Having four musicians collaborating via the internet across an ocean is a rather incredible achievement that can be done with modern technology, sending files and conversing via the web in all kinds on video applications. Between various studios in Las Vegas, Irvine, Quebec City, Sweden, and Wales, the project took shape in 2018 with a focus on creating a unique progressive experience. Maintaining the exact line-up throughout was instrumental in creating this, their 6th album. Bassist /keyboardist Andy Kubicki, guitarist/bassist Glenn Liljeblad, keyboardist/guitarist Tommy Stark, his fellow Swede Lennart Stahle(guitars, bass, keys), drummer Denis Boucher from Canada and Welsh singer John Eyre are all talented musicians who clearly have all the chops required to work with relative ease. Their influences are evident, spanning such luminaries like Mike Oldfield, Pink Floyd, 10cc, Alan Parsons, Supertramp, Gentle Giant, and Gryphon, but coming up with their very own stylistic.
There is little ‘sweet past time’ wasted in getting into the properly ‘proportional’ mood, a tight prog groove augmented by diversions into GG territory, John has a Shulman-esque delivery, while multiple keyboard effusions sprinkle the arrangement with just the right kind of thrills, Kubicki’s bass well entangled with the drum master Boucher. Nothing wears its welcome too long, keeping the ambience like clockwork, ‘the metronome of passing days’. An archetypical bucolic ballad on “Scarecrow Song“, very British and playfully aromatic, sweetly crystalline and escorted by a dualistic pulse, vibraphone synth delicacies teeming in the background. Clapp your hands and the scavengers will flee.
“The Long Caravan” travels on a trail of subtle hyperactivity, intensely melodic and laden with all forms of vocals poly-harmonics, with inspired instrumental forays into a most comfortable numbness, urging the listener to ‘should have listened harder’. “Garra Rufa” maintains the tempo, decorated with an understated and compressed guitar solo, and those jangly multi-tracked vocal attributes, leaving the piano to lead the percussive elements. A hint of humour finale is well done!
The core of this album lies in the one-two punch of “The Raven and the Moon” and its follow-up “Fly Like A Bird”, 11 combined minutes of sonic venture, guided by a soothing piano and simple beat, rekindling the APP classics, a trilling and acerbic guitar solo, throttled with assorted effects and a cinematographic mood that is just plain celestial. The second chooses a funkier excursion, with a clever hint at a famous 70s classic about an eagle’s flight yet shifting into deft orchestrations and theatrical accoutrements. Eyre having the ability to sing and hush at a moment’s notice, choir in the valley below, echoing upwards to the sky. Muted voice, church organ and piano unexpectedly charming the audience further. There is never any hint of blank facility, its an ever-evolving carousel, an addictive experience, round and round we go.
“Scandinavian Limbo” refers to the Swedish contingent, infusing Norse humour (yes, it does exist, just ask any Viking!) and valiant enough into insert a series of “shooby-do wah“, a slight sense of vintage 10cc adding to the fun. Perhaps bronzing and doing the limbo near the same beach as where Dreadlock Holiday was recorded. Who knows, except the border police.
Back into a medieval bucolic tone with birds tweeting and that APP meets GG feel on “Wood Nymphs”, a ‘raconteur’ story, governed by a robust bass and wavering keyboards interspersed with swirling guitar shavings, another fun-filled romp into the leafy bushes. The ‘troubadour’ vocals are smooth as silk and most evocative of a time passed by.
“Space Rocks” will keep anyone on their toes, dragging you into jaunty cosmic tomfoolery, with clavinet chopping as hard as the rhythm section, corkscrew guitars slicing through the fluffy clouds and flight log piano clearly focused on fun. “The Last of Us” is the 6-minute finale and a perfect ending to this tantalizing offering, as orchestration light the fuse for the possible apocalypse, ‘holding onto memories of battles lost and won’. Doomsday music for Armageddon times, yet still providing some form of delivery, perhaps those who create us will come back and clean up the mess. It’s just a question of proportions, I surmise!
Time to revisit their previous works , before its too late.
4 Countless Chronicles