siLLy puPPy Germany’s VANDEN PLAS was one of the pioneering progressive metal bands forming as far back as 1984 and joining the ranks of Dream Theater, Psychotic Waltz, Mekong Delta and a bunch of others in the 1990s by delivering some of the most cutting edge metal meets prog the decade had to offer. The band has weathered the storms for well over four decades now and even produced four rock operas. VANDEN PLAS’ prog metal creds are undeniable and yet somehow this band has remained just outside of my grasp. Although i’ve heard of them for years and even checked out an album or two, there was just something about them i found off-putting. Well, sometimes it’s unwise to sample the proper nectar before one is ready to glean the benefits and i figured it’s time to once again dip into the musical world of VANDEN PLAS since the band is obviously in no hurry to set up a retirement plan.

Although the band debuted in 1994 with its first release “Colour Temple,” the band has never been in a rush to pump out as much product as possible. The latest album THE EMPYREAN EQUATION OF THE LONG LOST THINGS is the band’s 12th album and it’s absolutely amazing that this band has pretty much kept the same lineup since its 1994 debut. The exception to this long lasting stability was broken when keyboardist Günter Werno departed in 2023 and for the first time VANDEN PLAS had to scout out some new talent to fill his shoes. The band found a suitable replacement with Italian born Alessandro Del Vecchio who has been well seasoned in a number of bands including Alex Beyrodt’s Voodoo Circle, Sunstorm and Silent Force. Given his prog rock / power metal / hard rock creds, a perfect candidate for VANDEN PLAS’ classic prog metal sound that seems to remain firmly planted in the 1990s.

While the world of progressive metal has evolved exponentially since the 90s and branched out into every possible direction conceivable, VANDEN PLAS has retained its ties to the early heavy metal and power metal roots that spawned the more progressive metal variations that emerged in the 1990s. The band features the same style of guitar riffing and accompanying solos, melancholic atmospheres, frenetic keyboard runs, high pitched vocals and the typical melodic and rhythmic drive that made the earliest variations of prog metal so endearing. Not much has changed in the VANDEN PLAS camp as the same formulaic approach as always has been implemented. THE EMPYREAN EQUATION OF THE LONG LOST THINGS features six tracks and adds up to the 55 minute plus mark. The tracks are mostly on the longer side with every track clocking in at over six minutes and the lengthiest grand finale “March Of The Saints” approaching the 16-minute mark.

The album starts off with the title track and showcases beautiful piano rolls and the classic build of tension that merges into the prog metal thunder the band is famous for. Andy Kuntz still delivers clean and confident vocal workouts and the band is by all means a well-oiled machine at this point in their career and newbie Del Vecchio seems to fit in like he’s been a member of the band since the beginning. The tracks are all well-crafted and deliver veritable slices of that old school prog metal stylistic approach that will remind you of classic Dream Theater, Fates Warning, Symphony X, Threshold, Pagan’s Mind, Shadow Gallery and a gazillion others. In that regard little has changed in the VANDEN PLAS sound and the band carries on as if the modern world doesn’t exist. For some that may be a nice comfort zone and for others it conveys a band that remains staunchly committed to a certain stylistic approach that refuses to branch out into new turf. Whatever the case, VANDEN PLAS’ latest offering delivers a veritable slice of classic prog metal but doesn’t really do much more. Even the 16-minute closing “March Of The Saints” doesn’t deviate from the overall established sound of the band in any way.

Upon listening to THE EMPYREAN EQUATION OF THE LONG LOST THINGS i’m reminded why VANDEN PLAS never really clicked with me. Sure they are a more than a competent band that delivers all the prog metal goods in fine form but the band lacks imagination and a creative spirit that animates the music to a higher level. This album is very anachronistic and may serve as a form of comfort food for those who have been alienated by the world of prog metal seeping into the caustic arenas of dissonant death metal, black metal and extremist hybrids and for that it is perfectly suitable however i just find this band to be a bit too generic for my liking. There is not a single bad track on this album and the performances are impeccable with every keyboard run, every guitar riff and every drum roll teased out to perfection but there is a very clinical feel to the album as if VANDEN PLAS engineers its music through a microscope rather than allowing an organic process to inspire and evolve its style. It’s sure to be a fan pleaser for those who expect a band to remain consistent but after three decades i would expect the band to have at least evolved a smidge. Decent album but comes off as prog metal by the numbers.

Kev Rowland 25 years from the 1994 debut ‘Colour Temple’ and the same five guys are back with their ninth studio album, which is the first of a two-part concept project, with the second album to be released later in 2020. Apparently, it is based on a documented paranormal experiment, with the main character in the story, Gideon Grace, having to fight constantly for his life against the relentless shadows of the ‘House of Rain’ as he wanders through France. He expands his knowledge and discovers there are ways he can fight against the creatures of darkness. However, when it comes to the first showdown, rather than finding peace, it does not go well.

I first came across Vanden Plas back in the Nineties, and have heard a few albums since then, and this follows the same melodic rock stylings. They are very similar in many ways to Savatage and Angra, yet without the cut through which has made those bands so important within the genre. They rarely hit all the peaks and height, and for me it always seems as if something is missing although I many not always be able to put it into words (which is poor for a reviewer, I know). They first formed the band when they were working in music in theatre productions, and they are all solid musicians with a great singer in Andy Kuntz. But I find my attention wandering while I am playing this and as soon as it is over, I have totally forgotten what it was like. The guitars are tight on each other, but instead of being a benefit it is a constraint. There are certain passages, such as during “Fall From The Skies”, where everything works and is incredibly impressive, but this few and far between. Over the years they have built a large number of fans, but this is another solid middle of the road album from Vanden Plas without ever having the sparks to make it truly inspirational and essential.

The Block Rush of Silence

Vanden Plas had never caught my attention enough to get any of their albums. But, once “The Seraphic Clockwork” came out, I was instantly enthralled in their great sound and talent. “The Seraphic Clockwork” is a little over an hour long and it never once gets boring, sporting great riffs, choruses, and overall perfect technicality. Every thing mixes well and the musicians are absolutely superb.

The guitars are nice and heavy on this album and when mixed with the drums offer up a great sound that any metal fan will enjoy. On the track “Rush of Silence” where the guitars offer a great starting point for both the song and the vocals, this is especially apparent. The harmonies on this song play a key role in it being one of my favorite on the album. The vocals by Andy Kuntz are so crisp and clear that when they are harmonized it sounds almost as if it were on voice which adds so much to the overall great feel of the album. The bass, played by Torsten Reichert is absolutely superb and you can really here how good he is on the ballad like song “Quicksilver”.

Another great thing about Vanden Plas is that they play prog metal in one of its simplest forms. Of course simple and prog metal is kind of like and oxymoron, but in this case it is true. They focus more on being technically sound than playing fast of even insanely hard things that if not played right would sound bad. Even if Vanden Plas did play any of the above, though, they would still sound excellent.

The production on this album is another high point, featuring great transitions between light and heavy, drawn out and tight. In a way it is some what similar to a lot of recent prog metal albums that I’ve listened to, but it is still great production.

Vanden Plas is a superb band that deserves every credit that is thrown there way. In the past, they have released some great material, and they have continued that tradition here with “The Seraphic Clockwork”. It took me awhile to realize how good this album was; around 3-4 more listens than usual, but many progressive metal fans will be able to tell how good this album is with in the first couple of listens. For a great release Vanden Plas gets 4 stars.

Pelata Captured at the famed Elysee Montmarte in Paris during a sold-out performance in February of 2000, Vanden Plas’ Spirit of Live is a powerful, energetic live album!

Live albums, for me, are usually hit and miss. Either the mix is bad, I don’t like the song choices, the vocals are way below par or, sometimes, all of the above. The first thing that jumped out at me with this disc is that the mix is huge! Thumping kick drums, thick guitars, omnipresent keyboards and a solid bottom end allayed any fears I had about the sonic quality of Spirit of Live. Test 1: passed.

The songs here paint an accurate picture of what Vanden Plas is. In case you don’t know, Vanden Plas is a melodic prog metal band from Germany along the lines of a more European styled Dream Theater minus the tendency toward 30-minute songs. Everything about this band just screams maturity! The song arrangements, the dramatic melodies, the emotional and spiritual lyrical themes, even the way they use their progressive qualities all flow effortlessly and seamlessly together into an all-around great aural experience! Probably the best band of their kind to emerge from Germany, ever! The songs here are drawn from their three studio albums, plus two new instrumentals. From the band’s ’95 debut Colour Temple, we’re treated to “Soul Survives” and a newly re-arranged version of “How Many Tears” complete with a crowd sing-along of the songs chorus led by vocalist Andy Kuntz, en Francais! Tres cool, if I may say so! From The God Thing, the album many Vanden Plas fans consider their best, we get “You Fly” and “Rainmaker.” The latter features a guest appearance by newly christened Elegy axe-man Patrick Rondat. And lastly from their last studio disc Far Off Grace we get show opener “I Can See,” “Into the Sun,” “Iodic Rain” and the albums title track. All in all a good cross section of the band’s strong points. Test 2: passed.

Now the main problem I have had with live albums in the past: the vocals. Usually, a live album is recorded near the end of a tour. This is great for the band, because by the end of a tour, they are usually about as tight and precise as they can possibly be. That is certainly evident on Spirit of Live. Each member of the band gives a stellar performance. Guitarist Stephan Lill is on fire! He balances fury and finesse like few guitarists can. Just listen to his instrumental spotlight “Spirit of Life” for confirmation of that statement. Keyboardist Gunter Werno pulled away from his many guest fill-ins long enough to prove why he is in such high demand as a session and tour player. His own solo piece, “Journey to Paris,” starts off with a blazing synth lead before an almost tear-jerking piano melody makes you want to close your eyes and just listen. Bassist Torsten Reichert and drummer Andreas Lill are both at the top of their game this night. What about the vocals? Well, Andy Kuntz has done what I thought to be almost impossible! He actually sounds just as good on this live album as he does on the band’s studio offerings! Each song is delivered true to form with apparent ease. He holds all his notes in the right places, his feel and range are good, and he shows virtually no signs of fatigue. It’s also cool to hear him speak to the audience in English and French, stirring them into a frenzy! The live background vocals are also on the mark, even if a little low in the mix. Test 3: passed with flying, vivid colors!

Vanden Plas has delivered a live album not only for their fans, but one that could easily serve as an introduction to their powerful music. Bravo!

Pelata Vanden Plas is a band I latched onto back when their second full-length The God Thing came out. At first listen, I thought it was pretty similar to Dream Theater, but different and good enough to warrant plopping down my hard earned cash. Further listens revealed a band with their own sound, their own style, their own feel and that is creating their own distinct mark on the prog metal scene. I have been hooked ever since. Their last studio effort Far Off Grace garnered them even more positive attention, while finding the band simplifying their approach just a bit. It was a little heavier, and a bit less complex arrangement-wise. Not to say that is was a bad record, it was very good and still quite enjoyable, but it was different.

However, with the release of their fourth full-length release Beyond Daylight, the band takes the heavier direction of Far Off Grace and steers it into the more progressive territory of The God Thing, thus creating their most complete work to date. This record is nothing short of stellar! From the dense, Stephan Lill’s wide rhythm and velvet acoustic guitar tones, to the mood-creating keyboards of Gunter Werno, to Andy Kuntz’s rich and powerful vocals, this is an album that screams quality. Opening cut “Nightwalker” has a slow burn verse before a strong, emotional chorus, which gives the record’s first real taste of Kuntz’s vocal skills; strong, soaring melodies. The instrumental section is proof positive that the band is back on a prog playing field and showing their abilities superbly while not firing a barrage of notes at the listener. “Free The Fire” is a straight up metal burner with headbanging tempos and lots of cool double kick-drum patterns. Lill’s soloing here is spectacular as well. The nearly 11-minute title track is yet another jewel in Vanden Plas’ crown. Beginning with beautiful piano work by Werno, it delves into a strong, syncopated riff overlaid with nice keyboard color. The verses have a good, intense feel with Kuntz’s vocals once again taking center stage in the chorus. This is a band that can take you on a journey and not have you wanting to hit the ‘skip’ button.

For me, the highlight of the record is the third track, “Scarlet Flower Fields.” Beginning with an ambient acoustic/vocal melody it builds into a deep, moody piece of melodic metal mastery. Werno’s keys add the right nuances on the breaks and transitions throughout the nearly 6-minute piece. The mood creation in this tune is among some of the best I have heard, giving the listener a sense of desperation and longing every time that impeccable chorus comes in. The instrumental section is another hot spot for the band, building, twisting and turning through catchy syncopations, grand melodies and more excellent soloing by Lill. I’ll go ahead and say it flat out, Stephan Lill is a totally underrated and unrecognized player. His soulful feel combined with his top-shelf chops make for one intimidating guitar slinger! Let’s hope this record helps bring him, and Vanden Plas, into more of a prominent place in prog metal. Beyond Daylight finds the band combining their collective and individual strengths into a record that will not only make a strong first impression, but is sure to be remembered many years from now as one of the best releases in the genre.