HALLWAY OF DREAMS

When a new prog rock band writes songs - real songs - does it well, and debuts one of the most appealing releases in the scene, it merits some appreciation. A huge untapped talent like classically trained singer Judith Rijnveld certainly doesn't hurt, nor the solid leadership of drummer Ivar de Graaf and contributions from a great band of two guitars, bass and keys. No cuts over five minutes, pretentious themes, or other prog trappings so easily fallen into (save the storybook lyrics), 'Hallway of Dreams' satisfies in ways other high-minded art records simply do not, and it's a real pleasure.

Kingfisher Sky make heavy progressive rock, of that there is little doubt, bringing together brooding majikal folk, heavy metal, ersatz Celtic and Bjork-like rhythm/voice mantra. But the band's strength is its simplified and concentrated songsmithing, melodic focus and emotional impact. Rijnveld's charm and womanly wiles are irresistible and we get something a bit like Fleetwood Mac's strong feminine front and quiet but sure male backbone. But the music is not as restrained and precious as Nicks-era Mac, dipping more often into the pools of Zeppelin, Tool, Heart, and even the little dramas of Tori Amos. Opener 'The Craving' rocks nicely and is a good starter, nothing special but then they're just getting started. It's the kind of song pumped through the speakers before a concert and makes you wonder who it is. The title cut similarly timbres but perhaps drops the ball with the pop stylings, still an impressive mix of rich harmonic tunework with sudden leaps into Toolish progmetal. But the next, 'Balance of Power', really does it. Rijenveld's lovely distant wail greets us for a night of moondancing, de Graaf's fluid drum phrases, and the band's solid wall of power-rock for an album highpoint, a song that could easily climb the charts if anyone knew about it. 'November' as well, a near-perfect example of the standard song format followed by the semi-Elizabethen folk delicacies of 'Big Fish', Plant/Page droning in 'Through My Eyes', the clean modern cybernetics on 'Seven Feet' and 'Persephone'. And the flawless 'Her White Dress' as it screams *Hit!* into the ears of an oblivious market and shows us the simplicity of one beautiful song. Anyone who secretly loves a good 70s-style tunesmith could do a lot worse than this superb outfit, and in that light, 'Hallway of Dreams' is highly recommended.