The song material spans from symphonic progressive epics, through calm ballads to more poppy up tempo things that make me think of It Bites at their best. On the whole the variation makes the record a pleasant listening experience, while you don't have to hear the same ideas repeated in song after song, which is the case with a lot of the crap you are served these days.

All songs have got something that prevents them from being prog muzak, the over 15 minute long last track "Kadazan" especially is a fine piece of music that I guess you'll want to program your CD to more than once.

But everything is not joy and happiness. The two things I want to point out are the vocals and the production. Of all the efforts of the band the singer's is the poorest. In my ears he has a rather limited voice lacking the big dynamics and the problem is that the vocal efforts are pretty much identical from one song to another and this is frankly spoken pretty annoying. He should have listened a lot more to his models Peter Hammill and Peter Gabriel and learned to use the voice as the incredibly dynamic and expressive instrument it is.

The second thing is the production. Sometimes it's so bad it makes the record sound, undeservedly, like a lousy back yard product. This is not the case throughout the entire CD, but it should be unnecessary producing a record so poorly with all the technique you have today.

But if you choose to overlook the abovementioned faults, this CD is absolutely substantial and I think it should have every possibility to be in your CD-player as well.

And Simon Says, a Swedish debut band formed around Stefan Renström, bass player of The Moor, does not desecrate this lovely landscape when they parade a successful blend of all these schools on one single CD. No - Simon Says is not a solo project, but a group consisting of Stefan Renström, bass, keyboards, guitar and flute, Daniel Fäldt, vocals, Ola Johansson, drums and Nils Stenström, guitar.

The debut Ceinwen should be regarded as some of it's famous relatives - a first class piece of work, with a progressive core in composition and presentation. Fantasy is in charge and first it evokes surprise, then cheers when the band moves from one mood to the other without catching their breath, without padding.

"Under The Seal" is partly inspired by Zappa, it banters with it's heavy vocal lines in the same way as the now deceased American composer. But on the whole "Under The Seal" and "A Bedtime Story" borrow from the melodic muse of Genesis, with disappointed synths floating on top of Daniel Fäldt's veiled voice, which in it's turn weaves a fabric that languishes and yearns from melancholic moods before it sets out for a consciously stupid melody. Oh, this is good!

Simon Says is not a "pure" prog band, in spite of the means used. The group seems to want to hide their technical abilities behind sounds that are really not appropriate in the context, which sometimes creates the strange impression that you are dealing with a band with different line ups. The magnificent and peaceful "Pilgrim's Progress", nourished by underlying folk influences, lets itself float on deeply soothing keyboards united with idyllic dry guitar chords. Stefan Renström lets his fingers run absent-minded to weave a an emotional, fluffy carpet. "B.A.J.S. Radio" opens with a female chorus and pulls up the speed on sparkling chords in the style of Genesis. But in spite of that the voice of Daniel Fäldt is far from the expression of Peter Gabriel. Here the inventiveness also appears and hinders the mood of many associations that is so well developed.

There is Fruitcake in Simon Says. Like the band of Pål Sövik the Swedes bother not to leave the hazy mists that are common in their country, but take their refuge to impressions they have inherited from new wave music, which does not make the reviewer's task an easy one. Because the Swedes do not unite the styles, they marry them to one another and from this concoction distill a delicious liquid, bitter on the gums but sweet as sugar in the throat.

The album concludes with the fairy tale-like 16 minute long "Kadazan", a splendid concentrate of all that which is the charm of a group rich in fantasy and in understanding how to exploit their influences in the proper rations.

This monument has got everything: Caravan-like flutes, angelic Mellotrons, Crimsonish sensations and especially a structure of composition in the great tradition of Genesis.

Repulsive melting pot? Absolutely not.

It's ravishing to observe the cascading development of the piece; It accelerates intermittently but without ruining the natural order of events. You have no problems with accommodating yourself with the ingenious music of Simon Says.

The record concludes in the same way as this review, by happily establishing that there is a progressive band worthy of the term; beauty is eternal and does not always follow the predictable routes.

From the opening notes (sorry, Patrick sent me a CDR so I do not have a track listing nor song titles) the heritage of this music is clear. Influenced by classic prog bands such as Genesis, Yes, and Camel, it is clear just from where this band draws it's inspiration. At the same time the listener is treated to more modern "prog band" influences such as Spock's Beard, some guitar work reminiscent of Roine Stolt of The Flower Kings, and even some of the feel of bands like Echolyn.

This CD has tons of passion and depth. The music flows and the listener is drawn farther into the sonic wonder known as Simon Says. And just as you settle into a wonderful soft musical passage, they throw in a complex series of off tempo and counter point keyboards or guitar, or even tablas and sitar sounds. There are times when a more "jazzy" feel pops up but only enough to let the listener know these guys are much more complex than it might appear from an initial listen.

At times the guitar intro to a song just overflows with a "Steve Hackett sound, yet migrates to a new and fulfilling place best described as "just too cool". Heavy keyboards in the classic prog arena while again not a simple clone of what had come before. Even knowing that Patrick had sent me a CDR, I would still reach for the jewel case to try and find out what exact keyboards were in use and who might be the excellent players in this band. I must order a proper release of this CD today!

The vocalist has a distinct tonal quality and timbre to his voice. It is obvious that he is not attempting to sound like anyone else. He has a complex range and a vocal clarity this listener truly prefers. Coupled with the wondrous sonic quality of the musicians around him this is a great listen from beginning to end.

This CD is not heavy on the rock and roll side of prog rock music. That said, it is almost impossible to not find a groove that allows the listener to, if not at least mentally, sway back and forth in time to the music much like a palm tree in a warm ocean breeze.

All in all this is one of the best releases I've heard thus far in 2002. Up front understand that this is not in any way "avant styled prog". This CD has a well defined structure, has logical melodies and songs that flow effortlessly from one to the next. There is not a bad song on this CD and if you are a fan of classic prog bands, neo-prog bands, or just great music that has both musical and lyrical legs on which to stand, buy this CD. I know I will be getting myself a copy ASAP.

That feeling continues in the following song, "Striking Out A Single Note For Love". After seven minutes the song changes (yet once more), this time to seek it's way into a drunken rhythm, that makes a ridiculous mouth harmonica sound fantastic, in spite of a cheap melody. The rhythm might as well be lifted from a sleazy song of the '70's, were it not for the small unique moments. Simon Says deceives the listeners and brings them on a journey that is unusual, but nevertheless the more convincing in it's scheme. I'll say nothing about the end of the song, this appropriate musical wit must be experienced by everyone for themselves.

The most beautiful part of the album is the transition from song 6 ("White Glove") to song 7 ("Aftermath"), the fading mood is broken by a dramatic instant, characterized by an extraordinary tension.

The Swedes' second album offers surprises by the score. For example singer Daniel Fäldt, who has got a really remarkable voice. In an entertainer's contest he would have good chances to win in the jazz/chanson category. A strong tenor with unique individual nuances, a sympathetic voice of convincing power. Unusual for progressive rock. It's not necessary to mention that the instruments are played perfectly. The biggest surprise of all are the compositions. All seven songs, from the 2-minute electronic song "Darkfall" to the 15 minute long "White Glove" (four ten minute songs!) are really amazingly constructed, with several magnificent moments, quick turns, mystifying melodies, clever changes, slight disharmonies - everything just to create the Big Harmony with greater power. Every cake needs a pinch of salt for the right taste - thus the little breaks of style are inserted.

The concept album tells the story of a character named - Simon, the very interesting and in no way stupid story is printed in it's entirety in the booklet. I have always wondered why the predecessor of 1995 [Ceinwen] disappeared unnoticed, because even that really had what it takes. Paradise Square is an absolute enhancement. The biggest surprise, though, is: the astounding similarity to Genesis regarding the arrangements. Simon Says has listened thoroughly to Genesis. In some parts they have created their arrangements almost so that they could be mistaken for Genesis'.

In some passages it seems like a short moment has been lifted to play the nuance appropriately. Yet there remains distance enough, above all in the many melodies that only stand for Simon Says; the humourous twists, original moods and unusual nuances. Even though Paradise Square is the second album from Simon Says, they must be called the new discovery from Sweden. The album will hit like a bomb - a full hit in symphonic rock.

Production is very good and you can hear each single note and each passage written by the four piece that gives great space to expressivity (and singer Fäldt is really good for this), althought changes of times, moods and atmospheres dominate the album with four out of the seven songs lasting more than ten minutes. Also Renström did a great job on keyboards not only as performer, but also in the choice of the sounds used to underline the different movements of the songs.

As often happens, it's hard to make an analysis of the songs one by one which alternate aggressive and symphonic/pompous moments, quite and meditative phrases with jazzy tunes and powerful breaks somehow recalling Anglagard, intriguing movements like Flower Kings and enthusiastic passages close to Echolyn. For example, "White Glove" is a suggestive song that in its fifteen minutes includes all I have just written supported by a mighty technical skill.

At the moment Simon Says are one of the most promising band of classic progressive rock so if you love this genre of music, you cannot ignore them!

However, not all of the tracks, that this album consists of, are about that legendary style. The instrumental textures of "Fly In a Bottle" (track 4) consist for the most part of quiet, yet, diverse and very effective interplay between passages of acoustic guitar and the oboe-like solo of synthesizer. It has a slight medieval feel to it both instrumentally and vocally. Here, Daniel doesn't imitate the voice and the way of singing of Gabriel, but goes his own vocal way, despite the fact that Gabriel and Daniel still remain rather rhyming words. The only instrumental piece on Paradise Square, "Darkfall" (5), represents a blend of Eastern and European music. Filled with wonderful solos of Sitar and symphonic passages of synthesizer, it just breathes with uniqueness. The arrangements of the 16-minute epic song "White Glove" contain a few episodes that sound truly unique. The magic solos of Sitar, wonderful interplay between passages of classical guitar and piano, and other outstanding features make "White Glove" an absolute winner, though on the whole, its contents conform to the album's predominant stylistics, which, certainly, is typical for all four of the remaining tracks. Two of them, "Striking Out a Single Note For Love" (3) and especially the album¦s title track, "Paradise Square" (2), are almost as diverse, intriguing, and amazing as "White Glove". All three of these tracks are the bright representatives of a hard-edged, truly classic Symphonic Progressive, and contain a complete set of progressive ingredients that are typical for this genre. While not masterpieces as "White Glove", "Paradise Square", and "Striking Out a Single Note For Love", both of the remaining songs, "And By the Water" and "Aftermath" (1 & 7), are, however, excellent by all means.

The Paradise Square album by Simon Says is a good example of how contemporary musicians can bring something new to the style, which is well known already for many years. So this album should be liked not only by the die-hard fans of the classic Genesis sound, but also by most of the lovers of Classic Symphonic Art-Rock in general.

Bass and keyboard player Stefan Renström is the main songwriter in the band. He has an almost storytelling approach to the lyric, all the songs surrounding the central character "Simon". Almost tongue in cheek, there is a description of a situation the character is in, then the vocal lines kick in. Quite unique, but it really works! Musically, the sound and playing is exemplary. An amazing clear, uncluttered sound - no instruments get lost in the mix. Seven songs in all, full of gentle melodies, varying in tempo and complexity, they really throw the kitchen sink at this in terms of ideas and sounds, and freedom of expression - but never at the detriment of the song.

The first two tracks "And by the water" and title track "Paradise Square" are very much in the early Genesis mould. Expressive vocals, a sort of accented Gabriel / Dunnery hybrid, with varied guitar and keyboard styles, plus many unexpected musical touches. Flower Kings style guitar / keyboard interplay. Loads of Hammond, Moog, Mellotron, one massive Anekdoten style bass run, and some lovely flamenco guitar playing. These tracks set the tone for the rest of the album. Third track "Striking out a single note for love" begins with an almost Level 42 pop-lite beat, leading to more FK multi-combo patterns and textures and an It Bites section with a circus feel and harmonica section. "Fly in a bottle" is an emotive light and shade style track, contrasting fragile acoustic guitar and vocal, countered by the crescendo of gongs and lush symphonics. The sitar dominated "Darkfall" leads to the fifteen minute epic "White Glove". A true masterpiece. Wholly delicate and melodic musical passages, fantastic solos and singing. The final track "Aftermath" has a distinct cinematic feel. Futuristic keys and voices, varying tempos and small nuances. A long improvised instrumental to end. This is a seriously great record with great packaging and another astute signing by the emerging Galileo label. It'll be interesting if the prog heavyweights can better this with their albums later this year. The best pure prog album so far and an unreserved recommendation.

Simon Says is a young and promising band formed by Stefan Renström (bass, keyboards, backing vocals and compositions), Daniel Fäldt (lead vocals, sitar), Jonas Hallberg (guitars, backing vocals), and Mattias Jarlhed (percussion).

Of course I won't be the one who state that this album is a masterpiece (a word very overused nowadays) but I'll state this is a good CD that can be enjoyed not only by new progheads generations, but also classic prog fans. And that's because Simon Says is, just like The Flower Kings, Magenta, Under The Big Tree, etc...., one of those bands that wisely blends different influences from classic progressive bands but also adding personality and a high musical skill.

Do you want an example?... the first track "And by the water" (4:45) starts very Tullish (the keyboard suspiciously sounds very similar to Thick as a Brick) but quickly develops into Genesis structures, both the music and Fäldt's voice, very influenced by Gabriel. We can also find other known influences along the whole album but the shadow of Genesis shadow dominates everything, shamelessly in Paradise Square (13:42). Anyway I'm not talking about a copycat like, i.e. The Tulipe Noire with Marillion. This band knows how to adapt that influence within its own musical personality. We can even find some gleams of experimentation in "Darkfall" (2:35), a very spacey track with sitar. Anyway all the tracks are wonderfully played and they are plenty of nice melodies and keyboards solos. That's the reason why the satisfaction is guaranteed in the longest tracks (the aforementioned ones plus "White glove" (15:28) and "Aftermath" (10:02).

Perhaps the purist progheads and those who bet on the continuous renovation of the genre (and I'm included) dislike these kind of bands but I have to be accurate and I must admit that although you won't find anything new inside this album, Simon Says provides the listener 60 minutes of symphonic rock suitable for all ages and Paradise Square is an insurance if you want to listen to a great album with 70's flavor.

I won't get into a detailed analyze of the story but basically it is (perhaps!) a journey through the human soul, a trip into the thoughts we all have inside us about life, death, love, hate, joy, sorrow, a lot to think about and to analyze. If you want to.

The music itself give as much pleasure as the lyrics. The music lives it's own life and wanders between jazz, rock and some classical input, in other words - Progressive Rock! And it's good! For little more than an hour you're glued to the stereo, waiting for the next bar, the next verse, the next drumbeat. In spite of this, this is a record that allows itself to take time. Not only due to the fact that it grows on you for each time you hear it, but also because Simon Says give themselves and the music all the necessary time needed for all the colours and shades to be seen and heard and yet it leaves a "I want more of this"-feeling behind! Because you want more! It is beautiful, it rocks, it is frightenly good!

So, is there nothing negative to say about this album? Well, of course I could pin down some details, some minor glitches in the music indication editing, if I listen close enough I can hear some things that probably isn't meant to be there, the musical inspiration is sometimes quite clear, but it feels wrong to do that. The entirety is so beautiful and so complete that the character of the single strokes that I find only enhances the full picture, even though they might not have the exact colour and a perfect line.

If I have to choose a favourite track, it probably will be "White Glove". Or perhaps "Fly in a Bottle". Or perhaps "Aftermath". Or ... I do not, in any way, wish to be the one who puts a pressure on Simon Says and by that causing a drain of the creative flow and giving them writer's cramp, but I can't help it, I am already yearning for the next album.

Retro - that's the first word that came into my mind regarding Paradise Square. Furthermore the band info tells about a new generation of Swedish bands, heirs to Änglagård and Landberk. Yes, there are plenty of Mellotron and many parallells in sound but principally I find the parallells to Genesis much stronger.

Why Simon Says in spite of that are no mere clones? You will see. Simon Says are lighter, more airy and let their joy of playing flash through in every composition. It's grand how, after only a few listenings, you are captured even by the most complex arrangements. All the songs sound convincing and are wonderfully accessible. But there are also numerous edges and corners for the benevolent listener to collide with.

The approach to old 70's sounds is surely intentional but in no way for the sake of copying, it should rather more be understood as a homage to that time. And as long as the music is so grand the reoccuring moments of loans from Genesis are no problem at all. The band lightens up the style much more by moving about in other grounds (just listen to the jazzy parts in the middle of "Striking Out A Single Note" ...).

In spite of that the Hammond and Mellotron dominates the band's sound. Add to that a grand groove, triggered by a fantastic Rickenbacker sound and a production that is crystal clear and dry as a fart [sic!].

The CD is a concept album with a continuous story. For better understanding the instrumental parts of it are printed on the cover. In spite of all context each song works alone.

What is needed at this stage is a really good singer - and Simon Says have got that too. The voice variation is impressive, from powerful to soft as butter, the man copes with standing up to the wall of sound from his colleagues.

Simon Says are a real hot iron and, after the debut Ceinwen, sunk in the release swamp, the band now gets the attention it deserves with Paradise Square. This album is a hot candidate for "Album of the Year", since the band manages to revive the old freshness of the Retro sound with new ideas.

Simon Says are a four-piece that formed in the early nineties. Their first CD was a concept album entitled Ceinwen released in 1995. Now seven years later they're back on a new label with yet another concept recording that revolves around a variety of spiritual issues but perhaps focusing on the search for God and all the trials and tribulations involved with that quest. The lyric sheet even provides a narrative which helps to clarify the stories progress.

Musically Simon Says plant themselves firmly in the mid-period Genesis territory of The Lamb Lies Down on Broadway. But while the roots and influences reach back to that point, the band has clearly updated the sound technically to create a somewhat more modern sonic approach to the compositions. With only seven tracks spanning the length of the CD most of the composition are on the longish side. In fact four of the seven are over ten minutes in length providing lots of room to move in and out of themes. And that's really the strength of their compositional style.

While the music of Simon Says is not overly complicated it is adventurous and solidly symphonic in its panoramic approach. Everything is in the right place. Prominent acoustic guitars will set up the more orchestrated segments while bass pedal effects reinforce the grand scope of each of the compositions, as do the analog keyboards. Even the trusty Mellotron makes a number of appearances, adding to the lush fullness of the songs.

The symphonic style of Paradise Square is one that creates melodic or majestic musical motifs that are repeated at different points in the composition. The band's approach is very much a return-to-theme with all the song-sections working to reinforce the melody. Any soloing or musical departures go to serve the feel of the story at that moment of the musical composition. But these musical excursions are never overdone and with each listen the melodies become more familiar leaving the listener time to more fully explore the musical complexities that lay in the background.

Paradise Square is a classic mix of heavily orchestrated moments interspersed with quiet counterpoint, which is then pushed to the edge with odd or quirky musical segments. The seven songs move smoothly one to the next. Nothing here jars the senses. The structure of these songs is one that easily brings a satisfied smile of familiarity and excitement. The material is at once familiar and yet somehow new and fresh. Simon Says have done a great job in adding their efforts to the symphonic prog genre. Save a spot for Paradise Square on your CD shelf.

Paradise Square is a concept album that got its start from a picture of a dilapidated housing area with the sign Paradise Square identifying it. The band used this irony as a starting point for a journey that at times is hard to follow, but for those who don't like everything to be laid out right out in front of them, the story is quite intriguing. Stefan Renstrom, the bands lyricist, says the story takes place in one mans dream and touches on everything from sex to religion and in the end is really all about inner spirituality. There are some comical passages, reminiscent of Zappa, and some more serious ideas presented, but all in all, the concept is somewhat open-ended, leaving the listener to draw his/her own conclusions about what they are actually trying to say.

The music presented on Paradise Square is exceptional and diverse. Besides the classic progressive sounds that one would expect, there are many other tidbits that please the ear and make the listener wonder, "where did they come up with that?" In a good sense, of course. There is some sitar and tabla sounds mixed in and the band does a very good job using the time changes to their advantage, emphasizing certain passages of the story more than others. They seem to touch many different genres here, with some jazzy progressions, melodic choruses and off tempo passages. The album just never seems to stagnate, always moving the listener in another direction. This album held my interest all the way through and had me constantly reaching for the CD booklet trying to follow along with the story. I am still drawing my own to conclusions to exactly what it is about.

Overall, Paradise Square will not disappoint most progressive rock fans. There's no heavy stuff here mind you but the quality of composition and production is exceptional. So far, I feel this is the best new release of 2002. Echolyn's Mei used to hold that spot, but this one just blew me away. GO GET IT !

Dark, slow guitar sounds form the perfect counterpoint for the melodic synths during the intro for "Striking Out A Single Note For Love." Here for the first time it becomes obvious that Paradise Square is a concept album as various atmospheres and sounds enter this song. To me "Fly In A Bottle" is Simon Says' very own "Private Investigations" which hopefully says enough about the inclusion of classical guitar here. Simon Says takes a trip to India when sitar introduces "Darkfall." A good balance between acoustic [guitar] and keyboards occupies the first part of the lengthy "White Glove" leading towards Wind And Wuthering-era Genesis. "Aftermath" not only wraps up the story but kind of delivers a musical end result as well, once again delving deep into the rich colours of the keyboards in order to deliver yet another unique statement containing a slight hint of Happy the Man. Surely Simon Says has taken a BIG step forward with this Paradise Square leaving the humble beginnings of Ceinwen far behind. It not only puts the band in the picture it also establishes the Galileo label as a label of quality where each release deserves a thorough examination.

You can't escape parallels to Genesis á la The Lamb Lies Down On Broadway or IQ á la Subterranea since all these records are concept albums. Furthermore they all deal with lonely souls looking for one thing or another. It also has to be said that there's a lot of Genesis here, especially in the rhythms and the use of keyboards. But we accept that more than gladly. Genesis and IQ also never used the sitar, and that's it! The Swedes has added their own style, with most enjoyable keyboard solos, Moog and Mellotron, synth and Hammond, from time to time it's pure pleasure. The odd song or two might have been a little more memorable and the vocals a bit more exciting, but that's trifle matters. Paradise Square is the record for you who misses high quality progrssive rock, with 70's inspirations and all.

Loads of synth tones ... check. Dynamic changeups ... check. Tempo and key modulations ... check. Keyboard/guitar harmonies ... check. Yes, this is stylistic progressive rock at its best.

Stefan Reinstrom [sic] mans a dizzying array of keyboard tones, from organ through Moog and arp synths, all while holding down bass duties as well. Daniel Faldt shows vocal range as well as providing sitar work throughout.

Several long tracks dominate this offering, ranging from 10 to 15 minutes, with the title track presenting much of what this band is about, including the dynamic shifts from full band-rock to piano and vocal interludes, and pedal tone guitar work by Jonas Halberg [sic].

If you are searching for an unabashed look back at the time when progressive bands ruled the airwaves and the stadium circuits, this album may be of interest. While a bit short on originality, Simon Says has much to offer.

For all of you wishing someone would come up with The Lamb Lies Down on Broadway Part 2, here it is. This concept album follows the strange and surreal experiences of Simon, as told through the words and music of this Swedish quartet. The similarities extend beyond the text. The songwriting style and the choice of instrumentation, especially in the keys, makes the connection almost impossible to miss. The saving grace is that, as long as you can get past the blatant homage and lifts, this is a very strong piece of work. Instrumentally, the band is excellent, particularly singer Daniel Fäldt and keyboard player Stefan Rentström [sic] (who also provides the bass and most of the songwriting.) Fäldt thankfully avoids the lame theatrics that plague most Gabriel wannabes and instead takes the Kevin Gilbert approach of wedding expressiveness to an ear-friendly and professional delivery. Musically, the material owes as much to Flower Kings as Genesis, revealing a certain "house style" when it comes to Swedish symphonic prog. The songs veer from vocal segments to instrumental workouts with an easy fluidity and the arrangements deliver hook-driven melodicism or intricate syncopation with an equal command and skill. To top it all off is a seasoned production that is especially good in the handling of Mattias Jarlhed's drumming. It's a shame the band chose such an obvious source of inspiration, though perhaps with this behind them they can get on with a more original piece of work. It should be worth the wait.

-- Peppe di Spirito