| FAIREST OF MOMENTS - REVIEWS |
| .......Listeners will certainly be reminded of Rick Wakeman and Keith Emerson in John's keyboard work , especially during the introduction to the progressive masterwork Through the Doors of Time.........With the perfect blend of classical allusions, lovely female vocals and enduring instrumental arrangements The Fairest of Moments like their debut album is naturally a must listen! - Russ Eliott, Musical Discoveries (musicaldiscoveries.com) This second release by Synthology is a very tasty neo-prog album, with longer pieces and a little more adventure than the band's debut release "Between Day and Night". Virtually a one-man band, Canadian based keyboard player John Alarcon has surrounded himself with some very able friends to help out. However, it is Alarcon himself who stands out, with some excellent keyboard work. His schizoid piano style is not dissimilar to Patrick Moraz, which shows particularly in the opening track The Falling Sky". Elsewhere though his keyboards are much more restrained, especially in the use of strings and choral effects which tastefully add to the music. His writing abilities are good too, and he cleverly uses the dynamics to give momentum to the music. One small criticism might be that the vocals of Marysa Mardini are a little too low in the mix, and that the vocals sometimes don't quite gel. Mardini isn't a bad singer at all, but the result here is just a little over earnest. An imaginative album then, including a three part eighteen-minute epic The Fairest of Moments which has some interesting ideas.; - Bernard Law, Wondrous Stories (magazine of the Classic Rock Society, UK) March 2002 This is already the second album by this Canadian group led by pianist and composer John Alarcon. Similar to the one finished a year ago Between Day and Night it reminds one of Tony Banks' unforgettable album A curious Feeling. Behind the microphone is Marysa Mardini which I think is probably the weakest link in the band. A solid rythmic section is provided by Luc Hebert who is quite impressive on this record. The sublime and majestic keyboard work is another detail highlighting the development of the band compared to the debut cd. The individual compositions here are considerably longer and at times deliciously pompous; the best being the three-part title suite, the eight-minute long Seven Wonders and Through the Doors of Time. So while Synthology cannot be considered to be among the elite bands in the world of progressive rock , this album proves that they are indeed very close. - Artur Chachlowski, Radio Alfa, Krakow, Poland I said it once before,history has not been kind to second releases for many bands. Yet here I am again with a sophomore release that I believe is a real winner. From the opening Hammod-like runs Synthology's "The Fairest of Moments" you know what territory you're in. It's that mid-period Genesis around the Wind and Wuthering time with that particular sound and style of pitch bending. That being said there is plenty going on here to distance Synthology from it's early influences. For example, the neat little instrumental sections separating the longer pieces. Cut #2 entitled The Bridge has a captivating melody crafted with simple piano/string/flute/Arp sounds layered on top of one another. I wish it was longer than the alotted two minutes. Synthology is the brainchild of John Alarcon who moved to Montreal, Canada from Vancouver back in 1993. Their first release which, as I understand it was more of a band effort was also a little less adventurous. This time around, Alarcon, who handles all the keyboards, is assisted by Peter Warren (bass), Luc Hebert (drums), Jon Graham (guitars) and Marysa Mardini on vocals. This second release is awash in, as the name implies, symphonic string pads and full rich production and masterful arrangements. The songs are mostly on the long side with the three-part title track clocking in at just under 19 minutes. As a result while the vocals run throughout, there is plenty of long instrumental passages. A mixture that seems to work. I want to stress that the compositions are no mere carbon copies of old Genesis, there's some real craft going on here. I believe Alarcon has the ability to consruct symphonic progressive rock with the best of them. Getting back to the vocals, Mardini's powerful tenor at times hints of Jon Anderson but, she retains a distinctive approach. As a vocalist interpreting or creating the melody is a charged responsibility. And in that department her originality is most evident. There are times in cut #3 Seven Wonders where it sound as if she's singing off-key. And yet on numerous listens she hits the same notes leading me to think its in no way a mistake but in fact intended to generate a certain emotion on the part of the hearer. It may take listeners time to warm up to her approach but with each listen it becomes less obvious and more a part of the song.; She comes into her own with the opening strains of the title track. Her vocal tone is totally captivating. In summary, Synthology's The Fairest of Moments is a splendid second release, with lots of interesting keyboard sounds and performances and a supporting cast who admirably give the record depth and confidence. A dramatic symphonic tour de force.; - Jerry Lucky, Ghostland.com (author of The Progressive Rock Files) |
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