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CIRCULINE

Crossover Prog • United States


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Circuline biography
CIRCULINE is an American crossover prog band formed in early 2014 when the prog tribute band DOWNING GREY broke up leaving keyboard player Andrew COLYER, guitar player Bill SHANNON and drummer Darin BRANNON looking for a vehicle to write original material for. They quickly recruited fellow DOWNING GREY alumni Billy SPILANE and Natalie BROWN to fill out the vocal duties.

COLYER, SHANNON and BRANNON started writing the band's first album, "Return" in February of 2014 enlisting the aid of Randy MCSTINE (LO-FI RESISTANCE, SOUND OF CONTACT, THE PINK FLOYD EXPERIENCE) to assist in the writing process and Matt DORSEY (SOUND OF CONTACT) to lay down the majority of the bass tracks as well as the mixing for the debut. In December, the band brought on bassist Paul RANIERI as a permanent member of the band, completing the lineup.

CIRCULINE released their debut, "Return" on April 24, 2015 and celebrated with a short tour on the northeastern United States in support of GLASS HAMMER. The band has begun work on their second album and has a busy live schedule for the remainder of 2015.

Like many modern crossover artists, CIRCULINE does not focus on the twenty minute epic pieces but prefer to make a strong statement in shorter songs. The music features lush soundscapes and big vocal harmonies. Fans of 3RDEGREE, DREAM THE ELECTRIC SHEEP, ELEPHANTS OF SCOTLAND and other modern prog bands may enjoy CIRCULINE.

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CIRCULINE discography


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CIRCULINE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.87 | 22 ratings
Return
2015
3.86 | 21 ratings
Counterpoint
2016
3.90 | 15 ratings
C.O.R.E
2024

CIRCULINE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.49 | 5 ratings
Circulive::Majestik
2018
4.05 | 2 ratings
Circulive: New View
2020

CIRCULINE Videos (DVD, Blu-ray, VHS etc)

CIRCULINE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

CIRCULINE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

CIRCULINE Reviews


Showing last 10 reviews only
 C.O.R.E by CIRCULINE album cover Studio Album, 2024
3.90 | 15 ratings

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C.O.R.E
Circuline Crossover Prog

Review by OldSchoolProg

4 stars I was fortunate to see Circuline perform at Progstock 2024 and quickly grab a copy of C.O.R.E. (Circuline Original Reimagined Evolving). They truly are evolving and surrounding themselves with virtuoso musicians adding the likes of Dave Bainbridge, Shelby Logan, and guests Joe Deninzon, Billy Spillane, and Alek Darson, not to mention the Matt Dorsey presence with co-writing credits and filling in for Shelby Logan during the live set as she had to prepare for her own live set with Kyros. Also note, Michael Gauvreau stepped into the Progstock live show with some stunning vocals, aux-percussion, and harmonies with Natalie Brown. We also can't forget the un-sung hero of the mixing desk, Robert Berry at Soundtek for his final tweaks and knob turns creating this stellar sonic release and aural perfection. I have the other Circuline releases and I like many bits and parts of those, but this release is solid from start to finish. Andrew Colyer on keyboards, lead & backing vocals, is a virtuoso on keys, but his lead vocals on "Blindside" is crazy good. Darin Brannon on drums & percussion, keyboards, continues to lay down a solid path, whether straight forward or multi time signature prog goodness. "Say Their Name" has an unexpected drum break, reminiscent of a marching band feature, but not over the top, just listen to the outstanding snare work driving even the subtle sections. I like a female lead vocal, Natalie Brown fills that role, operatic at times, her lead/backing vocals and soaring glissandos (for lack of a better word) are perfect and definitely well crafted but not over-used. Dave Bainbridge guitar and solos, and Shelby Logan's bass pulse stand out and bind everything together, just give "All" and "Transmission Error" a few listens, the latter a perfect Prog-jam, the epic 9:21 final cut. I think this is the best release in the Circuline catalog and I hope they keep this "evolving" lineup together. This is an "excellent addition to any prog rock music collection" even leaning toward that "essential" moniker with every subsequent listen, a solid 4.5 in my prog-collection.
 C.O.R.E by CIRCULINE album cover Studio Album, 2024
3.90 | 15 ratings

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C.O.R.E
Circuline Crossover Prog

Review by KansasForEver4

4 stars Why is the album called "C.O.R.E."? The 2014 trio has been enriched for the new album by Dave BAINBRIDGE (IONA, LIFESIGNS & many more) & Shelby Logan WARNE (KYROS), no less, progressive heavyweights in different registers.

I might as well tell you right away, I enjoyed the opening track "Tempus Horribilis" (9/10) the split vocals, the choirs, it's damn well done in the genre, guitars and keyboards as accompaniment rather than soloists. My favorite track in fourth position "All" (10/10) with a monstrous introduction by Shelby Logan WARNE on bass guitar, modern progressive where all the instruments lead a frantic saraband, a big bravo for this one.

The very good "You" and its superb instrumental start, a bit rootsy, Natalie BROWN's singing chanted more than really sung, energizing and catchy at the same time (8/10) and Dave BAINBRIDGE at the top of his guitar art. The penultimate track "Blindside", the only one sung by Andrew COLYER, very good by the way is a mid tempo quite west coast that could come out of an album by the EAGLES, POCO or the DOOBIE BROTHERS (9/10), Dave's guitar really lighting it up from 3:22.

"Third Rail" the shortest track, sounds like a supercharged RENAISSANCE (7/10) good piece, but below on the whole album, even if Alek DARSON (guest) sets it on fire at 2:52. "Say Their Name" begins with delicacy, piano, acoustic guitar and calm voice of Natalie BROWN before taking off for more energetic from the middle of the track propelled by the drums of Darin BRANNON under the fire of the six strings of Dave BAINBRIDGE (8/10). I found the fifth track "Temporal Thing" a little messy, listenable without more (7/10), more rock than really progressive, even if the final part is more melodic.

The last word for the last title "Transmission Error" which peaks at nine minutes twenty-two, mid tempo again but totally progressive in its unfolding with a distinguished guest on violins (acoustic and electric) Joe DENINZON who joined a few months ago the legendary American combo of TOPEKA, I named obviously KANSAS, a (9/10) well deserved, a very little sung piece, barely two minutes in its entirety, which requires many listens to be fully tamed, the passage at 7:33 takes us directly to "Song for America", no less.

Take your time with CIRCULINE, a record that requires patience to be fully appreciated.

 C.O.R.E by CIRCULINE album cover Studio Album, 2024
3.90 | 15 ratings

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C.O.R.E
Circuline Crossover Prog

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars It has been way too long since we last heard from Circuline, with 'Counterpoint' being released eight years ago, and the live 'Circulive: New View' coming out in 2020, but finally they are back with a new album. I am not sure why it has taken so long, but I know Andrew Colyer has been very active with both Robert Berry and The Tubes, and then on top of that we have had some line-up changes. The core of the band since 2014, Andrew (keyboards, lead & backing vocals), Darin Brannon (drums & percussion, keyboards) and Natalie Brown (lead & backing vocals) have now been joined by bassist Shelby Logan Warne (Kyros) and multi-instrumentalist Dave Bainbridge (The Strawbs, Iona, Lifesigns) who this time around provides guitars and additional keyboards. Ex-member William "Billy" Spillane provides backing vocals, while Joe Deninzon (Kansas, Stratospheerius) plays violin on one song.

The band describe their music as "modern cinematic rock" and if by that they mean they provide classic symphonic prog with modern twists then they have nailed it on the head. Harmony vocals are a key element of what they are doing, and there are times when they come across as being heavily influenced by Yes, but Dave has a very different approach to the guitar than Steve Howe, and this combined with the less bombastic and more delicate keyboard playing from Andrew, and some lovely fretless bass from Shelby (who often stays far more in the background than one may imagine) means they very much have their own identity. I have been listening to Dave for more than 30 years, and he is one of those musicians who provides additional quality to any band he is playing with, and given I was already a fan of Circuline prior to hearing this I was smiling before this even hit the player. This is only their third studio album, and I certainly hope it is not as long to the next one as yet again Circuline have produced an album that lovers of Seventies prog will get a great deal from with luscious music and vocals throughout.

 Counterpoint by CIRCULINE album cover Studio Album, 2016
3.86 | 21 ratings

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Counterpoint
Circuline Crossover Prog

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars This 2016 album was the second release from Circuline, and as of 2022 their most recent studio effort, although there have been some live releases and of course keyboard player Andrew Colyer has been working with Robert Berry in 3.2. Coming to this album fresh, one can hear just why Andrew was invited to take part in that band given he is so obviously influenced by Keith Emerson, and there are times when Circuline do come across as a more commercial outfit than ELP but following in similar veins, which given they originated out of a covers band is perhaps not that surprising. However, there is a much stronger focus on vocals and vocal harmonies which definitely takes the music in a different direction. The line-up at the time was Andrew Colyer (keyboards, vocals), Billy Spillane (lead vocals, guitars), Darin Brannon (drums, percussion), Natalie Brown (lead vocals), Paul Ranieri (bass, bass pedals) and Beledo (guitars) yet they also felt the need to bring in additional guitarists for different numbers so there are also appearances by Randy McStine (Lo-Fi Resistance), Matt Dorsey (Sound of Contact), Doug Ott (Enchant), Stanley Whitaker (Oblivion Sun), Ryche Chlandra (Flying Dreams), Kamran Alan Shikoh (Glass Hammer) and Alek Darson (Fright Pig) (on the rear cover of the CD they not only credit the guitarists but also state which bands they are in, which is nice).

The result of all these musicians is an album which is quite bombastic, full of sound and even double-tracked drums (listen to "Forbidden Planet" where that works incredibly well). The keyboards have a major part to play, while with all those guitars it is a heavy album in some places, yet the arrangements are key with plenty of space and lots of room to move. The vocals are superb, with the two lead singers swapping roles and harmonising with the other when the time is right, and the overall impact is that of music which is all-encompassing and wrapping around the listener, very strongly Seventies influenced, and I can imagine myself as a teenager sat on my bed playing this while looking at the album artwork and lyrics.

Songs such as "Hollow" seem to have everything, with piano runs, great vocals, over the top guitars, and a knowledge that here is a band who are always in total control. For those who have somehow missed out on Circuline then that is a wrong which must be righted and let us hope there is a new studio album coming soon.

 Circulive: New View by CIRCULINE album cover Live, 2020
4.05 | 2 ratings

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Circulive: New View
Circuline Crossover Prog

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars Released last year, this triple CD/DVD/Blu-ray captures Circuline at 2017's ProgStock Festival. I was sent this as an audio download to review, but I also ended up with a physical copy and I am so glad I did, as seeing the full package is quite something. As well as the digipak containing the discs and some basic information, my copy came with a full colour glossy 28 page A4 programme which contains loads of photos, information about the history of the band, details of everyone who ever played with them, why certain changes were made in line-up, and so much more. Although I have been playing the audio a great deal recently in time for the review, I actually first played the Blu-ray with the audio commentary turned on, and it is exactly what it purports to be, various band members talking about the show, why certain pieces were played, the history and so much more. I have always enjoyed these as they never cease to add so much more to the band, providing a far more rounded view to outsiders like me, and that is again the case here.

It was recorded at ProgStock, so it is a given that the camerawork and audio quality are first rate, and by 2017 they had released two albums (I have not heard the second, need to rectify that) and had been touring them hard both in America and the UK. Additionally, much of the band had originally worked together as a covers group playing prog classics (keep an ear out for bits and pieces which make their way into this set unannounced), so they all know what they are doing and were confident in their own abilities and knowing the audience would be very much on their side. The album is as one would expect from a prog band: they are able to replicate onstage the huge complexity of their music while also taking it to another level. It is multi-layered, multi-faceted, yet always immediate, allowing the listener to get deep inside the music the very first time of playing it.

The PR company describes the band as "two theatrical lead vocalists, a keyboard player from Juilliard, a versatile rock virtuoso on guitar, a zany bass player from another galaxy, and a drummer with progressive rock in his DNA." That does not really give them the kudos they deserve, for a wonderfully entertaining and enjoyable set. There are very few international acts (even in normal times), and even less prog acts (stand up Yes and Steve Hackett) who make it down all the way to Aotearoa, so I know the likelihood of ever seeing Circuline in concert is very small indeed. However, this wonderful set allows me to play the concert on a big screen and revel in a very professional and exciting crossover commercial progressive rock band who are a sheer delight from the beginning to the end.

 Return by CIRCULINE album cover Studio Album, 2015
3.87 | 22 ratings

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Return
Circuline Crossover Prog

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars Circuline are an American progressive rock group, who formed out of Downing Grey, a band who used to perform two 90-minutes sets a night covering the likes of ELP, Gentle Giant, Rush etc. But the band had a desire to become an originals act, and the result is this debut album which was released in 2015. The band at the time were Andrew Coyler (keyboards, bass pedals, vocals), Bill Shannon (guitars, vocals), Billy Spillane (lead vocals), Darin Brannon (drums, percussion, vocals) and Natalie Brown (lead vocals) and they brought in Matt Dorsey (bass), Randy McStine (vocals) and Joe Deninzon (electric violin) to assist on the album. Having cut their chops playing long sets of classic prog, that the band can play and work well together is never in doubt, but what is really of interest here is their refusal to fit into any of what has gone before but instead are really progressing as opposed to regressing.

Sure, it is easy to say, "oh that might have been influenced by Genesis", or "that is a bit Gentle Giant", but in reality, what we have here is a band who are seriously attempting not to sound anyone else in the scene while delivering complex pieces which are both fascinating and incredibly easy to get inside. In many ways, the band I find I am reminded most of is Spock's Beard and their debut 'The Light'; not in the way they are playing, as musically they are often poles apart, but more in the approach. When Spock's Beard first became known in the UK when that album was first available on import back in '95 (pre-internet, remember those days), it was not only for what they were playing but how they were bringing together so many different facets to create something quite new. That is again the case here, as while their form of progressive rock is incredibly melodic, and very American, it stays away from all the norms and instead tries to be something which stands very much on its own.

Having so many singers, and male/female leads, it makes one think that is an over-the-top vocal harmony group, but like everything they do on this album it is all in moderation. Some of the music is based very much on the piano, others sweeping keyboards, while the guitar may be the main focal point, or not. The result is an album which can be enjoyed the very first time it is played, and it just keeps getting better. I am somewhat of a loss to realise that when checking ProgArchives only my good friend Tomasz has written a review of an album that has now been available for nearly six years, but given I am so late to the party as well it just shows how in some ways this album has gone under the radar. One of the real joys for me is knowing that when playing this I have no idea where the journey is going to take me, and what paths we are going to travel to the end, only knowing that every step will be a delight and that I will smile all the way. If you have yet to discover Circuline, then you really do need to give them a try as these are essential for anyone who wants their prog to be a little less challenging, a little more commercial, but complex and dynamic.

 Circulive::Majestik by CIRCULINE album cover Live, 2018
4.49 | 5 ratings

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Circulive::Majestik
Circuline Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars When Circuline's last album, "Counterpoint" came out in 2016, I gave it a strong 4-star rating for it's powerful songwriting and tight, complex performances. My only complaint was that I felt that Natalie Brown's vocals were so strong and forceful that Billy Spillane's co-lead vocals didn't seem to blend properly.

For this live album, taken mostly from "Counterpoint", with a few track from their debut, "Return", they seem to have overcome this minor issue.

The recording quality is superb. On any system I've played it on, instruments are clear and perfectly blended, and the separation is so well defined that I can close my eyes and feel like I'm front and center in the audience (I listen a lot while I'm driving, so perhaps that isn't one of my best ideas). The vocals are now equally powerful by all vocalists, making these tracks superior (to me) to their studio versions.

The songs, just as on the studio albums, are wonderful, they feature very memorable melodies and lyrics, intersperced with passages of progressive bliss. Brown's voice still reminds me very much of Grace Slick in her prime, but I must say that this music elevates much higher than Jefferson Airplane could ever hope to attain.

Every track is a winner on this set, but I have to mention a few individual songs that stand out. "Hollow", my favorite piece, is a 10 minute epic that goes from a power ballad through many varied passages of prog extravaganza. "Nautilus", featuring Ad Astra's Harold Skeete on bass, is a slinky infectuous funky song that has wormed it's way so much into my brain that I find myself going back to it over and over on my MP3 player. And "Summit" like "Hollow", a 10 minute work, starts as a cool fusion track, and goes through some almost ROI sections before returning to the main theme.

It's been difficult for me to pull this disk out of my car and bring it to my computer to write this review, as I have been listening to it every few days since early summer.

 Circulive::Majestik by CIRCULINE album cover Live, 2018
4.49 | 5 ratings

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Circulive::Majestik
Circuline Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Circuline is one of the new breed prog rock bands from the USA, manned by a stellar crew of talented musicians who clearly know their stuff. They have released two studio albums that have captured attention within the prog community, led musically by keyboardist Andrew Colyer and drummer Darin Brannon, and it was perhaps time to show off their live skills in order to trly appreciate their considerable talents. Especially within the progressive rock genre, the live experience often can stamp the highest level of praise upon a style that certainly can benefit from studio wizardry and special effects to elevate their craft to the loftiest technical heights. I remember seing the Flower Kings live and though they are not necessarily among my super favorites on record , I must admit that on a stage, they were mind-blowing in terms of all the twists and turns they performed seemingly at will.

Within the context of the 13th International Rites of Spring festival at Majestic Theater in Gettysburg, Pennsylvania on Saturday May7, 2016, the band owned the stage and recorded this interesting visual and aural document . Filling out the line-up are singers Natalie Brown (sarcasm, red lipstick and corsets) and second guitarist Billy Spillane, stunning guitarist Beledo as well as guests Harold Skeete (Ad Astra) on bass and violinist Joe Denizon (Stratospheerius).

The instrumental overture ''New Day'' features the tortuous electric guitar swerves that sets the mood perfectly, as these musicians excel at their respective instruments, erecting complex sounds and moody atmospheres that will permeate their set. Andrew in particular, shows some fabulous dexterity on piano, as he introduces ''Who I Am'', leading the band into the dual vocals that hits the center stage with conviction. The complexity wrestles with accessibility, swirling, swerving, diving and careening in various directions., in controlled frenzy.

Three tracks from their debut release are up next , ''Return'' is typical of the American prog style that insists on creative brightness and the instrumentalists certainly don't shirk their responsabilities, Beledo shooting off some blistering leads while Andrew sets the melodic platform, ably abetted by Darren's positive drum beat. ''Forbidden Planet'' shows off a more lyrical style, an anthem-like piece where both Spillane and Brown excel , solidified by Beledo's blooming guitar forays and Colyer's symphonic keys. ''Hollow'' begins with serene piano and evolves into a roller coaster of soft and hard, alternating moods that keep you on edge, a stop/start musical collage that confounds and stretches the enveloppe.

The sound becomes a tad muddled on ''Stereotypes'', salvaged by some great individual moments from Natalie, Andrew and Beledo, while ''Inception'' delivers more symphonic overload. Bassist Harold Skeete does a bass solo on ''America the Beautiful'' , a piece many have heard before in a more traditional setting, that segues nicely into the highlight track ''Nautilus'', a powerful ode to an aquatic universe 'circulined' by Andrew's liquid keyboards, his synth solo particularly hinting at Star Trek-like themes, while the bass carves below. The delicate ''One Wish'' keeps the foot on the petal with some fine instrumental adornments until we appropriately reach ''Summit'', another definite highpoint where the drums get tho excel and shine in the solo spotlight, prefaced by a much jazzier emanation from guitarist Beledo, aided by dense dual vocals. The piano and drum interplay is tense and delightful, the mood superlative.

Ending with ''Stay'' and ''Silence Revealed'', the concert showcases an American band that has put its stamp on the prog community and should continue to provide interesting music for all the behold.

4 live arcs

 Counterpoint by CIRCULINE album cover Studio Album, 2016
3.86 | 21 ratings

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Counterpoint
Circuline Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars Circuline's latest album appears to be destined to be near the top of my list of the best albums of 2016. The strength of their songwriting and performance, along with a mastery of a number of prog styles has kept this disc in heavy rotation in my CD player for months now.

The album features many guest guitarists, most notable, to me at least, are Stanley Whitaker From Happy The Man, Doug Ott from Enchant, and Kamran Alan Shikoh from Glass Hammer, who all rise to the occasion on their tracks.

Opening with "New Day", a sort of post rock guitar blast, with Apollo 11 astronaut snippets (not the most original concept, I know), the album begins with a hint of the energy and excitement to come.

The second track, "Who I Am", veers toward the area prog sound, sort of like a blend of Spock's Beard and Styx (the good Styx, not the later, poppy Styx). And it works.

So we get a ballad, "Forbidden Planet", lifted by a great Alek Darson (of Fright Pig) guitar solo, some more straight ahead tracks, like "Nautilus", with a beautiful slinky bass line, a riff in the verses that reminds me a bit of the Allman Brothers' "Midnight Rider", and a nod to one of my all time favorite TV shows, a couple of short experimental tracks, and two powerful prog epics, "Hollow" and "Summit", the highlights of the album.

As I mentioned earlier, the instument performances are exceptional. My only (slight) criticism is the vocalist Billy Spillane, who sounds, when singing alone, slightly off, but I just can't pinpoint what is off - his melodies don't quite mesh with the music. Conversely, when he blends with the other lead vocalist, Natalie Brown, the results are outstanding.

 Counterpoint by CIRCULINE album cover Studio Album, 2016
3.86 | 21 ratings

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Counterpoint
Circuline Crossover Prog

Review by rogerthat
Prog Reviewer

3 stars Like the other American prog rock band, 3RD Degree, that had requested me to review their album, Circuline is short on releases but long on experience. Some of its lineup have already been performing for 25-30 years. Unfortunately, it shows.

The musicianship is consistently top notch, often outstanding. The music is also very authentically prog; it's not pop/rock with a few time signature changes thrown in in a couple of tracks. The problem, from my perspective, is not a lot of it sounds very new.

Maybe the problem is me as I am almost heretical when it comes to retro-prog (and my idea of retro-prog is a little different from what is commonly understood; if it's Queensryche-like and it's 2016, it's still retro prog to me). From the beginning, I felt like I had been transported to the beginnings of prog metal in the mid-late 80s. When bright guitar leads, heavily influenced by the ace shredders that were a huge part of that decade's rock music, abounded. When powerful, pounding drums were favoured over the busy subtlety of the 70s. Case in point: the shred-coda of Hollow, the album's obligatory 10 minute plus mini epic.

It is certainly technically very impressive but at this point, it takes a lot for this kind of music to draw me in (colour me jaded but it is what it is). Outstanding vocals might help. I don't really hear that on this album with all due respect to Billy Spillane's resume. The vocals are competent and fairly typical of what I'd expect to hear on a prog album, nothing more, nothing less.

It would be one thing if this material was all put together in the 80s and it never left the nest until now. Perhaps, that was the case too; but the band describe themselves as modern prog. Maybe to some extent it is an accurate description given that a lot of modern prog pays homage to sounds from bygone eras. But when I hear the word modern, I expect a little more 21st century. This album is not completely devoid of 21st century sounds but you have to kind of search for them in the midst of largely 80s sounding music (including 80s keyboard tones, I kid you not).

Although much of the above may sound harsh, I did enjoy listening to the album while it lasted. It's just not engrossing enough for me to return for more listens. There are moments of brilliance, like a piano break in Hollow just before the guitar shred ending. As said before, this is one talented, accomplished band and at times there is a spark that shines bright and makes me go wow. I just wish I had had more of these wow moments.

I am tempted to go with four stars just to reward the excellence in musicianship and production (the recording sounds beautiful). But from a prog perspective, it's not excellent, at least not as a studio album. Would I love hearing this live in a concert? Without a doubt. So, three stars it will have to be but a strong three star effort.

Thanks to Roland113 for the artist addition.

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