CYAN

Cyan is a prog-rock band from UK, originally formed in the late 1980s by multi-instrumentalist and producer Rob Reed. The Guardians is one of their albums, released in 1993. The music style of Cyan blends progressive rock with symphonic elements, and it draws influences from classic prog bands like Genesis and Yes. Cyan disbanded for a while but later reformed, with Rob Reed continuing to be involved in various other progressive rock projects. In just 3 songs and in less than 40 minutes Cyan is a great record.

1.The Guardians This title track sets the tone with an expansive and symphonic introduction. The music is heavily influenced by classic 70s prog bands, with lush keyboards, soaring melodies, and shifting time signatures. Rob Reed's intricate keyboard work and layered harmonies dominate the soundscape, creating a sense of grandeur. Lyrically, the song explores themes of protection and vigilance, possibly hinting at more abstract or mythical interpretations. The track moves seamlessly between gentle, reflective passages and more dramatic, powerful moments, offering a rich, emotional journey.

2. Solitary Angel This track has a more introspective, melancholic tone. The slower tempo and softer arrangement allow for a more emotional and personal connection. The vocal delivery is tender and reflective, and the song unfolds with beautiful, simple melodies that showcase Reed's ability to create heartfelt moments amidst the complex progressive framework. The instrumental sections add depth without overpowering the mood, making "Solitary Angel" a poignant centerpiece of the record.

3. Shine The final track, "Shine," offers a brighter, more uplifting sound compared to the previous tracks. It carries a positive, almost celebratory energy, combining classic rock elements with Cyan's symphonic and progressive leanings. The song's structure is dynamic, with intricate guitar work that contrasts with the more keyboard-heavy sections of the other tracks. The track feels like a culmination, a triumphant close to the album, with a strong emphasis on melody and a sense of resolution.

The Guardians is definitely a strong record, Rob Reed's compositional skills shine throughout the album, especially in how he combines classic prog influences with his own unique touch. The music features lush keyboard arrangements, melodic guitar lines, and a symphonic atmosphere that appeals to fans of 70s-style prog rock. Though it may not have been widely recognized at the time of its release, The Guardians holds up well, offering a solid listening experience for those who enjoy complex, yet accessible progressive music.

Rob Reed is a remarkable talent in the progressive rock scene. His versatility as a multi-instrumentalist and his deep understanding of the genre have made him stand out, especially for fans of symphonic and classic prog rock. He's known for his work with not only Cyan but also his projects like Magenta and Kompendium. Reed's ability to compose intricate yet accessible pieces of music showcases his skill in blending influences from bands like Genesis, Yes, and Mike Oldfield, while also injecting his own personality into the compositions.

Three tracks are up for grabs, beginning with a mastodon of titanic proportions, the beguiling 25 minute + "The Guardians of Your Destiny" , a definite candidate for epic of 2024. Robert Reed takes over the main theme with his ivories, with Luke brazenly burning mightily on guitar, and the rhythm duo right behind, as Peter and Angharad finish off the storytelling. As the track settles into a melodically attractive realm, Dan Nelson shows his fine form, burying a deep groove with reptilian flair, as Reed liberates his synths to flutter along convincingly whilst adding organ, piano and a splash of mellotron. Guess what! This is as progressive as it gets, a harmonious expedition that travels far and wide, diving into deep valleys and scaling massive crests, each future return offering new vistas, solidifying a plethora of impressions that erases any trace of tedious technical excess. Machin's glorious fretboard solo emits a Santana-like warmth that is eyebrow raising! The various transitions are effortlessly managed, superlatively expressed with detail and most of all, passionate decorum. When Reed settles into a typical Tony Banks organ flashback, the piano not far in the rear, the atmosphere switches to more Oldfieldian realms (one of Reed's idols, we know!), with Peter Jones emoting undisguised enthusiasm, surely one of the brightest singers in modern prog today. The opening theme returns for a farewell bow to the audience, thus fully closing the circle that the guardians have devised. Jones whips out his suave saxophone for the final hurrah and its properly amazing! Needless to state, this huge masterpiece needs multiple visits to properly digest its intricate notes and truly appreciate the impeccable musicality displayed. Deeply indigo.

The need for a bit of sonic respite comes with a lovely ballad, "All Around the World" exhibits all those attributes that world class neo-prog can occasionally dish out and this is no exception. Cyan's version of "Afterglow", a luminous anthem that seduces the ear from the get-go, no 'fancy shmancy'prog pyrotechnics needed, just a beautiful simple song. Both vocalists share a duet that transcends the mundane, Jones in particular scaling grandiose heights that dazzle the mind , followed by the extended Luke Machin solo that scorches the heart strings with expert savoir faire, Steve Rothery would be jealous. The final section goes instrumentally proggy with orchestral meanderings that set up an explosive synthesizer solo, with choir in full voice, bubbling over a wicked bass undertow. Seven minutes of delicately aqua.

The instrumental finale "Cyan" injects a rousing, churlish organ workout that barks at the moon, like a despairing wolf. Propelled by a furiously active bass and drum onslaught, this is certainly more than some lost obscure track, mainly due to the sulfurous saxophone blurts that exceeds the norm, the e-guitar taking over the fiery eruption twice with glee. Shift to some playful jazzy improv and back and forth we go. Tingling e-piano puddles complement the necessary bluish coloring that defines the title (and the band), as one can feel the unabashed zeal and joyfulness emanating from all the players here.

Essentially turquoise.

It's a short album with 38 minutes of running time, but all is exquisite. Two final words, Robert: More please .

4.5 Protectors of Fate

I've been newly introduced to another related project by Magenta's keyboardist and composer Robert Reed. He has re-assembled a band called CYAN with vocalist Pete Jones (Camel) along with Luke Machin and Dan Nelson, to record a new album called Pictures from the Other Side (an entirely re-writen, re-worked, re-imagined remake of a 1994 release of the same name).

The first half of the album evokes a modern interpretation of the style of The Alan Parsons Project. Flowing from the neo-prog vein, it's a softer rock - but still quite punchy, with some 80s jazz fusion vibes at times, plus a bit of funkiness. It's well-balanced sounding album- tastefully produced and richly melodic while maintaining a gorgeous and majestic tone overall. The male lead vocals by Pete Jones are flawless performed with occasional slightly-mesmerizing and complimentary female vocals. There are symphonic passages and hints of 1970s Genesis inspiration, but really the scope of the entire album is engagingly varied.

CYAN lean more into 'pleasant' than 'harder edged' with plenty of keyboard/piano work, but some blistering guitar parts as well. There's a bit of fine sax work, as well as harp- it's really quite diverse but without sounding scattered. In fact once you get to the final 2 tracks (at 10 and 18 minutes length)... Yeah! They stitch the album together and bring balance to this universe... in a fun and epic way revealing that the first half album was just a warm-up, finishing on a truly triumphant and fantastic curtain-closing chord.

This is an exceptionally produced album -- overflowing with fine displays of musicianship, some great acoustic piano and synth solos, wind instruments, understated but elegant bass-playing prowess, tasteful guitar soloing, and top tier vocal expositions in both lead and harmonies a-plenty. (Fave tracks: 'Solitary Angel', 'Tomorow's Here Today' and the cinematic Neo-prog epic 'Nosferatu').

For those who have never seen or heard the original, which is most of you to be fair, the cover of the new version is what the original would have looked like if a professional artist with high digital skills had been employed the first time around, and in many ways we can say the same about the music as back then it was one man at home whereas now we have a full band and loads of experience. Rob may have sung on the original, but here he allows himself background vocals only, (as well as keyboards and guitar) and is joined by Peter Jones (lead vocals, sax, whistles), Luke Machin (guitar) and Dan Nelson (bass) along with guests Tim Robinson (drums), Angharad Brinn (backing vocals) and Tesni Jones (backing vocals).

This is not a faithful reproduction of the original album, but rather is a re-imagining as the songs have been re- written, extended and changed, and then the band have put their own stamp on proceedings. Many will recognise at least one of these, "Call Me", as it is one which has been performed by Magenta for years and can be found on their 2010 live album 'The Gathering', but here it sounds quite different with male vocals, but it is opening track "The Sorcerer" which will probably be gaining most attention as it is simply epic, both in style and length. Classic prog with neo leanings. Remember, this was originally recorded back in 93 when that style of music was at its height, yet here it has been taken into new progressive areas while never losing that naivety and joy. One does not need to have heard the original to enjoy this for what it is, a wonderful progressive album with Peter relishing the opportunity to put his stamp on these songs while Robert takes all his years of working with Magenta to transform the originals into something special while the rest of the guys push all the time.

This is a wonderful album which prog fans need to get hold of and take it from me it will be much easier than trying to track down the original. My review of that album back in 1993 (which can be read in TPU Vol 1) said the weakest part was the vocals, yet even then the album was well worth discovering. Nearly 30 years now, I can address that by saying this version is essential.

'The Sorceror' tumbles with an updated neo-prog sound à la LIFESIGNS, putting Robert's keyboards forward, punchy. 'Call Me' reboosted, interesting to compare with the original version. 'I Defy the Sun' for the Anglican ditty with a bit of a guitar solo and this Genesis sound with delicate arpeggios. 'Don't Turn Away' for the album's symphonic bombshell; when rock merges with classical through orchestration; the neo-jazzy central part with the contribution of the female voice boosting that of Peter; grandiloquent. 'Snowbound' instrumental giving pride of place to keyboards; it's fresh, the charismatic flute sends on GENESIS, on ASIA; the sound is much heavier, structured and gripping than on the original. The energetic guitar solos raise the sound even more. 'Man Amongst Men' wants to be more fun, enlightened, airy and dated according to me even revisited; a good 90 or even 80 sound here; a superb solo by Luke then the convoluted jazzy part reminding me of the COLLINS GENESIS period where he worked solo elsewhere. 'Nightflight' always reminds me of a title by PATTI SMITH from the time when we weren't looking for musical drawers but for beautiful music; an instrument full of synths of course. We also think we have a toccata for a moment then a dance passage Andalusian bossa nova or other. The synth refers to ARAGON for a time too and GENESIS of course. The finale in vintage sound on an Oldfieldian flute. 'For King and Country' at the end with the sound stamped neo rock of the 80s: voice, soli all embellished with Robert's symphonic touch; the playful title.

Good review with a boosted sound, musicians aware of their notes, a fresh neo-prog album which shows that this era was very fruity and much more symphonic than now, when we had more time.

I heard THE SORCERER on Prog magazine's last free CD, and it's 15 minutes of pure Prog pleasure. The subject matter seemed a bit pretentious, and even the music to begin with... but once you're into it... oh my word. It's so upbeat, Full of Prog instrumentation, and then there's PETER JONES' voice, which is SO good.

This latest album is a re-working of an album that originated in 1993, with all instruments having been played by one ROBERT REED. This time, Reed has a full band behind him and there are really no weaknesses.

As the album progresses one can only be impressed by Jones' voice, it's astonishing really. But that also does the band a disservice. The instrumental song SNOWBOUND features some excellent band interplay, which is rare to hear these days.

In fact, you also get a DVD when you buy the CD and the tightness of the bass when heard on that (in stereo, as I haven't got 5.1 surround sound) is wonderful. Soundwise, they're probably more like Transatlantic than any thing, only much better, and with that voice of Peter Jones, well...

And then we reach the final and title track, FOR KING AND COUNTRY. Although modern military voices are heard in the background one can't help but think of WW1 tommies and the trenches. Anyway, after a subdued start we will head off to a rousing finale as the band go through the gears searching for a climatic ending. Do they get there? The feet tapping suggests that they do, and what's more, once FOR KING AND COUNTRY recedes into the past you'll be putting on THE SORCERER again to start the whole show again.

To be honest, if it hadn't had been on that demo CD I'd probably have missed the boat here. Instead, I DID find it and I'm very glad that I did. And Peter Jones' voice is a revelation, it really is.

If you want a comparison, For King And Country harks back to Pendragon´s The Jewel and Kowtow period (yes, lots of mid-70´s Genesis-like synth sounds). Even his vocals here are reminiscent of Nick Barrett. Better still, the synth sounds are as majestic and creative as Clive Nolan´s. And we should never forget to mention his excellent songwriting: the guy was already doing a fine job at this department. Although not a masterpiece and with not real highlights, the CD flows evenly with good tunes all the way, some instrumentals, some with vocals, but all good ones. Sometimes, like in Nightflight, the music gives hints of what he would be doing in his future band Magenta.

All in all a very consistent album that will please anyone who enjoys 80´s neo prog. It was a nice surprise, I still think that Cyan reached its peak with the excellent The Creeping Vine, but this debut was a worthy and promising start that, fortunately, was fulfilled on Reed´s future works.

Another very solid release of British Neo Prog, recalling the works of PENDRAGON, LANDMARQ and SHADOWLAND, is the result of Reed's efforts.The new singer has a very good, clear and theatrical voice, definitely an improvement over Reed's questionable ability to sing, while Booth's angelic voice is somewhat hidden by her limited role on background voices.Musically the album consists of eight, mostly long compositions (two of them exceed the 12-min. mark), filled with lyrical pomposity, melodic textures and symphonic leanings, although some slight poppy flavors are also present in the shorter tracks.Heavy use of synthesizers with both dreamy and more upfront deliveries along with some lovely guitar lines characterize the song structures, moving from melancholic, laid-back soundscapes to cheerful choruses and from dramatic vocal moments to bombastic, orchestral moves.There is plenty of room for extended instrumental themes, usually in a typical 80's symphonic mode, and the balance between accesible and more demanding parts is well kept throughout the release.A few stand-out tracks are present as well, like the pompous and melodramatic ''Solitary angel'', the impressive ''All around the world'', featuring Ann Morgan's operatic vocals and standing somewhere between CAMEL and PINK FLOYD, and the pretty great 14-min. opus ''Nosferatu'' with its grandiose atmosphere, reminiscent of ARENA.

I can tell you one thing: It is very sad to see Reed, one of most prolific composers of modern British Prog, remaining so under-the-radar during the 90's.His works with Cyan are pretty great, as this album is.An emblimatic sound of Neo/Symphonic Prog awaits all listeners eager to purchase this release.Strongly recommended...3.5 stars.