Issue 2025-031

Eye 2 Eye — Lost Horizon

8

Jerry van Kooten

Although new to me, French band Eye 2 Eye have been featured on DPRP three times before (on their first album they used the spelling Eye To Eye). Once In Every Crowd and After All got lukewarm response from different colleagues. Nowhere Highway clearly showed improvement.

Without listening to the older albums and only basing a statement on those descriptions, I think it is safe to say there is a further improvement, or it just happens to reach the ears of a reviewer with slightly different taste. The biggest change is that the neo-prog elements have all but gone. Well, some clear references here and there, but mostly I am hearing modern, melodic, heavy prog.

The opening track welcomes you with fast-paced melodic riffing, with a hint of Semistereo steering towards prog metal. This is the heaviest track on the album, with several parts not unlike the heavy side of Galahad I like so much. As I really love this track, it is almost a pity this level of heaviness is not repeated. Well, it gets heavy, but the thundering verses and choruses are really something. But there is much to love on the remaining 40 minutes! Meadows Of Silence and Tempest have gorgeous heavy parts.

Especially The Letter shows the emotional layer in singer Paul Tilley's voice. His sound reminds me of Adam Lassa of Polish band Abraxas sometimes but has a touch of Peter Nicholls and Nick Barrett as well. Powerful and soulful without going too theatrical or forced. That emotional element is present in most of the music on offer here, not just the vocals. I think that is an important part for me to like this album.

The middle section has a great bluesy guitar solo, then a symphonic keyboard section (a touch of neo-prog here). The variety is broad and that applies to the whole album. Even the first track has a softer middle section, with a freaky violin part. It's moments like these where the emotional side of the band's sound shines through.

The theatrical approach to the project, the dark setting, and some unexpected breaks and melodies bring fond memories of Devil Doll.

From the tracklisting on the digital release you coulnd't tell, but the press info and CD make it clear that the last three tracks belong togetherunder the title Lost Horizon (Ghosts Endgame). It brings a more symphonic side of the band. The chilling opening has beautiful piano and haunting violin setting the scene, followed by soaring harmonies and melodies. It brings out the melancholic side in Tilley's sound. The last part shows influences of modern Comedy Of Errors even.

I listened to this on my beloved Heavys headphones, which made a clear distinction between the heavy lower frequencies flowing in slightly distorted air, with a lot of clear details in the higher frequencies. It brings a kind of warmth where you feel the bass and drums instead of having each kick and slap be too clear and clinical.

Fans of Galahad, Pendragon should definitely take a listen but those who like current Arena might like this as well. The melodic prog will be a lovely addition to fans of many sub-genres. Not overly complex but still challenging to the ear, great guitar and keyboard melodies, and a tad dark and heavy, that is how I like my prog.

Random Earth Project — Changes

7

Ignacio Bernaola

Let me start by saying this: Changes is a perfectly enjoyable album. It's not a game-changer (no pun intended), but it shows a band that is clearly moving in the right direction. Random Earth Project is a trio from the UK who play melodic, keyboard-driven progressive rock with a bit of a retro feel. If you enjoy the softer side of bands like Pendragon, Camel, or even later Genesis, you'll probably find things to like here. It's not about showing off or being super complex. This is more about atmosphere and melody, and that's a good thing if you ask me.

The album kicks off with the title track, which is actually a three-part suite. It's got some nice moments, especially in the keyboard work (which is strong throughout the album), but I did find myself drifting off a bit in the middle section. Maybe it's just me, but sixteen minute tracks need more surprises to keep me hooked. Things pick up with Cry, which has a very welcome guitar solo and soft vocals that brings some extra emotion and somehow reminds me of Pink Floyd, which is also nice. All Told is one of the more melodic tracks, and it benefits from a guest appearance by Amanda Lehmann, who adds a bit of that Steve Hackett style charm.

I also quite liked Hotel, a jazzy instrumental with a very nice saxophone that comes out of nowhere, but in a good way. It feels like a break from the formula and gives the album some breathing room. Game and Gates come together and are probably my favourites, or favourite if we consider them to be the same song. It has more energy and a better balance between keys and guitars. This is where the band sounds the most confident and dynamic. I hope this is the path to follow for the band because it's a very good and interesting composition. MojoKing slows down the euphoria of the previous track with some intricate atmospheres that leads to a good ending that appears to be the closing of the album. But it's not. The final track, Christmas Song, is… well, unexpected. It's sweet and soft, like a Christmas card set to music, but I'm not sure it fits at the end of the album. Still, it's harmless, and maybe it will grow on me next December. I prefer this kind of songs to be released as singles or parts of extra material. Production-wise, everything sounds clean and balanced. No complaints there. The sound is warm, and all the instruments are nicely separated.

Now, a quick word about Airwaves, their previous album. The band kindly sent it to us along with Changes, complete with a lyric booklet and some cool promotional cards. That kind of detail is always appreciated. Musically, though, Airwaves feels like a step behind. You can hear the ideas forming, but the execution is rougher. That's why Changes feels like a solid evolution and more polished, more focused, and with better flow overall. So, final thoughts? Changes won't blow your mind, but it's a pleasant, well-crafted album with moments of charm. It shows a band that's improving, and I'll definitely be curious to hear where they go next. A solid 7 out of 10 from me. And hey, if the next one keeps up the pace, Random Earth Project might just surprise us.

Bjørn Riis — Fimbulvinter

10

Mark Hughes

Fifth solo album by Norwegian Bjørn Riis coming shortly after the latest release by his band Airbag. Riis plays all instruments and provides all the vocals apart from drums which are performed by Airbag's Henrik Bergan Fossum, Pymlico's Arild Brøter and session drummer Kai Christoffersen. The album's title, Fimbulvinter, refers to, according to Norse mythology, the long winter that heralds the beginning of Ragnarok, the end of the world as we know it and its subsequent rebirth. The title is apt as the basis of the album is the artist's personal experience in dealing with anxiety. The lyrics are profoundly honest and emotional, describing utter hopelessness, paranoia and despair yet a sense of gratitude and hope for the future.

Although previous releases from both Riis and Airbag have drawn heavily from the work of Pink Floyd, the current album is largely free of such influences and draws more from the likes of Black Sabbath, although with greater subtlety and a larger contrast in the dynamics within and between songs. The opening Illhug (Mischief) gives no signs of what is to come as it is a very lovely instrumental performed on acoustic guitars with the slightest hint of a sustained keyboard chord in the background. The thumping bass riff introduces Gone with a steady drum beat and abstract guitars providing a slight psychedelic feel. The song, as the title implies, is all about disappearing and, lyrically at least, is not something that is likely to a massive karaoke hit. However, the music does instill a degree of mitigation with the insistent rhythm section seemingly displaying an arrogant persistence and determination that contrasts with the vocals. Some fine guitar work provides highlights along the way, and throughout one is kept in suspense at what will happen next.

Panic Attack is as clear an explanatory title as one needs and superbly encapsulates in musical form what such an event feels like. The slow build-up sets the scene with the introduction of a heavy guitar riff signalling the first symptoms. A lovely couple of chord changes and a wonderful guitar solo may invoke some Floydisms but not overtly and besides are perfect within the song. The contrasts between the quieter sections and the heavier choruses are perfect; a degree of menace and uncertainty before a maelstrom in unleashed towards the end. I have to say the sudden halting of the piece may see rather strange but in retrospect is just perfect, leaving open the question as to what, if any, resolution there is to the circumstances.

On a much lighter note is the ballad She, a paean to the support provided by a loved one. The heartfelt sincerity of the song provides an overwhelming beauty than I am sure will have invoked tears in the eyes of the person the song is dedicated to, and maybe in many others. Musically it is very simple, the softness of the instruments being as one with the sentiments of the lyrics. Riis once again displays his mastery of knowing what is appropriate to the song, and the guitar solo is perfectly measured and performed. The sound of a distant wind and ominous bass drone (all very Game Of Thrones!) heralds the start of Fimbulvinter.

The short riff section that preceded and follows a lovely guitar solo does seem rather incongruous at first but it does provide a backdrop over which other things develop. The piece is instrumental and the second half is simply wonderful. Again some similarities with Black Sabbath can be heard but only in a short segment and I am sure listeners will be able to pick out other sections that resonate with other musical experiences. There is even a Mellotron (or more likely a Mellotron sample) included at one point. Whatever, there is no need to try and pick out potential influences within the track as in itself it is a mighty piece of work in its own right and is immensely enjoyable as such.

Although the ending of Fimbulvinter may have seen to represent a flourish of hope and positivity with its soaring guitar solo, reality intrudes with the final track Fear of Abandonment (which is labelled Abandoned in some quarters, the slight difference in nomenclature having a major impact on the song's interpretation). Acoustic guitars provide a link to opener Illhog and subtle piano chords provide a melancholic air. The lyrics are the most desolate on the album and speak of real pain and torture. There is a hint of Anathema in the chorus, which is no bad thing. The expressive guitar solo lifts the song, although at its termination we are left with no doubt that the fear of abandonment has turned into abandonment.

The subject may not be one that is the most life-affirming, but it is honest and exceedingly well executed. This album has immense depth and gravitas and one can only applaud Riis for his bravery and honesty. Being one who mourns the demise of Red House Painters, I find some solace in this album and seriously consider it to be the highlight of Riis' career so far. An exceptionally fine album.

Rush — Rush 50

8

Andy Read

We all have birthdays. Maybe as you get older, the exact numeric accumulation of years can become a little hazy. I was born in 1969. I know that a couple of months ago I had 56 candles on my cake.

This famous Canadian trio was formed in 1968 and released their first single in 1973. The line-up was completed in 1974 when Neil Peart joined as their drummer, four months after the release of their self-titled debut album. So I'm puzzled as to which stage of their "birth" is being used as an excuse to launch this career-spanning, four-CD compilation to "celebrate 50 years of Rush". Fifty years ago they had released three albums and opened for Uriah Heep and Manfred Mann's Earth Band in front of 11,000 fans.

Infeasible mathematics aside, Rush 50 (R50) is the band's first-ever complete-career anthology, showcasing at least one studio track from all 20 official Rush studio albums.

The big draw musically is the scattering of rare and unreleased songs. Their debut single, an enthusiastic cover of Buddy Holly's Not Fade Away, and its B-side, You Can't Fight It, resurface here for the first time since they were originally released in 1973.

Equally interesting are the other two tracks from the very beginnings of the band. The cover of Larry Williams's Bad Boy and the Rush original Garden Road were both recorded live in Cleveland in 1974 and have never been officially released on any format.

Neither would make it onto my stereo as songs in their own right. But as an indication of the rock 'n' roll beginnings of the band, they are an interesting historical marker. It is a real shame that the band didn't take the opportunity to complete the picture and include a version of their other known early song, Fancy Dancer. There is also a 'Vault Edition' of The Trees. It has an alternate guitar solo, and has only ever been available on a video game.

R50 closes with the moment that brought the curtain down on their career: the very last performance with Neil Peart in Los Angeles on August 1, 2015 with a medley of What You're Doing, Working Man and Garden Road. Judging from Geddy Lee's voice, it was a very emotional moment.

The music runs in quasi-chronological order. The studio/single tracks play in release order, with the live versions inserted according to the date they were performed/recorded. So you get some of the Rush classics much later in proceedings. That keeps it interesting and less of a history lesson. You also get to hear much later versions of classics such as Cygnus X-1 and The Manhatten Project, showing how the band altered the songs over time.

Plaudits to whoever put this together. They have done a great job in mixing the studio stuff with the live versions. The whole thing has a lovely flow to it. It stands as a quite compelling portrait of one of the most important bands in the history of rock/metal.

Some may quibble over the song-selection, but I pretty much dig every choice here. Sure, there is not anything particularly new, but it is a superbly curated collection that you can put on your system and enjoy for the next 50 years.

On that basis, grabbing your own copy of R50 would be an easy recommendation. The sticking point for me is the luxury-price tag that has been put on what is, in reality, a best-of compilation.

R50 is available in a range of box-set formats. The basic four-CD-plus-104-page hardback book version will set you back around £130. The seven-vinyl version retails at £210. The book features new Hugh Syme 50th anniversary artwork along with new song illustrations, photos and liner notes by journalists David Fricke and Philip Wilding.

If that's not enough fluff for you, then the Super Deluxe Edition adds 20 lithos illustrating one song from each studio album and a second 100-page hardcover book. The Fullness Of Time is a brand-new graphic novel by Fantoons "storytelling a conversation by Geddy and Alex reminiscing on the trials, tribulations and successes recording each studio album and how the band's sound evolved with contributions from the producers and engineers that the band worked with on their studio albums".

If you're a "superfan", then of course you have to have the Backstage Exclusive Super Deluxe Edition that includes the seven vinyl discs, the 4CDs, all the books and lithos, plus four more 'exclusive' prints. The cost on Amazon at the time of writing was £415.

And if you have that much money to burn, then you're probably already enjoying the R50 limited edition set of 14 pin badges. A snip at an extra 75 dollars!

To be fair, I've only had the music to review. The various sets might offer fans the most amazingly written and designed book(s) and prints ever created. So over to my colleague Jan Buddenberg, who received the real thing for his birthday. When asked for his opinion of the full (basic) package, he told me: "The book is beautiful to look at (I haven't fully read it yet), but compared to the R40 box set this is much less interesting, contains abundantly less material of interest and is (for the general Rush enthusiast) way overpriced."

He added: "To give a comparison, The Last Detail, the recent Solution box-set, is also 130 Euros and has 18 CDs and 1DVD that contains all of their albums, their final live gig (well, almost as I actually witnessed this the day after), and over 6.5 hours of additional live, demo and out-take material. Oh, and a vinyl sized coffee table book weighing 3 kg. Now that's a box-set highly worth purchasing. In comparison, the Rush box-set is 9/10 based on the music, but in value just 7/10."

Of course, no one is forcing anyone to buy it, but this screams "rip-off" to me. I'd be quite happy with just the four CDs. Keeping to the unfounded 50-theme, I might even stretch to £50 for cash. But just having the music is not an option. So I'll spend my money on something else, enjoy the albums that I have, and maybe one day pick up a copy of R50 in a second-hand store.

Jake Weber — Jake Weber's Middle Earth, Vol. 1

5

Sergey Nikulichev

One of the secrets of reviewers' trade lies in understanding that more often than not, every new spin of a record in study brings something new to the table, showing more aspects of the work and changing initial impressions. But there are few rules without exceptions, and Jake Weber's Middle Earth... – an exception it is. Further listens confirmed my initial impression and only shaped it further.

Jake Weber is an Australian guitarist with a number of Bandcamp releases, quite prolific with singles, and debuting in 2024 with his first long-play Defying Gravity. His sophomore album Middle Earth, Vol. 1 offers home-brewed slash computer-enhanced instrumental prog-metal bordering with shred. And it's a classic case of home-made metal record of the digital era. Fast, rather aggressive and very sterile, with riffs coming straight from John Petrucci's thesaurus and solo phrasing shaped by innumerous YouTube prodigies, backed by programmed drums and inaudible bass.

Can the guy play? Absolutely. Why Tolkien? I don't have an answer, since the music does not convey any imagery, and could have easily derived inspiration from any other sci-fi or fantasy world, without having to change a single note. As per connections with Tolkien's saga, AI-touched cover does its best to cement the impression of its' superficiality.

The record features some guests, including Joe Hayley from techno-death outfit Psycroptic, John Sanders from wonderful but living under-the-radar Alarum, and Daniel Mackie from Triple Kill. But the most successful cooperation, to my ears, turns to be with Mark Furtner from heavy metal band LORD, which never impressed me, but the duo on A Knife in the Dark is undeniably good. Not too much shred and some good old heavy-groovy chugging.

As for the rest, during the first couple of tracks music sounds “okay-fine”, by mid-record “rather palatable” and then onwards a little tiresome, in all honesty. All the worse, since I can't deny that the record has nice ideas, here and there, worth exploring and well-played. But, overall, albeit with a couple of exceptions, this sounds more like a guitar school vacation homework, wrapped in an album format than something actually requiring a listener and made for one's enjoyment.

The Weever Sands — Moonfish. Songs Of Love And Water

8

Jan Buddenberg

The German project The Weever Sands define their style as 'a slightly overdone Post-Prog project translating Mike Oldfield's early concept of a band as a “powerful miniature” into music & slow-moving visuals. A relatively spot on definition when the songs on Moonfish. Songs Of Love And Water, their fourth effort, are taken into account. Because the three thoughtfully arranged pieces of music not only conjure up all sorts of calmly passing by imaginary movie reels. Compositionally, these songs also each in their own unique way show strong affinities with Oldfield's music.

Led by Jens-Peter Gaul and featuring the talents of Daniel Geal (narration), Armin Rave (guitar), Geo Schaller (flute), Dyanne Potter Voegtlin (keys), Jan Christiana (bass), Leslie Penning (recorder) and Terry Oldfield (bansuri), it is thanks to instrumentation, the meticulous multi-layered built up of the individual compositions, and the accomplished overall sound it is actually quite impossible not to be reminded of Oldfield and his iconic 1973 album. That said I should probably point out that where Tubular Bells still manages to frighten hordes of cinemagoers, this will never be the case when one experiences the cheerfully comforting prog extremities of Moonfish. Songs Of Love And Water.

There is, however, something spooky going on. Not so much on the prog side of things. Because as the album progresses, there's an abundance of playful virtuosity, surprising musical arrangements, rock, folk, canterbury, ambient EM, classical music and masterful performances in spirited Oldfield, Kate Bush, Gentle Giant, Jethro Tull, Greenslade, The Guildmaster, and Karfagen style to be enjoyed.

But where I once thought that a mixture of all these styles combined with elements of hip-hop, rap, and pop would take ages of listening effort to fully fathom and appreciate. Let alone dance to, which as we all know us proggers can't. I now have to completely rethink this thought. For from the first moment that the minutely detailed arrangements and perfectly streaming melodies splashed upon my ears, my aging body moved, my head bopped, my feet stomped, my fingers swiggled and swayed, and bodyparts I had long forgotten about irresistibly swung along to the contagious musical familiarities and the imaginary film projections that the music provided. And I wouldn't be much surprised if my imaginary four to six-year-old grandchild had enthusiastically joined me in the process.

Before one starts to think I have lost my marbles (don't worry, I lost them long ago), let me elaborate some more as we dive in for a deeper exploration of the various tracks. Starting off with the two compositions that bookend the epic Moonfish (Opah) suite.

Opening curtains with a magical sprinkle of fairy dust straight from Disney, Oh, I Said, And Turned Vanilla (River I) starts off with two softly repeating "tick-tock" themes that over the next few minutes develops into a pleasantly engaging pop/avant-garde infused multi-layered rhythmic whole. It then sets the music in full groovy swing mode with increasing levels of authentic instrumentation of drums, bass and playful vibraphone gently spurring the melodies on.

Perfectly afloat and highly accommodating to dance to (so I'm told), virtuoso keys add colourful vibrancy. the enthusing words "Are you ready for this!" jump-starts a blistering guitar solo which on top of bouncy raving melodies at times envisions Jethro Tull. The immaculately construed song freely splashes about in jazzy Gerry Gibbs enviroments. Melodies come to a halt after the phrase "This is how we like to do it", adding another quirky rap-like moment to the song.

With a different set of instruments and other voice-over / musical arrangements, its sibling Oh, I Said, And Blushed Like An Idiot (River II) follows a similar themed approach. A touch more tribal and aquatic in nature, this composition also builds into a well-rounded whole with expertly delivered structures. It basically yields the same satisfying end-result which now speaks to the animated mind.

Both of these compositions are profoundly uplifting. The euphorical happiness shared in the seven-parted nautical experience of Moonfish (Opah) that is placed in between, effortlessly surpasses this, though. Predominantly played in major key, it brings an extreme feel of cheerfulness. This epic suite follows the shiny moonfish on a day's journey and starts with awakening to beautiful voice orchestrations and enchanting musical mobile melodies guided by minimalism in the part Moonfish Meets The Mermaid Crew (Ocean Dawning).

Swimming along to a Main Theme of engaging peaceful melodies highlighted by pristine polyphonic vocalisations, When The Pipefish Calls To Dance then cordially invites the Moonfish for a spirited round dance to the finest of pied-piper of Canterbury melodies in a water world designed by flute and jazz guitar. This could well be the large freshwater loch of Loch Ness in the Scottish Highlands if one takes the engaging folky bagpipe anomalies of Little Freak Waves into consideration.

In a kaleidoscopic musical display that brightly outshines the colourful displays as found in 'Finding Nemo', the Moonfish then continues to stylishly drift past virtuous synth movements that reflect Greenslade. And following March For Love And Water's statuesque homeward bound trajectory of revisited themes and outstanding animated performances, finally dozes off to the comforting sounds of tranquil recorder in the oceanic ambient beauty of Song Of The Whale (Moonfish Goes To Sleep).

Briefly recapitulating, the highly variegated Moonfish. Songs Of Love And Water offers a beautiful transporting scenic prog journey that will bring much joy to those who cherish the adventurous musical richness of canterbury, folk, prog, and artfully crafted intricacies that meets the likes of Mike Oldfield and many of the names mentioned above. And will introduce the little ones in your family, provided this blessing has come your way, generously to the marvelling building blocks of prog. Mutual joy and satisfaction guaranteed!