This is one of the strangest CDs you'd ever get if you do find a copy of it. It's a blast from the past in a way, though how good of one is debatable. Alo Mattiisen, the mind behind the second incarnation of the legendary In Spe during the mid 1980s, died in the summer of 1996 before having the chance to release some of his most prominent, enigmatic, and classic pieces. This CD is a partial redress of that tragic turn of fate, as two of Mattiisen's best-known extended rock operas finally see the digital day of light.

However, to call this prog in the traditional sense would be difficult -- even in the non-traditional sense it would be difficult. Both of these pieces are in the "rock opera" school, with several characters played by different singers. In many ways, the vocal parts feature most prominently, often over the music. For some prog fans, that may be difficult to fully enjoy. However, there are segments of fascinating passages in each of the pieces.

The first piece is one of Mattiisen's best known: "Roheline muna" (Green Egg). However, this is not the original version of the classic piece from the mid 1980s; instead it is a re-recorded version from 1999. The three voices are provided by the enigmatic Peeter Volkonski (who also wrote the libretto), Hardi Volmer, and the sometimes shrew-like Silvi Vrait. Accompanied by the famous Police Orchestra Big Band, which is one of the best in the country, brings a different dimension to this classic work. Instead of comparing it to the original version, which is senseless, this should be judged on its own merits.

Saying that, it probably wouldn't appeal to many prog rock fans. Though there are several segments with nice music, as well good use of the choir (the "Noorus"), most of it sounds like something you'd rather see on Broadway -- albeit in Estonian. It has that quality about it, with the various vocal parts and chorus, as well as the arrangement of the orchestra's parts. There are some nice parts to the rock opera, such as the middle chorus (5) and some of the flute-inspired parts (excellently played by Monika Mattiesen) in the middle. A later chorus (8) is one of the best segments of the piece, played most excellently by the orchestra with a superb choral performance -- even the rare appearance of an organ. Volkonski is at his most normal throughout the piece, whatever that may be, almost coming alive out of the CD player.

Perhaps this is a personal observation and bias, but again, the parts sung by Silvi Vrait is rather shrewish for me to handle. If Roger Waters ever wrote the part of "mother" into The Wall, the part would be perfect for Vrait. She does have a fantastic voice, but her singing style just does nothing for me; instead, it really takes away from the piece at times.

The use of the orchestra really makes "Rohelina muna" sound like something for a night out at the theatre rather than a prog audience. It is a bit frustrating at times for prog fans -- much like material by the Latvian band Perkons on some of the creative stuff by composer (now MP) Imants Kalnins. However, seeing this performed by the characters would give it more meaning; but just listening to this, it's hard to grasp it fully.

The second piece, "Näärmed" (Glands), is the original from 1987 with Alo Mattiisen playing the keys himself, this time with a late formation of In Spe accompanying him. The same three singers -- including Silvi Vrait -- are featured as prominently on this second completely related piece. For prog fans, this second piece makes a lot more sense -- as it is clearly meant in that direction.

You can hear an immediate difference from the first piece, and it sounds at the beginning so classically Mattiisen-era In Spe. The works of vibes player Terje Terasmaa (whose vibes playing from the second In Spe release is so memorable) and flautist Peeter Brambat is so clearly apparent from the first moment. The jazzy overtones that we know and love from Mattiisen are all over this piece -- it sounds almost like an extension of that era of the fabled band. If you like the second In Spe release (the one with "Typewriter Concerto in D"), you'll like this piece.

The return to prominence of guitar (Are Jaama) and bass (Margus Minn) are clearly welcomed by prog fans in this accompanying piece. With the excellent chorus still around, the 12 years between the recordings have not changed the three singers much; Volkonski is still as strange, Vrait is still rather shrewish -- again a drawback, in my opinion, to the piece. But dare I say it, in many passages she sounded better in 1987 than 1999...

However, the music on this piece is clearly good, as it is very traditional In Spe from the Mattiisen time leading the band. The music is very aggressive at times, using that wonderful combo of keyboards, bass and vibes in a solid attack. At times it conjures up thoughts of the "Typewriter Concerto in D" and also the "Rondo of the Broken Arm" from that release. The performance is rather good. The chorus and flute sections, performed to near perfection by the choir ("Noorus") and the flautist (Brambat), brought a feel of the turn-of-the-century Italian operettas which I love so much.

No offence to guitarist Jaama, but the guitar solos on the piece are not that great. Perhaps with the stuff done by his predecessor Riho Sibul blew the mould here. Some of the lines sound derivative, but not as solid. Bassist Minn, a former short-time Ruja member, did a solid job in the Mattiisen-style of basslines.

It is a bit odd that two pieces that are supposed to be together are so different in feel, sound, style on the final released product. The differences are compounded by the different musicians (different instruments and intent), the 12 years, and losing Mattiisen. It is a shame that the new recording of "Roheline muna" does not come up to the quality of the performance of "Näärmed" from a dozen years before.

Mel Huang
Tallinn, Estonia
4 April 2000

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