This veteran Scottish Neo-Prog band is delving into their fourth album, each one since 2017 “it’s getting better all the time” (another memorable Beatles lyric), led from the very beginning by composer and keyboard player Mike Baxter, with guitarist Renaldo McKim and David McLachlan handling bass, both back for another spin around the blue planet. The drummer stool has been quite the rotating carousel, now seating Kenny McCabe but the big change is he departure of talented lead singer Martin Haggarty, being replaced by newcomer Maaike Siegerist, signalling a major shift in the overall theatricality of their new compositions. The previous “An Ordinary Life” album left a satisfying and enduring feeling, as it was an entertaining ride and receiving my high rating. The new-lineup offers nine tracks with a running time of 67 minutes, with an epic concluding the proceeding, heading towards the sky.
The frolicking “Seahorses” is the ideal setup with an elongated instrumental intro that has a tinge of vintage Roxy Music’s The Thrill of It All, complete with a Paul Thompson-esque drum charge, eventually merging into a lively vocal from the new singer, supporting an airy slice of dreamy fantasy. The synth motif is oft repeated so as to really sink deep into the nodes. Fresh and appealing.
Dramatic shift on the fleshed-out ballad “Breathless”, Maaike showing off some superb lines, climbing high when needed yet always very defined within the groove. Baxter pulls a delightfully moody move on his keys, with McKim given free reign to illuminate a heartfelt series of solos that hit the spot. There is strong Mostly Autumn feel displayed here, for those looking for comparisons. Nothing remotely experimental, just damn well played, that may just leave one panting.
Both similarly mid-sized “Artificial Child” and “Wanderlust” keep the momentum on target, easy listening prog that seeks to enchant rather than impress, exuding an overt comfort zone. The first expertly structurally portrays the innocence of youth in its most organic setting, while the lyrical theme may incite one to conclude that insemination can provide a providential miracle for any family for whom infertility may be an issue. The second piece acts as a sonically ideal segue, keeping the thematics alive and well, with feathery and contented synthesizer, keyboard, bass and drum work, finished off by a fully expected and exuberant axe sortie. Happiness in musical form, what a relief from the constant doom and gloom.
Time to get serious, dive into a major shift and reach for grandiose majesty on the multi-hued “Colours”, an 8 minute+ mini-epic that has all the classic highlights needed to succeed in Neo-Prog : a compositionally well-craft assembly, laden with dollops of passion, atmosphere and an instantaneous melody that swoons like sonic honey that takes its time in setting the eventual transition that will shuttle the arrangement into more forceful surroundings. The rhythmic offensive revs into overdrive with apparent impunity, Baxter leading the charge with all on board for the ride. Kudos to Kenny McCabe piledriving his kit with conviction. I got hooked on the very first listen! When the finale reverts to the solemn beginning, I felt the overwhelming emotion of credibility, as this is an unambiguous album highpoint.
Change of pace on the feather-ruffling “Monochrome”, an overtly darker theme prevalent from the onset, acknowledging the title in convincing fashion. Here the aural characteristics are more Cartesian, a sense of grayness oozing both instrumentally and vocally, with subdued background orchestrations, and crowned by a forlorn chorus. The spine-tingling guitar/synth interplay is simple yet highly explicit and emits a concrete revelation of tragedy, choppy cascading rhythms notwithstanding. Another sumptuous track, with Maaike killing it, again.
“First Casualty” is the second longest track on the album, and nails it from the inception with a bruising bass groove that never surrenders, a piano alliance that advances the melody to lofty summits. The key here is keeping everything straightforward, a shimmering piece where the floating vocal remains tranquil, the tingling guitar sedate and the assured pace indefinite. The other main feature is the harmony vocal work where the singer gets to wail (a skill that has always impressed this writer). The final segment just keeps the ambulance racing towards the hospital, where healing awaits. McKim serves up a surgical fretboard solo that cures the ills.
In the sphere of the classic female-led vocal style of British prog (Karnataka, Panic Room, Three Colours Fold, the afore mentioned Mostly Autumn and so many others), “Moon and Mars” has a colossal melody that slays all resistance, carved by a glorious guitar/keyboard line that soars into the heavens above. The confident vocal is overwhelming in its execution, the subtle finale drenched in acoustic splendor, sweeping glimmers of joyful exuberance.
Epic time, keeping the big one for the curtain call, the 11 minute + “The Astronomer”, immediately conveying a grandeur that spans the widest expanse of our universe and as such, it comes across as a suitable recap of what this band wishes to express and the essence of their inspiration. Making beautiful and attractive music cannot be viewed as anything less that imperative healing. The moment our tired earth stops dreaming, learning, and yearning for peaceful resolution of our much-discussed proficiency to be primitive, the more we need music like this to counterbalance the pain. A more than fitting anthem for the ages, let us refrain from looking down, and stare instead into the glorious skies above.
4.5 heavenly salvations