IO EARTH

Initially soaring, acoustic prog rock, reminiscent of Floyd, this group evolved under the influence of Dave, its progenitor; over time the sound expanded and Rosanna brought the progressive range to the top on the post- covid 'Aura' . Why this preamble, but because Linda, her next, also has a very beautiful voice which fits admirably with the IO Earth sound!

this album has metallic power, progressive breaks, intimate prog folk variations with passages of saxophone, flute from Luke; Adam launches crystalline and solemn scales of borderline grandiloquent piano and Dave calmed down by distilling his devastating solos at the right moments without drowning us with super guitar-hero notes. An album that can be listened to smoothly, without latency, from which I will highlight 'The Child', 'Changes' and 'Sunshine' for this intense work between delicacy and fury.

An album more prog metal than crossover but a very good album that should not be forgotten and which will last in their discography. (4.5)

This consistently first-rate Birmingham UK prog band is back again with a new 2023 release called Sanctuary, featuring drop-dead beautiful cover art, superb initial reviews (yes, Lazland) as well as a return to the roost for lead vocalist in Linda Odinsen, who was featured on the brilliant New World album, as Rosanna Lefebvre has departed after shining on both the Solitude and Aura albums. The core of the band has remained loyally intact with founders Adam Gough and Dave Curaton leading the crew of bassist Christian Nokes, drummer Tim Wilson and sax/flute maestro Luke Shingler. This is their seventh studio album, and since I have all of them, I can unhesitatingly state that this just might be their crowning achievement, with nine scintillating tracks to enjoy to the max.

The atmospheric premise on "Outside" is phenomenally displayed on the Youtube video, whereby the cover is rarely the book, as human nature often demands defensive postures when dealing with the vagaries of diverging characters, who may or may not be wolves in sheep clothing. This contrast between the outward confidence protected by an armoured suit, only to hide the inner angst and the frailty of one's soul is what makes this album tick. The arrangement thus navigates the serenity of appearance with a plaintive Spanish guitar, peaceful percussive effects as Linda initially epitomizes frugality or prudence. Spurred on by the crunching guitars, a tyrannical bass line and some concussive drumming that safeguards the delicate core, the voice serves the intuitive intensity. As befits the alternating balance of our destinies, the musical shift back and forth between the inside and the outside is expertly portrayed, until the ultimate capitulation of fate. Blistering opener. Within the urban chaos of light and sound, "Running" is perhaps an apt description of our daily routine, as Linda gently expresses her disillusionment in the more serene moments, only to wail on right through the transition to the gruesome scourge of the tectonic drums, furious synth slivers and Dave's wicked electric guitar forays. As Lazland stated "Extremely impressive stuff" indeed! The huff and puff video is cool as well. As our 'New World' continues on its merciless path of waging futile war and hurling unspeakable tragedy upon innocent populations that also include children, "Sanctuary" will certainly come across as a propos, much to our collective chagrin. The focus is clearly crystallized on the tragic atmosphere emanating from Adam' various modern keyboards excursions, while Dave's vicious leads and lethal riffs display the fury of assault and destruction. Again, the video will highlight the sad reality. The epic grandeur of the nearly 9 minute long "The Child" keeps the fatalistic and nightmarish theme rolling inexorably, a sonically wider platform for the instrumentalists to stretch their talent to even more overt progression. A majestic piano sets the tone, rivulets of ivory tinged notes upon a desolate stage where Linda's scintillating voice glimmers in the cold, an acoustic guitar flurry expands on the solitude expressed, as the orchestral keyboard aura reveals the virulent guitar attack, revelling in the inherent sadness as the swirling violin vortexes into the unseen space above. The pizzicato strings amid the sound effects is just a precursor for taking a return plunge into the abyss, where the gargantuan orchestrations pack a hurricane force wallop. Fittingly, what better choice than a mournful cello outro to, sadly perhaps, become an adult. This is one hell of a fabulous track that deserves to be heard at infinitum.

As we all kneel, hoping for some respite, "Close By" appears as a soothing appeasement of the sense, a focus on the innocence of childhood in a garden of flowers, with a loving mother watching unwaveringly over her child. This is a crushingly ravishing theme sung to absolute perfection by Linda, guided along by an ornate grand piano accompaniment that is both stately and heroic. It may just bring one to tears. Cinematographic soundscapes are to be found on "Airborne", a fluttering piece infused with Dave's aerial whisper, combining in duet form with Linda, floating along with a churning Floydian organ undertow. And true to the contrasting, even colliding, propensity to swerve from one sonic extreme to another, the rage is followed by contemplation and freedom replacing anger. When the buzzsaw guitar slashes across the arrangement, with its dive-bombing sirens screeching menacingly, the hunker downed heart begins to beat uncontrollably. What a, ...err...Blast! Another ostentatious epic on the whopping "Changes", where an opening keyboard sets the tone, with violin, flute and acoustic guitar in tow elevating the inescapable upward swinging voice into celestial realms. Linda really showcases incredible mastery in her delivery, as the final vestige of the stormy turbulence is willed into disappearing forever more. The uncompromising bombast is favourably symphonic, as the reptilian bass slithers between the cannonading drum thuds and a most definite sense of a paroxysm is at last attained. I need a nap. Now that I have woken up refreshed, "Sunshine" slips through the curtained windows, highlighting the conflicts between the glowing rays and the shadows hidden behind the blinds, as the see-saw riffing raises the thunder that still seeks to rule in the distant horizon. The instrumental section is mentally deranged, as each lead instrument takes a turn: the viper guitar rant and the rattlesnake violin express their venom while the cobra saxophone finds the antidote. A sensuous acoustic guitar embraces the piano chords with loving attention, as it leads the listener to the gloriously radiant promised land, stamped with a delectable guitar solo for the ages. Free at last!

The past is the past, the future will be what it is destined to be. In the meantime, today is today and the lesson learned would be that we "Won't Be Afraid" any longer, because "whatever it takes, we will survive". This is a fitting farewell, auspicious advice to be found in the graceful and hopeful lyrics, as "the darkness descends". In this criminally judgement-laden world, apathy, fear, and depression should not be the rulers of our spirit. While it may sound corny for all the naysayers, love, respect, and harmony ARE what makes this blue planet orbit the sun, as it majestically spins along for eternity, showing us the way.

5 Planetary Refugees

More laid back, atmospheric Neo Prog from these now-veteran Brit proggers--their fourth album since their self-titled 2009 debut.

1. "Aura" (7:52) very laid back and slow to develop--like a classic PINK FLOYD or UNITOPIA song. It even had a David Gilmour-like guitar solo in near the end. (13.25/15)

2. "Waterfall" (11:24) spacious drums, piano, bass, synth washes, and female choir vocals open this slow-paced song. It's like ENIGMA-treated PURE REASON REVOLUTION. At 2:45 everything falls away while piano continues as sole accompanist to Rosanna Lefevre's lovely vocal. (She sounds a lot like FREQUENCY DRIFT's wonderful 2011 vocalist, Antje Auer.) At 3:30 the full band jumps back in, giving Rosanna a little break, but then she returns to sing her next verse. Rosanna's vocalise in the seventh and eighth minutes is pure delight as she slips in and out of operatic mode. Though flute and violin are purportedly in the mix throughout, I cannot really pick them up in the mix (until the very end). A very nice, solid prog epic. (17.75/20)

3. "Breathe" (8:36) more pretty soundscapes with gentle, etheric vocals (and samples of radio interview) but, once again, the song's development is so slow and incremental that the tendency is for the listener (me) to get bored long before the somewhat-interesting subtleties and idosyncracies arrive. (17/20)

4. "Resonance I (3:05) (8.5/10) 5. "Circles" (6:15) straight out of Giancarlo Erra's NOSOUND playbook, this spacious, atmospheric song starts with spacey atmosphere and almost-spoken male vocals before the band kicks in and Rosanna begins wafting her lilting vocalise around in the mix. An eerie Gothic pregnant spaciousness takes over in the middle before the band kicks back in and Rosanna's vocalise continues winding around while male and female vocalists sing some kind of subdued, chanted lyric together. Effective. (8.75/10)

6. "Shadows" (6:18) piano If the band's video has anything to say about this song, it's about a now-homeless war veteran (Baltic wars of the 1990s? or the Middle East conflicts?) and the memories that haunt him: friends lost in battle, lost daughter (or children as collateral damage), lost homeland. Dave Cureton gives quite an impassioned vocal in the second half. (9/10)

7. "Resonance II (2:23) (4.5/5) 8. "The Rain" (18:02) another song that is only separated from the UNITOPIA catalogue by the talented vocals of Rosanna Lefevre (who is used here as the second/relief vocalist)--and by the distinction that not even Unitopian songs develop this slowly, this simplistically. Don't get me wrong: there are definitely some nice sylistic choices here--and more dynamic shifts than on any of the previous songs--it's just . . . nice background music. The various spoken people samples in the thirteenth and fourteenth minutes try to give it a hopeful perspective but, in the end, it just feels pessimistic. (30/35)

Total Time 63:56

B+/4.5 stars; a near-masterpiece of atmospheric neo-progressive rock.

Having listened to about a dozen albums from 2020, I'm starting to believe that this is the best year of prog for a while.

I'll be honest, I've not listened to the rest of IO Earth's discography, but if Aura is anything to go by, its brilliant. The composition is atmospheric, calming, and incredibly well put together.

When it's done right, I'm a massive fan of a female/male mixed harmony vocals, and whoever made the decision to bring Rosanna Lefevre on board deserves a christmas bonus. She has an incredible ethereal voice which just adds that extra something to an already brilliant atmospheric album.

Really is something for everyone in 5-star albums in 2020, but if wistful, atmospheric prog is your thing, this is for you

IO EARTH is a British neo prog band discovered by chance in my ears in 2012. There are acoustics, hovering, often soft arrangements that explode in a musical crescendo, there is also a very beautiful voice. feminine in this case Rosanna since "Solitude". IO EARTH sounds very symphonic and can afford to roam heavy lands over time. On their last opus there is a question of a significant change of their compositions with always energetic solos, breaks with classical instruments, contemporary music therefore, more pop songs but therefore less expectation of Dave's devastating solo. Basically a melting pot of prog rock that might surprise you. A bit of symphonic and hypnotic rock too.

"Aura" begins this album with a very planing and symphonic composition in the tradition of a good PINK FLOYD while the vocals remind me a little of a little watered down ALAN PARSONS, it's cool, soporific in the sense that the title flows very slowly with a calm rhythm; Rosanna's voice comes just in chorus to accompany those of the singing musicians. 'Waterfall' follows with an emphatic, majestic title, a sweetness that changes radically with the rather melodic IO EARTH sound; Rosanna's voice is sublime and leaves for the magnificent lands of MOSTLY AUTUMN; the title gives a grandiose idea of ​​what the original prog movement can do; a slight rise, a piano setting the tone; the end finally rises with a solo masterfully played by Dave, an excellent track where the tune is repeated from the piano to the full orchestra. 'Breathe' with a remarkable entry on the trumpet for a slightly spaghetti-like tune, before an ambient start-up with piano and violin for a piece that could claim to be spleen, I would say rather introspective; here the ethereal voices in French seem to sink you into a musical spell, a bit of ENIGMA at this point, before the final burst and deafening percussions. "Resonance I" then arrives with a first musical interlude, a soaring, airy title, a little on the sounds of Eric SERRA until the vocal appearance all in murmur and delicacy; It changes devilishly from previous albums, a little kitsch anyway too.

"Circles" attacks the second part of the album with the continuity of atmosphere at the title level; spleen tune, borderline female soprano voice, spoken male voice and an introspection with occasional sound effects ' la THE GATHERING at the guitar level; soaring and delicate, swirling and relaxing. "Shadows" continues the frame with an intro piano track quickly seconded by the violin, a piece exploring borderline religious sounds, minimalist progression with a deep melody to cry, intimacy, spleen, meditation. The instrumentation becomes solemn here and the repetition of notes follows a slow soothing crescendo despite the sound rise. "Resonance II" arrives as the second interlude and repeats of the same musical framework, giving the impression of drowning us in this maze of notes; a bewitching mantra sound then in the finale 'The Rain' for the river title of 18 minutes! After a little intro the sound goes to ALAN PARSONS somewhere, in a pop version, then Rosanna's voice gives a little oriental air, a little "Ederlezi" voice and we go, a little further; it is the minimal metronomic drums that bring the enchanting flute; then the Gilmourian guitar arrives until the change of atmosphere even more soaring, bewitching halfway; the second part is more disparate with a succession of musical sequences, vocals and association of the two until a drunken end, you will understand.

IO EARTH finally released their 5th album despite the covid-19 crisis; they were innovative in a new way of recording! They wanted a serene, ambient album, they have it; the voices are sparse between the male ones and the female one not present enough in my opinion because the beautiful Rosanna has refined her vocal cords admirably, the length of the pieces is here a plus for the unfolding of the specific atmosphere. Slow prog as described by the two main acolytes Dave and Adam, much more introspective and intimate music that changes from the original sound of IO EARTH, a surprising musical delight.

I first encountered IO Earth on their second album 'Moments'. From the start I was struck by their creativity, musicianship and of course their music. The key word I would also add at that stage of their journey would be potential. This potential was realised by their progression from 'Moments' to the ambitious double album 'New World' and finally to the superb 'Solitude'. The only slight concern I had about this new release was would it be able to match 'Solitude'? An album preview put my mind at rest by a preview in early March, The snippets in themselves were enough to truly whet the appetite, as was the stated aim of songwriters Dave Cureton and Adam Gough to explore and develop melody even more than before. This sounded like it would be something special. I am writing this amid the coronavirus crisis. Why is this relevant? Well, I would say in dark times it is vital to have something to look forward to, and amid the horror of the implications of the virus, I certainly took some comfort in awaiting delivery of the treasured CD. Further pre-release issues of the songs 'Shadows' and 'Waterfall' followed turning my eager anticipation to out and out longing to hear the complete album. The band members, and their manager Wendy Hagenbeek, kept us well informed with progress even showing the lengths they had gone to keeping everyone safe when signing the copies prior to delivery. Finally, it arrived. Could it live up to expectations? The answer is a resounding yes. I am not going to go into a track by track description, as one of the (many) great things about this album is that successive listens unlock previously unnoticed delights. Each track has its own dynamic, taking you on a journey, where your ears are treated to sonic landscapes filled with melody and emotion. The musicianship is top notch; the aforementioned Dave Cureton plays plenty of excellent guitar. However, although obviously a superb guitarist, rather than flashy showmanship he favours passion and evocation. Dave is ably complemented by the others with contributions of flute, violin, cello and trumpet making each song a mini masterpiece. Dave also provides vocals (busy fellow). Actual spoken lyrics are somewhat minimal, but this allows co vocalist, the delightful Rosie, the opportunity to add significantly to the aural ambience with some truly gorgeous wordless vocals. To top it all, even the production and packaging are top notch. As already stated I am not going to try to much to describe each particular track, but special mention would go to 'Waterfall' (a superb showcase for Rosie), the hauntingly beautiful 'Shadows' (you must check out the poignant video that accompanies it) and the delightful and thought provoking closer 'The Rain'. Reading above, I must admit, makes me look a bit like a one-dimensional fan boy. This impression is a risk I am willing to take. Indeed, it is much preferable to my most beloved's description of me as a grumpy, cynical old man! I have been around for a while (to put it mildly) and have heard a wealth of great music. 'Aura' stands very proudly when matched against most (if not all) of my most treasured musical friends. This simply is a special album. It has already been a great comfort to me during these dark times. And I know that it will continue to be. I strongly advise anyone to do themselves a huge favour and add it to their collection.

This album is all that I hoped for after hearing about the new project from IO Earth at their Christmas party gig. It was described by guitarist Dave Cureton as the softer side of IO Earth, and there is certainly plenty of evocative and melodic music on this album. At times, however, the music builds in intensity and is more stirring and up-beat. There is an excellent mix of male and female vocals, and extended instrumental sections, including some lovely piano and guitar playing. All in all, a wonderful follow up to the excellent Solitude and a worthy addition to the IO Earth catalogue.

IOEarth is a cross-forward rock band from Birmingham, England, headed by Dave Cureton and Adam Gough. Founded in 2004. Early by Frank Zappa, but they also blend modern pop music and classical music, as well as jazz. As more members join these years, their music is also enriched, such as the integration of world music, and even some soundtrack, as well as adding gorgeous female voice, orchestra, metal music and so on. The new album "Solitude" is such a diverse result, the opening theme song hidden in the popular psychedelic wind heavy metal, and the female voice with the strings complement each other. However, the soul of this band is two original guitar, so in later tracks they devoted intense, mesmerizing solo performance. With the deepening of the album, we can feel that the orchestral music that constantly sounded behind is actually very good for other musical instruments. It is not isolated and plays a leading and sublimated role. Their efforts to combine classicality and modernity deserve Sure, and indeed impressive, coupled with a smart and crazy keyboard and Rosanna Lefevre mature female interpretation, their crossover music can be described as "perfect"! The album's eight songs are basically about ten minutes long, I tried to pick the best of the two, but found that they are almost all good enough to give the perfect score, and no one below the average. This is what a strong band and talent ah, can produce years of first-class album (09,12,15 also made three albums, are 90 minutes long masterpiece, and received a praise!) After listening to this new post, I undoubtedly become a fan of the band, can not wait to listen to their past album. So after listening, I could give a four-and-a-half-half high score (even to five stars, still more to judge, but in short I was conquered), a strong contender for the top ten albums this year and even the top three ! Is a love of avant-garde, including symphony, metal and classical music friends will listen to the masterpiece!

This is an album that grates as much as it impresses. IOEarth seem like the heirs apparent to bands that heavy prog bands that seem to have peaked about a decade ago--like MAGENTA, IONA, EPICA, WITHIN TEMPTATION, and NIGHTWISH (though all four of the afore-mentioned bands continue to produce high quality albums). What grates me is the frequent use of sudden Jeckyll and Hyde transformations. Sultry, hypnotic melodic passages suddenly become loud, abrasive, over-the-top head-banging sections and then just as quickly fall back to beautiful passages full of interesting nuance and subtlety. The opening song is the perfect illustration of this: wonderful singing by Linda Odinsen and sensitive, delicate sax/reed play by Luke Shingler are offset by power metal shredding and Norse chanting. The Jeckyllish Magenta/Iona comparisons are not far out of line but, then, neither are the Hyde Epica/Within Temptation/Nightwish ones. For me, this is frustrating. I really don't enjoy the pendulous swings back and forth between tender and in-your-face.. Are the compositions good? Are the performances top caliber? Yes, by all means they are. I cannot fault any of the musicians--they are a great band. The compositional style is just not my cup of tea. As with all IOEarth albums I own so far (the first and third--I rated the second "Moments" from its progstreaming appearance), I rarely connect with an entire song. I am more prone to like parts and passages or individual performances in each. Such is still the case with New World.

"Trance" (5:10) (8/10), "New World Suite" (7:16) (8/10), "Body and Soul" (7:04) (8/10), "Morning" (8:38) (8/10), and "New World" (8:59) (8/10) are all strong four star songs. "Fade to Grey" (9:06) (9/10) and "Dreams" are a step above--though, like the song "Smoky Wood" on their debut release, the seductive song, "Dreams" (5:49) (9/10), doesn't even feel like it's the same band.

Another "problem" I have with IOEarth releases is that they are so long! Another two-disc release makes for a long and arduous task to actually hear and get to know all of the music (which is only fair when reviewing an album, right?) I think my brain and butt are conditioned to 45-50 minute listening tolerances.

Four stars for another wildly enigmatic album from IOEarth. Check it out so you can decide for yourself.

93/100 Bumble bees, dragonflies, and dark drum thunder. Welsh witch ghost blends in with greenery of the scenery, weighed down by a heavy pecan harvest and a nude descending a staircase canopy, floating down a river past sun spangled Elysian Fields , and I'm not talking about a tiny sleepy east Texas town, although we know that honeysuckled hamlet has contributed it's share of amazing human beings and farm animals to Earth's awesome story, no I speak of sacred Shangri-La bewitching elysian fields.

Complaints? I O Earth doesn't let me up for air. She drowns me. Cloaked and robed, shaved priests cram velvet marmalade into my mummy hole, along with myrrh, hooded snake, hippopotamus ,thyme and sublime odd time signatures. Speckled and bejeweled, I O Earth's- New World is a Maryjane Kay Pink in the cheeks thing. Oooohhh! She spanks like the Dicken's. That interlude in Oliver twists up inside her diamond tiara, mascara, pearl drops and devil dew dripping on her moon shine liquor. Oooo Cleo, wet in the star shine. Yeti, ye...yet,

like ancient Egypt I O Earth's New World suffers from the Moses Syndrome. Similar to the Red Sea fiasco, IO Earth should have split the album. But no! After listening to Close to the Edge, Thick as a Brick, and an unusually bossy burning bush, Moses hikes up the mountain and comes down a month later, bearing a prog masterpiece, , only to find his people in a drunken orgy dancing in 4/4 time around a golden calf, purchased on Ebay. Any prophet would be pissed, so he threw down the prog masterpiece and it broke in half, and became New World. Next time Moses brought down the Ten Commandments. And oh boy! That brought us all down. Sequels suck!

I O Earth should have recorded a double CD. Too much bliss for a masochist to listen to a once. I had to adapt. 100 minutes of uninterrupted serenity was too much for mortal man to bare New World made me face my fear of pleasure and embrace, a new century prog renaissance masterpiece. At first I couldn't comprehend it. It was as if, I yearned and pined for an exotic teapot. So, I hurriedly drove a hour north up interstate-35 to "Topeka Teapot" -Biggest Teapot Warehouse in the World! Bigger than Topeka Kansas! Jade teapots, porcelain teapots, cubistic tea, ivory tea...My Umpa Lumpa Utopia! Too many choices. I was overwhelmed by the New World. A triple album soaked in surreal aural moonshine! Yet, part of me wanted to pretend I didn't hear it. It would be so much easier to sift thru panned-out rivers for fools gold. I couldn't deny it. The New World is- a shiny masterpiece, golden molten, forged in Super nova fire. If there was a prog sub genre called... World Prog. I O Earth would wear the crown!

5 Crowns Royals for New World

PS. My sweet grandmother taught me...If you can't say anything nice... Don't even open your mouth! So, I mainly review 5 star masterpieces. I rate plenty of *, **, ***. and **** star albums. I rate 'em but I don't review them. Beauty inspires me! Insipid and mediocre... not so much. I don't review albums with over 987 ratings. Enough said, besides Prog Archives warns me to think twice before giving "masterpiece status" to any album. Collaborators are wise musicophiles. I deeply respect the collaborator opinions, as I wait like an eight year old for Christmas, for the Collaborator's annual best of list. Yet, I can't help believe that recent Italian prog renaissance and whatever kind of prog you want to call I O Earth, IQ, Steven Wilson, Barock Project, Leprous, Riverside, 3rDegree, and Anekdoten...Whatever you want to call it...We are NOT in a drought anymore! These are the good old days. Golden days for progressive rock. 2015 marks the cross hairs of a prog rock bulls-eye! So forgive me if I give I-owe-earth five golden stars.