Coma Ecliptic

SKU: 039841539226
Label:
Metal Blade
Add to wishlist 

"With the release of its sixth LP, The Parallax II: Future Sequence (the sequel to the Parallax: Hypersleep Dialogues EP), in 2012, American progressive metal quintet Between the Buried and Me set a new benchmark for its genre. Sure, both 2007’s Colors and 2009’s The Great Misdirect are incredible records (the former was a breakthrough in terms of both approach and commercial appeal, while the latter was more polished, accessible, and vibrant), but Parallax II took the epic-suite-broken-into-sections format Colors introduced and perfected it. With its dramatic chronicle, seamless flow, hypnotic singing, inventive instrumentation, and self-referential continuity, it easily ranked not only as BTBAM’s best effort to date, but as one of the greatest progressive metal albums of all time.

Naturally, expectations skyrocketed when the band announced its follow-up, Coma Ecliptic; fortunately, it surely satisfies them. Another seventy minute odyssey into imaginative soundscapes, mind-blowing arrangements, affective storytelling, and remarkable tonal shifts (both musically and vocally), the full-length retains everything that made their past few opuses so unique, breathtaking, and rewarding. However, as astounding as it is, Coma Ecliptic doesn’t quite surpass its predecessor, as it’s slightly less varied and daring; nevertheless, it comes very close to matching Parallax II, making it another absolutely extraordinary entry in their discography.

Billed as another “modern rock opera,” the concept of Coma Ecliptic actually shares similarities with that of The Mars Volta’s debut, De-Loused in the Comatorium. As bassist Dan Briggs explains, the plot “follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion [sic]. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more ‘perfect.’”  To reveal any more of the tale would ruin its surprises and most affective elements. Suffice it to say, though, that the quintet’s moral intention is to help listeners “make the best of [their lives]. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here . . .” Because of its coherent storyline and meaningful themes, Coma Ecliptic actually contains BTBAM’s strongest narrative yet.

Along the same lines, it also features one of their best opening tracks to date: “Node”. Vocalist/keyboardist Tommy Giles Rogers plays an ethereal piano pattern as he sings beautiful yet mournful judgments. Eventually, harmonies, strings, biting guitar riffs, and thunderous percussion explode around him, culminating in a regal and dense declaration of the trauma to come. In typical Between the Buried and Me fashion, Giles’ voice even interlocks with itself a couple times; likewise, the composition alternates between calmness and catastrophe with exceptional build-ups. It’s a fine way to begin, and it demonstrates how the band continues to evolve with each new release. Like most of the “episodes” on Coma Ecliptic, “Node” segues into the next section, “The Coma Machine.”

With its fluctuating structures, absorbing melodies, and exceptional musicianship, “The Coma Machine” follows a familiar template; nonetheless, it’s still a fascinating and creative venture. From the way Giles’ infectious chorus (“You teach us what was, out there”) complements the mechanical riffs, to the way the song’s essence moves from hellish to heavenly several times, this track is a stunning beast that never lets up. Of course, their trademark frantic rhythmic changes are in full force here, with gripping stop/start breaks on occasion. Similarly, the sharp intertwining patterns of guitarists Paul Waggoner and Dustie Waring are as overwhelming as ever. Without a doubt, though, the single best moment of “The Coma Machine” comes at around the 3:15 mark, when an electrifying new riff crashes in, joined by bells and pounding drums. It’s wholly invigorating and awesome; in fact, it’s one of the best moments on any BTBAM creation. Finally, Giles’ closing bridge is subtle yet very moving.

Like a lost gem by Dutch prog metal band Ayreon, “Dim Ignition” sneaks in with an ominous synthesized loop. Essentially, it’s a brief psychedelic interlude in which Giles proclaims foreboding notions over spacey effects and beats. It serves its purpose well and definitely adds to the thematic quality of Coma Ecliptic, but what’s really cool is how the loop bleeds into the introductory, sinister riff of “Famine Wolf” at its conclusion. As for “Famine Wolf” itself, its opening is also among the highlights on the disc. In general, its dynamic juxtapositions aren’t as striking as on some other tracks, but it still balances Giles’ screaming and singing well. The most interesting aspect appears about two-thirds of the way in, when the aforementioned loop returns as Giles evokes the peculiar accent that he used on past LPs. In this way, Coma Ecliptic feels connected to its precursors.

Another transition takes place next, as “King Redeem/Queen Serene” starts with a lovely acoustic guitar arpeggio supporting arguably the most touching melody and lyrics Giles has ever sung (“I can’t hear a thing / These waves crash faster”). Every measure comes with more luscious layers until the arrangement breaks into one of the most “prog” moments BTBAM has ever had. After some more heaviness, an essential rhythmic breakdown from “The Coma Machine” comes back, which is very cool, followed by more frantic transformations. Ultimately, the piece ends as it began, so it feels like a self-contained observation.

Although all of “Turn on the Darkness” is astonishing in how moves around its various formations, the best part is the chorus, during which Giles brings the concept to the forefront. Following some warm and atmospheric passages, he seizes command by saying, “Welcome to our journey / Please walk with me / I’ll put your mind at ease.” Aside from this, the ways in which the guitar and keyboards echo each other from time to time also help the track stand out. Really, this selection feels like something from The Great Misdirect, which isn’t bad at all.

“The Ectopic Stroll” possibly includes the most experimentation aspects on Coma Ecliptic, as Giles’s odd piano chords, coupled with his menacing crooning, make the main parts feel like a malevolent 1940s jazz excerpt. He screeches, “Whoa, can’t get it right!” while sing-a-long harmonies concur, and at first, it’s a bit toounconventional to feel appropriate; but, after a few listens it feels more fitting. Equally, the percussive spasticity and quality feel akin to some of the wilder tones used by Dream Theatre or Devin Townsend. Truly, these risks also show how fearless BTBAM still is in trying new techniques, so they deserve praise for that alone.

As its name suggests, “Rapid Calm” is transcendent and lively, with keyboard and guitar outlines dancing around each other as more soothing melodies signal the beginning of the end. In particular, this song is a strong example of how Coma Ecliptic features the strongest emphasis on clean vocals of any Between the Buried and Me record; there’s still plenty of growling throughout, but Giles has never allowed his natural style to shine so densely or prevalently. During the chorus, for instance, he conveys dread and sorrow powerfully, realizing, “They don’t want you there / They don’t want me here / Remember my name / The machine is crumbling.” It’s an exceptional moment, as is the moody intermission near the end, whose somber timbres recall parts of the most recent Opeth collections.

Beyond being the standout track on Coma Ecliptic by a mile, “Memory Palace” may be the single best Between the Buried and Me song ever. Each element is just about perfect; from its towering opening riffs and soaring lines to its meticulous and clever shifts, every second is spectacular. The group has never before moved between such drastic deviations with such silky expertise; above all, the leap into what’s likely the band’s most surreal segment yet (“Focus on melody / The sounds under my eyes / Dreaming inside of this / World inside my mind”) is amazing. Furthermore, the way they bring back past moments near the end is sublime. If ever there was a track that single-handedly proved why BTBAM is so special, it’s this one.

Luckily, the reprisals continue during the final two tracks, “Option Oblivion” and “Life in Velvet.” The former bursts in from its predecessor with more spellbinding arrays. Brilliantly, Giles brings back a phrase that was first mentioned on “Rapid Calm”:  “A choice of gold or velvet / Do I go on, or follow the crown in the smoke?” A bit further on, he also references “The Coma Machine” by lamenting, “Looking back through the painful tunnel / They taught us what once was.” As for “Life in Velvet,” it continues the symbolic theme of velvet (as a catalyst for spiritual transformation) that runs throughout the album; it’s also lead by a modified version of the chord progression from “The Coma Machine.” Like “Node,” it features Giles singing softly while playing piano, and in doing so, it brings Coma Ecliptic full circle. As a final burst of brilliance, the aforementioned electrifying guitar riff and closing bridge from “The Coma Machine” also makes an appearance. Because of these numerous references, Coma Ecliptic has the most alluring, suitable, and clever conclusion of any Between the Buried and Me record.

Coma Ecliptic is an exquisite masterpiece. As with most opaque works, it takes many listens to fully appreciate everything here (including multilayered production, parallel structures, and callbacks to prior parts); however, once listeners understand all that’s going on, they’ll be utterly blown away. Between the Buried and Me have proven time and time again how distinctive, ambitious, capable, and important they are within its genre; no other band can do what they do as well as they do, and this effort just proves that once again." - Pop Matters

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Beautiful new live recording from the Swedish prog ensemble led by guitarist Peter Bryngelsson.  The show was recorded at Silver Elephant in Tokyo on 11/23/11.  The material is drawn from their debut as well as their last studio album, released in 2008.  They close out with a cover of "21st Century Schizoid Man".  If you are unfamiliar with Ragnarok you really should check out their first two studio albums.  Their music blends symphonic rock a la Camel with the occasional edge of King Crimson as well as Swedish folk themes.  I love that echoplex'ed guitar sound.  This is the good stuff.  Highly recommended.
    $10.00
  • "NEWLY REMASTERED EDITION OF THE RARE 1978 ALBUM BY CANADIAN PROGRESSIVE ROCK BAND FM BOOKLET WITH FULLY RESTORED ARTWORK & ESSAY. Esoteric Recordings are pleased to announce the release of a remastered edition of the 1978 mini-album by the Canadian Progressive Rock group FM, Direct to Disc . The band began life in 1976 with CAMERON HAWKINS (Synthesisers, Bass, Vocals) and NASH THE SLASH (Jeff Plewman) (Electric Violin, Mandolin, Vocals) coming together as a duo, making an appearance on national TV in Canada in the Summer of 1976. By March 1977 FM became a trio with the addition of MARTIN DELLAR on Drums. The Canadian Broadcasting Company offered to release the band s debut album, Black Noise on the CBC label later that year. By the end of the year Nash the Slash had been replaced by BEN MINK on Electric Violin and Mandolin in time for the sessions for Direct to Disc , an album that featured one track per side and was recorded directly to a master disc from which records were pressed, rather than from a master tape. This mid-priced Esoteric Recordings release is the first time Direct to Disc has been issued in Europe and has been newly remastered and includes an illustrated booklet and a new essay."
    $14.00
  • "1981's Mob Rules was the second Black Sabbath album to feature vertically challenged singer Ronnie James Dio, whose powerful pipes and Dungeons and Dragons lyrics initially seemed like the perfect replacement for the recently departed and wildly popular Ozzy Osbourne. In fact, all the ingredients which had made their first outing, Heaven and Hell, so successful are re-utilized on this album, including legendary metal producer Martin Birch (Deep Purple, Whitesnake, etc.) and supporting keyboard player Geoff Nichols. And while it lacks some of its predecessor's inspired songwriting, Mob Rules was given a much punchier, in-your-face mix by Birch, who seemed re-energized after his work on New Wave of British Heavy Metal upstarts Iron Maiden's Killers album. Essentially, Mob Rules is a magnificent record, with the only serious problem being the sequencing of the material, which mirrors Heaven and Hell's almost to a tee. In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive Heaven and Hell counterparts, "Neon Knights" and "Children of the Sea." That streak is soon snapped, first by the unbelievably heavy seven-minute epic "The Sign of the Southern Cross," which delivers one of the album's best moments, then its segue into an unconventional synthesizer-driven instrumental ("E5150") and the appearance of the roaring title track. Side two is less consistent, hiding the awesome "Falling off the Edge of the World" (perhaps the most overlooked secret gem to come from the Dio lineup) amongst rather average tracks like "Slipping Away" and "Over and Over." Over the next year, the wheels fell off for Black Sabbath, and Dio's exit marked Mob Rules as the last widely respected studio release of the band's storied career." - Allmusic Guide
    $6.00
  • Daevid Allen is back with a reconstituted version of Gong.  Part of the new lineup features Kavus Korabi (Knifeworld, Cardiacs) and Dave Sturt (Jade Warrior).  There is a great vibe to the album and it doesn't stray from the classic sound."The enduring legend that is Gong multi National, multi dimensional Psychedelic combo enters yet another new phase on their four decades plus journey with I See You, a brand new album to be released on the Madfish label.The current incarnation of Gong comprises vocalist / lyricist Daevid Allen, who, even at the age of seventy five, still radiates an incandescent creativity, the original anarchic vibe that was born out of counter culture revolution in the Paris commune in 1968. His co conspirators on I See You comprise Orlando Allen on drums, new guitarist Kavus Torabi (formerly of The Cardiacs) and the latest guitar incumbent in a band whose ranks have included the likes of Steve Hillage and Mark Hewins, horn player Ian East Wind , sinuous bass propulsion provided by Dave Sturt (the sonic manipulator), and Brazilian Fabio Golfetti who weaves his own lysergic patterns on guitar. This collective create an impressive, multi layered and irrepressible sound that creates its own world and then populates it with a series of dazzling musical gems, melodically rich, lyrically engaging and musically refreshed.I See You is both timeless and timely, a welcome antidote to an increasingly homogenised musical mainstream. Tracks such as This Revolution, a spoken piece which name checks Gil Scott Heron and picks up on the vibe of his The Revolution Will Not Be Televised, articulates the kind of concerns and theories that have always inspired Daevid Allen and informed the Gong worldview, contrasts with the ferocious inter stellar Funk of You See Me, which is sure to be a live favourite. Thank You is a heavy slab of Psychedelicised Blues, whilst Shakti Yoni Dingo Virgin is a moody, melodic instrumental piece that serves to illustrate the immense musical firepower and musical diversity that lurks within the current line up of Gong."
    $8.00
  • "UNARMED Best Of 25th Anniversary is Helloween's thank-you to millions of fans old and new and will prove their exceptional position on the international metal scene. Instead of putting together a regular greatest hits compilation featuring their most successful tracks to celebrate this anniversary, the five band members completely rearranged the greatest melodies they had written in the course of their career to date. The album features Supercharge s exceptional saxophonist Albie Donnelly, Hellsongs s vocalist Harriet Ohlsson, pianist Matthias Ulmer, plus the 70-piece Prague Symphonic Orchestra and the choirs of the Gregorian singers!As a special surprise, Helloween have come up with 'The Keeper´s Trilogy,' a stunning 17-minute medley of the songs 'Halloween,' 'Keeper Of The Seven Keys,' and 'The King For A 1000 Years,' recorded in cooperation with the Prague Symphonic Orchestra and likely to send shivers of delight down the spine of every Helloween fan."
    $13.00
  • "Anthrax's first album with vocalist Joey Belladonna is a huge leap forward, featuring strongly rhythmic, pounding riffs and vocals that alternate between hardcore-type shouting and surprising amounts of melody. Two tracks left over from the Dan Lilker days are here as well. The traditional metal lyrical fare is more original, while also introducing a penchant for paying tribute to favorite fictional characters and pop culture artifacts ("Lone Justice" and "Medusa" are prime examples). One of Anthrax's best efforts." - All Music Guide
    $5.00
  • "TEMPERANCE from Italy, I had no idea who they were. Steinmetal rose to the challenge to make me open up my mind, and I am continually grateful for it. I initially felt Deja Vu, postulating that the band from Sweden had reformed. As it turns out these masters of self-control are a classy Female Fronted act comprised of seasoned musicians who have composed a myriad of delightful songs which should appeal to any fan who enjoys the soprano siren sound.I do not have too much information on individual band members, but let us assume that Marco is the one who provides the clean and harsh dual vocals. He has quite a range when he truly sings as evidenced on the closer “Relentlessly” or “Stronger” - a beautiful ballad or lullaby elevated by the lullacry of Chiara. As I mentioned there are many aspects of the Metal milieu made present. You have the “Beauty And The Beast” approach with tracks like the heavier opener “Tell Me” or “To Be With You” evoking the precedent established by NIGHTWISH, EPICA, AFTER FOREVER, THEATRE OF TRAGEDY and perpetuated by LEAVES' EYES. There are also plenty of poppy and commercial hits like “Heaven's Above”, “Hero”, “Scared And Alone”, “Lotus” and the like, all in the vein of  HALESTORM or AMARANTHE, but with just enough power and promise to also please fans who support AMBERIAN DAWN, DAWN OF DESTINY,  EDENBRIDGE, etc.Chiara's cadence is quite impressive, with a strong or impassioned enunciation and crystal clarity. Her intonations often remind me of the late Pay Lee – the soul that never dies – from Taiwan's SERAPHIM who passed in 2011. Clearly she emulates Sharon Den Adel from WITHIN TEMPTATION, as well as mirroring the magnitude of Floor Jansen. When the harsh vocals are added for effect I am reminded of Japan's BLOOD STAIN CHILD or Cleveland's soulless CELLBOUND but also the early days of the enchanting Kari Rueslåtten from Norway's own THE THIRD AND THE MORTAL. I dare you to dance to the keyboard characterized motion spray of the “Fourth Season” and see if you do not agree.Power Metal fans that relentlessly support the likes of Lady DORO, BATTLE BEAST, EDGE OF ATTACK, SINERGY, etc. will also be captivated by the lotus like mellifluous melodies of well-crafted musicianship which have plenty of orchestration, as well as modern production. The delightful ”Deja Vù” is a mesmerizing epitome' of this.So breathe in the sweet rhythms, the mellisonant merriment, the bon mot motivated lyrical suggestions, the passion, and the pleasant pageantry. Heavens above! This self-titled release is much stronger than I had anticipated." - Metal Temple
    $15.00
  • No idea where this band came from but its one hell of a breath of fresh air. This is the debut release from a new German progressive metal band. The Old Man And The Spirit is an existential concept album with a larger than life feel, perhaps a long the lines of the release release from Joseph Magazine. The band features two vocalists - Herbie Langhans and Dilenya Mar. Each one takes on the role of a character in the story. The male/female vocals work very well together. Beautiful juxtaposition of quiet acoustic passages and bombastic, symphonic metal. Its only January but I think you can already consider this one for a Top 10 prog metal list for 2012. Highly recommended."“The Old Man and the Spirit” is an ambitious concept album dealing with the polarity of human sensuousness and superhuman awareness. Two main characters interpret the music on this theatrical and challenging record: “The Spirit”, who is the personification of all wisdom and awareness that is unachievable to mankind but that lacks of the ability to feel, and her opponent “The Old Man”: a bon vivant who has lived through all highs and lows of human sensations. These two characters are interpreted by the two band singers: a female Dilenya Mar and a male Herbie Langhans.But the operatic and cinematic setting of the album was put together by the bands’ two masterminds: guitar player Peter Degenfeld and the classically trained ivory tinkler Christopher Tarnow. “From the beginning it was our intention to do an album presenting one big piece of music” tells Degenfeld. “One of the very first things that came about were the two characters together with the basic content of the story. Basically before the notes were written, we knew what each song had to sound and feel like and what the lyrics had to say. With these restrictions we started the songwriting process. In the end writing songs under these self-imposed limits turned out to be just great”.While “The Old Man and The Spirit” is undoubtedly a demanding musical statement, Beyond The Bridge are determined to make their steps to bring their music on tour. “We put a lot of effort into the goal of creating the studio sound on stage and we have already rearranged some parts to make them more suitable for live performances”, explains Degenfeld.Beyond The Bridge’sline-up is rounded out by bass player Dominik Stotzem, Fabian Maier on drums and Simon Oberender on keyboards and guitar. Simon also took care of the album production at the famed Gate Studios (owned by the famed producer Sascha Paeth, who mastered the album).While at first listen the album will easily appeal to the Progressive Rock / Metal audience, thanks to the virtuosity displayed in the playing and the compositional design, the album can be easily enjoyed by all who are looking for songs that can excite the listeners. “The music is touching. It will even touch you in a different way each time you listen to the album”, concludes Peter Degenfeld. “The lyrics are inspiring and ambiguous. This encourages to dig deeper into the spiritual journey of the "Old Man"."
    $14.00
  • This is the eighth album from the Pennsylvania prog band and first in three years.  2 LP vinyl edition in a gatefold sleeve.Echolyn's music has never been about complexity - although there is plenty of it.  They are all fine musicians and when the song calls for it they ably step out front and show off their chops.  No...this is a band who's music packs an emotional wallop - I dare say almost a spiritual nature.  Credit this to the vocals of Ray Weston who really is able to drive it home with the listener.  So a good Echolyn album is one that connects with the heart and the mind.  I Heard You Listening achieves both and perhaps in a better way than any of their previous efforts.  BUY OR DIE!
    $32.00
  • " 'The Naked Truth' by Ureas is a weird album. Most remarkable would be the combination of different vocals that are set to work with the lyrics, that are in itself are interesting to say the least. Ranging from a lovely, childish second voice through the well-known power metal shouts to a screaming level that is not often found in power metal.At times it sounds like this would be the result of Marilyn Manson making power metal. The rest of the musicians knows reasonably well what they're doing and the songs itself are full of variation. Because of the fact that the songs are not very complicated, there is a lot of focus on the vocals, but that seems to be exactly what Ureas is aiming for, considering the complexity and versatility of exactly that. Here and there 'The Naked Truth' is reserved and melodic. At other moments the composition is bombastic and it appears as if they want to make their lyrics carry over the entire face of the earth. Because of the diversity of the songs it's sometimes hard to keep your attention focused to the music. It's impossible to link the album to a specific mood and it's even hard to capture it with the term power metal. But I can definitely recommend it to those who wish to try out something new." - Lords Of Metal 'zine
    $14.00
  • "Coming right out of nowhere Love.Might.Kill really made an impact in the summer of 2011 with their Brace For Impact album, which perfectly combined the enthusiasm of a debut with the experience of a long songwriting career. And a look at the lineup soon proved: there are no newcomers here. And it did not really surprise anybody that Love.Might.Kill proved their success with their debut already. One year later now Love.Might.Kill return with their mighty 2nd effort 2 Big 2 Fail showing everybody that the success of the debut was not by purpose. With the addition of keyboarder Sascha Onnen (ex- Mob Rules ) the band is on the verge of breaking right through. Their first tour already has been booked and will accompany the release date in October. The album was again produced by Michael Ehré, being around for years as drummer in bands like Gamma Ray, Firewind, Metalium or with artists like Uli Jon Roth, Matt Gonzo Roehr, Vinnie Moore and Kee Marcello he made his strong impact in the national and international scene. The album was mixed and mastered by Markus Teske at his Bazement-Studios."
    $14.00
  • Latest release from Crippled Black Phoenix is marketed as an EP but at 45 minutes in length its anything but.  Longtime vocalist Joe Volk is gone, replaced by John E. Vistic.  The core sound is intact, an expansive, cinematic blend of post rock and early 70s Pink Floyd.  The 12 minute tune "How We Rock" sounds like an instrumental soundtrack piece Floyd would have recorded for a Sergio Leone film.  As far as I'm concerned these guys can do no wrong.
    $16.00
  • The Nektar catalog is now being bounced around like a ping pong ball.  This is now the third version that Cleopatra has made available.  Beyond the original classic album you get a bonus disc which features a large portion of the Academy Of Music 1974 show.
    $15.00
  • "While "Airbourne" (released in 1976) represents the declining years in terms of Curved Air's success and popularity, it does have some historical significance as it was the band's last official studio album. "Airborne" is also notable as Stewart Copeland, who went on to find superstardom as drummer with the Police, plays "heavy artillery" (i.e. drums) here. He had already appeared on Curved Air's "Midnight wire" album, which was released just after the reunion of (most of) the original line up for "Curved Air live". From that re-union, violinist Daryl Way remained in the band, the line up for "Airbourne" being completed by guitarist Mick Jacques, and Tony Reeves on bass.Copeland, who had recently married lead singer Sonja Kristina, participated in the song writing for the first time when he co-wrote the music for the opening track, "Desiree" (which was released as a single) along with Jacques, and the co-wrote lyrics with his new wife.The three Daryl Way tracks are the eye catchers here, in particular "Moonshine". This track stands head an shoulders above the other songs on the album, especially in prog terms. While not quite as appealing as previous Curved Air masterpieces such as "Vivaldi" ("Air conditioning"), or "Metamorphosis" ("Air cut"), "Moonshine", which runs to about 10 minutes, is an impressive piece of work. The pace and mood of the track change regularly throughout, moving from soft delicate passages, to virtuoso violin by Way, and some fine symphonic keyboards. At times, there are echoes of Gentle Giant among others.The rest of the tracks effectively play a supporting role. Side one consists of five short numbers. "Desiree", is a pop-rock opener, which features multi-tracked vocals by Sonja Kristina, and some decent, if brief, lead guitar. Quite why the band felt the need to multi-track Kristina's voice is something of a mystery, but it is a sound which features on several of the tracks here. Copeland's composition "Kids to blame" is a fairly innocuous piece of pop rock, but he took it with him to The Police, where it featured in their live act.The closing track on side one, "Touch of Tequila", is the antithesis of "Moonshine", being a dreadful pop influenced song, which sees Kristina sounding a bit too like Irish Eurovision star Dana!There are a couple of decent ballads, "Broken lady", co-written by Sonja Kristina, and Daryl Way's lullaby "Dazed", which closes the album."Airbourne" is an album of peaks and troughs, ranging from the excellent prog of "Moonshine" to the disastrous pop of "Touch of Tequila". In all though, a worthwhile effort, which will, in the main, please fans of the band." - ProgArchives
    $19.00