Mirage
Mirage makes a strong case for progressive rock built around melody and the interaction between musicians. Andrew Latimer's guitar and flute work closely with Peter Bardens's keyboards, while Doug Ferguson and Andy Ward give the longer arrangements a firm foundation. The music changes direction often, but a memorable phrase is usually close by.
Freefall provides a lively opening. Guitar and keyboards exchange ideas over an active rhythm, with the vocal adding a clear point of return. The changes in pace do not break the song apart. Instead, they make the opening feel animated, establishing a balance between rock energy and more detailed instrumental writing.
Supertwister changes the mood through Latimer's flute. Its shorter, gentler arrangement has a playful quality, providing useful space before Nimrodel / The Procession / The White Rider. That longer piece moves from a quieter introduction into a more pronounced march, then opens up for the keyboards and guitar. The rhythm section keeps the different passages connected rather than simply waiting for the next solo.
Earthrise places the emphasis on the four players working together. A flowing instrumental arrangement gives the guitar and keyboards room to develop their melodies without losing the underlying groove. The appeal comes from the way the parts respond to each other. It is intricate music with a clear sense of movement.
Lady Fantasy gives the album its most substantial finish. A strong guitar theme holds together the slower passages and more forceful exchanges, returning after the music has travelled through several changes. The playing has enough melodic focus to make the length feel earned. The words are less impressive, with a romantic tone that can sound awkward beside the strength of the instrumental writing.
Mirage is most convincing when the instruments lead. The voices provide shape, but the guitar melodies, flute and keyboard exchanges carry its identity. Some of the writing still has the rough edges of a band developing its approach. Even so, the original five pieces form a well-paced record, with enough contrast to make the long arrangements inviting rather than difficult for their own sake.
