THE WINTER TREE / EX MAGUS

Andrew Laitres and the returning Mark Bond are back with the fourth album to appear under the Winter Tree banner, `Earth Below', and what a beautifully performed collection it is! Mostly ditching the New-Age and softer ambient electronics of the easy-to-enjoy previous album `Twilight of the Magicians', the pair this time collaborate with White Willow members Jacob-Holm Lupo and Mattias Olsson (also ex-Anglagard and current Walrus drummer) to craft a series of carefully composed pieces that, despite the actual tunes being the main priority, are still full of precisely executed instrumental qualities of great taste. This forty minute vinyl length work will appeal to more open- minded progressive rock listeners, as well as holding plenty of crossover appeal for those who simply appreciate great tunes played with skill and restraint.

Strangely, the disc opens with the most commercial piece `Plank', which, with lead vocalist Andrew's catchy melody and the proggy synth fills carefully grafted to a strong accessible tune, wouldn't have sounded out of place on any Alan Parsons Project album (bonus points for the Beatle-esque interludes too!). The title track `Earth Below' instantly calls to mind the reflective melancholy of White Willow (even though those above mentioned guests are not actually on this particular piece!), the dreamy group harmonies, drowsy slide guitar, looming synth drama and gentle piano perfectly balancing warm heart and sombre moods, and the instrumental outro is a thing of great beauty. `Writing on the Wall' teases with eerie ghostly electric piano, but the piece quickly bursts into up-tempo energy with a crashing beat, gutsy guitar and a boisterous vocal.

`The World Upon her Shoulders' is all bluesy electric guitar simmers and tasty jazzy electric piano with a moody middle, `The Garden of Love' turns a William Blake poem into a pleasant Hogarth- era Marillion type piece, and `The Light' could have almost landed on a Neal Morse solo album with its hopeful lyric and gliding sighing harmonies over comforting acoustic and slide guitar. `Twilight' jumps up and down in tempo with urgent orchestral-like synths, a propulsive beat and a catchy chorus, and with its smooth male/female lead vocal, trilling synths, confident piano and victorious organ, `A Thousand Futures' is a joyful and reassuring album closer.

Andrew Laitres offers on `Earth Below' an unapologetically melodic work refreshingly at odds with any nonsense ideas of current musical trends or even what is expected when something is applied to the `prog rock' tag. Smart tunes, enjoyable melodies and exquisite instrumental framings holding them make `Earth Below' pretty much a perfect example of how worthy crossover styles of prog- rock can be when delivered this well, and those who enjoy prog that prizes strong song-writing over overblown show-off instrumental excess will be impressed here. It will likely also appeal to those who don't like the more heavy-going self-indulgence of a lot of prog rock, so fellas, here's one your lady might really like too, so enjoy listening to it together!

Four stars.

As progressive rock listeners, many of us love challenging and complex music. However, once in a while, it's nice to discover an album that still has plenty of progressive qualities that is actually easy to unwind to, adventurous but not necessarily demanding, and `The Winter Tree's `Twilight of the Magicians' may just be one of those! Entirely composed by The Magus' multi-instrumentalist Andrew Laitres with some guest contributions, this is the third release to appear under the Winter Tree title. Inspired by the writings of the late Rudolf Steiner about the lost continent of Atlantis, you don't need to know that work to enjoy what is simply a lavish and colourful progressive music journey. It's a predominately instrumental album with elements of the progressive electronic, new-age and ambient genres, some dance music and lush symphonic prog drama too. All of these styles coming together in the manner of Mike Oldfield, modern Tangerine Dream and Jean Michel Jarre, to name just a few.

`The Lumerians' opens the album in the manner of those pleasing instrumentals on the old Alan Parsons Project albums. Glistening electric piano with an upbeat smoothness, even a subtle modern Tangerine Dream influence, but full of wonder. Not surprisingly, `Dolphin' has gently symphonic synth washes with soft pulses and a twinkling delicate touch. The infectious and positive title track `Twilight of the Magicians' is a nice psychedelic chill-out, full of sitar, shimmering electric piano and wisps of Mellotron all given flight by cool grooving beats. `Angels and Demons' sees evil - thick hot Hammond organ, pounding aggressive beats and heavy riffs - dueling with good - breezy Ozric Tentacles-like synth ripples and a catchy dance melody. There's a precious Rick Wright quality to guest Eugene Uman's piano throughout `Cosmic Sea', full of a blissful soothing ambience. After an introductory narration and drifting wavering synths, a victorious theme delivered by dreamy piano over a softly slinking beat floats by in an unhurried fashion, with some nicely trilling symphonic Moogs for the finale.

`The Last Morning' is a spellbinding electronic interlude similar to Steve Roach's music, with serene waves of lulling synths both sheltering and completely enveloping. The sense of tranquility is disturbed by `Sinking Island!' (yes, with the exclamation mark!), a sense of panic and urgency powered by skittering dance beats, a wild mix of swirling synths full of movement and rupturing electric guitar before a restrained ethereal climax. `A New Atlantis' is the only vocal piece on the album, an upbeat slice of psychedelic pop with a catchy melody charmingly sung by guest Baiba Kranate. `Lightworker' is a peaceful and wondrous New Age drone, once again similar to Steve Roach or even Jean Michel Jarre. Full of fragility and a tranquil peace, it truly is the soundtrack to a new world being created. It would be wonderful to hear an entire album from Mr. Laitres in this style.

With an exquisite fantasy cover by talented artist Laura Siadak (do yourself a favour and explore her enchanting work further), `Twilight of the Magicians' is a pleasing collection of a variety of progressive and ambient related styles, all delivered in very melodic and uncomplicated arrangements. It works perfectly well as either a pleasing background listen or as a source of relaxation for those who wish to enjoy well played progressive music without it being a distraction. Andrew Laitres is a man of many musical talents, and on this work he constantly displays great musical taste and sophisticated skill. Hopefully there's more Winter Tree albums in the near future, or even a fully ambient/New Age/electronic release - hint hint, Mr Laitres!

Three and a half stars, rounded up to four.

Despite a questionable result, ''Traveller'' was well received by the press with high notes around the 20-min. ''Rif''.While the band was starting to be compared with Porcupine Tree, an unexpected event buried the chances of further exposure.Robert Wolf, owner of the Inearvision's label, dissapeared from the map, leading to the non-distributing of the ordered CD's and an inconsistency surrounding Magus' name.Andrew Robinson cut all ties with Inearvision and found the strength to complete a short EP to keep Magus' momentum alive.It was entitled ''Highway 375'', released independenty in 1998.

Apparently the bad situation around Magus has led also to a stylistic inconsistency, Robinson wrote, arranged, performed and recorded the whole EP on his own forces, but the result was below average.He had made a turn towards more electronic enviroments, albeit keeping much of the spaciness of Magus' previous releases.The title-track is low-pace, instrumental Space Rock with electronic flashes surrounding Robinson's psychedelic guitar tunes in a single, repetitive rhythm, which may sound a bit monotonous, but still manages to create a nice instrumental background.The short ''Arrakis-Dune-Desert Planet part 1'' is a manifest of psychedelic effects, working as an intro for the upcoming second part, which finds Robinson in a more experimental mood.The track is built around tribal percussions and abstract, psychedelic solos over a palette of electronic sounds, coming closer to Experimental Rock than the melodic or atmospheric Rock the man has used the listener.The closing synth-drenched groove won't save this one from mediocrity.The reprise of the opening title is a bit better, more rhythmic, close to SHAMALL's works, with electronic beats and drums and some decent guitar atmospheres, again the sound is repetitive all the way with only some loops changing over time.

A weak effort overall, but we can't accuse Robinson for the final result, this period found him struggling to keep Magus alive as a project.Average Space/Electronic Rock with a few good things to offer, too repetitive and sterile.For fans of experimental and spacious soundscapes.

The Winter Tree is a project formed in 2010 by the leader of Magus and multi-instrumentalist Andrew Laitres (aka Andrew Robinson).Entering the group were his former Magus keyboardist Debbie Moore-Bond along with guitarist and singer Mark Bond.In February 2010 the trio entered the Mill and Hidden Valley Studios to record the first official release of the new project.A year of work passed and in 2011 The Winter Tree's self-titled debut sees the light on ProgRock Records.

Laitres' decision to change the name of Magus wasn't followed actually by a change in the previous music style.Furthermore there is no true development either, as The Winter Tree's music still sounds imitative of the music of PINK FLOYD, filled with mid-70's FLOYD-ian soundscapes, too much depending on lyrics and vocal harmonies and with not enough room for instrumental work, although you wouldn't call ''The Winter Tree'' the most accesible album of this mighty world.The overall sound is very close to the ''Wish you were here'' days with a smooth atmosphere, based on lyrical textures, spacey keyboards with a RICK WRIGHT vibe and mellow electric guitars.Laitres' produces some good melodies and the vocal work is rather sensitive with clear and decent voices, but the similarities with PINK FLOYD hurt the band's image.Some acoustic parts and sampled flutes have a light GENESIS flavor, while a couple of tracks lean towards Electronic Music with loops and synthesizers in evidence, making the album pretty diverse.What this work lacks though is trully strong songwriting and some passionate musicianship to support some of its rather nice melodious themes.The lack of originality is a problem too, but this one is also a minus for hunderds of bands being influenced by PINK FLOYD.

''The Winter Tree'' faces the same problem as most of Magus' efforts.Solid music to go along with a pair of smooth melodies, however the absence of some real instrumental power and the static timeline of the band's style hurt it as a result.I would still recommend this to dedicated fans of PINK FLOYD or similar-sounding groups...2.5 stars.

Virtually none of the songs on this CD have been available before, as they are either remixes, demoes or just previously unreleased in any format. Magus is for the most part Andrew Robinson, although others do make valuable contributions. He appears now to again have a band around him so the future looks bright. I have always enjoyed his albums, and this collection gives the opportunity to look over the length of his recording career. While most of it is instrumental, it manages to maintain interest throughout, sometimes using samples or tactile ideas. The guitars and keyboards work in perfect harmony, and it is possible to just close the eyes and drift into this surreal world and become part of it.

Originally appeared in Feedback #61, Feb 01

Andrew Robinson formed a live line-up for Magus with Debbie Moore on keyboards and Jeff Costello on drums and after three gigs he begun writing material for a sophomore release.During the process both Costello and Moore left Robinson alone and he completed the recordings with the album's engineer Bryce Chicoine.When the album was completed Andrew signed with the progressive label InEarVisions and released ''Traveller'' in 1997.

The album opens with the melodic ''You Know The Way'', very much in a PENDRAGON/TWELFTH NIGHT vein, featuring good vocals and catchy grooves, but this Neo Prog approach was just the exception.The rest of the album sees Robinson exploring again the Space Rock territory with Electronic touches here and there, like on the eponymous track with its steady guitar rhythm and the use of sound effects.''Into The Unknown'' and ''108 Steps to Babaji'' are fully FLOYDIAN with hypnotic guitars and background synthesizers creating dreamy soundscapes.The long ''Until the Sun Burns Out'' is another example of Robinson's musical preferences, that unfortunately comes as a total failure.Space/Electronic Rock in the vein of SHAMALL with a stable groove, distorted vocals and atmospheric synths, which suddenly ends in the 6 minute mark, followed by a 7 minute narration (!!!) only supported by cosmic electronics.The even longer epic ''Riff'' has its moments, but it is way overstreched to be appreciated as a succesful composition.The opening minutes are definitely in the vein of PORCUPINE TREE with interesting heavy guitars, soon to be replaced by a long part with acoustic guitars and electronics.By the middle the interesting guitar work of Robinson returns in Heavy/Psychedelic/Space Rock mood with a nice combination between flashy synths, cosmic electronics and hard guitars.This groove will eventually soften along the way before its grandiose return at the end.

A slight improvement over the boring self-titled debut with some cool parts, but again Robinson's difficulties during the recording of the album are obvious.The music is often monotonous and uninspired and the sound effects are used more than they should be.Strictly for fans of FONYA, SHAMALL, PINK FLOYD or PORCUPINE TREE...2.5 stars.

US band THE WINTER TREE is the latest creative vehicle for composer and instrumentalist Andrew Laitres. Following twenty or so years with his previous band Magus this new project is a small entity, consisting of Laitres himself plus Mr. and Mrs. Bond. Their self-titled debut album was picked up and released by Progrock Records in the spring of 2011.

Soft symphonic art rock with nods in the direction of folk music is what The Winter Tree explores on their debut album, music pastoral in spirit and expression, emphasizing gentle moods and careful melodies in a manner that should appeal well beyond the art rock universe. Not the most challenging material around, but with lots of charm and something of a 70's spirit in sound and expression.

Much of a one-person project,US act Magus was formed in 1985 by multi-instrumentalist Andrew Robinson after his circuit in several cover bands in order to focus on writing original material.The project released a number of demos between 1987 and 1993,before the encouraging return of Progressive Rock forced Robinson to record the self-titled debut of Magus.This saw the light in 1995 on Sky Pine Music with the help of sessions musicians on keyboards and piano.

Very far from being adventurous,intricate or ambitious,''Magus'' heads to an atmospheric,slightly spacey and even New-Agey rock attitude with strong use of vocals and down-tempo compositions with extended guitar parts,thus reminding of PORCUPINE TREE's approach,PINK FLOYD's spaceness,MIKE OLDFIELD's atmospherics and even CAMEL's commercial days.The sound however is too modern to say the least with surreal synthesizers,cheap sound effects and very plastic drumming throughout,somewhat burying some of Robinson's interesting guitar ideas.The compositions differ from electric material with spacey synthesizers to acoustic work-outs with plenty of vocals,far from anything memorable and without any strong sense of melody.Additionally some of the synth-based instrumental material is over-stretched and slightly boring along the way.

Not exactly a progressive release,Magus' debut is a journey through atmospheric soundscapes,led by long electric solos,electronic treatments and sensitive vocals, without being anythning trully interesting or captivating and with a few changing moods throughout.Recommended only for specific daytimes,when you are in a mood for some hypnotic,atmospheric musicianship.

A strong start!

The Winter Tree is the new moniker for the American outfit formerly known as Magus. Both are the main creative vehicle for composer/musician Andrew Laitres, and his latest collaborators Deb Bond (keyboards) and Mark Bond (vocals and guitars). Magus dates back to the mid 1980s and has many full length releases, but in 2010 Andrew changed the name to The Winter Tree after a song from one of his favorite bands, Renaissance. I can detect a bit of Renaissance influence I believe, and The Winter Tree also reminds me of other independent progressive projects like Willowglass, Epignosis, Syd Matters, and Us. It also reminds me a little of the Yes track "Turn of the Century" and at times Alan Parsons Project.

This is really a very fresh album given the retro sensibilities I perceived upon my first listening and viewing of the wondrous cover art. Laitres blends many musical styles and flavors, from 70s Renaissance and Ant Phillips/Jon Anderson territories, to folk, electronic music, ambient soundscapes, world/ethnic tones (Babylon) and indie rock/pop. The comforting/pleasing (though not mind blowing) vocals of Bond and Laitres are backed by great synth atmospheres and e-piano, from swirly and spacey to pulsing and a bit of new age, but mostly just a knack for beautiful presentation of the melodies. An abundant acoustic guitar presence is bolstered by the occasional ripping electric guitar solo, full of welling emotion. I don't ever pay much attention to lyrics but here they often seem very uplifting and positive. "Stranger" is an exception, a rather devastating piece about missed opportunities (I think) which reminds me of Supertramp's Rick Davies. The closer "Prince Caspian" is pure fun, a full prog rock ride with a playful instrumental spirit.

Laitres is an eclectic composer who likes to mix things up. Just when you think the album could slip into a predictable single mode, he throws in some ambient sound or electronic part that breaks the mold and skips off sideways a bit. Yet it manages to not sound contrived, which is a problem sometimes when composers try too hard to be clever. Here the oddities and morsels all work well with the more grandiose pastoral prog pieces to create an experience I enjoyed much more than I anticipated, given my usual tastes. Another contrast at work is that there is complexity in the music but lightness to the sound. The components of the songs are very well thought out, interesting, complex, but not buried in mud or density. Music which can take you to some distant imaginary realm while staying tethered to the modern. Not always an easy trick to pull off.

The Winter Tree is a great debut for the next chapter of these musicians, who have just been signed to ProgRock Records and are working on new material. The album should please fans of sweeping, beautiful prog who like relaxing and pastoral adventures, but with some unexpected twists. 7/10

Earlier reviewers already mentioned Porcupine Tree as resembling bands to Magus. I agree but I would like to add space band Between Interval and state that Magus is actually a blend of these two. But all in all Magus is pretty hard to define because if you compare opening track Traveller for instance to the ballad She's the Lady it's a 100% difference in style and atmosphere.

But mostly it's spacy prog that Magus is performing throughout the album and even though the high level of Porcupine Tree isn't really reached most of the time I think one can safely call this a very good effort. Highlight is The Earth Sharp Edge in my opinion and I wish the band played this style all along on this release. This song reminds me of MK II, another pretty obscure neoband. Also Polish Xenn has things in common with Magus. If you happen to know these bands or if you are PT fan and want to check out some bands that are alike I can recommend Magus to you. It´s on average (like I said, there are different styles on `Echoes..' ) a very good album, close to 3,5 stars but I will round down because it´s neither excellent nor essential.