This is the third studio album recorded and produced by multi-instrumentalist Hans-Jurgen Fuchs. Comprising nine tracks in which the composite theme centers around six unknown individual travelers’ and how they are perceived or more strictly imagined from the viewpoint of an equally unknown observer. Although a tried and tested concept in the film industry, it is indeed, an interesting idea to utilise for progressive rock album.
Taken as a whole it is a beautifully melodic well balanced album with oodles of sumptuous guitar and perfectly coordinated keyboard interplay. Certainly ‘balanced’ is an appropriate term because everything fits together so well. It is obvious that a great deal of concentrated effort has been imparted into the mapping out the various intricate musical arrangements because just like a mathematical equation all the compositions have been perfectly worked out and constructed.
However, so far as the vocals are concerned the first thing to say is that they are quite pleasant and most are tuneful with nice accompanying harmonies. There are though some noticeable instances when the over complication of English lyrical arrangements seem to constrain the ability of the individual vocalists to comfortably fit in and project all of the required words. Maybe this is due to the fact that the lyrics in English might not have been as naturally delivered as that from a native speaker because, I’m guessing here, that the individual vocalists may not have had the opportunity to rework the lyrics and phrasing to suit the musical construction.
In respect to the music there is much to be admired with some beautifully administered acoustic guitar providing a wonderfully atmospheric feel very much in the style of ‘’Steve Hackett’ and the ‘Genesis’ flavoring is further endorsed, particularly on the track ‘Sleepwalking Man’ with some perfect synthesizer embellishments. The whole affair is packed with delicious combinations of lead guitar, subtle piano, energetic and powerful drumming and superb bass. Although on this project ‘Hans-Jurgen’ is seemingly highlighted as the main protagonist it must be pointed out that he has here magnificent support from his wife ‘Ines Fuchs’ who doubles up to create some quite stimulating keyboard twosome’s.
Summary: Interesting, atmospheric and a very melodic progressive album with certain similarities to Genesis. The songs are very catchy with good hooks and interesting arrangements but there is much more to be gained and unearthed with subsequent plays.
Artwork: A totally superb booklet, well produced and informative.
Songs / Tracks Listing
1. The Invisible Man (11:20)
2. Even If the Salary is Low (6:35)
3. So Many Days / The Great Divide / Under Suburban Skies (10:46)
4. Crowded Boats on Silent Sea (2:01)
5. Why Me? (5:42)
6. How Could I Just Ignore Him? / The Night and the Dark and the Pain (9:02)
7. I'm On My Way Again (5:12)
8. Sleepwalking Man (7:48)
9. Will Come What May (7:13)
Total Time 65:39
Line-up / Musicians
Hans-Jürgen Fuchs (Ines) / electric and acoustic guitars, lap steel, bass, piano, keyboards, programming, backing vocals
Ines Fuchs (Ines) / synth solos, piano
Andy Bartzik / electric and acoustic guitars
Ulbi Ulbricht / bass
Florian Dittrich / drums
Michael Wasilewski / vocals
Baggi Buchmann (Ines) / vocals
From The Internet :- German project FUCHS is the creative vehicle of composer and instrumentalist Hans-Juergen Fuchs. While he may be an unknown entity for many, he has a long and broad history involving progressive rock. He produced and performed on four albums released by his Wife Ines in the 1990's, produced a number of albums for the WMMS label in the same period, and have both then and since produced a number of bands in his own Roxanne studio. In addition he has written, composed and directed a number of musicals over the years, the majority of these designed for school performances.
In the spring of 2012 it was time for Fuchs to debut as a recording artist himself, which came in the shape of the concept album Leaving Home, a production based on events that took place in his own family between 1920 and 1945.
Hans-Jürgen Fuchs explains “If you draw a comparison, besides the inspiration of Genesis who have been accompanying me my whole musical life, the minimalism of the composer Max Richter has also influenced me this time.“