Master musician Andreas Hack has another project, to go only with his incredible Frequency Drift, Feeling of Presence and Haven of Echoes ventures, this time hooking up with Trude Eidtang of White Willow fame, another match clearly made in heaven. The duo are completely at ease in fashioning moody sonic images that tread the edges of electronica, yet firmly ensconced in a progressive vein, a delirious blend that spans a wide berth, at times offering a foggier version of Portishead or even a dark version of the Eurythmics , as Trude owns a stunning voice, both the leads and the harmony work are first rate. Andreas provides a shimmering platform of synthetic and organic tapestry that cannot be challenged its that perfect.
These attributes are finely obvious on the opener and longest track “Spirals”, a haunting requiem that sets the tone for the remainder of the recording, Trude introducing once again her remarkable tone and breath, as Andreas weaves a magical carpet ride of sound and detail. Echoing beauty, distant awakening, a gentle whirlwind of spirit and emotion that cannot fail to appeal to wide audience. The piano exudes all its rhythmic eloquence and compassion in setting up the Enya-esque soaring voices, whispers, moans and humming as if wrapped in the fog of a dream. Embraced within the mist of dreams, where everything is exactly as it seems .
“Hiding in Plain Sight” intensifies the pace, cello clashing with the ruffled rhythm, ornate piano within the groves supplying an added dimension that leads to Trude delivering her myriad of sensitive tones effortlessly. A catchy though far prom pop track, with a driving intensity, purpose and direction, a prefect set-up for the momentous third track.
The scorching beauty of “Endlessly” is an absolute highlight, a perfect prog torch song, laden with sadness, lament and profound lyrical sentiment, expertly delivered vocally and built up with simmering electronic orchestrations that induce unfathomable reflection, so that when the blistering Paul Sadler lead guitar enters the arrangement, one is left gasping for air, so unexpectedly it settles in, slaying the overarching melancholy, two tiny steps from eternity. A breathlessly masterful gem.
You may have guessed that next up would be a piece somewhat more upbeat and you would be absolutely correct. “Fleet City” has long-time Frequency Drift drummer Wolfgang Ostermann maintaining his partnership with Andreas, laying down a rebellious rhythmic pulse that motors ahead like a turbo charged engine. Trude shows that her range can venture into more urgent realms, at times quite dramatic /despondent. The piece offers a modern take on an 80-90s style of British art-pop (you can fill in the blanks, but I will go with All About Eve) , with all those trembling fuzzy guitar chops that made such a galvanizing impression on the ever-evolving musical scene at the time. Excellent stuff.
Time for another protracted ride with the aquatic 8 minute+ “Ocean Maker” doing all the sonic damage, once again served by a titanic melody that shows itself unafraid to evoke the most vivid imagery, course-plotting like a ship unfurling its sails on some long-distance voyage. The background vocal work is a stunning assemblage of layered emotions, splashing salty reminders of spray sliced open by a bellicose bow, forging undaunted into the wild blue yonder. The impenetrable orchestrations are lavish, at times even threatening darker clouds on the horizon, as Marek Arnold gets to blow his horn with judicious warning of a potential iceberg ahead .
Time for another crushingly gorgeous strain on “One More Reason”, a cleverly double tracked vocal lead that bewilders the ears, echoing pools of electric piano as resonant as the repetitive chorus seeks to explain why there is one more motive behind any action or reaction. “Age of Seven ” reignites the need for another tour de force to finally convince even the most diehard naysayer, that this album is nothing more than a sumptuous masterpiece of moody melodicism of the highest order, than needs atmosphere more than soloing spotlights to turn any rocky boulder into ‘liquid stone’. The thematic interweaving of voice and instruments become relentless, hypnotic, mesmerizing and celestially intoxicating.
“Silver Green” demonstrates once and for all, that all eight tracks can form one homogenous entity, each stage erected as another foundational melody, the ideal coalescing equilibrium of voice and instrumentation, attesting that each needs the other to become a perfect union for eternity. Sadler propels headlong into the heart of the matter with a tortuous guitar cyclone, an emerald shimmer of absolute exquisiteness to close off this awesome revelation.
Fans take note of this rocky precipice , lest you fall into an abyss of regret.
5 rumours of quartz