Prime Time - Free the Dream

For a band that started out as little more than a project between some popular musicians in progressive metal, Prime Time has come a long way in just a few short years. The band was formed by Henrik Poulsen in 1997 and originally featured such high ranking and respected members such as keyboardist Andre Anderson and drummer Allan Sorensen from Royal Hunt, bass player Chris Rajkai (ex Narita), and of course Eduard Hovinga who was fresh out of Elegy (having been replaced by Ian Parry - but that's another story). During the recordings for "The Unknown" Hovinga and Poulsen agreed to carry on the flame of what they had created and make their little pet studio project into a real band. All the original players besides the core of Hovinga and Poulsen had to be replaced for the follow up, which comprises the lineup which is still being used on their third album, and the one being reviewed today. All the new musicians were former members in either Royal Hunt or Narita as well, including Flemming Olsen on drums, Karsten Lagermann on bass, Tonni Rahm as second guitarist and Poulsen taking over on the keys.

With a new fire burning and the determination to make Prime Time more than a one off project, they hit hard and strong with "The Miracle", naturally progressing from the harder edged sound of "The Unknown", tossing in plenty of grooves that were aimed straight at melodic hard rock, but with those prog-ish touches, creating a unique sound that is much like a melting pot of Royal Hunt, Elegy and European flavored AOR. Their cover of "Seven Doors Hotel" (an early Europe song, in fact the first tune Joey Tempest ever wrote!) became a hit in Japan and things seemed rosy for a follow up.

Enter the band's latest offering, "Free the Dream". With their sound tempered, the songs leaner and more streamlined for a wider audience, it is truly a landmark for the band, flaunting a very fresh sound that is unique to them alone and continues the odd fusion of progressive and AOR/melodic rock, a combination that has so far remained largely unexplored by the underground industry thus far. The standout element, is part of what made Elegy so great in their beginning days, is vocalist Eduard Hovinga. He set the pace for Elegy's three albums, including the magnificently high pitched debut "Labyrinth of Dreams", and his overshadowing influence is repeated here as well. Hovinga has softened up what was once a very shrill range and sticks mostly to his lower registers, but when he hits those high notes, watch out! Keyboards are all over the place, swirling in circles mesmerizingly and often seeming quite dreamy or psychedelically trippy. Songwriting-wise they have managed to make a dramatic leap. Futuristic proggish twirlings dance overflowingly yet underneath reveal lush vocal harmonies and catchy hook filled choruses. The disc is easy to sink into and should transcend metal genres, appealing to progressive and more melodic loving fans alike.

01.] "Hanging On" - If you aren't absolutely enchanted with Prime Time after this marvelous track than you are simply hopeless! Starting off on the right foot, this one surges forward in a display of not only musical prowess but a showcase for Hovinga's magnificent voice (which has been described as 'feminine', but is simply high pitched at times). Bouncy and upbeat with the keys ever present, its heaven to hear Eduard begin in the lush lower range and then slowly climb up to a fever pitch. Explosive, catchy and a showcase for the band's talents in every possible way imaginable. It gets into the head and stays there, leaving the listener "Hanging On" for more Prime Time!

02.] "I'm Coming Home" - Smoky background vocals sets off the higher ring of the lead, slipping into a comfortable mid pacing that suits the track beautifully. The keys are again quite prominent and have a soul lifting quality, tinkering like ivory fairy bells or an icy feel like synth born piano. They are somewhere behind the vocals flowing along and around the rhythm electric. At times the guitar pops up for a couple of notes and then fades into the back, continuing its cascading moonlit dance with the keys. The sound of this track is a perfect union between a subdued Elegy and an ultra melodic, more straightforward Royal Hunt.

03.] "Until Tonight" - "Here I am, this is me, I am yours!" Spanish flavoured acoustic and piano lay the groundwork for an almost-ballad that sings sweetly to the heart of the romantically inclined. Sweet sentiments dealing with someone who was a traveling soul... until tonight, for love makes even what were once priorities seem like dust in the wind. Even though it could have been a slow ballad-esque track, they instead went with a wildly melodic, free flying pace that makes it perfect to crank on the open road or to let it go on the highway.. "with the wind in your hair."

04.] "The New You" - "Let it move you"... you know you want to! Frantic and energetic, swerving closer to prog metal than anything else on the disc so far. Synthesizer sounds rain down from the musical heavens, pumping or shimmering with equal enthusiasm. The "I'll be by your side" vocal part in the middle with the electronic twist on a repeat of the line sends chills down the spine.

05.] "Free the Dream" - Synthetic flute and lapping acoustic give the opening a calming charm, sending the listener into a sense of security. The chorus is bouncing with melody and elegance, giving off waves of spiritual reflection. The flute is one of the elements that keeps me coming back to the song, it crops up in the most unexpected places, and is part of the gel that holds the song together. Rippling, wavy guitar closes it rather abruptly, fading like the broken remains of a shattered dream.

06.] "You Still Belong" - Violin and synth duke it out in a drastic battle for supremacy, then Eduard's voice enters into the mix quietly and shows who's the dominant voice in this song. The keys and violins entertwine with one another, each taking a different path but crossing in the middle frequently, providing a net of plush sounds to catch the guitar in. Serving as the backbone, the drums are in there, giving the song a sense of order and structure for all the instruments weaving their own unique webs. One of the standouts of the track is the return of the smoky backup vocals that soothingly reassure that "you still belong."

07.] "Forever You And I" - Raw bluesy guitar zip this one open and then hard rock pops out! Where are the keys that have set the feel of the disc thus far? No frills, straightforward pomp hard rock with Hovinga's divine tonal quality grabbing for his smooth lower range and snatching off several ascensions into the world of the higher pitched. Sneaking into the middle is a pristinely played guitar solo. Various background voices add texture to this light feeling yet plush track.

08.] "Spanish Fly" - Seeming a little out of place, yet tying in with some of the South of the border acoustic flavourings from "Until Tonight", this quaint instrumental is pure flamenco style. The acoustic guitar canters along consistantly, restrained from all-out shredding and sticking close to the rhythmic feel, making it seem more like a well thought out song than just an excuse to show off.

09.] "Garden of Eden" - A magnificent melodic masterpiece that mixes up the standout elements from "Until Tonight", "Forever You And I" and the opening tune and Prime Time sends it up with class and a little glowing shred of heart.

10.] "Scorned" - Thumping with a solid metallic feel and a chorus of many voices made of solid gold poured on the top. Electric coos seductively, ripping it up when allowed, especially in the winding chorus that eagerly spirals around itself.

"Free the Dream" will most likely be as ignored and underappreciated as Prime Time's first two discs. Even with the highly acclaimed Royal Hunt keyboardist, Andre Anderson onboard, "The Unknown" wasn't saved from obscurity, and with "FtD" aiming for a niche audience that will either not know what to make of the disc or else adore it for its quaint uniqueness, it will probably drift between the cracks even further. But the outfit must be applauded for creating an easily accessible progressive album with strikingly distinct AOR/melodic rock overtones, that often override the band's proggish side. Also notable is the production, which is sharp as a tack and clear as the bluest of skies where it seems you can look straight up into the atmosphere of another world. Without a doubt, one of the best all-around albums of the year.

Ratings and Wrap Up:
8.9
Hot Spots: "Hanging On", "Garden of Eden", "I'm Coming Home"
Bottom Line: prog meets AOR at the crossroads

Review by Alanna Evans
Who thinks Eduard's hair is just...Godly gorgeous.

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