This is the 6th album by the veteran Neo-prog band from Germany, and my second, as I enjoyed 2020 album “Beyond the Rainbow”. The group is now led by Derk Akkermann (guitars, keyboards), with Lutz Guenther (bass, vocals) and Jimmy Keegan (drums) taking up some of the other slots in the band. Lead vocals are provided by the powerful voice of Henrik Wager, ably assisted by that other voice-like instrument the saxophonist (Mark Arnold) . Lead guitar duties are handled by the celebrated Martin Schnella (Frequency Drift, Seven Steps to the Green Door, Schnella/Mau, Flaming Row etc…). As a rule for Neo to work well, the songs require punch, variation, detail and expert playing by all involved. Generally, the vocals play a massive role and will demand strong voices . I can immediately attest that Saris has all the tools at its disposal. The style is mostly energetic with a domineering rhythm section that engineers quite the throttle power. There is also a calculated offer of variations that alter the modulation, from sensible to bombastic, sometimes even within the same arrangement. For slight references sake, think modern day Foreigner or Uriah Heep, in places. 10 tracks 74 minutes of music : Abfahrt!
Blasting off the launchpad , heading for the amazing “Off World” shows Henrik singing initially on a lower register, a very cool idea, as the choppy Keegan-led attack has the rhythmic fusillade of a Kashmir, especially when integrated with string orchestration that transmit enormous power and strength, twinkling keyboards keeping the tension alive. The magical Arnold sax raises the piece to ethereal heights, making this an excellent modern prog delight , I really enjoy when the symphonic details kick in, the inspiration becomes immediately more personal. A super strong track that may deserve your immediate attention.
“Mamucium” stays on the same path with another theatrical demonstration, though I must say the previous track is still ensconced in my mind. Henrik continues to impress as he yearns ‘to go home’, the Akkermann keyboards doing a yeoman’s job on the ivories and Keegan bashing away like only he can. Settling gently at first, “For All Mankind” slams on the turbo power, with Henrik scaling like an athletic alpinist tackling the Eiger, with Arnold given free reign to blow a mean horn. Otherwise, the track is rock solid and eminently hummable, albeit with fists pumping . “My Pocket” has some lovely moments, the guitar solo in particular, the melody with a slight Styx like feel, melodically solid but really too short to be on par with the above.
But things ramp up in a colossal fashion from hereon in, starting with the consummate “Is Anybody Out There” ,where the medieval-flavoured intro on a harpsichord does a tumultuous impression, blooming into an ongoing rotund bass line that is devastatingly effective, and quite intricate, as the stately keys kick in, the piano adding loads of spice, waiting for some of the finest vocals heard in a long time, Henrik killing it big time, flush with intense conviction. In a fair world, this tune would be played on all radios, globally. Schnella slithers in like a helical serpent, scouring the turbulent skies above, as if looking for any kind of alien salvation.
“Surrounded” is the lengthiest track here, clocking a lofty 12 minutes and change , proving beyond any doubt, the attention to detail and musicality they instill in their compositional methodology. Here one can witness the fine line in the sand between neo and symphonic being reduced to a mere scratch. Everything is given more room to ramble, the organ in particular is liberated from any time shackles, the sax roaming freely, the vocals soaring both massed and solo. The melodic buildup is effortless and utterly convincing, verging on brilliance, like climbing up a series of lofty terraces, each one wider and brighter. And all along the watchtower, the booming bass and drums keep the atmosphere forcefully tidy, rock solid and comprehensive. When Schnella gets his cue, he unleashes a sizzling lightning bolt of fiery fury, as if outraged for being ‘encircled’. The keyboard upsurge evolves into a paroxysm of passion, atmosphere and melody that hits one right between the ears. One more trip around the compound, to nail the coffin shut. Here are two prime examples of why Neo-Prog can be deliriously entertaining!
The robust rocker “The Bounty” which chugs along masterfully, ideally paced to keep the thrills and spills always on the edge. Akkermann increases his guitar skills to fit well with his first-rate keyboards, a gifted player, to say the least. Henrik does possess a terrific set of lungs and superb control as well, another ear-opener that will not subside at anytime during the set.
While this was really good, the next few have blown me off my chair. “Fill Me with Emptiness” has that bombastic Heep feel, the churning organ and screeching guitar coalescing in faultless harmony, laying down the spinal chord (sic) of the piece with aplomb, verve and audacity . When Henrik clutches the microphone, fasten your seatbelts as he also supplies the higher voice interval. After the obligatory axe solo, the second lap reveals an even heavier steamroller on the Hammond, while the dual voices rise way up above the clouds, delightfully interspaced, with Henry rapping very slightly. This did not fill me with any emptiness.
An 11-minute opus, “Wish It Away” shows the way through some imaginary yellow brick road, where reality is taken over by dreams, the blackboard erased and a fresh start beckons. No scarecrow, tinman or lion in Toto’s way. The forceful Akkermann piano settles the sensation, using his keyboard like a percussion instrument, the spinning dervish vocals looping like a kite caught in a hurricane. Arnold applies a jazzy expanse on the arrangement, a welcome detail. Each musician expresses themselves with delirious intent, illustrated by an almost Tangerine Dream synth sequencer bit that lasted only a few seconds caught my attention. Absolutely well-crafted prog music.
To prove the astuteness of this band’s modus operandi, the intense symphonics are now maintained on “Time is Killing Me, I daresay maybe even enhanced as Arnold does his finest restraint on this overpowering beauty, Henrik convincing once again (as if there was any doubt LOL) and riding the melodic wave with bravado and eloquence. The tortured bass guitar does wonders down in the basement, churning like a hundred elastics, while they keys behave like an orchestra, the shivering guitars given carte blanche. The last three tracks really sealed the deal for me. The clock is ticking.
4.5 Indian robes