SEBASTIAN HARDIE

Overall, a solid release, especially, I would say, for a sophomore album (and especially one following up such a solid debut as theirs). Some of the compositions are a tad stale and we only get so much interest throughout. The opening title track, a 20-minute epic, is beautiful and at times compelling, and is without a doubt the strongest song (and strongest overall material offered) on the album. Most notably otherwise is track 4, "Hello Phimistar". It's very hard, in this case, not to compare directly to Camel, but Australia's Sebastian Hardie is fortunately no carbon copy (I think it's overstated just how many carbon copies in Prog there are in The Second Wave... Even if there were ultimately more than there were, this is a total non-issue to me).

I would definitely recommend the 2 tracks mentioned above, but also (as I should personally relisten) just strongly recommend their debut. I don't intend to look deeper hereafter. Good while it lasted.

Blueprint was released early in 2016 in Brazil. Although I had heard it by the time it was released, I was eager to get the beautiful jewel case edition. That´s when I found out that I did not write a review for this album. Sebastian Hardie is an interesting band that has its particular way of delivering a symphonic progressive rock that is not as flashy or as pompous as Yes or ELP, but closer to the more discreet dutch legends Focus (minus the flute and with "real" vocals, if you know what I mean). This is specially true for the final track, the unfortunately short instrumental, Shame. So we have some fine vintage sounding keyboards (Hammond, mellotron, ARP strings) and, with a tight rhythm section, making a exquisite musical background landscape for Mario Millo excellent guitar work (yes, sometimes he seems to be uncanny emulating Jan Akkerman, but never a copycat). Millo was never a terrific singer, and yet his vocals are just perfect for this kind of music.

As for the songs themselves they are all excellent, very much as the classic Sebastian Hardie sound, with a more sophisticated and modern recording, of course. The album was very well produced and mixed. I also enjoyed the jazzy elements that can be found on several parts, like in Another String..., quite different from the rest fo the tunes. The only fault (if you can call it that) I found with Blueprint is its relatively short running time, leaving just a little more than 40 minutes of music. But this is the kind of CD you hear from beginning to end with the same pleasure. And probably, like me, you´ll listen to it again after the last chords fade away, feeling it ended just too soon.

Certainly this is one fo the best comebacks ever.

Rating: something between 4 and 4,5 stars. Highly recommended!

To sum up the "voice" of Sebastian Hardie I hear echoes of Camel, the softer side of Genesis and maybe a bit of Supertramp. That is quite a good combo and the result is very good. The "Four moments" suite is very enjoyable with recurring themes and warm ambiance. "Rosanna" is an instrumenal piece of progressive pop. The best piece is the ending "Openings". It opens with a warm hammond, a slightly distorted guitar and mellow drums. A very nice piece of music, that is. I like it when I get the sensation of gliding through space and that is exactly the sensation here. Though it is very reminiscent of Camel it is still a very good piece.

Though competent and highly enjoyable I still cannot rate this album higher than three stars. It lacks something. Maybe it is too reminding of Camel or that the songs are too alike? I cannot really tell but the general sensation after the disc has been spun is simply good but not more than that. Sometimes that is quite enough and I do like the feeling this album gives me. It is very warm and soothing, without too complicated edges. It is just right for late night conversations or when relaxing.

So, a good album made by a competent band. Three stars and hats off for the effort.

Like many prog bands from back then, changing musical tastes saw the band split up (Mario Millo would still go on to release a quality solo album `Epic III' in 1979 after the group folded), but it was the opportunity to support symphonic legends Yes in Australia in March 2003 that saw the band reform for the occasion, and the members were inspired enough to eventually record some new compositions. So almost thirty years since their initial works, the band returned in 2011 with the perfectly titled `Blueprint' that more or less picks up where their Seventies works left off, with an added touch of melodic classic rock, and the passage of time has not dulled their musical skills in the least!

While opener `I Wish' holds a thoughtful lyric about missed opportunities and regret that taps into the rich heritage of classic Australian rock, much of the piece revolves around mellow foot-tapping instrumental moments by way of a variety of vintage Mellotron, Hammond and Moog sounds and laid-back guitar soloing. The amusingly titled instrumental `Vuja de' jumps back and forth in tempo, all prancing Hammond and up- tempo driving beats with scratchy rollicking Hammond organ one second, jazzy vibes and dreamy electric guitar fire the next. `Art of Life' is a pleasant, laid-back ballad-rocker sung with warmth, and the sedate `I Remember' includes several minutes of ringing honey- dipped guitar themes and vintage keyboard flights in the classic Sebastian Hardie manner around a smooth tune.

With its mix of tricky instrumental twists and quirky boisterous vocal interjections, `Another String' wouldn't have sounded out of place on a Spock's Beard album, and Alex Plavsic's snappy drumming and Peter Plavsic's punchy heavy bass really shine on this one, as too does Millo's lengthy slow-burn bluesy guitar wailing. After leading with some cosy acoustic flavours, brisk album closer `Shame' is revealed to be a lovely little instrumental along the lines of the most romantic passages of bands like Camel and Rousseau, with a finale in the manner of the most victorious Flower Kings moments.

Yes, `Blueprint' does reflect the age of the musicians, and it's hardly cutting edge by any stretch of the imagination, but everything is performed with such relaxed taste, played with a lightness of touch and given a fuzzy warm restrained production. Skilled instrumental runs blend seamlessly with strong melodies and pleasant vocals to bring a fine mix of lightly symphonic prog and the sort of classic rock that Australian artists do so well, and the forty minute vinyl length running time means it's not overlong or jammed with filler material. It invokes memories of those precious earlier Sebastian Hardie albums, yet also stands on its own modern merits just fine. There's not too many acts their age that release new albums and emerge with their dignity intact, but Sebastian Hardie can hold their heads high with a worthy release that doesn't destroy their legacy.

Three and a half stars, rounded up to four stars for this classy effort.

Without any doubt, Four Moments is the transcendent work of Millo and company, including any work that its members have participated, together or separately.

The title track to the album, with its four sections, is one of the classic epic that contains all the ingredients necessary: symphonic, variety and musical passion. An essential work.

Rosanna is a delicate piece, more intimate. The Millo skills as a guitarist are displayed, as in Openings. It consolidates the power of band to perform with balance, strength and melody. The only shortcoming I find in it, and the album itself is its length. It gets a bit repetitive in their main guitar lines.

Obvious references to Camel, and some Focus too. However, the compositions are distinctive and interesting, and memorable perfomance.

4,5 stars.

Their first two releases "Four Moments" and "Windchase" were well received by local prog fans. It has been a 35 year wait for the third release "Blueprint" although guitarist Mario Millo has released several albums (and soundtracks) in the intervening years.

Blueprint follows very much in the same vein as "Four Moments" and "Windchase" and I am certain some of the earlier themes have been revisited.

Toivo Plit's keyboards are close to Tony Banks' style with some nice restrained keyboard solos, Mario Millo's guitar is reminiscent of the softer side of Steve Howe but neither dominants.

Overall, this is a very good collection of tracks. Maybe the lyrics are a bit puerile but this is mainly an instrumental album with very limited singing.

It does leave the listener wondering what may have been had these guys continued through the 80s and 90s. They certainly had the strength in musical ability with Plit and Millo and songwriting to deliver some classics?but now are most likely to become a footnote in prog history

Recommended for 70's prog fans. 3.5 stars.

So nothing cutting edge, just a well-captured rediscovery of the classic 70s symphonic sound. And why not?

"I Wish" is very uplifting until it settles before 3 1/2 minutes and the vocals come in. The magic suddenly leaves. "Vuja De" kicks into gear before 1 1/2 minutes to an uptempo instrumental. This is really good. "Art Of Life" is a relaxed and reflective vocal track. Not a fan.

"I Remember" doesn't have vocals until before 3 minutes as a hazy mood sets in. I like the lyrics too. Nice guitar before 6 minutes. Good song. "Another Spring" is probably my favourite. I really like the instrumental section 2 1/2 minutes. Some excellent organ and guitar work here. Vocals return 6 minutes in. "Shame" ends it and it's an okay tune.

A good album but nothing more in my world. Great to have them back though.