Issue 2025-067
Round Table Review
Orion — Into Darkness
Edwin Roosjen
Multi-instrumentalist Ben Jones has returned with a new Orion album. Just like the previous albums The End Of Suffering, Passing Through, and The Lightbringers, Ben is doing all the instruments and vocals by himself. The music of Orion is progressive rock/metal and amongst the bands usually mentioned as comparison is Rush, mostly the last decade when Rush albums provided a heavier sound. I also hear some Porcupine Tree in the music of Orion and progressive metal bands like Caligula's Horse, Jolly, Evergrey and Redemption.
The new album is called Into Darkness and the music is indeed darker than on Orion's previous albums. I feel the vocals are a bit turned into the back of the sound and the bass is more upfront in the mix. The sound loses a bit in dynamics, but if you like a darker sound, then you can enjoy some nice bass sounds. Opening song A Fathers Love is very dynamic at the beginning and moves into being more dominated by darker sounding music. I found that most of the songs on this album follow this structure. The start of Someday is very poppy 80s, and the bass sound is awesome on this song, thick dark rolling waves of bass riffs. Ordinary Men and Left Behind follow the same path as the opener, gradually these songs get darker and intense towards the end. Left Behind is the faster one, Ben Jones is really hitting the double bass drums on this one.
The Ant is an instrumental song that starts with some techno sounds, but when the loud bass kicks in, it is rocking. Halfway during this song Ben really slaps on that bass guitar. Not a technical song but a heavy instrumental metal song that I really like. With The Antidote To Life and Bleeding Hearts the album ends with two slower songs. Both songs start gentle but it would not be Orion if the second part of these songs was more intense.
With Into Darkness Ben Jones added another fine release to the catalogue of Orion, a bit darker one this time. The vocals move slightly into the background, while the bass is more upfront in the mix. With the turn towards the darker side, the music of Orion loses a bit of the dynamics that I hear on previous Orion albums, and on this part I slightly prefer the previous albums. On the other hand, we now have nice thick layers of bass that I also really like. Fans who like the Rush side of Orion will definitely enjoy this. If you are an Orion fan already, you will for sure like this album. And if you like progressive metal in general, then Into Darkness is an album you should definitely give a try.
Jan Buddenberg
Directly after the successful release of his second album The Lightbringers, Orion (aka Ben Jones) suffered a stroke of bad luck. His music was stolen and illegally shared (even sold). This made him decide to effectively terminate his Orion project on the 1st of November 2024. In a dramatic turn of events, one piece of Hugh Syme's artwork specifically designed for The Lightbringers was also recycled in altered form for Dream Theater's latest 2025 album.
Fortunately, various supporting circumstances made Jones ultimately reverse his decision. Presumably inspired by this, he soon after started work on his third album Into Darkness. In addition to his usual one-man band approach in terms of compositions, lyrics, production, and performance, he also assumed complete control of the artwork himself. A hands-on approach that in regard to the musical styles and diversity of topics on offer has turned out rather nicely I must say.
The depicted arcade machines that accompany Someday in the booklet is an excellent illustration. As this excellent composition irrevocably conjures up this image thanks to its perfectly befitting 80's dark-wave The Tubes synthpop before it transitions into an explosive mix of heavy fuelled rock that often recalls the captivating melodic complexities of Leprous and Rendezvous Point. The music is bold, much in spirit of Rush.
That spirit actually burns bright within almost every composition. Like in the heavy opening statement of A Father's Love where Jones goes all out on vocals, mystic rhythm patterns, pounding bass, and soaring guitar work. Or the brilliant The Ant (Instrumental) with an intricately construed amalgamation of KONG techno, funk, zestful Rickenbacker, and outstanding guitar soloing. It goes on with relentless melodic drive for three (too short!) spectacular minutes. As a final example, there's the stunning Left Behind. This composition has a driving riff which, tight rhythms, and twisting and turning atmospheres, and it offers a lot of dynamic melodies. The layered arrangements share a luxurious amount of bass activity to please Yes, Nektar and Rush fanatics.
With music, artwork, and lyrical aspects all in perfect coexistence, it is the final two tracks that impress me the most. Both epic in scope, this especially applies to the fantastic The Antidote To Life: Into Darkness Pt. 1. Its heavily sedating groovy bass foundation, bombastic outbursts, and compelling guitar parts ultimately segue into blissful symphonic atmospheres. In the end it swiftly echoes Hemispheres. But I have to confess that Bleeding Hearts: Into Darkness Pt. 2 comes a very close second because of its divine ethereal glow and symphonic melodies that get one's blood pumping through great melodic guitar play.
On reflection, I think I probably still prefer The Lightbringers. But ask me again tomorrow and this may well have changed. Because ultimately, Into Darkness is another glorious delivery by Orion that just grows in strength at every turn. But it also proves that all good things come in threes! And by the looks of it, even in four, because Jones is already working on his next album. Until such a time comes, my advice is to seriously check out this strong year contending effort. In other words: available officially for £5,99 (excluded shipping) on Bandcamp, Orion's highly recommendable Into Darkness is an absolute steal worth owning.
Ignacio Bernaola
I actually bought Into Darkness on Bandcamp before knowing I would be the one reviewing it. That probably says enough about where my expectations were after Orion's previous album. The Lightbringers ended up in my personal Top 10 of last year, and I wasn't alone since several DPRP contributors also included it in their own end-of-year lists. Add to that the excellent rating it received here at DPRP plus the warm reception across the progressive rock community, and it's clear Orion made a strong impression.
With that background, Into Darkness arrived as one of those albums I already trusted before pressing play. And the good news is that Ben Jones handling everything, from composition to production, doesn't turn things upside down. The sound is no longer a surprise because I already connected with it on the previous album, but the quality, intent, and musical identity remain absolutely intact.
One of the things that stood out in The Lightbringers was the noticeable step forward in range, atmosphere, and openness in production. I remember how the album flowed effortlessly from beginning to end, and how the vocals showed a very emotive edge. With Into Darkness, that progression not only continues but feels more refined and more confidently delivered. It's the sound of an artist fully in control of his craft, polishing a formula that already worked remarkably well. There's a level of consistency and attention to detail here that is not easy to achieve and certainly not easy to maintain at this level.
The album moves around the theme of how people “find their way into darkness”, and that emotional thread is present throughout the seven tracks. It's not a strict concept album, but the tone and mood give the record a clear direction. You sense introspection, tension, and moments of internal struggle without needing to dissect every lyric. It's an approach based on atmosphere and feeling more than narrative, and it suits Orion's style perfectly.
Musically, the strengths that made the previous record stand out are all here: focused songwriting, natural flow, and enough contrast between softer and heavier moments to keep the journey engaging. The Ant, the short instrumental in the middle, works perfectly as a moment of breathing space before the final two-part closing section, which ties the album together beautifully.
Production wise, Into Darkness feels like a step forward. The guitars have more definition, the keyboards add colour without overwhelming the mix, and the vocals sit better within the arrangements. Nothing feels excessive, yet everything feels considered, and the whole album has a cohesive sound that reflects growing confidence. In the end, Into Darkness confirms everything that The Lightbringers promised and, in some moments, even surpasses it. Orion has quietly earned a place in modern melodic prog thanks to strong songwriting, sincerity, and a clear artistic vision. The previous album was widely appreciated, and I'm confident this new one will follow the same path. For me, this is another release that easily reaches the excellent category.
Looking ahead, I'm genuinely curious about where Orion will go next. If Ben Jones continues developing at this pace, improving the details, reinforcing his strengths, and keeping this level of consistency, his next release could be truly special. For now, Into Darkness stands as a powerful statement from an artist who keeps growing with every album and delivers music that deserves to be recognised among the best of the year.
Duo Review
Tale Cue — Eclipse Of The Midnight Sun
Jerry van Kooten
In the early 1990s I heard Tale Cue's debut album Voices Behind My Curtain, and it has stayed with me ever since. My taste shifted, but this album was never far. The somewhat darker atmosphere appeals to me, and the excellent way the guitars and keyboards intertwined their melodies reminded me a bit of early Twelfth Night, and was something I really loved.
For a few years I have been talking to keyboard player Giovanni Porpora about their first demo (1989) and some live recordings. I don't know what it was that sparked something, but at one point came the message "it's happening!" What? A new album?! A big surprise, something I never hoped for. But three key players were all aboard!
The core of the new line-up is the same as the melodic core of the old band: Laura Basla on vocals, Silvio Masanotti on guitar and bass, and Giovanni Porpora on keyboards. New is Alessio Cobau on drums, while Masanotti took over bass duties for the recordings. Masanotti also did the amazing artwork.
Part of the music comes from songs composed after the first album; some even have had a live airing. Porpora told me several sections were rewritten, some were completely new; several lyrics had changed. With only the live recordings of a few songs available, it is hard to compare, but I think it's safe to say we have a modernised version of Tale Cue.
So what does this new album have on offer? The penchant for writing darker music is still there, maybe even more pronounced. There's that contrast between the bold progressive rock and touching melodic Italian melodies. The well-construed meldoc duels between guitars and keyboards are omnipresent. We have the dramatic and sometimes haunting voice of Lausa Basla.
But at the same time, everything sounds fresh and new. I listened to the first album and this new one back to back, to find differences and references. Mostly, things have just grown. The musicians have kept busy on their respective instruments and play with heart and soul, both emotional pieces and technically challenging ones.
Porpora and Masanotti are the main composers. On some they work together, several other songs were composed by one of them, and I often have to check who wrote which song. How well they fit together is a testament to their cooperation. Both lift the other's songs, the end result sounds always the most important.
Laura Basla sings better than ever. Her younger voice could be a little over the top, as if parts of the songs were not written with her voice in mind. On this album, her voice, from low to high, fits every single bit. The timbre in her voice speaks experience and emotion and is completely in line with the overall sound.
The songwriting itself is, of course, at the foundation of every album, and the band made every minute count. There are so many sections that grab me every time I hear them. The brilliantly catchy vocal melody in the second part of The Rage And The Innocence cuts through air, and the way it goes from part 1 into part 2 is so powerful. The bold Gordon Sinclair is seriously rocking, a compacted prog song. The brooding lines in Suntears are delightfully sinister, the melancholic The Tides is beautifully lingering. The way the keyboards and guitars work together in the beautiful Lady M is one of many goosebumps moments. Well, you no doubt catch my drift.
The tension is constantly built up and released, not a part outstays its welcome. The order of songs has been chosen carefully. I honestly just realised I've not once listened to any of the songs separately, only the whole album in order. It has to be like that. The aural range is broad and goes from the haunting Tides, via a near-power-prog ballad like Lady M with soaring guitar, to heavier prog in Gordon Sinclair and The Cue. The closing Vertigo goes through five parts and touches all elements the band has but now in epic proportions.
The mix and production are excellent. The sound is so clear and still warm. The arrangements are to the bone where needed and clever where possible, showing a lot of details at repeated listening.
I have no single favourites on this album, as it is one full album of excellently played modern emotional and intense melodic prog. This is how I like my prog. Not one moment letting you down or let your attention drift. This will appeal to a wide range of prog listeners. It is just perfect.
Jan Buddenberg
Within the world of music there are countless illustrations of one-hit wonders. Transposing this idea to progressive rock and one-album miracles, then one of the first examples that always comes to my mind is the magnificent Voices Behind My Curtain by the Italian Tale Cue.
Ever since the discovery of Voices Behind My Curtain, I have had a soft spot for this dark atmospheric progressive rock gem. Mainly for its hauntingly beautiful melodies, the exceptional musical interpretations, and the overall exciting original songsmithery at play. Strong points were Giovanni Porpora's rich atmospheric keyboard parts, Silvio Masanotti's driving guitar style that frequently reflects Twelfth Night, and the unique and captivating voice of Laura Basla. This unity set the album and band truly apart for me from all of their 90s competitors. Sadly, this sublime album proved to be their sole achievement, as the band shortly after drew their final curtain.
Fast-forward three decades, and to my utmost joy, Tale Cue have returned with Eclipse Of The Midnight Sun bringing ten immersive tales of phenomenal contrived beauty.
These tales begin with the short tension building psychedelic intro of Voices From The Past seamlessly segueing into The Rage And The Innocence. It starts off furiously melodic and complex, and soon takes on a heavenly atmosphere. It is carried by elegant symphonies. Basla's voice soothingly reminds of Renaissance and Anima Mundi. Halfway down, melodies explode into a compelling tantrum of authentic Tale Cue marvel. Multilayered arrangements and outstanding musical executions battle it out in perfect unison. Basla's beguiling vocals come beautifully into their own again, just like I remember it.
Correction, almost like I remember it! Because Basla sounds much more matured, powerful, and expressively versatile. It showcases a remarkable growth in both technique and dynamic range. Something she correspondingly, in a pinch-me-please way, gracefully demonstrates in For Gold And Stones. A song that opens with a serene piano sound, while her angelic voice touches deep like Elaine Paige. The coda shines with impressions of Marillion's Season's End.
This latter imprint is also experienced in We Will Be Back Once More. A song crafted with Rothery-like sounding guitar, multiple vocal lines, and flashy keyboard virtuosity. Furthermore, this features exquisite piano play and a concluding symphonic coda that leaves nothing to be desired.
Even more so in the sensationally streamlined Tides. The sound is rendered with immaculate spatial clarity and performed with perfection. It flows ever so placidly onwards, like Renaissance meeting Enya, and with beautiful acoustics and heart-warming bluesy notes from Masanotti. Lady M is an album highlight. It seduces with a pretty build-up that temptingly weaves an extraordinary flow of alternating moods and atmospheres, classical motifs, dreamy melodies, enrapturing vocal magic, drama, melancholic guitar, and refreshing symphonies.
Suntears is a suspenseful and darkly ominous composition that, next to having some haunting guitar play, is brooding. Together with The Cue it also exhibits that prime authentic, idiosyncratic Tale Cue sound I fell in love with all those years ago. The latter, by the way, brings the symphonic grandeur of Led Zeppelin's Kashmir to mind, before its infectious melodies become more complex, heavier, and urgent.
The first single Gordon Sinclair, on the other hand, shines a ravishing new light on Tale Cue's songwriting with fast-tracked upbeat melodies, emphasised by poppy new wave influences and dazzling synth/guitar duels. The closing section has a delightful mark of Landmarq cheerfulness.
Vertigo is one of the seven surviving songs included on this album that Tale Cue started working on during the months following their Voices Behind My Curtain release. In full justice to the phrase "saving the best for last" ends proceedings on a stellar high. Fully reworked, rearranged, and brilliantly interpreted, with resulting perpetual goosebumps of nostalgia on my part, this composition brings bright symphonies, sensitive executions, compelling atmospheres, and a cautious melodic build with psychedelic elements, surprising twists, and soaring performances.
Following a sudden fade into a bridge highlighted by fantastic guitar, melodies in time swirl into a whirling sensation of spectacular guitar work and tantalising keyboard parts. Guided by strong driving rhythms, we hear Basla alluringly reach for the heavens with her passionately emotional A-game vocal performance. Superlatives and words simply fail to convey the complete head-spinning beauty of this unparalleled monumental closer. As a magical finale, is fully worth the price of admission alone.
With this album Tale Cue have surpassed all of my expectations. And make me even thankful that DPRP doesn't use ratings any more. Because effectively this album goes to eleven and beyond. With the utmost certainty, I will treasure this magical album for years on end until I myself have turned to dust in the wind. I highly recommend fans of symphonic prog-rock to do exactly the same.