IMPERMANENCE

Word is getting out: there are a lot of young artists emerging into the Prog Scene and this young man, Dominic Sanderson, is a force to be reckoned with! Dominic is reportedly a resident of the West Yorkshire town of Wakefield, outside which Yorkist progenitor and next-in-line to the throne, Richard of York (father of the soon-to-be Edward IV), met with his demise in 1460 during a skirmish outside Sandal Magna castle when he and his small band were confronted by Margaret of Anjou's Lancastrian forces during the Wars of the Roses. The reverberations of this battle are being felt to this day, as evidenced by this album of powerful progressive rock music.

1. "I Don't Think I Can Get over This After All" (3:44) beautiful "little" Steven Wilson-like opener has some wonderful elements in its rather simplistic construction. (9/10)

2. "The Twisted Hand of Fate" (5:08) an instrumental that opens with a multi-track Crimsonian "Discipline"-like weave before abrasive rock guitars and syncopated drum pattern rocket in. Chunky bass guitar leads up front and center in the second pass through the "Discipline" weave--even when radio-treated British male whispers his prophetic warning. But then the band switches into a SABBATH/VAN DER GRAAF GENERATOR motif with a flourish of some GENTLE GIANT-like vocals before settling into a heavier STEVEN WILSON-like . Nice drumming from Jacob Hackett but Tristan Apperley's malevolent bass is the real show-stealer. Like the VDGG finish, too. (8.875/10)

3. "This Night and the Wounds It Will Bring" (4:42) more fresh-sounding PINK FLOYD/1990s PORCUPINE TREE-like music that comes across as more like THE PINEAPPLE THIEF the longer the song goes. Excellent guitar solo over some very prog symphonic stuff for the final 90 seconds. (8.875/10)

4. "Is There Calm Amongst This Chaos?" (6:11) here's the song on which the ÂNGLAGÅRD influence comes shining through--the first 1:25, that is. Well done but it leaves me asking how much more Änglagård do we need? The second motif is not far off of some of the Swedish band's mellow motifs with its Mellotron-drenched support and delicate cymbal and flute play. I think what I like most about this song are the unexpected and unconventional chord progressions. Then there is that wonderful DAAL-like fourth minute that, following the Italian band's roots, turns heavy RPI over the next minute. At 5:10 Dominic's Damon Waitkus-like treated vocal provides a little respite from the forceful music--but only briefly, as the song ends with a true Änglagard/DAAL finale. (8.875/10)

5. "An Empty Room" (3:14) an impressive acoustic guitar solo in the vein of guitar-master ANTHONY PHILLIPS is only touched by piano and Mellotron in the final 45 seconds. (9/10)

6. "A False Sense of Promise" (4:51) what opens feeling like a continuation of the previous song becomes more of a liturginous choral piece with multiple vocals chanting their lyrics over some very simple, ephemeral instrumental accompaniment. Quite reminiscent of the more pastoral ADVENT approach to Gentle Giant. (9/10)

7. "Like Shards of Glass Falling Through My Fingers" (19:51) again ADVENT or MOON SAFARI are the bands that come to mind as I listen to the church-organ-drenched opening three minutes of this majestic, church-like sound. Even when it moves into bombastic organ-dominated prog there remains a church feel to it. During the middle ten minutes I hear elements that remind me of RICHARD WRIGHT VAN DER GRAAF GENERATOR, NEKTAR, CHRIS SQUIRE, DAIMON WAIKUS, the breathy vocals I've heard a lot in KING GIZZARD AND THE LIZARD WIZARD songs over the past decade, early YES, and PINK FLOYD, but most of all I hear the influence of STEVEN WILSON. Starting at 12-minute mark we move into heavier motif that reminds me very much of both ÂNGLAGÅRD and DAAL (to continue a pattern)Then, after the thunder storm interlude, we go to a lighter motif that reminds me of totally of ANTHONY PHILLIPS' "Sleepfall: The Geese Fly West" that eventually builds with electric guitar solo culminating in a powerful finale, that is, to my ears, all ROYE ALBRIGHTON. (Cue "Always" from Roy's Christian-era Nektar revival period album, Evolution.) Brilliant epic construct--very refreshing and unique if, at times, somewhat derivative. (36/40)

Total Time 47:41

Yes, I can corroborate: There's a new progster on the scene and his name is Dominic Sanderson! The man has all the chops, all the compositional genius to be a real force in Prog World. I only hope his esteemed presence is not mirrored by the title of his debut album!

B+/4.5 stars; a near-masterpiece collection of refreshing progressive rock songs, all intricately constructed and performed using great sound engineering. This young man will be a force to be reckoned with for a long time (should he choose to stay in the domain).