This album comprises 9
tracks with the penultimate track, “Ixchel,” being the shortest at 4:39 minutes
and track 4, “Make Way For The Big Show,” the longest at 8:42 minutes. The
total running time of the concept album is around 58 minutes.
The opening track,
“Overture” (8:09) is supremely atmospheric with its thunderstorm effects and
cello (Mark Masek) and then the “orchestral” keyboards of David Silver appear
to add even more atmosphere. Around the 2 minute mark, drums/bass and John
Fontana’s exquisite guitar enters. An amazing keyboard led passage drives the
track on with the bands rhythm engine providing a superb foundation. Sweeping
time changes and a return to the original keyboard theme certainly grabs the
listener. More interplay between guitar and keyboards carry the track along.
Around the 6 minute mark, there is a drop in the sound, acoustic guitars appear
and a simply superb keyboard passage is followed by a magnificently sculpted
guitar melody. As the track nears its finale, the sound builds and then drifts
away. As opening tracks go, this is “up there” with the best of them and
certainly makes you look forward to hearing the rest of the album.
Not being conversant with
the book the album concept is based on, I am listening and reviewing the music
as it stands on its own and realize that I may miss subtle nuances within the
music which would coincide with happenings in the book.
Other standout tracks for
me, are, “Daddy’s Gone” (5:58) with superb Rick Wakemanesque retro piano and
keyboards and also a little lighter, more desolate sounding piece than the
opener, and “Whosit Whatsit and Which” (6:39), with its Hammond organ/guitar
atmospheric introduction prior to a time switch before the vocals appear. These
bring to mind the style, both lyrically and vocally, of the early (70-73)
Genesis and there is also a big nod in the direction of Pink Floyd with the
female backing voices. “Uriel” (5:47) is another outstanding track,
highlighting those superb keyboards, varying from the gentle piano introduction
to the sweeping waves of synthesizers throughout the song allowing the rest of
the band to show their skills as the guitar weaves in and out over the rock
steady bass/drums rhythm.
I must also briefly mention
track 8, “Ixchel” (4:35) which has a superb nylon string guitar introduction into
more sweeping synthesizers and a melancholic piano which forms another majestic
soundscape. Beautiful female vocals sweep over the top of the orchestral
keyboards and the amazing cello playing of Mark compete the track.
This is definitely an album
that will make any symphonic prog listener feel very comfortable. Terrific
atmospheric passages, superb keyboard passages (that Hammond sound is so
majestic) and blistering guitar work coupled with excellently fitting vocals
ooze out of the speakers.
As I said earlier, the book
that the concept of the album is based isn’t one that I have read but I found
the entire album to be superb, and listeners who do know the story of “A
Wrinkle In Time” may get even more out of the album.
A very highly recommended album for any prog
collection and I compliment the 5 members of the band on their excellent
achievement.
4 Stars
Key
Tracks: Overture, Whosit Whatsit and Which, Ixchel
Jim “The Ancient One” Lawson-MuzikReviews.com Staff
January 5, 2013
Tracks:
Overture
Daddy’s
Gone
Whosit,
Whatsit and Which
Make
Way For The Big Show
Tesseract
Uriel
Camazotz
Ixchel
The
Battle For Charles Wallace
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