A SEQUENCE OF MOMENTS

Ali Ferguson is the latest new discovery for me, a gifted Scotsman on guitars who parlayed a career as a member of Ray Wilson's band Stiltskin and who finally gets to revel in his own spotlight, 'living the cosmic dream'. His first opus evaded my radar but this second one hasn't, thanks once again to all my friends out there in Progland. There is a definite commonality with Tony Patterson's recent masterpiece 'Equations of Dreams' in that the voice is perennially whispered and heartfelt while the instrumental arrangements seem heavily tranquilising , like some nostalgic anesthesia.

This is a splendid cosmic work, daubed in compact atmospheric filament, perfumed with a myriad of sonic aromas and tonal flavors, thus creating a cinematic opus that dares to fantasize. Sure, there are overt similarities with classic Pink Floyd, especially the 'slow hand' guitar style as espoused by the amazing David Gilmour, a fret board genius that has influenced countless musicians worldwide. On 'Sequence of Moments', Ali gets to stretch out his compositions , wrapping them up in a variety of adornment , such as the Arabic voice winds on the epic opener , the 10 minute 'Why Are We Whispering?' that conjures images of sand dunes, lush oasis and conscious though about divinity. Religious spoken commentary flutters about as the blue electric guitar glimmers in an introspective awakening. Modern drum rhythms mechanically adjust the arrangement into a gentle propulsion, a cottony fluff of dense and tense atmospherics and whispering meaningful words. The explosive full throttle comes as the sandstorm inspired wind blast into the fray, calling for coiling Arabic voices, broiling organ flurries and the surreal slide guitar gone manic. Outfloyding Floyd!

Whispering and nearly comatose vocals anoint 'Out of the Dark' with a sweeping synthesized mood, densely melancholic and luminous yet somehow imbued with mystery and introspection. The voice is highly reminiscent of Gandalf's Fist and Luke Severn's high pitched hush, but this is quite a straightforward lilt, persuasive but fragile, the focus very much on the vocals. Initially polite and proper, the scorching guitar solo becomes daringly upfront and in-your-face, insistently expressing a sturdy sense of liberation and freedom finally achieved. Ali just flips right out, much to our collective pleasure. Pinging synths clock this one down.

The wooing title track has a contemporary feel, loaded with technological sound effects tempered by sweet children voices and another muted vocal performance, with a profound emotional drive that hinted at recent Anathema or RPWL in terms of melodic power. An electronic lullaby in many ways, the chorus comes shining through the clouds and 'the sequence of moments' becomes life. The sedate piano carries most of the arrangement, up until the pastoral acoustic guitar solo and the whole becomes truly magnificent. Obscured by continuous meddling clouds,

'The Realisation' maintains the space-rock course with a spectral guitar performance, swathed in electronic shimmer and female spoken word poetry courtesy of Kristie Barr. Birds chirping, a moment of breaking free. The shift into Berlin School sequencer-loaded electronic music spearheads the savage subject of a Connecticut school shooting, a modern day disease that has failed to disappear from our consciousness. The mood on 'Is This Enlightenment?' is heavily soundtrack-ish, as the pulsating beta kicks in, swaying to the electronic despair. The ensuing Spanish guitar platform is mesmerizing, as it chooses to blanket itself with some sweeping orchestrations, upwardly expanding the theme and the overall agony.

'Into Falling Stars' serves as a continuum, 'watching clouds change' as Ali's voice remains hushed and aggrieved. This feels almost like No-Man territory, very sparse and minimalist instrumentally, spotlight on the voice and the backing vocals that exude an almost a gospel-like quality. The twirling guitar exercise originally stays relatively sedate until a bruising second part fans the flames of desire.

The brash influence of Pink Floyd is all over the 9 minute epic 'All in the Winds', burgeoning with restrained electronic keyboards and vocal temperance, unhurriedly building up to an expansive and unsullied plateau where the bluesy guitar joins in, in utter delicacy. Evolution of the piece points toward more spoken words, a hustling rhythmic beat that consolidates the mid-section and thus paving the way for a patented slide phrasing that shuffles and shudders along, brazenly modernistic yet still old-school.

Bubbly synthesizer syncopation introduces 'The Last Satellites', a purely extra-terrestrial adventure once again that morphs into a breezy melody, recalling fellow Floyd fanatics RPWL, electro-charged by a bluesy guitar rant that does have slight Mark Knopfler-like twang, a twist that keeps the soloing variety open for further discovery. Bouncy and popping, the second solo is echoes madly and unforgettably.

Another sizable track and the album closer, 'Above This Fractured Earth' rekindles the playground effects with children playing out their innocence, oblivious to any hardship and disappointment. Pools of glittering piano only heightens the pleasure, augmented by Ali's hushed and plaintive voice. The long and deliberate guitar sortie is liquid gold, a perfect whisper of feeling and purpose.

A very accomplished and entertaining work, easily slotted in among the other Floydian influenced bands out there (Dave Kerzner, Nine Stones Close, Marco Ragni, Bjorn Riis/Airbag, Freedom to Glide, RPWL, etc'). Time to hunt down the debut'..

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