HOLY LAND

By no means harsh or abrasive "metal," this music is more in the "heavy" department like SYLVAN, led by the very talented vocal/keyboard artist, André Matos--though I am equally reminded of a heavier, more sophisticated version of Peter Nicholls-led IQ as well.

1. "Crossing" (1:55) a church-like choral piece (plus songbird) (5/5)

2. "Nothing To Say" (6:20) pre-djenty guitars & bass with steady drums and then layers of synth support before lead guitar and fancy synth-strings bridge to singing section. (8.75/10)

3. "Silence and Distance" (5:34) starts out as a slow ballad--until 1:30 when the hard rocking' kicks in--with "horn" synth embellishments. (This keyboard artist, André Matos, is very talented!) Nice twin guitars represent during instrumental section. Solid song! (9.25/10)

4. "Carolina IV" (10:33) If IQ's Peter Nicholls' band were a little more heavy and dynamic, this is what you might get. (19/20)

5. "Holy Land" (6:26) shaker percussion give way to piano and "flute" keys for André to sing over. This definitely has a Middle Eastern flavor to it--though one delivered in a kind of Broadway/stage style. Reminds of RUSH--though a very keyboard-centric song. (8.5/10)

6. "The Shaman" (5:23) very interesting chord play from the piano while the rest of the band establishes the song's intro. It all funnels into a forward-moving 1980s heavy metal song with many layers of instrumental passages in the weave and within the multi-voice vocal weave. Great percussion section while Arabic(?) voice speaks. Then it peels wheels kicking into fifth gear for the final section. The vocal part is actually the weakest part of this. A very interesting song, musically, but not as interesting melody-wise. (9/10)

7. "Make Believe" (5:51) another snare and piano intro soon joined by acoustic guitar and organ before bass and voice enter. André really has a wonderful theater-like voice (I like his slowed down vocals much better than his metal voice--though he does come through with the high-range belting of the final third of the song. There's quite a little MARCO GLÜHMANN there.) This excellent song could've come straight off of Posthumous Silence! (9.5/10)

8. "Z.I.T.O (6:09) Liszt-like keys over metal bass and guitars while André sings with a Geddy Lee/Peter Nicholls-like passion. Finally, some more great twin-shredding-guitar interplay! (9/10)

9. "Deep Blue (5:47) opens with gentle church organ playing slowly--as if processionally. André enters with an equally pious voice. Organ leaves, piano and strings take over accompanying André before the song shifts into full metal jacket at 1:30. In the slow down parts I'm reminded of Supertramp's Roger Hodgson on "Fool's Overture." And then, surprise! There's a return to liturgical sounds with organ, piano and lone tenor singing in Latin. Punctuated by horns and organ and female background choir, this is just exceptional music! (And exceptional theater!) Awesome! But we're not done yet! It's only 3:50! Hearing some words in the lyrics like "pray" makes me think that this might be a very personal, very spiritual song from André--despite the Brian May-like guitar solo. (9.5/10)

10. "Lullaby For Lucifer (2:43) back to the seashore with seagulls and waves over which Spanish guitar picks a gentle accompaniment for another very emotional André vocal. The only flaw is in the quality of the engineering of the vocal track. (4.75/5)

Total Time: 54:41

I don't get it: Are these guys Brazilian, British, or Israeli? If you like your prog metal theatric, sophisticated, and keyboard-driven, then these guys might be your cup of tea. I was hoping/expecting to hear more fire from the two guitarists. Oh, well.

A-/five stars; a minor masterpiece of theatric heavy (somewhat metal) prog and one of the more sophisticated and "deep" prog metal albums I've ever heard. Bueno!