I fondly remember those heady days when I was lucky enough to discover this new band back in 2014, somewhat startled to witness that some reputable prog chroniclers chose to take the easy road by criticizing the sound and production on their debut “Searching for the Lost Key” as being amateurish. Personally, it seemed to me that it was done with intent and not by a lack of means or funds. Their four subsequent albums proved with utter conviction that their sound was deliberate and hued to create a specific mood , which has permeated all the way continuously until this, their 6th offering. The ethereal keyboards still thankfully dominate the arrangements and Tree Stewart does a masterful job on her ivories, held together by mortar bass and brick drum patterns , namely David Greenaway and Tom Jackson respectively. Then enters Mister Ally Carter, who not only shines on his green electric guitar but also is extremely adept at blowing his golden saxophone. All the comforting instruments are in place for another haunting voyage in the supernatural prog that these four provide. Two mid-sized tracks as well as two monster epics that will sweep you into distant realms of fantasy and thought, a 47-minute labour of love.
For a brief moment I was caught unawares with “Dancing with the Spirit”, as it sounded closer to jazz-rock fusion, launched by a solid percussive beat, a rolling marimba patch that had a sonic lustre closer to Chick Corea, with hints of Brian Auger’s Oblivion Express and when Ally starts blowing his saxophone, it literally blew both my body and my mind! I checked my audio equipment and yes, it is the Emerald Dawn! Tree caresses her keys with affectionate bravado, as the arrangement shifts into heavier territory, with Carter’s wah-wah drenched axe winking at vintage Robin Trower. Dazed and confused, I spent quite some time searching desperately for my jaw , as it has leaped out of my mouth !
Speaking of stunned, might as well proclaim the truth ASAP, “Under Changing Skies” is the finest piece of music ever concocted by this veteran band from St-Ives, approximately 17 minute of eternal mood shifts, ambient pools of echoing shimmer, like floating clouds , flute underpinning the introspective meanderings (Tree also does the sublime vocal recitations), when out of the blue (or green, in this case), the sudden industrial transference into a Bonham-esque drum stride , epically shadowed by something out of the Tommy Iommi/Jimmy Page book of heavy metal riffing. Thunderbolts of lightning , very very frightening, indeed! Acoustic guitars take flight to calm the contemptuous storm with soothing melancholy, Greenaway bubbling just above the waterline and Jackson percussing deftly. The reckoning arrives with an imperial pipe organ flurry that serves only to light the match that sets off the upcoming fireworks, a gothic voice shrouded in distant resonance. Carter finally charges through the battlefield mist to swoop one more time on his trusted electric guitar, majestically carving a thrilling blast that exudes power, glory and passion, taking this magnificent piece to its rightful resting place, among the bewildering stars in the midnight sky. Instant and total gratification, and I am being polite!
Another strapping impression is to be discovered on the aquatic “While Oceans Die”, with swirling tides of splashy organ as far as the awakening eye can see , a siren-like lead guitar calling on mariners to join in on the ride, bass propellers forging the maritime path laid down by the bosun, the thumping skins evading the flotsam and jetsam and guiding us all on the high seas . Mother Nature runs her own show, and she loves to challenge human endeavours by throwing a plethora of imposing threats, such as waves rising to whitecaps, sudden gales of brutal wind power ripping into metal, wood and skin without preference and sudden drops of temperature that may lead to a deluge that would make Noah shudder. The quartet are certainly inspired enough to delve into symphonic outrage, at times utterly chaotic and downright agonizing, as human waste goes unabated, as both plastics and radiation combine to destroy the fine balance that makes our planet blue. Thankfully, the night approaches to provide some kind of temporary relief, as Tree’s soothing keyboards provide some form of panacea, while the saxophone seductively recounts all the anguish suffered. Tree does her finest Gilly Smith of Gong fame on the final sail into port, finding safe harbour. Poseidon could not have done better musically.
A final acoustic guitar driven lament on “And We’re Left Wondering Why”, reminding us of all the beauty around us, namely the lovely melody, underpinned by a suave fretless bass line and crowned by a passionate vocal from Tree. The second lap around the block brings the tempo up to a higher level, the conviction expressed growing in stature, as the lyrics decry the one eternal crime of humanity, above all others. Leave it to Einstein who said” Two things are infinite: the universe and human stupidity; and I am not sure about the universe”. Sonically, the symphonics are simply mesmerizing, a fusion of lush organ orchestrations, suffused with striking percussive strains, a stubborn low end and a gloomy drum pace. The saxophone blares out the agony of desperation, as we are all left wondering why. The arrogance of indifference.
If you have had the misfortune of never hearing the Dawn of Emeralds, you are a poor citizen of our planet. Combining all the facets of what make progressive rock the apotheosis of sonic art is clearly laid out in resplendent fashion. Their music is original and unique, their album covers wholesome and personal, their lyrics meaningful and poignant and the impressions left after each and every audition, one of haunting bliss.
The 4 classic elements+ 1 for keeping the faith
Total : 5 esmeraldas