When I reviewed their debut in December of last year, this is what I opened up with : “Here is a rather original reworking of the very notion of progression, when two members of a successful prog metal group (Fates Warning) take the unusual step of sailing into overtly ambient realms of composition and texture, a trait generally seen in reverse fashion. Rogues in the true sense of the word. Vocalist Ray Alder and guitarist Jim Matheos have dabbled here and there with mellower avenues as they gracefully age like fine wine as both OSI and Tuesday the Sky gave a few glimpses of that oncoming maturity.” I am thrilled to see if the sophomore release keeps the echoes reverberating in the prog canyon !
The dynamic duo are back , little alteration (excuse the pun)with Dennis Leeflang handling the drum stool , ten tracks , the longest being the title track finale. “A Time of Innocence and Purpose” launches the musical Drakkar onto the cold North Sea , the onset of another perilous voyage into the more ambient soundscapes that characterized their debut, a style I certainly find appealing for its subtlety as opposed to brute power. The Matheos electronics play a larger role than any overt six string electric onslaught, perhaps waiting in the shadows. The tracks is vivid, moody and direct, nothing overtly technical but certainly memorable.
That same brooding atmosphere now gets a solid boost of propulsion, what with Leeflang’s pounding binary thuds that will soon enough entwine itself with the crisp Matheos riffs, Alder bellowing powerfully, using the classic dual voice tracking, the overarching chorus being a standout feature. Echoing (of course) synthesizers bid “Enjoy the View” a safe voyage ahead. A different slant on “Good Enough”, a more down-to-earth ballad, where voice and acoustic guitar exulting gently , a very slight country twang to the guitars that ‘shine through’, as Alder asserts that ‘rain is just a distance on, a thousand miles away’, a melodic slice of heartfelt music. “ I’ll Leave a Light On “ shows just how much lung power Alder possesses , seemingly at will. I find a certain resemblance to the early prog-tinged material of early Foreigner, powerfully propulsed by some meaty beats and panoramic guitar surges. The final stretch is exemplary. Flick a switch and “All Fall Away” sweeps into a more stripped-down electronica, amid some clever axe flicks of the wrist that are bold enough to swerve into power riffs, a roller coaster of emotions that certainly work for my ears. Its all very classy and polished with tons of feeling, the sensation of layers of pain collapsing one after the other is omnipresent. A terrific track, full of gutsy bravado.
Payback comes in the form of “Revenge”, a highway cruise of throttling modern prog, racing along the road of life, no holds barred and immediately addictive. Alder can alter his modulations to the point where you wonder if it’s the same vocalist. His softer tones, do not sound at all like his more leather-lunged deliveries. A dish served cold, just like the icy northern waters. “Villains or Saints” is immediately impressive, coiling e-piano turning into massive bass swirls and guitar rasps, Alder flaunting the merits of last goodbyes, and that its never too late. The chorus is ferociously intense, another winning track to enjoy. Starker waters ahead on “What Is and What Was” , a crushingly poignant ballad, drenched in blue waves of agony, massive swaths of electronic effects, clanging guitars and discreet shuffling percussives. Short, and magnificent. Razor-blade fretboards shave across the outer edges of “All That Comes After “, a shadow in the rain, with more grimy riffs that show no frills , the voice eschewing any pretty lace or even solace. Nothing lukewarm or tepid here, this is an explosive onslaught, sleek and impactful.
The title track closer is , as previously announced, the more elaborate offering here, a bejeweled composition ‘that turns forgiveness into sorrow’, and a sense of expansive restraint. It’s the finest track here, though not necessarily by any longshot. Its just expands the prog quotient into more creative avenues, like the swooning vocal middle section, where the entire arrangement is elevated into a higher plane, it also has a hint of a Blue Oyster Cult track that I have always enjoyed called “I Love the Night”, found in the chorus, it just leaped out at me with seductive charm. The evolutionary build-up of the arrangement shows in full splendour how smartly crafted the song was assembled.
To underline how entertaining this album was, each of the 9 shorter tracks could have easily been extended into more intricate compositions, without contaminating the quality. This is a project that truly deserves a continued future. I might even dip my toes into Fates Warning , if push comes to shove.
4.5 Polar phantoms