COSMOGRAF

Robin Armstrong's Cosmograf is back just a year after 'Rattrapante', a decent-sounding concept album about time that ended up being well-received although it didn't tread on any new ground for what concerns the project in general. This new release happens to be yet another ambitious concept album, focusing on the story of a retired WWII Spitfire pilot who "laments a lost golden era, but reflects that the human race must change in order to preserve our existence on Earth." It is intriguing to see Armstrong tackling these larger than life (and sometimes maybe existential) topics, in reference to this and the previous more recent releases, but this certainly is one of the building blocks of the DNA of progressive rock.

However, the best portrayal of such a fine concept is the very solid sound, where the combination of both usually results in musical albums we tend to refer to as 'timeless' or even 'iconic', although this is a very clichéd word by today's standards. 'Heroic Materials', as goes the title of this latest Cosmograf album, is a fine collection of songs, very melancholic, this time also very acoustic, that do not showcase the full potential of this very gifted multi-instrumentalist, that is Mr Robin Armstrong. Somehow this album is lacking the energy or the vibrancy that one could grasp at while listening to some of the earlier records. There is less diversity here for sure as well as the feeling that despite its forty-five minutes of playtime, the record is just meandering a bit on a few occasions.

I enjoy how seamlessly some of the tracks flow into each other, especially on the latter half of the album, where the impression of one longer continuous piece is given off, but this could also mean that they do sound alike a lot. 'Heroic Materials' is a more stripped-down version of Cosmograf, a more straightforward and predictable release than 'Mind Over Depth' or 'Capacitor', just to give some examples of albums by the band I consider superior. Despite its minor flaws, I do find it an enjoyable listen. It is admirable how Robin Armstrong manages to keep his releases tight and generally very focused, although 'Heroic Materials' would not be my recommendation for someone who is new to this band.

Once again joined by Kyle Fenton on drums, with a special guest on the 13-minute title track, Big Big Train's Danny Manners who plays the piano, Robin Armstrong expands his catalogue with a generally weaker release compared to some of his pervious successes, less diverse, and less imaginative, but containing some nice acoustic sections as well as profound and evocative lyrics. Alongside the epic title track, I could point out to 'If Things Don't Change' as one of the stronger songs here.

RAF Squadron leader Robin Armstrong dons his leather flying cap, adjusts his goggles as well as his yellow silk scarf, takes one last sip of the morning tea and his ride, a spanking new Supermarine Spitfire Mark IIa is obediently waiting for him to fly into the wild blue yonder. Mission: clear the skies of Albion of all Iron and Swastika crossed enemy planes, intent on causing undue suffering on British cities, currently blitzed by Hermann Goering's supposedly invincible Luftwaffe.

Since my very early teens in the 60s, I was educated on WW2, as it was (and still is) the only world conflict whereby the cause was really worth the sacrifice, as Nazi world domination was a de facto reality that defied all of humanity, with consequences still reverberating at present, 80 or so years later. My studies in this period of time still continue unabated to this day. The Battle of Britain was, few historians will counter argue, the turning point of this horrible conflict, as it forced Hitler to fall prey to the gravest mistake any conquering army can make: fighting on two opposite fronts, which eventually and happily, spelt the collapse and the end of the thousand year Reich, barely 12 years later. Young, untrained British boys, together with refugees from conquered Poland and Czechoslovakia, fought heroically and unflinchingly to protect the island nation. Anyway, that is the history, and this is a progressive rock album.

Guitarist, multi-instrumentalist, and songwriter Robin Armstrong has had a quite a career with Cosmograf, of which I have a few in my collection. Yet, this latest work, without any doubt or hesitation, is HIS FINEST HOUR! "Heroic Materials" has an alluring cover artwork which harkens back to the history books depicting the magical Spitfire in flight, and though a war machine, it is still regarded today as being a visually impeccable looking aircraft, with elegant lines, Elliptical shaped wings and one of the finest engines ever made The Rolls Royce Merlin (later used on the equally impressive American icon, the P-51 Mustang). This release has ten tracks that constitute a complete suite, with a central theme being the concept and realisation of a mythical defensive weapon that saved the United Kingdom, through hardship, bombing and initial military unpreparedness. The masterpiece also has a recurring melody at the end to bring the narrative to its final, grandiose end in total victory. Frankly, while the Wall had more to do with Roger Waters trying to deal with his father's untimely death on the beaches of Dunkirk, this is musically speaking an equal, if not superior work, that surely will find its fanbase.

As the Spit climbs into the clouds at breathtaking speed, Robin doesn't pull back the throttle, quite the opposite as the opening track is a thunderclap of sound and fury, as today's radio rants about the ongoing energy crisis in the background and "I Recall" recalls the time when the peril was real and life threatening, Robin owns quite the voice, as the elegant piano played by Danny Manners (Big Big Train) and ringing orchestrations merge with the sound of the Merlin's mighty roar. This is just the take-off for the magnificent beauty of the title track, a sweeping epic of the finest vintage that seizes the moment. Everything is crushingly gorgeous, the powerfully emotive voice, the sizzling electric guitar, the intoxicating mood, and the vibrant pulse, here handled by wingman Kyle Fenton. This isn't Pink Floyd, it's rather Red Floyd! Thirteen minutes+ of scintillating music, made even more overwhelming with the high- pitched choir work that defies gravity. A brief moment of respite as the echoed plaintive voice blends in with the searing church organ, Robin shooting off a deadly Blackmore meets Gilmour electric axe volley that surely must have obliterated the Nazi Junkers 88 in its sights. The thrill of survival is airy, breezy, almost as an afterthought, all impulse to stay alive. This is a classic piece that will be in the history books (the story still is, lest we forget). The mellotron infested "British Made" retains the sense of urgency, as the stunning vocals remain poignant, harrowing, and resolute, the shrapnel-inducing e-guitar blasts another cannonade, burning oil smoke emanating from the hapless target, as the crew desperately bail armed only with parachutes. 'Welcome to England, Gerry!' . In between endless sorties, a brief respite to have a thought for a young lady ("Mary") who had only been kissed once or twice, a burgeoning love kidnapped by the brutality of war. Simple, effective, and heartfelt. The orchestrations harken back to a sense of 40s British music. The short companion piece "Blinkers" (flashing pilot lights or blinders, your choice!) adds more pathos and despair. Or is it dealing with fear and having only a stiff upper lip to combat the trembling ache. On the next cinematographic track, the mood becomes decidedly irate and despondent, "If Things don't Change" addresses the futility of it all, dying young, not growing old and wise, happiness nipped in the bud. Robin's magical voice modulates enough to be utterly convincing and rage accordingly, as he hits the high-pitched notes with both accuracy and deliverance. Another sinuous guitar foray sets the sky ablaze with mordacious zeal. On "The Same Stupid Mistake", the acerbic 'blah, blah, blah' effects are perfect, as the folly, the waste, the idiocy finally have their glorious time in the crosshairs, a worthless, forlorn plea that sadly goes unheeded, "do it all again ". Peace.

The main guitar-fueled melody is re-enacted on the appropriately titled "Regretful Refrain ", a long bluesy blitz that sobs, cries, and weeps in agony. An undulating of longing for the calm serenity that we take for granted, comfortably numb with all our creature comforts which we believe we are entitled to, regardless of our morality (or lack thereof) and that indifference and dissatisfaction (take that, Mick and Keith!) that seem to endlessly breed, unabated. The denouement, "A Better World" as promised earlier, does a reprise of that opening and rather ravishing melody, one for the ages, "I still love you,? We will make it new". Crushed

A Tartarean theme, a Gargantuan album, a Ginormous talent. Among the top 2022 albums for sure.

5 valiant tools

COSMOGRAF known since 2011 with 'When Age' distills a prog rock à la BARCLAY JAMES HARVEST, PINK FLOYD hovering between neo, prog metal and melodic rock of the 70's. This 9th post-pandemic album is supposed to talk about the great works to avoid a dark end and it is Robin at the helm of his home studio who distills these prog-moving titles to which I will add some snippets of GENESIS. A progressive concept declined in interlocking titles to hope for a better life than that of this former Spitfire fighter, stunned and horrified by the cruelty of Life. So let's take a closer look.

"I Recall" for the opening, all in delicacy, voice and piano and choirs, misty clarity and this Wallian plane bringing "Heroic Materials" in three parts for a majestic, solemn and heavy sound at the same time. I find the melody of BARCLAY JAMES HARVEST on this epic title, an anthem where the piano is held by Danny of BIG BIG TRAIN; at 5 minutes it goes up with heavy guitar, dark choirs, story on the activities of May disillusioned pilot; an organ as a break, voice-overs and we suddenly find ourselves in 'The Wall' revisited at the vocal level, solemn musical influence and Gilmourian guitar solo; PINK FLOYD has a hidden son? The finale takes up the hackneyed solo voice theme to amp up the emotion and show the extent of Kyle's orchestral and rhythmic drumsticks. "Industry" sad vocal interlude, 'Final Cut' mode, piano-violin declination before continuing with "British Made" with a torn vocal à la Franck CARDUCCI on an acoustic à la 'Pigs'; Robin's solo is fresh, ethereal, touching; it brings greatness to this symphonic and sad title at the same time, striking us with its Anglican melody à la Charisma until the last touch. "Mary" and another plane in the distance for a sad WATERS-style melody about the hero's vanished first love, BJH are getting further away now.

"Blinkers" continues with the piano and Robin who draws his voice on the COSMOGRAF sound there, it suits him well. "If Things Don't Change" comes on a newer sound, mysterious Wilsonian voice, then to the distant WATERS; text on the exhaustion of fuels, on the death of his entourage and melody between darkness and hope; the riff with the organ leads on the tracks of a tortured Steve WILSON, a crescendo allows a more rock orientation with an XTC sound before the dark side returns, a bell in the distance; note the crystalline guitar solo which ends in a beautiful way and sends on "The Same Stupid Mistake" to recognizable blah blah blah (yes I wanted to do that one) and always a haunting melodic air which gives hope for clarity with this redundancy in the chorus. "Regretful Refrain" arrives, the guitar taking the lead on the Wallian cinematic with plane attacking; a moving instrumental, the rising notes can make you cry, it's simple and beautiful; the voice-over lets Robin talk more than sing, plaintive; the expected solo shows Robin's expert work: he does everything on the album but above all he does very beautiful solos bringing emotion easily; final which rises, I let you guess which group I think of on high voices. "A Better World" for the end, it's raining, we hope...a better world on the melancholy beach, the one that kills with choirs, rise and dazzling solo.

COSMOGRAF finally Robin, combines here some great titles interspersed with musical interludes to land before facing another melancholy melodic air. This association makes it possible to amplify the sound rendering and to give a progression in the album, something which would not have been so obvious without. Here the narration gives intensity and the soft then nervous instrumental parts amplify the effect; the texts are very dark but also too realistic. 'Rattrapante' was very heavy prog and had lost some of the soul of COSMOGRAF, this latest opus gives it back its legitimacy. It's up to you to see if you still want to dive into the neo-prog universe of the 80s and offer yourself a singular musical regression.

One of the best sounding, most disappointing artists to have graced my ears over the past decade, Robin Armstrong's Big Big Train-like historically-perspicacious songs and fine stable of collaborators have so much potential. Alas! for me this potential has remained obscured, trapped within its own self-immolating planetary core: potential, wholly unrealized, as there are no songs or albums that leave me wanting to come back for more. It's dull and insipid. As much as I look forward to hearing the lush landscapes of sound that Robin and Company create, I always come away unsatisfied--as if the drug has failed to assay my symptoms of discomfort; as if the balm has failed to assuage my itch. Album after album I purchased, then song by song, until I stopped buying and listening to Cosmograf music in the second half of the 2010s due to my fear of disappointment (and due to the dismal memory of all of the Cosmograf music I had deleted from my computer due to my utter boredom). It's not that I dislike Cosmograf music; it's more that I feel that my time is far more important than to be wasted on listening to mundane, unexceptional music--music that later makes me feel as if I've wasted valuable time, time that I wish I could have back. (A feeling that, I fear, increases with one's progression into one's "twilight years" and, thus, ay be unfamiliar to many of you younger folk.) Plus, I think I'm just tired of historical revisitation--of artists thinking that they're doing us all a favor by drawing attention to long "lost" heroes or time. Again: beautiful, lush soundscapes, attempting to express, in perfect seriousness, one man's respect and celebration of heroes (and times) past. Many will like the feeling of being washed in these sonic landscapes. I just happen to be not one of these.

C/three stars; a good contribution to Prog World from competent and sincere artists, but nothing more. Non fa per me.

In a year that has featured some excellent releases already, this is my favourite to date. I have found earlier albums by Cosmograf to be inconsistent; they are brilliant in places, but less impressive in others, despite the high quality of the musicianship. This new album is superlative throughout, featuring melodic keyboards and soaring guitars - and an intriguing narrative throughout the album of a former WW2 Spitfire pilot reflecting on significant events in his life. The highlight for me is the 13 minutes title track, Heroic Materials. I have had the album for a week now since its launch and have played this song repeatedly.

Cosmograf is one of those modern prog rock bands that is releasing consistently excellent material, and yet remains in the shade of many bands that are not necessarily better, or rather, does not get the deserved attention and exposure. Despite this sad truth, this relatively new project has gradually become a very big favorite of mine, and the news of new material are always welcome. The one-man band led by multi-instrumentalist and producer Robin Armstrong released its eighth studio album 'Rattrapante' in March of 2021, on Armstrong's own tiny independent label, called Gravity Dream Music. Ever since he started in 2009-2011, this man has been busy releasing album after album every year or two, and needless to say, the content on the Cosmograf albums is pretty spectacular!

A strong Porcupine Tree flavor, mixed with some Floyd, and cast through a neo-prog prism would be an insufficient but relatable description of the music on 'Rattrapante' (and I would say, this applies for the band overall) - the most impressive aspect of it all, is that Mr Robin Armstrong does the vocals, plays the guitars, the keys and the bass, with a little help from Kyle Fenton on drums and backing vocals, and Chrissy Mostyn on co-lead vocals for one track.

It could be safely said that 'Rattrapante' is a concept album, and the idea behind the whole thing is well described by Robin Armstrong himself: "'Rattrapante' is a collection of 5 songs about our interaction with time; we measure it, but yet waste it more, it defines our existence and forms our memories. Some seek to beat it by being the first or the fastest and some can appear to outlive time itself through their achievements? The idea for the album was inspired from my work with mechanical watches. Rattrapante is a French word deriving from 'rattraper' meaning 'to catch up or recapture. A Rattrapante chronograph can simultaneously time 2 events such a lap split time and a final race time".

Just five songs comprise this 50-minute record, but every single one is very enjoyable, memorable, and intriguing. Kicking off the album, we have the nearly 13-minute 'In 1985', menacing memorabilia about some better times; This one has an anthemic, almost Queen-like character, while maintaining the strong Cosmograf personality. Then comes the title track, a heavier number from the band, and one that has one of the best and most infectious melodies I have ever heard. 'I Stick to You', the third song on the album, happens to be the shortest one; It is a beautiful love poem, well-written and charmingly memorable. 'Memories Lie' is a more typical Robin Armstrong acoustic number and 'Time Will Flow' is the grand finale epic that concludes in the most dramatic possible way this excellent album.

British prog rock is alive! Cosmograf is the proof, this band/project is too exciting to be missed out on; the mixture of heaviness and gentleness, the masterful song-crafting, the thoughtful lyrics, the puzzling concepts, and the crisp production, are among the facets of not only the band, but also their very good 2021 release 'Rattrapante'.

COSMOGRAF, known since 2011, which distills a good prog rock à la Barclay James Harvest, Pink Floyd in a planing variation, is releasing its 8th album here, to make up for lost time? Robin Armstrong almost did it on his own in his studio, this album smacks of neo, prog metal, progressive rock, vintage 80's or even 70's sound with Hammond and Rainbow in focus; he himself says he adores this era of the legendary Deep Purple; I find there a little of the sounds of the great Genesis and the sound snippets of the Martian voice of David Bowie, for a musical and dramatic mishmash of pandemic time unique in our history.

"In 1985" opening à la Gilmour at first, 2'30 "dream then explosion and riff à la" Kashmir ", muffled percussion, languid keyboards and the high-pitched voice of Robin; a track which unfolds, which remains predictable, as if cut for the scene cruelly absent in these uncertain times, wink with crowd noises from the live Aid of 85; spatial instrumental break, synths worthy of a Europe, it smells of the 80's; the tortured Blackmore guitar solo, sublime for a final à la "The Trial" sinking notes like this drums. "Rattrapante" for a punchy rock with an undulating organ à la Genesis, a rhythm dated by the lonely bass and guitar, usual backing vocals; text on speed records, staged on the station wagon with sound effects from President Kennedy then voices from NASA; return of the original rhythm as on 'The Return of the Giant Hogweed' which seems to never stop. "I Stick To You" with Chrissy of the Blackheart Orchestra for a dark song ballad on a spleen side with acoustic guitar; a bit of the soaring Porcupine Trees from the start here. everything is beautiful, romantic, haunting, from another age; a title that stretches like the sensation of a man stuck in time, tragically and inevitably seeing his loved ones disappear. "Memories Lie" piano at the entrance then moving text on our programmed degradation; a sound that reminds me at times of the King Crimsons or even the Barclay James Harvest, the Hammond organ is beautiful and airy, a little acoustic guitar like on "Animals" to put Robin's voice; a majestic guitar solo, dreamlike and filled with warm spleen comes here to increase the emotion and distort our reality with the impression of an endless tune. "Time Will Flow" and already the end on a magnificent moving piano-synth intro, it goes up on a chorus to melt, it draws on the Porcupine Trees, the narrator Tommy adds a little mystery, oral vibration, progressive sensitivity ; it is latent, the synth remains alone in space until Robin arrives, whose voice seems logical; a tune which undoubtedly refers to 'In 1985' with an overly predictable crescendo, but perhaps this is the aim of this melodic and symphonic title keeping the clichés of the genre.

Note 3 short bonuses of 'i stick to you', time will flow 'and rattrapante' which make it possible to account for melodies that are more elaborate than they seem. A vintage sound that gives off a better sensitivity over listening thanks to the contemporary approach to tunes and instruments that may make you dive into it; this Cosmograf there coming out on CD, vinyl and digital is worth more than my first listening, becoming bewitching and nostalgic.

Cosmograf, the project masterminded by British multi-instrumentalist, songwriter, and producer Robin Armstrong. He has been very busy in the last decade, releasing six studio albums under this moniker. The sound of Cosmograf is rooted in 70s progressive and hard rock with Armstrong's own twist which gives this band a very intriguing personality.

'Mind Over Depth', the latest addition in his catalogue, is absolutely bombastic. It is an album that is shocking in the most positive of ways, intertwining within itself a blend of heavy prog, heavy metal, and electronica, thus deviating this record from the Neo-prog label. This is much more of a Heavy prog album, if we have to speak in sub-genres.

A concept album exploring the dark places in which the human mind can go, with quite moving, very introspective and introverted lyrics. But maybe I should quote Armstrong himself who explains the album thusly: 'Everything going on in our minds ' every thought, feeling, sensation, everything we are aware of ' is in fact happening only in our private internal worlds. Our reality is defined by the attention we give to these thoughts and the negative ones can inevitably lead to us feeling out of our depth''.

The strong lyrical content, of course, complements the incredible music here. It would not be wrong to draw comparisons with Porcupine Tree, with all the crushing riffs topped by passages of electronica, melodic and catchy choruses, and adventurous song build-ups. Another superlative to this album is its length ' Armstrong managed to keep it quite tight, containing five songs within 45 minutes of music. This results in very convincing compositions, giving a strong feel that there are no wasted notes.

Overall, this is an excellent album that grew quickly on me when I first heard it. Cosmograf is certainly one of the more interesting modern British progressive rock acts and this powerful album is the very proof.

1. Into This World waking up, heartbeat, yes it smells like floyds; a dark, melancholy air, a deadly ballad in a battlefield; a surprising riff, the velvety synth, an exchange of rock, prog, musical mystery; the atmosphere between latency and circumspection; mid-course and the angelic break with choir and crystalline piano to amplify the emotion; a little BOWIE, a little LOU REED, latency again before the enjoyable solo guitar explosion which sets off on a very good metal prog, the kind that will send shivers down your spine; dark finale, the circle is done, 2. Blacksmith's Hammer acoustic guitar, pronounced vocals, languorous choirs, a solemn rise, yes we are in the theme with the ravages of time. A ballad that smells of BARCLAY JAMES HARVEST with a southern slide guitar, take a swing of the hammer and we move on to 3. On Which We Stand with the triangle instead; gentle melody with a warm church organ; a slow, syrupy rhyme which winds up gently but surely, which is worth its Gilmourian final solo at the start, more tormented later, on PENDRAGON 4. Bakelite Switch begins funfair in the distance; a dog, cries not the kettle of water, a similar piece with long rise and a warm organ making the sauce rise even more; acoustic arpeggio break before the countdown and a new strident guitar solo from Luke reminiscent of ANATHEMA, immense; go have a party and

5. Memory Lost yet another awakening, the passing of time, the ravages of time on our body, what could be more logical; it's Huw who sings, a hint of the late John WETTON on a tune that is all too well known by KING CRIMSON; between emotion and sensitivity; a piece where emotion flows and which makes everything stop 6. When Age Has Done Its Duty for the eponymous title, wandering a cappella with Steve on vocals then a rise, yes the sound arises, more melodic with final explosion of the guitar solo which is really the centerpiece of this group at least on this album; the contemplative finale with ringing, sound in the distance, 7. White Light Awaits beep beep of a cardio machine, things are racing, the end is near; a space synth à la Jean Michel JARRE hits our mind; it goes up, a nasty, not to say hard, riff starts, it continues to go up, yes Lee is having fun and I like it even more; yes easy but the much hoped for hard-prog association allowed this idyllic sound, half demon, half musical angel; cover yourself the wind is coming 8. Dog On The Clee as finale, supporting bell; intimate ballad with monolithic keyboard, acoustic guitar, a tune that echoes and which rests with so many emotions at the end of a busy hour.

Cosmograf is the project of multi-instrumentalist Robin Armstrong and his 2019 effort 'Mind Over Depth' should definitely be taken into consideration for listeners of progressive metal, alternative prog metal and neo-prog. I haven't listened to earlier efforts of this artist, but after this acquaintance Cosmograf has my attention, especially because of the earlier albums that are said to be closer to the neo-prog genre I often like.

This album mostly sounds to me like a Porcupine Tree album with an emphasis on broad symphonic landscapes and a lot of those absent-mindedness (or deeply spiritual if you will) vocals. The electric guitars riffs sound heavy and modern, though in a small production like this one will never get that mind-blowing 'oomph' or punch. Some of the darker riffs are really solid and have strong contribution to the post-apocalyptic feel of the music - especially in the second halve of the album. The pallet of modern electronic keyboard sounds is well chosen and recorded properly, giving the album a nice broad sound. Whereas Cosmograf doesn't use the keyboards for lead sounds they don't add much to the humanity of the music - for which individuality of performance is needed. Some of the themes, like the opening of 'A Million Choice' cast that sense of imminence - which I like. Some of the modern electronic sounds remind me a bit of Galahad, though the impact is different here.

Where the album doesn't succeed in arriving at where it clearly aims to get to is with the vocals of Armstrong. His voice often sounds like being on the brink of breaking down - forcing himself to sing precisely what this genre its rules prescribe; long wailing 'out there' lines in a high register. Most of the opening song is made a bit uneasy to listen to because of this. Its a pity, because his voice actually ain't that bad and way more personal when he sings shorter old-David-Bowie-like bursts (like on the verses of my favorite 'Sharks'). I also feel like he wants to imitate Marillion's Steve Hogarth on a song like 'Godspeed' of which his talents fall short. Mixing his voice down a bit and relieving himself from epical vocal duties would have helped here. I myself - for instance - like how a vocalist like Metamorphosis' Jean-Pierre Schenk deals with his limitations.

That said, I must say I imagine this album to be quite attractive to a lot of progressive rock listeners! I do dig the darker atmospheres cast on tracks like 'The Smoke and the Flame' and 'Sharks'. Furthermore, there's some nicety to metal infused neo-prog, whereas that magical dystopian vibe really resonates with the heavier guitars. I only wished the whole of the album would have sounded more like its (for me) stronger second halve.