Phillip Nespital is the German musician behind Smalltape, of which Tangram will be my third one, after The Hungry Heart (2021) and the Ocean (2017), both very appealing albums that I had failed to review for lack of time. Being a multi-instrumentalist, vocalist and composer, Phillip is helped by a talented regular crew of guitarist Flavio de Giusti, Alexandra Praet on bass, as well as Omri Abramov on soprano and tenor saxophones. Throw in a few guest bassists and two string specialists, finally crowning the list with a cameo guitar solo from Bruce Soord (the Pineapple Thief). My initial impressions were dominated by a sense of originality, in that some of his material has a lot of personal character, even though the basic sound palette is not revolutionary by any stretch, simply combining modern electronic sheen with old school melodicism. He does own a charming voice, wrapped within a delicate sonic cocoon, as the strings and the brass play a significant role in the seduction.
There will be three versions of “No Time”, placed first as an apropos introduction lasting a few seconds, followed by two lengthier (track 4 and 7) mood pieces. “Goodbye” sounds more like an emphatic Hello, with its Nine Inch Nails futuristic halo pounding mercilessly between ambient pools of sensitive outcry, a more than worthy recipe for success, becoming a hallmark feature throughout the album. The middle section is astonishing , what with the delicate acoustic guitar playing in unison with reverberating e-piano droplets , showing off a slight early Genesis feel (Dancing with the Moonlit Knight), proof arrives with the slithering electric lead and the dreamy atmospherics. The finale reprises the opening metallic dread perfectly.
The crystalline sonic clanging on “Second Chance” easily recreates the agony and ecstasy of getting a reprieve, another opportunity to succeed after an initial failure. Soord’s screeching axe solo amid the thundering riffs evokes hints of Porcupine Tree and various Steve Wilson-isms but in a more personal setting.
The second “No Time” piece has a jazzy e-piano taking another bow, a surreal high pitched vocal performance that has a lounge/torch song feel not too far removed from Sade, smooth as silk, and softer than velvet, the hazy atmosphere permeating the nodes.
Beauty emerges from the ashes of time on the temperamental “Phoenix”, the haunting attraction of the saxophone melding with the wall of sound synthesized splendour raises the overall standard even higher. Musically, approaching David Sylvian-like sonic investigation but with a lighter blade, eliciting smiling glances galore.
The highly seductive “Selene” finds the 8 minute+ arrangement saturated in a combination of melancholic romanticism, and profound reverence, the acoustic guitar bridge announcing an unexpected change of pace, as the percussive drums get all excited. Then, a jubilant e-piano once again dares to leave its mark, thoroughly orchestrated to enhance the necessary cinematographic depth, eventually exploding into a sublime ride into the sunset. Magnificent.
The third and lengthiest installment of “No Time” is a drawn-out affair, even more relaxed than ever before, a wondrous piano etude that exhales class, hitching up with a swirling synthesizer companion straight out of the classic jazz-rock school and some “aaah/oooh” vocalizations that invite the musical sunshine into one’s heart. The torrid saxophone and cool e-piano combine to finish off the least remnants of resistance. Bliss.
The voice-led “Gold Digger” serves as a heartfelt mini-introduction to arguably the showstopping curtain dropper “Tesselate”, a nearly 10-minute killer track that offers all the goods in one tight bundle, a slow burning polygonic reflection of expertly shaped shades, the voices swooning with elegance and grace. As the burgeoning energy yearns for climax , the pace is littered with a plethora of details, reminders of past pleasantries, the saxophones musings oozing suave gestures. The heightened echoes tremble in the distance, the culmination celestial.
My favourite German prog album for 2025, along with Finally George’s Painter, and an off the beaten path exclusive addition to any collection looking for a different twist.
4.5 Chinese puzzles