pushing the murky theme to glorious heights, with just a hint of Middle Eastern aroma. It serves as the ideal introduction for "the Shadow of the King", energized by a husky-voice singer that takes some getting used to, allied to a brooding scimitar of heavy riffs that hammer home, unrelenting. There is an undeniable Zeppelin shuffle that recalls "Kashmir" for a while until Selnes shoots off a dizzying axe solo that bounces off sand dunes, whirls beyond the oasis and spirals into the broiling sky. "Forgotten One" possesses a well-balanced arrangement that stings one moment with metallic fury , organ ablaze and drums pumping wildly only to veer into a gentler lullaby where the piano leads the march. The gargling lead vocals from Knut Grontvedt certainly are different, to say the least. And then quite unexpectedly, the material just gets flung into another dimension altogether.

On the stunning "Astral Flight", the spirit and the dexterity combine for some savagely brilliant instrumental episodes, but when the extended e-piano solo enters, I am slain! As if the early Santana guitar cavalcade was not enough, the entire mood is memorable, bright, smoothly jazzy and impassioned. The rocket-fueled rhythm section is propulsive, serpentine and utterly focused on the appointed flight path, no auto-pilot programming on this one! This is a killer track of the highest order and a harbinger of things to come.

The next three pieces are all epic in scope and running time, heavily dominated by massive mellotron winds that will take you back to the Court of the Crimson King, beginning with the reverential "the Emperor's Letter" , a colossal symphonic ballad that groans and moans with bittersweet content. The overall feel is stately and imperial, the beastly legendary keyboard doing its celebrated magic, the ideal stage for Knut to howl to the moon, the electric guitars snarling and the keys impetuous. Stig emotes on acoustic before unleashing a gorgeous electric solo, flush with pressing despair. Totally beautiful, morose and forbidding, this is primo prog that make you kneel at the shrine.

Yet the biggest surprise is without any doubt, "Endless Ocean Blue" with its disarming pastoral intro of clanging bucolic strings and weaving synths, becoming a melancholic 11 minute voyage on a sea of serenity, a sense of floating that owes more to classic Pink Floyd than anything else. The plaintive vocals in particular are hushed, elbowed by Lasse Lie's low bass rumble and concussed by a resilient binary beat. Within the mid-section, the expectant storm intensifies into gale wind organ flurries, Erlend rifling along his board with dedicated precision and urgent mania. Stig's turn to show his restraint and command of the e-guitar, carving a superlative arch of slow- burning notes, a kaleidoscope of emotions painting the air. Knut roars out his pain, in that raspy shriek that is both manly and desperate.

The title track finishes off this monster, a quarter of an hour of musical bliss that kicks off with urban sound effects, cars honking and a forlorn piano tinkling morosely. Voice, acoustic guitar and an orchestral background sets the stage for the pleasures to come, searching the road to some salvation. The buildup gradually goes tornado (as Bill Bruford once stated), as the sonic heat is ratcheted up considerably, the rhythms concussive and the guitars persuasive. The mighty Mellotron returns again to prove the point, shoving the steam roller of sound forward and beyond. Stig agrees to fiddle with his axe once again, with tremendous efficiency and taste.

Heavy prog is perhaps the best way to describe the style here, but it's somehow different from other players within the genre. Loads of paradoxes abound, its heavy and yet isn't, its brooding yet also very inspired. It's typical but also original. A wild and savage mix of entertaining progressive rock music that might not be everyone's cup of tea but highly enjoyable under the right circumstances.

4.5 complete nonattendances

Another Norwegian group that I finally picked up on, once glanced at and set aside, is Fatal Fusion, excited by some of the reviews including their third and latest opus 'Total Absence', whose second album I decided to take the leap of faith on. Warthur gave this a perfect score, so how could I go wrong? 'The Ancient Tale' has meandering themes some very left and others very right, a wide panorama of styles, the bombastic being the top dog.

The epic 'City of Zerych' is a sprawling sea of crests and eddies, tempests and storm clouds above, chooses a variety of sub-sections amid the 18 minutes allotted here. It starts off bewildering, demanding closer attention I guess, as the unexpected leaps out of the speakers, mixed in with clever references points that can even hint at old classics, winks at Joe Cocker. There are some mellotron-drenched passages with the ticking bas that really blows the mind, growly voices evoke rancid fear and hollow dread, the beat funeral-like until the speed machine powers in unrelenting, spurred by keyboardist Erlend Engebretsen's expansive and emotive arsenal, highly symphonic and occasionally Neo, what with those nasty synth solos garnishing the pace. Stig Selnes is a rock guitarist and he lays it on, thick and creamy, throw in a stellar organ parade and, oh My! Magic!

Half as long is 'Halls of Amenti', a classic rock track, smeared with so many prog influences with various recipes that are guaranteed to be noticed, extensively adorned by orchestral keys and slippery synths and a doom-laden theme, bold instrumental passages and a convincing disposition. Singer Knut Erik Grontvet has a raspy, hoary and even throaty set of pipes that comes across as quite original, certainly within the prog context where stupendous vocalists lag behind the remaining musicians by a country mile. Some need time to getting used to, some you never get used to (Peter Hammill) but this guy can sing the blues, if you see what I mean. The fiery axe does a few flaming pirouettes under the tent, the drums elephantine, the bass reptilian like a python and the electronics screaming like eagles. All that is missing is the bearded lady! No clowns, though!

Another epic piece, a more angular and hard ride, is 'The Divine Comedy', presumably referring to Dante's legendary and rather magnificent poem. Here the mood is quickly greasy, infernal, sweaty and sombre, the guitars plowing with the rhythm section into an almost Hawkwind-like obsession , leaden riffs and choir mellotron in tandem (personally, I get all frazzled, it's so yummy). A long dreamy mid-section stuns by its temporary restraint, sweeping cascades of the white monster, sequencers aglow, until the symphonics come shining through, laser guided by a linear lead guitar , showing the way, leading the flock, searching for a new euphoria. Not the most complicated stuff, but sublimely put together, brilliant in its demeanour and inventiveness, while remaining easily enjoyable. Keyboard fans will be enthralled by the ivory presentation shown here. Then the church organ kicks in, just a final coup de grace! I am done, Yes! A superb track of the highest order, perhaps a classic!

I am also a sucker for harpsichord, a true weakness since childhood, so guess what 'Tears I have cried' commences with? And flute, emanating aromas of leas, ponds and rural exodus, a seemingly unassuming folky lament that builds into a power riff, then returns again and again in puerile naivet' , bullied by the responsive riff , sounding a lot like 'She's So Heavy' by them four lads from Liverpool. Unexpected and quite daring, the soft and hard contrasts quite beguiling, the bluesy singing enticing, as it's a very masculine voice, that still emotes eloquently (not many of those around). Stig Selnes puls out all the stops, a well-endowed craftsman, soaring beyond the pale.

So we finish off with the title track, 17 minutes + of musical adventure, raising the drawn bridge on a romantic piano etude, and entering the castle walls with a tight, medieval-tinged guitar rant. Eventually, the main romantic melody dances in to the room, an air that is absolutely drop-dead gorgeous, a smooth vocal that is imperial, an acoustic guitar section, very Spanish and fever clever, an extended return to that celestial chorus , a guitar blitz that gets a turbo charge and spirals into the horizon at high velocity, oh my! Again. Spoken words as an intermezzo, melancholia drenching, piano drizzling and echoed voice beckoning further discovery, this is a killer track. No, make that assassin track! The thrill is repeated one more time, the Norse horses galloping in the bend, headed for home, Selnes carving divinely, as the mellotron bids farewell.

Oh my!

4.5 Old Stories.

Norwegian band FATAL FUSION was formed in 2008, most of them musicians who had been active since the 80's and 90's that now have a desire to play music of a more progressive orientation. They self-released their debut album "Land of the Sun" in 2011, and in 2012 they signed to Karisma Records. Towards the end of 2013 they released their second full-length production "The Ancient Tale" through that Norwegian record label.

If you have a general soft spot for bands exploring the harder side of 70's progressive rock and are generally fond of bands that use organ and Mellotron textures rather liberally, Fatal Fusion has made an album you should appreciate with "The Ancient Tale". Especially if you're fond of multi-part, epic-length compositions.

A well-played but unoriginal vintage prog album marred by poor lyrics and average singing. A must for fans of Mellotron and keys in general. It will appeal to those who prefer emotion rather than creativity.

City of Zerich: This tells the childish tale of a hero freeing a city of its evil lord, nothing less' Mini- Moog opening followed by choir Mellotron then classic rock riffage and keys: the tone is set. The intro stops around 2min and half. Gentle guitar and the singing begins smoothly. The song morphs at 5 min and half: wall to wall Mellotron, guitars, the tone is darker. Later on demon-like voice adds anguish. A good jam between the 13 and 16 minute then the grand finale, as cheesy as can be: ' Zeeeerich, people of Zeeeeeeerich I have saved you from the darkneeeeeeess! I am your chosen oooooone!' This story may please some teenagers but I just can't go beyond that. Without the juvenile lyrics and singing the song would have been enjoyable.

Halls of Amenti: A 9 minutes song that should have been half long. The first 6 minutes keep the same pattern in a non-prog manner with very simple and repetitive instruments. Mellotron to add ambiance and Mini-Moog for the spacey effect here and there. Then a minute long guitar solo and back to the same pattern. A change with some repetitive keyboards 30 seconds before the end, too little, too late.

The Divine Comedy: My preferred song of the lot by a good margin. It's an instrumental with lots of keys. They almost over abuse Mellotron (choir) in particular, although I don't think there's lots of prog fans that will complain. Not me for sure! This songs floats, it's not fast-paced for the most part except around the 2/3 where it accelerates but to slow down after 2 minutes. Again it's very repetitive but not in a bad way this time. All in all not a very complex song, nor original, but it creates a grandiose effect.

Tears I've cried: Harpsichord opening, gentle flute & classical guitar later on. Cheesy lyrics once again. This one has similar length and is built like the second track with a guitar solo near the 2/3 of the song and keys solo near the end. The singer tries to create passion (Teeeeaaaaars IIIII've Criiiiiiied) but it doesn't work at all.

The Ancient Tale: Short piano-voice intro followed by uninspired repetitive instruments for the first 4 minutes. Gentle Mellotron (violin) follows with smooth voice for another 4 minutes. When the singer doesn't push his voice beyond its limits it's not bad. Then passed the 8 minutes mark, faster guitar paced section for a little more than a minute. A talking voice telling a tale accompanied by piano follows, disturbing the flow. The piano is nice though. A duo of Mellotron and singing to the forefront after that. The singer is replaced by a pleasant classic guitar solo still accompanied with the Mellotron. Then comes the ending section: keys and slow burning electric guitar solo creating a poignant finale. This one is a mixed bag.

If you have a knack for vintage prog and can tolerate the singing and the childish tales then you might appreciate this album very much. For my part I can't. The Divine Comedy saves the day, hence the 3 stars rating, but without this song it would have been a 2 stars rating.