Vanden Plas - The Empyrean Equation Of The Long Lost Things
Even those unfamiliar with the Kaiserslautern based Vanden Plas will be able to pretty much guess their genre by the title of their latest album.
Founded in the mid-1980s they are, indeed, a progressive metal band; more importantly, if you have even a passing interest in the likes of Dream Theater, then The Empyrean Equation of the Long Lost Things also points to a band at the top of their game.
The band have also gone through a recent personnel change, with the ubiquitous Alessandro Del Vecchio of Frontiers Music (the label with whom the band are signed) replacing long-time member Günter Werno on keyboard duties.
Del Vecchio joins Stephan Lill (guitars, music), Andy Kuntz (vocals, lyrics), Andreas Lill (drums) & Torsten Reichert (bass).
The aforementioned Signor Del Vecchio opens the album with some delicate piano work on the title track.
The song then builds to a more symphonic section (and a repeating figure reminiscent of John Carpenter) before a savage guitar sound breaks in alongside drum parts that become ever more complex (this gives way to an impressive guitar solo from Stephan Lill played at breakneck speed).
The number then breaks down to a melodic section, with keys and guitars trading riffs, before Andy Kuntz finally make an appearance.
This is epic stuff, with a 'Wagnerian' arrangement that betrays the fact members of Vanden Plas have been involved in theatre and musical productions. The song then returns to some furious riffing, offering a further level of variety.
The epic feel is continued with 'My Icarian Flight,' which manages the difficult balancing act of a prog-rock song that carries a memorable chorus melody with some heavy pop sensibilities.
The song progresses (in both senses) further with some complex time signature changes and another ripping guitar solo from Stephan Lill.
Founded in the mid-1980s they are, indeed, a progressive metal band; more importantly, if you have even a passing interest in the likes of Dream Theater, then The Empyrean Equation of the Long Lost Things also points to a band at the top of their game.
The band have also gone through a recent personnel change, with the ubiquitous Alessandro Del Vecchio of Frontiers Music (the label with whom the band are signed) replacing long-time member Günter Werno on keyboard duties.
Del Vecchio joins Stephan Lill (guitars, music), Andy Kuntz (vocals, lyrics), Andreas Lill (drums) & Torsten Reichert (bass).
The aforementioned Signor Del Vecchio opens the album with some delicate piano work on the title track.
The song then builds to a more symphonic section (and a repeating figure reminiscent of John Carpenter) before a savage guitar sound breaks in alongside drum parts that become ever more complex (this gives way to an impressive guitar solo from Stephan Lill played at breakneck speed).
The number then breaks down to a melodic section, with keys and guitars trading riffs, before Andy Kuntz finally make an appearance.
This is epic stuff, with a 'Wagnerian' arrangement that betrays the fact members of Vanden Plas have been involved in theatre and musical productions. The song then returns to some furious riffing, offering a further level of variety.
The epic feel is continued with 'My Icarian Flight,' which manages the difficult balancing act of a prog-rock song that carries a memorable chorus melody with some heavy pop sensibilities.
The song progresses (in both senses) further with some complex time signature changes and another ripping guitar solo from Stephan Lill.
'Sanctimonarium' provides further demonstration that Vanden Plas do not favour brevity.
Weighing in at over ten minutes long the number, between heavy riffing sections, provides glimpses of the band’s softer side (with discernible elements of a harder-edged Genesis, Rush and Kansas).
Although the guitar parts tend to dominate here, they are not in detriment to the other instrumentation or Andy Kuntz’s vocals. Another excellent guitar solo by Stephan Lill and a corresponding keys part gives way to more inventive riffing towards the end.
'The Sacrilegious Mind Machine' is an eight-and-a-half-minute lesson in prog-metal riffing.
Unfortunately, the chorus section melody veers a little too close to Andrew Lloyd Webber Musical territory (with heavy guitars), but Andy Kuntz has the ideal voice for this number and, indeed, all the material on offer (the breakdown at mid-point showcases his vocals to fine effect).
A tasteful guitar solo and more formidable riffing follow before a more furious solo and final chorus play out the number.
'They Call Me God' dials back the riffing and provides beneficial contrast from the more intense bombast.
Alessandro Del Vecchio provides some impressive keyboard parts and Andy Kuntz vocally shines again.
The number is ramped up towards the end with a half-time feel and some guitar parts reminiscent of Yngwie Malmsteen (there’s also more than a nod to Zeppelin’s 'Kashmir,' which is no bad thing).
Sixteen minute closing number 'March Of The Saints' is the epic amongst epics.
There is a sense of dynamics on this number that other similar bands struggle to match' while the band’s technical expertise is evident throughout, with complex riffing underpinned by the rhythm parts (it’s worth mentioning that Andreas Lill and Torsten Reichert are rock-rhythm solid and inventive throughout).
The repeating chorus section at the end of the song is particularly effective, punctuated by more guitar heroics from Stephan Lill, a call & response with Alessandro Del Vecchio and a long fade out.
Del Vecchio then contributes a lovely piano coda (with tasteful reverb) to round off the album.
There is a lot to digest on this album and it unquestionably bears, and benefits from, repeated listens.
A lot of musical thought and creative arrangements have gone into this work, ensuring it has definite appeal for the prog metal fraternity.
As importantly, there is plenty here to whet the appetite of those not overly familiar with Vanden Plas, thus hopefully piquing the interest and allowing for a dip in to the band’s previous ten studio albums.
Nelson McFarlane
FabricationsHQ
Weighing in at over ten minutes long the number, between heavy riffing sections, provides glimpses of the band’s softer side (with discernible elements of a harder-edged Genesis, Rush and Kansas).
Although the guitar parts tend to dominate here, they are not in detriment to the other instrumentation or Andy Kuntz’s vocals. Another excellent guitar solo by Stephan Lill and a corresponding keys part gives way to more inventive riffing towards the end.
'The Sacrilegious Mind Machine' is an eight-and-a-half-minute lesson in prog-metal riffing.
Unfortunately, the chorus section melody veers a little too close to Andrew Lloyd Webber Musical territory (with heavy guitars), but Andy Kuntz has the ideal voice for this number and, indeed, all the material on offer (the breakdown at mid-point showcases his vocals to fine effect).
A tasteful guitar solo and more formidable riffing follow before a more furious solo and final chorus play out the number.
'They Call Me God' dials back the riffing and provides beneficial contrast from the more intense bombast.
Alessandro Del Vecchio provides some impressive keyboard parts and Andy Kuntz vocally shines again.
The number is ramped up towards the end with a half-time feel and some guitar parts reminiscent of Yngwie Malmsteen (there’s also more than a nod to Zeppelin’s 'Kashmir,' which is no bad thing).
Sixteen minute closing number 'March Of The Saints' is the epic amongst epics.
There is a sense of dynamics on this number that other similar bands struggle to match' while the band’s technical expertise is evident throughout, with complex riffing underpinned by the rhythm parts (it’s worth mentioning that Andreas Lill and Torsten Reichert are rock-rhythm solid and inventive throughout).
The repeating chorus section at the end of the song is particularly effective, punctuated by more guitar heroics from Stephan Lill, a call & response with Alessandro Del Vecchio and a long fade out.
Del Vecchio then contributes a lovely piano coda (with tasteful reverb) to round off the album.
There is a lot to digest on this album and it unquestionably bears, and benefits from, repeated listens.
A lot of musical thought and creative arrangements have gone into this work, ensuring it has definite appeal for the prog metal fraternity.
As importantly, there is plenty here to whet the appetite of those not overly familiar with Vanden Plas, thus hopefully piquing the interest and allowing for a dip in to the band’s previous ten studio albums.
Nelson McFarlane
FabricationsHQ