29 oktober 2022 by Jaques Becker

Despite two periods of activity at the end of the 80s and in the 2000s which resulted in a separation without any real discographic production (the 'Code Source' mini CD in 2004), the Dutch of 'Signs' reformed in 2018 and have just released their first LP 'Uchronia'. Influenced by the progressive rock of the 70s, they mix different musical landscapes with, in particular, parallels with the 'Floyds' whether in atmospheric parts or more energetic rock sections, the whole being always supported by catchy melodic lines. The menu of this opus is made up of six compositions between 5 and 10 minutes long, which gives good possibilities of developing constructions in several drawers, especially since the first three titles and the last two follow one another without any gaps.

We are welcomed by 'Shadows of the Lesser Gods' which begins calmly with a few piano notes accompanied by synthetic sounds of strings, and which unrolls a first harmonious melody in an atmospheric atmosphere which gradually gains momentum and which then weaves between quiet sections and other more spirited ones, the bass/drums rhythm section leading the dance is very beautiful, the end of the title offering a very beautiful 'Gilmourian' guitar solo. Without transition, the title song 'Uchronia' continues with a more energetic instrumental introduction and then develops a succession of alternation between remarkable tensions and relaxations, protesting voices bringing on several occasions a feeling of revolt and the crescendo of the second part accentuating this sense of urgency.

We continue with 'Zero Gravity' which continues in a mixture of neo-progressive and influences drawn from the 70s and, on many occasions, I found certain atmospheres released by the Germans of 'RPWL' with certainly more contrast between sections with saturated guitar riffs and atmospheric passages like this magnificent guitar solo in the middle of the title sandwiched between two energetic sections or this final break which passes from an imposing intensity to a calm and bucolic melody. Follows 'Cryogenic Jetlag' which unrolls a new memorable melody which alternates impetuous parts with other more peaceful ones, then the long development 'The Heretic' takes us into a remarkable labyrinth with multiple nooks and crannies in which we walk through soundscapes very contrasting, and which shows all the talent of this formation to offer us sophisticated and imaginative progressive, the final in crescendo bringing us back to that of 'Uchronia'.

And to end this very beautiful album, 'Nigredo' also shows a construction alternating different rhythms and intensities with a peaceful and melancholy first part then, two minutes later, we are embarked on an instrumental section bordering on an explosive hard rock with a lot of riffs sharp, the calm falling then to return to the starting theme in the form of a crescendo with a remarkable guitar solo, the end returning to the softness of the introduction and sound effects which gradually fade. In summary, the Dutch of 'Signs' finally release an album worthy of the name and offers us progressive with contrasting atmospheres alternating atmospheric sections and other much more energetic which brings a real originality to 'Uchronia' which should make happy all fans of a progressive varied and influenced by different currents of this style...

Line Up / Musicians Hans de Graaf (Vocal, Bass, Taurus pedal), Ron van der Park (Guitar, Choirs), Marcel Faas (Keybords, Choirs), Louis Carlebur (Drums)

16 april 2023 door Jan Buddenberg

When Signs' promo of Uchronia arrived it was the band name that rang a bell. Not a recent chime but one vaguely resonating from a distant past when I still aimed at collecting every demo tape I could lay my hands on. A sole surviving print-out shows that Signs were indeed part of this collection, totalling three demos (Chimera, Square Circles, Private Eyes) that amounted to approximately 90 minutes of music. This collection however didn't stand the test of time and fast-forward to 2023 I have no real recollection of Signs' taped efforts any more.

After a 2004 EP release Source Code, reviewed by DPRP at the time with extensive groundwork on their history, which passed me by unnoticed, the band finally choose to break up in 2008 for a variety of reasons. It's a mere decade later though the three founding members Marcel Faas (keyboards, synths, backing vocals), Ron van der Park (guitar) and Hans de Graaf (bass, vocals, taurus-pedals) reunite and accompanied by newby Louis Carlebur on drums. Together they set out to develop older unreleased tracks and write new ones with the intent of an ambitious concept album which reflects on humanity, alternate realities and changed societies. Due to several (some well known) interferences it takes them another four years to complete, until after a lifetime of 35 years their debut album Uchronia finally sees light of day.

Rooted in Eighties styled neo-prog, with influences from the seventies, the band expresses a solid dynamic sound with bombastic passages and wonderfully balanced play on Uchronia. De Graaf's formidable bass play, simultaneously singing with a hoarse voice reminiscent to Steef Broekhof (Last Son Of Eve), makes a big contribution here and makes impressions of Pallas and Yes regularly coming to the fore. Due to the Taurus pedals and his technical similarity with Geddy Lee, impressions of Rush are also added, which in turn is amplified by the striking guitar resemblance of van der Park to certain distinctive era in Rush's career.

The opening track Shadow Of The Lesser Gods is a marvellous example in that respect when after its atmospheric opening the song builds momentum and rolling bass lines and enticing riffs soar into heavenly Rush textures presented during their Hemispheres period. Equipped with a lot of pumping bass, this catchy song ends with an excellent coda designed by beautiful interplay of guitar and keys, somewhat mindful to Comedy Of Errors. This convincing opener segues into Uchronia which opens in the best Pallas tradition with blasting bombast and atmospheric synths. Powered by a 50-piece choir repeatedly shouting "Divided We Stand! Together We Fall!" this song brings Signs heaviest hour when after irresistible rousing melodies surrounded with excellent harmonics the melodies explode in an apocalyptic realm of heavy fuelled rock spurred on by an unleashed aggressive van der Park. Entering calmer waters with wonderful keyboard work a return to the chorus and melodies complete the whole fittingly and a seamless transition into Zero Gravity follows. This well-written song expresses a pompous drive and delightful riffs mindful to Rush, with harmonies igniting images of Yes. Soaring past a rousing synth passage and territories of aforementioned Rush, it midway through takes off into stratospheres of Pink Floyd with a magnificent guitar solo from van der Park and thematically return to its opening melodies. After additional ravishing interplay that sparkles with Saga delight an atmospheric passage finally brings relieving darkness with bass lines that script a distinct Marillion vibe. Subsequently Cryogenic Jetlag fires off another round of cared for bombastic progressive rock with well-suited backing vocals and arrangements, spurred on halfway through excellent drumming and aggressive play.

The exciting The Heretic follows and shows an excellent build-up, with plenty of bass in a pulsating leading role, while fine piano work and the acoustic approach supported by beautiful atmospheric synths provide moments of reflection. The late seventies Yes atmosphere perceptible in this song is very satisfying, and this satisfaction only gets bigger when de Graaf grabs hold by means of a stellar guitar solo and the song, after several dynamic stages, culminates in a grand finale embraced by returning vocal protests. Saving the best for last.

The challenging Nigredo concludes Signs' concept. Firstly, via inviting Pink Floyd inspired melancholic melodies that fly off into an impressive galaxy of complex and angular odd-time signatures gravitating with King Crimson attraction. Secondly, through its subsequent transition into spinning and whirling melodies chased by a fearsome force of funky bass which propels the composition into unprecedented heights as radiant key wizardry unfolds. And thirdly, when the inspired ecclesiastical passage that follows receives its blessing from an overwhelming majestic guitar solo and the Nigredo divine whirlwind finally dies down. As stated on their website, which has all the details and lyrics to accompany the digital release, Signs reckons Uchronia to be their best recording made so far. Although I have no pristine recollection of their previous efforts I can certainly agree, for Uchronia is a highly entertaining album blessed by a thoughtful concept, clever adventurous songwriting and skilled mature performances, all captured in sound production values.

All this makes Uchronia a certified recommendation worth exploring for progressive rock enthusiasts, especially those with a preference towards the heavier bombastic side of the neo-progressive spectrum. With thoughts of a physical release, and a foreseeable future that includes the possibility of live performances, it leaves me only with one question: why on earth did I ever part ways with my tapes...?

Maart 2023 door Arne van Os van den Abeelen

Een band die in 1987 werd opgericht komt nu met een eerste volledig (concept) album met 6 fantastische composities. Een album dat de rechtgeaarde prog liefhebber direct moet aanschaffen. Verwacht Mellotron, synthesizers, Moog Taurus baspedalen, bij vlagen Gilmour-achtig gitaarwerk, mooie baslijnen, lekker drumwerk en prima zang. Hier zijn hele goede en ervaren muzikanten aan het werk.

De harde kern,Ron van der Park (gitaren), Hans de Graaf (bas en zang) en Marcel Faas (toetsen) is, in fasen, al sinds de oprichting bij elkaar. De derde drummer, Louis Carlebur, werd in 1987 geboren.

Uchronia beschrijft een hypothetische tijdsperiode van de wereld. Van der Park schreef de meeste muziek, terwijl De Graaf de teksten voor zijn rekening nam. Ieder nummer op dit album kent zijn hoogtepunten, eigenlijk is iedere track een hoogtepunt. Het is stevig, subtiel en vooral geweldig gespeeld en gezongen. Toetsen en gitaar wisselen prachtige solo’s uit terwijl De Graaf ook nog eens naast de zang ook nog eens prachtig basspel laat horen. Het drumwerk is technisch heel verzorgd en solide. Een klasbak deze Carlebur.

De roots van de harde kern mag dan in de jaren 80 liggen, dit album klinkt modern en dynamisch. Hier is met veel liefde en kennis heel zorgvuldig aan gewerkt. De mix is van hoog tot laag uitermate geslaagd, een knappe prestatie. Het mag dan erg lang geduurd hebben voordat dit album gerealiseerd kon worden, maar wat een resultaat.

Het zal me niet verbazen als dit album in mijn jaar top 10 terecht komt. Ik kan niet wachten om deze band live te zien.

Older reviews

"... after a few spins [of Source Code] my indifference changed completely. Signs do now how to play interesting prog rock. First of all they have in Hans de Graaf a good bass player and fine vocalist with a pleasant British timbre (a little 'Fishy Fugazi-style' now and then, like in 'Scanner'). And second of all they have Ron van der Park, who is not afraid to masturbate on his strings like a Guitar God, as in the majestic, nine-plus minute epic 'Knots And Tangles'. But still all in the name of "The Song". The varied drums and the rich, but not overdone keyboard layers of respectively Bert Vliegen and Marcel fulfils the sound of Signs. A sound that has obviously its fundaments in the eighties, but contains the fresh-ness of present time to keep it interesting, without the obnoxious Back To The Future-eighties sound. [...] Fans of Marillion (Fish era), IQ and Pendragon: you know what to do!" - Lords Of Metal November 2004

"Signs proves they can still progress musically. They keep experi-menting nicely, without losing their own style. The only downside to Source Code is that this musical treat is limited to only two new songs." - iO Pages October 2004

"After their performance, I could only draw one conclusion: Signs is back, and can easily match any other Prog Rock/Metal band in this country. Even more, I wouldn't be surprised if the band with one hand tied behind their backs still out-plays all progrocking competition. Not only because of their catchy songs and excellent instumental skills, but also because of the pure, undiluted fun they display on stage." - (Concert review) Lords Of Metal November 2004

"By mixing styles Signs created their own style. Did Chimera already sound good, Private Eyes gets you by the throat even more. De Graaf rumbles his bass, Van der Park is soloing relentlessly and Faas complements things beautifully. They deliver a record that could've easily matched albums of bands like For Absent Friends, Egdon Heath, Kayak and Taurus." - iO Pages september 2004

"...singer/bassplayer Hans de Graaf seems to be a dutch Geddy Lee, playing and singing so easy! Also keyboard player Marcel Faas did a great job, as well as the drummer Bert Vliegen. The guitar player Ron van der Park played awesome, very melodic and with whole his heart! If you really dig sympho/progrock with an typical IQ/Marillion touch and Dream Theater kinda like riffs, check these guys out, they are awesome." - (Concert review) Dutch Progressive Rock Page July 2003

"Signs proves that Progrock can be done differently. With Square Circles they even cause a small sensation. The songs are variously atmosferic or up-tempo and drag you into a better world that is dominated by honesty and equality. " - Meltdown Magazine

"Private Eyes is Signs' musical Top Achievement!" - Aardschok/Metal Hammer

"The social-political lyrics, the power of the songs, and their tight musical sound result in one of the best Dutch demo's in years" - SI Music Magazine