Landmarq "Science Of Coincidence" review – Mellotron Magazine (Argentina) – July 1998
(English translation)
How will Landmarq follow the departure of lead vocalist Damian Wilson? Moreover, how will they create their sound round a new female voice?
The answer is "Science Of Coincidence" – one of the best records of the year. It’s evident the new sound relates more to the intensity and atmosphere of ‘IQ’ than the force of the first ‘Arena’; above all, the magnificent (previous album) ‘Vision Pit’. The lyrics for many of the themes for the new album are wide and inspirational.
The melodic development and instrumental of (the track) ‘The Vision Pit’ is one of the best of recent years of English Progressive rock. The ‘moog’ by Leigh and expressive guitar of D’Rose are more apparent than ever for most of the record. Some shorter tracks don’t have the instrumental flight of the longer epics on the album and more so do not allow as much melody. And with strange expressions like in the first track, "Science Of Coincidence", which starts and ends in a more conventional form but includes a brilliant instrumental game between D’Rose and Leigh, introducing some surprises in store on the album.
The extensive "Lighthouse", six minutes later, transforms itself into a crashing final instrumental of Hammond, moog and guitar at the end like earlier Genesis songs ending in an emotional instrumental similar to ‘Pendragon’ or ‘IQ’.
The short "Between Sleeping And Dreaming" is of notable beauty, comprising of piano and strings and the magnificent voice of Hitchings on top. The dramatic change of melody in the middle of the song, with guitars similar to Gilmour or Latimer, is reminiscent of Pink Floyd on ‘Goodbye Blue Sky’.
"More Flames For The Dancer" is an energetic song with rhythmical expression and the well-worked moog of Leigh and one of the most emotional pieces of singing by vocalist Tracy. Throughout the song, one can hear the vocals of ‘The Landmarquettes’ – a chorus of children well incorporated into the song. A notably emotional number. This contrasts with the angered tone of Hitchings until the noticeable finale with the guitar of D’Rose along the lines of Rothery (Marillion) on ‘Heart Of Lothian’.
"The Overlook" is the records’ pearl starting with a chorus of children singing an infants song (‘Frere Jacques’) which underlies the piano of Leigh and the introduction of the expressive voice of Hitchings creating a newly ‘Floydian’ dramatic atmosphere rounded off with a huge guitar solo by D’Rose. After 5 minutes of the song, during a furious piece, the band start an instrumental passage even more brilliant than before with Leigh’s Moog, Hammond and Mellotron and D’Rose’s guitar plus the great work of (rhythm section) wagstaff and Gee.
This song is a landmark of the ‘90s and a grand finale of a great record – an indication of a great future placing them along with the biggest bands of the nineties.
Andres Valle