Second album for this Southern Welsh clan of three, also known as a trio, hailing from Bridgend. I was profoundly impressed by their debut , save for the ‘a propos’ cover which scarcely divulged all the pleasures inside. I was thrilled to write and post the review , in which I had already proclaimed my yearning for this album to be equally praised. The artwork this time around is instantly attractive, promising a deep dive into adult progressive rock (as opposed to the childish version, which can also be addictive LOL).The group composed of Steve Hughes on keyboards and bass, drum stool master and lead vocalist Jon Kinsey (a drum roll please!) and Chris Jones on guitars propose 7 tracks with a running time of 65 minutes.
Launching a sophomore release with a one of a trio (how clever) of epic tracks, “Voyager” being the lengthiest, is quite the bold statement of intent, and the audience is immediately rewarded by being transported into a sonic fantasy land that has diaphanous borders and a sense of eternal slide into the unexpected. Hughes takes over the keyboard controls on this sprawling effect, inserting the maximum bombast possible, while Kinsey throttles up the percussive boosters, waiting to finally float free from the controlling pull of the stratosphere. ‘The journey to the stars’ is eloquently invoked by the microphone, ‘gave me time to find your home’ is a statement as unrestricted as space can possibly be. The piano works wonders with the shuffling drum patterns; slivers of synthesized twinkles add even more room for reflective thought, as Jones’ guitars serve to further underline the drama. The ambient pools of sound highlight the momentary lapse of time gone by, a precursor to another discovery beckoning on the horizon, perhaps a new planet, with its own new melody. The Kinsey drums propel the arrangement forever forward, with a luminous laser guided guitar flare that illuminates the darkness around them. This fabulously escapist epic really sets the mood faultlessly, a valiant effort to thrill right from the launchpad. A small step for me, a giant leap for the Tribe.
Back on earth as we return to some semblance of reality with the propelling “Falls Like Rain”, Kinsey shows off his Phil Collins attributes (both vocally and percussively), adding tremendous backing harmonies to his lead foray, instantly addictive and utterly memorable. A prog radio classic in the making, technically nimble, melodiously spectacular and still leaving enough space for some seriously intense instrumental adornments, the honied tingling of harpsichord-like tones infusing the neo-classical orchestrations that elevate this track to heroic heights. If this piece had been inserted on Calling All Stations, Genesis would have had the capacity to continue producing quality music. Incredible track.
Only two tracks in and we already get a “Last Encore”? I admire the audacity, having dreamt for decades of some obscure band calling their debut album “Greatest Hits”. Seriously, the intent here is to convey that eternal subject that has doomed the human race ever since that famous Garden spawned Adam and Eve. Yes, an old-fashioned love song with savvy prog prettifications, and a chorus to swoon the coldest heart , with the harrowing orchestration finale to shoot that poisoned arrow through the heart.
Serving as a crafty interlude preparing us for the title track extravaganza, “Requiem for A Friend”, a haunting mellotronic choir reverberates through the cathedral speakers as if the holy spirit itself decided to descend from the clouds. “Life Among Strangers” is also the second extended piece and seamlessly flows onward until it bursts into the cusp of the modern condition, a true reflection on the harsh reality that our crowded world suffers through constantly, even though there is so much room still left to populate. The demanding track is teeming with nearly claustrophobic sonics as well as athletic vocal theatrics, only the robust bass keeping the fine line between pleasure and pain. In fact, it’s so dense that it will require repeated listens to fully absorb all the reverberating sentiments expressed. Chris Jones unleashes a vicious flurry of steely riffs, upon which he adds layers of grime, grit and perspiration. The return to the main theme certainly emphasizes the original expansive foundation, striving for another visit of the teeming neighbourhood.
As the human condition seemingly remains unable to deal with any notion of peaceful coexistence, with many scratches in the silt keeping people apart, and being led by a wonderfully incoherent set of ‘leaders’, “The Front Line” initially begins like all battles, with an eerie sense of serenity and calm, the rubber-bullet bass perhaps the most menacing of all the instruments as the fog of conflict rolls in, unannounced. Guitars and piano marshalling gently the pace, ordained by Kinsey’s magnificent delivery, the entire musical battlefield packs a rather quiet punch, a deeply reflective rendition, as if reaching ‘the end of the road’. Harrowing dignity in the emotionally draining guitar solo, as if contemplating the opposite of shrapnel warfare, longing for a simple existence far removed from endless bloodshed. The swooning mellotron gales are shoved along by that intransigent bass threat, as poignant an anti-war depiction one could hope to witness. The choral apotheosis is achieved as the doves return to roost.
The immensely seductive “Evening Tide” finishes off the album with a final and the lengthiest marathon here, a heartfelt gaze into the vast emerald beyond, the day finally coming to its rightful disposition for rest and reunion with the warmth of home and the comfort of loved ones. Kinsey can sing like the wind, emotionally secure in his delivery, the fortuitous bass showing its muscularity without any overt brashness, side by side with profligate symphonic orchestrations, as befits a grand finale. Jones’ fretboard waves greetings to the disappearing sun, the exuberant piano in collusion with the darkening skies and the faint apparition of a soon to be bright moon. The mighty mellotron returns for another night of white satin sheets of sound, the glorious guitar egging on the final upsurge of emotion, and Kinsey bashing away all the aches and pains of the day gone by. Effing magnificent.
If the first album was a pure joy and the second a massive success, what will number 3 bring ? Well, as Lazland stated ; “ Stwff gwych, hogia. Llongyfarchiadau” , dear label mates…..
5 Alien existences