Many years have passed since the previous Trion album graced our proggy shores, 2013’s Funfair Fantasy maintaining the quality of the first two albums. Thirteen long years later, the spirit and style have not altered one bit, faithfully continuing their career of symphonic instrumental music. In the interim, Edo and Eddie have released solo albums as well as working with Flamborough Head, a veteran crew sill pushing out delightful releases in the process. As per norm, the emphasis on melodic curvatures are held together with a sturdy rhythmic spine as Menno Boomsma (ex-Odyssice a band sadly having vanished from the scene) keeps the mood anchored , creating pleasurable eargasms in the process.
The title track wastes little time in providing luxuriant comfort, a crisp onset of rolling bass arches, prickly lead guitar signatures , a valiant percussive façade and Edo’s soothing keyboard colorations delivering all the depth needed. Since I have always been enamored with this swooping symphonic style, all my requirements are fulfilled, and find myself unwilling to contemplate any new diversions into more or less experimental attempts, just do what you do, and do it well! Great, no-nonsense opener.
With a title like “Nautilus”, the ambitious maritime sonic submarine plunges into the azure abyss, a voyage to the bottom of the sea, laced with grandiloquent fervor, the pipe organ adding a fair amount of propellant to the sequence. Modern symphonic prog does not get better than this. It becomes obvious that the trio are a well-oiled crew hat brazenly dives into the depths of the imagination, creating a soundtrack for the imaginary. Mulder activates the torpedo room with a sublime flutter on his electric guitar, holding down the ballast bass for stabilizing control, and finishing the arrangement with grandiose splendor.
As the title implies , Jemetrion was a lovely piece first introduced on the debut Tortoise album “Return to Jemetrion “, so the reprise here comes as a wonderful continuation, with gigantic swells of glorious mellotron, colossal pipe organ and explosive guitar. Melodically, I felt the Focus influence back in 2003, and I am happy to report that its still very much vibrant today. The bass is upfront and center , just where we like it. Kudos once again must be offered to Menno’s beefy drums throughout, never has the word solid been more appropriate.
The next three shorter tracks begin with the dignified awareness of “Aftertouch” and its overtly sensorial illustrations, proceed to the more ambitiously syncopated “Mellored”, a moody opaqueness that shuts the eyes and expands the brain, finally concluding with “Intermission” (a clear indication that a new act is about to begin), the keyboards urging initial restraint, the elegant piano somberly making its entrance with crushing beauty, feelings wander into the mist of time.
Expecting an epic? Right you are! “Red Dust “ reverberates during its 7 minute plus running time, the grainy powder scratches and distant choir suggesting a ceremonial recollection. Here, the slight sitar-like guitar squeals with utter delight, the mellotron glowing fiercely in the dark, a flute patch for some noblesse, finally crowned with a faraway forlorn vocal beating like an unhurried heart. Edo steps into the spotlight with a keyboard serenade that favours a measured buildup.
“Far Away” has this relaxed calmness about it, tingling acoustic guitar being the predominant spotlight, that darn mellotron right behind (must be said that in my opinion, one of the finest combinations in all of music). The choir and flute patches sway like a serene sea, far into the horizon and away beyond the clouds. Lovely. Marvelous expanses on “One”, easily rekindling instrumental images of classic Camel, heavily reliant on both guitar and keyboard interaction, held together with enough rhythmic gear shifting to keep the wheels on the road. Acoustic guitar interlude on “Glowing Clouds”, where the fragile vocals return once again (Menno) . Perfect title on “Paradox Groove”, a more upbeat and modern take on symph-prog, with wide statements on all the main instruments, yet steered by a rather relentless spine that just keeps everything tight and interesting. Perhaps my favourite track here.
“Space for Everybody” concludes this long-awaited return to form. Its playfully unpretentious, a restful melody that relies on an entertaining premise, the e-piano a cool additive, giving enough room for all to express themselves.
While unable to dislodge the magnificent “Pilgrim” album from my all-time favourites list, Tierra Tiempo remains a more than worthy listen.
4.5 Earthy times