Dave Allen and Colin Powell are monsters. Freaks of nature. Ogres, brutes, and even beasts if you wish! Why may you ask? Colin has been birthing new albums at a ridiculous pace ( A Multitude of One , Nova Cascade, etc..), while the equally prolific Dave has pounded out a steady series of Spirergy albums, both seemingly unafraid of resisting any need to express themselves. Now united as Riffstone, this is their third album in 2 years, after the history-laced debut “Richard III” and later in 2025 the glowing “Sanctuary Sky”, both of which were enjoyed by many in Progland. Early 2026 has spawned “Mythical Creatures”, an 80-minute promenade in the make-believe Riffstone musical zoo, ten imaginary cages devoted to a specific fictional animal that has graced the folklore of humanity since the dawn of time. Now, it’s one thing to be prolific quantity-wise but when the musicians manage to apply themselves in progressing deeper into their chosen style and providing quality pieces that will stand the test of time and fastidious pundits, is another beast altogether. I daresay , the duo have not only succeeded but even surpassed their previous 2 offerings. No mucking around, ‘shilly shallying’ or asleep at the wheel for these lads! The denser array of mellotrons will only find favour with yours truly, and the great white dinosaur reigns supreme, in full regalia together with spiralling synthesizer somersaults, the bellicose bass slicing like a machete into the tree trunks of a sonic jungle that teems with excitement. The melodies are astounding, the effervescent tracks (not one less than a hair below 7 minutes) erupt with constant innovative yet comfortable sequences that make it very easy to sit back and enjoy in one’s personal bubble, far from the maddening world and its devious tools. Even the programmed drumming is top notch on every single track, the pounding eternally beefy and explosive.
From “The Griffin” (hello Wales), to the perennial Godzilla-esque “The Dragon”, then my personal blazing favourite “The Phoenix” elevates the fire, and by the time we reach the tantalizing mythological epic “The Hydra”, the Progressive magic takes a toll on my senses, and I cannot help but smile. This is positively charged music with a constant melodic presence and enough lyrical and vocal variety (the shrouded voice on the eerie Hydra is masterful) to keep one transfixed for ever more.
The serpentine “The Basilisk” carries on, with its ubiquitous crown planted firmly atop its threatening head, with quiet but noxious influence, a silent killer. The story telling is compelling , a long-forgotten tradition of bedtime stories with fantastic beings and fairy tale outcomes, keeping the young mind’s imagination as fertile as possible. A superb folkish engouement follows on the sublime “The Manticore”, the lengthiest narrative here, a stunning concoction of bustling bass, crunchy guitars and mounds of modern electronic symphonics. The vocalized lyrics keeps the attention on the variable mood, a heady fusion of lion, man and scorpion, where the wild, savage and deadly unite as one. The softer elements have a traditional folk feel; abundant flute and medieval sounds emit a Greco-Persian feel that is intoxicating. Absolutely brilliant !
The raucous and gritty Celtic-tinged “The Selkies” is all about shapeshifting between seal and human forms, splashing strong undercurrents of ocean and sea, the navigating lead guitar particularly adroit in setting the course, the howling gales of mellotron showing little respite. Selkies come across as kind souls who prefer dancing in the moonlight, seducing sailors to their ultimate demise, a Scandinavian/Scottish/Irish version of the fabled sirens. The mood is romantic yet robust, the pace voluptuously hectic and utterly intriguing musically.
Off to the Peloponnesus (ancient Greece, for those of whom history is yesterday) where the classic female myth of “The Chimera” rules, a typhoon of a track with plenty of circumstance and imagination, the durable bass guitar and swirling mellotrons surfing along the bountiful melody and the poignant vocals hitting the highest notes, reaching the top of Mount Olympus, where the various gods and goddesses govern.
As the title clearly applies , “The Leviathan“ presents itself as a colossal sonic imposition, the ribald bass leading the way, describing the biblical multi-headed sea serpent in less than cordial terms, a symbol of ancient Israel ‘s enemies, as the conflict with Babylon was surely the initial source. The vocals are somewhat restrained, as if an ongoing conversation with the mysterious ways of fate.
Ending with a gentle and upbeat “The Unicorn” is a feelgood method in leaving an all- around optimistic vibe, the horned horse far from any semblance of notoriety, perhaps more of a revered illusion , inherently fascinating if not outright beautiful. The Beatles-like sensitivity is apparent in the breezy delivery, a “doo-doo-doo” chorus adding sugar to the spice. The gentle percussion is like a sprinkling of candy on top of the delicious cake.
An epic and adventurous ride that will take you elsewhere. Though a hefty release, I never had any urge to either stop or pause, purely content to discover the next exploration. This is even better than “Sanctuary Sky” and will be high up on the podium for 2026. Though I am literally afraid of what these two guys will come next, say in another 6 months or so….I am Riffstoned already.
5 myth wardens