My lesser known and unknown new prog bands thread

FIRST REVIEW OF THIS ALBUM

The man behind this musical project is Canadian guitarist/keyboardplayer/singer Stéphane Desbiens, a very prolific and creative person: on his 11th he started to play guitar and when he was 20 he had already a lot of experience, he joined the bands Rose Nocturne and later progrock band Sense, in 1996 he released his first solo album entitles Desbienes Acoustic, he was technician, studio musician, guitar teacher and even played in an Irish folk band, what a stunning curriculum vitae!

This year (2008) The D Project has released the CD entitled The Sagarmatha Dilemma, Stéphane founded a band with musicians, from drums to Chapman stick and violin and even known guest musicians like singer Stu Nicholson (Galahad) and keyboardplayer Derek Sherinan (of Dream Theater fame, plays on one track. During the first part of this album I quickly got the idea that Stéphane had put his love for Pink Floyd very obviously into his music because of the Floydian inspired guitarwork in the alternating and compelling compositions Closer To My Soul / Closer To Heaven (The Wall atmosphere and a strong accellaration with organ and fiery guitar, then joined by a swirling violin) and The Red Mountain (beautiful part with classical guitar runs). But soon I discovered that The D Project is more than a kind of modern sounding Pink Floyd, the other five songs deliver lots of variety, subtle musical ideas and strong breaks: a mid-tempo with violin-Mellotron and powerful guitar in the titletrack, a bombastic eruption with choir- Mellotron and a break with a propulsive guitar in the captivating and varied Even If I Was Wrong, a jazzrock climate with lots of dynamics and a spectacular interlude with Al DiMeola/John McLaughlin-like, dazzling guitar runs in the fluent Radio Sherpa and a musical adventure in the short but exciting final piece I’m Coming Down (I Shall Go Back), from a part with a dreamy violin and subtle guitarwork tot a bass solo on the Chapman stick and a compelling and bombastic end with raw and fat guitar riffs, I love it!

This is the kind of album that grows and grows because of the variety, from neo-prog (Thin Air) to the aforementioned jazzrock, symphonic rock and progressive melodic rock, especially the progheads who love powerful guitarplay will be pleased with this strong album!

This is a CD/DVD box set that contains a wonderful 32 page booklet in which you can read how about this Tolkien inspired dark concept story (taken from the book Silmarillion). The music is performed by musicians who use a wide range of instruments, from harp, violin, French horn, clarinet and flute to keyboards and many male and female singers like a bass bariton. The amount of classical instruments is a strong indication what we can expect from Ainur during the 13 songs on Children Of Hurin.

CD: The first composition Morgoth’s Prophecy is an impressive start, we can enjoy lots of dynamics between the classical instruments and the electric guitar and sensational Minimoog synthesizer flights, layered with classically trained vocals. The other 11 songs also deliver a blend of classic and progrock music with the emphasis a bit more on classical. But just when it tends too sound a bit too classical, the music turns into fluent, often sumptuous progrock like sparkling piano, porpulsive guitar and lush organ in Mim And The Outlaws, sweeping guitar riffs and fat Minimoog runs in The Sack Of Nargothrond and beautiful interplay between electric guitar and the Minimoog with a progmetal sounding rhythm-section in Glaurung’s Death, Ainur succeeds to keep my attention during the entire album! The sound on Children Of Hurin is in the vein of their debut CD entitled From Ancient Times (2007), I tend to prefer their second effort and I am very curious to the development of this promising new Italian progrock band.

DVD: The main footage is the Original Ainur Live Video featuring two songs from the Children Of Hurin CD, we can witness that Ainur is very capable to perform their story on stage, also in the track War Of Wrath (on the From Ancient Times album) that contains heavy guitarwork, pleasant keyboardwork by two members along violins and a bariton, great tension between two musical styles. Finally two live songs from earlier concerts in this section. The other extra’s are Interview, Recording Sessions, Ainur History Documentary, Ainu Live Documentary and Extra Video.

A big hand for the unknown new Italian progrock band Ainur, they deserve a bit more attention on this site! My rating: a very solid 3,5 stars, next album 4 stars?

 

Symphonic Prog
(Studio Album, 2006)
3.00/5
(1 ratings)

YESTERDAYS — Holdfénykert
Review by erik neuteboom (erik neuteboom)
Special Collaborator Symphonic Prog Expert

— First review of this album —

Yesterdays is a Hungarian band with mainly Romanian musicians, the current line-up features 10 band members including 3 women. Yesterdays is rooted in early 2000 and has already made a demo tape (entitled Come Dream With Me from 2002), a serie of CD’s and even a DVD. During the first part of this CD their sound is pleasant and folky inspired featuring lots of acoustic guitar and flute along a wonderful female voice with echoes from Annie Haslam. I am delighted about an acoustic guitar duet (twanging and solo) and the omnipresent violin-Mellotron waves. The second part of Holdenfenykert delivers a way more symphonic rock sound featuring fluent Moog runs and again beautiful Mellotron work. But we can also enjou pure folk and I was very pleased with a duet from acoustic guitar and harpsichord, that distinctive vintage keyboard. My highlight is the long and alternating song entitled Seven: it starts with a fluent rhythm, Moog flights and Mellotron waves and mellow parts with warm female vocals, then a compelling piece with sensitive guitar and lush Mellotron. The final part begins with a flute solo and howling guitar runs and finally a sumptuous eruption with a swirling Hammond solo. To me this sounds as a wonderful blend of folk and symphonic rock, very tasteful, this band will please both the prog-folk – as the symphonic prog fans. Two years ago we talked about adding this band to Prog Archives, I am sure the band members (a salut to Zsolt from here) are very glad that in the end they are part of PA! My rating: 3,5 stars.

Prog Related
(Studio Album, 2008)
4.08/5
(3 ratings)

BRIGHTEYE BRISON — Believers & Deceivers
Review by erik neuteboom (erik neuteboom)
Special Collaborator Symphonic Prog Expert

FIRST REVIEW OF THIS ALBUM

Strange, this band was added by Krigsman but although he named Brighteye Brison a great prog band he didn't write a review. Also strange: despite Krigsman his words about Brighteye Brison their musical direction, this band has been put into the Prog-Related category. After listening to this new album I can only say: THIS NEW BRIGHTEYE BRISON ALBUM IS PURE SEVENTIES ORIENTED PROGROCK!!

- Swedish formation Brighteye Brison was founded in 2000, after the release of the demo 4:am (2001) Brighteye Brison made the CD’s Brighteye Brison (2003), Stories (2006) and this brandnew album (2008). It contains 4 compositions (between 5 and 35 minutes!) with a total running time of almost 70 minutes. Along the five band members you can also listen to two guest musicians on trumpet and ‘spoken voice’. During my first listening session Brighteye Brison impressed me: what a wonderful, in general quite melodic Seventies progrock inspired music (evoking early Spock’s Beard) with obvious references to mainly Yes but also Gentle Giant and Genesis. Their sound is alternating and dynamic with lots of strong musical ideas and a varied instrumentation, from acoustic guitar and saxophone to a wide range of vintage keyboards and even the Theremin.

1. Pointless Living (5:13) : In a swinging rhythm with powerful bass runs the band showcases her appreciation for early Yes. We can enjoy sensitive guitar, varied pianoplay, some Mellotron waves and a flashy synthesizer solo, what a great start!

2. After The Storm (7:36) : After an intro with acoustic rhythm guitar and Hammond organ, a fiery guitar solo follows, accompanied by a Hammond organ sound that evokes Seventies Focus. Then exciting solos on synthesizer and guitar and captivating interplay between Hammond and synthesizer, I love this Seventies progrock oriented atmosphere.

3. The Harvest (20:27) : This long composition starts with a sumptuous church organ sound, then we can enjoy lots of changing moods, accellarations and breaks, the music shifts from mellow with acoustic rhythm guitar and vocal harmonies to heavy with powerful saxophone and bombastic eruptions, layered with the unsurpassed sound of the Mellotron, Hammond and Moog and supported by a strong rhythm-section. The final part contains a strongly build-up guitar solo, a splendid farewell.

4. The Grand Event (34:44) : This ‘magnum opus’ is a tribute to the Classic Prog, from Yes to Gentle Giant and I can tell you that Brighteye Brison didn’t fail to keep my attention during the more than 30 minutes, from dreamy parts with vocal harmonies and soaring flute – and violin-Mellotron or a ‘churchy’ Hammond organ to compelling with howling guitar and bombastic with vintage keyboards like a fat Moog solo and heavy Hammond waves (again Focus comes to my mind). You can hear that this Swedish formation plays together for many years, to me Brighteye Brison sounds tight and the interplay is fluent, especially the rhythm-section is a very strong foundation (like Alan White- Chris Squire in the Seventies Yes years).

- After more than 40 years of progrock, Brighteye Brison is a dynamic and exciting example that this often nailed music style is alive, highly recommended!