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░ ██ ██ Artist: Faithful Breath ██ ██
▓ █░░ ■█ Album: Fading Beauty █■ ░░█
■ █▓▀ █ Year: 2005 █ ▀▓█ ░
█ ▓ Rel. Date: 2016-07-04 ▓ █
▒ ▒ Genre: Progressive Rock ▒ ▒
█▄ ░ Label: Garden Of Delights ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
░ █▓ Type: Reissue ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▓ █ █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ Reissue of 1973/1974 album. █
█ █
█ German rock in the early 70Æs tended to mostly █
█ consist of the often-rambling psychedelic rumble █
█ known as ôkrautrock,ö a term first used as a █
█ pejorative by foreigners before being embraced as █
█ an endearment by its progenitors. Like any musical █
█ force, krautrock had its highs and lows, but its █
█ local ubiquity in the first half of the decade █
█ practically ensures that the few German bands of █
█ the period that didnÆt adhere to that mold tend to █
█ stand out in oneÆs memory on those rare encounters █
█ with them. Just as it was fairly unusual for a █
█ non-German band to latch on to that distinctive, █
█ minimalistic flair (NektarÆs A Tab in the Ocean is █
█ remarkably krautrockish for a product of the █
█ British Isles), so too was it rare for a German █
█ band to appropriate the traditionally English █
█ symphonic sound. For years I had figured that the █
█ mostly excellent Triumvirat was the lone oddity in █
█ this department, until stumbling upon Faithful █
█ Breath, and on the Metal Archives of all places. █
█ With a tendency towards large-scale compositions █
█ and sporting a moniker reflective of that classic █
█ prog rock adjective/noun incongruity (Electric █
█ Sandwich, Mellow Candle, Glass Hammer, Soft █
█ Machine etc.), I was quite hopeful to have █
█ uncovered yet another obscure gem for my █
█ progressive collection. █
█ Disappointedly, this wouldnÆt quite be the case, █
█ as IÆd find much of its beauty had faded long █
█ before IÆd ever proffered a gaze in its direction. █
█ Side A of Fading Beauty is comprised entirely of █
█ the two part ôAutumn Fantasiaö suite, which is █
█ much less blustery than its name implies. For a █
█ large scale instrumental, it is a surprisingly █
█ restrained composition, mostly content to wash the █
█ listener in alternatively dense and minimalistic █
█ layers of Mellotron, acoustic guitars, organs, and █
█ pianos with the occasional somber electric melody █
█ to follow over top. There are a few climaxes to █
█ the ebb and flow, but much of the potential drama █
█ of this moody pseudo-classical dirge is lost █
█ because of its relatively sparse instrumentation. █
█ Compare this to another contemporary piece like █
█ ELPÆs ôKarn Evil 9ö with its insane virtuosity and █
█ unmatched enthusiasm or YesÆ ôThe Ancient (Giants █
█ Under the Sun)ö with its arcane motifs, varied █
█ atmosphere, and the otherworldly logic of its █
█ progression and understand how this attempt is █
█ positively snore-inducing by comparison. ItÆs hard █
█ to think of another band that necessarily sounds █
█ quite like Faithful Breath do here, but their █
█ mostly instrumental, mostly inoffensive █
█ soundscape-focused affect is reminiscent of some █
█ of the 70Æs less remarkable English groups like █
█ The Enid or Jade Warrior. █
█ ôTharsisö comprises the entirety of side B and is █
█ a much more active, compelling accomplishment. █
█ Much of this is due to the simple addition of █
█ Heinz MikusÆ vocal contributions, which help break █
█ up the very similar keyboard-drenched monotony a █
█ bit. His voice is quite strong and tuneful to █
█ boot, despite some characteristic lyrical flubs █
█ here and there (he pronounces ôbirdö as ôburtö █
█ just moments into his introduction, poor fellow). █
█ This is just as well, as itÆs hard to take the █
█ lyrics too seriously anyway. Some heady allegory █
█ about giant space birds and nuclear warfare; █
█ curious for sure, but surely not intended for █
█ serious contemplation, at least I hope not. █
█ The overall feeling of good intentions is present █
█ throughout, but the band seem stuck on the bridge █
█ between the accessible and the excessive sides of █
█ the progressive stream, writing imposingly long █
█ songs while providing little more than neat █
█ incidental music for much of their length. █
█ Personally, IÆd have much preferred a conscious █
█ effort toward either direction rather than this █
█ indecisive middle ground. Æ74 was one of the finer █
█ vintages of prog rock, with mature efforts from █
█ the veteran acts releasing alongside many █
█ promising second-wave groups from continental █
█ Europe, so there are scores of great records from █
█ both opposing interpretations that quite █
█ overshadow Faithful BreathÆs humble debut. █
█ ItÆs really not too shabby of a record, if a bit █
█ forgettable between exposures. The production is █
█ full and clear, which alone is an achievement █
█ considering the time period and geographical █
█ affiliation (when youÆve struggled through the █
█ basement-budget efforts of groups like Kyrie █
█ Elieson or Il Rovescio della Medaglia, you quickly █
█ develop an appreciation for professional recording █
█ quality in this genre). But it is the fact that █
█ Faithful Breath would eventually embark on the █
█ unusual evolutionary path towards heavy metal that █
█ is their most notable quality. That, or the █
█ peculiar coincidence that they had three different █
█ drummers named Jurgen over the course of their █
█ career. Honestly? I canÆt decide. █
█ █
█ --- █
█ █
█ Faithful Breath, originally named Magic Power, and █
█ renamed Risk during the mid-eighties, was a █
█ strange case of a band. They traversed different █
█ stages of rock music evolution, adapting and █
█ reforming with each of those movements. Each leap █
█ forward not only meant a departure from its █
█ previous name, style and aesthetics, but also a █
█ change in personnel and instrumentation. Darwin █
█ would have been impressed. The sole constant █
█ element throughout their whole history was █
█ vocalist/guitarist Heinz Mikus, much like the █
█ Robert Fripp or the Jeff Waters of this German █
█ outfit. His ability to transform his band from █
█ psychedelic/progressive rock from the 70s to a █
█ 100% thrash metal band is almost unparalleled. █
█ Fading Beauty is the bandÆs debut, released during █
█ the heyday of the progressive rock movement of the █
█ seventies. It is structured like many of the █
█ classic and greatest albums of the style; two over █
█ ten minute tracks taking one side of the LP, while █
█ a twenty minute suite takes the whole other side █
█ of the vinyl. Van der Graaf GeneratorÆs █
█ progressive rock 1971 masterpiece Pawn Hearts, █
█ YesÆ 1972 seminal Close to the Edge and Relayer, █
█ released in the same year than Faithful BreathÆs █
█ debut, share this arrangement. There are other █
█ examples of course, and variations, such as having █
█ a suite on one side and several shorter songs on █
█ the other, or a suite that lasts more than just █
█ one side of the LP, such as Emerson, Lake & █
█ PalmerÆs ôKarn Evil 9ö or, even longer, Jethro █
█ TullÆs monumental ôThick as a Brickö, which takes █
█ the complete disc. These records of lengthy tunes █
█ would end up being broken eventually, with the █
█ advent of CD format, which granted more space for █
█ music. In the case of the band in question, the █
█ curious thing is that the material here greatly █
█ contrasts with the shorter songs they would go for █
█ later. █
█ Side A is pure instrumental, and both compositions █
█ can be considered a suite of their own, since they █
█ are labeled ôAutumn Fantasia: Movement 1, Fading █
█ Beautyö and ôAutumn Fantasia: Movement 2, █
█ Lingering Goldö. Not the most interesting of █
█ progressive rock IÆve heard, but very atmospheric █
█ and mildly enjoyable, the tracks unfold slowly █
█ with the use of the characteristic wall of sound █
█ comprised by organ pipes, the ever melancholic █
█ mellotron, piano and other keyboards that were all █
█ the rage in those years. The four band members █
█ contribute to chanted choral arrangements, while █
█ the acoustic guitars show their presence from time █
█ to time. PercussionÆs pretty slow and simple most █
█ of the time, quite taciturn and minimalist during █
█ ôFading Beautyö, and a bit more vivid during █
█ ôLingering Goldö, vanishing entirely from the two █
█ compositions from time to time. In the second █
█ movement, there are some soprano female vocals, █
█ attributed to Renate Heemann. The overall feeling █
█ of the ôAutumn Fantasiaö suite reminds me of █
█ Procol HarumÆs hit ôA Whiter Shade of Paleö, █
█ though lengthier and more complex. █
█ Side B is the exclusive lair of ôTharsisö, a 21 █
█ minute suite that tales the story of the namesake █
█ humungous cosmic bird, and its also humungous █
█ cosmic egg (no relation to WolfmotherÆs album of █
█ the same name), which happens to be the very Earth █
█ on which Mankind dwells, quite merrily listening █
█ to metal and prog while the brood continues to █
█ grow in the center of the planet. A prophecy █
█ foretold about this little issue but nobody paid █
█ heed, so when earthquakes and cataclysm start, the █
█ people realize theyÆd be fucked unless they find a █
█ way to survive. Ultimately, they choose to nuke █
█ Tharsis offspringÆs ass, with the RISK (ha!) of █
█ nuking their own as well. The tale ends by telling █
█ that it is unknown if the people of Earth were █
█ victorious or failed, in whatever case theyÆd be █
█ confronted by Tharsis itself, so, logical thing to █
█ think is that Mankind ultimately dies. As for the █
█ music, it is fairly similar to Side A, but not as █
█ good, which is bad news for a song this long. IÆm █
█ afraid the concept is much more interesting than █
█ the uneven composition, even if it counts with █
█ Heinz Mikus decent lead vocals, which are melodic █
█ and sort of melancholic like the rest of the █
█ album, without being overdramatic. █
█ The sound found in Fading Beauty wouldnÆt be █
█ reproduced for their 1980 sophomore, Back to My █
█ Hill, that eschews much of the classic music █
█ inspired prog rock found here for some shorter, █
█ more varied tracks, ranging from hard rock to █
█ folk. It that regard, this album is pretty unique, █
█ though not that outstanding when comparing it to █
█ the works of other progressive rock acts of its █
█ day. In 1974 some serious badass prog rock albums █
█ were released, like King CrimsonÆs immortal Red, █
█ Starless and Bible Black, CamelÆs Mirage, EloyÆs █
█ Floating or Genesis ambitious double LP The Lamb █
█ Lies Down on Broadway, stuff not even Tharsis █
█ could compete with. ThereÆs also similarly █
█ sounding material to this, like Turn of the Cards █
█ by Renaissance, which turns out to be way more █
█ fulfilling and intense. So, treat this no more █
█ than a curiosityà for the prog rock fan, that is. █
█ Metalheads will not find much of interest here, I █
█ guarantee that. █
█ █
█ --- █
█ █
█ Now, I seriously think 70s Hard Rock/Prog/Metal is █
█ an extremely underrated Genre. People today bang █
█ on about how "Brutal" one band is and how "Tech" █
█ another is etc. Even the Thrashers bang on about █
█ how Thrashtastic some boring late 80s Metalliclone █
█ is, then tell people Metallica are crap and always █
█ were (hahahahahahahahahaha). I adore Modern Metal, █
█ really do, I just don't think any genre is as █
█ consistently good as the 70s was, especially early █
█ 70s to mid 70s. Yet, It's like people are scared █
█ to go further than 20 years beyond what they █
█ already know (which is very little). Bold █
█ statement I know, but a lot of 70s Rock & Metal █
█ was a LOT purer than 80s+. When I listen to most █
█ early 70s LPs, it sounds like they had nothing to █
█ really prove, just wanted to make top class Music █
█ while getting off their face on copious amounts of █
█ Drugs and fuck lots of Hippy women without silly █
█ added fads or fashions (unless you count getting █
█ off your face and chilling out a "fad"?). Even if █
█ I don't really like a release I hear from the █
█ early 70s, there's still something honest about █
█ it's music that I respect, it tends to be the █
█ vocals or something else that spoils it, rather █
█ than the Music. For example, a few blues come █
█ proto rock bands didnÆt know whether they wanted █
█ to be ôRock n Rollö or Blues or not. Judging by █
█ the almost Hard Rock sound they had, yet that █
█ emotionless drone of the typical Blues singer (for █
█ example, see early Creedence Clearwater Revival). █
█ Blues was a pretty important genre as far as the █
█ movement of Rock (thence Metal) was concerned, but █
█ thereÆs only so much you can take of a different █
█ band in the 60s+ basically releasing what was █
█ already released back in the 1930s. The only █
█ reason I'm bringing this up in this review █
█ (because usually I try not to era/genre bash), is █
█ because it pisses me off that people (especially █
█ Metalheads) seem to have forgotten the 70s and █
█ this band are a perfect example for my next point. █
█ █
█ My next point being, that the late 70s/early 80s █
█ to mid 80s was an absolute vital time for Metal. █
█ Indeed, this was the seed and almost birth to █
█ extreme Metal. Thrash (that from the birth of █
█ Heavy/Speed), being one of the most addictive █
█ genres of Metal to date. But, with this great 80s █
█ phenomena, came the damn fads, fashions, unwritten █
█ rules and bands like Sadus (great band) making █
█ demos called "Death To Posers" (Great demo). █
█ Great, thanks a lot, now every dork today who is █
█ trying to be so "Metal" goes around calling █
█ EVERYONE he deems not "Metal" a "poser". Thanks █
█ Sadus. I mean, really, in general, these people █
█ (80s Metalheads) might have been creating █
█ something big, but they were also dressed in █
█ leather, trying to act all tough, nothing much to █
█ say at all yet being as anti-society as they █
█ could, who were the real posers? What did the █
█ supposed "posers" in the 80s "pose" as? "Real" █
█ Metalheads? =S Nothing wrong with the guys in the █
█ 80s wanting to rock out, get drunk off their faces █
█ on Beer and make some class Metal, that's what it █
█ should have been about, just not so sure it was █
█ purely about that. But, with that said, this point █
█ enhances my previous point about the 70s being █
█ pure with nothing much to prove. Now, the reason I █
█ use Faithful Breath as an example, was because, █
█ early 70s they made a beautiful prog gem like █
█ this, then went all out Hard Rock and then later █
█ jumped the trend band wagon. Their 80s work was a █
█ shambolic attempt at Heavy/Speed Metal. Which then █
█ led them to change their name to "Risk" in the █
█ late 80s (because their current band name wasn't █
█ Metal enough), and continued with their new █
█ "progression". Admittedly, the work they put out █
█ with Risk was a hell of a lot better than FB's 80s █
█ work. But still, they went from that pure 70s █
█ band, to another tag-along. Great =/ █
█ But, with that ramble off my chest, now to the █
█ most important part, the Music. █
█ The LP consists of only 3 songs, which are all █
█ epic songs, all combined at nearly 45 minutes. The █
█ first 2 tracks, are allegedly one 23 minute █
█ Instrumental song called "Autumn Fantasia" split █
█ into 2 parts. █
█ The first part, which is named "Autumn Fantasia: █
█ Fading Beauty", starts off with an organ build-up, █
█ sounds like something you'd hear in a ceremony in █
█ a Church or something (but not a gay Church of █
█ god, well actually, they probably were Christian █
█ then changed when they changed their style). After █
█ a minute and a bit of harmonizing Organs, the main █
█ Organ drops out, to leave the subtle Organ backing █
█ as it drops into a simply beautiful melody with a █
█ very simple beat. Hail the 70s, this is fantastic. █
█ Great keyboard work to follow, as it appears to █
█ get more "serious". The beauty has stopped and █
█ it's got a simple theme now. Great bassline comes █
█ in, then drops onto a much more calm moment. This █
█ band has great musicianship. Interesting idea to █
█ leave the first 2 songs vocal less, but it fully █
█ works, because most vocals spoil good music. Ah, █
█ though, it's also a shame when good vocals aren't █
█ fully complimented by the Music also. Anyway, █
█ after the 6 minute mark, the song breaks, the beat █
█ stops to allow a new acoustic melody, which is a █
█ great early acoustic sounding melody, something █
█ which 30 years later will be over copied, over █
█ used and put totally in the wrong places by █
█ amateur bastards (In Flames, Shadows Fall, Opeth █
█ and many other 90s/00s Metallica (because itÆs the █
█ only 80s band they know) clones, rubbish ôMelodic █
█ Death Metalö bands, the list goes on). After this █
█ mini acoustic melody has had it's bit of minute █
█ long fun, the beat and earlier organ theme of the █
█ song comes back in. I mean, wow, this song changes █
█ it's moods very swiftly, but it does it in a way █
█ you don't instantly notice if you were say █
█ listening to it as backing Music. Just before the █
█ 10th minute, it slows right down, leaves the beat █
█ behind, absolutely brilliant. Which after a few █
█ minutes, drops back into another happy sounding █
█ melody, with a great simple bassline that █
█ compliments it perfectly. The song ends very █
█ abruptly, which doesn't really indicate that the █
█ first 2 tracks go well as one song at all, but a █
█ total minor thing that has no relevant affect on █
█ the Music, therefore has 0 relevance █
█ whatsoeveeeeeeeer. █
█ Next track, "Autumn Fantasia: Lingering Gold", is █
█ nothing like the last track, with exception to the █
█ usage of the same instrumentation. It starts with █
█ a lovely acoustic plucking with an echo effect █
█ that a lot of decent, non-metal bands today use █
█ (check out Rothko, fantastic Instrumental band), █
█ which then adds tempo after 30 seconds and a █
█ brilliant keyboard part. Great song. Great █
█ overlaying Guitar part comes in. This is exactly █
█ what I previously meant when I said "pure". What █
█ great Music. Then it breaks down, to allow that █
█ Organ back in, which builds up for a few minutes, █
█ to then drop into a more mellow part. I mean, this █
█ is a real test of your senses and the level in █
█ which you have the ability to sit back and relax. █
█ I challenge anyone to listen to this and not feel █
█ incredibly calm. Then the tempo builds up again, █
█ with the very, very simple beat. Once again, █
█ stopping and starting again, but in the most █
█ simple way possible, as opposed to the annoying █
█ modern type of "stop starts". Except this time, █
█ when it starts up, there is an added female choral █
█ type vocal added as backing and an EVER so faint █
█ male choral vocal too, which you can only slightly █
█ hear if you listen closely to the vocal fade out, █
█ as the male vocals are slightly louder on the █
█ actual fade-out. This works very well. This all █
█ stops, AGAIN, haha. To allow a strange rhythm to █
█ make way, probably the most "hectic" moment of the █
█ LP so far, strange beat too. This then stops to █
█ halt, to allow a moment where the backing female █
█ vocals have become a more prominent headlining █
█ factor in the song, with amazing backing keyboard █
█ work which most people wouldnæt notice, due to █
█ concentrating on the vocals (which, I take, is █
█ what the band want). This hits you, rather than █
█ builds, which means the last stop before this is █
█ probably the most important one of the LP so far, █
█ especially as itÆs the 3rd time the song stops in █
█ about 15 seconds. Brilliant. This lasts a few █
█ minutes, to then again stop and allow a previous █
█ simple acoustic melody back in. The song slowly █
█ builds up again, to allow a great bass in the █
█ background to compliment a very frontline █
█ authoritative part to come in. You know what I █
█ mean, the over dramatic slamming of the notes? █
█ Wake-up time, etc. Good. The initial simple choral █
█ part eventually comes back in, and after nearly 11 █
█ minutes, the song dies down slowly and finishes. █
█ Great stuff. █
█ The next song is "Charsis", which is an epic at 22 █
█ minutes. But, for me, probably the worst song on █
█ the LP. Starts off as a quiet build up then has █
█ this cheesy feel to it. Not totally fond of this █
█ song so far, but it does get a LOT better. It all █
█ stops to allow a simple few notes on the Organ to █
█ be played. Then out of nowhere, 1:30 in, and wow, █
█ lead vocals, for the first time. Great voice, █
█ typical of that legendary early 70s vocal sound. █
█ At this point, I realise this song has turned out █
█ to not being that bad at all and I start to really █
█ like it, despite the average intro to the song. █
█ When the vocals stop, the song is very calm and █
█ simple. This Organ backing carries on underneath a █
█ very good simple guitar lead. Nice. It's fitting █
█ that this is the only song with a simple formula, █
█ especially as it's the only song with vocals. It's █
█ also good that the singer doesn't sing too often █
█ on this song, just a minute here and there, which █
█ is great. The song never really picks up, or goes █
█ anywhere, which I think is the complete intention █
█ and works ever so well. After 10 minutes, the song █
█ does a pseudo fade-out, which is a bit daft, but █
█ an easy way to totally change the mood of the █
█ song, I suppose, heh. Well, in saying that, the █
█ same mood comes back in, to allow the vocals █
█ again. Great guitar part 15 minutes in. The song █
█ totally changes on the 20th minute, with the first █
█ acoustic part of the song, with simple vocals to █
█ come in. Personally, I think this song would have █
█ been better off ending on the 16 minute mark or █
█ even on the fade-out, even at the 16 minute █
█ length, it's far too long. Lengthy songs can be █
█ annoying if there is no apparent reason for their █
█ length. You should be epic for a reason, not █
█ because you WANT to be epic (check Opeth, what a █
█ crap, crap, crap, crap, band), that's pointless █
█ doing that and proves it on this song. Even with █
█ me stating that, I don't let it affect my view on █
█ the good Music, even if the last song is 100% █
█ inferior to the other 2. █
█ Overall, a great release that I think most people █
█ would enjoy. It's just a shame I have to knock off █
█ a lot of points literally because of the last █
█ song. But I donÆt really think itÆs that █
█ important. Not that people ever gave a shit about █
█ Metallica droning on for FAR too long in a lot of █
█ their songs, instead people just threw their horns █
█ in the air and screamed, ô\/\/( )\/\/, epic is █
█ cooooolö, hahahaha, oh my. It takes real masters █
█ to perfect Epic Music (check out Esoteric, best █
█ Epic band on the Planet). Anyway, this release. █
█ Check it out. █
▓ ▓
▒ ▒
░ 1. Autumn Fantasia: 1st Movement - Fading 12:10 ░
░ Beauty ░
░ 2. Autumn Fantasia: 2nd Movement - 10:29 ░
░ Lingering Gold ░
░ 3. Tharsis 21:41 ░
░ 44:20 ░
░ ▒ ▒
▓ █ ░ ▓ ░
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