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| Progressive Rock CD Reviews |
| Track by Track Review
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Strutton Ground:
This is a curiously understated opening to the album. The arrangement is rather simple, though the backwards rhythm track gives the song a little twist. |
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Circus of Becoming
Hackett in a nutshell, the song features the optigan, a nostalgic-sounding instrument, but the chorus features a church organ and a short-yet-pounding rhythmic line. Like a circus, there's much to satisfy the palate, and all in 3:48. |
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The Devil is an Englishman
In a rare cover, Hackett tackles Thomas Dolby's composition. You can tell that Hackett is having wicked fun with the vocals on this one. |
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Frozen Statues
There is a rather airy arrangement on this moody track featuring Rob Townsend's jazz-tinged trumpet and Roger King's piano as the only instruments. |
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Mechanical Bride
Hackett's homage to "21st Century Schizoid Man," perhaps? All the signs are there: the heavy metal verses (the lyrics have almost the same meter as "Schizoid Man"), the chaotic soloing, the stop-start riffing, and all are done with quite a dash of flair. |
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Wind, Sand and Stars
Hackett pulls a 180 here from the previous song. The cut is in two parts: the first part is him on nylon-string guitar, and the second part is Roger King on piano and synthesizer before ending in a swirling peal of church bells. This instrumental shows Hackett's more romantic-era side. |
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Brand New
Hackett's opening line on nylon-string is a wonder in itself - ever think a nylon-string guitar could rock? If there is a single off the album, this would be it. Ian McDonald's sax work is rather inventive in its multi-layered effects. |
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This World
Back to the romanticism, this is a slow, rather simple tune, laden with Roger King's keyboards. |
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Rebecca
A nod to Steve's literary leanings, this song is a take on the Daphne Du Maurier novel of the same name. There is a strangely upbeat instrumental section in the middle of the song. |
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The Silk Road
This is an interesting instrumental experiment. The melody and percussion give an eastern feel to the track. |
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Come Away
Hackett has an interest in eastern European folk, and this song allows him to indulge his whimsy. It is described as a mazurka, a 6/8 rhythmic pattern. |
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The Moon Under Water
He's Steve Hackett. Of course he's going to record a classical guitar piece! And, of course, the playing is impeccable. |
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Serpentine Song
This is an easy-going, relaxed piece to reflect its subject - London's Hyde Park on a Sunday afternoon. John Hackett is featured on flute and Ian McDonald's soprano saxophone solo closes the album. Steve keeps a low profile, adding nice vocal harmonies and occasional classical guitar. Gary O'Toole's drumwork is also quite effective in adding a jazz flavor. |
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