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THE FYREWORKS
The Fyreworks are a five piece band whose first album has been recorded, produced and mixed by Rob Reed - who plays keyboards and slide guitar and also provides backing vocals (Rob has also produced several albums
with the band Cyan - see our reviews).
Also instrumental in setting up the project was Danny Chang on guitar and backing vocals. These two are joined by vocalist Andy Edwards, Tim Robinson on drums and bassist Doug Sinclair. The use of a number of guest musicians playing cello, violin, flute and saxophone adds further depth to the overall sound.
Recorded in 1995-1996, The Fyreworks project draws as its inspiration early 70's progressive music. In the sleeve notes both Danny Chang and Rob Reed comment that the main aim with this CD was to capture the
atmosphere of some of the classic works of that period, and to this end the band have made exclusive use of period keyboards in the shape of Moogs, Hammond Organs and the ubiquitous Mellotron.
'Master Humphries Clock' starts with a powerful instrumental section which mixes flute, guitar, keyboards and percussion and has an almost classical feel at times. The sound is very reminiscent of European
bands such as Focus. The vocals are very clear but, initially, struck me as not best suited to this material and seemed a little forced at times. The song has several quieter instrumental passages
throughout mingled with some very spirited keyboard runs. In the latter section tubular bell and cello are used to great effect. The song finishes with a repetition of the opening theme accompanied by
some very strong guitar work from Danny Chang - then quite suddenly the music stops and all that can be heard is the ticking clock.
The following track, 'The War Years', has a very melancholic feel and it tells the tale of a boy who loses his family during the second world war. The pace is quite slow and Andy Edwards comes over as being
really at home with this style of singing. Musically, piano and acoustic guitar are predominant.
Sound effects are also much in evidence with the use of what appears to be authentic air raid sirens and flying bomb noises.
'Stowaway' is another piece that opens with a short instrumental section with the flute very much to the fore.
Although the track is very well put together it is unfortunate that the theme comes over as being very similar to the opening track, leaving the listener with the feeling that they have already heard this piece. In fact, on closer inspection, the two tracks are quite different but initial impressions can be hard to shake off. This is, in some ways, a real shame for 'Stowaway' is, in many ways, a far superior track - and any doubts I may have had about Andy Edwards vocals disappeared at this point. Excellent use is made of backing vocals, and a very melodic flute part set against haunting string sounds dominate the mid section. Tim Robinson does a fine job on percussion setting the pace and building up a strong sense of atmosphere. As with the first track the piece finishes with a reprise of the opening theme and, as the music stops, we are left with a sound of sea gulls and the movement of the waves followed by a final, very short, musical interlude on guitar and oboe.
My favourite track has to be 'Balloon'. The song has some excellent saxophone and violin work, and is one of the most progressive sounding tracks on the album.
Initially, the song has echoes of Van Der Graaf Generator and, to a degree, Gnidrolog - particularly with some of the deliberately discordant saxophone sections. Backing vocals are excellent and very very 70's sounding, and the flute parts really have a strong Tull influence. Lyrics are well written and very well sung.
'The Consequences of Indecision' is a short piano piece, very melodic and not overly showy. The sound would not be out of place on Wakeman's 'Six Wives' album.
'Broken Skies' is the seemingly obligatory epic number that runs for over 15 minutes, although the sleeve notes break the track down into several sub sections. This is more derivative than the other tracks and
the lyrics have some bizarre touches (eg. "pussy cats growing fat on mice and puppies eyes as this madness takes us all!") that force comparisons to Peter Gabriel. Instrumentally, the track has a good
spread of styles including an excellent violin part that is folk inspired.
Unfortunately though, this track just goes on too long and never really managed to hold my attention - it would have been far better had it been split up into distinct separate tracks.
The final track, 'The Display', is a gently paced instrumental beginning with piano and acoustic guitar which are quickly joined by an oboe.
The percussion part is subdued, but it builds up slowly as electric guitar and, finally, keyboard parts join in the flow. The melody is fairly straight forward with some minor deviations away from the central theme and the further into the song you go, the more the pace picks up. Sometimes though just because you think a track is finished it does not mean it really is - be warned then, this track has a surprise ending!
Despite some initial misgivings, I have found that this CD has continued to grow on me with subsequent playing and I have been able to ignore the few faults I initially found with it. For the most part it has
succeeded in achieving its stated aims, and it has certainly managed to capture something of the essence of the early 70's sound, while at the same time creating a blend of music that has a modern feel to it.
Production is excellent and all in all this is a very well rounded album worthy of attention.
Simon 1st December 1999
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