NICK MAGNUS

Among the many high points are "Kombat Kid" about a poor guy who ends up literally sucked into the video game to which he has become addicted. It's not in a twilight zone freaky frightening sort of way but still chidingly engineered as commentary; the GENTLE GIANT like "Headcase"; and the classy "Eminent Victorians" which is the first of 3 in succession to offer up trademark Hackettsian expressions. "Broken" is the longest number and the addition of Rob Townsend on both flute and sax only further complements the arrangement. "Entropy" has a bit of an elegiac mood that suits a closing number. No guitar is credited but maybe it's just Magnus engineering his best Hackett impersonation on keys - he's done it before.

Over 4 albums and 2 decades, NICK MAGNUS has almost clandestinely racked up a remarkably consistent canon, to the point where many take him for granted, including, I surmise, some who haven't gotten around to actually listening yet, inferring that he will always be there. N'Monix is another reminder that there is no time like the present.

Nick performed on a lot of Hackett solo albums and did many tours with Hackett, then Nick contributed to studio albums of Duncan Browne, China Crisis and Renaissance. In 1993 Nick released his first solo album entitled Straight On Until Morning, followed by Inhaling The Green (1999), Hexameron (2004), Children Of Another God (2010) and N'Monix (2014). This review is about his fourth effort, with the fascinating title Children Of Another God, featuring contributions by The Steve Hackett Band members brother John (flute) and singer Pete Hicks (not every Hackett's fan favourite, he was even booed during band introductions!).

I had to get used to the sound on Children Of Another God, but after a few listening sessions a got more and more excited. And finally took the conclusion that this album contains nine tasteful and varied compositions, alternating between bombastic 24-carat symphonic rock and accessible progressive pop.

The album opens with the long title track that is drenched into the sound of 76-77 Genesis and 1975-1983 Steve Hackett, due to the combination of lush Mellotron, twanging acoustic guitars and Moog Taurus bass pedals. This is topped by fiery guitar runs, with spectacular use of the wah-wah pedal.

Then a few tracks that sound more accessible and polished, but the keyboard work is outstanding and varied. Good examples are the catchy Doctor Prometheus (sultry Eastern sounding keyboards and powerful guitar), the instrumental Twenty Summers and the mellow Identity Theft.

Next the alternating The Colony Is King that delivers a lot of progrock joy featuring majestic Mellotron violins and choirs, along classical flute and flowing, harder-edged guitar work.

The following track is Crimewave Monkeys: it alternates between symphonic rock and pop with a decent role by Pete Hicks, and Nick with his layers of Hammond and Mellotron, concluded with a fluent synthesizer solo.

Then the beautiful ballad The Others featuring very warm vocals by Linda John-Pierre, wonderfully blended with a great Mellotron sound (flute - and violin section) and sensitive electric guitar.

Now it's time for my highlight entitled Babel Tower that delivers all ingredients to carry you away to a Symphonic Rock Heaven. In the first part sumptuous keyboards, powerful Moog Taurus bass pedals and moving guitar work (with biting wah-wah). The conclusion is breathtaking with a compelling guitar solo, supported by majestic violin ' and choir-Mellotron, goose bumps!

The final track is the beautiful ballad Howl The Stars Down with tender Grand piano and intense vocals, halfway a string-ensemble sound joins, what a splendid way to conclude this strong solo effort by Nick Magnus.

I am sure this CD will appeal to many progheads who love this very tasteful and varied bridge between symphonic rock and progressive pop.

It is an incredibly diverse album, with one of the highlights being "The Others", which is far more orchestral in feel, with some delicate acoustic guitar and some wonderful vocals from Linda John-Pierre. Quite simply, this is a beautiful song that sounds as if it has been taken from a stage musical, where it is the closing finale of the first act. Restrained passion and power never sounded quite so good. Nick provides vocals himself on "Identity Theft", and while this is in many ways the weakest song on the album his voice is pleasant and I am sure he could have undertaken more of this role if he had wished to. This is an album that is solid but not brilliant, but does contain some glorious moments. Well worth hearing if you get the opportunity

As per his formula, the album opens with a glittering symphonic piece, "Time", a slowly developing maelstrom of sound and effects, bullying forward in a very choppy Genesis style, a smoking mellotron blazing a classic Tony Patterson sung theme, this is damn delicious! This could easily have been a song off an early Genesis album, without even a hint of doubt. Euphoric, bruising, clanging, massive and pastoral, all rolled into one. A modern/historic video game soundtrack is to be found on the galloping "Kombat Kid", at least until the vocals come in and the veer into Genesisian landscapes becomes ultra-obvious. Patterson again leads his subtle voice to the mix, depicting the gallant story of Richard III, whose recently found grave caused quite a stir in historical circles (yeah and the Net, too), the lyrics are quite clever, a twist that will rekindle fond memories of progressive giants past.

Each album has a slight weak link, strangely generally always sung by Magnus himself, such as the wonky urban schmooze of "Headcase", which does have some rather nice synth and bass lines. There is a kind of Supertramp meets the Tangent feel, I guess. No big deal, because the next four tracks are just plain splendid. "Eminent Victorians" combines that playful 70s British story-telling prog style (a la "Harrold the Barrel" and "the Battle of Epping Forest"), led by Peter Hicks, experienced voice, followed by some superlative guitar licks, courtesy of the Hackett man. Unusually complex and breathtaking, his glistening glide is just plain sublime.

The epic "Broken" is most definitely the highlight track here, a smoky and seductive Tim Bowness (owner of the most immediately recognizable voice in prog) doing what he does so very well: emote convincingly! The enchanting lyrics by Mr Dick Foster are to be commended, both very clever and creatively obscure. Rob Townsend performs a sultry sax solo that will please the brassy crowd. A masterpiece to say the least, fueled by a lovely piano etude. The altogether way too brief instrumental "Shadowland" has Steve Hackett caressing his guitar with masterful intrigue, Magnus' choir mellotron in desperate tow, a thoroughly mesmerizing slice of electric pleasure. It's so gorgeous, you may want to cry.

The cinema show soundtrack "Entropy" closes out the disc in sandwich style, reprising the "Time" melodic theme. The lush guitar sounds are not Steve's but emanate from Nick's bag of ivory trickery, and showcases new singer hitherto unknown James Reeves, who does a masterful job on the microphone. Magnus' guitar patch sound is both raw and crystalline, searing into the marrow of the theme with impunity.

Another successful canon in the symphonic prog catalog, nothing earth shattering but super dependable and rock solid. This is entertainment, mate!

4 measures of disorder

The widely varied menu is therefore similar to past releases with profligate melodies such as the magnificent title track that features the warm Gabrielesque voice of Tony Patterson or the sweeping , flute-laden and buzzy guitar- driven "The Colony is King", both being outright marvels and prog classics. This last piece could have graced any Steve Hackett album and received the suitable applause, as its quite deserving.

Then there are some of those more accessible songs, such as the APP-like "Dr. Prometheus", sung by Pete Hicks (Hackett's old band) who also sings on the cinematographic "Crimewave Monkeys". The rather liquid "Identity Theft" has Magnus taking over the mike and doing a decent job, but I fear it's a bit of the weakest link here, though that xylophone patch does have some merit. The instrumental "Twenty Summers" certainly entertains the faithful and does not shock any monkey.

The sensational vocal-led "The Others" features a clear and powerful female voice that shines ever so brightly (owned by a Linda John-Pierre) and rekindles semi-operatic themes within the symphonic curtains (synthetic oboe, piano, orchestrations). Tony Patterson shows off some more vocal variation on "Babel Tower" which does sound like a Rael outtake, full of ivory bombast and muted shrieks, sudden acoustic guitar pastorals and a raging organ/mellotron passage to rouse the innocent (a reprise of the majestic title theme) and garner this with a stamp of class. But he really kills it on the glowing finale, a monster delivery floating upon sheer symphonic beauty, a masterstroke that will convert the unbeliever, "Howl the Stars Down" is a definite keeper.

In its essence, there is nothing ground breaking here in terms of progressive development, just an array of finely chiseled songs that relive the Broadway Sheep, and smooth the weary soul. All in all, a great recording that has all the goods.

4 Gigantic Slices

Still and all, I guess what upsets me most is that I thought Messieurs Hackett and Magnus were old buddies, and surely Steve and his brother could be persuaded to join Nick for old times sake. You mean he has to pay them? I guess we are spoiled by the explosion of prog from all quadrants that masks its minimal commercial viability, but economic realities impinge, albeit in this case not enough to denigrate the quality in the slightest. Leaving production aside, the concept, lyrics, musical score - yes this is a visually resplendent album, and arrangements are all best of breed. Magnus has traded the more poppy and world oriented songs from "Hexameron" for a more uniformly progressive release that is still quite vocal oriented. The only exception would be the ALAN PARSONS like "Doctor Prometheus", which is ironically one of the most accomplished, but the title cut introduces a soothing melody that reappears much later, while "The Colony is King" is possibly the best STEVE HACKETT track not to appear on a Hackett album. The dark and foreboding "Crimewave Monkeys" laments the anonymity of today's average cyber crook. Linda John-Pierre cops a quasi JON ANDERSON persona for the delicate "The Others".

In almost every way an improvement on Magnus' prior work, "Children of Another God" unfolds as a victim of its own success. Like that A student needing just marginal accretion, it never quite lunges beyond its comfort level long enough to attain highest honors. Still, this is an excellent album by an artist who has kept the faith far longer than many of prog's erstwhile Deities.

While "Inhaling Green" bears some similarities to some of MIKE OLDFIELD's work, Magnus seems reluctant to steal the show from himself, and generally opts for understatement. This lack of showboating can raise other concerns in the prog realm, and at times he does tread close to new age territory, but generally succeeds in establishing a balance between airy melodies and open displays of instrumental prowess. In lesser hands the result might have been much diminished.

It's hard to pick out a highlight or two as the album maintains a consistently high standard as well as an appealing sequence of arrangements. "Devil and the Deep Blue Sea" features a sparkling melody and arrangement. I do enjoy "Cantus" with its medieval chants by Clare Brigstocke, and "Veil of Sighs" does bring me back to "Voyage of the Acolyte" days, but its brevity assures none of the somnolence of that long ago release. "Dixon Hill" would barely rate a mention but it just fits so well here, being a jazzy horn driven piece that offsets the generally pastoral mood elsewhere. The lengthy title track seems to be Magnus' response to ENIGMA and the like. After an elongated highly orchestral opening salvo, the programmed beats and female wails backstop whispered spoken verses, some of them which recommend the consumption of inedibles - is this a commentary on the health food movement? - before a brilliant guitar interlude by Geoff Whitehorn, manic yet restrained. Later, a repeated bombastic refrain recalls the glory of "Spectral Mornings".

While there may not be much new here, "Inhaling Green" nonetheless represents a breath of fresh air from one of progressive rock's upperclassmen.

Instead, it's one of the best descendants of the 1970's epic British prog and it carries that tradition on brightly and warmly. I'm something of a romantic, so the open emotion and quiet beauty of the album speak to me strongly. Especially the short guitar/choir piece Shadowland is extremely moving - it's music I'd like to be played in my funeral (hopefully not very soon though!). And that's a positive compliment, mind you :)

So, not necessarily progressive in the strictest sense of the word but as excellent an album as you might wish for in its slightly retro genre. Thank you, Mr Magnus.