III OF DREAMERS

I have left some time pass before reviewing this first full-length album of the Finnish Nurkostam. I have enjoyed the first two long EPs, even if "long" and "EP" are quite am oxymoron, and I had some expectations over this album that haven't been deluded.

It opens very Floydian, or better, with drums like David Gilmour's "Until We Sleep", but with the guitar playing few high pitched notes reminding a bit to Alan Parsons. It's just a start. soon the things change and the ambient is darker with atmospheres and dissonances close to King Crimson.

"The Camel Song" doesn't have anything to do with Latimer & co, apart the rhythm that has the same lazyness of Rajaz. The slow rhythm of a camel in the desert. Musically is like Roger Waters joining the King Crimson as the bass reminds to the pre-dark side Floyd (Set The Controls or even Careful with that Axe) while the other instruments are playing in a very Crimsonian way, specially the keyboard with sounds similar to Mel Collins. The final is almost symphonic. It's a very good track.

"Ocean" is quiet and relaxing, with just guitar and bells. It makes me think to the dreamy world of Syd Barrett or to the early Floyd of Grantchester Meadows.

"The Dreamer" is a great track. I hear a classic influence and the title is very appropriate. In general I like this kind of ambient music that's capable of let your mind fly away below your level of conscience. The choir in the last two minutes is an enhancement to an already excellent track.

"Almost Famous" opens with a very bass keyboard note and acoustic 12 strings guitar between Gilmour and Anthony Phillips, probably closer to the second. This song is probably one of the reasons why Nurkostam are (incorrectly IMO) included in the neo-prog subgenre. It's melodic and the usual dissonances are missing.

"Dike" is totally different, instead. Dissonant guitar opens the most Crimsonian track of the album. The dissonances are soon absorbed by a more melodic ambient with only the bass continuing on the guitar notes. The vocals are in the background. They unexpectedly sound in the same way as vocals sound on the Dan Britton's project "All Over Anywhere".

"Motherside" is more rocking but still in the vein of KC with a bit of experimentalism, not so accentuated to be suitable for avant, but surely far from the symphonic and the neo-prog. The speech in the middle accompanied by guitar only, first, then by electronic noises reminds me the post-rock band "From Monument To Masses", probably just for the speech. Then the voice leaves and we have the most experimental moment of the album. If I had listened to this track only I would have thought to avant.

The last track, "Anon" has a symphonic and melodic start but the sounds are again very "early Crimson". Then it calms down then the voice and the subtle atmosphere give me the idea of a smoky jazz-pub. The final is a dramatic crescendo. Out of the pub waiting for something to happen...a pause and a new crescendo that grows symphonic. An excellent closer that suddenly stops.

The Crimson influence is very strong but the band has an own sound. I don't have doubts in giving this (underrated IMO) album 4 stars.