Advent has only made one previous album (Advent from 1997 – reviewed in Tarkus no 7), but they play with a technique and a confidence as if they had a dozen albums under their belt. In addition, they show a creativity and a talent for songwriting that few – if any – match within this prog genre.

The album opens with two minutes wonderful a capella singing before they crash into the instrumental “Awaiting The Call”. They show some jazz-rock tendencies in combination with more traditional prog. In spite of it being a formidable piece of work, this is still perhaps the least interesting track on the CD. “Parenting Parents” which follows, owe a lot to kerry Minnear’s compositions for Gentle Giant. Fragile, intricate, melodic and utterly atmospheric – simply an extremely beautiful piece of music where the band once again show their vocal capabilities.

Advent is largely inspired by the principles of 70’s prog, but they have a modern sound in the sense that none of the two keyboard players utilise a “vintage” setup – in other words, a record without Mellotrons and Hammond organs. It suits the music well and makes the record all the more timeless.

Track no 4, “Utter Once Her Name”, is slightly in the same field as the previous one, but the composition alternates between apparently simple melodies and more odd sounds. Very subtle and traditional in an untraditional way. “Remembering When” is a new instrumental crossing into Steve Hackett-country, and with fantastic chord changes – in line with the album as such.

I am normally (and rightly, it often shows) sceptical of very long compositions. Therefore, it is with pleasure I find that I am really wrong for once. The 18 minute “Ramblin’ Sailor” is really a masterpiece. He band here manages to combine Gryphon’s “Sir Gavin Grimbold”, Gentle Giant’s “His Last Voyage”, Ritual’s “Seasong For The Moominpappa”, ELP’s “Jerusalem” and Genesis’ “The Knife” and “After The Ordeal” – plus much more – in one composition. A well of ideas packed as tight as canned sardines, not one breather, but thoroughly worked through and containing not one single dull moment. In addition, “Ramblin’ Sailor” is a piece of progressive rock that, true enough, collects inspiration from the time when prog was young, but which in no way is stuck in the past. This is a modern, epic, progressive work.

“Your Healing Hand” is a vocal piece with a quite modernistic (and at the same time very old) musical expression. 10cc meets Orlando di Lasso at a contemporary music festival. Another example of the band’s original and personal approach – a track that does not resemble much of what is offered as popular music today, still a very fascinating piece of music. The album’s end track is “Firmus Finale”, it is instrumental and more traditional in form, but it is a majestic closing piece that builds on themes from the opening of the album.

As a bonus, the band has added remixed and –mastered versions of two of the finest tracks from the debut album – “Rear View Mirror” and “Alison Waits (A Ghost Story)”.  “Alison”, especially, is impressive. Here is another epic work (a mere 11 minutes this time) which for me sums up everything progressive rock is about – inventiveness, rich melodies, stylistically limitless, intelligent compositions, never repeating still avoiding being scattered and unfocused. A song which puts me in much the same emotional state as when I heard the album Acquiring The Taste (still my all time favourite album) for the first time.

Cantus Firmus is in my ears simply one of the best albums ever made. And that says quite a lot!

© 2007 Tarkus Magazine

Back to index