DISTANT STARLIGHT

I don't get sent nearly as many CDs as I used to, a combination of living at the end of the world, the cost of postage, and that many independent artists only release their music digitally, so it is still an unexpected pleasure when one arrives, especially one like this which includes photos not only of Bek but of the 16 others involved. Bek is an award- winning multi-instrumentalist/composer who began his career as drummer for Chicago based Prog-Rock band Dot Dot Dot which included Thymme Jones (which morphed into Cheer Accident), and it is nice to see that all these years later Jones has repaid the compliment by providing trumpet on one track.

Like many musicians, during Covid, Bek found himself with a lot of spare time on his hands as live performances stopped, which impacted both his session work, lecturing, and theatre (he has been involved in many major productions, including writing the music, lyrics and book for the world premiere of 'Evel Knievel The Rock Opera' which received critical acclaim and was nominated for Musical of the Year). Bek provided all music and lyrics, apart from on three songs where he gained permission to use words he adapted from on tracks R.D. Laing's 1970 book, 'Knots'.

One of the issues with projects is there can be a lack of continuity, especially if there is more than one singer, but that is not an issue here due to the quality of the songs. Okay, so any prog band who fades out a number ("Momentary Champion") should generally be taken out and shot, but I will overlook that this time as the gentle decline means the keyboards and drum-driven introduction to "Riptide" has even more impact. It is unusual for a drummer to release an album so full of real songs (outside of jazz), and although he does provide keyboards and vocals, as well as some slide guitar, Bek is mostly relying on others to understand his vision and provide the performances he requires while not being able to physically work together. Most of the musicians were in Chicago at the time, but there was one overseas who sent in his material from Moscow.

This is symphonic crossover prog which makes me often think of later period Yes or Glass Hammer, with some classic Genesis touches here and there. Perhaps unsurprisingly, given his theatrical background, the arrangements have been clearly defined and there is a place for everyone, and everyone in their place, and even though there is little in the way of a core band (no-one apart from Bek plays on more than four tracks, and many are only on one) there is a feeling of cohesion and continuity throughout as opposed to an album which keeps switching and moving in a chaotic fashion.

This release feels almost like an old friend the first time it is played, feeling much more akin to music from the Eighties than today, with the concentration on songs as opposed to ego, and the result is something which is a very fine listen to indeed. Jef has told me he is already working on the next album, and that is something to look forward indeed. This is well worth discovering for progheads who like their music to be somewhat light but very songs based.

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