CYCLE OF LIFE

Prog Rogue Air Traffic Control to Heathrow ATC- "Tower, can you determine why Ghost Community GC 2016 had never shown up on our ultra sophisticated radar system? Not even a blip?" Reply Heathrow ATC "Because PR ATC, we are too bloody busy!". When I finally landed on this, through nothing more than utter providence, it was reminiscent of how another fabulous UK band Tilt never got a fair shake, even though their album "Hinterland" was a sheer delight. Well, Cycle of Life certainly fits the similar bill of an unfairly neglected jewel that begs to be discovered. Yes, it is supposedly Neo-prog but it is of the very finest vintage, expertly manned by a seasoned crew led by well-known names such as guitarist Simon Rogers (Also Eden, Cosmograf, Realisea) as well as bassist Matthew Cohen (Magenta, The Reasoning, Erasmus, Unbroken Spirit), adding Moray McDonald on keys (who guested on a Godsticks album), drummer Jake Bradford Sharp (The Reasoning, The Bloody Mallard) and especially the rather incredible vocalist John Paul Vaughan, an irresistible choice as microphone handler. Backing vocals are expertly manned by two great singers, namely Marc Atkinson and Bruce Soord. That is a pretty solid lineup. To make matters even more puzzling, the art direction, cover, production, arrangements and set list are absolutely first rate, with no track under 6 and half minutes in length!).

Shooting off into the skies (seemingly undetected by the overworked Heathrow crew) "Rise Up" firmly stamps the track with sizzling audacity, thrilling instrumental prowess, aided by a muscular bass sinew, an athletic drum attack, whirling synths including a slithering solo, wah-wah drenched guitar slinging of the finest order and a voice that just glitters like liquid gold, like a hyper Pete Nichols of IQ fame. And enhancing it all with just enough variation to keep the intrigue irreversible, and ultimately, wholly satisfying. A Seven and half minute guided missile that illuminates my prog sky. The elegant intro to "Mirror Lakes" showcases the rich tone of the man's voice, at times shrouded in mist, then normal, before blasting into another octave. The contrast between serene and robust is intoxicatingly attractive, the Cohen bass unafraid to get up close to the action, the clever arrangements swaying constantly, just like the liquid reflection from a shimmering pool of water. The finale gets revved up like a speedboat gliding over the waves. Electronic beeps and colossal drums usher in the intensely suave "Anything and Everything", the cutting guitars seem to echo off the walls, sounding at times like a proggier, more complex version of The Fixx, slick vocal effects once again, tingling synths embellishing the proceedings, adorning a vigorous solo to boot. A variety of expertly steered transitions, often on a dime, is to be applauded, taking risks is the hallmark of prog, neo, crossover or whatever label one wishes to adhere to. A piano and voice duet introduces the sultry "Blue December Morning", gliding the melody along until the main theme kicks in with all its glorious beauty, a lovely heartfelt ballad that shows Vaughn's unique talent in presenting convincing lyrics with sonic adornment of the highest order. The instrumental break shines the spotlight on a gifted Rogers solo, which serves only to veer in a darker direction by elevating the pace, the power, and the rage ("who do you think you are"). Exceptional thrill. The next track becomes a tad more exploratory and perhaps less accessible. A sombre organ begets "Ghost Community" (no its not an airline but it does fly), as Vaughn displays his various modulations with impeccable ease and conviction. The choppy drum beat intro only serves to set up the volatile impulse that carries this arrangement to its final destination, a platform for the lyrics to take precedence over clever auditory activities. A prodigiously elaborate piece, though unfairly sandwiched between two amazing ones, Atkinson doing his cameo showcase to great effect, really killing it. The nearly 16-minute title track is the unexpected epic finale, serving as a perfect summary of why this album should stand the test of time and deserve a more profound look by the prog luminaries, who, for whatever reason like me, missed this absolute corker of an album! The playing is exemplary, highly entertaining, versatile within a clear musical style, owner of a vocal display that is off the charts, just lend an ear to the repeated 'Move On' and 'Cycle of Life' choruses attaining the highest peaks. The bass guitar is upfront throughout which can only exalt a fan that loves the prominence of the 4 stringed monster. The acoustic mid-section slathers thick mellotron symphonics, as the sweetly pleading voice continues to seduce. Darn, this is so good! When Vaughn launches into 'It only takes seconds to change your life', the piece is flung into the stratosphere of sonic delight.

If you enjoy the previously mentioned bands as a hint, then I urge you to at the very least check it out and offer your own opinion. If I fail you, I will work at Heathrow ATC.

4.5 Phantom civilizations