SAND

Canadian stalwart prog artist Ken Baird returns with a second Monarch Trail album, on the heels of 'Skye', a much vaunted debut that signaled a new route for the up-to-then solo multi-instrumentalist. It must be stated once again that there are musicians out there who have a level of musical education and a personal style that aims at artistic purity (aka lack of commercialism), charming the unsuspecting listener to be wooed and charmed by the proceedings. Throughout Ken Baird's solo career from 1996 to 2009, the confirmation of a special and unique sound encompassed 5 great albums that still enjoy great appeal to me as a prog collector. Also quite interestingly, Ken does the opposite of the accepted norm by starting with a solo career and then morphing into a band format. Cool, no? 'Skye' was pretty much a well-received and critically praised inauguration that garnered quite a reputation back in 2014. Three years have passed in silence and, out of the blue, Ken has returned with a new release 'Sand' that rekindles the progressive blaze and keeps the exact same crew in place: Dino Verginella on bass, Chris Lamont on drums as well as three guitarists in Kelly Kereliuk, Steve Cochrane and John Mamone. Ken sings and handles a slew of keyboards that are unafraid to solo in massive doses. For those of you new to Ken Baird, he will astound you with his musical prowess.

Swirling and twirling synths infuse 'Station Theme' with some very unflappable retro space music, sounding like a jingle for a sci-fi program on the History Channel. The rippling piano showcases a Wakemanesque dexterity that defies logic, booming bass and propulsive drums adding to the loopy instrumental orbit. Ken has one of the most humble and expressive voices, a gentle wail that has huge emotional appeal, though certainly NOT a leather-lunged, air-raid siren howler. 'First Thoughts' is a brief lullaby, washed in cascades of stringed synths and a devilish acoustic guitar foray that simply enchants. Brilliantly simple and perfect.

Full orbital liftoff occurs with 'Back to the Start', a 7 minute rambler that uncoils its symphonic drive with near ritualistic splendor, colossal keyboards led by a gripping bass guitar assault. Ken unveils his craft on the various ivories at his disposal, shifting from delicate to bombastic, from unassuming to complex, with undeniable affluence. Guitarist John Mamone spits off a few slick licks to keep the urge going, another cinematographic piece that would fit nicely in some silver screen epic.

'Missing' weaves a harrowing path through vocal ebbs and instrumental flows, all of Ken's keyboards smoldering furiously, the synths in particular on fire through a multitude of solos that defy logic. There is a slight IQ feel in the melodies and the vocal delivery (though nowhere near the same timbre of voice than Peter Nicholls), perhaps that incisive determination that illustrates a band that has a style and likes to stick to it.

Throwing me for a loop after my preceding comment, 'Charlie's Kitchen' is a bar-room jazz piano ditty that adds slicing guitar (Ken) and a shifting rhythm section that eschews cool and crazy. It slowly morphs into a rather upbeat symphonic promenade, full of pomp and circumstance, garnished with flowery synthesizer plumes on one hand and metrical beat intricacies on the other. Dino peels off quite a four string ride on his bass guitar, showing that the rest of the crew are no slouches either. Tubular bells put this one to rest. Fascinating!

The short and otherwise spectral 'Another Silent World' serves as a clever synth-heavy intro for the lavish title track epic 'Sand', a 24 minute masterstroke that perfectly defines the artist's muse. Beginning with nearly Anthony Phillips-like fragility, all charming voice and flute-patch keyboard accompaniment, there is a bucolic /pastoral ambiance that evolves into a more symphonic coloratura, laden with menacing fright, delicate fear and unsuspecting solitude, verging on theater at times. The mood is an ever-colliding conundrum between the promise of the future and the relative comfort of the past, certainly an apt definition of modern day progressive music as it has clearly become. Arid dunes and lush oasis music. The playing grows in spirit with a sizzling guitar solo from Kelly Kereliuk, constantly challenged by the shrilling synths and the persuasive piano motifs underneath it all. I daresay this may quite well be Ken's finest moment, a thrilling voyage of sound and style that cannot fail to impress even the most casual listener. There are little hints of the classics (snippets of 'Delirium', mosaic Gregorian mellotron tiles and pulsating bridges) that only seek to elevate the pleasure, boldly go beyond the norm as if taken on a magic carpet ride into and towards the stars.

Monarch Trail is back, and fitting for a Canadian band, 'Sand' was unveiled to the public on July 1st, Canada Day. May the 150 years of celebration begin with such musical fireworks! There are many many artists that are worthy of support , but Ken Baird is one that deserves much consideration, true to himself and true to the fans that have stood along, beside him all these years.

5 papillon paths

"Sand " is the sophomore album released by Canadian progressive keyboardist Ken Baird and his band. Billed under the name Monarch Trail, "Sand" is a strong follow up album to 2014's superb "Skye" debut release.

"Sand" pretty much picks up where "Skye" ended , offering another clever suite of seven symphonic progressive tracks with a few new twists. Musically Baird takes Monarch Trail here into the Cosmos delivering an album with a strong alignment to the stars and the vastness of space.

Track 5, "Charlie's Kitchen" (the biggest departure musically on the album) shows Bairds' continued journey of creative song with this angular lounge -jazz infused song that busts wide open with the back half in full symphonic mode. "Sand" feels fresh and creative while once again showcasing the talents of his band complimented by his signature arsenal of keyboards and ivory samples. Watermark songs include "Missing" (Track 4) and title Track (Track 7)

A wonderful symphonic rock album that carries its own originality.....not to be missed

This is album number two for MONARCH TRAIL the project of keyboardist/ vocalist Ken Baird who's out of Dundas, Ontario. I became aware of Ken through his solo albums which were recommended by James Unger or loserboy on this site. Ken is one of many bands and solo artists that I have discovered through James' web-site back in the day. MONARCH TRAIL seems to appeal to the Prog fan more than his solo stuff maybe because this is more challenging instrumentally and the synths really dominate the sound overall. I do prefer Ken's solo music, especially "Martin Road" which I highly recommend to every one who's into timeless, meaningful music with an emphasis on vocals and exceptional lyrics. My two cents.

Like the last album we have a trio here of keys, bass and drums with three guests helping out on guitars. The very same lineup as was on the debut. I swear the girl on the cover art of the first album "Skye" is the same one depicted in the art work on "Sand". The piano is exceptional on "Sand" but Ken offers a variety of keyboards here, and of course his vocals really resonate with me. I was really surprised to see an over 24 minute track as well. Some of these tracks blend into each other as we have this cosmic theme. It's all so well done.

"Station Theme" opens with bass, piano and drums which are joined quickly by synths. A calm 1 1/2 minutes in with piano melodies and atmosphere. I like this. Synths are back then bass and drums. it kicks back in after 2 1/2 minutes with synths leading the way. "First Thoughts" might be my favourite track on here. Atmosphere and finally Ken's vocals before we get some tasteful guitar around 2 minutes as the vocals step aside. I love how the atmosphere starts to build after 2 1/2 minutes until it dominates to the end. So good! It blends into the next song.

"Back To The Start" features bass and atmosphere as the synths roll in. It kicks in with guitar, drums and more. This is really good as the vocals join in as it settles back. I also enjoy the guitar on this one. Kicking butt 3 1/2 minutes in without vocals followed by a calm with synths and bass then the drums return along with guitar. Nice. Great sound as well before 6 1/2 minutes.

"Missing" has what sounds like mellotron-flute as piano then bass helps out. The atmosphere starts to rise then the vocals and a beat take over. Love the vocal harmonies after 2 minutes then the synths start to dominate as the tempo picks up. The vocals are back after 4 minutes as the synths step aside then they trade off again. "Charlie's Kitchen" opens with bass, drums and piano before the atmosphere arrives around 2 minutes. Synths to the fore a minute later. There's that mellotron-flute sound again after 5 1/2 minutes. Guitar later from Ken. Nice.

"Another Silent World" is a short piece with synths and atmosphere throughout. "Sand" is the ambitious title track to close the album. Vocals, bass and keyboards to start as that mellotron-flute sound joins in. It turns majestic before 1 1/2 minutes as the vocals continue. A calm follows after 2 minutes. The mood becomes serious a minute later with concerned vocals. Nice bass lines 4 1/2 minutes in then it picks up with synths over top as the vocals stop. Guitar before 6 minutes as the synths bow out for now. They are back then we get a calm with atmosphere before 8 1/2 minutes.The synths and guitar will trade off. A calm with piano before 13 1/2 minutes. Some nasty synths before 17 minutes as the vocals step aside but not for long as the synths and vocals continue to trade off. The guitar starts to solo before 22 minutes then the synths return as they both solo over top.

Another solid 4 star album from MONARCH TRAIL. Please check this band out along with Ken Baird's solo albums. You will find quality and meaningful music if you do.

Three years ago, Canadian trio Monarch Trail delivered a strong and well-received debut `Skye', a rich and quietly dynamic keyboard-dominated symphonic work that called to mind the early works of Glass Hammer and Pendragon, the vocal-focused melodicism of Izz and even the romantic longings of Camel. It was a top-notch first effort, but to say that the band has stepped up in a big way here would be an understatement! 2017's sci-fi concept tale `Sand', which sees the trio backed up by contributions from three different guitarists, offers a larger canvass of symphonic grandness and stronger instrumental themes, as well as delivering a more polished production, smoother vocals and more naturally flowing harmonies that instantly improve on those from the debut, and it quickly reveals itself to be one of the finest Symph-prog works of the year.

The album launches reliably with `Station Theme', an overture-like introductory instrumental full of Ken Baird's whirring synth themes and rousing piano by way of Rick Wakeman-like pomp as well as some eerier little fleeting gothic touches, as Dino Verginella's chunky bass grumbles through the background alongside Chris Lamont's bustling drumwork. `First Thoughts' is the first gentle vocal piece, Ken's placid voice sweetly sighing alongside soft symphonic keyboard caresses and sparse acoustic guitar, and it reminds of both the last few Comedy of Errors discs or the unashamedly romantic classic period Pendragon albums. `Back To The Start' instantly calls to mind I.Q's mysterious and melodic approach with the snaking bass over crystalline synth washes, and the touch of heavier guitars will excite fans of Arena and the earlier male-fronted version of Flamborough head. Loaded with crisp electric guitar themes and slow-burn soloing piercing through rambunctious drumming (listen to Dino's tantrum-like burst at about the 3:20 mark!), the second half in particular lifts to the highest of instrumental symphonic-prog heavens and is sheer prog bliss wrapped up in a mere seven minutes!

A nice change in direction, the lyrically reflective `Missing' might deliver a sparkling piano and cascading Mellotron introduction, but at heart it's a strong and tasteful pop tune, not unlike some of those simpler moments that show up on most Glass Hammer albums, and it holds a catchy joyful chorus that would make E.L.O green with envy - but don't worry, prog-snobs, you get to overdose on the frantic keyboard delirium solo in the middle!

But then Monarch Trail drop `Charlie's Kitchen' on us, a sumptuous instrumental feast of keyboard-slathered symphonic rapture in the tradition of bands like Trion, Willowglass and classic-era Genesis. Offering the most infectious of twinkling jazzy piano, assisted by some majestic Mellotron flutes, sweetly murmuring bass, peppy drumming and Steve Hackett-esque ringing guitars, it's a frequently whimsical slice of romantic prog that symphonic fans will adore. The group then spoil us that little bit more with `Another Silent World', a tasty final standalone spacey instrumental interlude.

And then, as every symphonic-prog album should have, we reach the `side-long' epic, the near twenty-five minute closing title- track `Sand'. While it similarly holds all the same wistful vocal passages with lengthy instrumental bursts fuelled by colourful whirring keyboards and welcome acoustic guitar breaks, it also refreshingly incorporates plenty of heavier drama and darker segments from moodier cinematic synths that shimmer with danger. The climax has guitars and keyboards reaching in unison to the heavens to end on as grandiose a note as possible, but extra special is the instrumental passage that runs from about the 4:45 mark for a full ten minutes, a truly exceptional all-out prog moment.

If bands like Comedy of Errors, Druckfarben and Barock Project have all moved up over the last few years in status with their most recent efforts in a symphonic prog style, then Monarch Trail have done exactly the same thing here with `Sand'. The first album was a great success, but here the arrangements, playing and production are all far superior than that initial effort, meaning we can only wait and see the amazing places the band head to from here! Also, here listeners will be witness to one of the most outstanding currently active keyboard players in action in Ken Baird, hopefully one to eventually be thought of in the same league as Clive Nolan, Fred Schendel, Andy Tillison, Neal Morse and Robert Reed of the modern prog era.

Chances are we're looking at potentially the greatest pure symphonic prog album of 2017 right here with Monarch Trail's `Sand', but we've definitely been handed one of the standout progressive rock releases of the year overall.

Four and a half stars.

I'm sorry, but all I hear here is cheap, rudimentary rehashing and imitation of old songs and bands--especially the first Neo Prog bands: late 70s Genesis, Marillion, IQ, Pendragon, and Spock's Beard. The sound production is poor (especially the drums! Awful!), the melodies and solos all feel stolen and soul-less. And I've been going back to this album over and over since I first saw it last summer on Progstreaming!

1. "Station Theme" (3:52) I'm listening to old IQ, right? Flashy keyboard work. (8.5/10)

2. "First Thoughts" (3:22) two minutes of voice and synth wash chords before a nylon string guitar solos. Really? Is this a joke? Are we doing a demo for the band here? Or proving our IQ chops? (7/10)

3. Back To The Start (7:11) a bad Tony Banks or Steve Hackett song from one of their solo albums. Or a demo version of a Genesis song or Genesis cover. Bass and drums are fairly solid here. But such poor sound! Even the only existing BABYLON album from 1979 is way better than this! (7/10)

4. "Missing" (6:29) I'm listening to 1990s Spock's Beard, right? Absolutely nothing new here; everything sounds old and used up. (8/10)

5. Charlie's Kitchen (7:43) a Vince Guaraldi jazz lounge song twisted and turned proggish with a horrible sounding non-acoustic piano. How...?! The synth soli are all stolen! Can one sue for such blatant plagiarism? (Just kidding: I know you can't.) (6/10)

6. Another Silent World (2:10) a decent synth exercise but it's only two minutes long, so not much time to screw things up. (8/10)

7. Sand (24:31) The first song I heard from this album. I thought I was going to play it on my radio show on several occasions but every time I would re-listen to it before broadcast I would reject it with a feeling of embarrassment and revulsion: it's just not up to my standards of sound, creativity, and originality. (7.5/10)

The keyboard player is talented. He just needs better equipment. And way better recording/processing gear. I just cannot comprehend the praise that this album is earning!

Monarch Trail have followed up their 2014 debut release 'Skye' with a strong, dynamic Neo Prog Symphonic journey for 2017, 'Sand'. Ken Baird is the visionary keyboardist augmenting his solo career with this collaboration. Ken has been a prolific artist in his solo career; 'August' (1996), 'Fields' (1998), 'Orion' (2000),' 'Martin Road' (2003) and 'Further Out' (2009). 'He is played keyboardist for Jacob Moon and Art Griffin. He is joined by guitarist John Mamone, previously from Dragonfly and Volume Water. He and Kelly Kereliuk have formed Prismind and both play guitar on 'Sand'. Steve Cochrane is another guitarist that features on the title track and the rhythm is down to drummer Chris Lamont and bassist Dino Verginella, who has worked with artists such as Chantal Kreviazuk, Holly MacNarland and Jim Witter. They are a formidable group of musicians that have a chemistry that pays off on this latest release.

The masterful cover art by Annette Roche again depicts a wistful girl with a haunted gaze but this time she is on a Derelict spaceship. She may be Cassandra who is mentioned on the album. On the cover she stares out the window at the stars but on the beautiful inside cover we see her relaxing contentedly gazing at an Earth encapsulated in a globe. Is it a hologram or has she captured our planet? Her isolation is mirrored by the ethereal music that glistens and glows with every track. Mellotron sounds merge with Blade Runner style strings and those floating bass lines. The vocals are dreamily executed with lucid flow by Ken Baird. The sound is like IQ, Yes or Neal Morse.

There are many beautiful lyrics to savour but as a sample these from the epic Sand are thought provoking and resonate with me; 'Calmly waiting locked in place I check again before I say goodbye, Bright and clear there's every reason, Soon to be so many miles away, And all that I've learned could be forgotten, In a moment I'd still act and honour is intact, A picture appears in my mind it fears, All of this may come to dust, A flame to break all bonds, The hope of everyone, And soaring above, And suddenly, Staring up through floors of wires and glass, Metal constructs and the questions last, Variations, firing sequence set, In my pocket everyone I've met'. The epic track is over 24 minutes of Symphonic prog bliss. In a similar vein to the 20 minute epic in 'Skye', this is definitely worth the price of admission alone. It features glorious guitar solos and a soundscape of layered keyboards that have an ethereal quality. More on this later.

This is a spacey album with sheer beauty emanating from its heart. It opens with the synth soaked Station Theme, and then the majestic First Thoughts shines through. Back to the Start is a catchy tune but my favourite is Missing that opens with sparkling keyboards and builds to harmonies like The Byrds on Eight Miles High. There is a Rick Wakeman feel in the classical keyboard solos but the star of this for me are the sporadically timed drums, one of the key elements. Baird absolutely blazes on synth but it has to be said the ivory tinkling in this enhances the spacey atmosphere.

Charlie's Kitchen is a piano driven piece with some swirling synths and a classical baroque feel, similar to Wakeman's style. It is a meandering instrumental with some sweeping passages of keyboards and a driving rhythmic meter.

Another Silent World is a Ken Baird solo with a buzzing drone and retro synth that rises to a crescendo.

This short piece prepares the listener for the epic Sand. The lyrics as mentioned are provocative and they are accompanied by haunting musicianship. This is Monarch Trail at their best in full flight with guitar guests and a myriad of time switches and mood swings that capture my imagination. It is great to hear some electric guitar solos that soar along with the staccato synths. There are some fast fingering solos with a Dream Theater feel and the way this builds into a lengthy instrumental break is absolutely wonderful. The music swoops and dives like a bird in flight, then it builds into a wall of synths. At the 13 minute mark the sound transforms into acoustic vibrations and a flugelhorn sound with waves crashing. This atmosphere is penetrated with the introduction of a new time sig and a verse about the wind that almost throws the protagonist off side, 'Air fresh and burning sun, Waves to each other confide, Skirting across we run, Take the wheel, And pull around on my mark we're stopping here, And down we go, I wish I wish I were old enough to take a dive alone and give you all I'd find'.

The music breaks at 20 minutes with cathedral like keys and spacey textures of synths. The drums and bass join for one last verse with reverberated vocals echoing with good effect. The finale is a blast of lead guitar and synth over key pad strings and a steady rhythm. Sand is definitely a treasure on this album.

Overall this latest album is a stirring journey driven by layers of synth and exceptional guitar and rhythms. It is an innovative album that is well worth a listen. I look forward to more Monarch Trail in the near future.

A delightful symphonic journey!

I would like to thank the amazing Ken Baird for introducing me to his music, first with solo albums and then with Monarch Trail, I have enjoyed both projects and this new album is not the exception, the 'power trio' here provide once again a blast of lush symphonic keyboards reminiscent of some 70s prog acts but with a bran new fresh sound that both the old school fans and the avid for new sounds would surely enjoy. In this album, Monarch Trail offers 7 compositions and a total time of 55 minutes. 6 out of them are the short ones, while the last one is a wonderful 24-minute epic.

Since the first moments of 'Station Theme' we notice that keyboards take the leadership, which is wonderfully supported by Verginella's bass and Lamont's drums, the three of them are great musicians and make a balance importance. However, to our ears the first we will notice are those lush symphonic keyboards that also have some spacey nuances and a clear reminiscence of the 70s. The piano parts are also sweet here. 'First Thoughts' starts with vocals (the opener was purely instrumental) and the sound here is much softer, even with a ballad-like feeling, but it is actually an introspective theme, with a soft acoustic guitar after half the track.

'Back to the Start' has that spacey feeling made by keys and bass but then it totally takes us to a journey to the 70s, it is impossible (at least to me) not to think of some Genesis and Camel resemblances here; but it is also a wonderful new element here: the guitar, provided by a guest musician who adds a soft but deep atmosphere at the same time. The song flows wonderfully, giving the prog rock fan a feast of the music we truly love. 'Missing' has a beautiful start, classical piano and a flute sound made by keys, creating a bright atmosphere that later changes a little bit when vocals enter. Although there are some kind of neo-proggy passages, the bombastic keyboards let us know that Monarch Trail clearly belong to the symphonic side of prog.

'Charlie's Kitchen' continues with that symphonic sound but it also adds a jazzy feeling here and there. In moments, it even reminds me a bit of some Wakeman passages. After a couple of minutes the mellotron appears for a while, creating some goosebumps by the way. There are so many textures created by keyboards, however, the bass notes and the rhythm made by drums produces together a true solid and bright prog sound. 'Another Silent World' is the shortest track here but it is beautiful, symphonic but spacey keyboard driven, something like Bowie's Crystal Japan, to mention an example, but it could work also as a short Tangerine Dream track.

The last song is the longest, quite long, by the way. 'Sand' with 24 minutes of lush symphonic prog with so many changes and a wonderful blend of atmospheres. It starts with a pastoral sound, soft and delicate, but later it turns a bit darker but still soft until minute five when keyboards make a bombastic appearance. Guitar is also present here with a nice solo, while bass and drums maintain that symphonic structure in which keyboards are in charge of the countless atmospheres the song blasts. What I love here is that there are not repetitive moments; the minutes pass and the musicians dare to share a nice diversity of sounds that tear away any chance of feeling bored. So once you are immersing, you will not escape from this amazing journey. After 14 minutes there is a passage where things become calmer, with acoustic guitar and with new lyrics, so a new structure is being built up here so in this second part of the song we will find different nuances and passages. Wonderful!

A solid, amazing album by Monarch Trail that I would like to suggest to any prog fan since I believe it has arguments to be considered as one of the best 2017 releases.

Enjoy it!

Eeeeh, call it sophomore slump. Monarch Trail's Sand finds the Canadian trio back on the same beat as their debut - charming 1980s-style neo-prog, lousy cover art. Seriously, gang, I get it that commissioning art can be expensive but it's not *that* expensive. Once is twee; twice suggests a lack of pride in your own work.

And though it would be too harsh to say you should just this one by the cover, I do detect a certain complacency creeping into Monarch Trail's schtick here. We're still in the land of solid IQ/Quasar/Pendragon-ish neo-prog here, but the overall package feels hollow somehow. This shows up the most in the title track, a 24 minute epic which seems to be that long solely to tickle the prog community's well-known fetish for long tracks - it's not that it's bad, but it's way overlong for what it is and some of the sections (especially those with vocals) could have been cut to the improvement of the track.

Decent, but not as good as the debut.