MAYFAIR — Behind... (review)

Album · 1993 · Progressive Metal

4.5/5 · 2013-03-28
Time Signature

Highly original progressive metal album reissued...

Genre: progressive metal

Originally released in 1993, Mayfair's debut album "Behind" was probably one of the most original progressive releases that year, and probably also one of the most undeservedly obscure releases. It is progressive metal, but it is more than just progressive and just metal. Aspects of it even beyond description through mere words and have to experienced first hand. It has indeed been a cult album. But "Behind" is going to be reissued on Pure Prog Records in early April in a luxury edition which also features a bonus disc of rare demo material.

So, "Behind" might lose its cult status, but it will deservedly be made available to a broader audience and to younger fans of progressive metal who were not even around when it came out back in 1993.

Combining dynamic prog metal drums in the vein of Mike Portnoy and Mark Zonder, but more restrained, with distorted guitars that are sometimes atmospheric and sometimes aggressive, "Behind" is generally a very dynamic album, which takes the listener through several moves and passages, twists and turns. Another dynamic aspect is the juxtaposition of distorted guitars and clean guitars, while the bass, being placed smack in the middle, is both a backbone element and the string instrument that really pokes out. In a Voivod-fashion, most of the songs on the album feature sections with dissonant chords, which nicely challenges the listener, and at the same time stands in an interesting contrast to the Gothic mood guitars that characterize 'Generation Isolated', 'Madame Pest', and 'Ecstasy'.

In addition to the prog and gothic elements, there is a certain avant-garde feel to the album, which partially stems from Mario Prünster's unique way of singing, which sounds a bit like a cross between Geddy Lee and Jello Biafra and a fin de siecle funhouse. In other words, the vocals are an acquired taste, but they are also part of what makes this album so unique, and, well, I think Mario Prünster's singing is awesome.

Production-wise, the reissued version, although it has been remastered, still sounds quite fuzzy and raw. And, you know what, I quite like that. It has authenticity, and has not been made too polished.

Then there is, of course there are the bonus tracks. Among these are all three tracks from the "Find my Screams behind this Gate" demo tape from 1991 as well as some previously unreleased material. These bonus tracks are just as elaborate and dynamic as those on "Behind", displaying the same artistically adventurous spirit. The production quality of the bonus tracks varies from being pretty good to being very raw (this applies in particular to the last four tracks which were recorded in the bands rehearsal room back in the 1990s).

Progressive and challenging, the reissued version of "Behind" should, in its entirety, appeal to fans of as diverse progressive metal acts as Psychotic Waltz, Dream Theater, Fates Warning, Watchtower, Thine, Atheist, Hammers of Misfortune, Chowder, and Sorrows Path. It is truly unique and deserves being rereleased to a broader audience.