VOIVODE DRACULA

Following two masterpieces, 2001's "Eve" and 2003's "Constellations," is no small order! The pattern I've noticed is that Richard's album releases seem to alternate between lighter, more pretty compositions (the two aforementioned) and dives into dark, more depressing themes and chord palettes. His interest in interpreting themes and tales of Gothic legend and literature may have some impact on this. Nevertheless, "Voivode Dracula," with its focus on representing and interpreting the Dracula tale, presents us with some dark and eerie music yet sacrifices none of the virtuosic neo-classical compositional strengths nor the expert performances of the two aforementioned 'masterpieces.' As a matter of fact, some of these compositions are so intricately nuanced as to exhibit even more accomplished and serious skills.

The opening epic (and title song) (9:15) presents a veritable musical companion to the literary reference material. It may be Richard's most classical-sounding piece yet (partly due to the lack of vocals). (10/10)

"Lucy/Festina Lenta" (6:37) creates a spaciously eery soundscape that conjures up Edgar Allan Poe-like venues: lots of dark, empty Victorian country home hallways. The layered vocals of Ileesha Bailey--quite unique in Prog World and quite welcomed, even relished, by this prog reviewer--are present in full-force yet never over used or never used as the main focal point or even melody carrier. They are like statuary, candles, and hidden doorways in the dark mansion hallways. (9.5/10)

3. "The Land Beyond the Forest" (6:08) opens with three ominous hits of a strangely effected piano which is then followed by what sounds like plucked dulcimer or tubular bells, or zither or even the piano strings plucked from inside the casing. The whole soundscape developed after that can only be called scary, threatening, blood-curdling, and the like. Amazing use of percussion and single hits or single notes of a multiplicity of classical orchestral instruments flit in and out while a single church organ chord and background militaristic "exploding bomb shells" provide the insistent reminder of time passing. Oboe provides the first lead runs--an angular, obtuse kind of melody and monologue--while other instruments flash in and out beneath and within. And then to end with a solo flute! Wow! (9.5/10)

4. "Mina" (6:12) has always been my favorite song from the album--but now I realize because it was only because it was the prettiest, the most near-"normal," the least scary, and the most accessible. Piano, chor anglais, and vocals do most of the work to engage the listener in a calming, disarming way. But then, this being a Draculan world, some disturbing, even diabolic sounds cannot help but invade our peace and repose. Can Mina's innocent beauty win out or will the demonic undead dominate her? The tension of the "battle" mounts the further the song. (9/10)

5. "Kisses for Us All" (13:18) is a song whose titular significance or reference point is lost on me because I don't know all of the vampire/Dracula literature, thus the slow, constantly ominous tension of this one seems incongruous with the act of bestowing kisses on us all. But, in terms of another neoclassical composition, this one is good, maybe not quite as great as the other four. It wends and wanders but never really reveals its hidden secrets to me. (8/10) I cannot rate the songs individually because they are all so perfect, so virtuosic in their expression of this timeless story.

Though this album requires one's full attention in order to really allow its full effects to sink in, it is, in my opinion, without a doubt another masterpiece of musical expression of a literary theme. How lucky we are to have Richard Wileman and Karda Estra to provide us with such soul-affecting intellectual delicacies!

Five Stars; a masterpiece of neoclassical Gothic "Night Gallery" chamber music.