GLORIOUS WOLF

You might know him from his previous albums. In 2017, the digital release "Aquarius" came out, and two years later, "Zodiac," the first physical Glorious Wolf album, was released. While working with various guest musicians and singers added some depth to his music on "Zodiac," on the newly discussed release "Mysterious Traveler," Dielen digs much deeper?a necessity considering the genres Dielen aspires to. Dielen's heart beats passionately for music from bands like Pink Floyd, Camel, Rush, or Marillion. He also appreciates more psychedelic bands like King Crimson and Gentle Giant, while enjoying the experimental side of artists such as Frank Zappa. Dielen has managed to blend all these influences into a captivating and original collection of seven songs. Oh, and don't forget his boundless virtuosity.

On the album, Dielen plays almost everything himself, except for the drums. Fortunately, we hear a real drum kit played by Kike Paglia, and his lush playing complements Dielen's work perfectly. Driving rhythms, rolling breaks, dynamic cymbal play, and tasteful use of the hi-hat color each track. What happens is quite impressive and certainly not commonplace. Dielen consistently showcases something phenomenal with his guitar, and he is also the best bassist he could wish for. On the keys, he provides fantastic coloring to his steaming soundscapes. Three songs feature vocals, and they are as extraordinary as the music itself.

Firstly, there's Frank van der Borg in the Rush-like opening track Repentance. Initially sounding somewhat distorted, over time, it's mainly his deep voice that leaves an impression. Still, it's impressive how he fills this track. With the instrumental Slow Down, Dielen ventures into jazz-rock territory reminiscent of Jeff Beck. In the following track, The True Story, Dielen, in terms of captivating, goes beyond his own limits. Singer Celia van Onna elevates it to great heights with her angelic voice. The beauty of her voice lies in its touch of dark wave, fitting perfectly with Dielen's guitar playing. The musician takes you on a journey with both his electric and acoustic guitars, and you don't want it to end. The album then presents three instrumental tracks: Howling At The Moon, Mysterious Traveler, and Battlefield. Battlefield, with its angular rhythm and icy keyboard sounds, clearly references the concept of this album: our relationship with Mother Earth. In the captivating closer, Beautifully Broken, the melancholic vocals stand out initially, ultimately giving way to a well-constructed solo that concludes the song and the album.

Now, the crucial question: does the wolf symbolize Ruud Dielen's development as a musician on this album? The answer is apparent. "Mysterious Traveler" is an uncompromising album by a musician who maximally aligns his vision and talent for the greatest possible result. Mission accomplished.

Orginally posted on www.progenrock.com

By far the most important instrument here is Ruud's wonderfully melodic guitar which can be very Gilmour-ish at times, while at others it is far more direct. This is an album where the music style can almost be defined by a decade, as this is loaded with the Seventies throughout with Ruud providing a masterclass in how to wring emotion from six strings. Following on from Frank's growly vocals on opener "Repentance" we move into the first of three instrumentals, "Slow Down". There are chunks of this which are pure Floyd, while at times we are thrown into the realms of psychedelia. One becomes transfixed at what is taking place, and to say I am surprised that Ruud has produced such a wonderful release with his third album is something of an understatement. Wherever one looks there are touches of real quality, whether it is the fretless bass here, the powering drumming there, the acoustic making an entrance in that place, all brought together with powerful use of melody and never overplaying.

The result is a highly effective and enjoyable release which is a great introduction to Ruud Dielen, and given the step change from his last album it will be interesting to see what the next one brings. This is Seventies rock containing plenty prog elements, and is one I thoroughly enjoyed.

Just at the opening of the prologue "Repentance" the audience will get immersed in his heavy guitar explosions. This first track is quite interesting due to adorable timbres and familiar rock texture. In the following "Slow Down" a good fusion of catchy melody lines and psychedelic guitar waves can entertain us. Contrary to the former part of rhythmic sound enjoyment, it sounds like he would stabilize us with slower, more sensitive melodic streams. It might be good for us to interpret such a development simply as a sort of change of mind. The startup of "The True Story" is another wonder. The deep and heavy sound footage reminds me of some homage for Hal Blaine or Wall Of Sound by Phil Spector. The pairing of guitar, bass, keyboards, and drums is also tempting. The melody lines (not so strange nor complicated) are quite appealing for every rock fan.

"Mysterious Traveler" the titled track is mystically simple, plain, and crispy along with Ruud's dreamy guitar vibes and strictly supportive drumming. Cannot understand clearly his real intention to upgrade this song's title to the latest album's theme but can guess that he would produce such a new world with tiny sound components based upon easygoing rhythm foundations. "Battlefield" involves drastically theatrical essence, like the title itself. Pretty impressive is critical sound movement performed by the electric guitar in the middle part. Such a sudden dissonance of melodic development should surprise us. What a good strategy. On the other hand, the epilogue "Beautifully Broken" is not broken but structurally elaborated. Slow darkness sounds thoughtful and heartwarming. Ruud's crying guitar sounds are indepth and passionate too. Who can avoid that his mindfulness is on the last run?

He's not saying such a difficult thing like authentic progressive rock but an acceptable image of 'rock' or 'pop', for sure.

The journey begins with "Repentance", a raucous, wake-up call opening salvo with chunky riffs galore, reptilian guitar strokes that screech, bellow, and hassle as if kneeling at a shrine in atonement, with featured vocalist Frank van der Borg bellowing his inner pain. It's a nervous piece, full of piss and vinegar, with a choppy rhythm and an oblique guitar solo to finish of the remorseful outcry. The extended arrangement on the 8 minute + "Slow Down" initiates a slide guitar rant that might be greasy enough for some fried chicken and grits session with the local Louisianna sheriff, a cool Muscle Shoals influenced keyboard tag along, and a swampy drum beat. And then, it swings into a slow blues reflection that would make Gilmour blush with envy, as the bass and organ indicate a new horizon ahead, reducing speed and contemplating another hot afternoon under the blazing sun. Ruud excels at restraining his fretboard caress, highly evocative and deeply adventurous. Damn, the man can play. A final nod returns to the initial free for all, that had initiated this piece. Another extended composition, "The True Story" incorporates some simple yet pleasingly dissonant phrasings, some Celia van Onna harmony vocals in the background at first, before grasping the microphone in between ghostly fretless bass flurries, and letting her carry the swirling tune further. This is a track that would fit nicely into more 90s alternative rock sensibilities, not too far from the Cure, Portishead, or Peter Murphy feel, but armed with a more omnipresent lead guitar solo that goes on quite the tear. Another excellent tune.

Three gripping instrumentals follow in quick succession, and frankly, the real core of this release becomes most apparent. The nasty "Howling at the Moon" provides a more direct rock approach, complex and insistent rifferama not withstanding, it's a spiralling staircase of sound that also possesses a dense appreciation for sustained sonic pressure, a somewhat schizophrenic Stones meet Bauhaus feel. The title track settles into more cinematographic realms, a brooding soundtrack for some undefinable yet perilous excursion, unsure whether to choose introspective or extraverted scenarios. Slithering fretless bass runs a la Mick Karn (always my weakness!), tingling Asian intonations, thrilling percussives, and circuitous keyboard slivers, this could have been on an 80s Japan album, like Tin Drum! The third is the influential "Battlefield", suggesting a strong visual that meanders into sustained jazz-rock domains before skirting into heavier moods, looping axe runs, howling choir mellotron cascades and that unrelenting bass that just shoves this forward. Ruud experimentation is a true joy to behold, as his mastery of the electric guitar is unquestioned, unafraid to sizzle for extended periods as well as shifting the mood at will. Good show!

The nearly 9-minute finale "Beautifully Broken" settles the issue for me. Ruud is a master musician who does not necessarily need to rely on vocals, especially at the risk of deviating the interest away from his main focus. This was the case on previous albums but here it is smartly dosed as Celia does the final chapter absolute justice. Being a huge fan of female prog voices as they often, comparatively speaking, shine way brighter than the male counterparts. Don't start a fight here, there are exceptional masculine singers, and we all know who they are! But the ladies always seem to belt it out with sublime effect. This is definitely a more symphonic piece, contrasting glacial effects with a romantic warm mood, superb drumming for added corpulence and a heavenly, gut wrenching and emotional guitar solo that defines this artist to the fullest.

The third time is such a charm, Glorious Wolf becoming an act that has unquestionably arrived at its destination and is very deserving of having a much wider and appreciative audience.

4.5 Odd voyagers

For the most part this comes across as quite Floydian indeed, although there are times when there is more than a hint of blues which is nice and refreshing. The atmospheric keyboards and Mellotron set the scene nicely, with piano being a nice analogue touch, but it is the guitar which is the voice, although the Floydian bassline steal in 'Constellation' is so obvious it made me smile and was obviously put in for exactly that reaction. But, that voice does drag the album down, as Anema is not suited to this style of music, and Dielen is needs to find a new singer, go instrumental, or choose a different musical direction which is a shame as apart from that this is a fine album indeed.

Glorious Wolf's second album "Zodiac" strikes me as a hit or miss affair. Those generally fond of atmospheric laden progressive rock with tie ins to later day Pink Floyd, blues and neo-progressive rock strikes me as the key audience for this album, and quite a few in that crowd will appreciate the music provided on this album. But those that require more expressive rhythms and a strong vocalist to be a part of this totality will probably find the weak points of those aspects on this album somewhat detrimental. As an album experience, this is one that merits a check prior to a potential purchase.

''Close to the New World'' is gentler beat, suddenly evolving into a brasher realm, between acoustic guitar sections and harsher Tom Scholz-like (he of Boston fame) riffs but the vocals are just not powerful enough to grab you by the scruff, needing a bolder, rockier tone, in my opinion. On the other hand, the instrumental palette is wholly interesting , even I daresay, captivating.

The title track offers a murkier platform, loopy and intricate, booming bass front and center, mellotron surges, as well as creative guitar phrasings. Again, the vocals seem dull in comparison, almost dissonant at times, perhaps a vocalist like Peter Gabriel or John Wetton could have made a greater impression, as this does have Genesis meets King Crimson feel to it. The music is stellar and should have stayed voiceless.

''Poets'' offers up some delicate acoustic guitar strumming, as well as a new vocalist, competent but somehow still not 'on', it's weird hearing the perceptible disconnect between the instrumentation and the vocal/lyrics. Ruud is highly talented though and its obvious pretty much throughout this album. His guitar, bass and keyboard technique is flawless.

Displaying his bluesier style, ''Feeling Blue'' is a top-notch moment, with a classic slow-hand guitar display, rumbling organ and smooth rhythmic pulse. The voice actually is quite suited to the music, being husky and convincingly agonized , loaded up with synthesizer swells that give it a nice symphonic sheen. The tortured axe solo is first rate, dizzyingly electric. Yes, I like a lot !

An album highlight is the all-instrumental center piece ''For You and I'' where Ruud shines like a crazy diamond, powerful and majestic. This track has a sweet rolling feel, loaded up with screeching guitar workouts that clearly show a more Carlos Santana-feel, slippery synth forays and a sizzling presentation engorged in feeling and bravado. Very nice!

Not a big fan of ''The Game'' , a more generic (read non-prog) diversion, armed with another jerky vocal that does sound like Mark Knopfler but less successful in the compositional end. The soaring guitar solo is first rate though (seems to be a leitmotiv here) , full of guts and sensibility. The track bridges a voice effects section that relates to the current political garbage we live in, then morphing into a tough on the ears finale that does not work well in my opinion because of the poor vocals.

The final two instrumental tracks are re-workings of previously released ditties that close of the album on positive notes as they are devoid of any distractions . In fact, on ''Questions'' there are some intricate neo jazz-rock noodlings that ring convincingly, Ruud bending notes on his fretboard as if he was listening to Jeff Beck all his life, a magnificent display of guitar pyrotechnical restraint.

''Aquarius'' is joyfully complex, bouncy and experimental, pushed along by a punchy bass coughing with flair, peppered by guitar pirouettes that turn on a dime, a slide foray that is quite the ride. This is right down prog alley and is sheer musical succulence.

Ruud is very talented indeed, one can here references to classic guitar heroes (Gilmour, Santana, Beck, Jan Akkerman, Tom Scholz, Gary Moore and James Young of Styx). I would recommend sticking to what he does best, instrumental soundscapes that would underline his obvious talent and his undisputed technical mastery. Finally , the artwork, production, booklet and sound are all first-rate.

Dank u wel !

4 inflatable canoes

The album's overall theme, or source of inspiration, is astrology. I guess most of the "Zodiac" titled albums (e.g. the one by Leif Strand) have the tracks named after the twelve signs of the zodiac. Gracefully that's not the case here, not another musical interpretation of the twelve personalities which is such a cliche. Anema's lyrics are at times pretty esoteric with planets and all, but also dealing with ordinary people and their everyday lives and struggles. The 11-minute opener 'Constellations' is a perfect example of the guitar-centred psychedelic flavour comparable to artists like Steve Hillage and his KHAN, or Jimi Hendrix. The second song has some mindblowing moments and very cool synth work; an excellent rocker with a strong progressive and psychedelic approach.

I don't like all of the vocal expressions on 'Zodiac' (at times Anema clearly imitates Jim Morrison), which would surely function well as an instrumental. There's a cover song included, 'Poets' by David Sylvian. I haven't heard the original and couldn't quickly find its origins, but this acoustically oriented version is great, and the spirit of Sylvian certainly is there. 'Feelin' Blue' is a slow bluesy song and resembles Pink Floyd, especially 'Shine on You Crazy Diamond'. Dielen's guitar style is notably influenced by David Gilmour. The three instrumentals are placed in the end -- tracks No. 6, 8 an 9. Perhaps one coming somewhere in the middle would have done good for the balance, but I do prefer the instrumental orientation in the end instead of coming earlier on the album. On 'For You and I' the powerful guitar soloing is very Santana-like.

Being bravely 64+ min. long, this album carries its length pretty well. There are no weak tracks, although the ultimate highlights aren't very numerous either. All in all, an enjoyable album with not necessarily a great deal of originality. My rating is 3½ stars and I'm rounding it up, partly due to fine artwork of Ed Unitsky.

Dreamy, Sardonic Wistfulness

In this sophomore release from RUUD DIELEN's one-man studio project, "Glorious Wolf", he really pulled out the stops to produce a crystalline, pure sounding album, utilizing several vocalists, and collaborating with OSCAR ANEMA.

One can hear the results- put on good headphones and drift away in the singing, soaring electric guitars, throbbing bass lines, jazzy saxophone (sadly only on one track), Hammond organ and other synthesizer sounds, crisp drumming and percussion.

Soak up the elegant, world-weary, mystical lyrics sung in lazy style.

How I wish it all added up.

For me anyway, I badly wanted to like this album, and ended up appreciating the sound, the effort that obviously went into it, the fine guitar playing- including some very nice classical guitar work (especially on "Poëts"), and the sumptuous art work by Ed Unitsky.

Yet there's a case in point ("Poëts")alongside the lovely acoustic guitar interplay, lyrics refer to domestic violence- and does it really matter? They go on to ask about angels...and leave the menace behind.

Mixed-up or Juxtaposition?

The search for transcendence comes through in the yearning for meaning, reaching for the other side. It's accompanied by slow, space-y guitars and keyboards setting an ambiance that's sometimes at odds with the ideas being put forward.

The juxtaposition has modern themes, POTUS meeting with South Korean leaders, or the idea of a constipated world and the modern dilemma of getting sucked into a superficial game- or reaching for something more.

Mystical, Spiritual Search

There are signs and symbols abounding- the zodiac, references to shamans and reaching the other side. I thought the message conveyed substantial doubt about reaching beyond the surface, so in effect the music- as superbly as it was performed and recorded- became a mere shimmering surface as well.

In Sum

A very strong effort, that for me at least, left me longing for some real meat, some true passion, some actual musical transcendence.

Rating: 3 Supernatural Shimmers

Well, two years later Ruud released his second album as Glorious Wolf (guitars, bass, synthesizers, programming, composer) but now with contributions from guest musicians. And the amazing Ed Unitsky, an international master of digital painting, collage creation and photo manipulation. Ed has done the cover art on more than 150 albums, from The Tangent, The Flower Kings, The Samurai Of Prog to Guy Manning, Tomas Bodin, Starcastle, Moongarden, Unitopia and Mandalaband, check out his website, really mindblowing stuff! But back to the music , on this new album variety rules, also due to the contributions of the guest musicians. Especially the two singers who colour the songs with their different voices.

In the compelling Seventies Pink Floyd inspired first track Constellations (ominous intro with piano and guitar) Oscar Venema does a decent job, but at some moments he lacks a bit of power. Especially in comparison with Ruud his biting guitar runs, and Andre Van De Ven his fiery saxophone solo. In the following tracks Close To The World (strong musical ideas, like a blend of Spanish flavor and heavy guitar) and the titletrack (hypnotizing climate and wonderfully coloured with Hammond, Mellotron and slide guitar) Oscar his tender, emotional and slightly theatrical voice matches more with the music.

Composition #4 delivers strong interplay between the other singer Frans Verouden (only on 1 song) and Ruud his excellent acoustic guitar play (solo, rhythm and flageolets), embellished with propulsive percussive sounds and Mellotron violins.

Next it's blues time in Feelin' Blue (with Ad Boot on bass). First an intro with the mighty Mellotron featuring the violin - and choir section, then pure blues with intens guitar and Hammond organ. Singer Oscar does his best to put emotion into the music, but to me it sounds a bit thin. Then Gilmourian slide guitar and Hammond, gradually the sound turns into more lush. Ruud shines with exciting blues guitar ( from howling and biting to wah wah), like a less raw Gary Moore.

The final part of this CD contains three instrumentals, and one with vocals. That song is the varied The Game: the one moment it sounds chart friendly (between melodic rock and pop), the other moment bombastic with powerful guitar (like a heavy David Gilmour) and lush Hammond, or with spoken words and ominous keyboards, variety rules again.

The three instrumentals feature Glorious Wolf in its full splendor!

For You And I. It starts dreamy with tender electric guitar and soft Mellotron choirs, then a slow rhythm with wonderful powerful sensitive electric guitar (fusion oriented) and a tight rhythm. In between spacey Minimoog synthesizer flights, embellished with Mellotron choir sound, and swinging bass.

Questions. First awesome Mellotron violins and fat synthesizers, then a biting guitar joins (like 'Jeff Beck meets Satriani'). Now a subtle guitar solo with soaring Mellotron violins, what a captivating musical idea, then again powerful and biting guitar. Another strong idea is the overdubbing of guitars, blended with a tight beat, in the end again Mellotron violins and fat synthesizer sounds, wonderful.

Finally the track Aquarius (Seeding the Future). It opens with a sumptuous and compelling sound featuring guitar and keyboards, and a propulsive rhythm-section, at some moments the music evokes King Crimson to me (Red-era). Halfway voices in the background, and exciting powerful (slide) guitar with biting runs, accompanied by lush strings. The final part delivers a dreamy atmosphere with beautiful strings and delicate bass, what a subtle conclusion. By the way, the final two tracks are CD bonus tracks (so not on bandcamp), remastered from the debut CD Aquarius.

Not every track is my cup of tea (including a few critical notes about the vocals), but in general I am impressed by Ruud as a tunesmith, his excellent work on guitars, the tasteful blend of vintage keyboards, and his captivating musical ideas and professional approach in every way (from music to cover art).

My rating: 3,5 stars.