Issue 2024-092
Anubis — The Unforgivable
Anubis are now in their twentieth year and for a band that has been together for this long there have, remarkably, been only a few personnel changes, mainly centring on the bass playing position. They have another new bassist with the talented Anthony Stewart on board, who features prominently on this new album.
To celebrate the anniversary Anubis have released The Unforgivable, a compact, seamless, song-cycle. The story is one of a man escaping a mid-Western Koresh-like religious cult, The Legion Of Angels. Except here the leader is, unusually for such cults, a charismatic woman. It is their first narrative-based release since 2011's A Tower Of Silence. Another Anubis release was reviewed here on DPRP: Hitchhiking To Byzantium.
And at the end of my review of their last release Homeless hoped that they would "follow this path into song-focused prog, as I have a feeling that a blinder of an album is not far away". Guess what? That is exactly what they have done. This is a blindingly good album that keeps the widescreen, cinematic neo-prog style melodies, but they have committed to a compelling heavy prog makeover.
Anubis (promo photo)
They make full use of their line-up of keyboards (David Eaton) and three guitarists (Robert James Moulding, Douglas Skene, Dean Bennison) providing washes of sound, piano and organ detailing, pin sharp riffs, and class guitar solos. Underpinned by subtle, driving drums (Steven Eaton) and the aforementioned prominent melodic bass lines. Moulding's strong tenor is powerful when needed and the rest provide some lovely harmony vocals too. On Part VII - The End Of The Age and Part VIII - Back they add in Becky Bennison on vocals, who gives a different and delicious colour to this section of the song-cycle.
As the songs on The Unforgivable segue seamlessly into one another it is a decisive to discuss the tracks separately, but I will look at one track to give you a feel as to what Anubis are about here. On Part IX - Shadows Cloak The Gospel you get the full power of the music here. The song has a powerful vocal that is supported at first by synth washes, piano and acoustic guitar. The music grows with bass and gentle percussion. Vocal harmonies abound but then the full band break in with gloriously chugging riffs and a melancholic guitar solo of some class. As with the rest of the album this is terrific music.
Anubis' The Unforgivable comes in a lovely CD package, with the helpfulness of full lyrics. It is very well-designed by Tim Neill. The album has a great mix that stops these melodically and lyrically packed songs from being anything other than a great listen. Superb arrangements make use of light and dark passages. This hard-hitting and emotional heavy prog is another cracking release. What is it about 2024? All these bands producing top-notch work! I think were going to need a Top 20 end of year list this time!
Crypto Knight — CK1
When yours truly reviewed a Crypto Knight's EP earlier this summer (Four Fables), I expected it to be a more-or-less one-off task in my schedule to finish and jump to "more interesting" releases. Indeed, the short four-track mini was a rather odd mixture of space rock, pop and electro effects, not really fitting the prog map that we are familiar with – and hard to evaluate properly. Now, with the full-length release, the vagueness drifts off, and it's time to take another glance at the project. And, yes, upon second attempt I saw the irony and wordplay behind the band's title — mimicking Man of Steel's “favorite” element (and a couple of lines from The Lamb Lies Down on Broadway, of course). Kudos for the band and a condescending sigh for me, missing it earlier.
Back to the review. Crypto Knight is a duo of Dave Johnson, responsible for the writing and instruments, plus Tim Malugin, head of the vocal department, so to say. The team has been active since 2022 and recorded two full-length albums plus a couple of EPs (to a rather humble appraisal from the crowd, judging by Bandcamp). CK1 compiles new material and remixed versions of older songs in approximate halves, providing an insight of where the project is grounded as of today.
Reviewing Four Fables I compared the duo's music to the likes of Fish On Friday and Cosmograf, i.e. not overtly complicated prog, song-oriented rather than virtuoso-oriented or compositions-oriented. And while this still stands true, after listening to CK1 several times, I see the band as heirs to the likes of The Alan Parsons Project and 90s AOR, albeit with a more up-to-date sound, of course.
This particular collection is not only song-oriented, it is downright song-centered. Absolutely no big instrumental sections, very laconic usage of instruments themselves and please forget the word “epics” pressing the play button. Is it still prog? Tricky question! CK1 totally lacks the usual instrumental abundance of prog genre, but it still features a rather untrodden approach to songwriting and, despite being seemingly accessible, grows on you (or better to say, grew on me) every time I re-approached it. If these two factors are in your check-list for new releases, give CK a try!
The songs share more or less the same “brushstroke” of Dave's harmonical thinking, but still, when you look at them closely, have quite a lot to offer. Down To Earth is a spacey AOR song with a memorable refrain that I liked from the Four Fables EP. Here it sounds even better, more airy and groovy, as well as the preceding Supernova. Connected Random Sequences (what a title!) is another favorite of mine here, with a superb song structure and well-arranged female backing vocals. Sunsets On Sailboats has an implied reggae feel, but with a twist, so it does not sound particularly cheesy.
Not every song works perfectly. For instance, closing Carpe Diem features a nice flute section in the vein of Camel, but also a rather confusing drum-machine rhythm. Folksy Lonely In Heaven with a playful mandolin almost makes it as a good chill-out song written in unabashed major, but lacks that one final touch of production.
It is lamentably rare that we see new good songwriters emerging to the musical scene, no matter prog, pop or metal. Crypto Knight proved (at least to me) that they are quite undervalued and should gain recognition from larger audiences.
Recommended with some caution, and not for prog purists.
Cyan — The Guardian
Cyan's latest album, The Guardians, arrives as a bold testament to the band's mastery of progressive rock, blending lush soundscapes, complex arrangements, and emotive performances. With its sophisticated instrumentation and thoughtful lyricism, this album establishes the group as a distinctive force within today's progressive scene. The album features a stellar lineup, with each member contributing to the multifaceted journey that is The Guardians.
One of the most positive aspects of the band as it now stands is that Peter Jones, Luke Machin and Dan have been permanent members of the band since 2021. As the lead vocalist, Peter Jones infuses The Guardians with a soulful, dynamic energy. His voice is both powerful and nuanced, seamlessly shifting from a delicate falsetto to a more commanding, full-bodied delivery. His vocal lines are integral to the album's emotional core, with a distinct warmth that recalls legends of progressive rock, but with a modern twist that resonates with today's listeners.
Rob Reed's keyboards are perhaps the most prominent element here, offering lush, cinematic textures throughout. He brings a classic prog-rock sensibility but also integrates modern electronic elements, creating a balance between the retro and the contemporary. Reed's arrangements are intricate, utilizing both vintage-sounding synths and grandiose piano lines to elevate the album's sweeping atmosphere.
Luke Machin is one of the most exciting guitarists in the progressive rock world today, and his playing on The Guardians is exceptional. From soaring, emotive solos to more subtle, intricate acoustic pieces, Machin's guitar work is dynamic and ever-evolving. His ability to craft riffs that both complement and challenge the rest of the band's arrangements makes him a standout.
Dan Nelson's bass work provides the solid foundation needed for the complex rhythms and melodies on the album. His playing is clean and forceful when it needs to be, but also fluid, with an underlying groove that ties everything together. In the quieter moments, his subtle bass lines create depth, while in more intense sections, he anchors the band's sprawling sound.
Tim Robinson's drumming is precise and calculated, yet full of life. He plays with a level of control that allows the complex time signatures and rhythms of the album to breathe. Robinson's ability to switch from delicate, intricate patterns to explosive, energetic fills makes him an essential part of the group's overall sound.
Angharad Brinn's vocal harmonies and occasional lead parts provide a contrasting texture to Peter Jones' voice. Her contributions add a touch of ethereal quality, giving the album a sense of diversity. Together, Brinn and Jones create a dynamic vocal partnership that is central to the album's emotive appeal.
The album consists of only three tracks, with the opening epic chiming in at just under 25 minutes. In today's progressive rock landscape, where songs often hover between 5 and 15 minutes, the song delivers an expansive and challenging experience for those willing to take the ride into the unknown. This adventurous composition is a delightful return to the genre's roots of creating larger, more immersive experiences.
This opening piece serves as a powerful statement, with intricate keyboard lines setting the tone, quickly followed by soaring guitars and an energetic rhythm section. The track evolves slowly, weaving between sections of delicate, atmospheric passages and heavier, more intense moments. The song builds up gradually, with Peter Jones' vocals delivering an emotionally charged narrative that deepens with each chorus. The long track format allows the band to explore a range of musical ideas, never feeling rushed and maintaining a sense of tension and release that's central to prog rock.
All Around The World is a softer, more introspective track, and is extremely accessible, with Rob Reed's haunting keyboard textures and Luke Machin's guitar taking center stage. Angharad Brinn's ethereal backing vocals add a layer of mystery, perfectly complementing the song's introspective mood. The track doesn't shy away from technical proficiency but remains emotional and grounded, a testament to the band's ability to balance musical complexity with heartfelt expression. Peter's vocals are totally sublime here as he reaches the upper registers with consummate ease.
The final track is an instrumental version of the opening song on the bands 1999 album called Echoes. Its structure is dynamic, with a mix of symphonic grandeur and more intimate moments, offering a sense of finality. The track's tempo changes and instrumental layers keep the listener engaged, while Jones' contribution on saxophone gives it a nice jazzy vibe but with a fresh and relevant edge. The instrumental complexity is reminiscent of the 70s progressive scene, yet the arrangements feel decidedly modern thanks to the band's fusion of synths and the use of more accessible melodies. Cyan is more melodic than many of today's prog bands, which often veer into technical complexity for its own sake. Their focus on emotional depth and storytelling allows them to stand apart from more experimental acts.
If you're a fan of bands like Pendragon, The Flower Kings, Transatlantic, Citizen Cain, I.Q., Camel, or Big Big Train, you'll find much to love with the band's latest offering. Cyan's sound sits comfortably alongside these acts, combining the intricate musicianship of progressive rock with a focus on melody and lyricism that appeals to listeners looking for more than just instrumental virtuosity. Fans of Spock's Beard or Marillion might also find a familiar sense of warmth and accessibility, especially in how the band builds tension and release through their expansive opening song.
The Guardians is a rich, ambitious album that showcases Cyan's ability to craft intricate, yet highly emotional progressive rock. The musicianship is stellar across the board, with each member bringing their A-game to the project. Those who appreciate expansive, dynamic pieces filled with gallons of symphonic bliss will find this album a rewarding experience. Cyan has crafted a record that feels both nostalgic and contemporary, making the album a standout in today's progressive rock scene.
Although I have already submitted my top 10 albums for the 2024 year, had I played this album sooner, it would have rocketed up to equal number 1. Highly recommended!
The Madrigal Project — 11th Hour
There are sooo many bands with the name Madrigal. One of them was an obscure progressive rock band from Washington, USA that released just two albums before sinking into prog-oblivion. (If you like to delve into the cupboards of obscure prog then Waiting came out in 1988 and On My Hand was released in 1996).
The band's architect was Kevin Dodson. He has now prolonged the Madrigal legacy, but thankfully with a slightly altered band name and featuring a mixture of old bandmates and some guest stars from the prog world of today. Welcome to The Madrigal Project.
This is definitely an album for those who enjoy prog that hasn't progressed since its 70s heyday. The music on 11th Hour is inspired by legends like Gentle Giant, Peter Hammill, Jethro Tull, Yes, Genesis, early Peter Gabriel and King Crimson. More recent comparisons would be the likes of Transatlantic and The Flower Kings, but with a heavier emphasis on a broad spectrum of keyboard sounds. The guitar is very much a bit-part player here. There is also a greater medieval/renaissance vibe to some of the compositions here. Quite a few jazzy sections too, with the effective use of sax.
In addition to songwriting, Dodson contributes drumming, guitars, keyboards, bass and vocals. He also undertook production duties.
The Madrigal Project (promo photo)
From the old days we have John Van Houdt (bass, guitars, vocals, production), Harry Fix (keyboards, vocals) and Charles Swanson (saxophones, flute, electronic wind instrument).
The impressive roster of guest musicians includes Adam Holzman (Miles Davis, Steven Wilson) and Oliver Wakeman (Yes, The Strawbs) both on keyboards, Billy Sherwood (Yes, Asia, Circa) on bass, Michael Lewis (Jon Anderson, Jean Luc Ponty) on guitar and Jane Getter (Jane Getter Premonition) on guitar.
I won't delve into a track-by-track description, as from the above references and the track times you know what you will be getting. Of course, it's not breaking any new musical boundaries but that's not the aim here. 11th Hour stands as a very listenable tribute to 70s/80s prog-rock.
Although all the songs are instrumental-heavy, there is a lovely variety to the compositions and some memorably-hummable melodic lines throughout. Dodson doesn't possess a great range but his style suits the music perfectly. At 72 minutes, the album would have benefited from some pruning.
The album is available now on CD, double vinyl and a digital download.
Marc Malitz — Off World
Marc Malitz is a multi-instrumentalist and composer who is currently involved with various bands (Fire Garden, Heavy Are The Clouds) and other projects in the Chicago area. Following his 2021 solo career launch in form of the single Green Eggs And Hamm, a bass and guitar driven instrumental fusion song dedicated to Stuart 'Stu' Hamm, it is Off World that marks his full debut.
Accompanied on drums by Bill Kiser (Relayer, tracks 2, 3, 5, and 6) and Bastian Kirchdörfer (tracks 1 and 4), it is Malitz who takes care of the instrumental lion's share by providing guitar, bass, keys, synth sound and midi-percussion. And he does so most impressively with great expertise, first-rate executions, and solid fusion songwriting that recalls the great string-bending efforts of artists like Steve Morse, Xavier Boscher, Frank Marino, Joe Satriani, PhilMore, the aforementioned Stu, and Antoine Fafard.
Starting off the meticulously construed fusion ride is Transform which instantly pushes one comfortably into their Steve Morse Band seat. After a funky opening it flows through groovy passages enriched with synths while delectable guitar melodies recall 70s Wishbone Ash. With focus on melody, this strong opener ends in a furious coda highlighted by powerful raw guitar.
Tight rhythms, dynamic deliveries and deliciously twisting and turning, hard rocking melodies in Off World show Malitz blasting off for an indulgent fusion spectacle. This demonstrates Malitz can definitely hold his own in the sensitively melodic shredding compartment. Additionally, it showcases Malitz's song arrangement skills and his strident Geddy Lee-style Rush chops. The latter an influence that also comes strongly to the fore in the well-balanced and easy approachable, yet complex, song structures of Stuck In Amber, which splashes permanent waves of colourful late 70s Rush into view.
Next to these superb songs, there are several in which sensitive bass takes centre stage. For instance in the George Harrison cover of Here Comes The Sun, or the sophisticated mellow poppy fusions of Fernweh. From a distance, this resonates Mahogany Rush.
Outshining all of the above are the two remaining tracks Vita Nova and The Struggle. Infused with jazz elements it is in Vita Nova that again melodic bass steps firmly upfront. When percussion enters the scenery, it shifts gear and completely rearranges into an off-the-scale Santana samba, highlighted by ravishing guitar. After revisiting the initial bass-driven themes, Malitz rounds off this delightful adventurous track in his finest Stuart Hamm and Bootsy Collins style,
The Struggle is somewhat heavier in design and fits in perfectly with the album's overarching theme of Malitz's struggles during his divorce at time of the Covid pandemic. Starting off spiritedly with fierce bass picking and potent rhythms that are a close resemblance to Rush's Where's My Thing?, this song also features lush dynamic transitions and a sparkling Santana fusion passage. Thanks to the warmth of the organ sound, it now also brings early Journey to mind.
What it boils down to is that Off World is a highly accomplished and formidable debut full of strong melodies, refined arrangements, solid songwriting, and expert musicianship. I'm sure that fans of bass/guitar driven fusion along the lines of the names mention above, and those in favour of later era instrumental Rush, will have plenty of joyous field days with this very recommendable release.
Solstice — Return To Cropredy
Blu-ray: Return To Cropredy Concert Film (78:41), Gregory Spawton Full Interview (23:17), Steven Wilson Full Interview (30:10), New Light Documentary (78:12)
The track listing for the latest live release from Solstice may be familiar to fans who own their Live At The Stables album which is not surprising as that was recorded three weeks after this, the band's second appearance at the Cropredy Festival. But the attraction of this latest release is undoubtedly the accompanying Blu-ray disc which features the entire performance as well as a few other goodies. Although the CD is shorter than the concert film, none of the music has been excised, just the between-song banter which, it has to be said, is terribly edited on the CD.
In the quarter of a century between the band's appearances at the festival the line-up has undergone numerous changes, with guitarist, bulbang tarang player and major composer Andy Glass being the only surviving member. The other group members in the current line up are Jess Holland (vocals, acoustic guitar), Jenny Newman (fiddle, backing vocals), Peter Hemsley (drums), Steven McDaniel (keyboards), Robin Phillips (bass), Ebony Buckle (backing vocals, keyboards) and Dyane Crutcher (backing vocals). Incidentally, Phillips in the son of Margaret Phillips who played Fender Rhodes electric piano on the group's very first album Silent Dance some 40 years ago!
As a band, Solstice have really come together over their last two studio albums, last year's Light Up and 2021's Sia. Both of those releases featured vocalist Holland who, despite her tender years has breathed a new life and sense of purpose into the group. Unsurprisingly, the set is mainly composed of the tracks since her arrival. Two tracks are featured from Light Up. The glorious Mount Ephraim whose instrumental opening could easily figure in a Fairport Convention set as a fiddle driven reel. The vocal section is pure Solstice of old and could have been written in the earliest days of the band. Amusingly the song is introduced as a "pop song" as it is under seven minutes long. Bulbul Tarang is named after the instrument purchased at great expense by the band's drummer who apparently has a habit of equipping his home studio with instruments that he doesn't know how to play. In the hands of Glass it elicits some delightful sounds that majestically enhance this slow burner of a number.
Sia is mined for the energetic opening number Shout on which the band can be seen to be having enormous fun and happy to be performing. The section featuring the four vocalists is a delight, bringing the backing singers Buckle and Crutcher (a name worthy of being given to a law firm in any Dickens novel!) out from their positions at the back of the stage into the limelight. Also from Sia is A New Day, another of the type of songs that earned Solstice their much deserved reputation as purveyors of excellent songwriting.
Firefly is the newest track on the release, although it did appear on the Stable album, and at the time of the recording it was yet to have been named. I guess it origins lay in the recording of the last studio album as the "light up" vocal refrain might suggest that the album's title may have been inspired by an earlier version of the number. As "Fireflies" is easily distinguished in the lyrics it is perhaps not surprising that it got the nod as the title, although "Come With Me" and "So High" could have been in contention. However, given that the "so high" refrains are, to my ears, rather annoying and out of keeping with the rest of the song perhaps it would not have been a good choice (and also perhaps may have been taken as a drug reference, although given that the band have released songs with the titles Time For A Toke and Cannibalise Legalis it may be a bit late for such sensitivities!)
From the newest to the oldest, two songs from 1992's New Life, undoubtedly the best, and definitely best sounding, from the early years. Guardian is somewhat of a signature song for the band and Glass never fails to give an exemplary guitar performance. On Morning Light the band is joined by drummer Clive Bunker who was a member of the band at the time of the group's first appearance at Cropredy, and as Glass notes in introducing him, was undoubtedly the reason why they were invited to perform in 1998. At 76 years of age he can still effectively clatter his way around a drum kit and helps the band to do justice to another Solstice classic. Final number is one that has never really been a particular favourite of mine, although the band (and here I principally mean Glass) seem to favour it as Sacred Run (from the 1996 album Circles) seems to be a regular closing number since its release. Both of these songs were performed at the 1998 Cropredy performance.
What one may not have appreciated about Solstice is simply how good musicians they are. Yes, Glass is rightly recognised as a fine player but McDaniel and Newman are virtuosos and Helmsley and Phillips are no slouches either. This is clearly seen from the concert film which ranks high in the enjoyability stakes in a large part from the enthusiasm, energy and delight of the band; one can't help but smile and be drawn into the performance. Okay, Glass is an unreconstructed hippy littering his speech with plenty of "man"s, "dude"s and "beautiful"s, but one can tell it is all pure and genuine.
The Blu-ray also includes the New Light Documentary, a verbal history of the band featuring members of the current line up as well as inserts from Clive Bunker, Greg Spawton and Steven Wilson. Although covering the history of the band it is very much from Glass's perspective as, other than Bunker, it does not feature any other past band members. Although that would have been nice for a definitive history, as the documentary is very much a supporting feature it is not something to complain about. Completing the content are the full interviews with Spawton and Wilson from which the snippets used in the documentary were extracted. Nice to have these included as bonus features.
A very enjoyable release and one that has made me go back to the original albums and give them a spin and definitely giving me a greater appreciation of the band. Well worth watching.
Vanderwolf — The Great Bewilderment
Los Angeles-based musician Max Vanderwolf and his band have released The Great Bewilderment. It is a follow-up to the well received 2022 full length debut 12 Little Killers.
On this new album, Vanderwolf continues to explore an eclectic mash-up of acid-folk, psyche-pop, pysch blues and a dusting of prog-rock. Making full use of his five-piece band as he sings in his cracked, idiosyncratic but very engaging vocal style. The album kicks off with the Southern Rock meets psych of A'coming Home with keyboard player Dennis Martin's Hammond sound channelling the blues style of Gregg Allman. A good start. Acid-folk follows on The 6.09 its acoustic opening growing as the Hammond and electric guitars join (Tim Sonnenfeld, Phil Allocco). There is a visit to Twin Peaks' sound-world on the Angelo Badalamenti blues of Sweep Away The Shards.
The proggiest track is up next. Gaza, written before the current war, mixes Pink Floyd psychedelic blues with the social commentary of the solo work of recent Roger Waters releases. Vanderwolf make use of the talents of Portishead's Adrian Utley to provide Moog fills and an outstanding guitar solo on this track.
The album then moves subtly into pysch pop with soulful vocals on Love Stay Strong with slide guitars keeping the blues feel. The Book Of Dread has a pop melody with folk blues accents of banjo and harmonica. A funky groove from drummer Angie Scarpo and bassist H Chris Roy underpin The Here & Now. The album closes with the pop-ballad of The Gratitude Suite which morphs into slide guitar psyche and a near discordant bluesy guitar solo.
Vanderwolf's The Great Bewilderment is an engaging set of tuneful psyche-blues melodies with nice twists and turns in the varied arrangements. Well worth a listen.
Vanderwolf also kindly sent in a non-album single recorded around the same time, called Colston Sleeps In Bristol Harbour. It is completely different from the album material. Its subject is about the dumping of a statue of a slave trader into Bristol Harbour during a Black Lives Matter protest in the UK. The music and vocals take their cues from the glam-funk-rock of David Bowie around the time of Young Americans and Station To Station and it is done rather well. It was a good decision to leave it off the album as it is so different, but it is also worth a listen.