Monday, January 30, 2006

Saga - The Chapters (Live)


This has more episodes than Star Wars, Lord Of The Rings, and The Matrix combined. Truth be told, the story began in 1978 and it has spread throughout sixteen chapters over the course of eight studio albums. Aside from maybe a mix tape, this album marks the first time you can hear them all in order and in one single place. The bassist and co-conspirator, Jim Crichton, jokes that it's quite possibly the only album that took over twenty-eight years to complete. I haven't compiled the statistics required to confirm such a statement, but something tells me it just might be true.

The concept was inspired by two ideas: The Cold War and an odd article on the aftermath of Albert Einstein. Supposedly, the brain of this mathematical and philosophical genius sat on the shelf of pathologist Thomas S. Harvey. Whether the article holds any truth, and if it does, what the justifications may be, it makes for one truly intriguing premise. As I'm no expert on the band, all this explanation was found in the epilogue of the 36-page booklet that comes included. Without giving too much away, the notes give insight and hints into a twisted tale that ranges from alien abduction to the human flaw that directs our destructive tendencies. While aliens and astronauts are nothing new in Progressive Rock, it's still a unique notion and an atypical prime directive. It kind of reminds me of Henning Pauly's account on Douglas Adams (author of Hitchhiker's Guide To The Galaxy) in "Last Chance To See."

Michael Sadler is the vocalist who fronts this grand extravaganza. On this album, his attitude and intonations are ultra-impressive. When he's not on the road touring with this showy circus act, the ringleader can be seen making the rounds in and about various other circuits. He recently put out a solo album aptly christened Clear, which took his talents in an alternate, more commercial, direction. He's even collaborated with other creative forces such as the aforementioned Henning Pauly by providing crucial parts and useful participation in Chain's most recent production. While this could easily congest the schedule of a busy multi-tasking bumblebee, his efforts don't end there. Sadler's name is supposedly on the sign-up sheet for other future side-projects.

As for the others, Jim Gilmour plays the keyboards like John Beck of It Bites while Steve Negus' drums snap, crackle, and pop with the hydraulic reflexes of War's "Low Rider." Then there's Jim Crichton's bass, which ricochets in the same poignant manner as John Jowitt of IQ. Other times the gears shift as he injects the gas with the same raw power as Dave Meros of Spock's Beard. His brother and guitarist, Ian Crichton, draws from Queen's Brian May and in turn, quite possibly influenced Al Morse, who along with the other king of torts is another affiliate in the grossly successful firm of Spock's Beard. Interestingly enough, Saga's style overlaps in several areas with these tactful trial horses, especially when it comes to the quirky pop progeny they produce. Then again, they whack the mole with the same blunt and bulky edge as bands like Threshold, Dream Theater, Arena, and Enchant. Even so, it never really breaches the contours of metal, but brushes so close to the ledge, it frequently threatens to do so.

The more I listen to the album, the more it becomes apparent their registry lists a group of products that are unusually varied. We get fantastically flamboyant solos on both the keyboards and the guitars, randomly rebounding into dark shadows and arriving inbound out of nowhere. Ian's outcries, in particular, are sweet lucidity when it comes to the unaccompanied escapades he goes on during "Images" (Chapter 1), "Will It Be You?" (Chapter 4), and "Ashes To Ashes" (Chapter 12). It's as if the ostentatious ace from Queen is making an unannounced appearance. In addition, there are many times when a duo or trio of instruments square off in a duel. For example, in the closing quivers of the album, that would be "World's Apart" (Chapter 16), Ian and Jimmy G do a synchronized dance. This fiercely spirited sombo prompts thoughts of an aggravated assault by Al Morse and Ryo Okumoto.

It's amazing that this was linked between separate releases as some of the transitions between the songs are quite seamless. The space that separates "Images" (Chapter 1) from "Don't Be Late" (Chapter 2) is so microscopic it's undetectable to the untrained ear. Afterwards, they don't rest as they do the same into the next song, "It's Time" (Chapter 3). Keeping pace, they don't substitute the picante sauce for a salsa that's mass-produced or manufactured in New York City. Instead, they incorporate an out-of-this-world theme that would actually suit Ralph Hinkley for the role of Greatest American Hero. Likewise, the third track fits snuggly within the catacombs of Styx. From each pioneering piece into the next fruitful frontier, they continue the rush with one golden nugget after another.

We are privileged to partake in a mixed bag of prestigious pieces. None have folds of fat or sport a portly potbelly, but most, if not all, are pickled in salty brine and slathered with pretension. "No Regrets" (Chapter 5) and "Not This Way" (Chapter 10) are classical, madrigal, and balladic in nature. This is proof they aren't fixated on a stringent structure nor do they feel compelled to stick compulsively to a certain design. In the first, I hear a soprano sax that captures the characteristics of Kenny G. Since no such instrument is mentioned in the credits, it's either the result of special effects on the guitar or careful calibration on the keyboards. These poised and polished passages are jewels in an ornate arrangement, hearkening back to the elegant armlets worn by Queen for their Night At Tthe Opera.

On the opposite end of the scale, "Tired World" (Chapter 6) and "Too Much To Lose" (Chapter 7) are less reserved and reticent, bordering on the whimsical and wacky. The former is lubed with a groovy section on bass that's so fluid it's greasy. The keyboards, conversely, are a rainbow of sprinkles that resemble the gaudy intro to Spock's Beard's "Go The Way The Way You Go". The other instruments, however, chug along with the crazy locomotion of a steam engine. Then there's the following chapter, which adorns a symphonic stamp that instantly traces back to their conventional stash.

The most impressive and ambitious aspect of this concept is the storyline. It was meant to be seen with an analytical eye and epic acuity. Yet, when breaking it down into its individual installments, you are left with more than a few exceptional song-oriented stand-outs. My favorite "Ashes To Ashes" (Chapter 11) comes in the second half of these extraterrestrial archives. I really like how the steamy keyboards sizzle and then evaporate from the surface. Lost in space, they scream for rescue with the high-pitch shrill of a siren. It's a distress call that is sure to cause a ticklish sensation. Rewinding the ribbon, "Will It Be You" (Chapter 4) proves to be a highlight early on. In its many breakout sections, it provides flash floods and flares as it flickers on and off with a strobe light of sparklers and streamers. With each bridge is crosses, it's like Flash Gordon exploring Planet Mongo, while in his quest, encountering many weird and outlandish scenarios. They flaunt their abilities, strut their stuff, and function in a form so fit it would draw the attention of Charles Darwin. Their exploits are so imperious in this piece; they're meant solely for the princes of the universe and nobody else.

It seems they not only deliberated to great length on the melody and the lyrics, but also considered the chronology of the pieces. Each one lines up side-by-side like jagged fragments flung from a jigsaw. Many themes are reprised, which is remarkable when you consider how these songs have spanned the generations (for the record, none of them were on Generation 13). The instrumental oboe section in "Images" (Chapter 1) shows up in the vocal verses of "World's Apart" (Chapter 16). Before the repeated section becomes stagnant, it trickles into a nebulous interlude on the piano. Also, "Don't Be Late" (Chapter 2) and "Remember When?" (Chapter 9) parallel each other when pampering themselves with the powder and putting on the make-up to the chorus. Plus, to put a spin on the singing, when Michael breaks away from leading the steering committee, Jim Gilmour provides his grizzly voice. In "Don't Be Late" (Chapter 2) and No Stranger (Chapter 8), he drowns these ditties in buckets of weighty words thus pouring on the extra gravy and giving the music much added gravity.

While "You Know I Know" (Chapter 12), "Uncle Albert's Eyes" (Chapter 13), "Streets Of Gold" (Chapter 14), and "We'll Meet Again" (Chapter 15) have yet to be mentioned, these gelatinous gems are so salacious; they squirt with an abundance of sugar-coated sap. Liquid spurts and spews from the fountain in jet streams of mouth-watering fluid. It's the same response one usually gets when biting down on one of those juicy candy wax conduits.

They've put a lot of verve into these classic cuts. They keep the energy flowing as they warp through hyperspace, taking us from "Images" to "World's Apart". The great space coaster takes us far, covering a distance that spans two discs. I may have jumped around in my analysis, but it's important to point out that the puzzle pieces were never presented in any particular order. There wasn't really any rhyme or reason to how they were released. However, they each stand on their own and provide the factors needed to fill in the fuzzy logic. Once you understand the concept, all the graphics they've used over the years will come quickly into focus. While it will become immediately evident that those insect-like beings are from outer space, you will be made aware they're not annoying pests or unwelcome invaders. As a whole, this live performance reads like a novel as we take this cutting-edge craft from one chapter to the next. It might be one small step for music, but it's a giant leap for a band.

8.5/10

Monday, January 23, 2006

RPWL – Start the Fire (Live)


When it comes to the world of live music, RPWL is awe-inspiring. I saw them perform live at ROSfest 2004, which happened to be the first annual outing of this truly fetching and absolutely astounding festival. They headlined the event and, boy, were they ever impressive. The honor couldn’t have been bestowed upon a better choice. They had so much presence on stage it was uncanny. They pinned down every piece in the set list as if they were shooting tacks from a nail gun. On this particular album, they make use of their best recordings from the WORLD THROUGH MY EYES-TOUR 2005, so you know it has to be good. They represent every era in their discography, have great cover selections, and even bring one extraordinary guest onstage.

For starters, the special guest is none other than the veritably versatile Ray Wilson. It doesn’t take long for him to the board the bandwagon. He joins the crew halfway through the first disc (by the way, this is a double CD). When he comes out, the vibe radically changes. With the auxiliary motors engaged, the already alluring mood is supplanted by an abrupt outburst of energy. Afterwards, he sticks around for another enticing number. To give you a little background, his assistance was solicited for the World Through My Eyes album. It turns out Yogi Lang (the L in RPWL) wrote a song called “Roses”, which he thought was ideally suited for Ray’s voice. Through a series of fortunate events, Yogi got in contact with Ray who willingly came into the studio. They got him to join them in concert too and here you get a chance to hear the song how it was originally intended to be sung. If that’s not enough, they get him to follow it up with a tune from his own personal cache. The selection they choose is “Not About Us”, which in addition to Ray, was co-authored by legends Rutherford and Banks for the Calling All Stations album. With this pair of superb submissions, Ray’s appearance in this production is the pudding in their symphonically-syrupy power pop.

In this concert, they did little to hide the fact that they started as a Pink Floyd tribute band. They cover three of their infamous songs in succession. They provide “Opel” as well as one of my favorites, “Welcome to the Machine”. Placed upon the pile, they also perform the quirky cut “Cymbaline”. They have the goods to distribute the parcels from Pink Floyd’s sweatshop, but like Kevin James, they add their own distinct personality to the delivery. At times it is difficult to distinguish between these covers and the creations they’ve accumulated for their own private collection. What’s interesting is that “Opel” is on their Stock album while “Welcome to the Machine” has seemingly become a concert staple. This is my first time hearing “Cymbaline” spring forth from the band. Nevertheless, it too should become a common conveyance in the tour circuit as it has the most endearing acumen. At this point, it is hard to say whether or not the originals are better, because they are able to emulate them with such intimate precision. Yet, in more ways than one, they’ve made each song their own.

Besides what’s been mentioned, there’s plenty else to entertain us. Starting with “Sleep”, it becomes tentative and loose after freeing itself from ice-cold inertia. Once it thaws, it’s immediately apparent this slick fish was effectively fresh-frozen. It shakes the frost from its scales and bites down with the tenacity and teeth of a piranha. “Day on My Pillow” is so radio-friendly; you’d think they were covering a song from The Beatles. For those who don’t already know, this really is an RPWL original. Also, what’s clever about this song is that they stealthily squeeze in “I Know What I Like (In Your Wardrobe)” from Genesis’ Selling England by the Pound. It slipped through my fingers many times before I finally grabbed hold and reeled it in.

I like all these songs, mostly the covers and especially the ones with Ray, but it’s the songs that hearken back to the debut that feed the fire best. Among them we get the critically-acclaimed favorites “Who Do You Think We Are” and “Crazy Lane”. They feverishly nourish the flames as if they were kindling. We also get the tried and true title tracks from other essential albums. That would be “Trying to Kiss the Sun” and “World Through My Eyes”. By now, I’ve accounted for a major fraction of the album and while there’s more, this is already enough to fill the foggy air with luminance. The remaining selections such as “Start the Fire”, “The Gentle Art of Swimming”, “Wasted Land” and “I Don’t Know” are glowing bulbs that have evidently been enhanced. You’ll find extended versions of many of their songs. There are breakout sections that introduce whole minutes of sheer instrumental madness. Mostly, Markus Jehle’s keyboards are responsible for this added depth, but everyone finds a spot to provide some kind of innovation. With embellishments that would warrant envy, these songs have exponentially improved over time. For that reason, even Anne Robinson would have a difficult time deciding upon the album’s missing link.

All that aside, my favorite track overall is probably “Hole in the Sky” and it’s the one that appears to end the album. While they may start in a haze, they finish in a cloud filled with static electricity. As this is the first and best song off their debut, this is the song that put the band instantly on my short list. It’s this song that I feel is also this album’s biggest attraction. After cheers and jeers from the crowd trailed by a convincing pause, it seems it’s finally over, but this is not the case. They find the space for an extension and work in a nifty encore. For our added pleasure, they ambush us with an unreleased studio track called “Stars are Born”. It’s long and it’s certainly studio quality. This well-constructed cut sounds similar to the supergroup Kino, which is why it’s an excellent way to complete the album.

Between the set list, the covers selections, and one very special guest, this is one amazing product. It’s really one of the best live albums I’ve heard to date. After earning accolades from their debut, entertaining fans with three fantastic follow-ups, and headlining one of progressive rock’s most foremost festivals, the band continues to keep the momentum going. While they’ve done enough to earn entry into the hall of fame early, they continue to keep their edge razor-sharp. In a time when bands are slapping together albums and releasing half-hearted efforts, especially on the live front, it’s refreshing to hear such great “live” material. I may actually give this one more attention than their studio releases, because it’s so energetic, refined, and balanced. Each side from dawn to dusk flows with seamless integrity while the opening and closing notes land with careful placement and clout. They didn’t start the fire; it was always burning since the world was turning. However, they take this opportunity to grab the majority of shares. Using their investments wisely, they supply the stockades with striking live licks and sentient technology. With this concert, they’ve tried their best and haven’t failed their fans trying. Then again, that’s just my opinion of how I heard their world tour through my ears.

8.75/10

Monday, January 16, 2006

Moon Safari - A Doorway to Summer


If The Beatles were to go the progressive route, this is where they would have gone.

This band shares great harmonies in the vein of those famous four tenors from Liverpool. It would be hard enough to mimic John, Paul, George, and Ringo, but they set their sights even higher. Adding to the roster of their role models, they follow in the footsteps of their Swedish ancestors and sole parental guardian. As a result, much of the instrumental aspects of their music capture the fiber and fortitude of Tomas, Jonas, and Roine from The Flower Kings. To draw from one of these bands is brilliant, but to take from both is beyond compare.

Over and above inducing the innovations of Tomas Bodin, they also make use of the man himself. He contributes to this band in many ways, but it could hardly be considered a monopoly. He’s mixed, mastered, engineered, and produced the album as well as incorporated an incredibly stylish solo. It’s so trendy; it’s as sharp as a tack. However, he’s drawn a line and set a limit, leaving a lot of room for the others to flourish. On top of Tomas manipulating the gears with divine intervention, Simon Akesson provokes the organs, piano, moogs, and mellotrons with instrumental instigation. Then there’s the bass, which is intimately similar to Jonas Reingold, but alas it’s not him. It’s another fresh face that goes by the name of Johan Westerlund. As green as this guy is supposed to be, his talents are quite profitable and gainful. He adorns the instrument with the same commitment as the progressive prince and maybe even the almighty Chris Squire. Yet, he personalizes these tricky licks with his own new-fangled novelties and petulantly youthful fervor. The talent in these rookies is enough to blow the roof sky high, but it doesn’t stop there. Anthon Johansson guitars are so agile and spry they slice through the wind like a lissome Learjet. While he navigates well with an electric, his piloting is precise when plotting a course on the acoustic. Petter Sandstrom’s incorporates some essential elements on the harmonica, but his primary function deals with the deliverance of the singing. Simon also sings lead in a few places. Peripheral to these two voices, Johan and Anthon supply their own backing vocals, which cohesively coalesce within the colors of a prism. When they stand united and focus their signal, they create a spectrum of sound that rivals the resplendent rays of a rainbow. Tobias Lundgren is the only one whose lips are sealed, but that’s quite okay. He’s much too busy sanctioning all the necessary provisions on drums and percussion. While they already have enough executives in upper management, additional advisors are brought onboard. A person by the name of ‘P’ plays the Steel Guitar whereas Simon Lundin imparts his own percussive affirmations upon the delegation. Even though their meetings are strictly compulsory and altogether brief, these consultants provide creditable council, contributions, and subsidization.

Not only is the music universally accessible, nipping at the buds of many mainstream bands, it pinches at the nerves of numerous niche acts too. There is no doubt in my mind that it’ll run the table with Progressive Rock fans, especially fans of The Flower Kings. In many places, their style is nearly indistinguishable from the longstanding legends as well as the current Global Elite. I’ve never seen a band capture the entrepreneurship of the Rockefeller’s of Prog Rock and still have their own unique take on the music without going so far as stealing. As daunting or difficult as this might seem, they successfully accomplish this intimidating task and they do so much without even flinching. They may not be the tycoons of today or the Robber Barons of tomorrow, but they’re wallowing in a wealth of ability. It’s obvious this band is poking at the rocking residues of the past and the progressive prospects of the future. Once the embers are good and glowing, they daringly pass the rake over these red-hot coals and grill up the most exquisite music for the modern day. It’s palpable they’ll someday overthrow the House of Rothschild, but for now, they’ve at least become a part of the progressively promising nouveau riche.

Unlock the latch and hop into the hatch then brace yourself for the brave new world of adventure that exists on the other side of this solar-powered portal:

Doorway – Right away, we confront an ambiance you rarely encounter in the opening of a debut. From the get go, they are in complete command of the controls and you know you've discovered something special. These fine young chaps share many virtues with the founding forefathers of music. They base their compositions on a reputable constitution, but introduce their own artistically imaginative amendments. The harmonica passage, in particular, is an excellent addendum to an already inclusive script. It reminds me of the score I heard in a childhood movie called Lion’s for Breakfast. It’s about uncommon to find this kind of passage in rock as it is to find this extremely rare video. This alone should be enough of a reason to declare their independence. Then again, it’s obvious they were bent and shaped by Tomas Bodin’s skillful blacksmithing. It’s apparent why he has chosen these artists to intern in his apprenticeship. Like Evander Holyfield, they come up through the ranks and go on to prove they are the real deal. Unlike other up-and-comers, nothing is rushed in their development or hastened in their training. They have only entered into this release when it was good and ready and this song happens to be the most predominant prize in the trophy case. It’s long, but not the longest. It sufficiently accomplishes everything they’ve set out to do and right away, establishes their superior standing. What sets them aside in the realm of progressive rock is that they are not only adroit on their instruments, but they sing very well indeed. This is a science fair of harmonically-tuned functions and filters. Then again, it’s far from formulaic and nowhere near paint-by-numbers. Aside from hearing The Flower Kings and The Beatles, I perceive the earthy undertones of Echolyn tip-toeing through the tread of this mix. They may very well be the next progressive phenom and as a fan, you’ll be privileged to hear such uninhibited music. It’s good to know our liberties and freedoms include the right to pursue these kinds of progressive masterpieces. This will catch on as the consensus will hopefully show, but give it time; you’ve got to let it grow.

Dance Across the Ocean – This song shares a kindred spirit with Karmakanic’s second album. It’s easy to imagine it snuggling between a warm and cozy blanket with Wheel of Life. It surfs the cosmic collective of “At the Speed of Light” and “Where the Earth Meets the Sky”. In its travels, it encounters Gentle Giant and Spock’s Beard vocals. Like that mirror imprisoning General Zod, Ursa, and Non, this floats through space and rotates on its axis. As long as we’re talking DC Comics, the more balladic parts take you back to Seal’s “Kiss of a Rose” from Batman Forever. IQ’s “Born Brilliant” from Dark Matter is also buried somewhere below the sheets. It’s fresh and airy, so there’s little risk the bugs in this bed actually bite. Simon shows breadth and depth as he adjoins ELP to the sprawling district. When he’s not Emerson, he’s Wakeman in a roundabout way. To further support their cause, they endorse The Proclaimer’s “I’m Gonna Be”. Ironically, if this was a world without music, I would walk five hundred miles just to hear this song (though maybe not all at once).

A Sun of Your Own – What I find most intriguing is how quickly you can learn the lyrics to this one. It’s insightful and expressive. This is how verses were meant to be written. The rabbit ears are accurately angled, making for a clear and cloudless connection. Consequently, it strikes all the right chords. We get wily wordplay and a benevolent melody. The two come together like milk and cookies or for those international types, tea and honey. Speaking of harmony, this is the textbook definition of how to bundle layers of voices together. The end effect is serene, sympathetic, and sincere. You may think they’ve forgotten the main theme, but they’ve snuck that in too in a very covert way. There is a thoughtful passage that reminds me of Terms of Endearment. Again, there are ingredients from Echolyn’s, this time it’s “Mei”. I also found parts of the song coincided with the conclusion to Neal Morse’s “?”. As long as they’re borrowing from the masters, Anthon tries his hand at a guitar solo, which embodies the orderly edifice of a Steve Hackett structure. This cut is immaculately conceived, creating an ideal bond with each of its devoted disciples. Immediately you’ll hit it off with this track. The sun will not only come out tomorrow, but the skies are so blue, this astral dog has been out all day.

We Spin the World – While three’s a charm, the fourth track is the keepsake. It takes fifties rock n’ roll and couples it with seventies progressive rock. There’s the tiniest trace of disco and it even has a little eighties pop. It drives down the drag like a hotrod and then rolls into the downtown quarters of American Graffiti. After parading its custom paint job, Grease Lightning pulls into the parking lot of Al’s Diner. Aside from rock and pop, this takes us through many roads and channels that range from classical, symphonic, Broadway, and folk. It transitions in the most translucent way, never losing the listener. With fingers crossed, we can only pray the hooligans of Rydell High won’t turn this majestic moon into a sordid sun. It encounters a chorus that represents the populace of “We are the World” and even tunes into WKRP in Cincinnati. I hear “Suite Charlotte Pike” as well as various parts of Transatlantic’s other epic numbers. Overall, The Flower Kings rule the roost, but there are loads of instrumentals that I found to be new and exciting. This has athletic prowess and it’s very ambitious, but it contains two paltry imperfections. First, there is a minor mispronunciation. They make “jokes” to the crowd and miss, but it’s not like their routine leaves them with tomatoes in their pockets or egg on their face. Second, on the initial impression, it feels as if it’s tad too long. Where it seems it should end, there is a passage that’s meant to act as an intermission. These empty calories create a cavity, but it works to carve the incisor into two distinct halves. It aims for Kevin Gilbert’s “There Was a Little Boy” and comes relatively close to the target. I misjudged this the first time as the finale truly requires a hush before the hailstorm. It’s done quite well, but needs numerous treatments to fully take in. That's why this has the most potential as a grower. The most romantic parts remind me of Love American Style while the most prosaic moments are fiendishly familiar to Nightmare on Elm Street. It spins on its head like Linda Blair, but jumps like a gyroscope to each of its sections. With all these strange traits, it even manages to assimilate a goofy sector that’s oddly similar to the Get Smart theme. Fortunate for the secret agent man, the technology is overhauled with many intelligent upgrades. While he no longer has his telephone hidden in his shoe, this silly installment shows the ingenuity of these gadget guys. In the end, the writers of this episode find their bearings and wind it down with the kind of musical that would make Drew Carey blush. On the whole, this song is stretched to its max. Then again, progressive patrons have to show some patience sometime. After the sappy segue, it finishes happy and strong. It’s always dreamy and never mundane. After witnessing this intense and impassioned contest, it’s apparent this crew can hang with The Flower Kings. It might be a friendly rivalry, but it undoubtedly demonstrates how much they deserve to play in the professional league. Not to mention, its harmonies easily contends with Gentle Giant, Spock’s Beard, and even the “Elite” choir. Additionally, they use lucrative libretto with clever quips such as “Someone’s Borrowed Something Blue, Heaven’s Losing No for Two”. That’s just a sample as there are a lot of smart lines that will slowly seep into your brain. This son is far from motherless as early adopters stand in the queue while several foster parents sign on the dotted line. Furthermore, the conclusion of the cut is just the beginning to the album’s glorious ending.

Beyond the Door – Maybe this was an afterthought whose sole purpose was to rashly reintroduce the earlier themes, but for some reason, it’s this song that works best. It’s trim and lean, prim and proper, and spares no time getting to its point. It’s bittersweet, heart-rending, and even a little sad at times. In a nutshell, it packs an incredible amount of sentiment and sensitivity into a very small space. The last song will grab hold of your heart and take you home with tender, touching revelation. The intro on the piano is expressive. The keyboards to follow are inspirational. I find this song contains such a profusion of unbridled feeling; it’s almost over the top. Before their voices enter into the equation, you may be experiencing watery eyes or your tear ducts may already be leaking. By the time you hear their receptive tones; it’s tugging at the heartstrings with gusto. Ultimately, it will overwhelm your emotions. Because it’s so moving, it’s my favorite song on the album. While it’s galvanized in glitter and ruminates with romantic devotion, it still finds the time for a skillfully enacted drum fill. Aspects of this song contain the clarity and zeal of a Hans Zimmer creation. There are moments that sway to the cadence of a Caribbean calypso. There are others that teeter on a pirate’s plank, but skulk away to safety. The notes from the piano fall like a feather in much the same manner as the anecdotal opening to Forrest Gump. The ending, on the other hand, is complex in its creativity. It’s embedded with intuition, which makes it easy to comprehend. This is a reprise that radiates with the infernal brightness of a supernova. It’s par for the course and shares equal parity with some of Neal Morse’s best songwriting attempts. The lyrics, the melody, everything is like “Doorway”, but it’s shifted in slight and subtle ways. It’s so shrewdly different; I’d say the changes are not only eloquent, but ingenious. The outline and organization reminds me of “The Light”, however, instead of coming back in the closing stages of a song, it comes at the conclusion of this album. Even though this is merely the follow-up to their premiere single and reuses many of its ideas rather liberally, it's still them putting their best foot forward. The piano, the synths, the vocals, the harmonies, you name it; reach the top notch of the totem poll. These young musician's do it all. With the talent that’s out there, you have to scratch your head and wonder why all the great music these days is coming from Sweden. There must be something in the drinking water. As the stream starts to melt, the river only flows faster. While the window to winter might still be open, it seems the doorway to summer is ajar. When looking at the weather charts, my forecast shows nothing but clear skies and sunshine ahead for this awfully endowed ensemble. I guess you could say their future’s so bright; they've got to wear shades.

9.25/10