Issue 2024-060
Jon Anderson & The Band Geeks — True
True is technically Jon Anderson's sixteenth solo album, but it is also a definite group effort. The legendary Yes vocalist discovered The Band Geeks via their impeccable cover versions on YouTube. This led to a successful tour and ultimately to this collaborative new studio release. Band Geeks founder, Richie Castellano, plays a significant role in the final results. His musical talents as well as his long time admiration of Yes, are apparent throughout this wonderful album.
Much has been written about Jon's unceremonious exit from the band that he co-founded with Chris Squire in 1968. He has been publicly critical of the current, Steve Howe led line-up. The nine tracks that make up this album feel like Jon's attempt to recapture the spark that made Yes one of the key ambassadors of progressive rock.
There is risk to such an endeavor, which makes the creative success of this album particularly impressive. Moments such as the upbeat rocker Shine On, are reminiscent of Trevor Rabin's influence. The focus of True though is squarely on the 1970's, classic period of Yes.
With that said, this album is no exercise in uninspired nostalgia. The material feels fresh and works as well as it does due to compositional strength and excellent performances. Tracks such as Counties and Countries and the epic, Once upon a Dream, mirror a sound and style of the past, while still brilliantly standing on their own.
If this was an actual Yes release, it would be trumpeted by fans as a definitive return to form. At 79 years young, Jon Anderson sounds fantastic. His soaring vocals particularly resonate on the album's quieter moments such as Built Me An Ocean, Make It Right and the love letter to his wife, Thank God.
True is an absolute gift and amongst the best albums of Anderson's career outside of Yes. Kudos as well to Castellano and the rest of the Band Geeks for recapturing an elusive musical spirit.
Almost sixty years since his career began, it is incredible that Jon is still creating music that is this essential.
Dreaming David K — Elements
Amateurish blue-sky cityscape photo as a cover? Simple-font logo? Umpteenth-time-used album title? Already feels like skipping and jumping to the next review, right? Wrong!
Fine, I assume that this is not the Selling England By The Pound of the XXI century, but the record deserves attention. Explanations are below, but first a bit of dull theorizing. For a while I have been toying with an idea of mini-genre definition “poor man's prog”, strictly in non-condescending undertones! Indeed, a challenge of writing borders-transcending music, having been limited in resources always fascinated me. Not everybody has budgets of Steven Wilson or Marillion, but this should not block the paths to creativity, and never actually did. For me, patron saints of “poor man's prog” are definitely Twelfth Night along with other proto-neo-prog collectives of early 80s. It is these bands' influences that I heard while listening to Dreaming David K, and repeated listens only cemented this impression. Again, I am far from measuring David Kovacevic's (the man behind the moniker) wealth — he might have participated in more successful IPOs than I ever will, for all I know!
Back to music. London-based Dreaming David K is a project that already has a history of four releases, recorded between 2003 and 2024. His previous album, Black Cat Metaphysics, was reviewed here on DPRP. David himself was once a touring keyboardist for Killing Joke, although, for better or worse, you shall have a hard time finding the post-punk / goth elements on Elements (pun intended). The album offers its listeners a good mix of late 70s symphonic prog mixed with early 80s neo-prog, as mentioned above. The lush synths, the vocal theatrics and overall pompous feel are all here. I even hear echoes of Geoff Mann's singing in the way David delivers his lines. Apart from the vocal duties, David plays keys and percussion and in other “disciplines” he is supported by a prominent session guitarist Gavin Beckwith and Jerome Bannigan on drums.
The first three tracks should seduce any lover of classic prog: Temptation is a darkly poignant opening track that could have come from Smiling At Grief. Artistic adds extra colours to the record, more lush with great saxophone parts and lots of changing moods in the narrative , while A Touch Of Passion with its fragile melody has a flute solo in the vein of Solaris, that potentially should break any proghead's heart. Other notable tracks include Oh, Memory, with a dramatic vocal duo and folky violin, and instrumental Sliding Doors, both multi-faceted and baroque in the best sense.
So far, my review was only favorable. Is there anything not to like here? Two tracks for me miss the point. I didn't really like the melody in Live In Hope (although the flute-featured intro is as good as the rest of the album), and the subsequent Gamer, although easily memorable, is a miss for me both musically and lyrically, sounding as a rather lame attack on digital gamers' psychology (“I don't do this just for fun, and I won't stop until I've beaten everyone”). However, Wonderful City closes the album in the most proper way as a love song to the home city (yes, here lie some vestiges of David's post-punk past).
I am wholeheartedly adding an extra score to my rating, because despite its high quality this sort of music is among the endangered species in 2024. Elements deserve every bit of attention as a great piece of art, making me also curious about David's back catalogue. Run to Bandcamp, support the artist, grab the CDs!
Enthyon — Enthyon
Enthyon is a project from the north-west of England by Arya Bobaie (vocals and santour, a hammered string instrument) and Kev Curtis (bass, guitars, keyboards, and programming, plus engineering and production). They have been working together making music for a decade now, or "cultivated their collaborative synergy exploring the depths of musical innovation" as they call it. This eponymous album is the result of that journey.
Deep Black opens the album with a mix of electronic and alternate rock with a stronger emphasis on the bass than my prog-, metal-, and blues-minded ears are used to. Several sections follow in quick succession, leaving a progressive impression. The feel is alternating between funky, trip-hop, psychedelic, and even some eastern influences, in a way Portishead could switch styles just like that. The lower-range vocals almost sound a bit like Dinand Woesthoff of Dutch band Kane. I really thought were sung by a guy, but still only Arya is credited for vocals. I got confirmation it is Arya only. Female vocal ranges are usually admired when they go up. My taste does not care much for clear, high vocals (and I don't care whether they are male or female vocals), so it was an unexpectedly refreshing surprise to hear this.
The production is excellent and the mix is slightly unexpected in places, making for several aural surprises. It submerges you and overwhelms, which is something I often look for in music. Several guest musicians are adding their talents to this album, like cello on three tracks (Raphael Weinroth-Browne), guitars on four tracks (Steve Jones, Danny White, Paul Sadler), percussion (Arian Sadr), and (real) drums (Stu Browne on the last track). With just a duo as the foundation, adding layers is noticeable but also required to get a bit of a full sound. For prog fans, usually liking the music a bit fuller, this is very welcome. And I have always liked the emotional sound the cello. So that's several ingredients for a good recipe in my book.
At first glance, this is a modern-sounding slightly alternative rock and somewhat psychedelic album — think Tame Impala. Deeper layers are emerging with every listen, and you realise that there is more to it. The songs are above-average length, taking their time to build up.
Out Of Nothingness mixes several of the same influences but is darker and heavier, veering into metal territories now and then. My taste approves! Although still very present, there is less emphasis on the bass alone. The last 2 minutes are quite epic and have an excellent guitar solo by Steve Jones. The drums, however, are too clearly programmed here. That is OK(-ish) in a more electronic setting but a song like this could use a human touch on all levels.
We're slightly back to an electronic underlayer on Voice Of Tomorrow. A pumping bass and the electronics remind me of heavy sections by Frankie Goes To Hollywood. Dar-e Mehr has some lovely acoustic guitar. The middle part is what I've become to see as more typical for Enthyon, but with a subtle layer added of piano and a soaring guitar solo (Paul Sadler this time).
The quieter sections in the darker Dissolution has elements of Devil Doll. Elements of folk-rock add to the overall psychedelic feel, while electronics keep flying through the aural spectrum.
Change was written by cello player Raphael Weinroth-Browne. Not surprisingly cello is the dominant instrument here. Multi-layered and flowing from left to right with sound effects of rain and thunder mixed beautifully. A great reflective moment serving as an intro to the final track. Here we have funky verses, and a chorus that recalls the best of the more unconventional / heavy / complex songs by Alanis Morisette, with the same level of emotional charge in the vocals. The middle section mixed funk and psychedelics and at this time I am no longer even surprised.
The trip-hop elements I can usually do without but the repetitive and hypnotic sounds have a psychedelic effects that works out nicely. The mix of so many different elements makes none stick out, although the resulting blend feels mostly psychedelic. Especially these first tracks also gave me a lovely vibe of light psychedelic post-rock. Lacking or avoiding obvious structure in several songs shows the progressive approach to songwriting, which also comes out in the longer instrumental passages.
Of all the instruments that can be programmed, drums still seem to sound the least organic to me. Or maybe the sounds are OK but drums are just the hardest to program, I don't know. The human-operated drums on the last track are very welcome. With one track written by Weinroth-Browne, it feels he already is an important part of the project. I think having Weinroth-Browne and Stu Browne joining permanently would be a great addition to the project.
While this album is the result of their 10-year journey so far, I do hope it is just the conclusion of the first part of their journey, and not the end. A captivating listen!
Lunear — From Above
The French trio Lunear have released their fourth album From Above. Of their previous three releases, only 2020's Curve. Axis. Symmetry. received a review while the 2022 covers album Gostraks and the debut Many Miles Away (2018) were missed.
Wearing their influences with a light intensity, Lunear's new album is a neo-prog album that has in its stylish music the aroma of Pink Floyd, Genesis, Yes with grace notes of Marillion and IQ amongst many. From Above also has a 1970s prog album conceit (undercut in these days of streaming) of a side of vinyl long epic and three songs on side two.
The music on From Above, however, is still Lunear's own take on neo-prog. The epic five part In Their Eyes, with lyrics by Sébastien Bournier (drums and backing vocals) explores the feelings and experiences of a prisoner of war. Singer and keyboardist Paul J.No has a Steven Wilson timbre and range to his warm voice. The sounds the trio produce to carry this story along is highly melodic starting with a martial drum pattern and synths. They are soon joined by JP Benadjer's guitars, bass and backing vocals that add heft and power to the sound without moving away from the neo-prog format. In the slower section he adds a bluesy Gilmour like solo.
It is a well constructed epic, never flagging, as it mixes tempos and instrumentation as its melodies seamlessly flow from one section to another. My attention never wandered and I wanted to listen to it again almost immediately.
So what of "side two"? Well the two longer tracks, both exactly fifteen seconds shy of ten minutes, make full use of the bands musical neo-prog abilities. Cathedral opens appropriately enough with choral voices and cathedral organ sliding into piano and pulsing bass introducing a song of how difficult it is to find a peaceful sanctuary in the hyper modern world. They break up flow of sound with a well-placed short section of sequenced synths and a piano break, along with two engaging solos (guitar and synth). A well arranged enigmatic song.
The closing track The Tears Of Nostalgia starts out as an acoustic ballad then a lovely piano melody leads the build up of guitars, bass and drums. It returns to the acoustic section at the close in a satisfying arched structure.
Unfortunately these two tracks make the short ballad So Let's Go, as melodic as it is, feel a bit of a make-weight. Listened to by itself it is perfectly fine but here it feels out of place.
Lunear's From Above is a chock-full of memorable melodies and well thought through arrangements. Like all neo-prog it has that comfort blanket appeal to those of us who, like to me, came to prog in the 1970s. If you are in need of musical comforting don't hesitate to have a listen to this.
Seven Steps To The Green Door — The?Truth
For those unfamiliar with this highly regarded band from Germany, they consist of Marek Arnold (keyboards, saxophones, Seaboard), Ulf Reinhardt (drums, percussion), Robert Brenner (bass), and Martin Fankhänel (electric and acoustic guitars). For this third instalment of their epic trilogy, they are joined by Peter Jones (Camel, Tiger Moth Tales), Manuel Schmidt (Stern Combo Meissen), Larry B (Toxic Smile), Elisabeth Markstein (Alphaville), Thomas Klarmann (Argos), along with a myriad of other artists who provide assistance in the vocal department for the various characters that appear throughout the album. The mixing and mastering tasks were allocated to Martin Schnella whose previous work has been reviewed here.
As mentioned previously, this lengthy album forms the final episode of the three-part masterpiece the band have been working on for many years. The first instalment, The?Book was released in 2011, the 2nd episode, The?Lie in 2019, with the final chapter being released in May 2024. The trilogy revolves around the themes of belief, fanaticism, and personal redemption. The Truth dives deeply into the destructive nature of religious zealotry and its impact on individuals and society. It portrays the internal and external conflicts that arise from extreme belief systems, culminating in a dramatic confrontation with the concept of truth itself. Through its lyrics and musical arrangements, the album critiques the ways in which fanaticism can distort perception and lead to both personal and societal upheaval.
Seven Steps To The Green Door's music is renowned for its genre-blending approach, and The?Truth is no exception. The album incorporates elements of progressive rock, djent, symphonic metal, and contemporary classical music, reflecting the thematic depth and emotional intensity of the narrative. This is a very ambitious and adventurous affair and took some considerable time to sink in as the melodies are a bit thin on the ground while the complex arrangements also are not instantly recognizable until at least 5-6 spins have occurred. To really appreciate exactly what is going on with this episode, considerable time, (preferably uninterrupted) will need to be allocated to discovering the secrets of this grandiose affair.
The band have been labelled as progressive rock which is accurate. I am also seeing the reference to neo-prog, and I am having a hard time accepting that genre/style moniker, as the music is far too complex for that descriptor to be properly applied. That moniker may have been more appropriate on some of their earlier, more accessible albums but that does not apply to 2024's music. There are far too many innate references to djent, progressive metal, technical metal and other genres.
This is a very busy and technical album to fully appreciate and may distract a few listeners as the vast assembly of characters, along with the chaotic style of accompanying music may have some scratching their head wondering what just happened. I fell into this trap for the first few spins but thankfully, it is all starting to reveal its inner workings and subtleties. The journey so far, however, has not been quite so straightforward. While I always look for and actively seek out music that contains plenty of melodic sections, we as reviewers, don't always have that option as we chose albums to review that are from artists we either know or are from bands whose music, thus far, may have eluded us. Although I have as number of the band's earlier albums, my memory of that music was of a more accessible and melodic nature, compared to today's offering. That is not to detract from what the band have delivered here but may very well represent what ambitions plans the band may have for their future direction.
Crunchy guitars, a la Dream Theater, soon give way to multiple vocals, softly struck piano but follow a quirky, uncharacteristic pattern of arrangements before they unleash the first iteration of the Cookie Monster growl vocals. Some readers may be aware this is not my favourite style of singing as I find it pointless but thankfully, its inclusion is brief.
Africa, at over 15 minutes in duration, is played well with a high crunch factor from the guitars and includes plenty of scorching lead breaks replete with some decent wah-wah effects. It also includes some more emotive and softer vocal sections whereupon you can hear more of the underlying story unfold. Just after the 11:25 minute mark however, we hear a Derek & The Dominoes riff right out of Layla which is really hard to ignore. Those who know the song well (as I do) will catch it immediately. Younger listeners, or those not familiar with the band's music, may miss it altogether. The decision to include it or not may well turn out either way but for these ears at least, I would have preferred to hear something that was not that obviously similar.
It is not until the third song, Hearing Voices, that we get to hear a snippet or two of Marek's tasty saxophone. It is the strength of the female vocals that remind slightly of a more aggressive, adventurous Renaissance. Hearts On Strings is a full on djent extravaganza and features some blistering work on the guitars, bass and drums, all with a pretty catchy riff underlying the busy proceedings. Tasty sax interludes also help soften the attack from elsewhere. When You Get To See Me follows a similar path and includes even more crunch. The remaining songs are all strong, well constructed pieces but will be further enhanced if following the storyline via the extraordinarily detailed lyrics which are interspersed within a voluminous booklet that accompanies the CD.
The use of varied instrumentation and genre fusion throughout the album reflects the complexity of the themes. Progressive rock's intricate structures and symphonic metal's intensity capture the conflict and drama of the narrative, while classical elements provide a timeless and reflective quality. The?Truth stands as a powerful and thought-provoking conclusion to the band's trilogy. By addressing the corrosive effects of religious fanaticism through a blend of progressive rock, symphonic metal, and classical music, the album offers a rich and multifaceted listening experience. Its narrative depth, coupled with its diverse musical arrangements, makes it a compelling exploration of the nature of belief and truth. The album not only provides a fitting end to the trilogy but also invites listeners to reflect on the broader implications of its themes. A very clever body of work!
The War Yaks — Bifurcate
With lyrics that are deeply personal and a piano/saxophone led sound, Bifurcate, the debut album from New Jersey's The War Yaks, is an impressive statement and another in a line of prog bands taking the old traditions and turning them on their head in an impressive way.
Led by the duo of Nat Rusciani (vocals, keyboards, songwriter, and producer) and her co-writer, saxophonist Anthony Warga, The War Yaks have a sound that combines prog with piano-led pop style that creates layers of complexity musically, while Rusciani's voice and lyrics stand atop it all. Her vocals are, quite simply, incredible. The syncopation of her vocal are reminiscent of Derek Shulman's vocals with Gentle Giant; there is that same musical quality to the vocals as an instrument.
The War Yaks (promo photo)
Rusciani's lyrics are also deeply personal. In Footprints, the lead single from Bifurcate, we have a bed of sax and piano led tight prog, but lyrics about a lover walking away from someone and leaving a trail of destruction in their wake. A lyric like "fighting life when you can't force it to rhyme, you find some quarter in the disorder you left behind" hits home for many who have been on either side of someone leaving. "Bifurcate" means to tear something in two and this is the general theme of the lyrics running throughout the record.
The War Yaks first came to my attention with their covers EP, Saxtermination, which has an amazing version of Haken's Cockroach King. Their debut full length contains a fleshed out band with extra flute, guitar, bass, and drums added. Overall, this is a very strong debut for The War Yaks. It is great to have another fresh sounding, and female led, prog band in the world.