In the middle of the re-releases and other re-recordings of all kinds launched during his (fortunately short) race against death three years ago, Erik de Beer presented us a new album of Life Line Project in that year 2010 entitled Distorted Memories, written, composed and interpreted in the true line of The Finnishing Touch.
For the record, the latter saw the LLP becoming a real band and beginning an obvious evolution of style establishing a fusion between the traditional 70's symphonic elements so dear to Erik de Beer, and more assertive genres such as jazz, folklore or even a few electric flashes. Pursuing this evolution, Distorted Memories reuses all these ingredients, but greatly improves the recipe and brings back some fresh touches.
First and foremost, and not the least, the maestro has left the composition of two tracks to the talented Jason Eekhout, and the young man's touch gives a real boost to these compositions, especially in the delightful Caelum Aurum, about which the duet (duel?) he composes with the even younger violinist Josine Fraaij is definitely worth listening. It also seems that the rock tones (P.C. Left is Right) owe him a little something. Since we have already mentioned it, how can we ignore the performance of this young virtuoso whose talent is matched only by his young age (1). Erik de Beer takes advantage of his abilities to integrate a few notes of Vivaldi in his most symphonic compositions (Distorted Memories).
At the sides of these two young talents, we obviously find all the sound palette heard in the previous albums of Life Line Project: 70's keyboards, sometimes acoustic, sometimes electric guitar, even electrifying, inventive bass with these drums of typical sounds always a little bit dry, classical instruments (oboe and flute), coming to emphasize the most melancholic themes, the whole mixing in a harmonious way, to a degree largely superior to the other productions of the band, Erik de Beer managing to put in perfect symbiosis these different inspirations.
And as it is not necessary to explain to our artist how to compose tracks in which the themes in turn are revealed, mixed and joined, the result of his approach is synthesized in a fantastic way on the two epic tracks of the album: Life Line Suite 2010 first of all, which s the first track recorded by LLP, and then especially the splendid The Final Word, enhanced by the vocal parts of Marushka Kartosonto going with a poignant text.
To summarize, Distorted Memories could be defined as the (more than) successful fusion of The King's symphonism and The Finnishing Touch's jazz-prog fusion. You will probably find that this review is stuffed with superlatives, but to parody a famous brand, I can only add that it is because this album is worth it, and the abnegation put by Erik de Beer in the production, album after album, of an intelligent music that touches the heart of emotions, really deserves that we take interest in it.