Search - Landmarq :: Science of Coincidence

Above average neoprog with a standout singing voice

bobschnd | Pittsburgh, PA (USA) | 08/25/2003

(4 out of 5 stars)

"Have you ever wondered why the progressive rock genre has produced so few outstanding singers and, with the notable exceptions of Renaissance's Jane Relf and later Annie Haslam, virtually no female ones? Perhaps because the style focuses on instrumental virtuosity and elaborate orchestrations, many bands seem to consider vocals barely more than an afterthought.SCIENCE OF COINCIDENCE vividly illustrates how much a strong vocalist can benefit a progressive rock band. During the previous decade, Landmarq released three prior albums, but this is the first to feature singer Tracy Hitchings, who had already established herself as the reigning diva of British neoprogressive rock in such projects as Quasar and Strangers on a Train. Ms. Hitchings has been favorably compared to such luminaries as Mariah Carey and Melissa Etheridge. There's no denying she possesses a beautiful, expressive voice and the skillful control to vary it from a breathy schoolgirl pout (as on the track "Heritage") to a soaring soprano with piercing vibrato (like on the title track). Considering she's also quite a babe, prog fans should be grateful she hasn't sold out and chosen a career in mainstream pop where her voice and her looks could be more profitably exploited.Even without Hitchings on board, there would be no shortage of talent in Landmarq's lineup. Guitarist Uwe D'Rose delivers some intense guitar solos in the tradition of David Gilmour and keyboardist Steve Leigh displays a knack for rich, dramatic arrangements while tastefully avoiding bombastic overkill. More impressive still, the rhythm section of drummer Dave Wagstaffe and bassist Steve Gee negotiate the unusual and frequently changing meters with effortless fluidity. The music features memorable, catchy melodies and though the compositions rarely wander far from basic verse / chorus song structure, the band injects lengthy instrumental sections to provide plenty of dynamic variety. Like most of their British neoprog contemporaries, Landmarq sometimes wears its influences rather prominently on its sleeve. Prog afficionados will find an abundance of not-so-subtle references to better known acts like Marillion ("Science of Coincidence" and "Summer Madness"), Genesis ("Heritage" and the choruses of "More Flames for the Dancer"), and Pink Floyd ("The Vision Pit"). Even the more derivative sections are performed with real panache, however, and in this era of overtly mainstream, dance-oriented junk, a few sincere homages to classic '70s acts should do nobody any harm. The band occasionally shines with genuine originality, as on "Between Sleeping and Dreaming," a sublimely enchanting, piano-led ballad, or the closing track "The Overlook," which builds from a drifting, wistful opening to a stunning symphonic finale. During the moments when the instrumental work gels perfectly with Hitching's voice, the music is nothing short of breathtaking. It's almost worth the price of the whole album just to hear her voice triumphantly rise out of the last echos of the searing instrumental section in "Lighthouse."Progsters who insist on bold innovation may find SCIENCE OF COINCIDENCE too predictable and slick, but anyone who enjoys conventionally melodic and dramatic neoprog in the vein of Arena, IQ, or Pendragon won't be disappointed. I especially recommend this album if you've been looking for a standout singing voice in the neoprog crowd. Imagine Mariah Carey joining Marillion and you'll have a good idea what to expect."