RED SAND

'Wake Up the Child' haunting intro, latency of the start, tonic bass cut by an explosive acoustic guitar; solemn air with a hint of flamenco in the distance, syrupy, melancholic atmosphere, a little pompous for the dreamlike crescendo before the return of the organ and the Floydian acoustic. 'Us' continues on a cardiac scope, acoustic and electric guitars, basic progressive moment with the more than Gilmourian solo, stoner side of Monkey3, a delightful piece with the final scope and the progressive instrumental that kills. 'Breaking Wings' return of the voice on the atmosphere of 'Division Bell'; a screamed title, a cry of despair with a little of 'The Wall', the violin coming to put us to sleep but the vocal cries out loud. 'Poland' follows, sweetness of notes sprinkled on a velvety organ; Simon's guitar does more than enough to bring the listener to the progressive tracks already mentioned; a piece that rises and rewards us with a Caronian guitar solo; four short tracks that follow one another allow us to show the extent of the talent of this still young prodigy.

'Tie' in 2 parts with the cinematic, reassuring intro, croaking, barking; Michel sings, the soft and raw, tormented and soothed voice of Pink. A medley more than a track with admitted reminiscences. A gig, a musical space of progressive research; the sounds of Albion are frank, the sound of Floyd and Marillion is well-typed even starting on a riff of the IQ in the first third. It turns in all directions; halfway through the break is cut with a catchy western tune, we find there some Electric Light Orchestra from the great era; an umpteenth break highlights Michel, reminiscent of their first album. A military drum kit, Wallian vocals, the dino turns around and in Simon's head; hop guitar solo, Mellotron solo making us regress further, on genesis. Jazzy hi-hat now before the crystalline guitar slide; the finale refers to the works of Pendragon as much for the wild rhythm as the voice; the real finale with choirs is meant to be Dantesque.

Red Sand returns to its musical roots by offering an album smelling good of Floyd; a substitute with admitted reminiscences and others suggested for classic prog rock with breathtaking guitar solos, ambient breaks, an album that will please fans of Pink Floyd and Marillion above all. Originally on progcensor (3.5).

I know I am not as close the prog scene as I used to be but must admit to being amazed to realise this is the tenth studio album from a band I have never heard of. Formed by multi-instrumentalist Simon Caron back in 2004, this neo-prog outfit is also an active touring unit where they are joined by additional musicians, but whereas the last album (2019's, 'Crush The Seed') was by a quintet, here we find them operating as a trio. All three played on the last album, with Simon Caron here taking on additional roles and now providing guitars, bass, and keyboards alongside drummer Perry Angelilo and singer Steff. Hailing from Quebec, Simon produced it himself but then brought Michel St-Pere (Mystery, Huis) to mix while it was mastered by Richard Addison.

The bass is very powerful in this, reminiscent of when Neil Pepper was in Galahad, adding additional elements and runs which provide something of a funk element at times, and while polished neo-prog is the main approach there is also plenty of Floyd in what they are doing, combining different sub genres together to create something which is both approachable and interesting at the same time. It has the American polish which is reminiscent of the bands which broke out of the scene in the 90's, and although I have seen comments likening them to the early British scene, to my ears it is from that viewpoint as opposed to a direct influence. It never sounds like a multi-instrumentalist plus others, as this has a real band feel but the keyboards are not as dominant as one would normally expect within this style, allowing the ears to concentrate more on the vocals which are pleasant with nice harmonies and edge.

It does not have the bite one would normally associate with this style, and there are times when they fall between neo and Floyd and end up with something which can be bland and wash into the background, but there are also times when it is very interesting indeed. The result is a prog album which can be played in the background and not frighten anyone, but with not quite enough focus to be truly enthralling throughout.

A massive fan of neo-prog and always on the look out for new discoveries, I found Red Sand years ago and listened to all the albums. There were some absolute gems but also some so-so moments on each album that left a sense of something missing as a whole.

THE SOUND OF THE SEVENTH BELL is a joy from start to finish. Beautiful sounds throughout, and I never skip a track or pick out selected ones. A similar thing happened for me with albums from Marillion and Millenium that were really hit and miss until they released FEAR / AN HOUR BEFORE IT'S DARK and THE SIN, where I loved all the tracks.

Great to enjoy a whole album for 60 mins.

This is studio-album # 10 by the Canadian trio Red Sand since their debut Mirror Of Insanity from 2004, multi- instrumentalist Simon Caron and drummer Perry Angelillo are members from the beginning, singer Steff Dorval joined Red Sand since the second effort Gentry, from 2005.

About the previous CD entitled Crush The Seed wrote: "On this new effort I notice that Red Sand still make simply structured prog with the focus on colouring the music with wonderful work on guitar and keyboards. Singer Steff Dorval has a distinctive voice, very intense and with a strong melancholy undertone."

Well, again Red Sand will not disappoint the many fans around the world with this new album. Lots of intense mellow climates, very melodic and harmonic, embellished with sensitive guitar work (between Steve Rothery and David Gilmour), pleasant, often melancholy vocals and a tasteful keyboard sound.

My highlights.

The Sound Of The Seventh Bell, Part 1 (5:44) starts with dreamy vocals and acoustic guitars, in a folky climate. Then a slow rhythm featuring a powerful bass, followed by a moving and fiery guitar solo, finally majestic Mellotron choirs and bell sounds.

The Sound Of The Seventh Bell, Part 2 (7:56) delivers tender piano play and howling electric guitar, then an accellaration with a tight beat and synthesizer flights, soon Mellotron choirs join in a Cinema Show (Genesis)-like rhythm, in the second part lots of howling guitar soli, a Red Sand trademark.

Cracked Road (21:05) is the longest composition. First a mellow climate with a spacey synthesizer solo and then sensitive Gilmourian guitar runs, it strongly evokes Shine On... by Pink Floyd. Halfway a surprising break with propulsive drum beats and moving guitar, and finally a bombastic atmosphere with howling guitar and emotional vocals.

The bonus track I Can Feel It (4:20) contains a dreamy atmosphere with a slow rhythm, beautiful soaring Hammond organ and warm vocals, finally sensitive electric guitar solo, simply wonderful.

My rating: 3,5 star.

This review was previously published at the website of Background Magazine, the oldest Dutch progrock source.

While neo-prog may not be the first thing that comes to mind when one things of prog from Quebec, RED SAND has proven for almost two decades now that you can follow your musical dreams no matter where you were born. This creation of guitarist, bassist and keyboardist Simon Caron continues to nurture his love of blues and space rock guitarists ranging from Davide Gilmour, Andy Latimer, Steven Rothery, BB King and Albert Collins. The lineup of RED SAND has changed drastically since the band's 2004 debut "Mirror Of Insantiy" and on the the tenth album THE SOUND OF THE SEVENTH BELL, Caron tackles most of the duties on board by playing electric and acoustic guitars, bass and keyboards. Longtime drummer Perry Angelino returns along with vocalist Steff. For touring André Godbout has been recruited for bass duties and JB Lemire on keyboards.

RED SAND is one of those neo-prog bands that loves to craft those scrumptious mixes of old school bands like early Marillion, IQ and Arena and mix in heavy doses of Pink Floydian inspired space rock, sensual layers of keyboards and a mix of slower, mid-range and faster tempos. THE SOUND OF THE SEVENTH BELL is a concept album that is based on the seven deadly sins and following RED SAND's track record features lengthy sprawling prog behemoths that include the 14 1/2 "Insatiable" and the 21-minute "Cracked Road." Despite this band emerging from Quebec City, Canada, the hub of French speakers in all of North America, RED SAND continues to sound more like a number of bands from the British scene. Certain parts remind of Pendragon, others IQ, some Arena, early Marillion, Anubis etc.

Soundwise THE SOUND OF THE SEVENTH BELL is very much in the traditional neo-prog camp with bucolic ballads in the form of "Breathing" and intros to the soaring guitar solo led works of the Floydian inspired title track which is split into three segments but spaced apart in various track placings. Lots of arpeggiated acoustic guitar riffs reminiscent of Pendragon's most recent "Love Over Fear" and haunting atmospheric synthesizers building crescendoes and the proper mood enhancing spaciness. In accord with neo-prog characteristics, the pop hooks are poignant and prominent and Steff's vocals fit in perfect with the moody and emotive style that narrates the overarching concept of the seven deadly sins.

The most satisfying track is without a doubt the 21-minute "Cracked Road" which allows the various movements to unfold gradually with more twists and turns than the shorter tracks although all of the aforementioned elements are the fundamental basis for the compositional flow. There's even a nice section in the middle that reminds you of Pink Floyd's "The Wall." Overall, RED SAND will not win any points for originality as the various sounds involved have been staples of various neo-prog artists since the 1980s and the same can be said for the Floydian space rock sounds. When it comes right down to it, THE SOUND OF THE SEVENTH BELL is business as usual for a neo-prog band that has sort of found a tiny niche that exists between the cracks of other artists but in the end they entire album is quite impeccable crafted with a pleasing production and doesn't disappoint in entertainment value. While other 2021 neo-prog albums by Drifting Sun are much more exciting, this one is nonetheless quite satisfying.

RED SAND, known personally in 2005 with'Gentry 'released their 10th album, more and more distant from neo to Marillion. Simon Caron, an absolute Rothery fan, had even slipped down nicely with the sound of Pink Floyd on their last album; reminiscences of Camel, IQ or Pendragon can be found there. We are dealing with a concept album based on the seven deadly sins, mixed by Michel St-Père (Mystery) on beautiful progressive rock melodies.

'The Sound of the Seventh Bell, Part 1' bell at the start as a memory of 'The Division Bell', a haunting dreamlike ballad, monolithic melodic neo-symphonic rock decked out with a deep and airy guitar solo and an imposing drums. 'Reichenbach' for an acoustic instrumental that starts halfway through a sensitive explosion bordering on spleen; orchestral beauty as a backdrop. 'Insatiable' and his electro overture, a bit on Keane, the loud voice as on the Jon & Vangelis association; a title with many breaks in the neo vein, their own, far from Marillion or Pink Floyd from the last album; synthetic rhythm, warm effective phrasing and incisive solos, here's it for a long river track, the voice reminiscent of the Beach Boys, the soaring rock dance, the psyche pop, a little Andalusian spaghetti, a little Alan Parsons. 'Breathing' and the bucolic ballad with a cotton wool voice, a drums that give the rhythm to dance arm in arm, the final solo melancholy and filled with hope.

'The Sound of the Seventh Bell, Part 2' with symphonic intro on piano, aerial guitar and the sound of the great Genesis: its alluring synths, a Camel-like tune in the middle that sends on the progressive ethereal nimbuses, the title of the 'album in my opinion with its air which imprints itself in the head; final as in the intro of the first piece. 'The Sound of the Seventh Bell, Part 3' with a bucolic acoustic interlude time to rest, calm before 'Cracked Road' centerpiece of more than 20 minutes: intro where Gilmour invites himself, voice after 7 minutes of intro hovering over Camel and Pink Floyd; halfway through it's more psychedelic like 'Animals' with this airy 60's pop guitar; in short, drawers galore combining various influences for a thunderous melody. A finale that never ends with the guitar juggling drums, bass and keyboards. 'I Can Feel It' and the extra-track on vinyl for a syrupy slow with organ from the time when balls existed in the deep countryside, personal memory where I heard 'A whiter shade of pale' resonate and where I ' understood that the music was going to follow me for a long time.

RED SAND offers us a conscientious album surfing between dreamlike and majestic moments, varying musical themes such as stories of sins, swindles, pedophilia, cruelty, abuse; a sound that becomes singular, unique, which finally departs from Simon's musical precepts and which ultimately gives more character to this album.

Review #10

Today I would like to introduce the Canadian Neo-Prog band "Red Sand", who present with their meanwhile ninth album "Crush The Seed" an exciting work, which made me think. But more about that later...

Die-hard Marillion fans of the Fish era will possibly know the band, since the basic character of the music of Red Sand was strongly influenced by this phase for a long time, as for example on their first album "Mirror Of Insanity" from 2004. On "Crush The Seed'', however, you can hear something of this only to a limited extent - rather, this time the band moves in an authentic way in the musical field of "Pink Floyd''.

Three musicians are significantly involved in this sound: First, the singer Steff Dorval, who brings a lot of melancholy into the pieces with his fragile emotional and at the same time intense voice and thus also transfers the content of the lyrics to the listener.Secondly, the drummer Perry Angelillo, who as a founding member again sets the pace and is characterized by a solid and filigree drumming. And third, Simon Caron, who plays the keyboards, basses and guitars, composed the music and even designed the beautiful cover art.

All three musicians together create a dense atmosphere with three particularly beautiful highlights, the songs "Crush The Seed Pt.1", "Human Claim" and the Mellotron accented long track "Woman". It should be emphasized that the band takes a lot of time for their music and still maintains the tension before the album ends after an hour. I found myself getting used to the tempo in places, but the band manages to remind me that we don't define prog just by the number of notes or the high tempo, but by how much we get carried away emotionally and instrumentally. A good example of this is the album's second song, which is carried by a passionate Gilmour guitar and leaves notes even beyond the twentieth fret. And after ten minutes you're ready to ask yourself why the song is already over.

The time with Red Sands new album I enjoy very much and can only recommend it to everyone Marillion and Pink Floyd, but especially to music listeners who can enjoy the "moment" in the music.

I am familiar with the first four albums (between 2004 and 2009) by this Canadian prog band, but then I lost Red Sand. So this is my first musical encounter with Red Sand after more than 10 years, the new album Crush The Seed is from 2020, the precursor FoRsAkEn was released in 2019. On this new effort I notice that Red Sand still make simply structured prog with the focus on colouring the music with wonderful work on guitar and keyboards. Singer Steff Dorval joined the band since the second album, he has a distinctive voice, very intense and with a strong melancholical undertone.

After the short and compelling opener Crush The Seed Part 1 (with a beautiful blend of twanging acoustic guitar, Mellotron choirs, moving electric guitar with howling runs and dramatic vocals) the next mid-long track sounds like an inspired tribute to Shine On You Crazy Diamond (reminding me of German prog legend Eloy on Silent Cries, Mighty Echoes), the guitar player turns into the second coming of David Gilmour!

The other mid-long track in the first part of this album entitled Human Claim has also obvious Pink Floyd hints (but more Eighties) featuring Fender electric piano, lush Hammond, harder-edged guitar and emotional vocals, the moods shift from dreamy to a catchy beat. The compositions Crush The Seed Part 2 (Mellotrons) and Crush The Seed part 3 (halfway an accellaration with heavy guitar) deliver wonderful interplay between piano and moving electric guitar, this is trademark Red Sand.

In the second part Red Sand sounds more like early Marillion, especially in the epic Woman (over 17 minutes), the highlight on this new album, and also the most elaborate composition. I starts with a mid-tempo featuring fiery guitar runs (like Rothery, with use of the tremolo arm), delicate Fender piano and melancholical vocals. Then the music turns into bombastic with majestic Mellotron choirs and powerful emotional vocals (this is how I remember early Red Sand). Next an explosive guitar solo with volume pedal and tremolo arm, in the vein of Rothery and Gilmour, later again joined by that awesome Mellotron choir sound, Red Sand at its full splendor, mighty Trons and howling guitar, wow! In the second part lots of flowing shifting moods and some surprising musical ideas. The conclusion delivers a compelling atmosphere with howling guitar, again this is the band at its full splendor. The bonus track Dust And Hope contains a slow rhythm, wonderfully coloured by moving guitar and a pleasant Hammond sound and topped with mellow vocals.

The Red Sand fans will not be disappointed by this new album, and I had another pleasant musical encounter with Red Sand, no more or less.

My rating: 3,5 stars.

This review was previously published on the website of Background Magazine, the oldest Dutch progrock source.

It is probably the Red Sand record most clearly influenced by Marillion of the Fish era. The atmosphere of the entire album, soft and relaxed, with keyboards that accompany us during the journey of its almost 40 minutes lead us to imagine being listening to parts of Script for a Jester's Tear and parts of Misplaced Childhood at times. Simon Caron's guitar shows similarities that at times we cannot differentiate from Rothery's. Not for that reason, the marked influence being evident, Canadians manage to present an excellent album, in which the 3 songs of more than 10 minutes (Blame, Children Memory, and the one that gives the title to the album Mirror of Insanity ) show us a compositional quality that must be among the best of the neoprogressive genre.

We can place very clear reminiscences in the middle and towards the end of the songs Children Memory and Mirrow of Insanity, Bitter Suite / Heart of Lothian, and in the song that closes the album (Cradle) a clear influence of the end of Heart of Lothian . Additionally we find in Cradle the use of acoustic guitars in its beginnings, something that marks a variation regarding the influence of Marillion.

Mirror of Insanity is an excellent debut album by Red Sand, and I consider it the highest of their discography, and who they also represent as more than worthy representatives of the genre.

RED SAND comes here to release its 9th album by offering a variation on the sounds of PINK FLOYD, Gimour being one of the masters of SImon. This opus therefore radically changes the sounds of the MARILLION Fish era with which it had quite a few similarities. RED SAND has just released a neo prog wonder quite simply. "Crush The Seed pt1" attacks the album with an intro on acoustic guitar and a phrased voice, a bit in the vein of ARENA and its "Crying For Help", a quick interlude, a mouthful before the first slap from the album, "Were They Born Like That? »A gilmourian digest on a variation of" Shine On You Crazy Diamond "and" One Slip ", a title that reminds, reminds, hangs but also gives a free trip to the past-present, let me explain: l 'intro is well worked and gradually stands out from what the PINK FLOYD masters were able to create at the time; it also reminds me of the work done by RIVERSIDE to take 2 notes from "Wish You Were Here" to go elsewhere, a musical variation in fact as I like to say, a musical space between dinos memories and a recent updated sound; an airy, orgasmic title that cannot leave you indifferent, and in which time seems to stop. "Crush The Seed p2" then arises as ... interlude, again a little nursery rhyme that allows you to recover from the previous powerful title; declination on the minimalist piano supported by a synth and the aerial guitar, all wrapped at the ends by children's voices in schoolyard. "Human Claim" gives directly tracks with the recognizable bass and the belching pigs, here it will be "Animals" and "The Wall" as main dish: the 2nd piece of almost 10 minutes takes us to an air known by scraps, a few voiceovers reminiscent of a certain intro from SUPERTRAMP, PINK FLOYD strikes hard in our ears and recalls that RED SAND has nothing to do here with MARILLION that many said to be his clone; the end is in the prog diagram at 'donf' as the young people like to say, to listen in fact in replay. "Cruh The Seed p3" begins the second part of the album, a more symphonic piece even than "Crush p2" with the piano more nervous and airy also, with the same air, on a flight of guitar and a clear drums rhythmic with crescendo , the title that makes you dream, the title limits spleen by moment, piece of introspection surely then final acceleration, an orchestral title of any beauty, simple and effective. "Fight For Us" comes here as the first bonus, a title to the typical 70's organ, from the Hammond which plunges back to the time when we could only take the time, the synth of PROCOL HARUM, the ballroom music of Saturday evening where we came there to do his slow with his blonde, basic song, metronomic drums, posed voice more spoken than sung and this guitar, ah Simon sends notes here! Come to think of it, my girlfriend tells me that there is a little voice to David BOWIE and a happy internet user tells me that the instrumental parts make him think of CAMEL, in short, you see that it goes in many musical regions in made! Personally, a little PENDRAGON, surely RED SAND no doubt; a magnificent slow with a neo progressive nursery rhyme and a touch of romantic ballad. "Woman" and the title of the album! After two great songs, you have before you the symbiosis of the best that can be done currently in neo prog; a captivating intro, a crescendo rhythm, a first part based on a dreamlike and greasy guitar, latent atmospheres; a simple track, a melting pot of tunes from previous tracks with this intoxicating Hammond organ again; around 2'45 '' it goes into battle order in a very basic way, we could get bored for a while because it is agreed with choirs during the chorus, but it is well organized to give more effect solo stratospheric and dreamlike guitar, solo in two stages as for the title "Comfortably Numb". And then there is the other moment around 10 minutes, break, drawer with effect then this declination on the piano and bass on an agreed air English pop atmosphere of the 70's, this military drums and to finish piano and voice for a confidential final, a tone eyeing the intimate titles of "The Wall" with a last solo more posed, more electric and the voice of Steff which comes to close beautifully this epic moment. A long and very easy piece of access. "Dust And Hope" comes to finish the album with the second bonus which does not denote absolutely, which leaves on the same tone as "Fight For Us", a little more nervous however with more airy solo, which takes the repercussions of the voice metronomic; the redundant synth weft becomes mesmerizing to the ears with recessed keyboard air that hooks the ears; a very beautiful title at the end of the course which sounds a neo-prog renewal in this year 2020.