LEONARDO'S DREAM

Maintaining the promise to look at past, unrecognized gems in the wonderful world of prog, we travel back to 1995 and land in the Netherlands to look at Ywis' second album, Leonardo's Dream. Neo-Prog has an unfortunate and unfair reputation among prog purists for being somewhat formulaic or simplistic, which certainly has some slight merit but the better bands within this genre are really quite capable of providing some serious listening pleasure that stands the test of time, especially when the melodies are topflight. The band put out this marvel and promptly vanished from the scene, seemingly disappointed by the lack of public acceptance for their art, though it does have a decent 3.66 rating on PA. Their brand of neo-prog relies on some obvious influences, most overtly the strong tinges in the style of guitar and drum tone that reminds one of Canadian group Saga, where axeman Ian Crichton and drummer Steve Negus utilize the same philosophy that made Page and Bonham such a powerhouse, as they play off each other rhythmically to create a fresh and powerful sound. This is the sonic template here for guitarist Rinus Hollenberg and Herman Ruijters on the drum kit, who are most adept at interweaving their riffs and beats into a driving and muscular sound to great effect. The compositions and the instrumental work are quite expressive but the cherry on the proverbial sundae is the rather brilliant vocalizing by Geert Van de Burg, who comes across like a proggier version of one of my favourite non-prog singers in Cy Curnin of the Fixx.

The group wastes little time in showcasing their attributes with the athletic opener "Sad Man" where the insistent riffs merge well with the binary drum pattern, lobbying a catchy melody, adding some shifting moods courtesy of the keys and a spirited lead guitar solo that is most successful. The title track keeps the foot on the pedal, pushing forward the undeniable Saga-like feel to flashy levels, a short and sweet blast that basically continues with the choppy yet very catchy "Twist to Release", a trio of tracks that work nicely to set the tone of what is to follow. Van de Burg really does sound like a hybrid Michael Sadler and the afore mentioned Curnin, while guitarist Hollenberg does a neat solo to set the sparks off. The lovely ballad "On My Own" offers a delicate arrangement with strings and a fervent lead vocal, lush with sorrow and sweet melancholy, somewhat reminiscent of Barry Palmer on Triumvirat's powerhouse ballad "For You". The swerving guitar solo is like a sunray crashing through the clouds to take its place in your heart, silky and insistent. An opulent track, really finished off by an unexpectedly ornate piano etude that serves only to add class to the proceedings.

This placid sense of gorgeousness suddenly veers back into a frenzy, an absolute bombastic track with massive vocals but the highlight is the evil guitar solo that shatters, explodes and shudders like an angry volcano. The effusive atmosphere settles down unpredictably in order to serve up a gentler, moodier, and truly breathtaking lead from Hollenberg that would make anyone's jaw drop. Acoustic guitar moment and a vocal to die for into, the poignant "The Allegory" deliberately evolves into a dynamic melody that sticks to the nodes, pushed along by superb organ runs, a solid bass and those throbbing drumbeats. Needless to say, the axe reigns supreme in providing the heat. On the impossibly surprising "Our Flight", I actually thought for a second that this was a Freddie Mercury track, as the style, the crunchy guitar and the roller coaster vocal would have fit nicely on Sheer Hear Attack. Uncanny but the harmony background vocals, the swaggering voice, the intentional beat, the archetypical chorus and that slippery Brian May-like snarly solo is proof positive! A massive groove sets in and Hollenberg puts his own insistent style up for display, a truly gifted player.

Neo is often accused by "sameness" but this album certainly chooses a clever dose of variety as exemplified by the ultra chic instrumental "Trial and Error". On a platform of tic-toc drum patterns (both real and electronic) that sets up a murkier mood, Rinus Hollenberg proves once again that playing his 6-string instrument like a true pro is what this release will leave as a lasting memory. Wow! In fine prog tradition, Ywis close out their final hurrah with a typical 8 minute + epic, "Put the Blame on History", a glowing condemnation of mankind's seemingly unending folly. Colossal biting riffs, intense bass and drums, huge choir vocals and a Van den Burg lead vocal full of piss and vinegar, this message piece has the stamp of any true prog classic. Next, an acoustic guitar solo appears out of nowhere only to be followed by his blistering electric cousin, reverting to the initial verse /chorus. Well thought out, expertly constructed, and played. A really satisfying ending to a superb album.

There is never anything wrong with accessible prog when the passion, the atmosphere, and the melody (PAM) are well though out and pleasurable. These three elements are often found among the higher rated Neo-Prog albums within the Prog universe. This hidden gem is NOT a masterpiece in the classic sense but well worth being added into any prog collection.

4 Da Vinci reveries