Member:
singring
Date:
5/27/2008
This is La Tulipe Noir's fourth album and I'm delighted to say that it represents a huge improvement over their previous work on Faded Leaves. The heavy neo-prog influences are still there, but much less blatant and from the get-go the band manages to develop a more original sound for this release. The main reason for this is the beefed-up role of the guitar and rhythm section. Where Faded Leaves was all slow, mellow, barren in its soundscapes, this follow-up rocks harder, picks up a faster beat, thumps heavier and is to its predecessor what a steak is to a sausage.
With Nostimon Hemar the band from Greece again have chosen to record a concept album. This time the subject matter is fitting for their background - the songs are all based on Homer's epic poem “The Odyssey” and the extensive liner notes in the nicely designed booklet do an excellent job in providing enough historical information and background to help the listener appreciate the themes of each song. The basic principle is that each song 'reimagines' one of Odysseus' tasks and challenges in a modern context - i.e. the “Lotus Eaters” from Homer's tale become a parable for the modern consumer. Sometimes these connections seem like a bit of a stretch, but overall the concept works and the lyrics are well written. The subject matter lends far more variety than was found on the previous album.
The main and central point of improvement for La Tulipe Noir lies with the songwriting and production. After a short, wonderfully moody intro we get treated to a song that is heavier and carries more punch than all of Faded Leaves combined and then some. This momentum is carried through right to the end. This is not to say that the band has suddenly gone prog metal - they are still as neo as Keanu Reeves - but the guitars riffs have really been pushed to the forefront with a solid, driving rhythm section in its back. The synths are still present, but not as dominant. Overall the songs have become a lot more memorable, even if they still are quite repetitive and offer no real surprises in the arrangement or solos department. Another plus is the broadened palette of keyboard sounds - the song “Tiresias” especially features some beautifully warm analogue sounds for its main riffs.
Ima's vocals are as strong as ever and once every so often she does some narration or whispering for effect. Male vocals (in some cases even grunts!) are used sparingly and sound nicely demonic to emphasize the evil characters that show up along Odysseus' journey.
All in all a major step up for La Tulipe Noir. There are still some areas worthy of improvement - but at this rate the band will soon have fully developed its own trademark sound. Marillion, IQ and Pendragon have been reduced to mere influences, and no longer serve as obvious templates.
Neo prog fans should definitely give this album a try, it might be just what they are craving for. All others might need a bit more convincing, but with the heavier sound La Tulipe Noir might even appeal to some prog metal fans...
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