SANCTUARY II

What we have here is the very talented multi-instrumentalist, producer and composer Robert Reed, (Magenta, Kompendium, Kiama) with its continuation to "Sanctuary" purely Oldfield 2014. Produced, mixed and directed by Rob, and this time joined the original production equipment technician "Tubular Bells", Tom Newman and Simon Heyworth, who have helped the album a cleaner sound. Sanctuary II (2016) has the rare peculiarity of sounding like an album of Oldfield without it easy to find the exact references. The technique of striking melodic progress is there, the risky combination of instruments of all kinds also still in force, and especially the singing voice still carries that clean and expressive electric guitar ... but still sounding Oldfield, we do not know very well what melody referenced, and that can be a great virtue for those who want to see Reed get away from the canon and tinkering on your own. Making a complicated exercise in imagination, perhaps we could understand Sanctuary II as an album Oldfield would have composed if his instrumental epic stage had not been completed.

Reed Sanctuary II gives an air sometimes more rock, sometimes more folk than the first album. Or what is the same, the ends are accentuated. In progressive rock slope it contributes the notable presence of Simon Phillips, essential Oldfield ochentero battery. While it is not yours an instrument that can be left an imprint too personal, their interventions are timely and refreshing. On the other hand, Robert Reed has had another collaborator Oldfield, Les Penning, flutist category here contributes to several playful passages

And let's not forget the excellent vocal solos Angharad Brinn that leads to soft guitars. And the chorus Synergy Vocals always present surround us.

And all this achieved, which is in my opinion, that while "Sanctuary" was a formidable album, "Santuary II" as a sublime album. With what we were is the commitment of Robert Reed to fulfill the desire of the old Mike: someone to take over and continue composing instrumental long in which the listener can dive. It has taken years anyone to carry to term this idea so explicitly, and we can only hope that in the future and more than likely Sanctuary III (apart from the probable recording of the live performance by the end of 2016), Robert Reed be able to continue delighting without being in the shadow of the giant. Gradually it is achieving.

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