What started as an idea of a solo project of Andy Tillison (keyboard player and singer of Parallel or 90 Degrees) has become the biggest progressive bomb of 2003. A project helped by three members of The Flower Kings: Roine Stolt, Jonas Reingold and Zoltan Csorsz, Sam Baine (also from PO90D), Guy Manning and David Jackson (VDGG), getting together to create a new super project.
“Here we have another Transatlantic!!!”, some people might think that, but nothing further than reality, and not only as a group; Transatlantic worked as it is, a band where all the members made the recordings together, while Tangent has built everything each member on their own, without joining in a studio. They have pieced the whole album in two different places, Sweden and England, becoming what we could say a virtual band. In Transatlantic we could notice the leading work of Mr. Neal Morse, composing most of the albums, while in Tangent the majority of the members have contributed in a similar way. I think we could level this record as a homage to classic prog-rock of the seventies (as we could read on the cover of the album). An album that regains musically the spirit of the golden age. Starting with “In the darkest dreams” which is a suite of 20 minutes, full of incredible parts of the richest progressive notes and arrangements, a piece which make us recall bands such as Yes (“Close to the edge” period), ELP or VDGG (“Still Life” period), with amazing hammond sections and those so special saxo sounds of David Jackson, adding Mellotrons, flutes and distorted guitars. The best we can listen nowadays.
The second part of the record is called "The Canterbury Piece", which is, as its name says, a whole piece dedicated to Canterbury Music. They take the style of bands like Caravan (with the flute, and similar vocal work to Richard Sinclair, and the sounds of bass and organ), and also Hatfield and the North, playing an stunning cover of "Chaos at The Greasy Spoon", a song that appeared on their second album, played this time by Tangent with a incredible jazzy feeling. The record goes on with "Up-Hill from Here", maybe the less brilliant piece, although with a great ending section with strong guitar parts by Roine and some other good hammond moments. The last part is the title song, and there’s nothing but beauty in this piece, and inspiring composition with a piano introduction and again the flutes and Jackson’s sax. It’s got a lot of elements coming from Camel of the late seventies. A fantastic masterpiece.
To sum up, we could say that we’re talking about one of the best albums of the year, and we hope this project won’t be a one off and give us another surprise in the future, and maybe they got together for a tour, who knows.