In 2005, Thomas Neuroth received a call from his former Neuschwanstein co-musician Klaus Mayer (flutes), informing him of the tragic passing of their erstwhile manager, Ulli Reichert.

Not having composed anything in a long time, there were tons of ideas in my head, noted on slips of paper; dozens of drafts and studies lying on and around the piano.

It needed to be done.″ Around 2007, Neuroth began sorting his diverse compositions and drafts from the past years and putting them on paper.

A process of growth with many yays and nays, continuously evolving, expanding, entirely discarded only to be picked up from scratch again.At first and for a long while, music was made in Neuroth's home studio and via the internet, which, at the time, did not come without some technical complications.

Despite the troubles of long-distance collaboration, the recordings were finally as good as finished, yet not fully completed due to the two musicians parting ways again for various reasons.

[2] However, Neuroth could not get the idea for this new Neuschwanstein album out of his head, prompting him to start anew, this time not via the internet but mostly on site with guest musicians.

This group recorded a CD in 1989, Kiessling Band, for which Robby Musenbichler, a famous Austrian session guitarist, provided the guitar parts.

To minimize any artificial sound, he engaged Sabine Fröhlich, violinist from Münster, who would record both violin and viola tracks multiple times, using the overdubbing (layering) technique.

[3] Originally, publishing was supposed to be achieved with support from the French Musea Records label which had already released the two previous Neuschwanstein albums and was principally interested in Fine Art.

Similarly, Jon Lord already dared this difficult balancing act with his Concerto for Group and Orchestra.

Even when, for example, Musenbichler's electric guitar acts as a soloist, it does not impose itself on the listener, but is surprisingly restrained in terms of volume, so that all instruments can be heard on an equal footing next to and with each other.

Seen in this light, Fine Art undoubtedly stands as an example of symphonic rock and joins the ranks of works by The Nice, Emerson, Lake & Palmer or Ekseption.