THE LONG GOODBYE

In the much smirked sub-genre known as Neo-Prog, there are, like in most musical categorizations, the leaders with discographies and the one shot wonders. So you have your Arena, Pendragon, IQ, Marillion, Pallas, Galahad, Magenta, Satelitte etc..and then the hidden gems such as ICU's Now & Here, Skeem and Quidam's debuts and this very tasty album from English group Moria Falls. Inherently the difference between good Neo and the sludge that sometimes gives it such a black eye, is the quality of the melodic content and the able delivery of the emotion that should go with it. "The Long Goodbye" starts with a long hello and a damn good one, to boot, as "Waking Up Screaming" is a 14 minute + piece of progressive genius, a deliberate build-up with swirling keyboard colorations setting the table for the soaring guitar driven theme, with lead singer Miff deploying some excellent set of pipes (a huskier version of the Gabriel mould) in sustaining the drama, with guitman Glen Sanderman showing off some considerable tonal skills as well as some outright technical prowess. The mood changes direction and veers into different (and highly enjoyable) moments of bliss, from some brief harmony vocals to a synth corkscrew that segues into a second vocal chorus that shines with unabashed glow. The piano is used to create slight separations and this only serves to arouse the senses. The bass and drums supply a nervier touch than usually found on neo recordings. A Floydian guitar burst adds even more fuel to the fire, burning like exploding phosphorus and then swooning delicately, seeking and searching. An extraordinary first quarter of an hour highlighted by the most gentle retreat as the curtain falls, blending subtly into the faster paced and also gloomier " Traveller". This piece really sounds like a continuation of the same mood, Miff sounding a lot like Shaun Guerin (who sounded like Peter G) , the twirling guitars spinning a thick web of effect-laden mist, as the mellotrons howl in the background and the rhythm section propelling the edge even further. Keyboardist David White shows off some fine Moog soloing, giving this tune some sass and bite, while IQ's Martin Offord finds himself blowing some fluty kisses. "Out of Darkness" suggests a more gritty approach, guitars squealing uncontrolled, synths trembling and a lead vocal where you can actually picture Miff smiling as he intones his suffered lament. While perhaps a tad more accessible, the main melody is so immensely intense that one cannot help at marveling at the gall. Half way through this colossal gem, the identical theme becomes softer and really exposes the sheer lyrical beauty (the repeated "I wanna see"), culminating in a jaw dropping guitar chaperone that convinces that this is primo prog. "Still Raining" introduces White's majestic piano, a Wakemanesque subtlety that adds even more polish to the craft, a brief interlude as "Mists" swirls in , a short and highly suggestive piece, a platform for the singer to intone again his angst ("I Can Feel the Pain" ) and Sanderman to let another volley rip. "Frost" is another highlight, taking a different verse and adding emphasis by repeating it (such as "I Lose Control"), a tool to pummel the melody even deeper into the brain. The classic Genesis influence is perhaps even more overt here but the passion is there, believe me. Oh, and the swank guitar playing is again noteworthy for its crafty exuberance! While "Perfect World" is an excellent laidback piece, it just doesn't stun me as all the other splendid tracks, perhaps due to the arpeggio-decorated lilt that seems to plod a little, definitely a lighter impression. I personally prefer progressive recordings that keep the pressure up relentlessly, especially towards the final straightaway. This song is just too nice and would have been better suited in an earlier slot but not finding any room there, they put it here. The finale is the aptly penned title piece, with drummer Richard Jordan showing some slick time-keeping, nothing too complex mind you but effective. Miff exhorts gently, the lyrics here being more a propos, a depressive harangue with little rage and even less hope, swimming in outright melancholia, effectively illuminated by a sorrowful axe solo that suggest the pain of the universe, represented by the wall of Mellotron choir. Since their second album "Embrace" had, in my opinion, nothing even remotely in common with this treasured album, "The Long Goodbye" easily qualifies as a no-brainer, heartfelt representative of the supreme characteristics of good neo-prog. 4.5 handkerchiefs.