Andreas Vollenweider's
Book of Roses marries concept to contemporary instrumentalism, and blends the music of numerous cultures into the composer's already worldly sound. Separated into four chapters (where each song is an "episode"), the album chronicles the journey of a young girl from dances in grand ballrooms, through mysterious woods full of magical jugglers, to an eventual meeting with the Sphinx. In between there are numerous other adventures, each punctuated by some of the most ambitious music of
Vollenweider's career. His trademark electric harp is still here, and the flair for sweeping arrangement is intact. But the straightforward pop-jazz of "In Doga Gamee" (complete with lyrics) suggests
Soul Cages-era
Sting, while "In the Woods of Kroandal" marries a romantic classical swell to flamenco guitar and nature sounds. Vocals return for "Hirzel," which flirts with pop even more blatantly, breaking into a reverb-drenched electric guitar lead midway through. But
Vollenweider then really gets experimental with "Manto's Arrow and the Sphinx" -- with its relatively conventional harp dominated by the whooping and sequenced screeching of a female vocalist, the song is completely unclassifiable. While "Sphinx" is ultimately too outrageous to be functional, it proves that
Vollenweider -- by now an established heavyweight in the new age arena -- is not afraid to try out new ideas. Fans of the composer's early, more ethereal work might be a little put off by
Book of Roses' worldbeat flair and pop leanings. But they will no doubt enjoy the album's more thematic elements, which cleverly tie its various sections and sounds together with the turning pages of a book. Likewise, the finale, "Letters to a Young Rose," is classic
Vollenweider, matching his modified harp to a shuffling accordion as it moves through various moods and tempos.
Book of Roses isn't recommended for the casual
Vollenweider fan, but it's a must-read for the faithful.