Distributor/label [URL]: http://www.dr-music-promotion.de
Buy Album [URL]: https://www.amazon.co.uk/Mirror-Creation-III-Project-Ikaros/dp/B07BHTX239/ref=sr_1_1?ie=UTF8&qid=1525958581&sr=8-1&keywords=tomorrow%27s+eve+mirror+of+creation+iii
Band Website: https://www.facebook.com/Tomorrows.Eve.official/
Martin LeMar: Vocals
Rainer Reason: Guitar
Oliver Schwickert: Keyboard
Mike LePond: Bass
John Macaluso: Drums
1. Welcome To The Show
3. Bread and Circuses
5. The System
6. Law And Order
7. Dream Within A Dream
9. Inner Sanctum
10. Somnium Ex Machina
11. Gods Among Each Other
Tomorrow’s Eve are progressive metal allstars, featuring Martin LeMar (Mekong Delta, Lalu, Night Cries) on vocals, Mike LePond (Symphony X) on bass, John Macaluso (Yngwie Malmsteen) on drums as well as founding members Rainer Grund on guitars and Oliver Schwickert on keys. Their fifth album ‘Mirror Of Creation III – Project Ikaros’ was released on April 27th 2018 through Dr. Music Records.
What’s good about this music is the way all instruments get their time to shine. There are some great bass lines in this, jazzy keyboard chords and wonderful, perplexing drum beats in frequently changing time signatures. The way the instruments combine with each other is also very rich and colourful. However, instrumental melodies and in particular keyboard melodies have tendencies to be in constant straight quavers for long periods of time, and no strange meters or obscure scales can stop them from getting exhausting. The vocals in the style of later Bruce Dickinson are forgettable. They certainly aren’t as well crafted as the lines found in Yes, and needless to say vocals are super important, usually being the centre of attention. The performer’s voice also sounds a little strained.
Despite the virtuosos in the ensemble, the musicianship isn’t particularly indulgent. That’s no criticism, but if that’s what you look for in music, you may be disappointed. There are the occasional notey solos, but the music mostly relies more on the songwriting to pull the listener in. However, the latter is rather average when compared to many bands in the prog genre. There isn’t really the expert development found in Dream Theater at their best (think Erotomania or Learning to Live) and there are no 20 minute epics. Then again, DT are masters at what they do, so that is far from a surprise, and to be fair the last track is a fairly lengthy 8 minuter.
In conclusion, rather than the album being a fascinating journey, the same kinds of down-tuned, sludgy guitars and mechanical keyboard ostinatos get repeated too much. Consequently, the experience becomes a little boring towards the end of it. Having said that, the constant richness to the music gives it a longer lifespan. It would take many listens before one would get completely tired of it, as there is so much to ‘learn’. Another pro of this material is the fact it has its own sound. It’s not as aggressive or ostentatious as Symphony X, but it is more complex than bands such as Threshold. The musicianship is also more advanced than the stuff found in prog legends ‘King Crimson’, though the songs aren’t as good and are certainly no classics. The music on the whole is pretty decent, but there is better stuff out there.
Review by Simon Wiedemann