Untitled Document

"their music has evolved to a whole new and much superior level. I'd even call it supernatural."

Released: 2005
Label: Released via ProgJam, avail. online or at Tangent concerts
Cat. No.: -
Total Time:

Reviewed by: Joshua Turner, May 2005
If you missed them at ROSfest 2005, you missed the best thing they've done so far. If you haven't even seen them live at all, it is essential you hear this disc.

In concert, their music has evolved to a whole new and much superior level. I'd even call it supernatural. The transitions are less abrupt and there is plenty of magic in many of their moments.

Andy truly is a Lucky Man. His first Tangent album sold better than all his previous albums combined (or so he says). He is also a very funny and personable guy. He writes in the liner notes that he contributes organ, synthesizer, piano, vocals, and equally bad German. Maybe I'm into this obscure kind of humor, but trust me, there is more where this came from.

If you get a chance, I strongly suggest you go and see them live. To miss out, would be a colossal mistake. In the interim, I encourage you to check out this recording from Aschaffenburg Colas-Saal on March 11th, 2004. This bootleg is the only official live recording at this time, but hopefully this will change. There has been some talk about releasing their show at ROSfest. Nonetheless, there have been several line-up changes, so this is the last opportunity to hear them with guitarist Roine Stolt and drummer Zoltan Csorsz, who are respectfully replaced by Karmakanic's Krister Jonzon and Flower King alum Jaime Salazar.

Here's what you'll find in that heavenly space between the Pyramids And Stars:

"The World That We Drive Through" - Executed as tightly as a studio session, but fresh with spontaneous solos, impromptu jazz, and other random riffs.

"The Canterbury Sequence" - Rather than build up with the other parts of the epic, they cut to the chase and go straight for the jugular with this sequence. While the keyboards and flutes play the parts in the exact same way, they sound somewhat different. Theo Travis might prefer other brands of equipment. Along with this minor change, a lively host, and an energetic crowd, this sounds pretty close to the original.

"The Winning Game" - Roine's guitars seem to holler louder than the original and his voice is out in front. No doubt the Flower King's influence has domination over this one. These are characteristics you won't get in the new line-up, but I must say Andy's singing and Krister's playing, while noticeably different, are just as good.

"The Music That Died Alone" - This fine wine has gotten better with age. While everyone has matured to some degree, the piano, in particular, is reincarnated as an entirely new being. You can already see that Theo is more than capable to fill-in for David Jackson. This might be blasphemous to say, but I think he's even an improvement.

"In Darkest Dreams" - The beginning becomes the ending. Interesting hearing this come later in the concert as this was the song that started it all. So soon after Transatlantic's demise, The Tangent seemed to seal what seemed like a gaping hole in the realm of progressive rock. Yet, it was uniquely different from anything that came before and it arrived with impeccable timing. To have the song that pioneered the way start the concert would have been no surprise at all. Having it come towards the end is the real shocker. The Tangent embellishes on the ending and heats the crowd up for a much anticipated encore.

"Lucky Man" - When the crowd wailed at ROSfest when they thought The Tangent played their very last song, Andy stated, "You all know an encore is coming." What people didn't expect was that it would be one of the highlights of the evening. When I saw them live, I was fortunate enough to see "21st Century Schizoid Man" cap off the evening. Here we get a totally different cover. There is something similar in how they play their covers. They sandwich the start and end with a familiar tune. However, between the bookends is the most adventurous and mind-blowing jazz you'll ever hear. I've never seen or heard a cover portrayed in this manner. The way they end their sets is quite clever. Between this album and ROSfset, I've now heard this glorious music twice in a live setting. Maybe I need to get out to more of their concerts. It's fortunate we get to hear the line-up, which features Roine and Zoltan, one last time; but never fear, the new line-up is just as awe-inspiring. It would be a wonderful windfall to hear an official release from the ROSfest concert. With that particular gig, you even get to hear a song from their next album. Whether they are putting out albums or playing live, whether they are playing with one virtuoso over another, and whether you see them at one venue or another, The Tangent is today's supergroup and they only seem to be refining their superpowers over time.

Rating: 4.5/5

More about Pyramids And Stars:

Track Listing: The World That We Drive Through / The Canterbury Sequence / The Winning Game / The Music That Died Alone / In Darkest Dreams / Lucky Man

Musicians:
Andy Tillison – organ, synthesizers, piano, vocals, and equally band German
Roine Stolt – guitar and vocals
Sam Baine – piano, synthesizers
Jonas Reingold – bass
Zoltan Csorsz – drums and percussion

"The World That We Drive Through" Reviewed by the Tombstone site... http://tombstone.gr

This is the second album of the band if I am not mistaken and once again they have done an excellent job in writing and performing a very rich progressive rock album, which often ventures into the unknown in order to provide the listeners with variety and interesting soundscapes. Some might call it experimental and in many ways it is, but the music is so beautiful that it captures your imagination from the very start and refuses to let it go until the end. The musicianship is amazing but even more amazing is the chemistry between the band members. It’s one of those few albums that have the ability to travel you to places beyond imagination, one of those albums that you can hear with the lights out, in total darkness and silence and enjoy the music not only with your ears but with all the other senses as well. I think it’s obvious that I loved the album and it is highly recommended to all our progressive rock fans

"The World That We Drive Through" Reviewed by JOSHUA TURNER for the Music Street Journal...

With all the hype, this was setting itself up to be the disappointment of the year. So, how good is The World That We Drive Through? Does it live up to the expectations? After weeks of shuffling through new releases like an attention-deficit teen in history class, I finally found an album that has kept my attention for several days (and counting). Yes, I'm talking about The Tangent's The World That We Drive Through. While previously sitting towards the back of the room in a state of limbo, I'm now glued to my seat at the head of the class. My ears are tuned in to every lyric in the lesson. The album is everything I hoped it would be. Immediately, I hear jazz and orchestral arrangements along with influences ranging from classical to modern progressive rock. The ELP element is much more obvious here than in the debut. Furthermore, The Flower Kings bring their special style into the mix. Who could ask for anything more? Rather than boring us with the world that we drive throu gh each and every day, this is some alternate reality where dreams actually do come true. While The Music That Died Alone may have been album of the year when it came out, the sequel is equally engrossing. If The Tangent truly died, trust me, the band has resurrected itself big-time on this release.

To pull off such an astounding album requires a plethora of talent. Andy Tillison, Sam Baine, Guy Manning, and Theo Travis are sterling silver. The Flower Kings are the polish that makes it shine ever so brightly. Jonas' bass is bold and beautiful. Roine's vocals are one of a kind and his guitar is simply gorgeous. Zoltan's drums dazzle twice as much as they had on the last. Together, these seven individuals combine to make one big shiny gem. Without fixing what isn't already broken, one tweak works greatly in its favor. While David Jackson's absence could have caused a major catastrophe, Theo picks up the fumbled ball and keeps the momentum going. He scores many times with consistent contributions and puts the game completely out of reach. In a way, Theo's style melds better with the music than David's. Theo shows so much skill and finesse with the flute and sax that it somehow manages to surpass the performance of this legendary predecessor.

Inquiring minds probably want to know whether or not The Tangent has created another album of the year. With material this good, it seems the only way they can lose is by putting out another release in the same year. Playing devil's advocate and splitting hairs a tad bit more, Karmakanic's Wheel of Life is another outstanding release that could ultimately edge it out. In the end, it's a toss up that's too difficult to call. After swift deliberation, the verdict is in. This is an open and shut case from this juror's perspective. The Tangent has created another winner that can contend with any of the all-time greats. I doubt any fan will disagree with this judgment once they have all the evidence before them.

Track by Track Review

The Winning Game: AWhile The Music That Died Alone has an opening that is instantly bombastic, this album begins with an orchestration that is more of a slow climber. The flutes and sax peep out from the impending forest. Shortly thereafter, the music takes an abrupt descent before settling at a coasting altitude. Theo's sax really adds a lot of depth to this song. This is a cross between Transatlantic, The Flower Kings, and Kaipa. Roine's stamp is all over this track. Some elements of the earlier album crop up here as well.

Skipping The Distance: This is a clear reminder of Karmakanic. Jonas bass fizzes like freshly poured champagne. This is confirmation that The Tangent is by no means a one-hit wonder. The song has tight melodies and twisted transitions. Not only is this a highlight of the album, it is one of the best songs of the year. I put it right up there with Karmakanic's "Where Earth Meets The Sky" and "At the Speed Of Light" I hold these two songs in high regard and "Skipping The Distance" joins them both in happy matrimony. Early on there are aspects of Spock's Beard. In the middle, one will hear the Flower Kings from their earlier era. Later, Unfold the Future is found. The song finishes in the kingdom of Kaipa's Keyholder. Theo once again adds some unusually clever bits. As accessible as this track can be, it is still completely uncommon and quite intelligible.

Photosynthesis: This is the slowest and gentlest piece. It is mostly vocals with a piano. The drums are jazzy while the sax makes an occasional appearance. The remaining instruments are muted most of the time. The vocal harmonies offset by Andy's solo vocals make this a tasteful tune. Towards the end, this dish is spiced up a bit. The instruments come forward to season its conclusion with some brisk whisks of the pepper shaker.

The World That We Drive Through: The title track is a great song. The length is perfect and it follows an outline with many recurring themes. The ELP moments are charismatic and debonair without getting too pretentious. It is an adventurous track with many fun sequences. There is even a passage that seems a lot like "Snow's Night Off" from Spock's Beard's Snow. Much attention is given to the lyrics. While it is very easy to make out what Andy is saying (he carefully enunciates each and every syllable), the meanings behind the words takes some thought. This is a track that deserves many listens.

A Gap In The Night: While the vocals are similar to what is found in Parallel or 90 Degrees and Guy Manning's The View From My Window, the instrumentals have closer relations to Transatlantic in the family tree. This epic takes us many glorious places while Andy's keyboard-playing style continues to bear a resemblance to Keith Emerson. This track goes through cloud nine and seventh heaven before reaching a destination that is pure paradise. In a disc that has been solid up to this point, the album brings out its best characteristics in the final few minutes.

"The World That We Drive Through" Reviewed by Claude 'Clayreon' Bosschem for PROG NOSE
Translated by Jennifer Summer

A lot can happen in one week. I received the latest CD from The Flower Kings and The Tangent, attended a performance from Karmakanic at The Spirit in Verviers, Belgium, got even more CDs from Kaipa and Tomas Bodin….party on! It’s a kind of craziness that’s all neat and tidy and you think to yourself ‘too much of a good thing can be bad for your health’, even if those things are of high quality. But there’s nothing unhealthy here. The Tangent has come out with their second ‘baby’, which is a collaboration with the Swedish guys (Guy Manning and Andy Tillison (PO90)) from The Flower Kings. Dave Jackson, on flute and saxophone, was replaced Theo Travis, who earned his recognition by working with Gong and Porcupine Tree.

The former album, ‘The Music that Died Alone’, was well praised in general by the prog press, as well as by our own staff. The bar was raised once again and The Tangent reached the target without a problem, coming out with a real gem, which one can purchase with no second thoughts.

‘The World That We Drive Through’ was recorded in Sweden and Great Britain, just as the former album was. This long distance collaboration seems to have a beneficial influence on them. The compositions are fantastic, as well as the harmonies. The beautiful melodies are intertwined with shimmering solos. This is progressive rock at its best and all pored into five epic tracks.

The tone is immediately set starting with the first song, “The Winning Game”. It has a typical Canterbury intro, followed by a neo-prog passage and a jazzy piece. These three styles all take place in the course of one minute. That seems to be the plan of this album…a journey of discovery of progressive rock, starting from the 70s until today. You could have credited hundreds of references with this album, yet The Tangent is successful in creating their own sound that’s both surprising and impressive. The saxophone and the flute (Theo Travis ex-Gong) are the main contributors to the Canterbury touch and the vocal presentations add to that 70s feeling. In the first masterpiece, there are a number of interesting solos on keyboard (synthesizer à la Wakeman and Hammond in pure Brian Auger style) and guitar (“Roine Stolt goes Camel) and many more. There are surprising fragments used from “What the World Needs Now” from Burt Bacharach. It’s not really prog, but it’s smoothly integrated into the music. And there’s the short “Soft Machine”, the kind of song one can expect.

After a heavy introduction in the Jethro Tull tradition, you get a strange, unexpected turn that later grows into a true epic. What’s noticeable in the music of The Tangent is the subtle ensemble between different instruments. This occurs between the flute, the guitar and the piano in “Skipping the Distance”. Take a listen to the ‘classical’ intermezzo and at the end there’s even a fantastic duel between saxophone and guitar.

“Photosynthesis” creates a kind of resting point on the album, music by which to dream. It’s rather atmospheric but these guys still crank out some amazing solos.

The title song also contains several different influences, like The Flower Kings with a tinge of Canterbury. This song could have actually been a TFK track from their own album. “The World That We Drive Through” is about the constant failures of man to notice things around him and it has a very recognizable tune. Don’t expect this song to make the Billboard charts. It’s too complex with too many tempo changes.

“A Gap in the Night” (the longest song on the album) is actually a remake of “The Corner Room”, a song from PO90’s very first album. Even though it’s bleak in the beginning, it grows into a neo-progressive epic with, again, lots of influences. This is wonderful music that just skims right over you.

In short, The Tangent’s first album appeared on a lot of people’s wish lists. This follow up CD may even be better. If you ever want to entertain your friends with your favourite music, just put on this CD…it’s the perfect synthesis of progressive rock.

"The World That We Drive Through" Reviewed by Sander for the Lords Of Metal Site

Unemployment is a big issue in the present society and with great pride I present to you one of the guilty: Roine Stolt! This man does the work of at least five musicians all by himself. Sadly to these other musicians, because his activities are always high quality. Last month he offered the latest Flower Kings opus, this month he can be heard on the second record of The Tangent: 'The World That WE Drive Through'

The band compromises members from Parallel Or 90 Degrees and The Flower Kings competed with saxophone player Theo Travis, who replaces Van der Graaf wind player David Jackson. Although the line up remained practically the same, there are some clear differences with the debut 'The Music That Died Alone'. There is once again a concept behind the music, but there are five separate songs. And they are on average a lot more quiet than on its predecessor. The intro of 'The Winning Game' brings Miles Davis in mind and that jazz vibe remains for the rest of the song. 'Skipping The Gap' is the least song of the record. It has a great intro but soon lapses to a very standard song. Not a bad song, but it is just below the quality of the other songs. The epic 'A Gap In The Night' is a delightful prog song with everything an epic needs: great themes, powerful vocals and freaky instrumental parts. Once again The Tangent prove they can easily take over the prog-supergroup-torch from Transat lantic. The clever thing about the record is that you don not hear it was recorded in different studios. At some moments you would swear it is a jam directly put on CD.

Well I can be short about this one: Just buy the record! As usual InsideOut will also release a special edition with a bonus track of no less than fourteen minutes. Or just save your money and wait for whichever piece of art Roine will offer next month. Yeah, it is hard to choose

INTRODUCTION

British / Swedish collective The Tangent return with their second album The World That We Drive Through, a year on from the startling debut The Music That Died Alone. The first album came as something of a surprise to the progressive world and was widely considered to be the album of the year. From a prospective Andy Tillison solo album, The Tangent has evolved into a fully-fledged group (of sorts) with international live dates recently announced for later in the year. Maintaining basically the same line-up that appeared on the first album (Sam Baine and Andy Tillison on keyboards, Guy Manning and Roine Stolt on guitars, Zoltan Csorsz on drums and Jonas Reingold on bass) only David Jackson couldn't make the reunion due to his frantic recording and touring schedule this year. Providing sax and flute accompaniment this time round is the ubiquitous Theo Travis, probably best known in the progressive world know through his work with David Sinclair, the reconstituted Gong and Porcupine Tree (not to mention the two CDs he contributed to by notorious spoon bender and Michael Jackson buddy, Uri Geller!). Ostensibly a concept album about how self-involved people have become that the world outside the window is largely ignored, the five epic tracks resume the musical adventures first explored on the debut. This time round there is a bit more modern approach, whereas The Music That Died Alone was firmly rooted in the style of classic progressive rock of the 1970s, The World That We Drive Through brings things rather more up to date.

"The Winning Game"

MARK: Opening tack The Winning Game was initially a bit of a disappointment. Having really rated the first Tangent album and considering it something a bit special, the song seemed a bit ordinary. It starts off well enough with multi-layered saxophone and flute lines blasted out of the way by some huge keyboards before the vocals start. Stylistically, the intro is very Parallel or 90 Degrees although it seems to be lacking something. Perhaps it was Roine Stolt's voice that put me off (I have never been a fan of The Flower Kings or Transatlantic or seemingly anything that Stolt has been involved with, until The Tangent came along that is!). Things do improve as the song progresses, having always preferred the sound of a steaming organ over that of a guitar Tillison doesn't let me down. The inclusion of the vocal line and melody from Burt Bacharach's What The World Needs Now Is Love is a nice touch and emphasises the lyric of segregation and division. Tillison's lyrics (and I am presuming they are his) are always thought provoking and more politically aware than a lot of bands these days (no dungeons and dragons here!). However, as they were not included with the promo disc supplied to DPRP I am looking forward to reading and digesting them when the album is officially released.

TOM: The World That We Drive Through immediately gets off to a good start with The Winning Game. Powered along by a lively Jonas Reingold bass line, this song, whilst certainly fitting in to the ‘retro prog’ category, has something of a darker feel than is the norm for the genre (something that resurfaces later on A Gap In The Night). This is at least partly due to the lyrics, which seem to take a rather cynical look at the manoeuvres of those in power (politicians and the like). These are strongly delivered by Roine Stolt, who takes the lead vocal here, and does a very fine job; in fact I’ve rarely heard his voice utilised so well – it fits the material like a glove. The overall rather bleak tone is leavened a little by the middle section, where the pace slackens and there’s some soaring Stolt guitar work, and even an (assumedly ironic) working in of the well-known refrain ‘what the world needs now, is love sweet love’. A strong opening gambit which bodes well for the rest of the album.

BART: To say that this is one of my most anticipated albums of the year is a sheer understatement. After all, I was overwhelmed by last year's The Music That Died Alone and had high hopes for the next outing of this occasional band.
Opener The Winning Game does not disappoint at all. Starting with an almost eastern sounding flute intro, it echoes classic Genesis when it really breaks loose. It immediately struck me how Roine Stolt's guitar sounds more like Roine Stolt on this album, in other words, the music sounds more Flower Kings-ey than on the predecessing album. This feeling is only emphasised by the fact that Stolt takes care of most of the lead-vocals on this song. Yet Andy Tillison's keyboards also seem to have taken a clear shift into a more 'neo' direction of prog.

"Skipping The Distance"

MARK: Skipping The Distance is overall more satisfying with everyone giving their all. Each of the musicians gets an opportunity to shine with each instrumentalist taking the preceding riff and adapting and developing it in the manner of some cosmic progressive jazz band. Travis is dominant with initially his flute and then sax playing and there is even a more gentler section that harks back to the Canterbury scene with Sam Baine's vocals being eerily reminiscent of Hatfield and the North. Having so many vocalists in the group (Tillison, Stolt, Baine and Manning all provide lead vocals at some point or another) adds to the variety, although Tillison is arguably the best of the bunch and does sterling work on this very enjoyable track.

TOM: Skipping The Distance can be seen as the successor to the previous album’s The Canterbury Sequence. With a whimsical flavour, lots of organ and flute and Andy Tillison’s very English delivery (with his vocals this time slightly reminiscent of Caravan’s Pye Hastings), any fans of the Canterbury style are sure to enjoy this. This is a nice, relaxed piece with some great melodies and (again) excellent work by the rhythm section. I did feel it meandered a bit towards the middle, where there are several solo spots, and could probably have been cut down a bit in length, but I should say that it’s pleasant meandering, and overall this is a strong track.

BART: This track is closer to the music of The Music That Died Alone; a nice jazzy piece not unlike The Canterbury Sequence. It has a very catchy melody, which becomes all the more catchy as it is repeated by organ, flute, synth and guitar. There is also a bit of a déjà vu feeling when Sam Baine and Theo Travis do a little piano/flute interlude, much like she did with David Jackson on The Canterbury Sequence. In all a great, fun track.

"Photosynthesis"

MARK: The tempo is taken down for the more reflective Photosynthesis which begins with a solo piano. As the title would suggest, the theme of the song is light which keeps away the fears of the dark. An achingly beautiful chorus is linked to some very sympathetic guitar playing from Stolt in the most gentle song that The Tangent have come up with to date, although they can't resist throwing in a more aggressive, in relative terms, keyboard solo towards the end! But who's complaining, it is not incongruous to the overall feel of the song which provides a nice contrast to the preceding two tracks.

TOM: This is probably the most instantly accessible track on the album, a nice ‘prog ballad’, perhaps a little in the mid-seventies Wind And Wuthering-era Genesis vein, with strong melodies and a good chorus, which is enhanced by excellent use of vocal harmonies. Its not exactly ground breaking stuff, but it’s a quality track all the same.

BART: A ballad in the vein of early Collins-era Genesis follows. Photosynthesis is a nice interlude, but not overly special. Roine Stolt deserves special mention here for his excellent (and subtle) e-bow work.

"The World We Drive Through"

MARK: Title track The World We Drive Through continues in a similar manner to the end of Photosynthesis with prominent piano, accompanying flute and gentle vocals. With a gradual increase in tempo and volume the song develops through the introduction of drums, sax and additional keyboards. Throughout the album Csorsz's drumming is very proficient, particularly on this track and the earlier Skipping The Distance. Five minutes into The World We Drive Through things suddenly take off with some classic progressive moments , the group even sounding almost like ELP at times. The arrangement is top notch and there is always something going to grab the attention.

TOM: The title track has a heavily melancholic feel to it, and a naggingly catchy main melody that soon embeds itself into the memory. Its an enjoyable track, although as with Skipping The Distance I did feel that the fairly simple structure of the song didn’t necessarily warrant such a lengthy running time, and that the relatively few different musical ideas are stretched a little thin in places - again a bit of pruning wouldn’t have gone amiss.

BART: It wouldn't surprise me if this track came from Roine Stolt's hand, rather than Andy Tillison, as it is certainly the most Flower Kings inspired track on the album. This track features pretty much everything a prog classic should: a catchy vocal melody, long instrumental passages, guitarsolos aplenty, even more keyboard solos, great basslines, solid drumming and a couple of pages of interesting lyrics.
The track revisits some parts from The Winning Game (or is it the other way around?), which adds to the concept album experience.

"A Gap In The Night"

MARK: Final track A Gap In The Night is a hang over from the earliest days of Parallel Or 90 Degrees. Originally released on the limited edition 1996 CD The Corner Of My Room with the inimitable Hugh Banton (Van Der Graaf Generator) on organ, Tillison has always said that he wanted to re-record the track. I guess that the majority of people who buy The Tangent album will not have heard the original so it is rather pointless comparing the two versions. In truth, the two recordings are not too dissimilar, the new recording is a bit more developed and has a slightly different arrangement in parts. The use of Tillison, Manning and Stolt as separate and disparate lead vocalists in different sections of the song gives the piece a more narrative feel whilst Travis' contributions add in some more overtly psychedelic moments. Probably one of the more darker pieces that The Tangent have recorded it has to be said that considering the song was originally written almost nine years ago the overall sound is not too disparate from the rest of the album. Again, each of the musicians have their moment, and throughout the soloing is very effective but never over indulgent. It is a great song and very well played and is sure to be massively popular, particularly if they can transfer it to the stage. But having said that, I can't help wondering if I actually prefer the Parallel or 90 Degrees version. That may be because I am more familiar with it and the fact that it is always difficult to hear a new version of a song you have known and loved for a long time, no matter how well recorded and played, and not to retain an affection for the original. Still, not complaining about having a new version and perhaps it's inclusion on this album will encourage more people to check out the glorious PO90D back catalogue.

TOM: A Gap In The Night returns to the rather dark world view of The Winning Game, and along with that track its the highlight of the album. Its not an immediate number, and takes many listens to appreciate, after which the many disparate sections finally begin to gel and make sense. The basic framework of this song was apparently written over a decade ago by Tillison and Guy Manning, and an early version appeared on the limited edition of the (long since deleted) Parallel Or 90 Degrees album In The Corner Of My Room. Listening to the first section of the song, this fact doesn’t come as a surprise, as one of the main PO90 influences, Van der Graaf Generator, can be clearly heard – it could almost be one of those classic Hammill torch songs. The song moves skilfully through various sections, almost grinding to a halt towards the middle of its length where there’s an eerie, slightly discordant ambient section reminiscent of Genesis’ The Waiting Room, before the song builds towards a power-house final section which again features some superb vocal interplay between Stolt, Manning and Tillison, who all take a lead vocal at some point. Also, some of the most skilful and intense playing on the album is featured here, with Tillison’s Hammond work a particular standout. An excellent piece.

BART: Album closer A Gap In The Night is in fact the only up-tempo song on the album. Even the jazzy Skipping The Distance was so laid-back that you could hardly call it 'rock'. A Gap In The Night -by Tillison's words a pre-quel to In Darkest Dreams off the previous album- is the only song on the album where the drums really bang and the guitars really break loose. For about half the song, that is, as it still contains lots of mellow atmospheric interludes.
Tillison's love for Hammill and Van Der Graaf is very evident in both lyrics and music, and my guess is that this song will once again feature high in the best song of 2004 list of this year's poll.
Again, we got some stellar keyboard solos from Tillison and soaring guitar solos from Stolt, combined with clever lyrics sung by Tillison, Stolt and (I think) Manning. There is also a big nod to IQ with a very typical IQ rhythm with a great, fat bass. Towards the end there is a very nice mellow interlude which sounds very mid-seventies Oldfield or even Jarre, with extensive use of sequencers. It's this combination of styles that make The Tangent the great listening experience it is.

CONCLUSIONS

MARK: So, have The Tangent managed to live up to the promise of their debut and come up with another classic album? On the whole I'd have to say yes, although I think the debut still holds the edge and use of the word 'classic' may be a bit premature. But it is a damn fine album and is worthy of the DPRP recommendation I will award it. Fans of the first album will not be disappointed.

TOM: It certainly can’t have been easy following up a work of the quality of The Music That Died Alone, especially as that album came as such a pleasant surprise to many in the prog community. In contrast, by the release of this album The Tangent are now a known quantity and expectations (no least my own) were high. By and large, I think they’ve been met. All five songs here are of merit, with The Winning Game and A Gap In The Night being of particularly note. The compositions are varied whilst still managing to retain a unified feel, no doubt helped by the common lyrical themes. All the musicians are at the top of their game here, and special credit must go to Theo Travis for ably stepping in to David Jackson’s shoes and doing a fine job. I must say that, as of now, I probably prefer the debut album a little – it just somehow felt slightly ‘fresher’, and you never felt like a minute was wasted; here, with the longer running time, I did feel that a couple of the songs could certainly have been shorter, which would (I believe) have increased the album’s impact. However, this is to an extent nit picking – in the end synopsis, The Tangent have created another excellent retro prog album, and I would have thought that any fan of the genre (and in particular of any of the bands that the main protagonists play in for their day job) will find much to enjoy here.

BART: It was a difficult task to equal their excellent debut album, but with The World That We Drive Through The Tangent have proven that this wasn't just a one-off project. It has to be said though that this new album misses the surprise element of The Music That Died Alone. The music is still solid retro prog, but while the first album ventured mainly in the bands of the seventies, and more specifically the Canterbury Scene, this new album sounds a lot more like eighties' neo prog. Still great though, all the individual songs are little masterpieces, yet on the whole the album misses the punch of its predecessor.

"The World That We Drive Through" Reviewed by Danny Mayo for the Hairless Heart Herald

The second offering from 'supergroup' The Tangent is again a excellent release. With the same line up as the first album (but minus David Jackson and the inclusion of Theo Travis) the band have provided us with a journey through the styles of jazz and prog all combined into just under the hour mark and 5 tracks.

Opening the album The Winning Game starts with a flute/keyboard intro, before exploding into life, with Roine Stolt taking the vocals after just one and a half minutes. This track changes many times, before returning to the main melody at the start. During this opener, backing la la la vocals from Sam Baine give it a nice edge. The keyboard players of Andy Tillison and Sam have produced some classic sounds, such as swirling synths and a choir style Mellotron. But the playing of Theo Travis on saxes and flute come to life on all of the tracks and it is hard to put a comparison on the sounds he produces. Again the Flower Kings trio of Roine Stolt, bassist Jonas Reingold and drummer Zoltan Csorsz have had their input in their own way. Jonas again producing some fine bass passages including fretless and of course Roine's wailing guitar is noticeable. Guy Manning wades in too, with some acoustic guitar and vocals. Skipping The Distance is a nice little rocker in the prog and jazz vein, again the vocals from Sam can be heard, and Theo's flute playing is a bonus too. The third track Photosynthesis has become a early forerunner as the best track on the album for me. There is a pleasant chorus with Andy taking the lead vocals on this track, and as it is the shortest clocking in at 7:40. The playing again is first class, with the rhythm section of Zoltan and Jonas in harmony with each other, and yet again the flute stands out. The title track follows next, with a gentle opening, and this time the sax controls the riffs. Andy again taking lead vocals, and the 70's style synths and Hammond kick in, together with the Flower Kings back bone, make this a worthy title track. There are some nice spacey sounds too mid-way while Andy's vocals dominate the quiet passages. Closing the album is A Gap In The Night, with again all members firing on all cylinders after the vocal and keys opening. Roine's guitar coming into play before the classic piano sounds take over again with Andy's vocals. There is a touch of Deep Purple's Child In Time style with the cymbals and organ just after the intro, before the whole band introduce all their instruments. The organ and rising guitar are very in the frame, and as this is the longest track, there are many changes. Quiet passages, spacey sounds with a pleasant mandolin and acoustic guitar with all the vocalists put a nice mood and feel to this. There are little touches of a Hammill Van Der Graaf with the sax and Hammond sounds, but the Mellotron choir sound for me puts the icing on the cake!

To sum up, this again is a excellent release and should appeal to fans of The Flower Kings, PO90 and Van Der Graaf Generator. With pleasant songs and precise playing make this a good album in anyone's collection.

The Tangent return with another release that in my opinion surpasses their debut. The World That We Drive Through is a fantastic release where the songs flow much easier than on their debut. The band, yes band seems more relaxed and the music flows so easily this time around. The Tangent is basically a hybrid of two bands, The Flower Kings and Parallel Or 90 Degrees. You can hear both styles of what made those two bands what they are today plus some newer sounds due to the collaborative efforts of the musicians.

Missing this time is David Jackson(VdGG) but he is replaced by Theo Travis (of Gong). I must admit Theo fits better with the band and I hope he becomes a permanent member. I loved the way the music was on the regular edition promo I received that I had to purchase the deluxe edition with the bonus track. The bonus track is where the band really experiments with a ambient style that will shock those that oppose The Tangent’s style of prog.

The World That We Drive Through is really a must have for prog lovers longing for the classic days before the metallic crunches that frequent most new prog bands these days.

This picks up where the first Tangent cd left off, with interesting, challenging melodies played and sung by some of the best in the business. The band has a full sound, but doesn't overplay either too fast or too loud. Love the sax and flute touches.

I'll admit that even the venerable Flower Kings occasionally succumb to what is frequently referred to as "noodling", and there is some of that here on this cd. But the production is so crisp and "present" that you can really enjoy even
these slower moments.

What more could you be looking for? - one of the great rhythm sections in all of rock (or jazz fusion, for that matter), the superb guitar playing of Roine Stolt, excellent vocals from Andy and Roine, lush keyboards throughout, and all supporting some excellent compositions. (Cool 3/4 - 4/4 time changes on track 3 flow perfectly with the song.)

I personally won't listen to the 14-minute track 6 too much, but everything else is prog excellence.

You've just found the album you were looking for.

It's just over a year between this cracking new album and the band's first critically acclaimed release. So what has happened during this year in terms of the music? Well not a lot really, only more of the attention first class Prog rock that came out with the release of the first album. You could say this album just takes off at the very point "The Music That Died Alone" ended. There is one slight difference to the line up for this album though, the managed to entice the acclaimed saxophonist/flutist Theo Travis to add his magic to the album, which he has done with great aplomb especially on the track "Skipping The Distance", his work has really added some real charisma to what is already a wonderful track in its own right.

The album is driven along by the wonderful rhythm section of Jonas Reingold, (Bass) and Zoltan Csorsz, (Drums), as it was on the first album. But for this album is seems Zoltan has been given a bit more licence to experiment a bit more, and it really adds a certain je ne sais quoi and depth.

This album still maintains the wonderful 70's Prog vibe that was evident on the first album and has more than enough interest to keep your attention on high alert from start to finish. A more than creditable follow up album that deserves a place in your Prog collection.

"The World That We Drive Through" reviewed by Ole Kristian Mastadøy for ENSLAVED BY METAL

The Tangent's debutalbum entitled The Music That Died Alone was one of 2003's absolute highlights for me, and for the rest of the world's progressive rock-enthusiasts. Andy Tillison gathered some of his best friends and musicians to conjure up a unique blend of jazz and progressive rock, and the result was scinntilating. Along with him for this year's ride (through the world it seems)are the same guys we got to know last year, meaning (among others) Roine Stolt, Sam Baine and Zoltan Czörsz. Roine sings some parts on this record as well, and as always when his voice fills the room, you can't help but letting your thoughts fly to Roine's main playground, The Flower Kings. And who can complain about that? The music on The World That We Drive Through picks up where the last one left off, but this time focusing more on the experimental sides of the progressive rock, being similar to The Canterbury Sequence from album number one. This creates a more complex epos to dig deep into, causing me to actually express a grave disappointment the first few times I heard it. Oh how do I
regret my words of the past. 'Cause the truth is, while The Music That Died Alone was diverse, catchy and throatgrabbing in its immediate form, The World That We Drive Through is a slowly growing monster that lurks in the back of your mind for ages, until it finnally reaches its time to bloom in splendid fashion. And oh dear me, how it grows and grows. And that is exactly what makes the progressive genre so intriguing for me, you can never tell exactly what impression you'll end up with. And I still can't, 'cause after 10 spins the album is a pure rollercoaster ride, taking me through deep valleys of slumber (said in a positive way) to high mountaintops of sheer bliss. I just wonder what on earth can come next...Highly recommended for music lovers who want something more.

Okay, I’m just going to say this. Go buy this CD. This is a grand slab of raw meat for us lovers of strong powerful and symphonic progressive rock music. There is not one weak song on this second Tangent CD. From the opening track “The Winning Game” thru “A Gap in the Night” (I’ll discuss the bonus track separately) the listener is treated to a musical cornucopia that has you wanting to “loosen your belt” a notch or two just to allow room for more.

In the first Tangent release you had less of a feel that this was a serious band, less of a feel that they were more than just a flash in the pan. I take nothing away from that first release (The Music that Died Alone) as it was one of my favorites the year it was released but it just seemed more clinical, more sterile and less real to me than “The World We Drive Through”.

With this new CD, you hear more of Andy’s work with Parallel or 90 Degrees, more of that classic prog sound we have come to know and love, more feeling, more passion, more intensity and less “clean room”. More playing in the rain and less dressing for church. More making mud pies and less personal hygiene.

The songs on this CD ebb and flow much like the tides of the ocean. Each song transports the listener to a different place and time. While at one level each song is similar, in most ways each is a clear and separate story revealed only after peeling back the paper thin layers of sonic glory.

I must admit, I really love Andy Tillison’s voice and the way he can use his voice as one of the instruments in the songs he sings. Couple that with phenomenal keyboard work and you have the formula for excellent music. In fact, I really like Andy’s vocals more so than Roine’s on this CD. You can’t mistake Roine’s excellent guitar work but on this CD it is Andy’s vocals that click with me.

I’d like to add one more thing to this review. While not often noted in music reviews I feel I must comment on this CD’s extensive and beautiful artwork. Done by Ed Unitsky, the artwork in this booklet is phenomenal and it would not surprise me if Mr. Unitsky were to become the next Roger Dean his artwork is truly that good.

Now about that bonus track, Exponenzgesetz. As explained in the liner notes during the making of both Tangent CD’s Andy tried to “create new music in the spirit of certain bands”. Obvious this is, but inevitably some of the musical influences from Andy’s past just were not appropriate for a Tangent release.

Exponenzgesetz is such a song, sub titled a Tangent in Dreams, and it clearly tips its hat to the most excellent band Tangerine Dream. At just over 14 minutes in length the listener is treated to what clearly could have been a TD song. It may not be to everyone’s liking but the “reefs of space gang” member that I am absolutely loves this song. It does not really fit with the remainder of the CD and thus I am discussing it separately here. For those who love electronic music and spacey music this “bonus track” is right up your alley. It in no way detracts from the overall feel and power presented in this CD.

So, what we have here is a powerful CD that has a unique blend of the familiar with the new, blending softness with texture, light with shadow and artwork rarely seen in today’s CD artwork.

As I said in the opening paragraph of this review, buy this CD.

Rating: 9 of 10
Reviewed By: Stephen Ellis

Michael Gardiner for PROG4YOU

Stephanie Sollow,for Progressive World

A. Lee Graham for Electric Basement NEW!!

Josh Turner for MUSIC STREET JOURNAL

Gary Marshall for Fireworks magazine

From the "Tombstone" website

Jordi Costa and Manolo Pizarro for Progvisions

Mark Hughes for Dutch Progressive Rock Pages

Tom De Val for Dutch Progressive Rock Pages

Bart Jan Van Der Vorst for Dutch Progressive Rock pages

Jem Jedrzejewski for the Hairless Heart Herald

"Wooks" for PRETTIES FOR YOU webzine

"Dan" - For Metal-Observer

Pete Pardo for SEA OF TRANQUILITY

Even Knudsen for THE STREETS webzine

The Jester for LORDS OF METAL

Dave Randall for GETREADYTOROCK

MJ Brady for PROGGNOSIS

Piet "Neal" Michem for PROG NOSE

Michele Hricisco for YTSEJAM

Ron for PROGNAUT

Keith Hannaleck for Progressiveworld.net &Music-Sites.net

SPACE ROCK.co.uk review

From the PROG4YOU website NEXT

The first known review of the album gives it 10 out of 10 and concludes that it is the "album of the year".... and finishes off with the words "it doesn't get better than this". Not a bad start we feel........

By Michael A Gardiner.. A respected American Progressive Rock Journalist who publishes in various magazines and websites including "Progression" and www.prog4you.com.

The Review...

I heard this, my 2003 album of the year, for the first time in December of 2002 when I arrived in England to spend Christmas with long-time friend and Flower Kings’ Webmaster, Ian Oakley. We had not arrived at Oakley’s house from the airport for long when he said “I think you’ll want to hear this…” What he played me was the first pre-demo mix of the album that would become “the music that died alone.” I was instantly hooked. I knew that with 2002 not yet on the gallows, much less in its grave, I already had my 2003 album of the year. A demo mix, a final mix later and a day full of interviews later, I’ve heard and seen nothing to change my mind.

And all that is without reference to the band’s pedigree. And quite a pedigree it is. Featuring major figures from all three of Prog’s great eras, if this group can’t play prog then fuck it, it can’t be done. From prog’s Golden Age, the tangent features Van der Graaf Generator’s David Jackson on saxophone and flute. From Kaipa and The Flower Kings, the band offers Roine Stolt on guitar and vocals – along with Flower Kings bass player Jonas Reingold and drummer Zoltan Csorsz. The later two, along with Parallel or 90 Degrees’ Andy Tillison and Sam Baine (and Guy Manning of the Manning Band and proto-PO90 act Gold Frankincense & Disk Drive) represent prog’s current Third Wave.

This album began its life as an Andy Tillison solo project. As Tillison’s “day job” band, Parallel or 90 Degrees veered away from its earlier, more “proggy” sound toward an exciting and unique blend of prog and punk, Tillison felt increasingly that he had a great classic 70s-style prog album inside him just waiting to get out. But it took my friend Oakley to transform Tillison’s solo project into “the tangent.”

Oakley had known Tillison for some time, since having panned a Parallel or 90 Degrees concert in a review on his fledgling “Bathtub of Adventure" music website. What had started out as a confrontational relationship grew into a trusted friendship. Trusted enough, at least, that Tillison played Oakley the demo tapes for the song that would ultimately feature on this album. Upon hearing them, Oakley knew who Tillison needed to bring in on the project: Roine Stolt. Oakley promised to get the tapes into Stolt’s hands. From there the project grew from a solo effort to a quasi-super group organized around the guiding principal of creating the next great 70s English progressive rock album (even if it took a handful of Swedes to make it happen).

And that is exactly what “the music that died alone” is: the next great 70s English progressive rock album. Book-ended by two multi-part prog epics --
“In Darkest Dreams” and “The Music That Died Alone” – with a tribute to the Canterbury School in between, and clocking in at a now-brief but than de rigueur running time of just under 50 minutes, this album harkens back in many ways to the 70s prog of Yes, Genesis, ELP, Van der Graaf and Crimson as much as it relates to the current efforts of The Flower Kings, Spock’s Beard and Dream Theater.

The opening track on The Music That Died Alone is “In Darkest Dreams,” an unabashed 20 minute multi-part prog epic that leaves little room for doubt what the album is about. The song, and album, opens with Tillison’s swirling Hammond organ leading to an instrumental prog jam that will instantly appeal to any Yes or Genesis fan – or one of Transatlantic. More than once Oakley has, only partly in jest, suggested to Tillison that the band should really be called “North Sea.” Stolt’s vocals take over, before giving way to Jackson’s equally distinctive horn voice and a brilliant instrumental section, featuring a terrific syncopated jazz piano solo by Sam Baine. For me the signature moment on the album occurs later in the song when Jackson’s horn and Sam Baine’s piano gently pass a theme back and forth. Many of the album’s highlights stem from Jackson and Baine’s delicate dialogues; others from Guy Manning’s terrific acoustic guitar work. But this song, indeed this entire album, are owned by Tillison’s keyboards, so classically prog, and Stolt’s electric guitars – variously quoting Steve Howe or referring to Allan Holdsworth, but ultimately quintessentially Roine Stolt.

The lyrics to “In Darkest Dreams” tell the story of a person’s struggle with Night Terrors – and yet the song nonetheless manages to be uplifting. It is this meeting, this merging of the dark and the light – both in prog and in life -- that is the essence of the song, indeed the album. Just as Tillison’s Parallel or 90 Degrees seems to be a meeting and merging of prog and punk, so is the tangent a meeting and merging of the dark and light sides of prog.

“In Darkest Dreams” is followed by “The Canterbury Sequence” – a three section paean to the Canterbury School of prog. While to the American prog fan of the 70s, the genre was all about Yes, Genesis, ELP and King Crimson, in Britain the scene was at least as much about Caravan, Gong, Egg, Gilgamesh, Soft Machine, Hatfields and National Health. To Tillison, there’s a reason for the dichotomy. Canterbury was less of an alternative to English prog than it was England’s answer to American fusion jazz: “You can hear a definite similarity in source between say Return to Forever and National Health, but a different approach from the two bands, one of which is just so evidently English.”

“The Canterbury Sequence” is an excellent introduction to Canterbury for Americans unfamiliar with the sub-genre – even to the point of copping a couple of Hatfields riffs. And it very much underlines Tillison’s point. There are strong parallels to the fusion jazz of Return to Forever or Weather Report. “The Canterbury lot were for the main part more structurally organized than the Americans, less virtuoso soloing, more manuscripted construction and use of melody. The Canterbury bands didn't actually call themselves Jazz Rock to such an extent either. They just did what they did. They didn't seek to become part of the heirarchy of Jazz history in the way the Americans did. I don't think you'd ever have seen Hatfield at the North on the same stages as Weather Report.”

In some ways it was Canterbury that is indirectly responsible for having brought the tangent into existence. After Oakley’s highly critical review of the Parallel or 90 Degrees it was a shared love of Canterbury that, as Oakley says, “opened the door to our continuing friendship then of course we found we had so many other things and thoughts in common...” And it was not just with Oakley that Tillison shared a love of Canterbury. While Transatlantic ultimately covered “Shine on You Crazy Diamond” for the bonus disc of their second album, Bridge Across Forever, if Pete Trewavas had his way it would not have been so: he suggested that the band cover Caravan’s classic “Nine Feet Underground” – perhaps the signature song of the Canterbury School.

The album closes with the four part epic title track. The song “The Music That Died Alone” is a quasi-autobiographic piece about how proggers, after the heyday of the genre in the 70s, had no choice but to lock away their love of the genre in their hearts in order to make a living in music. But Tillison’s lyrics – like those of his hero, Peter Hammill – also have a more generalized, larger message: Do not give in. Do not replace that which is beautiful and of value with a cheap, media-driven set of values. Or as someone once said, “do not worship false idols.”

If you love 70s prog, if you love Third Wave prog, or if you just want to bear witness to the spectacle of three generations of proggers working together I can leave you with only one message: buy this album.

10 stars out of 10. It doesn’t get better than this.

THE TANGENT - The Music That Died Alone NEW!!

Reviewed by A. Lee Graham for Electric Basement

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For stripped-down songcraft, look no further than The Tangent.

Actually, that's a boldface lie. This supergroup is the apotheosis of progressive majesty, weaving several European music traditions into a singular creation.

The Music That Died Alone - an ironic title if ever there was one - unspools three epic pieces and a short corker for respite. "In Darkest Dreams" pulls you in with warm organ and never lets go. At first, Boston's "The Journey" came to mind, but the band's true influences - and background - quickly come to bear.

For The Tangent comprises musicians of impeccable pedigree. Roine Stolt, Jonas Reingold and Zollan Csorsz represent Flower Kings; former Van Der Graf Generator legend David Jackson lends his sax skills; Guy Manning and Sam Baine of Parallel or 90 Degrees wield their diverse skills; and Andy Tillison, whose vision almost spawned a solo album.

Instead, it produced The Music That Died Alone.

"In Darkest Dreams" is a prog potpourri, showcasing the genre's strengths: tempo changes, eclectic instrumentation, multi-part concepts, etc. Yet it escapes the shackles that sometimes render the genre's ambitious compositions lumbering and overwrought.

With The Tangent, music flows free. The band takes the listener on a journey rather than flex their instrumental chops as a mean to an end. Saxophone, piano and other instruments make this stuff sparkle and shine.

The music boasts so many ingredients, multiple listens are required to reach every taste bud. But aural satiation is guaranteed. If nothing else, "In Darkest Dreams" is the best track Transatlantic never wrote. While that band excelled at epic prog, Tangent fuses the same influences with folk that marks the best Flower Kings material.

Rather than recycle the same ideas, The Tangent takes a left turn with "The Canterbury Sequence," the second track paying tribute to England's Canterbury scene. At times jazzy and blues-inflected, the song reveals another side of these musicians, as does "Up-Hill From Here."

As for disc's only "non-epic," "Up-Hill From Here" is welcome sorbet amid a rich feast. It cleanses the palate with melodies that actually rock. Those wanting to savor the whole buffet should indulge.--A. Lee Graham

The Tangent - The Music That Died Alone

Reviewed by: Stephanie Sollow,for Progressive World November 2003

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Wow. Where to start? There is so much that can be said about this release from the "supergroup" The Tangent (though "supergroup" is a term the project shies away from). Words like lovely, vibrant, energetic, nuanced, cool, hot, and fiery crop up at various points during the album. Sometimes all at once in some tongue-twisting jumble of letters and sound, as you breathlessly try to find the one word that captures the essence of what you are hearing. It's a little daunting trying to write a review of the album without giving you a play by play (which has already been excellently done by David Winter at the Tangent website). I can see why Guy Manning (acoustic guitars, mandolin, vocals) was anxious to hear my opinion of this album.* It's a piece of work that he, nor the other participants, need feel hesitant bragging about. And brag they should, because they have created a very solid work. There's a reason why, as they trumpet on the intro page of their website, this was rated "best of the year" only two weeks after its release – it very possibly will be! All of which makes The Music That Died Alone an ironic title for an album that you will find yourself listening to over and over again just to capture every nuance. I know I am, and I'm not done yet…

This lovely tribute to progressive rock – progressive music -- began life as an Andy Tillison-Diskdrive (keyboards, vocals) solo album. Soon, through the efforts of Ian Oakley (webmaster and editor of The Flower King's website), Roine Stolt (guitar, vocals) was made aware of the project and became involved. His suggestions lead to the participation of ex-Van Der Graaf Generation sax player David Jackson (who also contributes flute). At the same time, Tillison-Diskdrive's Parallel Or 90 Degrees cohort Sam Baine (piano) joined up, followed by The Flower Kings' bassist Johan Reinholz and drummer Zoltan Csörsz, also on the suggestion of Stolt. The final addition to this potent mix of talent was Guy Manning.

So much is going on in and between tracks that things shift before you can truly describe them – and yet everything flows seamlessly, perfectly – nothing chaotic or jarring. Rarely are there albums where every second is worth examining, where one feels compelled to describe every note – looking at it from the perspective of sound, of imagery, of taste (if it were possible)… forgetting that the easiest way to express it all is to direct the listener to listen for themselves. It's like getting your favorite dessert placed before you, taking one bite (in this case, the classic and classy sound of a swirling Hammond**), and then hoping that each bite could last a lifetime, hoping that you can enjoy enough lifetimes to savor the whole piece. This is well deserved hyperbole. You see, I love sax and flute and piano and guitar and there is enough of that such that if it were a sugary dessert, I'd have gone into a diabetic shock before the first track had ended – not to make light of a serious health concern, mind you (and being diabetic, I personally wouldn't take offense), but this particular dessert is especially rich and sugary… and very, very tasty. Worth dying for, and yet, because it's music, one can indulge without that or any adverse side effects (it's fantastically produced, too.). The artwork by Ed Unitsky captures it best, as artwork should -- the whole mood and feel of the album is there – a mix of pastels and darks, and a bird on the wing. It is both peaceful and edgy.

You are drawn into the vortex from the opening moments of this album, where you will be pleasantly buffeted by the first suite, "In Darkest Dreams," a tour-de-force way to open an album full of keyboards, guitars, bass and drums. The influences are all mixed in, but in that you can extract a bit of ELP, a bit of Yes, a bit of Genesis, a bit of King Crimson… of course, also a bit of PO90 and The Flower Kings. Elsewhere, Jackson's saxes honk and skronk, driving this music around a few sharp corners, only to come gliding easily out the other side into moody, jazzy "Night Terrors." Here we find an appealing chorus that lightens a track with a dark subject – one of those ironic sing-alongs, that shies away from being anything near pop – or should I say has the good sense to stay away from anything near pop. And despite Stolt's presence, only sounds occasionally like something that could be found on a Flower Kings album, and is maybe to "sunny" to be found on a PO90 album… making it a nice blend of the two. Stolt plays a lovingly screamy guitar solo in "The Midnight Watershed," which is given a jazzy flavor from Baine's elegant but driving piano. More driving Hammond, a la a Brain Salad Surgery period Emerson (with just a hint of Styx, at least to me), leads the way into the mellower "In Dark Dreams" that features some shimmery percussion from Csörsz, subtle and slinkly guitar from Stolt and bass from Reinholz, all seasoned with Jackson's sax. All with vocals from a deepish voiced Tillison-Diskdrive (his first lead vocal performance, I understand). This is a lovely and warm, nearly pastoral, piece.

A watery, atmospheric keyboard interlude, "The Half-Light Watershed," fades into a delicate mandolin solo from Manning. In "On Returning" we get an especially warm Manning vocal and more sax from Jackson can be heard here, too, leading right into the Jackson/Manning spotlight track "A Sax In The Dark" (where Hammond also returns) – a blissful moment, to be sure. All this brings us back to "Night Terrors Reprise" (and if ever played live, you can be sure the audience would be encouraged to sing along and clap their hands when the instruments fall off for a bit, leaving only vocals). The suite ends with one of those "frozen moments" where a sustained keyboard note roots you in pace, while the sound of sax hangs in the air, tickling your ears... (re-stating elements of "The Half-Light Watershed").

A different mood is achieved on "The Canterbury Sequence: Cantermemorabilia," which sounds, well, Canterburian, right down to a bit of scatting from Tillison-Diskdrive. It's a light-jazzy, upbeat number with lots of trilling flute and soft-focused, understated, vocals. Listen here for references to Canturbury bands, though this is far from being a novelty track of "spot the reference." This piece features a nice, somewhat throaty bass solo from Reinholdz. The second segment, "Chaos At The Greasy Spoon" brings throbbing bass and keyboards to the fore for a little interplay, before flute and piano duet over the jazzy drumming of Csörsz. Another very nice moment appears in "Captain Manning's Mandolin," which also features Stolt's guitar and Tillison-Diskdrive on keyboards, on a piece that sometimes has a Spanish flavor.

"Up-hill From Here" is a fiery, driving piece, that is so high energy that you will be left breathless when everything comes to a conclusion. It underscores the "rock" part of the progressive rock style, full of screaming guitar solos, heavily throbbing drums and bass. It is, in a way, the kind of piece we'd hear from Spock's Beard, without sounding like SB… but there is something in the joyous abandon that makes me think of that band's material. And, of course, that same sense in The Flower Kings. It's a rave up prog rock style, a jamming tune that'll have you air guitaring or air saxing, while your feet are a-jumping. You can't dance to it, other than whirling around like a whirling dervish on some chemical high (only you don't need the chemical part). Smokin'!

Whew. The cool-down comes with the lyrical, classical "A Serenade" that opens the closing suite "The Music That Died Alone." Lovely, with a hint of night-club/bar jazz (in particular, I thought for a moment of Billy Joel's setting in "Piano Man") – this time from Tillison-Diskdrive rather than Baine (according to Winter). "Playing On…" brings in flute and percussion, recalling at times Camel very strongly, even down to the vocals.

One of the best things you'll hear this year, hands down. Buy it!

Rating: 5 / 5 (but really more like 6 / 5)

*not to suggest that it was my opinion alone he anxiously awaited, mind you; or that my opinion would validate the effort.

** didn't want to clutter the review with this comment, but on one of several listens, I popped the disk into my car player just as a Hammond-filled Boston track was playing ("Foreplay/Long Time," I think it was) and I noticed how, at least to me, very Boston-like that opening keyboard passage was…

The Tangent - The Music That Died Alone

Review by Josh Turner for MUSIC STREET JOURNAL

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1. Overall Review

Stop reading right here… Go out and get the album NOW!!! You should run, not walk.

Oh, you are still here to read a reviewer's opinions? Well, there is plenty to say about this release. It is about as perfect as a progressive rock album you can get, which is why you should be listening to it rather than hearing second-hand information. The musicianship is technical, yet efficient. It is neither overblown nor is it too short. Elements of jazz are fused throughout. The contributions from each artist are stellar and the lyrics are quite astonishing. This is a super group, considering you have contributions from leading artists in progressive rock from three different generations. Andy Tillison, keyboardist from Parallel or 90° is the front man for the project and he brings along an excellent cast. On loan from The Flower Kings comes not one, but three musicians: the amazing Zoltan Csorsz, Jonas Reingold, and Roine Stolt. Adding pinch-hitting to the line-up comes Sam Baine on piano and the up-and-coming multi-talented solo artist, Guy Manning. Last, but not least, making an unprecedented appearance and adding shape and depth to the instrumental section is David Jackson from Van Der Graaf Generator.

If you have not guessed, I really liked this release. I am a very picky listener. An album is lucky to make it through a complete listen on my stereo. Aside from gems such as the releases of Transatlantic and the last two Dream Theater albums, repeat listens are highly uncommon. It has been awhile since I played through an album and then replayed it. This one qualified. Actually, it got three consecutive listens. No, not all at one sitting silly, but you get the picture. There is really a lot to absorb. It takes awhile to sink in and then the genius to it hits you. The album is similar to The Flower Kings and Transatlantic (hmm, I wonder why?), but much different since Andy Tillison is responsible for the foundation. Andy is in the drivers seat. You know that the music must be extraordinary in order to have this sort of cast taking direction from a new age progger. When I heard this background behind the music, my reaction was very similar to hearing that no other than Daniel Gildenlow, the most talented vocalist in the business, was singing backup (Can you believe it?) on the Flower King's latest album, Unfold the Future. Anyhow, enough fanfare, let's discuss the album.

2. Track by Track Review

The album is divided into 4 sequences: 3 multi-track epics and one standalone song.

Sequence 1 - In Darkest Dreams: The album starts out with this epic sequence, which is upbeat, but paying attention to the lyrics you will hear a much darker message, making it a bit manic-depressive. It clocks in at about 20.56

Prelude - Time For You: The start of this track, the album for that matter, is purely awesome. I have noticed with many progressive rock albums there is a slow build up in an epic. Not the case with this one. Like Karmakanic's opening to Entering the Spectra, this one grabs you from the first note and does not let go. There are some very juicy symphonic bits in this track.

Night Terrors: This number features a groovy jazzy beat overlaid with Roine's relaxed vocals. Halfway through they introduce the epic's chorus with vocal harmony from the rest of the band. This piece is a cross between something you would expect from Sting and The Flower Kings.

The Midnight Watershed : We experience another smooth transition. The jazz gets a little funkier. Jonas' bass goes from sliding up and down the scale to jumping back and forth. Here is some great bass playing. Roine gives us some great rifferage here, as well. As it progresses, we get what appear to be Andy and Sam trading off between the piano and keys. There are many great solos here, too.

In Dark Dreams: This one definitely starts with a Flower Kings vibe, especially how Jonas is playing the bass. Andy comes in with lead vocals. In some ways, his voice is somewhat ordinary, but at the same time it is not. You will have to hear it to know what I am saying. There is a tension in his words. It is almost like he is talking to the listener and reminiscing about reawakened memories. He sings with so much passion. This is evidence that he put so much of himself into this project. Towards the end the flute makes it presence in a solo backed by the rhythm section, and then it is followed by a little sax bit.

The Half-Light Watershed: This starts out with a smidgeon of sci-fi noises, and then it gets a little acoustic. It is a short piece.

On Returning: We experience gentle layered vocals in this track. This is short as well.

On Sax in the Dark: Guess what? The sax comes to play and has some short exchanges with the rest of the band.

Night Terrors Reprise: The chorus returns in a grand finale. Zoltan takes center-stage, but everyone else's instrument has their say. In the end it dissipates into a dreamy state, not much different from the ending of Transatlantic's All of the Above. Fortunately, it is a bit more concise.

Sequence 2 - Canterbury Sequence: Many tout the second sequence as the highlight of the album. I will state the obvious, but this is a tribute to the Canterbury genre. This style of music sounds a bit like jazz mixed with progressive rock. The singing style is definitely jazzier while the instrumentals build a wall of undulating sound. Here David Jackson is busiest adding a dry woodsy sound with the sax and flute.

Cantermemorabilia: Another great start and a quick build up, this is progressive, but it is different. The lyrics really work here, even the nonsense words. The keys are sprinkled throughout the music in a very unique way. The flute comes in an out at will. Again, we feel a Flower King's vibe towards the end, but it is not an exact incarnation, owing to the fact that Andy's keys are quite different from Bodin's.

Chaos at The Greasy Spoon : It is like we are torn into a different world. The transition is a bit abrupt, but not unwelcome. The piano and bass are quick with some slow synthesizer in the background. After the aroma settles around us, out comes Roine in the forefront with his signature guitar. It ends with the keys and flute filling up the space.

Captain Manning's Mandolin: This is just a simple, yet still beautiful wrap-up. It leaves the listener wanting more. It is like you are awoken from a nice dream and wanting to go back.

Up-Hill From Here: I have heard it stated that this song is out of place with the concept of the album. I am not sure whether I agree or not. This piece is stellar and worthy of its spot. It begins as a tasty little rocker, which could have been overblown had it continued the formula throughout the entire track. However, the piece does not get repetitive, as about halfway through it turns into a killer jam started off by Roine. There is a quick return to the vocals, but then it comes back to the jam and really gets exciting from that point on. There are blues brother style keys and a fantastic bass line. This requires American Bandstand fanatical dancing. If I did not have both hands on the wheel, I just may have driven off the road. Ladies and gentlemen, bring out your air drums, guitar, keys, and bass!!! The finish is phenomenal. Many thanks go out to the decision-makers who opted to keep this one on the album. It is not filler. I repeat; it is NOT filler.

Sequence 3 - The Music That Died Alone:

A Serenade: The title is fitting for this one. It is obvious the author had a romance with this style of music. He feels it died an untimely death while it was in its prime. He definitely does his best to revive it here.

Playing On…: The lyrics are stunning. He sings about the forgotten music. This is a creative topic. An interesting layering of vocals is featured. While in harmony, they are almost chanted, not sung. There are several beats here not unlike theme music to dramas found in the seventies.

Pre-History : This is easily my favorite moment of the disc. That says a lot considering how much I liked the opening to the Canterbury Sequence and Up-Hill From Here. Every instrumentation found in this piece is precise, timely, and so unbelievably yummy (yeah, music to me is like food for the soul; I devour it when it is this good). The pace changes throughout. Each player contributes equally, having his own moment.

Reprise: Here we are brought back to planet earth. We drift away from this alternate reality and go through a cool down period to catch our breath. When the music has finally exhausted our brain and we think it is over, there is one last chorus and some subtle riffs. Then the synthesizer carries us back home.

The Tangent - The Music That Died Alone

By Gary Marshall for Fireworks magazine

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Icouldn't help but smile when I put this album on because it is rare that the promotional literature sent to you with the CD hits the nail on the head quite so well. To paraphrase the blurb, The Tangent are a collective of highly talented musicians whose aim is essentially the same, the creation of highly adventurous progressive music. With this album they have sought to create an album comparable with the very best of the genre's 1970s heyday. And that is what they have done very skillfully to the point where it is definitely a case of Homage rather than plagiarism. Cosequently, one can listen to the four movements and pick the influences such as ELP, yes, Jethro Tull,Camel,Brand X, Pink Floyd, Early Genesis (just listen to those acoustic guitars)... and that's just on the first movement. I can do without some of the overt jazzy sections but overall the quality is extremely high indeed.
"The Canterbury sequence" is just that: reviving memories of Caravan, early Camel and Hatfield and the North, right down to the highly distinctive vocal style. They've even go the old synthesiser sounds down to a t.
You probably won't be surprised to hear that the players involved are for the most part the usual suspects. From The Flower Kings there are Roine Stolt, Jonas Reingold and Zoltan Csorsz joining forces with Andy Tillison (Parallel or 90 Degrees) and Guy Manning. The surprise is the involvement of David Jackson who provided the saxophone and flute in Van Der Graaf Generator. This is ihis first appearance in a band setting for many years. Here he provides some delightful undercurrents, taking on the role usually given over to guitar.
I suspect that older rockers like me will be attracted to, and enjoy this album but it will have limited appeal generally, not because it's bad, simply because it's so retro.

Gary Marshall

The Tangent - The Music That Died Alone

From http://www.tombstone.gr

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A progressive rock album that managed to capture our attention almost instantly. It’s been quite some time since we last heard such a rich album. The melodies are catchy, the musical textures amazing, the musicianship over the top (just hear the excellent job done by the musicians individually by isolating their instruments in your ears) and the arrangements simply couldn’t be better. It’s a full album from every aspect. There are no fillers and every sound or note has a purpose to fulfill. The vocals are very good, both melodic and emotional, while the whole concept of the album is interesting. I liked the fact that they change the mood of the music even within the same song with the listener hardly noticing it, since the changes are fluent and the arrangements masterfully done. The production is also very close to perfection and the album will appeal to every progressive rock fan around.

The Tangent - The Music That Died Alone

by Jordi Costa and Manolo Pizarro for Progvisions

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What started as an idea of a solo project of Andy Tillison (keyboard player and singer of Parallel or 90 Degrees) has become the biggest progressive bomb of 2003. A project helped by three members of The Flower Kings: Roine Stolt, Jonas Reingold and Zoltan Csorsz, Sam Baine (also from PO90D), Guy Manning and David Jackson (VDGG), getting together to create a new super project.

“Here we have another Transatlantic!!!”, some people might think that, but nothing further than reality, and not only as a group; Transatlantic worked as it is, a band where all the members made the recordings together, while Tangent has built everything each member on their own, without joining in a studio. They have pieced the whole album in two different places, Sweden and England, becoming what we could say a virtual band. In Transatlantic we could notice the leading work of Mr. Neal Morse, composing most of the albums, while in Tangent the majority of the members have contributed in a similar way. I think we could level this record as a homage to classic prog-rock of the seventies (as we could read on the cover of the album). An album that regains musically the spirit of the golden age. Starting with “In the darkest dreams” which is a suite of 20 minutes, full of incredible parts of the richest progressive notes and arrangements, a piece which make us recall bands such as Yes (“Close to the edge” period), ELP or VDGG (“Still Life” period), with amazing hammond sections and those so special saxo sounds of David Jackson, adding Mellotrons, flutes and distorted guitars. The best we can listen nowaday