This is a band that started out from the same progressive revival gates that spawned IQ, Marillion, Pallas and Pendragon back in the early 80s when prog was considered buried and dead by the fussy musical media. 1984 ‘s “Journey to the East” had many interesting attributes that paralleled the above mentioned ‘rebellious to change’ lot, namely a superb lead vocalist in Mark Holliday, a masterful guitarist (Paul Ineson), David Powell offering some daring keyboard interventions and a tight rhythm section with a technically astounding bassist in Neil Duty. While there has been a fair number of revolving musicians coming and going , this 2026 recording has maintained the core of Holliday and Powell , as well as Duty (who has moved over to guitar duties), whilst adding Charlie Morgan on drums and Peter Robinson on bass (who had joined back in 1998 with the “Little Gods” album. Not always critically acclaimed because of labelling issues (the perennial neo-prog stamp often unfairly condemning the true Prog credentials). Well, that rather facile stigma may be soon erased, as this short album has only three epic tracks to further confound the criticism.
The whopping title track spans a glorious 18 and a half minutes and should ,by any standards, cause a fair amount of consideration for positive objectivity. Allegedly, Neo is a simplified ‘abacab’ structure that relies on sedate musicianship whilst concentrating on ear-candy accessibility, hence the 5 minute and less structure, just perfect for radio play. From the very first notes, the pace shifts into symphonic overdrive, with a vast array of slight variations that would make most bands smile in amazement, Powell in particular inserting plenty of detail, providing Holliday to tell his tale with undisguised zeal. Yes, there is clear respect for the great lungs (Gabriel, Collins, Nicholson, Fish, Nicholls etc..), adding that touch of drama to the instrumental technique and it works when the arrangements keep the excitement levels pumping. Such is the case here, as the vocals convince completely. When all quiets down with only voice and piano, the magic seeps into the soul with no resistance possible. A swerving bass and subtle mellotron choir add the compulsory charm. A synth solo takes it straight into fantasy-land. At the midway point, the move to another level is achieved with faultless ease and conviction, squeezing as much restrained passion as possible. The instrumental work is on par with the very best this sub-genre has to offer, classy and illuminating, as if ‘forged by the sun’. The electric guitar makes its entrance without attempting to hog the spotlight, tight teamwork is what characterizes this piece as well as the entire album, somehow reminding us of the great Genesis legacy (Trick and Wind in particular).
Just in case it may be perceived as just a fanciful fluke , the 13 minute “Ceasefire For the Innocent” keeps the theatrics undeterred, albeit in a more pastoral setting to start. By closing my eyes for a moment, I had images of Ant Phillips’ first solo album, both the artwork and music, very countrified English folk-prog that encapsulates profound lightness and a deep sense of feel good. A most welcome break (a ceasefire?) from all the toxic negativity one encounters by opening their phone or computer. Free at last, breathing in the air, admiring the glory of nature’s gifts. Tingling piano here, distant guitar solemnity there, a serpentine synth slaloming in between, all the while guided by the pied-piper voice leading us into the verdant valleys of contentment. A few melancholic utterances in darker tones, exalt the power of wind, rain and storm, a welcome variation to the overall picture. Robinson’s bass does some superb fills, even in the quietest moments, a subtility that cannot fail to surprise. To then revert back to majestic symphonism is what makes all of this piece shimmer with emotional deliverance, a chorale apotheosis to finish off in glory. One word: beautiful.
The pleasant “Cue Rain” clocks in just over 6 minutes but still finds the way to seal the deal, dripping in romantic waves of joy. Holliday wows the microphone with a heavenly vocal performance, accompanied by delicate keyboard (piano and organ) ornamentations and a blues-jazz guitar line to die for, hints of vintage Procol Harum in more ways than one.
So much far flippant classification, this is a charmingly attractive memento that truly deserves a fair shake, as it might just change the old prejudices once and for all. Its only fantastic music after all, and I love it. The gorgeous cover art adds to the enjoyment .
4.5 Solar foundries