Even though this is my third album by this enigmatic pagan folk band, whose occasional deviance into theatrics can throw one for a momentary loop, both “Caught in a Spell” (2009) and “Myths & Legends” (2015) somehow failed to hook me in, and I do not even recollect why, perhaps too many arrivals that upset the prog apple cart. So, when the incredible Anne-Claire of Bad Dog Promotions sent me this recently, it was a request I was unwilling and hence, unable to push aside. Husband and wife team of Maxine Cilia (guitars, sax, vocals) and bassist/vocalist Baz Cilia are a talented lot, together with lead singer Fay Brotherhood, lead guitarist Neil Wighton and newcomer Ali Soueidan on the drum kit. “The Glare” will be released soon on November 1, 2025, not inscrutably the day after Halloween (what a ghoulish thought!) and presents seven tracks for a tight total of nearly 44 minutes and on the prestigious Progrock.com essentials label (one I know quite well). My first run through had me mesmerized, as my ears had a hard time not enjoying the atmosphere mad the delivery of their unique material. Let’s get dressed up, bring along the plastic pumpkins and go trick or treating!
The obligatory mood setter is the short “The Gaze of the Dragon”, as perfect a title one can ascribe to the autumn rites about to envelop our minds in rapturous fun. The vocal is not overly spooky, just enough pagan fog to obfuscate the banal routine and usher in some adventurous expanses. “Ianatores Teresteres” is where the festivities really take off , a robust guitar-led onslaught that shakes off the browning leaves from whatever costume one may be wearing for the occasion. The bewitching vocals are insistent, the driving rhythmic steamroller adorned by buzzing riff bulldozers, as Neil adds some corkscrew devil tails to the stringed assault. The enchanted track transfers into a mid-section armed with quite the pulsating groove, with flute adornments providing some lanterned light, the strident voice fits flawlessly with the flowing music. The reboot into full-on guitar folly stamps this with a chilling smirk of bemusement.
Stretching the unsettling mood even further into theatrical drama, “Pieces of Glass” raises the bar with the inclusion of clever detail (tick-tock) in a weighty arrangement where Fay approaches Kate Bush’s legendary vocalizations. The crystal guitar cracks into shards of mirrored necromancy, yet the arrangements are way heftier than the similar Blackmore’s Night style, the hint coming from the flute and acoustic guitar playing the baroque/medieval card faultlessly. Entertained and bewitched, as if under a sorcerer’s spell, can this continue?
The fragrant aromas of a Sherwood Forest-like sense waft gently into the pores on “Faery Wood”, a charmed flute warbles in a duet with Fay’s serpentine voice. Baz carves phantom bass lines, slicing through the carpeted fog, the tempo seductively dropping down to an eerie hush before the final serenade around the campfire warming the frigid skeleton bones , for some well-deserved relief.
Like the English folk legend of Scarecrow of Romney Marsh ,“ Crystal Caves” is a rambling adventure that builds up quite the head of steam, the gymnastic vocals dominating the thrill, the rhythmic pulse determined and energetic, eventually cresting into a quavering mid-section where the high notes tickle the senses. The relentless choral vehemence is breathtaking, the twinkling guitar cavorting with the flute in perfect symbiosis (just like during the Aqualung age), a truly excellent folk-prog masterstroke.
The vaporous melancholia returns on “The Cult”, a bustling rocker that rushes along, ‘fighting for survival’, with an unexpected symphonic rise, orchestrated with grandiose keyboard and guitar alliances as well as a monster beat. “The crystals of power, change up the view , from polluted waters, life force renewed”. Chivalric lyrics that portray the band’s style seamlessly, with a little hint at modern times.
“When Stars Collide” finishes off this superbly worthy voyage into the supernatural, a welcome escape into the stars. With words relating to the horoscope (horror scope?), honed electric guitars shaping the hustle, the bass and drums following in a bustle, this is a wild mesmerizing ride into ‘the harvest of my rain’, Fay ranting and raving with exalted affluence. A delightful synthesizer flutter takes a bow, as the ‘Scorpio, you have a have a sting in your tail, won’t you play?” repeated chorus excites the senses. But its Maxine’s festive saxophone that seals the deal with the dragon, the jangly guitar ruffling the ridges and slaying this beast.
A welcome surprise addition to my best of 2025 albums.
4.5 Jack-O’-Lantern glances