SIEGE

Clive Nolan has wasted little time in reigniting the torch of historical based concept prog, barely 2 years after the Tuscan perfidy of "The Rise of the Medici" debut and its unanimous success through out the progressive community. We move from the Machievalism of the Renaissance to a much older story, maintaining the struggle with the conquering Roman Empire this time as it crushed the rebellion of the ancient British Iceni tribe in AD 60-61. Boudica (Boudicca or Boadicea) was a warrior queen, who is revered as a patriot national heroine as well as a symbol for freedom and justice. British history books should be consulted in order to get the complete narrative for those who need context for this musical journey. This package is a 2 CD, and DVD affair, with splendorous artwork, just as theatrically intricate as its predecessor. Nolan is the leader in the charge of composing this sprawling opus, manning an arsenal of keyboards as well as performing vocal duties and orchestrating the arrangements. The delightful Italian diva Laura Piazzai is also back at the microphone, and she is a vocal whirlwind that has now elevate her craft even further to mercurial levels, as her performance throughout is impeccable. Mirko Sangrigoli takes care of the rhythmic package, both on the drums and guitars, aided by electric and lead axeman Simone Milliava. But the big news is the inclusion of one of my favourite bass players in the fuzzy/furry animal himself: Luis Nasser, he of Sonus Umbra, Kurgan's Bane and Luz de Riada. Luis is also a guest panelist on Pete Pardo's Sea of Tranquility prog site. Ten luscious tracks make up the main album with a bonus disc of outtakes, instrumental, acoustic and duet versions etc?Like any classical opera worth its name, the libretto can guide the listener through the epic events that span this momentous production, which should really be seen in a live setting in order to check out the lavish costumes, the over-the-top props, the sweeping arrangements, and towards the final bend, the proverbial velvet curtain with its rapturous applause.

As the house lights dim respectfully, and an expectant hush ushers the audience into their seats, "Cry Boudica" settles in with a rousing musical depiction of the tale at hand, as well as introducing the protagonists. Laura makes her stand at the front of the stage, her powerful voice sending shivers of delight, as she moves from sedate to defiant, and then to outright enraged as she arouses the needed message of courage to her troops if they are to defeat the powerful Roman legion made famous by emperor Augustus in conquering Spain (Legio IX Hispana). On the vigorously symphonic "The Final Redoubt "Laura's voice expresses the rage of having been flogged and seeing her daughters raped, so revenge is clearly on her resolute mind. Victory will be hers in Londinium (London but at the time, the size of Hyde Park), against all odds. The violins screech with impunity, as the rebellion makes its stand against Imperial authority.

Delving into a more wistful mood, not far from Sarah Brightman or even Kate Bush "Footprints" is crushingly sorrowful, wrapped in a colossal melody, Luis's bass thumping like a marching militia, Mirko's beats 'leaving footprints in the snow' and a searing phalange of spiralling guitars slicing through the flesh of the Roman enemy, as the soldiers retreat to the safety of their fortress. Melodically, an off the charts brilliant section, only surpassed by the "Footprints (Viking Walk)" seven-minute version at the very end of the Bonus CD, which in my opinion, is the absolute emotional peak of this entire project. Laura does not only vocalize with the very best ever, but the wailing vocal effect finale two moats away from towering magnificence, is a battle-stopping outright victory, forcing abject surrender. Clive Nolan proves once again that he has mastered the piano like the true maestro he is.

As the fog of war flutters over the battlefield, "All There Is To See" becomes a moment of post-trauma reflection, conjuring strength for the next clash, but only a brief respite. Ornate piano duels with Laura's vocal prowess, hushing serenely when required, discreet orchestrations yielding to the need to rest. "When My Eyes Are Closed" explains perfectly the exasperated reaction to the butchering carnage needed to defend your cause. Finding solace, while remaining unwavering is not an easy task, but it is necessary in order to remind oneself of the evil of humanity. The acoustic guitar strums a solemn vow, and the soldiers listen in fatigued awe, garnering strength as the electric guitars raise their spirits, for whom the bells toll. "To The Victor Go the Spoils" is an ode to freedom and defiance, refusal to be slaughtered or forced into slavery. The intricate arrangement veers into classical realms, with complex crisscrossing patterns of sonic fury and then calmer moments of silent reflection. The brief acoustic guitars and castanets surely reference the hated Spanish Legionnaires whose bellicose demeanour in seeking riches, honour, and glory shows nevertheless no mercy in battle. His is the most theatrical segment up to now and is a force of nature prog mini epic. "Never Burn the Cakes" serves as a companion piece, a slight deviation of mood, as both Nolan and Piazzai share the microphones, in a slightly lighthearted sing-along tavern feel.

Though vastly outnumbered, the Roman discipline disables the disparity, technique overwhelming passion as the rebellion begins to fail, "The Last Arrow" becomes a sign of imminent defeat, no longer able to resist the gruesome outcome, as 'the echoes of the dead are being ignored'. The background choir work and Nolan's pleading lead vocal highlights the eventual agonizing fate of the rebellion. The stillness of eventual surrender is ideally evoked by Laura's operatic aria of indictment on the abysmal beauty of "Deep", voice and orchestra disconsolate but still bravely accepting of what fate has brought. Clive's raspy and fatigued voice on "Blood Moon" initiates the final chapter, the calm before the storm that will ultimately seal their fate, the drums of war surreally announcing the bloodletting that explodes into thunderous vehemence and merciless wrath, the electric guitars skewering armor, the bass clobbering heads, and the drums ripping bone from flesh. Boudica's army was destroyed, neither women nor animals spared from the Roman sword. Her fate remains unknown to this day, either poisoning herself or perhaps feel ill but was given a lavish burial at a later date.

As an amateur historian, it is impossible not to be entertained by such verifiable events, as opposed to being endlessly obsessed by the fickle inner human condition, which has dominated humankind since the dawn of time. As Einstein once stated: "two things are infinite, the universe and human stupidity, and I am not sure about the universe".

That being said, the extra CD is an equally satisfying experience as it boldly carves into uncharted territory and is just as enjoyable as the main album. A definite winning concept and a necessary addition into the 2025 hall of fame, prog edition.

5 blockades

This is the second album from Imaginaerium, and here Clive and Laura have taken a somewhat different tack as this feels way more like a band than a project. The initial idea for Imaginaerium and the resulting debut 'The Rise of The Medici' was when singer Laura Piazzai was performing in one of Clive Nolan's productions and she suggested to Eric Bouillette that he ought to compose something for her. He thought this was a great idea, and in turn contacted Clive for assistance with the lyrics, but this soon changed into a more collaborative work with both providing the music. I first came across Laura when she and Clive collaborated on 'From The Outside In' where Laura sang on new versions of some of his material, and in some ways, I feel this album is closer to that than the debut. One of the sad reasons for this is Eric sadly died way too young, so the leaders are down to just two. However, unlike that release, and more in tune with the debut, there are only three other musicians involved, with Luis Nasser (bass), Mirko Sangrigoli (drums, guitar) and Simone Milliava (guitar, acoustic guitar) with the feeling here is a band who are going to do much more than just this album.

'Siege' is available in multiple forms, but the one to get is the Ear Book with 32 pages and hard cover and 2CDs+blu ray with 44 minutes of original documentary. I only have the 2CDs, but that is just fine with me as that provides not only 19 songs (some reworkings of material on the main album), but a song version I never thought I would hear, more of that later. Laura is a wonderful singer, with great range and power, and she is quite different in style to Tracy Hitchings with whom she will always be compared given she is working with Clive in a similar manner to how he used to with Tracy 30 years ago. She comes from a more classical and theatrical background, and is much less of a rock singer, and this breadth and depth of style adds to the arrangements which find Clive moving somewhat in the more theatrical style he has been providing in recent years, yet there is always the feeling that this is a proper band at work and that this could be performed live by the same musicians (although there are of course multiple layers).

This does not sound like Arena, Clive's major band these days, and is certainly far removed from role in Pendragon, and the more I played this the more I felt it is a combination of 'Alchemy' and the much-missed Shadowland. The first time I ever saw Clive play live was on the infamous Lurve Ambassadors tour, while Shadowland's debut seemed to be always on the player as one of my daughters declared it her favourite ever album. Here we find Clive melding together two quite different styles with lyrics which are taking their cue from history and telling stories of times gone by. There are far too few lyricists who look back into British history, but here we commence with the wonderful story of Boudica (or Boudicea), queen of the Iceni, who rose up against the Roman occupation of Britain, with her defiance carved into history as a symbol of resistance. Tourists to London will probably look at the statue of 'Boadicea and Her Daughters' near Westminster Bridge and have no idea who she was, but to Brits she is part of our myths and legend, a spirit of unyielding rebellion.

Laura is in control right from the beginning, while Clive's arrangements are complex as he builds the layers of rock and theatricality, so much so that this album stands very much on its own, but one can also imagine this being performed more in a theatrical setting than a rock gig, although the songs are thematically related as opposed to telling one story. Interestingly, the delicate piano based "When My Eyes Are Closed" is about mental illness and the battle sufferers fight, which can be both invisible and numerous, yet unrecognised by others. "Never Burn The Cakes" is the story of a king who is widely recognised as one of the greatest and unifying rulers ever, King Alfred the Great, King of the West Saxons from 871 to 886, and King of the Anglo-Saxons from 886 until his death in 899. However, ask Britons who burned the cakes, and they will also say Alfred as he accidentally let some wheaten loaves burn while fleeing the Vikings. In many ways that is his legacy, which seems somewhat unfair. With strummed acoustic guitar, bodhran and Clive and Laura sharing vocals this is a very different song to the rest of the album.

The more I play this the more there is to enjoy and hear, and with Clive taking the lead on "The Last Arrow" one is reminded yet again of what a great singer he is, and how I would like to hear much more from him. That is one of the songs which is reworked on the second bonus album, but when I was sent this release, I checked out the track listing, did a double take, and immediately played the first song on the second disc. Back in 1994 Shadowland released a five-track EP, 'Dreams Of The Ferryman', designed to gain interest for their second album, 'Through The Looking Glass', which contained some songs not then available, including "Dorian Gray". The version included here 30 years after the original finds Laura providing plenty of passion while Clive accompanies her on keyboards. I do prefer the old version, but that may well be due to how many times I have played it, and maybe this will encourage some to look back at Clive's catalogue, which is deep and varied.

This is already one of my favourite albums of the year, and I envy those of you who live in Europe and will be able to see this performed, as this is a wonderful piece of art that all progheads will do well to seek out.