Of course a in a more conservative approach what we have here is less attached to what people expect from an art-rock band, and that is what is positive here, very in the way SW managed to create something completely different, here we have a band from Boston that has always figured out a way to surprise listeners. Progressive rock has always been for me, a way to push tastes and ways of making music. But, nevertheless, the creativity and the craftsmanship of the different instrumentation is there. I find it daring, how a band that pushes boundaries has managed to create such a collection of songs that, indeed, are not placed within the realms of a typical progressive rock album. Well from delicate acoustic to full-on rock. Highlight vocal syles that match the music Hunt and great grooves, riffs and acoustic Instrumental in 5/8 with repeated motives Groove and lyrics referring to paying theįerryman to get to the other side. Of tricky time signatures is done with easeĪnd actually groove very naturally. Varied bass, which like Squire, plays higher This album seems to have more originalityĭrum passages, powerful riffing and highly To me theĬlassical style sections which stand out. Singer Steve Carney and later with Claire Have seen the band live in their past life as Overall, good Prog, but feels all too familiar.Ī great new original album from Fragile. Of the Animals" also has a decent bit to keep you interested. It actuallyīreaks up into numerous sections throughout, keeping it interesting, keeping the listener on their toes. Before it gets too monotonous, it opens up with flute and into another great section. One of the clearest produced tracks is "Palace of Wonderland" that has a really great gallop pretty early on in its 12. Especially for us English speakers, you certainly don't need it within the context of the Shame about the production being e, but definitely the best thing on the album. Narration, with some of the best rhythmic lilting on the album. The narration returns on "Five O'clock Tea" atop neo-classical keys. It's a shame, too, because I can't help but think that this sort It's a tad static until around theĦ:00 mark, where the synthesizer and organ ramps up.
Like some tie between the Space Rock of ELOY and the composition of Camel here. "Old Father's Song" has great intermingling guitar work and flute, striding nicely along the rhythm section. On a negative note, perhaps it's the version I'm listening to, but I feel the mixing/mastering is incredibly muddy and fuzzy. I suppose because this is so intrinsically tied together, it continues to remind me specifically of The Snow Symphonic prog on this track ends with some nice synth and piano. Percussion and flute, this is most strikingly reminiscent of mid-70s CAMEL (i.e. The opener, "White Rabbit", sprawls about, lightly swirling wide but low in your headphones, giving way to theīeginning of the narration on "Gate to Wonderland". 30 years following their 1978 debut, Neuschwanstein returns to disc with Alice In Wonderland (2008).