There is now little doubt that I seem to have an unshakable connection with the music of multi-instrumentalist Tony Lowe, as I own all of his ESP Project albums as well as all its offshoots, which now includes this new 2025 stunner. Perhaps because it’s not the overblown technical wizardry of many elite prog groups, coming across as a relief to the soul by offering a more textural, suave and melodic sensibility, a most appealing feature to these veteran ears. Together with Sunn Creative owner Cheryl Stringall on percussion, who also doubles as a visual artist in terms of luxuriant paintings and top-notch packaging, Tony sets the sails into a more electronic-tinged, modern interpretation that still refuses to not shy away from sweeping melodies and orchestrations. After two back-to-back auditions, my immediate impression was quite more focused and precise: Cheryl and Tony must have spent an entire candle-lit evening listening to Phil Manzanera’s entire discography, from Diamond Head to Firebird V11 and were influenced especially by the Primitive Guitars album and created this instrumental masterpiece of the highest order. The Roxy guitarist is an idol of mine who I had the pleasure of meeting in the 80s, so this is high praise indeed.
Like a silver screen of endless adventure, “Rhythm and Muse” projects a modern percussive syncopation, embracing world music whistling sounds that cajole the main melody, adding distant whispering voices in the verdant electronic Colorado canyon. Like a progressive rock version of Deep Forest, the soundscapes offer constant fluidity, unending discovery and a true perception of travel beyond the routine.
Perhaps a distant musical nod to the afore mentioned Roxy legend, “Golden Threads” possesses a curiously chilling warmth, conjuring images of steep valleys, searing plateaus, and soaring peaks, somewhere near Sikkim or Bhutan perhaps, most definitely Himalayan, where percolating percussion carry the load, like a weathered sherpa. Tony Lowe’s electric guitar slashes and bites, occasionally tortuous as it waltzes between the bass lines in the sand. Deeply emotive.
Here comes the clincher: “Caves of Silver” beckon beyond the Yucatan, peering into the region of Oaxaca, where the shiny precious metal is prized worldwide. Nearly 9 minutes of portentous bass pummeling, coerced by a metronome beat and the ritualistic guitar ruminations that vie for space on the top of the pyramid with fiery saxophone blasts, rumbling organ flurries and ethnic percussion that tingle, glitter and shine. The axe solo is all texture and restraint, the revealing synthesizer having its say in a more slippery format yet finished off by a hustling sax and a bustling organ rampage.
As the title clearly indicates, “Finding Deeper Levels” dives into a shimmering e-piano lagoon, swerving over underwater caverns, laced with evocative rhythmic ripples, and the rousing organ flowing forth, unperturbed. The chugging rhythm guitar work is off the charts, a rubbery bass wandering over the waves confirms the watery imagery fully.
ESP has a reputation for providing sensational melodies, and Tony whips out another masterclass on “In the Crystal Cathedral”, perhaps referring to a specific Californian setting, a building in Garden Grove where the crying guitar moans and groans, altering the pace into a more electronic beat, with stirring organ trepidations, sounding like vintage Gregg Rollie or Brian Auger. Then we travel to Vienna, home of the Spanish Riding School. “Spirit Horse” maintains the galloping cavalcade with a more laid-back arrangement, the upper level floating and serene while the foundation shuffles along at a brisk stride. The harnessed organ again chooses to stomp its sound on the track and its all just groove central, as we hurtle towards the finish line where a ‘hoarse’ saxophone awaits with the laurel crown (sorry, I could not help myself).
Suitably moody and meditative, “Waking to the Cosmic Lark” welcomes in the morning sun, the warmth of comfortable rest ready to be challenged by some new encounter. As the temperature rises, the urging guitar and aroused organ paint a plethora of sonic positivity, coercing a Santana like feel, as if Borboletta was the influence, loaded to the gills with Cheryl’s polyrhythmic syncopations. The invigorating flute maintains the melody at all costs.
“Safe Havens” is where Lowe uncorks some more stunning licks, secure in his sunny and creative realm, letting loose as if devil was at his tail. Intoxicatingly addictive, actively atmospheric, profoundly imaginative, always yearning to reach another level. Easily my favorite multi-instrumentalist currently, Tony just keeps creating intensely satisfying music that seeks only to provide on sensation: pleasure. Consistently….
On the very top of my 2025 podium as of today… challengers beware.
5 galactic escapades
