Author: Peter Podbrežnik
Artist: Landmarq
Label: Roadrunner Records
Release: 1995
Running time: 62:36
Rating: 3.5/5
»The Vision Pit« was the third studio album from British neo-prog rockers Landmarq, and the last one with singer Damian Wilson (Threshold), who soon after decided to go solo. It was also the last Landmarq album before the arrival of singer Tracy Hitchings (ex-Quasar) sent the band’s style in a radical new direction and alienated quite a few old fans, people who had by then started ranking them right alongside neo-prog heroes like Fish-era Marillion, IQ, Pendragon and Pallas. On »The Vision Pit«, produced by none other than Clive Nolan (Arena, Pendragon, Shadowland), the band’s artistic level, at least in terms of interesting songwriting ideas, dipped a little compared to the previous two albums, especially next to the superb debut »Solitary Witness« (1993). Still, it was a very solid effort and a reminder of what this relatively overlooked band was capable of in their best creative period, before they turned into a completely different group with the same name.
»The Vision Pit« kicks off with the energetic powerhouse »Cutting Room«, driven by a mighty guitar riff and Wilson’s always piercing vocals. Guitarist Uwe D’Rose plays in a style quite similar to Karl Groom’s (Threshold, Shadowland), only a bit softer, so he always fit nicely with Wilson’s vocal approach. »Pinewood Avenue« is a tasty neo-prog treat with dynamic guitar passages, shimmering synth textures, almost jazzy drum transitions and a powerful vocal performance, with lovely vocal harmonies in the chorus. »Infinity Parade (Part 1 to 5)«, which at times recalls something from Kansas, has a solemn symphonic arrangement and a melancholic central melody, while Wilson’s inconsolable vocals tie the dominant epic atmosphere together beautifully.
The ethereal »Game Over«, which opens with a ‘weeping’ guitar solo, is soaked in melancholic passages, while the central piano melody fits nicely around Damian’s passionate vocal delivery. In the closing section, keyboardist Steve Leigh adds a futuristic touch to this melancholic piece with a colorful synth solo. »All Performers Stand Alone« has a slightly mischievous, almost carnival-like vibe, with Wilson’s vocals building the drama successfully. As a whole, though, the song somehow never develops the right way or gets the ‘lift’ it needs, because the instrumental section veers off in a completely different direction and wrecks the positive ambient effect.
The best piece on »The Vision Pit« is without a doubt the eleven-minute epic »Narovlya (Part 1 to 6)«, inspired by the Chernobyl nuclear disaster. Its lyrics are based on a translation of an emotional letter left behind by a Ukrainian teacher while the tragedy was unfolding. Bristling guitar passages and a generally darker atmosphere sit perfectly with Wilson’s passionate vocal approach. Despite its dominant symphonic prog rock structure, this excellent epic is also the closest thing on »The Vision Pit« to prog metal, or to what Wilson did as a member of Threshold. Melancholic harmonies between guitar and keyboards create a tense, almost chilling, icy atmosphere. »Ten Millions And One«, which has a slight folk prog flavor, opens with a baroque arrangement that promises a lot, but as a whole the song leaves a rather average impression. »Bed Of Nails« has a mysterious, acoustic-tinged intro and plenty of colorful time changes with shimmering keyboard textures. Then come two tracks recorded with almost minimal involvement from Wilson. The mostly instrumental »Hanblechia (The Vision Quest)« opens with an organ intro that sounds like the overture to some horror flick, followed by a tense rhythmic build-up with choir harmonies. The short instrumental »To Do Or Die« would fit better at the start of the album than the end, but no big deal, since it’s a bonus track that wasn’t on the original CD release. This little instrumental extra is stuffed with pompous symphonic arrangements that at times sound like the soundtrack to a dark, dramatic film.
After the release of »The Vision Pit«, Landmarq parted ways with Damian Wilson with heavy hearts. He was pretty much the main reason their first three albums still hold so much appeal for neo-prog rock fans and progressive metal heads alike. At the same time, the solid »The Vision Pit«, with its rare but dazzling songwriting gems that save the album from mediocrity, is still an appealing record for fans of Wilson’s solo career and the Threshold crowd, who will be surprised more than once at how well Damian’s voice works in symphonic prog rock, just as it does in prog metal. It’s a shame that Landmarq, after a short experiment with Wilson’s successor Ian ‘Moon’ Gould, took a completely different turn once the aforementioned Hitchings came on board, and today they’re mostly forgotten among neo-prog rock fans. The fact that they’ve put out only two studio albums since Wilson left says a lot about the creative drive and quality of ‘modern’ Landmarq.
Lineup
Damian Wilson – vocals
Uwe D’Rose – guitar
Steve Gee – bass guitar
Steve Leigh – keyboards
Dave Wagstaffe – drums
Production
Clive Nolan
Tracklist
1. Cutting Room (5:09)
2. Pinewood Avenue (6:24)
3. Infinity Parade (Part 1 to 5) (8:37)
4. Game Over (7:44)
5. All Performers Stand Alone (4:38)
6. Narovlya (Part 1 to 6) (11:09)
7. Ten Million And One (4:30)
8. Bed Of Nails (7:15)
9. Hanblechia (the Vision Quest) (4:39)
10. To Do Or Die (2:31)
