I´ve always considered Kevin Moore as the most undervalued musician of Theater saga. It was unjust when he was replaced by mediocre Sherinian and although his work was forgotten and eclipsed by the great Jordan Ruddess, his labours for Dream Theater were very important to the band´s success.
After leaving the ship, Moore created the project Chroma Key. Although I don´t like Chroma´s music I must admit that it set a precedent in what we could define as “art-rock” and it has been an influence for people like Steve Wilson or the second wave of new swedish progressive rock. The last time we heard about Moore it was when “Office of Strategic Influence” by supergroup OSI was released. The band was formed by Moore, Matheos (who was going to be the original Transatlantic´s guitar player), Portnoy, Malone and Wilson, and the album could be considered “another Chroma Key album but less boring”.
Now he returns composing the music of the film “Okul”, a Turkish terror and black comedy movie (Kevin now lives in Turkey). He is the mastermind behind the whole album only helped by local singers (Bige Akdeniz and Muarem Akkus) and Foe Sho who composes and performs a couple of tracks “Romantik” and “Erotik”.
The album has 18 cuts linked, as usually happens with Soundtracks, along forty five minutes. There Moore tries to explore the boundaries of his own style. Cold but organic keyboards supported by clean but also distorted electric guitar arpeggios. Something we´ve already heard on previous Moore´s albums but here we can also find few elements from Turkish folklore, as happens in “Far Fara” (1:41) or “Cowbloke” (2:26), with a little reference to Goblin. There are also descriptive and cinematographic tracks like “Piano Theme” (1:43) and “Roof Access (day)” (3:33), “The Hecklers” (3:37), “Shall we Jump” (1:44); transition tracks like “P.S.” (1:30); as well as the most introspective Moore in “Overhead” (3:32) or “Hallways and Light” (2:40); or experimental (“Mirrors and Phoners” (4:03). The last track “Sad Sad Movie” (5:38), the typical “end credits”, is Chroma Key at its best.
The two tracks composed and performed by Foe Sho lead us from the almost Nyman lyricism of “Romantik” (1:31) until trance moments drenched in Philadelphia sounds (with sighs and “yes, yes” included) of “Erotik” (2:46).
Although this album won´t go down in history neither progressive rock nor Soundtracks, it´s varied and amusing enough to be highly recommended. Again Moore does what he pleases.