Two and half years have passed since I reviewed the previous The Greek Theater album, Broken Circle, but in truth it’s felt like half that time as I’ve consistently found myself living in the sumptuous sixties progressive psychedelic swirl the band create. Hence, When Seasons Change makes for a hotly anticipated follow up from the Swedish duo behind this undeniably authentic trip into a sound from days gone by. Enticing names like The Byrds, Roger McGuinn and The Moody Blues form the memory, imagery and atmosphere that unfolds as you wander through this poised and languidly passionate voyage. Comprising Sven Froberg and Fredrick Persson as permanent members, the two-some have surrounded themselves with a revolving door of equally engaging talent and a selection of songs that feel unbelievably natural in a way that most acts can only dream of. Followers of Rikard Sjöblom’s solo and Gungfly output will find a readily available home here that I’d be as bold as to suggest outstrips their more feted rival, with the ability of The Greek Theatre to glide you into a sixties laced, seventies honed environment something that will see many cast envious glances in their direction.
What is also exciting to hear is the skill of album sequencing being used to quite stunning effect, the ebb and flow of When Seasons Change almost as engrossing as the songs that create it. Opening cut “Twin Larks” is an acoustic strumming display of flute, joy and summer, that gives way to the altogether more pointed drive of “Laurence Of Laurel Canyon”, where the snare pops in marching style and the bass dollops great spoonfuls of syrupy but never over sweet goodness down from the skies. As the surprisingly caustic guitar tracks from channel to channel in the speakers/phones on “The Post-Factual Jam”, so a darker, more insidious intent swipes into view but it’s followed by more flute and sweet vocals that wouldn’t be out of place on an expertly negotiated Justin Hayward slice of persuasion. And so the journey continues, with intentions swapped, moulded and interchanged with seeming ease - the short “Open Window” a soothing seduction that still grasps melodic sway, while “The Streets You Hold” funks it up just enough to detour the attack round the houses and straight back onto the open road. With “The Cabooze” an echo of piano chords and fuzzed up, flute laden guitars, and “Sail Away (Part Two)” so tender it barely whispers as it flitters past, the amount of terra firma being expertly traversed is quite breathtaking. Especially when you consider that it is all done so organically and with such little fuss. From: https://www.seaoftranquility.org/reviews.php?op=showcontent&id=22319
