siLLy puPPy Despite sounding like a brand name for some kind of kitchen appliance, MAYFAIR was actually amongst good company in the first wave of early 1990s progressive metal having formed in 1989 in the far western city of Frastanz, Austria situated directly next to the tiny micronation of Liechtenstein. This band released three albums in the 1990s with the first one being this debut titled BEHIND… After a long hiatus MAYFAIR returned in 2013 with “Schlage Mein Herz, Schlage” and then released another couple albums after that.

While the lineup has changed in its second coming, the early members included Mario "le Fate" Prünster (vocals), René (guitar), Mötle (bass) and Little (drums). Despite having been together for over three decades now, MAYFAIR still remains a mysterious and oddball band which sounded a bit different than anything that has existed ever since. The original 1993 release of BEHIND… featured six strong tracks that barely seeped past the 29-minute mark on the General Inquisitor label but has since been reissued in 2013 on the Pure Prog label with a bonus CD of unreleased tracks, various demos and alternate versions of the tracks.

While coming off as an eccentric style of progressive alternative metal with a hypnotic cyclical loop riffing style that reminds a little bit of Tool, MAYFAIR adds the exotic flair of exquisite ethnic percussive nuances with sophisticated drum rolls and varying percussive sounds as well as implementing what sounds like Euroopean folky melodic touches making it all sound quite unique. What really makes MAYFAIR stand out though has to be the dramatic vocal antics of lead singer Mario Prünster who has the flamboyant tendencies of Devil Doll but sounds a bit like a trippier Geddy Lee of Rush at times. What also comes to mind is the metal version of Gnidrolog at least in terms of the vocals and idiosyncratic unorthodoxies.

BEHIND… implements a very hypnotic atmospheric approach yet features strong bass grooves, grungy yet melodic guitar heft and a nice diverse palette of percussion. The compositions are fairly short for progressive metal with no tracks exceeding six minutes but the composiitons are a bit avant-garde in how they unfold. In some ways, MAYFAIR reminds me of an alternative version of the French band Ange as it comes across as somewhat theatrical yet carries an alternative metal heft in vein of Tool and similar 90s alt metal bands. Despite the influences MAYFAIR sounds utterly unique with plenty of creative mojo firing on all pistons. Not the heaviest or fastest metal you could experience but certainly one that carries mystique and subtle beauty.

Kev Rowland The album title translates to “Beat my Heart, Beat”, and is the first new album in 15 years for this German outfit. Some of the songs are in English, and some in German, hence the German title. It has been really interesting to read some of the reviews of this album, as there are plenty of people out there who are calling this one of the finest albums of the year, and extremely happy that Mayfair are back on the scene again. But, there is a huge part of me who wonders if that emotional attachment has clouded their judgement as while this is an okay album it is never really anything more than that. There is a lot going on in terms of influences, with Rammstein, early Floyd, Radiohead and Porcupine Tree being just some of the more obvious. There re times when the music is direct, but for the most part it is dreamy and drifting, which is one of the issues I have with this as there just isn’t enough impact here. It is something that I have both listened to intently and have played in the background while doing other things, and take it from me in the latter it just disappears with no real impact.

At times it is extremely atmospheric, and is often dark, and there are even some riffs here and there, but for some reason this doesn’t come together and gell as it should.

Time Signature Beat, my heart, beat...

Genre: progressive dark rock

In 1993, Mayfair released one of the most original progressive metal albums to ever see the light of day. A couple of albums down the line, the Austrian pioneers decided to call it a day, and their work remained obcure till they recently decided to get back together and, firstly reissued ”Behind...” on Pure Prog Records, and this year saw the release of their comeback album ”Schlage mein Herz, Schlage”.

The title track 'Schlage men Herz, Schlage' is a quite psychedelic affair with esoteric mildly distorted guitars and …, while 'Firestorm' is atmospheric and features some elements akin to alternative rock. The alternative mode and the atmospheric mood also characterizes the heavy and brooding 'Wwwrong', which also offers a sense of dark psychedelia as well as some more solid merallic riffage towards the end. 'Drei Jahre Zurück' combines minimalistic gutiar figures with driving, but melancholic, metallic pumping riffs. 'Abendp_rno' (I think it's Abendporno', which mean 'porno in the evening) combines metallic drumming with punky riffs and, 'Island' is a nother heavy and darkly psychedelic track with simpel clean guitars overlaid on top of atmospheric and noisy guitars in the background – not unlike what you might hear in drone metal or atmospheric and depressive black metal (without this song sounding at all like those two genres). 'Du Allein' is similarly dark, at time reminding me of a blend of U2 at their darkest and Paradise Lost at their lightest (check out the chorus). 'Tric Trac' is in the same dark and heavy vein, but features some more overtly hard rocking guitar riffage in the choruses, and also features some more metal-oriented drumming. 'Bitter or Sweet' is perhaps the most metallic track on the album, as it is pretty much an outright doom metal track. The approporiately titled 'Abschied' is an atmospheric track which neatly captures the overall feel of the album.

As on their debut 'Behind...', the guitars have a somewhat atmospheric feel to them in terms of their sound, and the overall production is marked by an organic feel. The musicianship and songwriting is impeccable, but we are dealing with compositions that are more on the complex side and musical aesthetics which have more in common with dark alternative rock than with all out metal.

”Schlage mein Herz, Schlage” is a nice re-entry into the progressive scene. It is perhaps more on the atmospheric side than on the metallic one, but there definitly are hard rock and metal elements to be found on the album. Rather than a progressive metal album in the purest sense of the word, ”Schlage mein Her, Schlage” is an eclectic progressive album that combines elements from alternative rock, gothic rock, heavy metal, and hard rock into a dark and atmospheric blend. I honestly think that the album will not appeal to all metalheads, and many metalheads will probably reject it as a metal release at all.

But that does not change the fact that we are dealing with a brilliant release which delivers the goods in the form of sophisticated dark rock.

Time Signature Highly original progressive metal album reissued...

Genre: progressive metal

Originally released in 1993, Mayfair's debut album "Behind" was probably one of the most original progressive releases that year, and probably also one of the most undeservedly obscure releases. It is progressive metal, but it is more than just progressive and just metal. Aspects of it even beyond description through mere words and have to experienced first hand. It has indeed been a cult album. But "Behind" is going to be reissued on Pure Prog Records in early April in a luxury edition which also features a bonus disc of rare demo material.

So, "Behind" might lose its cult status, but it will deservedly be made available to a broader audience and to younger fans of progressive metal who were not even around when it came out back in 1993.

Combining dynamic prog metal drums in the vein of Mike Portnoy and Mark Zonder, but more restrained, with distorted guitars that are sometimes atmospheric and sometimes aggressive, "Behind" is generally a very dynamic album, which takes the listener through several moves and passages, twists and turns. Another dynamic aspect is the juxtaposition of distorted guitars and clean guitars, while the bass, being placed smack in the middle, is both a backbone element and the string instrument that really pokes out. In a Voivod-fashion, most of the songs on the album feature sections with dissonant chords, which nicely challenges the listener, and at the same time stands in an interesting contrast to the Gothic mood guitars that characterize 'Generation Isolated', 'Madame Pest', and 'Ecstasy'.

In addition to the prog and gothic elements, there is a certain avant-garde feel to the album, which partially stems from Mario Prünster's unique way of singing, which sounds a bit like a cross between Geddy Lee and Jello Biafra and a fin de siecle funhouse. In other words, the vocals are an acquired taste, but they are also part of what makes this album so unique, and, well, I think Mario Prünster's singing is awesome.

Production-wise, the reissued version, although it has been remastered, still sounds quite fuzzy and raw. And, you know what, I quite like that. It has authenticity, and has not been made too polished.

Then there is, of course there are the bonus tracks. Among these are all three tracks from the "Find my Screams behind this Gate" demo tape from 1991 as well as some previously unreleased material. These bonus tracks are just as elaborate and dynamic as those on "Behind", displaying the same artistically adventurous spirit. The production quality of the bonus tracks varies from being pretty good to being very raw (this applies in particular to the last four tracks which were recorded in the bands rehearsal room back in the 1990s).

Progressive and challenging, the reissued version of "Behind" should, in its entirety, appeal to fans of as diverse progressive metal acts as Psychotic Waltz, Dream Theater, Fates Warning, Watchtower, Thine, Atheist, Hammers of Misfortune, Chowder, and Sorrows Path. It is truly unique and deserves being rereleased to a broader audience.