Issue 2026-028

Abraham, Baker, Lyndon — Where Do We Go From Here?

Mark Hughes

The origins of this album date back to the 1990s when Dorset locals Dean Baker (keyboards, drum programming, backing vocals) and vocalist Andrew Lyndon started writing some songs together. Recording was not started until 2008 by which time Lee Abraham (guitars, bass, additional keyboards, backing vocals) had joined the pair and made use of Abraham's home studio to lay down initial versions of the songs. The results were burned to a DVDR disc and briefly aired on Polish radio's Mały Leksykon Wielkich Zespołów progressive rock show but then seems to have been all but forgotten about.

Baker and Abraham are, of course, members of Dorset's finest prog band Galahad, but Lyndon doesn't seem to have any previous musical experience, or at least any that resulted in a physical release. The album was resurrected after a discussion with Oskar Records while Galahad were on tour in Poland in 2024. The tracks were dusted off remixed by Abraham and two new songs (More Than A Feeling and Glow) brought in to replace a couple of originals that didn't fit right with the rest of the album and hey presto, it was ready for release!

Described by the band and label as an album "blending pop and rock with progressive influences", don't expect something like a Galahad release. Most obvious difference is that Lyndon's vocals could easily be mistaken for Mark Owen, yes he of Take That fame (and, incidentally, quite a big fan of all things progressive). The title track shows that the trio doesn't eschew their progressive pedigree completely as it's eight and a half minutes of sheer delight. Acoustic guitar and synth swirls initially push the focus of Lyndon's vocals, but some heavy electric guitar chords beef things up. The first solo, performed by Baker, doesn't appear until more than half-way through with Abraham letting lose on an extended solo a couple of minutes further along. Very impressive piece of work when all is said and done with extra kudos to the drum programming skills of Baker as they sound quite real.

The album starts with a musical box (NOT The Musical Box!) type keyboard piece embellished by all sorts of synth sounds and a recited introduction by Jazz Baker before heading into Blind, which highlights the melodic nature of the album, almost pop but too heavy and too much weird stuff going on in the background, plus most pop songs don't have such a profound guitar solo! The Mark Owen comparison comes to the fore on Hero Ways and let it be known this is not anything disparaging as I happen to like Owen's solo albums; the two singers share similar vocal lisp giving lending quite endearing qualities. Alone is the big production number, a full arrangement with synth strings, booking drums and full-throated singing with layers of backing vocals with Lyndon displaying his full range. The central synth section does sound a bit dated, like something from the Jean-Michel Jarre playbook, but there is a lovely transition into an organ and choir section that is well worth hearing.

We get to hear a more dance-orientated rhythm at the beginning of Sacrifice that persists for about two and a half minutes. Personally, I found the repetitive nature to be quite annoying and superfluous, particularly as the rest of the song is rather ballad-like with some heavy interjections for contrast. It was not clear to me if the two replacement tracks are newly written or stem from the elsewhere bank in the band's history. Either way, they both fit in perfectly with the rest of the album with More Than A Feeling being the standout piece, although plaudits a-plenty for the interactive performances of Baker and Abraham on Glow.

Cold leaves me somewhat, erm, cold, not being in my opinion a highlight of the album although the more acoustic nature of Wanting You is a delight. All Of Her Days is, like After The Storm a keyboard piece with a female recitation, this time in German and not by Jazz Baker. Nice filler piece to introduce the title track. Wrong, labelled as a bonus track, is a bit different from other tracks certainly fulfilling the pop rock categorisation. Actually, and I don't mean to harp on, but it could be something that Take That themselves could have come up with! The spoken interlude is a bit corny but overall it is an uplifting way to end the album.

With work already started on a follow-up album that will hopefully not take so long to be released, Where Do We Go From Here? is a refreshing album with plenty of highs. Surprisingly, I think it actually sits well in the current musical climate, evenmoreso than if it actually was released back in 2008. Quality musicians and a fine singer, what more could one ask for?

Duo Review

Crown Lands — Apocalypse

Andy Read

They come from Canada. There are only two of them. But they make a sound a lot like early Rush.

Long-standing DPRP readers will hopefully have been paying attention to our new releases blog over the years. If so, then you will have already been well aware of the name Crown Lands.

Three years ago I was enthusing endlessly about Canada's latest contribution to the world of heavy-prog/progressive-metal. I did hesitate whether I should place their second album, Fearless, as my number one album of the year. The reluctance being prompted by the fact that large parts of that album are an almost carbon copy of what Rush put onto vinyl with 2112. Heck, it even opened with an 18-minute, multipart epic!

However, as the album progressed, the duo did bring in more of their own ideas. There are some very memorable songs to be enjoyed. And when it came down to it, Fearless was simply the album that I listened to and enjoyed the most over that year. On that basis it had to top my chart.

I was surprised that none of my DPRP colleagues had added this warm recommendation to their lists of favourites but since then the Inside Out label has snapped-up Crown Lands for the release of album number three. (I am treating last year's double-header of instrumental releases, Ritual I and Ritual II as stop-gap releases and not full Crown Land albums.)

Forming Crown Lands in 2015, the multi-talented duo consists of Cody Bowles (vocals and drums), and Kevin Comeau (all guitars and synths). The album is again split into a traditional two-sides-of-vinyl format, but this time the (19-minute() epic sits at the end (side B) as opposed to the beginning (side A).

On this album, the band have collaborated with producers Nick Raskulinecz and David Bottrill (both known for their work with Rush). The elongated title track is another Rush-inspired composition. Conceptually, Apocalypse tells a sci-fi universe tale that acts as a prequel to that told on Fearless.

I think this epic it is more accomplished and compelling than its predecessor, Starlifter. It flows flawlessly between its various phases. The 19-minutes always flash by. Worth the price of admission alone.

As with Starlifter, your approval of the Apocalypse epic will depend on your tolerance of they way in which this duo ply many of the same sounds and especially rhythms as their famous fellow countrymen.

On the flip-side, I do find the opening five, shorter songs (side A) a less compelling collection than on the last album. Here, the music is less of a direct homage to Lee, Lifeson and Peart and more a hummable collection of retro-rock where Led Zeppelin would be the obvious starting point.

We begin strongly with Foot Soldier Of The Syndicate. An absolute belter of a song in the vein of Bastille Day with an 80s hair-metal hook. Through The Looking Glass brings some nice Zeppelin observations to the party as Cody Bowles channels his inner Robert Plant.

However the retro-rock of Blackstar overdoes its reliance on a simplistic pop-rock hook, albeit with a lovely Scorpions-esque guitar solo. The Fall has a different approach. I'm picking up some U2 and Simple Minds grooves in the verse. The chorus fails to meet the expectation of the build-up. A bit of a nothing track.

Same for The Revenants. It's a gentle voice and acoustic guitar piece that again doesn't stray very far from its initial melodic couplet.

Anyway, the epic title track is fantastic. Two of the sorter songs are great. So for any fans of early period Rush or retro-rock in general, there is plenty here to enjoy. However, I think Crown Lands now need to evolve their sound and format. I have loved both of these albums, but the formula is in danger of becoming a little too formulaic.

No Binoculars Before The Maze — Project Fear

Jerry Kranitz

I recently reviewed an album titled TJ42 by an instrumental space rock band called The Jupiter 4. No Binoculars Before The Maze is a new band comprising three out of four members of The Jupiter 4: Brian Fowler (guitar / bass / mandolin / synth / vocals), Sloan Leavens (bass / keyboards / vocals), Jim Dunn (drums / percussion). I asked Fowler about the connection between the two bands and if there's any meaning behind the name No Binoculars Before The Maze. "We wanted it with a bit more lyrical content. It is a concept album about Project Fear. I will let the listener interpret the rest. The band name just popped in my head."

The Bandcamp page provides detail about the story. It begins with the Black Death of 1349, while indicating contemporary concerns — systems of control, war, ecological collapse, and general chaos. Plague Unit opens the set, and I can instantly tell this would appeal to Hawkwind fans. It's a structured song with killer instrumental passages that rocks hard in space with screaming guitar leads and a pounding rhythmic pulse.

At ten minutes, Project Fear is the longest track of the set. It's a muscular rocker that has a 1970s hard rock feel but with a light injection of glam. The lyrics are interspersed with jamming instrumental workouts. At times I was reminded of Golden Earring's Twilight Zone, while at others it brought to mind the UK festival psych band Nukli. Ball Of Confusion is a heavy rocker with eerie synth lines that could be drawn from a Dr. Who theme or The Tornados' Telstar.

Most of the remainder of the album is instrumental yet has a distinct thematic flow. Seer is an intense rocker with a potent electronic component that has a vibe similar to the instrumental passage that leads into Damnation Alley on Hawkwind's Palace Springs live set. Fog is shepherded along by a sassy psychedelic guitar lead and supported by a steady thumping bass and drums groove. SR9 is another rocker that blends 1970s hard rock and 1980s UK festival psychedelia.

I love the interplay between guitar leads and classic 70s organ on this one. The appropriately titled Pain is a slow-burning rocker with anguished vocals, tinkly piano that offsets the intensity, and wildly whizzing electronic effects. It's a minimal yet melodic rocker that feels like sluggishly swaying in a cradle. Finally, Fires took me by surprise by closing the set with cool grooving country folk and hootenanny rock.

In summary, No Binoculars Before The Maze will appeal to fans of 1970s hard rock with space rock and psychedelic influences. They do a fine job with the compositions, musicianship, variety, and flow, making this a beginning-to-end album.

The Paradox Twin — A Romance of Many Dimensions

Andy Read

A year ago this month, I started a new job. A new career, in fact. At 57-years young, I am happy to report that it's never too late to launch out in a completely new direction of work. I am now a civil servant, running a small council in the south-eastern corner of England (Kent: for those familiar with our geography).

I'm the boss. But that's no great acclaim, as I am also the only employee. I work in an office of one. The big plus-point of that is that I am able to choose the daily playlist to accompany my desk-work. With no-one to comment on my musical taste (or lack of) I can be adventurous. I am thus back in reviewing mode; lucky-dipping into the DPRP pipeline and sampling the full gamut of progressive styles that we cover.

My new-found listening liberty has already encouraged me to try a few albums that otherwise I would never have encountered. This third effort by the UK-based trio The Paradox Twin is one of those. It is easily my best 'new' discovery so far.

If you are also new to this band, then here's a quick bit of background.

The Paradox Twin are a progressive rock band formed by multi-instrumentalist and songwriter Danny Sorrell. Their journey began with Sorrell crafting the band's debut album, The Importance Of Mr. Bedlam in 2018. It received excellent feedback and was duly succeeded three years later by Silence From Signals. This received a big thumbs-up from my DPRP colleague Ignacio. Tours around the UK and Europe followed.

It's been five years in the making, delayed by some personal tragedies, but the band believes that album number three has taken Sorrell's songwriting and the band's musicianship to new heights.

I have not listened to this band previously, but do recall frequent comparisons to Anathema and Porcupine Tree. I can see plenty of similarities to both bands here. The Paradox Twin certainly sits in the same sound-world. However, as neither of those bands feature heavily in my record collection, there must be something else going on here that has won me over.

promo photo

It could be the use of jousting male and female singers. It's not done in the gothic-rock or the beauty-and-the-beast style of Epica, Lacuna Coil, or Leaves Eyes. Both Sorrell and new singer Sarah Bayley have a similar range and style. They compliment rather than oppose. I love both of their voices. They work really well together throughout this record.

Secondly, this is much heavier that I expected. The guitars frequently have the riff-style and aggression favoured by some of my favourite progressive-metal acts. Yes, there are plenty of slower, atmospheric passages, and an equal number of sections where the electronica dominates. It is definitely not a prog-metal album.

But when it gets heavy here, I am really drawn into the band's sound and groove. The gentler passages bring contrasts and heighten the impact of the heavier parts. Drummer Graham Brown does a fantastic job across all these different elements.

A Romance Of Many Dimensions is a concept album that explores the increasingly blurred lines between the real and digital worlds. The narrative centres on a protagonist living a life of loneliness, addiction, and isolation. He finds his only sense of purpose and identity when he logs into his computer, where he views himself as a robot in a vast digital landscape. His only friend is the silent crow from the game, who never speaks but is always there in times of need. When logged off, he is left with nothing; when logged in, he has a purpose. The album is a poignant journey through themes of escapism, love, and what it means to be human in an age of technological dependency.

As such, A Romance Of Many Dimensions is very much an album that you need to go on a journey with; to enjoy in one listen as a complete work. Thus, I am not going to select favourite tracks or give any further descriptions. Have a listen to the mini-epic My Main Function (video below). If that hits your buttons, then you should buy the whole album and dive in.

During the recording of this band's debut album, they caught the attention of renowned producer John Mitchell (Frost*, It Bites, Arena). He has again produced this album, as well as contributing bass parts. The production is a aural delight; so go for the CD version if you are able.

The Paradox Twin launches this album with dates in Salford (Empty Space) and London (Water Rats) on the 28th and 30th July followed by an appearance at the Wokingham Festival, August 29th.

And that is another advantage of my new career. Being in an office-of-one, I can work flexibly. So, having enjoyed this album so much, on July 30th I will leave work early so that I can watch The Paradox Twin live in London.

Poor Genetic Material — Pastoral

Jan Buddenberg

Over the years there have been many moments that music successfully reconnected me with my adolescent days. One recent example that almost transported me back to my man-cave of old, or rather my boy-attic, is Poor Genetic Material's latest album Pastoral.

Recorded in a smaller line-up of Philip Griffiths (vocals), Pia Darmstädter (flute), Stefan Glomb (guitars, bass), and Philipp Jaehne (keyboards, programming) — with Duncan Ness guesting on drums and pipes — it took only a few minutes before the opening song Toxic started to transform my current surroundings into that homey and cosy room where I once upon a time used to listen to music in my favourite green leather chair.

It quietly opens with shady melodies that casually progress towards a jazzy passage elevated by floating synths. Griffith's calmly reassuring voice gently rubs wholesome memories of both Michael Sadler and Damian Wilson into my captivated ears. This song proves to be every bit as poisonous to my taste as Saga's sublime debut, which I carnivorously devoured over and over again in those days.

Even thoughts of Wolfbane, a Frederik Pohl / C.M. Kornbluth novel that I distinctly remember reading in that comfy sofa, awakened through Pastoral's album art and some of its lyrical aspects. Subtle rhythms and a bucolic arrangement of keyboards and flute peacefully guide the melodies of this formidable opening tune towards a tangible serene atmosphere, and is concluded by jazzy guitar play.

The beautiful Unrehearsed builds extremely satisfying tension with a delightful ambient intro, shaped by elegant piano and synth flows, through which Eloy shines. This formidable track then transitions into enveloping dynamic melodies featuring soothing vocals and polished harmonies, once again performed in an enchanting and restrained manner. Synths, flute, and acoustic guitar create further irresistible allure.

Fur And Skin follows with acoustic folk melodies and placid melodies, emphasised by emotive vocals. Rocking momentum with wonderful guitar and synthesiser interplay here, in the finest PGM tradition. Fur And Skin's captivating melodies ultimately fade away with a wondrous soft glow of Coarbegh.

This Coarbegh glow shines even brighter in the massively attractive Black Hole. In fact, apart from Glomb's entry point on bass around the one-minute mark, this song's prologue is a near carbon-copy reflection of the opening statement of Fragments Of Light, which appears on A Sense Of Place , released by Darmstädter and Jaehne (aka Coarbegh), almost simultaneously with Pastoral.

The 70s prog appeal includes gracious Camel-esque flute and synth beam-energised transitions. This composition effortlessly pulls me deeper and deeper into my imaginary reappeared chair thanks to a colourful arrangement of evocative cinematic progressions. It finally gravitates into a psychedelic darkness that culminates in a wonderfully dynamic neo-progressive climax, in which Glomb's guitar part stars.

Crafted from sensitive bass, minimalistic piano, soothing flute, and pensive vocal lines, Deja-Vu evokes flashback images of Saga and Spring Tidings. My 2001 introduction to PGM's art. A brooding sense of melancholic contentment is added through supernatural flute melodies and ambient atmospheres. In the end, these dynamically intensify towards familiar resonating melodies.

In a successful attempt to save the very best for last, there is finally the transcendent beauty of Pastoral. Opening quietly and peacefully with an idyllic folk atmosphere born from flute and acoustic guitar, this exceptional piece of music reflects the term 'pastoral' in the truest sense of the word, given the overall pristine symbiosis achieved between melodies, thoughtful lyrics, subtle performance, and the transporting landscape depicted in the album's booklet.

Modestly performed in spirit of Genesis and Damian Wilson at their most sensitive, with the flute radiating the dreamlike Neuschwanstein, this track rises for me far above the rest. Especially through the extremely soothing character of this beautifully constructed song, in which PGM's compositional, lyrical, and instrumental talents come fully into bloom one final time, before the melodies gracefully conclude with a warm, comforting hug of guitar.

The absence of Martin Griffiths, whose solo album The Beggar was released around the same time as Pastoral, does have a small effect. You won't find 70s-resonating, Queen-inspired vaudevillian prog with a comic dash of cheerful A.C.T. rock like Old Buffoon (from Possibilities) here. Maybe that will be the case again on PGM's next album, which is currently in the works.

But don't let his absence worry you too much, because the outstanding and highly recommended Pastoral is an exceptional work of art. Growing in appeal for months on end, it offers an abundance of creativity and musical inventiveness that will keep fans — and those fond of Camel, Genesis, Saga, and well-crafted symphonic prog rock — awake throughout its full 45 unhurried minutes, as long as you don't start counting the artwork's 23 sheep... zzzzz...

Oliver Wakeman — Mother's Ruin 20th Anniversary Edition

Edwin Roosjen

For decades the name Wakeman pops up in many different releases and bands in progressive rock. Oliver Wakeman is the son of legendary keyboard player Rick Wakeman. Oliver followed his father's footsteps, and he was an official member of Yes from 2009 till 2011. The same thing happened with the band The Strawbs, and in this case, after his stint, Oliver was replaced by his brother Adam Wakeman. The keyboard family Wakeman released many albums and enriched the world with a lot of beautiful music.

My introduction to Oliver Wakeman were the albums he released with Clive Nolan. I cannot count the number of spins the albums Jabberwocky and The Hound of the Baskervilles made on my stereo. This new release is an anniversary edition of the album Mother's Ruin, which was originally released in 2005. The recordings have been remixed and remastered, and this anniversary release features some bonus material with the vocals of Damian Wilson and Paul Manzi. For a review of the music I can refer to the original review from when this album was released twenty years ago.

Compared to previous album by Oliver, this one has more the feel of a band release instead of a project with multiple vocalists and musicians. Mother's Ruin has its moments that really grab me, mostly the parts where the piano or keyboard is upfront, especially Wall Of Water is a brilliant song.

Even with the album being remixed and remastered, I do have to say some parts sound a bit outdated. A song like Walk Away would have needed more rework to keep it interesting twenty years later. It is strange to discover that albums like Jabberwocky and The Hound of the Baskervilles are older than Mother's Ruin, this feels like a little step back.

This release features extra tracks with new vocals recorded over the old recordings. Damian Wilson is featured on Calling For You and Paul Manzi provides the vocals for If You're Leaving, Mother's Ruin and Walk Away. It would be inappropriate to compare these two vocalists with original vocalist Moon Kinniard. Original vocalist Moon Kinniard could not commit to accompany Oliver on the live shows, and Paul Manzi stepped in to do the tour. These newly added vocal parts by Damian and Paul do lift the songs to a higher level but not significantly. Even Paul Manzi cannot turn a song like Walk Away into a classic. On this release there is also another song that is not a new song but has not been recorded before. Paul heard Oliver playing Busy Going Nowhere and liked it, and it became a part of the show. The song is now also part of the anniversary release of Mother's Ruin.

With this anniversary release, the album Mother's Ruin will get some new attention. For me this was a nice introduction, but what this release mostly did was turn me to other albums by him. I discovered Anam Cara and dusted of my Nolan and Wakeman albums and again spend a lot of time with these albums. The songs with Damian Wilson and Paul Manzi on vocals are good but do not lift this release to a sufficient level for me.