The superlatively prolific warriors never seem to run out of ideas, not surprising as there are so many more subjects out there still needing a prog rock soundtrack! There is always a lot to like about this multi-national congregation of Prog luminaries : lots of collaborators from a wide variety of countries and styles, yet they maintain that top notch Marco Bernard-Kimmo Porsti-Toni Jokinen rhythmic machine in the cockpit. Two other regular members I hold in very high esteem, namely Alessandro di Benedetti (Inner Prospekt and Mad Crayon) and Rafael Pacha, the Spanish master who can go back in time , becoming a troubadour as well a juggling a wide variety of instruments, never fail to astonish. The art direction, cover art, and packaging are ceaselessly first rate, they are certainly not cutting corners in that department! Finally, their focus on cinematographic fairy tales and fictional classics that have stood the test of time, and that is what adventure is all about, they just supply the soundtrack. Sinbad the Sailor was originally added to the saga of One Thousand and One Nights somewhere in the 18th century by Antoine Galland but really achieved massive global fame with the 1958 movie “The 7th Voyage of Sinbad” , which was so successful that a couple of sequels followed in 1973 and 1977. The guest list includes new blood with veteran keyboardist Beppe Crovella (Arti+Mestieri, Randone, Tower, Circle of Fairies, Secret Cinema, Il Castello di Atlante, Cantina Sociale and countless others) , Roine Stolt needs zero introduction, Chris Engels (Cen- Projekt) and the return of vocalist Daniel Faldt (Simon Says, The Guildmaster, and Bernard & Porsti) . French vocalist Steph Honde (JP Louveton , Grandval, Bernard) also shines when called to the microphone. Acoustic guitarist Massimo Sposaro appears on two tracks as well. Let me propose something a little out of the ordinary. Before listening to this progressive rock opus, why not seek out the original 1958 flick and luxuriate in all the rollercoaster twists and turns, and fully savour the swashbuckling (damn, I love that word) battles with a slew of dangerous foes. Then armed with the album’s libretto-like booklet, one can follow along in rapt attention.
As the intrepid dhow sets sail, the musical sailors set the course with instruments (as well as sextants, compass and binoculars), “Guided by the Moon” and bravely ready to challenge the oncoming waves, winds and storms in order to discover ‘treasure untold’. The arrangement is appropriately drenched in colossal cascades of mellotron , courtesy of Beppe, while the story is delivered by a rather dramatic Steve Unruh vocal and violin. Risto Salmi adds some sultry saxophone.
A trio of mariners not named Keith, Greg or Carl, decide to depict the “Valley of Diamonds” , an instrumental tour de force with an astonishing keyboard display from Stefano Vicarelli , who masters the various ivories at his disposal (piano, organ, synths, mellotron and even clavinet). The wealthy theme is bouncy and vivacious, laden with exciting levels of flourish and theatrics, without ever sounding superfluous.
The stately symphonics take over on the swooning, Octavio Stampalia-penned “Mark the Stars”, kicking off with shimmering effects and then veering into an operatic vocal from the leather-lunged Steph Honde, travelling within tons of pace and slippery synthesizer helixes toward some gruesome skirmish with a monstrous giant.
First epic, ticking in at a hair over 9 minutes is the “End of the Day”, at first glance, a gentler affair that unites Roine with Toni, as well as being composed by our good friend Alessandro on his magnificent proficiency on piano, while the ever-busy Michael Trew handles the mike (pun intended). Naturally, the arrangement develops into a bustling showcase for a wide variety of playful insertions, such as a bluesy electric solo from the Flower King.
Next up, a triad of 10 minute + epics, surely composed on purpose to act as a centerpiece of this album, “Trapped by Old Age “ starts of the proceedings with a medieval-tinged masterstroke penned by Rafael, who handles all the instruments (outside of the Bernard-Porsti engine room, even a few only rarely heard (sazs, rehtiz, viola da gamba, zither). Trew takes care of the vocal department, Bernard shoves his Shuker bass front and center, letting his pal Kimmo beat those skins accordingly and we wander off into the sunset of life.
More melodramatics on the Mimmo Ferri composition “The Isle of Wonder”, his handling of the guitars and keys a delight, the Bernard bass humming along like a well-oiled machine, the twist being the Daniel Faldt vocals which have a rather distinctive nasal tone. The out-of-the-box style technically challenges the ears with a near ‘jazz visits RIO’ tinge, drenched in complex layers and diversions, such as the unexpected darbuka intervention played by Beatrice Birardi. I wonder if this is one of those tracks that need a few revisits to better grasp the enjoyment or else the King might die.
Keyboardist Marco Grieco’s turn to imprint his usual flair on “The Last Shore”, with guest Gianni Mazzoti on flute, while Unruh returns with his dual weaponry of voice and violin, recalling the long-awaited return home to Baghdad, for some well-deserved rest and relaxation. Another titillating track on an album that perspires heroic exploits.
The seven voyages are done and destined to be transcribed by the penned hands of legend, the grandiose finale “Sinbad the Sailor” serves as an epilogue that summarizes the entire saga and reminds us all, that adventure is what characterizes science, all the arts and even life itself. Chris Engels is charged with the heady task, leading with impeccable voice and keyboards. It’s a whopping slice of genius.
When the dreams stop, the last breath has left the lungs.
4.5 hanging gardens