The band's follow-up still finds it working very much in the vein of orchestral rock, largely driven by Stewart Wooly Wolstenholme's keyboards and the presence of the London Symphony Orchestra. The reach of the music exceeds the grasp of the lyrics, though -- they lack the cold oracularity of Peter Sinfield or the allusive cleverness of Peter Gabriel. Still, there's some fine compositions here. "She Said" turns upon a keening opening Mellotron riff to develop into a slow-four dirge. "Song for Dying" shows off the band's fine ability at vocal harmonies, while the later concert standard, "Mocking Bird," shows a dramatic evolution from pensive acoustic guitar to a full-blown orchestral attack. ~ Paul Collins

Rovi