I am fully aware that the following well-known quote might lead to some dire consequences based on corny facility but what the hell, I am an entirely pro-bono reviewer and certified as such, and I genuinely really don’t care anyway. Prog “is like a box of chocolates , you never know what you are going to get”, thank you Forrest, now run along back to your ping-pong tournament in China. John Irvine is a hyper-talented multi-instrumentalist, specializing in electric guitar, bass and keyboards and his previous albums, of which I own three , were puzzlingly labelled as jazz-rock even though the material was loaded up with a wide array of electronics as amply displayed on Metaphysical Attractions (2018), The Machinery of the Heavens (2020) and Scanning the Dark Horizon (2023), all of which I have enjoyed but not yet reviewed. Out of the blue, I get a message from the man himself asking for a review of his very latest “Take Me to Your leader”, and pre-warned that it might be a Gump special. It is. In spades, hearts, diamonds and clubs. His earlier 2025 album “Here Come the Robots! “ was dedicated to the legendary Vangelis, who passed away in 2022. Here, the homage is very cleverly aimed at the 80s and in particular the Buggles and unsurprisingly Drama-ear Yes, you may remember Astroboy, Johnny on the Monorail, The Plastic Age, I Am a Camera, Tempus Fugit , I Love You (Miss Robot) and some ditty about Video versus Radio. Nothing impresses the Rogue more than courage under fire, rebellion above complacency and boldly challenge the expectations. Taking on new partnerships with vocalists (Gordon Robertson and Emma Jean) was another giant leap for Irvinekind and one can only applaud the audacity , because his past work proves that he can play with the very best around, bringing on longtime partner and drummer Andrew Scott (only human machines here).
The opening track took some gulping of fresh air before breathing properly as “Wheel of Time” forges not only an innovative style but a modern sound, it catches one off guard in a world of forever yawning ennui. Redefining the very principles behind progressive rock and flirting with overt pleasure instead of the usual pain is a damn relief and cannot come fast enough where depression is the number one slayer of humanity. Crisp, fresh, bold, sassy, upbeat and deliriously clever, the exact opposite of pretentiousness.
Chug along with your favourite marching band, aiming for the nearest sing-along pub (before they become extinct) as “Chosen One” leads the mesmerized flock to a new salvation. The melody is catchier than a baseball player behind the plate, an immediate hook straight into the willing gills. The slippery guitar complements the rousing parade. Could be a perfect anthem for a star performer on your fave team. Thrilling stuff!
“A.G.I. (Artificial General Intelligence)” is as stimulating as a bank of synthesizers can ever hope to achieve, Gordon hitting the higher notes with effortless athleticism, a song for today, even though the original came 45 years ago and killed many a star in the process. The pounding syncopation and kaleidoscopic electronics defy logic (a software weakness, me thinks) and immediately seduces with its repetitive hypnosis, kneeling at the shrine of technology.
Time has come for some stress-free experimentalism on “Siddhartha”, a suitable stage for John to show off his guitar, bass and keyboard talents in a more anthemic setting , a sing-along chorus that would make entire stadiums sway in unison. The petite synth slip at the end of each ‘ohohoh’ is charming, the overall playful zaniness rivaling Zappa’s vision of entertainment above all. Scott drops some depth charge detonations, a tone between Alan White and Bonzo, boom-boom-boom! Halfway in on the first spin and I am dizzy mister Lizzy, in sheer exalted joy.
“One Small Step” recalls the space race, which I had witnessed in the summer of 1969, staying in a communist pioneer youth camp where there was only one party hack who direct the propaganda (but did not dare to utter a word when Neil wiggled his toes in the moon sand). This is a straightforward radio/video star friendly piece aimed at mass leaping.
“Man in the Moon” appears to be a lunar love song, an introspective exploration of distant emotions in a faraway universe of incomprehensible dimensions. The brighter flashes clashing with slivers of hesitant doom, afraid of cutting the chains of comfortable routine, a modern version of Jimmy Stewart appealing to “It’s a Wonderful Life” and interacting with an angel. What a novel premise!
The robotic onslaught suggests a Kraftwerkian “Assembly Line”, synthesizers ablaze with colored lights gone berserk, a relentless pulsation and an automated level of absolute experimental confusion, claiming all along vociferously that all is under control (hello Chernobyl). There is little Devo-lution, whipping up a fair amount of algorithmic mayhem that reminds us that the tongue is not too far from the cheek (witness the snotty synth blip outro).
“Take Me to Your Leader” is as hopeless a request that could possibly ever emanate from some alien being, as our current crop of presidents and prime ministers wallow in utter mediocrity. I choose us poor primitive smartphone clutchers desperately yearning to meet the Big one and get some proper guidance, once and for all. The bottom line please. “It seems so hopeless under hypnosis, time to cross the line, pearly gates, let me in” . A rousing musical commentary on our current state of decay, continually searching for comfortable negatives. Careful what you ask for, the red buttons mean Boom!
One of the most enjoyable albums I have heard in many ages, prog or no prog, who cares but me, c’est la vie .
5 Boggling affirmatives