The band named In Spe had become a very different prog monster with the departure of Erkki-Sven Tüür and the arrival of Alo Mattiisen. Gone are the multi-layered symphonic arrangements, replaced by a funky-jazzy trademark sound that would make Mattiisen famous. The name was the same, but the band had changed drastically. This second release for the band was a major eye-opened.

Years later, Alo Mattiisen managed to get French prog label Musea to release this as Typewriter Concerto in D, named after the main side-long gem. Though the production was wanting and the packaging horrendous, it was the first exposure to Estonian prog to many outside of the former Eastern Bloc. This is indeed a classic.

The side-long epic, Typewriter Concerto in D, is a spectacular and innovative piece. Who would have ever guessed that the humble typewriter would become a major prog player? However, using its particular percussive tones and intricacies, Mattiisen wrote a fantastically whimsical and innovative piece. For fans of the first In Spe, the sound has changed a lot. There is a lot less of the flute/recorder and multiple keyboards; instead it is replaced with different sounds, with a very large part played by Terje Terasmaa on vibraphones. In combination with Mattiisen's funky playing, a new sound was born. However, we can't forget the typist on this piece -- well-known percussionist (with Ruja and others) Ivo Varts. Excellent use of all the sounds of a typewriter -- the end-of-line bell, the keys, the scroll, etc...fantastic.

The piece starts off already setting the tone of the piece, with the extra use of vibes and the jazzy influences of Mattiisen. "Allegro vivace e marcato" is a whimsical piece that shows the best of the multi-instrumental melody attack that this era of the band is characterised. Excellent overall playing, very imaginative parts for everyone involved. The typewriter makes its way into the song as it goes along, bringing in sounds never heard in prog rock in the past. It is a wonderfully imaginative opening with some fabulous passages. Though the guitar solo of Riho Sibul is a sure linking factor to the earlier In Spe, a trademark style that is well known and loved.

It moves off to the "Largo molto tranquillo," which starts very quietly with a very soft and beautiful bit. It is here that the typewriter of Ivo Varts makes a fabulous "solo" so to speak. Soon it is backed by fuzzy and jazzy bits by the other players, with wonderful melodic guitar passages by Sibul again. Though it does shift upwards in intensity, it is still a very tranquil piece, capped off by excellent guitars. The part ends with a soft section again, with some nice typewriter work which leads solidly into the next part.

The third part of the song is the intense "Allegro agitato," which in its many sections really show off the skills of the players. It starts out with a typewriter attack, backed by the bass of Vello Annuk and Mattiisen on keys, with a nice whistle line for a whimsical look at the song -- with intermittent heavy segments. A solid melody, with everyone on full force still. Contrasts abound in the varying sounds available to the listener, with drummer Arvo Urb playing some fantastic fills -- in accompaniment to the typewriter. The various sounds by flautist Peeter Brambat is also key to making this part work.

The song continues with an excellent guitar solo by Sibul, with a fantastic bass line by Annuk in the background. While the guitars is running away with things, others slowly join in before the main melody theme is reprised with heavy vibes again by Terasmaa. The very final bit of this song, "Finale," is a beautiful reprise of a melodic guitar line by Sibul, with vibes and keys in unison. Beautiful ending -- then a final little blurb by everyone. Wow.

The next song is "Feeling of Eternity," which is a very quiet, self-reflective piece. Also included now is a fabulous French horn, giving this song a peaceful and drifting nature. There is not much more to say...but it's an excellent piece to relax to.

Following that it gets active again with the funny-titled "Rondo of the Broken Arm." This we see Mattiisen's unique style again, with that whimsical jazz feel to it. It has a poppy funk feel to it, but the use of the combo melody playing is excellent again. It has a mock live set-up, so you hear a crowd once in awhile. There is a fabulous passage with the bass of Annuk and vibes of Terasmaa playing a duet, absolutely fabulous fusion-wise.

The next song is a wonderfully melodic guitar-driven piece called "Vallis mariae." It is a beautiful instrumental ballad, with Riho Sibul showing his touch and feel. He is one of very few guitarists that can merge blues into prog without losing anything, especially the wonderful feel from his decades of blues playing. Though nothing flashy, this is one of the three pieces I can think of that makes him the best guitarist in Estonia for the last 20 years.

The final song on the CD is "Departure," which was placed instead of "You Will Not Lie in Obscurity," which for some reason Mattiisen took off the CD (note that the song was the only non-Mattiisen song on the original LP). The replaced track is rather boring, pretty much a long and quiet piece with horn. It's a lot like "Feeling of Eternity," but not a wise replacement.

Overall, the CD is excellent -- showing off the best of the Mattiisen-era of In Spe. The packaging is bad, and the sound quality is not much better than the original LP, but it is still a fine piece of music. The side-long title track is well worth the money to get this gem.

Mel Huang
Tallinn, Estonia
11 April 2000

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