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Credo - Field Of Vision

Artist: Credo
Title: Field Of Vision
Label: Cyclops CYCL012
Length(s): 45 minutes
Year(s) of release: 1994
Month of review: 10/1994

Line up

Paul Clarke - percussion
Tim Birrell - guitar
Mik Stovold - keyboards
Mark Colton - vocals
Jim Murdoch - bass

Tracks

1) Rules Of Engagement 3.40
2) Good Boy 5.18
3) Don't Look Back 4.51
4) Alicia 4.46
5) Power To The Nth Degree 4.51
6) Phantom 4.08
7) Sweet Scarlet Whisper 4.42
8) Party 5.46
9) A Kindness? 7.22

Track 7 acknowledges the brilliance of Geoff Mann. They use a very small part of Love Song her: Again and Again). On the booklet, tracks 3 and 4 are swapped with 5 and 6. All music by Credo. Lyrics all by Stovold except track 8 lyric by Colton, with help of Stovold.

Summary

Read on.

The music

The album contains neo-prog, that is easily found. The main influences are Marillion (sometimes literally) and I think a new band like Ark is quite close to them. The latter has to do with the rawness/punkiness of the vocals, which I always found very special to Ark. The music is also more rock than melody at times, which makes the comparison to Marillion a bit harder. Still, at times they do remind me of Script, not just musically, but also lyrically.

The first song is quite heavy with a layer of keyboards. The subject is marital life and it's even worse than in Punch and Judy: 'Stand by your beds, ten paces....,turn...,fire.' The second song starts out like Market Square Heroes and is definitely very Marillionesque. The vocals take away the comparison right away. Still, the atmosphere is there, a bit threatening and ironic, maybe a bit in the style of Garden Party. Good Boy is about upbringing ending somewhere near Forgotten Sons. The instrumental part of this song is very good. Don't Look Back is about the dreariness of spending time in front of your tv or being in the same room as the larger part of your family (in the extended sense, grandma,...). This song is a lot relaxter than the former two songs. I'm not really fond of the refrain. This song is as progressive as the songs on Internal Exile; more a song than a symphonic work. Alicia reminds me a lot of Chelsea Monday, both in content (a girl on the brink of suicide) as well as in atmosphere. Needless to say, the supremacy of Chelsea Monday is not in danger; Alicia lacks the emotion. BTW it ends with The Web. Power to the Nth Degree is up next. Apocalyptic and ironic song with some funny breaks (What! But breaks aren't supposed to be FUNNY!), but it doesn't hang. Next we come to Phantom, a bit Cure like song, with the bass in the beginning piping the tune. A bit like A Forest. I like this song, a bit menacing, some emotion becoming evident. Sweet Scarlet Whisper contains a reference to Geoff Mann, who's memory keeps a lot of people busy. It certainly is a love song and thus it's kind of slow and drags on (not in the bad sense). The melody of this song is actually one of the strongest on the album. Party is some of a party song and that's why I unconciously hold something against it. Marillion comes up again, when he says Welcome To The Party, it directly reminds me of We Are All Fugazi. This song might be good to hear live. A Kindness? is a bit of a strange song, but it does the trick. Somehow it reminds me of Peter Hammill, but can't say exactly why, because it's just plain prog and not really anything like him, but still some passages... In this song they use double vocals and it works well. The guitarsolo is a bit too obvious (reminding me of an unknown song by The Origin, Never Coming Down).

Conclusion

This band is neo, enthuasiastic, a bit on the raw side, especially the vocals, that are not only raw but also expressive and might need some getting used too. They are also rockier than most and sounding in some respects like other more known bands, but also having something of themselves. Because of their rawness, they sound a bit, well amateuristic. The lyrics are already quite good; I wonder where they might grow in to. Are they good? Hmm, hard too say, on the one hand, I've heard it all before, but still they are charming.
© Jurriaan Hage