Author: Peter Podbrežnik
Artist: Pendragon
Label: Madfish
Released: 1993
Running time: 54:06
Rating: 3/5
Pendragon were never exactly among the most innovative progressive rock bands. Then again, the same could be said of most of their neo-prog buddies, who mostly kept following the stylistic trail of what was invented back in the seventies, when progressive rock hit its commercial peak. So throughout the entire nineties, Pendragon remained sworn revivalists of symphonic prog rock, heavily influenced by the legendary prog heavyweights led by Pink Floyd, Genesis, Camel and Yes. That undeniable fact is more obvious on »The Window Of Life«, their fourth release, than on any other Pendragon album, as the whole record sounds like an unofficial tribute to the legendary names listed above.
Band leader, guitarist and singer Nick Barrett has pretty much worshipped David Gilmour from day one and cultivates a similar guitar technique, but this time he outdid himself in imitating the famous Pink Floyd guitarist, with some solos sounding like he simply copied them from his great idol. Most of the songs on the album contain arrangements that sound like they were lifted straight out of the prog rock bible. It’s all played at an exceptionally high technical level and with a great ear for rich symphonic harmonies, which is more or less what you’d expect from the partnership of Barrett and cult keyboardist Clive Nolan (Arena, ex-Shadowland). Still, the dose of “borrowing” well-known motifs from the treasure chest of seventies prog is a bit too high this time, even by Pendragon’s usual revivalist standards, for »The Window Of Life« to count among their best achievements.
A good example of the over-borrowing from the seventies prog legacy is the opening epic »The Walls of Babylon«. During its long instrumental intro it opens with the melodramatic sound of Nolan’s organ, after which the main arrangement, led by Barrett’s weeping guitar solo, turns into a slightly cheerier version of the Pink Floyd classic »Shine On You Crazy Dimaond«. A sharp ear will also pick up some sonic elements of the Magnum classic »How Far Jerusalem« in the intro. And the “borrowing” of cult prog motifs is far from over, as Nolan crafts an organ arrangement, propped up by bouncing rhythmic drum fills from Fudge Smith, that is almost identical to the one from the Genesis evergreen »Watcher of the Skies«. The upbeat chorus, on the other hand, confirms Pendragon as the leading “good-time guys” of neo-prog, a role they would only shake off in the 21st century. On the previous album »The World« (1991) this problem of borrowing motifs from the prog legends of the 70s wasn’t yet so obvious, but this time it’s the main reason »The Window Of Life« honestly suffers from a lack of artistic individuality and relevance. Barrett’s thin vocals with their limited range are, as usual, the weakest link in Pendragon’s sound, though he successfully makes up for it with plenty of melodic guitar gems under the aforementioned influence of the Dave Gilmour school of guitar.
»Ghosts«, which of all the songs on the album most resembles some of the highlights from »The World«, opens as a ballad with a slightly overwrought vocal performance from Barrett, then moves through mighty symphonic arrangements into much more energetic ambient waters. In the first part of this thoroughly melancholic composition the band shows a lot more artistic individuality, which is commendable, but sadly it only lasts until the main transition, when they almost shamelessly copy the opening motif of the Genesis classic »Dance On A Volcano«. Drawing inspiration is one thing, but copying motifs, as is plainly the case here, is something else entirely. The borrowed motif is followed by a flow into a fairly interesting section built on the fast tempo of Smith’s dynamic drumming, where Barrett serves up some witty guitar improvisations, while Nolan is excellent throughout, switching between piano and synth textures.
The ambitious epic »Breaking The Spell« is the top candidate for the best track on the album. Besides having the most artistic individuality of anything on »The Window Of Life«, it contains all the elements that earned Pendragon their cult status in the mid-eighties. Barrett’s singing is also the best on the whole album, while Nolan once again shines by laying down sprawling orchestral curtains that, together with the weeping slide guitar, create a truly majestic atmosphere. The exceptional technical finesse of all the Pendragon instrumentalists really shines during the longer instrumental section, which of course includes the obligatory “Gilmour-esque” solo, while the melodramatic closing chorus delivers one of the better endings in their entire career.
»The Last Man On Earth« is a nearly 15-minute epic that’s even more ambitious than its predecessor, though far from as convincing. Its main weak spot is Barrett’s exposed, overly pathetic vocal performance in the opening, ballad-like section. A technically more refined singer, paired with Nolan’s layered orchestral arrangements, could have created an unforgettable mood, but Mr. Barrett comes across as just a touch too whiny to convince anyone as a good vocal interpreter. His guitar solos, as expected, are all the better, and together with Nolan’s synthesizer kingdom they deliver a string of iconoclastic harmonies. The melodramatic chorus is perfectly solid despite Nick’s limited range. The instrumental section in the middle once again contains some seventies Genesis touches. On this track Pendragon started working in more vocal harmonies for the first time, which is clearly audible in its ethereal middle section. A short, country-flavored harmonica interlude provides an interesting, unexpected twist, and the obligatory epic ending is there too, of course.
»Nostradamus (Stargazing)«, yet another of those cheerful, optimistic Pendragon numbers they cranked out in good quantity in the early nineties, features a monumental slide guitar solo in the intro, accompanied by Nolan’s sprawling orchestral curtains. A pleasant melody and a lovely chorus mesh perfectly with energetic guitar passages and dynamic synth textures, while the rhythmic pulse carries the characteristic neo-prog touches of the eighties. It’s one of the better moments on the album, where the band members don’t succumb to their usual fascination with the legacy of the seventies prog legends.
The wistful closing ballad »Am I Really Losing You?« is, on the other hand, a somewhat less impressive effort compared to its predecessor, as Barrett’s almost proverbial vocal weakness comes to the fore again, and the weak delivery of rather transparent lyrics doesn’t help. The lyrics have always been one of this band’s main flaws, anyway. Once more Pendragon fall prey to their standard affliction of copying the cult prog rock legacy, as the otherwise strikingly beautiful and melancholic closing motif honestly recalls one of the most famous moments of the epic Yes evergreen »The Gates Of Delirium«.
»The Window Of Life« was far from a bad album, as Pendragon once again convincingly proved their devotion to a more laid-back, ambient, melodic brand of symphonic prog rock. Its main problem lies “merely” in the chronic borrowing of famous motifs from certain prog rock bands whose work had a major influence on the development of Pendragon’s sound. Any music lover who knows the legacy of all the aforementioned bands well will, of course, know right away where they’ve heard an almost identical “borrowed” motif before. Even though this sort of thing on »The Window Of Life« still stays within reasonable limits and doesn’t become excessive, a bitter aftertaste in the presence of such talented musicians lingers throughout.
Lineup
Nick Barrett – guitar, vocals
Clive Nolan – keyboards
Peter Gee – bass guitar
Fudge Smith – drums
GUEST MUSICIAN:
Simon Forster – harmonica
Production
Nick Barrett
Track list
1. The Walls of Babylon (10:50)
2. Ghosts (8:02)
3. Breaking the Spell (9:18)
4. The Last Man on Earth (14:46)
5. Nostradamus (Stargazing) (8:23)
6. Am I Really Losing You? (4:47)
