THE GUARDIANS

This was multi-instrumentalist Robert Reed's first band and now he thankfully continues with a completely revamped lineup which had already updated their first 2 albums (For King and Country and Pictures from the Other Side ) with The Creeping Vine still left to do some day perhaps. I have all his stuff anyway. While a brand-new release, "this album features an additional 38 minutes of music that was recorded for Pictures from the Other Side, but not featured on the CD at the time. This includes the epic  Guardians of Your Destiny and All Around the World. The latter was previously in 2005 by an all-star Prog cast for a special charity release. The CD also includes a special recording of the track Cyan, which was not featured on the original CD" (courtesy Cyan website). The revamped Cyan has been often described in the progressive press as a super group and it is hard to argue the contrary. While leader Robert Reed mans the keyboards, having the luxury of some of the most in demand prog stalwarts like Luke Machin on guitars and vocalist extraordinaire Peter Jones is quite the stamp of quality, with bassist Dan Nelson (Legend, Godsticks, Magenta) and Tim Robinson (Othello Syndrome, The Fyreworks, The Kentish Spires, Stackridge) on drums, manning the rhythm section with exceptional class. Female vocalist Angharad Brinn joins in on the fun.

Three tracks are up for grabs, beginning with a mastodon of titanic proportions, the beguiling 25 minute + "The Guardians of Your Destiny" , a definite candidate for epic of 2024. Robert Reed takes over the main theme with his ivories, with Luke brazenly burning mightily on guitar, and the rhythm duo right behind, as Peter and Angharad finish off the storytelling. As the track settles into a melodically attractive realm, Dan Nelson shows his fine form, burying a deep groove with reptilian flair, as Reed liberates his synths to flutter along convincingly whilst adding organ, piano and a splash of mellotron. Guess what! This is as progressive as it gets, a harmonious expedition that travels far and wide, diving into deep valleys and scaling massive crests, each future return offering new vistas, solidifying a plethora of impressions that erases any trace of tedious technical excess. Machin's glorious fretboard solo emits a Santana-like warmth that is eyebrow raising! The various transitions are effortlessly managed, superlatively expressed with detail and most of all, passionate decorum. When Reed settles into a typical Tony Banks organ flashback, the piano not far in the rear, the atmosphere switches to more Oldfieldian realms (one of Reed's idols, we know!), with Peter Jones emoting undisguised enthusiasm, surely one of the brightest singers in modern prog today. The opening theme returns for a farewell bow to the audience, thus fully closing the circle that the guardians have devised. Jones whips out his suave saxophone for the final hurrah and its properly amazing! Needless to state, this huge masterpiece needs multiple visits to properly digest its intricate notes and truly appreciate the impeccable musicality displayed. Deeply indigo.

The need for a bit of sonic respite comes with a lovely ballad, "All Around the World" exhibits all those attributes that world class neo-prog can occasionally dish out and this is no exception. Cyan's version of "Afterglow", a luminous anthem that seduces the ear from the get-go, no 'fancy shmancy'prog pyrotechnics needed, just a beautiful simple song. Both vocalists share a duet that transcends the mundane, Jones in particular scaling grandiose heights that dazzle the mind , followed by the extended Luke Machin solo that scorches the heart strings with expert savoir faire, Steve Rothery would be jealous. The final section goes instrumentally proggy with orchestral meanderings that set up an explosive synthesizer solo, with choir in full voice, bubbling over a wicked bass undertow. Seven minutes of delicately aqua.

The instrumental finale "Cyan" injects a rousing, churlish organ workout that barks at the moon, like a despairing wolf. Propelled by a furiously active bass and drum onslaught, this is certainly more than some lost obscure track, mainly due to the sulfurous saxophone blurts that exceeds the norm, the e-guitar taking over the fiery eruption twice with glee. Shift to some playful jazzy improv and back and forth we go. Tingling e-piano puddles complement the necessary bluish coloring that defines the title (and the band), as one can feel the unabashed zeal and joyfulness emanating from all the players here.

Essentially turquoise.

It's a short album with 38 minutes of running time, but all is exquisite. Two final words, Robert: More please .

4.5 Protectors of Fate

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.