It’s always amazing how two objects can start at disparate points and gradually move together until they converge. So, it is with Wendy and Lisa being included in the progressive rock section of Music Street Journal. When they started out they were firmly in the midst of the pop rock of the time. Coming out of Prince’s band it would have been hard for anything but that to happen. Over the years they’ve matured and so has their music. At the same time groups like Porcupine Tree and Hogarth era Marillion have changed the definition of progressive rock. So, now, in my opinion, this CD lands in that heading. It’s definitely the shorter, more pop oriented (but often dark) sounds like Porcupine Tree that this is closest to. Sure, there are rockers here that neither fit the prog rock label or seem much like Steve Wilson’s outfit. But overall, I’d say this disc qualifies. You might disagree with that assessment, but give it a try. I’d bet you won’t disagree that this is a great album and arguably the group’s best. I followed them for quite a while in their early days – picking up every disc – so I can say that with confidence.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2009  Volume 1 at lulu.com/strangesound.

As you might guess by the title, at nearly nine minutes in length, this is the epic track of the disc. It begins very tentatively on piano. Working slowly through a few melodies this carries it for a time. This grows very gradually with a definite moody texture to it. At times, though, it rises up to very lush and powerful territory. At around the four minute mark it shifts out to a more energized arrangement. It takes on rhythmic textures and new melodies and feels less melancholy. From there they take us on one of the most purely prog excursions of the disc. Before the five and a half minute mark, though, it drops back down to a considerably classical piano segment. Other instruments are added to the mix and this becomes very much along the lines of symphonic progressive rock from there. A little past the six minute mark it takes on more noisy, rock elements and again Radiohead comes to mind. They build upon this with some Beatles-like overtones and symphonic rock elements until it peaks and drops back to just piano. They bring back the harder rocking sounds one more time and then take it down to piano to carry forward in evocative modes. Piano eventually closes it out in a very satisfying way.