SILHOUETTE

"TRIPLE DUTCH : PART TWO"

This acclaimed Dutch four piece formation is rooted in 2005, between 2006 and 2007 they have released five studio- albums, their latest effort is The World Is Flat And Other Alternative Facts from 2017 (and considered as their best one). In that year Silhouette also recorded a live CD. This review is about their second effort entitled Moods, after touring with other Dutch progrock band Knight Area their keyboard player Gerben Klazinga did the mixing and mastering.

Silhouette have worked a while on this second album (from 2009), after their debut CD A-Maze from 2006. That effort has paid off with a wonderful sound and 12 tastefully arranged compositions, alternating between 24-carat symphonic rock (Genesis) and neo-prog (IQ and early Marillion). Keyboard player Erik Laan has an important role with his vintage keyboard sound, he colours the tracks very beautifully, from violin- and choir Mellotron eruptions to fluent Minimoog flights and lush Hammond organ waves.

In general I enjoyed listening to this album because of the pleasant shifting moods (from dreamy with twanging acoustic guitar to bombastic with majestic choir-Melltoron), the use of acoustic guitar (the distinctive Ovation) in some songs, the strong work on keyboards and guitar and the fine build-ups and grand finales in the longer compositions. Silhouette often reminds me of other Dutch progrock bands Mangrove and Knight Area, this is also very pleasant music that will please the symphomaniacs and neo-progheads.

My rating: 3,5 star.

Diverse Neo Prog from these Dutch veterans. The gorgeous epic, "Symphony for a Perfect Moment" alone makes this album worth checking out, but there is other great stuff here as well.

1. "March Of Peace" (5:38) solid prog-by-numbers on the heavier side of Neo Prog. Actually kind of irritating. (7.75/10)

2. "The Flow" (8:46) a tender Neo Prog ballad enhanced nicely by classical instruments (violin, oboe, flute, French horn) and female background vocalistsi Nice fusion of heavier sides of Neo Prog with the traditional acoustic instruments. Just not catchy enough with melodic or lyrical hooks. Great guitar solo near the end and wonderful neoclassical finish. (17/20)

3. "Six Feet Underground" (9:35) opens with solo barroom jazz piano. Full band enters to establish its intentions at the end of the first minute. Everything drops out for solo synth strings to support Brian de Graeve's lead vocal. Piano and 12-string guitar join before the music builds back up into full spectrum dynamics. The almost-catchy melodies and lyrics remind me of soul-less American Neo Prog-by-the-numbers band SPOCK'S BEARD. Solid music littered with too many standard and therefore predictable (almost embarrassing or laughable) prog "tricks" or "gimmicks." Plus, the plastic sound of the drum hits annoy me. (16/20)

4. "Symphony For A Perfect Moment" (17:56) is this the same band? It sounds so much more relaxed, so much smoother and melodic. The sound palette is much more like BIG BIG TRAIN or LIFESIGNS. There's a wonderful AMBROSIA-like palette to the vocal harmonies and melodies. I think the relaxed pace and warm palette suits this band much better than that of the heavier Neo Prog. Plus, the multi-voiced side of the band is quite beautiful. The band hits all of the right notes, chords, and shifts without being predictable or too repetitive. How can a band that sounded so one-dimensional in its previous three songs suddenly sound so fresh and creatively perfect? (33/35)

5. "Sakura" (2:50) nylon-stringed guitar solo with synth support. (4.5/5)

6. "Turn It Off" (5:29) opens with classical guitar and synths before Brian enters to tell his sad story. The "orchestral" music here may be entirely generated by synths (except for the guitar and voice). Oboe enters in the instrumental section to solo before the music burst into a full electric prog rock range of instruments and sound. The use of oboe and other acoustic instruments is perfect. (8.75/10)

Total time 50:14

B/four stars; an excellent (if diverse and inconsistent) Neo Prog release that would make an excellent addition to any prog lover's music collection.

For me, I will always associate Progress Records with Hansi Cross, who sadly passed away earlier this year. But, although Hansi is no longer with us, the label he left behind continues to release albums of incredible stature and worth. That is definitely the case with Dutch band Silhouette's fifth studio album. 'The World Is Flat and Other Alternative Facts'. Somehow, I missed their last studio album, although I did manage to hear their live album which was released earlier this year. I gave a 4 * review to their third album 'Across The Rubicon' which came out in 2012, and there is no doubt in my mind this is superior.

This has everything I want from a prog album, great melodies, wonderful musicianship, soaring vocals, layered arrangements that can appear almost simple at times, and never forgetting that the music always must come first. They may all have wonderful virtuoso skills, but how does that fit in with what is needed? Brian de Graeve (lead & backing vocals, 12-string guitar), Daniel van der Weijde (electric & acoustic guitars), Erik Laan (keyboards, bass pedals, lead & backing vocals), Jurjen Bergsma (bass, acoustic guitar, backing vocals) and Rob van Nieuwenhuijzen (drums, percussion) have created something that contains elements of Yes and Neal Morse alongside more melodic rock elements, as well as plenty if prog. The vocals are superb, and everything somehow gels together seamlessly. One can't imagine another instrument or note needed anywhere, yet there is nothing superfluous in what they are doing. This is majestic, soaring prog that makes me smile each time I play it. And I have been playing it a great deal indeed.

When discerning progheads compile their top albums of the year list soon, there is no doubt that this will be one to reckon with. From acoustic 12-string to heavily layered arrangements to rock guitar, this has it all and so very much more. I love it. This is simply essential to anyone who dares call themselves a progger.

In 2014, Dutch band Silhouette released their fourth studio album, 'Beyond The Seventh Wave'. In 2016, they were filmed and recorded performing the album in its entirety, and this has now been released as a DVD and CD set, along with a few additional songs on the DVD. They wisely had a few additional guests make appearances, the most important of which is an additional guitarist who was there for the whole set (he did try to stay at the back of the stage and out of the way), who assisted in providing some additional heaviness to proceedings, allowing Daniel van der Weijde to provide some delicate solos on his seven-string guitar.

Although their sound is more in common with bands such as Saga than IQ, I did keep being reminded of the former in the way they set up the stage, the use of a backdrop film throughout, a keyboard player who also provides superb vocals when needed, and a rhythm section that just keep it locked down so that the others can take centre stage. Brian de Graeve has a gentle vocal style, never showing any strain, while Erik Laan uses a myriad of keyboards and sings in a similar fashion, so that when they harmonise they do so with aplomb.

This is a powerful album, with lots of drama and dynamic shifts in the music as they tell the story of what happens to the main character (which has been reproduced in the centre of the digipak so that even those who haven't heard the original knows what is happening). Somehow, I have managed to miss all of Silhouette's albums apart from 2012's 'Across The Rubicon', a situation I am going to have to address. The concert footage is well filmed, with multiple cameras and angles, and this is a great introduction to the band.

Across The Rubicon was my first exposure to Silhouette, and I found them a skilled band. The album itself was excellent and I'd recommend it without reservations to anyone who enjoys neo prog, or good music for that matter. While I enjoyed the first half of the album more than the second half it was not without it's excellent moments. I absolutely loved the first four tracks. Breathe and When The Snow's Falling Down were particularly striking. The entire album is well played and always interesting. I will seek out more of Silhouette's releases. This one will bear repeated listens. A solid 4 stars here.

Despite the extensive availability of highly produced quality prog rock online. Silhouette is definitely the modern band whose albums I've been returning to the most recently. The reason is chiefly that people in this band are hands down today's best masters of melody. For quite some time, main trend in English-language prog-rock has been the one of atmospheric, moderately-paced, comfortable music, often alternating metallic riffs and spaciness (Porcupine Tree, Anathema, Riverside, Gazpacho, Airbag and the list goes on and on...) - Silhouette do not play by these rules!

Coming from Netherlands, they are a part of local prog scene that cherishes the melodic approach (Knight Area, Odyssice, Ixion, Trion etc.), but Silhouette takes it to yet higher level. The potential of their previous album ("A Maze") was largely brought down by downright bad sound quality, but on "Moods" equipment is much better so sound can hold itself together. Wisely engineered by Gerben Klazinga (of "Knight Area") sound is very fragile and it gives the special charm to this kind of melodic neo-prog. In these circumstances, music can fall apart if it's not backed with excellent melodies (like it happened to a lot of 80s English neo-prog), but this album holds it together thoughout the album by this magical beauty.

I can't really pick up any highlights here, because it all is excellent and catchy, but let's showcase "Far Away" - starting seemingly straight-ahead, but then diversified by various keyboard moods (no pun intended, honestly). with beautiful verse followed by super-catchy chorus and the keyboard runs of enormous beauty. The vocal department is not a best side of this music, but singers (and there are a couple) do their best, still maintaining a charming naivety.

To sum it up, this is a band that doesn't have any trick up their sleeve to make music appear better than it is. "Mood" is the album that calls every card, coming out as a winner every time. A certain triumph of imagination, dare I say. 5 stars of course - the world needs more of it.

Imagine killer guitar riffs like vintage Saga, fueled by a supple keyboard wizard and a steely tight rhythm section that spares no prisoners. Sounds pretty promising, no? Well, that's what you get with Dutch band Silhouette, whose previous work 'Across the Rubicon' was a critical success, on their new recording 'Beyond the Seventh Wave'. What made its predecessor so attractive was the incorporation all the ingredients above into a song writing ethic that produced some entertaining neo-prog, flexible yet muscular, agile and attractive. This hard act to follow syndrome is sometimes fraught with dangers of exaggerated expectations but that only makes it easier to analyze in proper context, and only if you truly enjoy their style.

Erik Laan is the name of the ivory tickler and he profoundly impacts the dense sound that can be delicately romantic only minute with precious piano colorations and darn right snarling with fiery organ and synth barrages the next. Legendary Dutch keyboardist Ton Scherpenzeel (Camel, Kayak) is given a cameo opportunity, so needless to say there are plenty of symphonics here. The ballistic guitars are split between lead vocalist Brian de Graeve and newbie Daniel van der Weijde, giving plenty of meat and flesh to the arrangements, while the propellant tandem of bassist Gerrit-Jan Bloemink and phenomenal new recruit Rob van Nieuwenhuijzen on the drums, provide added acceleration.

The material is perhaps not as strong as on the previous masterpiece but there are some expressive mini-epics presented here, such as the 2 part 'Web of Lies' (14 and a half minutes of bliss), the tremendous 10 minute + 'Lost Paradise', the disturbing 'Devil's Island' and the title track. Toss in some exciting snippets and a flabbergasting instrumental 'Escape' and you finish off having a wholly acceptable segue album to an unassailable previous gem.

The grandiloquent 'Web of Lies part 1' kicks off with a muscular disposition, a memorable chorus within a thumping melody, tortured by a Saga-like instrumental platform for soloing, Laan in particular doing some serious damage on the warbled synthesizers, while the dual guitars assist in the assault, vaulting a tricky solo to boot. Part 2 alters the mood by introducing some lovely cello amid acoustic guitar adornments, massed mellotrons adding fuel to the impending fire, as the mighty drums roll on like some cannonade, urging even more desperation in the vocals. Very entertaining epic, hovering near fellow Dutchman Ayreon territory. The elegant piano outro is sublime.

'In Solitary' is a piano-led beauty, typical of the neo-prog school of delicate balladry, garnished with some illuminating electric guitar passages, celestial flute and romantic vocalizing. Both Laan and De Graeve handle the lead vocals, though I personally prefer the latter's more passionate delivery. As with Rubicon, I feel De Graeve should be the main (if not only) lead lung but that is not my call to make. Great simple tune. The entirely instrumental 'Escape' is a bruising monster, explosive drums, reverberating bass and simply titanic guitar and keyboard interventions make this a sizzling intermezzo. Van der Weijde throttles his guitar with manic abandon, Laan screeches on his synths like a modern day Manfred Mann, yes it's heavy and powerful and I like it!

The 10 minute + 'Lost Paradise' smoothly entrances the bedazzled listener with lovely Spanish guitar, the velvety vocals seem only to be inspired to aim for some distant utopia, 'dreaming of running away'. A luminous e-guitar slithers into the gentle fray, soon to be joined by a mellifluous synth foray. This little exchange goes on, like two lovers intertwined, impervious to any set of pre-determined rules. The mood actually increases in modulation, so as to almost become a cry in the night. Things get pretty perspiring, as the howling guitar rages into the deeper horizons, trembling and sizzling with little restraint. A churlish organ creeps in, spookier than Dracula's teeth, you just gotta admire the sweeping beauty of it all. Sweeping beauty? It's time for a kiss!

'Betrayed Again' is so overtly Genesis, you can only smile in admiration. A sweeping keyboard melodrama that serves only to announce the next epic, the majestic 'Devil's Island'. Inspired by the infernal penal colony in French Guiana and the book and movie Papillon by Henri Charriere , 'Le bagne de Cayenne' was an Alcatraz-like prison of hopelessness and despair, nowhere to escape to, just resignation and eventual miserable death. Typical prog subject matter, all that would be missing is a reference to Alfred Dreyfus, the most illustrious prisoner. As such, the music is dense like the Guyanese jungle, sweltering and pervasive, with hopeful reprieve coming with its ultimate demise in 1953.

The title track is a rambling affair, pretty aptly defining this crafty Dutch band style, namely a bright, crisp and exalted take on neo-prog, nothing lame or by the numbers. This piece in particular navigates the two extremes quite well, voyaging between sweet and wild, turning on a dime if required. Brian de Graeve shines on lead vocals, his high-pitched voice exemplifying the passion within his soul, contrary to what previous reviewers have stated, I do not find his voice 'forced' but I will admit that Erik Laan's can be a bit pushy on occasion.

'Wings to Fly' ends this fine affair, an intense cry for freedom and liberty, well-performed and loaded with passionate detail. Violin and cello provide coloring to an urgent and imperative chorus, a classy bit of entertaining music.

A perfectly acceptable follow-up to Across the Rubicon, great artwork, production and a well-paced set list of fine neo-progressive nuggets.

4 surfing shadows

After Across The Rubicon expectations ran very high for this new album by Dutch neo-proggers Silhouette. I have to admitt I did like Across The Rubicon. It was a step forwards for Silhouette after two rather bad albums. They invested a lot to accomplish this effort and they delivered. And now we have Beyond The Seventh Wave. There were some changes in the line-up. With a new drummer on board and a new guitar player things should get even better. Daniel van der Weijde on guitars is a revelation indeed. As I understand Gerrit-Jan Bloemink isn't with the band anymore. The bass player who has been there right from the start has left the band (or was kicked from it??) even though he has worked on Beyond the Seventh Wave and therefore is mentioned in the liner notes of the booklet. Erik Laan is the main force behind Silhouette. His keyboards are all over the place and he has done most of the writing. And even though he has done a solid job, I don't like what I hear! Chords keep on coming in the same order, over and over again. I've heard it all before. No surprising hooks, key changes, no challenging chords whatsoever. Just more of the same. This is why so many people don't like neo-prog. And they are right! Good neo-prog bands are really hard to find. I thought maybe Silhouette might become a good one some day, after the promising Across The Rubicon. But they fail me! The vocals are the weakest part of the album. I don't understand that they don't ask good vocalists to work with them. They invite lots of great names (mr Scherpenzeel just to name one) from the world of prog, but they keep on doing the vocals themselves. The best part of the album is the song Escape, which is an instrumental. And I do like the cover art. But over all this album isn't even mediocre and doesn't do anything for me. One and a half star.

Silhouette is a Dutch neo-prog band, who released their fourth album this year. An album consisting of 11 tracks, each well composed and well executed.

At the base of Silhouettes music on this album is the keyboard work of Erik Laan, who is also the most productive composer in the band. Together with the two guitar players he creates a musical bed for the vocals, without overdoing it. In the tracks In Solitary and Lost Paradise there is still plenty of room for quieter parts. On Wings to fly, the band builds up nicely by starting with acoustic guitar, flute and cello, to end with a full blown electric crescendo. All of this carried by a very steady rhythm section - where part of the bass tracks are played by Jurjen Bergsma, because Gerrit-Jan Blooming decided to leave the band.

The album is at times a bit bombastic, but never annoying (unlike some of the overdone things that for example ELP could produce in the '70s). A slight defect of the album, from my point of view are the vocals. There are a few occasions where I feel, although both singers try their best (and with good results in e.g. Web of lies), the vocals either lack emotion (perhaps due to focusing too much on technique) or sound a bit pinched in the higher regions. There is some room for improvement there, because in Devil's Island it can get a bit annoying for the listener.

That last track, Devil's Island is great in its instrumentals: when listenig with eyes closed, it is easy to imagine a flight over an island, seeing it from above, in the middle of the sea.

Overall, a good album, worth listening - but not as good as it could've been.

Despite a limited budget ''A maze'' ended up to be in the top list of several prog listeners regarding the 07' releases and by the end of the year the band had already started rehearsing material for a new album.''Moods'' was based on an autobiographical story of Brian de Graeve, the recordings lasted for more than 18 months, most part of which took place at The Avenue Soundstudio in Utrecht with Knight Area's Gerben Klazinga as the producer.During this period Silhouette got to know Aldo Adema, formerly of Egdon Heath and at the time a member of Seven Day Hunt, who contributed guitar duties in a couple of pieces.The album came out in 2009 with Progress Records approaching and finally signing the band.

The band had made a slight switch towards a more symphonic sound with this album, which holds typical similarities with other releases from the Dutch music industry such as KNIGHT AREA, FLAMBOROUGH HEAD, ODYSSICE and ICE.Passionate material overall, which is now characterized by excellent and inspirational songwriting, the extended time in the studio had only good effects on the band's style and sound.The music is brilliant to say the least with obvious GENESIS, MARILLION, ARENA and PENDRAGON influences, containing dramatic keyboard orchestrations, flashy and neurotic synth soloing and elaborate guitar work over a manifest of refined and clean singing.But it turns out that Silhouette had decided to add a retro feeling to their modern and fresh sound, thus there are some fair doses of Mellotrons and organs among the soaring keyboard deliveries.While there are not many points separating them from the mass of recent Neo Prog bands, Silhouette stand out with the bunch of beautiful melodies, impressive singing lines and balanced keyboard washing, completing series of convincing pieces with some killer instrumental passages and always highlighted by a warm place for symphonic orchestrations.You've got to love this work, cause there are almost 80 minutes of music in here and you'll hardly find any dead holes.Their ability to offer striking electric rhythms, lush keyboard lines and pompous textures is trully impressive and the result is often outstanding.

First-class Neo Prog by a band on the rise.Among the top albums of 2009 and an excellent addition for both Neo Prog fans and Sympho maniacs.Highly recommended.