THE WORLD AS WE KNEW IT

RETREAT FROM MOSCOW outdated? Yes of course if we consider that the Welsh quartet really existed from November 1979 to August 1981 without recording anything at the time, punk having reversed everything in its path from 1977.

The four band members Andrew RAYMOND, Greg HAVER, Tony LEWIS and John HARRIS reunited in late 2016 to begin recording old and new material for this album. Alcohol and curry may have been involved in this decision depending on what they noted in their presentation! Yet when they got together for the first rehearsals at ROCKFIELD Studios, the band was surprised at how well they could still play together and how easily everyone remembered old songs.

Drummer and producer Greg HAVER arranged the sessions with his longtime collaborator Clint MURPHY at MODERN WORLD STUDIOS then the tracks were sent to be mastered by Ryan SMITH at STERLING SOUND in Nashville in late 2019. The quartet were involved in the creation musical since the first incarnation of RETREAT FROM MOSCOW although Greg has been unquestionably the most active, he is best known for his work with the MANIC STREET PREACHERS.

Eleven titles and seventy-three minutes, such is the program of the retreat from RUSSIA! Musically to give you a guiding idea concerning the CARDIFF quartet, RETREAT FROM MOSCOW oscillates between neo progressive, symphonic, progressive metal and even a background of AOR. The opening title "The One You Left Behind" is for this purpose one of the most energetic of the work, the guitars lash, the vocals of John HARRIS get carried away (sometimes a little too much), the bass of Tony LEWIS is present and Greg HAVER hits his barrels like a damned, here for the inaugural table (7/10). "Radiation" tumbles on a rock n'roll beat, grandpa knits legs (and me too), a devilish metallic piece, not really my "cup of tea" but it's still listenable (6/10). "Henrietta" is calmer, not restful either, a very square first half, a more peaceful second where we finally hear the keyboards of Andrew RAYMOND (the synthesizer solo recalls the finest hours of progressive symphony, supported by guitar laces), one of the best tracks on the album (9/10).

Two titles a little longer than six minutes to follow, first of all "I'm Alive" which pulsates strongly from its start with also the featured synthesizer, a mid tempo following the expression which takes effect after several listenings (8 /10), excellent neo progressive (GALAHAD or JADIS could claim to see a certain YES if you want a reference to the sources of progressive music) then "Constantinople", an obvious reminder of the visual of the record cover, imposes itself as a highly qualitative piece by the majesty of the flute (John HARRIS), the ebullient six strings, the Moog Taurus (Tony LEWIS) which is no less so, all against a backdrop of high class synthesizers, superb (9/10) despite a too abrupt end .....

Arrives The Big One, "Home" the longest track of the album and its eleven minutes thirty-seven which reminds me in its entirety of the antediluvian PENDRAGON of "The Jewel" that is to say the most classic neo progressive which maybe, not surprising if this composition was written in the yardstick of the eighties?, the mainly instrumental second half proving to be much superior to the first, beautiful, good according to our usual criteria, a piece which if it had been longer would not have bothered me (9/10). From the average to the mediocre follows with "Armed Combat", singing and music in the same boat, at the limit of the progressive, the choirs seem to escape from a television B series, blah, blah and rebof (5/10). "Moving Down" is almost the opposite, rediscovered lyricism, calm vocals, aerial guitar, another Barrettian inspiration assumed particularly in its terminal phase (9/10).

I would pass just as modestly on track nine "Perception" which has all the faults of a neo progressive title, without any real melody, a more than average vocals, a little saved by the instrumental guitar part in the second half... (6/10). The penultimate piece "Mandragora" is certainly not wildly original, but has the merit of being very well executed, led by a breathtaking synthesizer, a weightless six-string from the second minute and above all a very good singing by John HARRIS (which is not the case on all titles as you have understood) go hop (8/10).

We end this journey in RUSSIA with the superb "Don't Look Back" (yes like BOSTON forty-five years ago!) introduced on the flute by John HARRIS who vocalizes like nowhere else on the album, his singing is magnificent all in emotional relaxation, the ditty melodic framework, the notoriously excellent concluding guitar solo, it is also the piece that the group chose as a presentation to the media, of the very great symphonic progressive, bravo (10/10).

A bit like THE FAR CRY last year, excellent and less good for RETREAT FROM MOSCOW, let's say for those who like the numbers 57 minutes ok which remains perfectly honorable.