The man with a band, a choir and enough guest musicians to form a football team is back. Tom de Wit is nothing but prolific, but with that it must be said that he bursts with ideas, branching out from the prog core into a kaleidoscope of related musical styles. Themes or at least concepts are important too. Last time we were in the hospital or rather in Tom’s mind in the hospital on “When the Clock Stopped” (2020). As there the theme is about staying hopeful when things are bad, so it’s about life, but also it’s about creativity over the numbers. And having listened to his previous works, it’s as if Tom puts the whole of his life into each piece without leaving anything out.
And so “Fountains” starts with “Fountains”. Appropriately enough the song starts with cascading guitar, accompanied by symphony before embarking upon a prog-inspired extravaganza. It’s all there: the choir, drama, emotion, heaviness, a clean narrative, dark symphony, growls and above all energy. “the more you try to control it, the less you find it there” is the line I remember. Tom tells the story, provides wisdom in the words and if you’ve heard any of his work before, you’ll know that he doesn’t skimp on content. In fact, it’s quite overwhelming and potentially detracts from the message? I often sense a sense of urgency in Tom’s songs and I certainly felt that when listening to “Inner Earth” – choral prog again, enhanced with sharp electro shocks and flamboyant guitar work.
To a mesmerising beat and with immaculate harmonies Tom gives us “Hope Song I”. For once he doesn’t throw everything into the mix and presents a beautiful warm song. As a result I’d suggest it has more impact than his other blockbusters. It certainly did on me. From hope we move to “The Gratitude Song”. It’s back to prog everythingness with Tom giving it large on the vocals. I did like the keyboard solo, and as ever there’s plenty of drama and energy. I also liked the quirky fun element of “Hunters Eyes” with the flute adding a wispy element to the hard prog, and the howling at the end – one for audience participation there! Much of this album will work well live, if it’s actually possible to reproduce the range of it. “Anthracite” joins “Hope Song I” in being among my favourite ever TDW tracks. Its haunting tone and heartbeat sucked me in, and I really appreciated this hugely original song, which explodes into life without ever losing its hypnotic thread.
Throughout the album but especially here bravo to the drummer, and to the synth player which just happens to be TDW himself. He can’t be accused of being boring in any way as we are then hit with “Another Chance, Another Universe”, a synth choral prog drama. The style of vocal delivery which is like a monologue with a choral response makes me think of West End musicals but with fizzing hard prog providing electricity around it. Fun, fun, fun … “Graveyard Boogie” is like Tom’s prog take on a Diablo Swing Orchestra song. Ivories are tinkled, the ghouls are out, the song swings and we all have fun. Love it. The mayhem is more controlled on “Traveller” but although in some respects more conventional than “Graveyard Boogie”, it is full of excitement and original touches thanks to Tom’s inventions. “Traveller” is a delight. Back comes “Hope Song” but this is part II. It’s more of a prog rock-metal song than part I but as is often the case on this album, it is full of surprise as the extended backing chorus sounds almost spiritual as the song romps on. It’s another intriguing contrast. Tom comes back to reflect. I love the line “If I shout louder than you, it doesn’t make me right”. It’s not buried in words, which I have accused Tom of before, but stands out in the midst of this musical extravaganza. The sound is full and commercial, so not obscure but also in its construction highly sophisticated. This is intelligent music. Tom’s not ramming messages down our throat, and the musical mix is creating a kaleidoscope of colours.
This album caught me by surprise, and I’m always up for surprises. Tom has great ideas and plenty of them. “Fountains” is a thoroughly enjoyable album. To start I had trouble assimilating all of it as I have on previous TDW works. My initial impression n hearing the first couple of songs was that Tom once again hadn’t left anything out there. That’s commendable but it makes the experience intense and stifling. There’s no space to breathe. From this comes the danger that listening to a full album of such range and intensity makes it indigestible. Yet I liked “Fountains” better than TDW’s previous albums. Then, appropriately, “Hope Song I” came along, I listened to “Fountains” again, and it all fell into place. I saw a clear direction in the songs but it was a direction which allowed and encouraged creative flair and the integration of musical originality. “Fountains” is exceptional. Tom’s creativity has come to the fore here. He has created an album here whose twists and turns are a delight and which anyone with a disposition towards progressive metal music can enjoy and engage with.
(9/10 Andrew Doherty)
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