It always amazes me to see that the much maligned and oft abused Neo-prog genre receives such widespread interest in countries such as Poland and in the Netherlands while being just a passing craze elsewhere. Both countries have a long slate of incredible artists that prefer the more melodic and accessible side of symphonic prog. In the case of the latter, the recent The Imperfectonist Collective was an example of how one can be extremely creative within the tighter constraints of the style in question. Above average songwriting , composing are crucial because instrumental prowess will take you so far, with or without mellotrons blazing. Marcel Sengor cut his teeth with Kayak, Ayreon and Star One, showing impeccable guitar skills in the process though he can also master the entire classic rock spectrum of instruments, while Robin van Vliet (Anouk, Slagerij van Kampen) stars on keyboards, bass and programming . Both share intertwining vocals.
I am always in admiration of daring to launch a debut album with an epic, as it defines courage under pressure, and the 15 minute+ “Future Now Suite” easily adds eventual depth, as it starts off with a charming aura of ethereal lightness. Directed by a cottony organ and spiraling guitar reflections, revelling in spacious vocals within a breezy choir-like dominion, we are then presented with a complicated mid-section invariably aiming at a more grandiose final stretch that relies on exemplary lead guitar work, the swerving arrangement blossoms brightly and blissfully along its merry way.
A series of five tracks all in the 5-minute range) constitute the core section of the album before finishing off with a longer piece, just under 7 minutes, “Sirens of Love” . The tranquil tempo remains firmly ensconced in vaporous and dreamy arrangements, where 80s melodicism (think The Dream Academy, Prefab Sprout, The Korgis etc…) meets progressive insertions on both keyboards and guitar that never overstay their presence, just long enough to make the proper impression. Whether expressive lead electric on the hypnotic “I Still Do That” or the sensational piano and the soothing synth during the captivating “Grazing Light”, there seems to always be some musical candy that seduces the ear. Throughout, Marcel spreads some fretboard magic in crystalline fashion, a much desirable feature. This is clearly expressed on the more muscular “Into A Monster”, where the corkscrew axe screeches with glee, in an all-together more jagged melodic structure, with brazenly woven vocal interfaces, keeping the overall mood inquisitive as opposed to sedate. Very interesting! Clanging arpeggios underline “Passing Through”, as if travelling within a distant hazy valley, voices echoing of the imposing walls of mist, a warm and pleading voice setting up a series of solo spots, namely a splendid guitar blast slicing through the synthesized bliss, though the latter takes a bow as well. Throughout, the ringing backdrop maintains the tension. Chosen as the first single, “Everything Changes When You Turn It On” has all the hallmarks of an introductory piece, it possesses an explicit Todd Rundgen feel, not surprising as opening for a Runt tribute show was the spark to put the band together! The guitar riffs rage like a wizard, the voice a true star, a cool homage to the man from Utopia. It is also the most commercial, radio-friendly track here.
Naturally, the parting shot needs to revert to more progressive leanings, and “Sirens of Love” manages to fulfill the request. It does start off volatile and sedate, veering into a strain-filled whirlwind sections at regular intervals, where the vocals go from serene to hectic, backing vocals urging impatience. The extended Sengor flight is off the charts, a stellar display of note bending genius, velocity and emotion lovingly entwined.
As a debut album, one can only hope to hear more from this project, as it has all the tools to entertain and charm, perhaps even enhancing and extending the prog aspects into more audacious routes.
4 black boxes