Issue 2025-002
Aura — Communications
Aura, the Swedish symphonic progressive rock band, have returned, with their latest album called Communications. A bold concept album that dives into the intricate and fascinating theme of human connections. It's, again, an ambitious and intriguing release, although I haven't found it as interesting as the album Reincarnations, which I also reviewed more than two years ago.
The lineup for Communications features Lennie Andrews on vocals, keyboards, guitars and D-drums; Magnum Ekman on guitars; Lisa Ruby Schoug on vocals; Tommy Peterson on drums and percussion; and Paul Munin on bass. Together, the band crafts a cinematic, occasionally haunting soundscape that feels both intimate and grand. Their chemistry is undeniable although Lenni Andrews is the only one still in the combo of that other album. This outing reveals a willingness to push boundaries that doesn't always hit the mark as consistently as Reincarnations. I was surprised by that album and really enjoyed those vintage pop melodies mixed with some orchestrations and epic movements.
The fifteen tracks of Communications explore communication in its many forms: its beauty, its failures, and even its absurdities. From the great overture, Hymn From The Hills, to the epilogue that brings the journey full circle, Aura tells stories that range from personal introspection to playful satire. Tracks like No Communications and It's The System highlight the frustrations of modern interactions, while Communications With A Coffee Machine adds a humorous edge, showcasing the band's willingness to incorporate levity. Where Reincarnations shone with accessible, pop-inflected melodies wrapped in lush symphonic prog, this effort veers into more atmospheric and experimental territory.
That said, moments like The Only One Marie and A Letter balance the chaos with tender balladry, though they lack the staying power of Reincarnations highlights. Aura's discography doesn't demonstrate musical evolution over the years because they keep doing what they know best: adapt their style to the concept of each album, so take the musical references of Pink Floyd's atmospheric sounds with some Beatles melodies, and you will get the idea. That is a good thing because one can easily identify that band, but also find different aspects within the concepts underneath that mix.
Another constant across their releases, is their penchant for peculiar artwork. Communications is no exception. It continues a tradition of odd covers. New listeners can find these covers intriguing or alienating, they're undeniably a part of the band's identity, and I'm getting used to them. Ultimately, Communications is a good album that shows Aura's commitment to artistic growth and thematic exploration. It's a complex, moody piece that rewards patient listeners but lacks the immediate charm that I experienced with Reincarnations. Fans of the band will appreciate their ambition and a topic of such current interest, but for newcomers, this might not be the ideal entry point into their catalog.
Lars Boutrup's Music For Keyboards — The Overture to Life
Oddly enough, but being sort of a guitarist myself (yes, please refer to that one Willem Dafoe face), I rarely listen to shred rock. But I tend to enjoy keyboardists' solo records more often than not. Lars Boutrup's new solo record only confirmed my preferences. The Danish keyboardist is a regular guest on the DPRP pages, with seemingly his entire back catalogue being touched by reviewers' team since 2006. The Overture to Life adds the fifth (that's fifth, right?) chapter to his solo discography.
It shall not be a tough task to guess the nature of the record – yes, that's once again a plethora of different keyboard themes supported by the rhythm section (neither guitarists, nor singers are welcome here, sorry). It's not a good way to start with something negative, but at times it seemed to me that the bass and drums sound too basic and straightforward – maybe because they do not want to step into the spotlight and steal attention away from the keyboards, but in a couple of tracks it almost felt like Lars used e-tools instead of live musicians. Apart from that, keyboard fans should get just what they want from records like The Overture To Life: some ELP, some fusion, some Sherinian / Rudess.
Faithful to his credo, Lars does not include any heavy rock fragments, with all the heaviness one can get coming from the organ parts. Let me go over the tracks briefly.
Event Like Pearls balances between playful fusion-esque synth phrases and Keith Emerson's purling Hammond (there are even short citations from Pictures At An Exhibition). Funky Man X is closer to Rick Wakeman's solo experiments and harmonic thinking, with the same festive sunny mood, that Rick mastered in the 70s. Get in the Car delivers maybe a-bit-too-proggy structure to my taste, clearly wanting to embrace as many phrases and ideas as possible within a 5-minute running time (but if you love the kaleidoscopic aspect of prog, then check the track out). As if to balance the previous flamboyancy, Hero Time is a much more focused composition, moderate and built around a single main idea.
The Overture to Life serves as a centerpiece of the album, but actually together with the subsequent Perfect Friday they form a prog symphony diptych, where Lars channels his inner Keith Emerson at a yoga carpet. Both tracks instantly evoke memories of classics like Karn Evil 9 or Pirates. Somewhat oddly titled The King Went Well is the “charts-aiming” hit (meant ironically, of course) of the album, based on groovy tempo and synth extravaganza which reminded me of Eric Norlander solo efforts. The closing track Owed To Irving captures the atmosphere of 70s/80s cold war spy movies with a minimalistic, enigmatic atmosphere and moderate pace. This couple of last tracks I would deem as my favorites on the album.
There's clearly a good deal of talent and efforts behind The Overture. This is one of those albums that fly under your radar, overshadowed by flashier, but often disappointing releases from famous bands. Not a masterpiece, but a rewarding listen and a good reference for those who prefer to dig deeper.
Mile Marker Zero — Coming Of Age
It has been a decade since Connecticut's Mile Marker Zero last appeared on DPRP and that was with their second EP Young Rust. Since then, they have released a studio album, a live album and a handful of digital singles. This third full-length album sees the band largely unchanged in the intervening ten years with only one change in the line-up: bassist Jaco Lindito replaced original bassist Tim Rykoski at some point. The remaining quartet have remained throughout the twenty years since the band was founded, they being Dave Alley (vocals, guitar, keyboards) John Tuohy (guitar, backing vocals), Mark Focarile (keyboards) and Doug Alley (drums).
Not being familiar with the group I had no idea what to expect but was suitably impressed by the diversity of material on offer. The brief piano/vocal ballad A Place In Time gives the album a gentle start but there is no danger of being lulled into a gentle stupor as ferocious guitar power chords announce the arrival of Best Is Yet To Come. This track shows inventiveness and originality in abundance while also displaying some impressive playing particularly by guitarist Tuohy and bassist Lindito. More impressive still is Dave Alley's vocal performance. He has a voice that spans the range from a comforting, mellow croon to an aggressive and forceful blast of power. With such a great asset in the band it is bewildering that they should choose to add distortion to the vocals in the opening thirty seconds of Towns To Grow Up In. Once this has been removed, and following a rather nondescript further thirty seconds, the song blossoms out and turns out to be a bit of a corker. Prominent on this piece is Focarile's keyboard work. Incorporating various sounds he sets things up for the mid-song guitar solo before adding his own solo.
Bizarre is a bit, well bizarre. The album is reportedly a concept album although without any lyrics to peruse I am not confident enough to define what the concept actually is. This is more of a positioning track in whatever the story is, but it is the most unique of the album's eight songs. I am genuinely unsure about this piece: the individual elements are great, nice piano, particularly the bass notes, classy acoustic guitar and great vocals, yet there is something about it. Perversely, I think it might make more sense as a stand-alone track rather than as part of an album. Certainly I would be intrigued if I heard it in isolation but at the current time it seems somewhat anomalous. Perhaps I just need longer to assimilate the whole album.
In contrast, title track Coming Of Age is a slower number that fits in perfectly on the album. The layered vocals are magnificent and once again Focarile stamps his authority on proceedings. Great acoustic guitar solo as well. The appropriately named Heavy Days is an out-and-out rocker. Don't be fooled by the solo piano introduction, which is repeated at intervals throughout the song, this number is as heavy as the band get on this release. Prog pretensions to the fore, this is no doubt the highlight of the album for me which is somewhat surprising as I thought my heavier days were over!
The volume continues with Far From Here where Doug Alley beats the crap out of his drums! A more modern sounding piece with an epic chorus and lots of twiddly bits to keep the listener occupied. Things are wrapped up with End Of August and a rather dramatic contrast as things have turned all acoustic with Mellotron sounding strings, hand claps and big vocals. A well constructed song with lots unfolding over the seven and a half minutes and the reprise of the chorus and piano riff from The Best Is Yet To Come is sheer genius.
Considering the band have to juggle their musical ambitions with making a living in the real world, the group possess a very accomplished sound that belies the fact that each musician recorded their parts in different studios. Kudos to Jake Siberon who co-produced the album with the band and was also responsible for the mastering.
It was a pleasant surprise hearing this album, and it is one that I am set to enjoy over the coming years. Well worth checking out and while you are at it take a listen to their seasonal singles performed in the style of major prog acts. Very enjoyable.
PS. While reviewing the album it struck me that the song titles were rather familiar, despite never having heard of the band before. Then it struck me, six of them are names of albums by other artists! This is undoubtedly sheer coincidence but it amused me. In case you are wondering here are the six: A Place In Time - Mike Gibbins (Badfinger), Best Is Yet To Come - Bonnie Tyler, Heavy Days - Jeff The Brotherhood, Coming Of Age - Camel, Far From Here - Dan Crisp (member of the Martin Barre Band), End Of August - pfsr.
Perfect Storm — Stairs
A no-brainer is by definition a decision that requires little or no effort. Or is to be seen as the resolute crystal clear answer to a question that involves no thought whatsoever. Questions like 'Do you want coffee?' or 'Shall we visit the beautiful capitol city of Groningen today?' which in a split second sees me drive northward bound on the A6 highway whilst sipping that precious comforting dark liquid from my cup.
Whether I would be interested in Perfect Storm's album Stairs also fall under this category. And the reasons speak for themselves for I awarded their breathtaking debut No Air with a perfect score and a fully deserved and a self-evident high position on my 2021 album list. Having also witnessed the band grow from strength to strength over the years, I was therefore very much looking forward to it when they finally retreated to the stillness of their recording studio to work on their sophomore album.
The anxious waiting period now over Stairs, like the band's debut, abundantly delivers on all fronts. Although a few notable changes have taken place. The first one being the recent recruitment of powerhouse drummer Wieger Dijkstra who replaces original member Jesse Bosman and the band's live-drummer Niels Voskuil. The latter together with engineer Ralph Fokkema and Frans Vollink (mastering) again providing the warm transparent mix of the album. The impression Dijkstra brings is that there must be something in the Groningen's waters, because he showcases a similar tightness complemented by a muscular technique that effortlessly switches drive and power with playful modesty and intricate subtlety.
The second change is the evidently increased role of vocalist Hiske Oosterwijk. Responsible for the beautifully reflective and autobiographic inspired lyrics, again sadly not included in either of the Vlerk-designed CD/vinyl packages, her input has substantially grown and hears her frequently shine during solo performances next to her usual strong vocal harmonisations. A magnificent example to be found in the dynamic pop-influenced surroundings of Don't Go. An extremely catchy composition which on the wings of Oosterwijk's powerful high soaring vocals truly rocks like a cradle from start to finish. And on a whole offers tantalising exemplary interplay and wonderful alterations in melodies and atmospheres which accentuated by delightful synth embellishments readily grab hold.
Misspend is of even higher of moving beauty. Opening subdued with an elegant touch of atmospheric earthiness which is firmly set in motion by an enticing guitar riff and the thriving rhythm section of Dijkstra and David Klompmakers (bass), this heavenly composition at first breathes the same mesmerising ethereal atmosphere as No Air from the band's debut. And continues to attract plenty of showcased melodic diversions and changes in atmosphere which are brought to life with emotively touching vocals from Oosterwijk.
The ultimate gripping reconnection to No Air is the top-tier experience of Stairs. Emotive and autobiographical in nature, it is here Oosterwijk's comfortingly soothing voice touches deep within and feeds the heart and mind with an elevated sense of freedom that perfectly intertwines with the sensitive ambient atmospheres and dreamy melodies that open the wonderful composition. Climbing ever higher in heavenly appeal courtesy of immaculate harmonious interplay while beautiful guitar gently weeps and synths softly twinkle, it's only after the song's sudden ending that I'm finally transported back to earth.
A small drawback to all this exquisite exposure to Oosterwijk's enchanting voice is the diminished presence of Adel Saflou's equally amazing vocal cords. In the comforting deliciousness of Skin Deep Sky, in which thoughtfully every song title of the band's previous album lyrically passes the revue, his sensitive range as before impressively hits home and brings bags of tangible emotion. Which together with the song's symphonies, a classical inspired bridge, and a familiar resonating tempest of melodies in spirit of Mystery, again assures a goosebump initiating listen. This moment however is one of the sparse times that Saflou's highly appealing voice actually gets to perform on its own.
The final change to be noticed is the recent departure of keyboardist Ard Offers. I wouldn't go as far in stating that this comes as a shock to my system, for his expert successor Jan Munnik (Autumn) superbly attends to his musical task at hand. But as a previous integral part to the band's overall sound and music, Offers co-composed the fantastic No Air songs together with founding guitarist Gert-Jan Schurer, I do miss his involvement at times.
Not overtly in the song smithery department because Schurer has written seven outstanding compositions that lavishly breeze Perfect Storm allure. As brilliantly demonstrated in groovy opener Demon's Dance which rekindles the sensation of their 2020 debut thanks to groovy tight teamwork, fiercely rocking riffs, bombastic movements interchanged with sensitive passages, excellence in harmonies and wonderfully construed intensifying prog moments highlighted by formidable guitar parts rivalled in vocal peerlessness. And in I Am Tomorrow which, next to the prominent presence of Saflou, in near carbon-copy manner brings great catchy Saga inspired instrumentation and a divine bridge finalised by a mighty fine guitar solo. But I have to confess that I do prefer Offers' joyful adventurous 'prog 'n roll' organ escapades and his virtuous duelling interaction with Schurer over Munnik's mostly symphonic and atmospheric musical interpretation.
All of the above is merely water under bridge though. Because the overall result and demonstrated craftsmanship is massively impressive, thoroughly engaging and utterly pleasing for the ears. A final illustration of which given in the cracking conclusion of Depraved Mind. Here Perfect Storm's indulgent progressive tornado rises to full force with energetic prog-metal fierceness in spirit of Porcupine Tree to which Munnik brings succulent layers of rousing synth while various completing vocalisations by Saflou and Oosterwijk give depth and meaning to the recurring darkly atmosphered themes. Shimmering with psychedelic elements and bordering on repetition in light of its chorus, a Pink Floyd echoing transition then midway through does successfully calm melodies soothingly into a temporary serene ambience which under wonderful guitar guidance starts to gains momentum. To ultimately yield a grand rocking finale designed with tantalising compelling melodies and amazing dual vocals elevated by majestic guitar that thrillingly rounds of this magnificent composition full circle.
What remains at the end of the day is that, next to the guarantee that Stairs features in my top 10 list of 2024, I can assuringly state that Perfect Storm have once again knocked it out of the ballpark. Perhaps not as far as their brilliant debut No Air. But ask me the age-old "To Buy or not To Buy?" question, and I can't think of a more no-braining thoughtless response than that of a giant affirmative Buy! Because the immensely enjoyable Stairs is a highly recommendable album fully worth adding to your collection. Can we do the album launch thingy again please? I so want to visit Groningen...