NEO-PROG

It is strange to think that it is nearly 20 years since the debut, 'Milliontown', which had a major impact when it came out, and now Jem Godfrey (keyboards, guitar, vocals), Nathan King (bass, vocals), John Mitchell (guitars, vocals) and Craig Blundell (drums) are back with the fifth, which is a double album concept based somewhat on the band's last album, 2021's 'Day and Age'. In fact, the first track on this album starts with the end of the last track on that one, which is a nice touch. The story revolves around the main character Naio, an aimless kid heading for a meaningless future in an AI run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find "Livewire" to see if there's a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom. This story of an individual trying to find his way against a controlling world is nothing new, either in literature or music, case in point "If the thought processes of an individual can be permanently limited, To the point of strict conformity to an outside source of thought, The said individual need no longer be considered as such" ("We Are Sane", Twelfth Night).

But what makes this feel somewhat different for me is I remember having a crystal set radio as a boy in the Sixties and wondering what else was out there in the world as I scrolled through the static to hear foreign languages and music which sounded totally alien. Add to that Godfrey's skill as a composer, Mitchell's ongoing ability to make every project he is involved with indispensable, and a rhythm section to die for along with Godfrey deciding to undertake all the lead vocals himself this time means we get a very enjoyable neo/crossover prog album. The only downside for me is that it feels somewhat over produced and there is little in the way of vitality and excitement, which consequently means it comes across as single-layered as opposed to multi-faceted and while I enjoyed it, it does feel somewhat one-dimensional as opposed to having any great depth. It is just too clean, too perfect, but I am sure there will be many progheads who will disagree with me and feel this is superb. It is certainly worth hearing for anyone into modern mainstream progressive rock.

Back in the Nineties a young man from Wales released two albums on SI Music before moving to F2 Music for the third. Back then I was getting all the material from those labels and reviewed his debut all the way back in May 1993. At the time Robert Reed was a one-man band, but he changed that with 1994's 'Pictures From The Other Side', bringing in other musicians, before getting involved with other bands such as Ezra and Fyreworks before forming Magenta which led to the demise of Cyan as an entity. He decided to revisit both the band name and music in 2021 and invited Peter Jones (Camel/Tiger Moth Tales) on vocals, Luke Machin (The Tangent/Maschine) on guitar, and Dan Nelson (Godsticks/Magenta) on bass. Firstly they reworked the debut album, with a few guests such as Angharad Brinn on backing vocals, before tackling 'Pictures' with the above quintet. One of the issues of revisiting old material is that it tends to be changed and morphed, which meant that when they came to compile the album, they realised it was now 95 minutes in length which was too long. Did they really want two epics or was it too much? They decided it was too much, so they cut both "All Around The World" and the original opener, "The Guardians", which used to be twelve minutes long and now had more than doubled in length. These songs form the basis for the new album, along with the newly recorded "Cyan" which is made up of two instrumentals the band used to play when they were originally formed in school in 1984.

Looking back at the review I wrote of 'Pictures' more than 30 years ago it is obvious that "Guardians" made a huge impact on me, so much so that I wrote one of my longest reviews of the time, finishing with "Take it from me, this Cyan album has a lot to offer and deserves better than I have written about it. But will you buy it?" Back then I said I felt the song was heavily influenced by Kansas, but while there are some elements still there in the latest version there is no doubt in my mind that late Seventies Genesis have a lot to answer for as well, while it is no surprise we get some Oldfield sounds here and there. I always felt that Cyan never gained the kudos they deserved, and it is wise decision to not only revisit the songs after so many years, but also bring in musicians who are also well-known, so much so that in many ways it is a modern-day supergroup. Peter Jones is a wonderful talent who apparently seems unable to say no when asked to join a group or help out in a studio, reminding me a great deal of Clive Nolan and Karl Groom back in the Nineties who seemed to be everywhere.

Cyan as an entity are undoubtedly a valid band and never come across as a project and one can only wonder what is going to come next. Are we going to have a new version of 'The Creeping Vine', or is there going to be material? Given the heavy workload of all involved we will have to hold our breath, but when it gets here it will undoubtedly be worth the wait as from the male and female vocals, through the sympathetic rhythm section, biting guitar and dominant keyboards and wonderful songs this is superb.

I must admit that this band needs a serious re-evaluation as it just simply did not stick in my mind enough to do any reviews of their preceding three albums which I own, even though they are highly rated and esteemed in the prog community. Things happen for a reason, and I see no shame in correcting this oversight on my part. I am neither an octopus, nor a gentle giant (well, gentle maybe). So, please humor me. This talented band from the beautiful portico-rich city of Bologna uses a peculiar mix of dense symphonics as well as a more accessible sound, characterized by expert instrumental foundations laid down by keyboardist Luca Zabbini and guitarist Marco Mazzuoccolo, with rhythmic support from Francesco Caliendo on bass guitar and drummer Eric Ombelli. Lead vocals are executed by Alex Mari, who possesses an energetic voice not far from the DeYoung/ Kimball style, singing in very slightly accented English. There is a diversity of different styles throughout the set-list, that keep the attention span on constant alert.

The opening piece demonstrates all the attributes listed above, as "Carry On" has a definite classic Styx feel, as the lead and harmony vocals are overtly expansive as if staring into a "Crystall Ball", yet the musicianship remains quite complex, the keyboards and guitars daring to stretch out way beyond the scope of AOR. The melodic content is richly presented, and the delivery is top notch. The next number is a powerful and choppier affair, laden with assorted stop and start manoeuvres, highlighted by the dexterity of Ombelli's impressive wood on skin technique. On "Summer Set You Free", Zabbini relies on some broiling hot Hammond sounds from his organ and does not fail to astound with some ripping solos, a man possessed.

The symphonic bluster returns to the "Paradise Theater" on "An Ordinary Day's Odyssey", a towering edifice (a Bologna characteristic) of clever variation, with a stupendous piano solo in the mid-section that is a sheer delight, as it sets up a majestic chorus that does not fail to impress, veering into a nearly pastoral finale, lavishly rendered with orchestrated grandeur. An amazing track. Fuelled by a pirate-like feel, as if a Jethro Tull track of yore was lost in Italy, "The Lost Ship Tavern" has a ribald, rousing mood, courtesy of folky orchestral accoutrements, and a stunning organ flurry that could have been played by a "Minstrel in the Gallery". Alex Mari's vocal is perfectly adapted to the sung story, the guitars buzz hard, as another round of tankards are delivered to the guests.

Progressing nicely along, "Voyager" is the longest track at 8 minutes + and has that immense quality of initial restraint, as the pace builds up with complicated polyrhythmic gymnastics and the lamenting vocals kick into gear. The mood is reverential and adventurous, with a flurry of instrumental transitions that showcase the extraordinary soloing talents of Zabbini and Mazzuoccolo, altering gears where necessary, throwing windy orchestrations into the mix, an absolute masterclass number. The chugging "Morning Train" asserts the unrelenting continuance, a 'mercurial' vocal display and a song structure that could have been easily a Queen number, what with that hard frizzy guitar tone and a regally playful pomp and circumstance section that has all the nods and winks this side of Buckingham Palace. Fascinating bravado well played! Another unexpected twist out of the blue, the suavely built up "Propaganda" ushers in an up-front Caliendo bass line that shoves the arrangement into a combination of Stealy Dan (the vocal is ridiculously overt), with hints of Return to Forever, as well as some saxophone blaring that astounds. The guitar solo has a jazz-rock feel that is unmistakable. There is a fantastic e-piano finale to kill this baby off. The next four tracks settle in wonderfully, keeping the pace interestingly diverse and also on the ball, coming across as if a suite, at least sonically speaking. Both "Shibuya 3 AM" and "Lonely Girl" are set in a more contemplative form, perhaps more linear that the high shining previous pieces. The splendorous "Mediterranean" as the title implies, casts a neo-classical piano ballad shadow that is most welcome, Alex's compelling voice in tow, a redolent bass flutter nearby and a simple anthemic chorus. Naturally, the pressure is raised when the churlish organ decides to bully its way into the arrangement. Then the twins join hands in communion, like Romulus and Remus repentant. Utterly magnificent, a shining hidden gem that needs to be heard. As if composed near Hadrian's Wall by Roman ancestors as inspiration, "Kyanite Jewel "is another soft-paced song, with sweet vocals and eventual swagger, amid a stout British folk-rock feel, loads of acoustic guitar and pastoral piano attesting to the fact. Absolutely lovely. The album is finished off by another thunderstruck prog-rock blast, "Voyager's Homecoming" seems intent to blow all the previous prettiness into a myriad of starry confetti, I could not help noticing some overt "Thick as a Brick" clues, the Hammond organ's kettle almost boiling, the drums home fire burning, and the singing master of the house building castles by the sea. A pompous, grandiose and overarching 'arrivato a la casa'. I am very glad, I finally got the push to review this album and now fully comprehend why its is to be found on so many top records of 2024 lists.

4.5 minute expeditions

If my memory serves me well, I got to know this album through some internet station. After listening to it several times, I finally put my finger on what works for me and what not. But first things first, This Winter Machine is a neo- prog band founded by Al Winter in 2016. On this album, at least, the band is primarily keyboard-driven. The album consists of five songs only, since two of them are epics and another one nearly so. The longest one, which is the title track, kicks off the album and it is a highlight with its beautiful melodies, mainly on the piano. But from the first song it becomes apparent, to me at least, that there is an issue with Al Winter's voice: when he holds a high note it sounds as if his voice is trembling. But thankfully most of the times he sings at a lower register, so this issue doesn't come on too often. The Wheel starts very promising but on the 2:40 minute there is a theme change on 5/4 time which, bar a few meters, remains the same until the end of the song which is 6 minutes long and it wears me out well before it is over. Then comes an instrumental track which although is five minutes long it comes off as half-baked, but then again maybe this is why it is named Lullaby (Interrupted). On After Tomorrow Comes the issue I mentioned becomes more evident than ever. It would be a really nice song since the melodies are captivating but for me it's just too much, he sounds as if he is really struggling to hit the notes. But the best was saved for the last: Fractured is the album's top song and its ten minutes go by in a flash. Everything is in place here where the band plays on its strengths. Last, I will mention that I haven't paid detailed attention to the lyrics, but they belong to the aforementioned strengths of the band.

In spite of some things that don't work quite well for me, I am positive that every fan of neo-prog should give this band a chance and hear and judge for themselves if it is right up their alley.

A really drab album! This is the sixth studio release by Robin Armstrong-headed progressive rock project Cosmograf and this also happens to be one of the releases on the heavier end of the Cosmograf spectrum. 'The Hay-Man Dreams' is melancholic and sorrowful act and is actually conceptually bound by the family story of a great-grandfather's passing, with the music reflecting the overall dark themes and explorations with a sound that is quite vintage, full of heavy, sweeping guitars and scorching mellotron cries, topped by the idiosyncratic vocals of Armstrong which are always recognizable and a significant part of the Cosmograf musical universe.

And while the retro measures of the album are there, structured as a six-track single LP, there are a few contemporary influences as well, meaning that amidst the Floyd-ian or pastoral 70s musings, you might as well catch glimpses of a Porcupine Tree or Thomas Thielen-reminiscent episodes. This is all good but somewhere along the lines the excitement wears thin, the tension that is usually omnipresent on other releases by Armstrong is a little dim on 'The Hay-Man Dreams' as the record meanders through some extended instrumental passages like on 'The Motorway' or the 12-minute title track. On the contrary, 'Cut the Corn' and 'Trouble in the Forest' successfully deliver just that tasteful piece of grim melancholia, with that soaring grip of the mastermind's vocals delivering the rather forlorn lyrics of the songs. This 2017 release is good, tight listen but I genuinely feel that there are stronger offerings in this discography.

by Marillion. It's such an emotional album, and you can feel every bit of it. The songs are long but never boring; they tell these deep, personal stories that really pull you in. Fish's voice is amazing?so full of power and emotion?and the lyrics are like poetry, even when they're sad. The band plays beautifully together, especially the guitar and keyboard parts, which just add so much feeling. I think my favorite songs are "He Knows You Know" and "Chelsea Monday." They just stuck with me. The whole album feels honest and real, like it came straight from the heart. I'll definitely keep coming back to it.

Another solid live release from IQ. Rather than releasing the same show from the Road of Bones tour on audio and DVD, the band have put out two different shows; if you don't care about visuals and just want a nice CD release of a show from the Road of Bones tour, Live On the Road of Bones has you covered, but if you want to watch Peter Nicholls' theatrics and the like this will serve you well. And if you're a major league IQ fan, there's enough variation in the setlist between the two releases that neither feels redundant, though I'd give Live On the Road of Bones the edge.

Unfortunately, Marillion didn't come up with something interesting this time. The first side of the vinyl kicks off the album quite promisingly, yet on the second side there is almost nothing of interest. The Last Century For Man and Faith must be among the most lukewarm songs the band has ever written. A come-back takes place on side three with A Voice From The Past at the vanguard. The Wound starts wonderfully, but its development falls short in my view and No Such Thing is simply good. The album in general is slow paced, subdued should I say which is certainly not a bad thing, it's just that the songs aren't really captivating. The guitar work isn't anything Steve Rothery will be remembered for and the rest of the band memberes shouldn't be let off the hook either. The lyrics, as always, are worth to pay attention to. The live versions of The Other Half, Somewhere Else and A Voice From The Past can't save things.

I will go for fans only since the friends of Marillion will surely have to check it out, but if somebody ever asked me to play them something from Marillion, I would never pick anything from this album.

'Capacitor' by Cosmograf is one of the truly excellent underground progressive rock albums of the 2010s - this is the fourth album by Robin Armstrong's solo musical project and is a concept record (just like almost any other one in this discography) that focuses on the theme of storing the human spirit, a rather fascinating topic that is developed beautifully through the music, which can be defined as immersive, cinematic, thoughtful and at times incredibly dark, with extensive use of heavy guitars and lush and spacious synths, elevated by the unexpected and suspenseful shifts together with some great melodies. This album also sees some long instrumental passages that either build upon a certain kind of atmosphere or help to break down and finish off a particular song. 'Capacitor' is in any case a tremendously well-executed entry that infects you with its imaginative soundscapes and grim sounds.

The opening track is a strapping instrumental that goes through a few different passages both heavy and electronic that sets an interesting tone for the record. 'The Fear Created' then takes up the drab tones and allows them to transition into the first really cinematic song, this is a really great opener for the record that impresses with the powerful but very crafty arrangements. Of course, this album features mostly longer-format pieces that go beyond the six-minute mark, which is probably the right amount of time needed for each distinct piece to develop rightfully and thoroughly. A more acoustic entry follows in the face of 'The Reaper's Song', which features a really memorable, strong refrain, while 'The Drover' and 'White Car' are perhaps the culmination of the record - these tracks are moody and swaying with great instrumental work, offering some very ominous moments. And while it would be difficult to place the highlight on any track on 'Capacitor', these two would probably come closest. The two final tracks are slightly less diverse than what comes before but maintain the overall gloomy feel and are still quite good. The entire albums is very evocative, at times it might even remind you of some Porcupine Tree deep cuts, but it also works perfectly as a concept album and is by far the most intricate and imaginative Cosmograf studio album.

The gloomy but surprisingly uplifting and even hope-ridden twentieth studio album by Marillion titled 'An Hour Before It's Dark' is a further consolidation of a particular genre-defying sound that they have been developing over the course of the last decade and a half, one that is shaped by strong melodies, defined by a textured production, intelligent writing, and strong evocative messaging - this is the band's latest album in a nutshell. Some would probably dismiss this record whilst refuting its neo-prog credentials, and we might as well remind them that Marillion has moved on and evolved from what they have been some forty years ago. 'An Hour Before It's Dark' introduces some spectral, cinematic, and emotive passages (both instrumentally and lyrically) and is a full-on contemporary rock album that stays true to the band's rather mature, intelligent and mellow music, already familiar to a rather wide audience.

The record ebbs and flows gracefully between ethereal synth-driven soundscapes and waves of orchestrated layers of sound, transmitted by the masterful guitar crescendos of Steve Rothery and the rather astute bass punctuations. The charming jazz patterns of Ian Mosley's drums provide a pulsating and often discrete patches of rhythm to each track on here. The music is elevated by the elegant, powerful and rich singing voice of Steve Hogarth, a charismatic leader of a band of virtuoso songwriters. The eclecticism of the album makes is quite an intriguing listen, while the six actual tracks are made up several shorter interconnected pieces. The album is arranged masterfully and the tracklist has a certain kind of logic that goes through a myriad of moods and styles, from the melodramatic opener 'Be Hard on Yourself' to the heartfelt sounds of 'Murder Machines', followed by the symphonic catharsis that is 'The Crow and the Nightingale', to the genuinely gorgeous closing suite 'Care' - the entire album is a true celebration of the Marillion legacy and a well-constructed release marking a creative peak for the band of veterans.