Advisory : I am a huge fan, and all my comments should be received with some warning, as everything about this artist bathes in personal adulation. My choice, and I like it ! The previous two releases “Aeon” 2023 and Journey Beyond (2024) sit proudly in my ‘réserve spéciale”, together with a magnum of Clos du Marquis 2010 Bordeaux, a few aged Tokay Aszu and a whopping Gevrey-Chambertin 2005 Pinot Noir masterpiece. Dave Allen is a one-man orchestra that defies description, also combining with another favourite, the similarly talented Colin Powell of a Multitude of One and Nova Cascade fame to launch the Riffstone project that already has pounded out 2 recent marvels. Dave is an astonishing bassist with an innate Geddy Lee-like sound that slaps one hard across to face like a good aftershave, while his acoustic and electric guitar skills are evidently off the charts. Throw in world-class programming and an amazing voice, you have one of my top candidates for the prog wunderkind award (he is no child though)!
Get the motor running on the immediately appealing “Innocent Hearts”, as Dave wields that wicked bass with impeccable authority, forging a rambunctious keyboard slippery slope, thrashing electricity from his guitars, forceful drum programming and injecting a clear vocal delivery that are all unimpeachable. There is an obvious reverence for Rush oozing from every note, though blended in with some spiraling energy that only Dave can ever hope to explain.
Shifting adroitly into more melodic orbits, the suave “When They Came” channels a bluesier tangent, showcasing some rather stupendous playing, eventually changing gears as the organ throttles up the power and Dave’s voice goes for a higher pitch, an impressive move to say the least. The rampaging bass guitar once again exposes its slithering forked tongue, as it forages ahead with impunity, expertly up front in the mix, just like the Rogue loves it! The axe solo glides like honed skates on ice, long enough for a dynamic return to a more solemn attitude, igniting an overarching vocal that drops the jaw. A bruising transition follows, as expected, with a raging reprise of the rousing section, all conditions red, smoke billowing from the exhaust, ready to aim for the stars from ‘whence they came’.
Epic time beckons, the 10 minute and 20 second Celtic-tinged “Carry Me Home” taking shape as the main melody unfolds, Dave inspired by overt Jon Anderson-isms in his higher-pitched approach to singing, the rhythmic pulse shimmering and the guitars definitely in awe of Steve Howe’s uncanny volume pedal abilities, a ravishing piano taking hold of the emotional verve, chaperoning the lead axe further down the aisle. A mini-bass solo is to die for, noteworthy for its placement, technique and tone, urging the piano to elevate its naturally domineering trait, a truly incredible display. All along, the main theme was there in ambush, moving up front and center, taking in the applause, ‘a fire in my soul’ attitude that cannot be denied. ‘Carry Me Home’ then takes on mythical proportions, repeated for good measure, and cheeky Dave does a little Jon ‘do-do-do’ scat singing just to remind the Yes lads how it should be done.
Writing a gorgeous melody is no mean feat, and the instrumental jewel “See It in Your Eyes” is about as pretty as a prog ballad can get, glistening piano droplets streaming down the cheeks, a lively and jubilant guitar singing the praises of emotional seduction, overpowering and breathtaking. The music proposed is bright, intense, panoramic and punchy, and very British!
Back to the theatrical side of Prog with the splendid “Falling from the Sky” and its multi-level synthesizer onslaught, an imaginary soundscape where fiery guitars and volcanic bass burn with raw euphoria. Look up to the heavens and wonder, when will it happen? The atmosphere is eerie and laden with a perceptible notion of doom, the voice sorrowful, and the fatalistic fretboard solo verging on terror.
The artist has way too much energy to delve too long wallowing in gloomy accoutrements, so the smile returns on “It’s Here Again”, a rather appropriate title, I would venture. The most straightforward track on the album, it gets its message across without too much fuss, an aerodynamic synth rainbow doing the trick just perfectly thank you. “The distant sound of silence” comes as an inevitable gift, a well-deserved respite after all the trials and tribulations expressed above. Reset button time, in preparation for the last chicane. The haunting wintery mellotron strands walk the path with both piano and guitar in tow, three companions “In the Small Hours”, pining for a fresh morning. The graceful voice establishes a melody so immediate, it could generate goose bumps even on belligerent ducks. The clever arrangement sooner or later blooms into an eruption of fury and bombast, a cruise-controlled bass riff that sets the stage for some zippy soloing on the synths, dropping in some ambient electronics to add even more flavour. Dave ‘s off the charts singing as he expounds ‘losing reality, into insanity’ is an apex moment on the album, let alone this track. I kneel at the shrine, Dave.
The title track ends this adventure with a gigantic symphonic exclamation mark, a 16-minute rambler that will seal the deal for posterity. Urgency can now be replaced by relaxed restraint, taking all the time necessary to establish the galactic ride in all its splendour. Who else but that reptilian bass to set the controls to the heart of the universe (“Wherever Forever”, sic!), as the low-end boosters disgorge all the needed propulsion for astronaut Allen to guide us through the asteroid belt unscathed. Shifting parameters, variable geometry, time alterations, call it what you will, the whole buffet is available to enjoy. Shining stars, glittering synthy meteors, distant planets and that endless void, all waiting to be respectfully serenaded, if this leaves you indifferent, then a permanent return to your concrete bunker is called for, as long as the medicine cabinet is properly stocked. Dave Allen masters all his instruments with immaculate talent and daring aplomb, can sing like the wind (‘time to dream’ even recalls Soon) and wears his influences proudly on his sleeves, hence I will anoint him as my top one-man multi-instrumentalist (sorry SW!). As far as this album is concerned, a shoo-in for the 3 staged 2026 prog podium. What a year-end joyous gift this album is, though slated for early January release .
5 distant eternities