This brilliant new release draws upon all the best features of Pure Reason Revolution’s back catalogue. But it also reveals PRR developing now into a heavier band, with cascades of sound that can suddenly rock the listener at unpredictable junctures.

I have listened to no other record this year more times than I have this one. Its beauty and complexity continues to unfold after repeated spins. My considered assessment is that this album lays claim to being PRR’s best work yet.

Those are bold words to commit to print, because Pure Reason Revolution burst upon the scene with a stunning debut LP in 2006, The Dark Third, foreshadowed only by their 2005 EP, Cautionary Tales for the Brave. The Dark Third earned them so many accolades, and was such an unexpected prog rock masterpiece, that it has been almost impossible for reviewers to avoid invidious comparison of their later work with that glorious debut.

For example, many listeners were baffled by the emphasis on dance grooves and electronica synth sounds on 2009’s Amor Vincit Omnia and 2010’s Hammer and Anvil. But those paying closer attention would have realized that PRR cannot be easily pegged as a conventional prog band, ready to unproblematically adopt a nostalgic label like “the new Pink Floyd.” That has always been a lazy inference, based solely on the David Gilmour-esque guitar of “Aeropause,” the opening track of The Dark Third. Rather, it is “Golden Clothes,” the last track on the 2 CD edition of The Dark Third (which unites disparate tracks from the UK and US editions), that contains the seeds for PRR’s later adventures, especially on their next two albums. The fact is, there is no genre that PRR works within other than: “no limits”; and so “prog” is simply the easiest way to try and categorize a band so creative that they consistently defy nominal categorization. They continually change musical shape, and not just from album to album, but typically within any given song.

Above Cirrus feels like the second half of a double album experience that began with PRR’s recent reunion on 2020’s Eupnea. On this new disc, the otherworldly harmonic duo of Chloe Alper and Jon Courtney consolidate their best musical insights and experiences from Eupnea. Hence, Greg Jong, also on guitars and vocals, is now a full PRR member again, which had not been the case ever since after The Dark Third had been recorded and just before it was released. Perhaps it was Greg’s stellar contributions to Eupnea that led to the realization that there was something in the debut LP’s ternary chemistry that was still untapped. Adding a fourth element, Geoff Dugmore contributed drums to Eupnea and, now here once again, his thunderous impact is heard to thrilling effect all through Above Cirrus. Consider, for example, how he seems to singlehandedly guide his bandmates on a trip from dance to metal in “Phantoms.” The only thing present on Eupnea that is not augmented further on Above Cirrus is Chloe’s complete metamorphosis into the new Kate Bush. Like the queen herself, Chloe too is capable of slaying at a distance with the emotional power of her unmatched phrasing. But on Above Cirrus she selflessly recedes into the harmonic structures, with no full blown leads or duets. Yet she still occasionally unveils her lone voice, on songs like “Cruel Deliverance,” with sparing turns of phrase that pierce the soul.

The theme of Eupnea (literally, “breathe well”) seemed to be “life,” and the theme of Above Cirrus seems to be “afterlife,” in the sense that the music this time around explores the theme of re-birth; that is, of what kind of positivity and regeneration can still come forth after encounters with evil and darkness. The impressionistic lyrics of PRR are so poetic and arresting, they add yet one more uncanny effect to be savored upon repeated listens and contemplations of the band’s work. On Above Cirrus, “Our Prism” and “New Kind of Evil” each allude to coping with the shadows of the pandemic, and “Phantoms” confronts lies, disinformation, and malice. “Cruel Deliverance” invokes death, failed escape, emotional wounds, and deception. Most epically, “Scream Sideways” is ten minutes of astonishing, visceral, haunting explorations of conflict, grief, and love. “Dead Butterfly” exquisitely contemplates violence and the fragility of life, while “Lucid” kaleidoscopically depicts lovers fighting their way through to reconciliation. Each of these songs connects powerfully with the listener on a deep emotional level. They generously repay the patient auditor with delicate and graceful bursts of radiance and consolation.

Looking back at The Dark Third 2 CD edition, that debut was really an era of a double album’s worth of material, adding up to an hour and half in total (if you also include “Sound of Free” from The Intention Craft EP). The theme was twofold: dreams and reality, and the moveable boundary between the two.

Further, PRR’s next two albums may together be considered to form a double album: Amor Vincit Omnia focuses on the theme of “love,” and Hammer and Anvil on the theme of “war.” Each disc complements the other; in themselves, they each contain carefully intricate musical tapestries. I am continually amazed that songs like “Victorious Cupid” or “Les Malheurs” or “Never Divide” or “Blitzkrieg” are not more widely recognized as the works of pure genius that they are, equal to or surpassing anything on The Dark Third. But such is the conundrum of being a devoted listener of PRR. Part of the pleasure lies in one’s expectations being repeatedly confounded and subverted by this endlessly clever and imaginative band. Only the joy and ecstasy of the music is itself the reward. Any reviewer’s words that come afterwards may serve only as mere nods to others, like us, who have also found their way to this incomparable band.

Eupnea and Above Cirrus, as I have already opined, take the shape of two halves of one whole, and not without precedent, at least if my above remarks also strike other listeners as true. Eupnea, with its theme of “life,” seems to possess a gentler prog idiom than Above Cirrus‘s fearless exploration of “afterlife,” namely, the life still possible after darkness and death. This new PRR disc may be too challenging for some in that it is scarcely comprehensible on first listen. But perhaps in that way it mindfully rises to embody its theme.

Jon, we are told, asked Greg, who knew all the cloud names: Well, what’s above cirrus? Nothing’s above cirrus, replied Greg. Well, if the only thing after life can be life, then this dazzling music is a fitting celebration of the miracle of life’s regenerative powers. For music is already beyond life. In this way, too, for PRR — with Eupnea and Above Cirrus now indisputably proof of a PRR back from the dead — music is their afterlife. And they take us right to the heart of the miracle.

Reviewed by C.S. Morrissey for Progarchy.com

For further immersion into PRR, click to Progarchy’s interviews with Jon Courtney here and here.

Pink Floyd has long been a powerful artistic voice against fascism. One of their most unforgettable studies of how fascism lurks within the human heart is their unforgettable rock opera The Wall. A cinematic recap of the essentials:

Now Pink Floyd stands in solidarity with Ukraine against today’s incarnation of fascist genocide:

Don’t look away. Add your voice to Gilmour’s guitar solo. Otherwise this is the way the world ends. Tear down the wall.

Remembering the great Keith Emerson (2 November 1944 — 11 March 2016)…

“There’s no end to my life
No beginning to my death”

Why not celebrate with this splendid box set featuring liner notes by the sagacious Jerry Ewing:

If you like prog metal, and if you like sci-fi movies and TV, then this is another fantastic disc from Star One. Arjen Anthony Lucassen is once again in the captain’s chair, steering the starship for this new mission into the galaxy of sci-fi shows about time travel.

Each track assembles a mighty away team to explore the thematic terrain of sci-fi artworks both famous and obscure. The key personnel on the bridge are Arjen on guitar and bass and Ed Warby on drums, starring roles like those of our beloved Kick and Spock. Erik van Ittersum on Solina Strings and Joost van den Broek (of After Forever) on Hammond are akin to mission support from Bones and Scotty. Here’s the breakdown of the away teams track-by-track:

Track 01, “Fate of Man” (05:29), is inspired by The Terminator. The magnificent maiden Brittney Slayes (of Unleash the Archers) delivers a killer vocal performance. The peerless Michael Romeo (of Symphony X) adorns the track with a scintillating guitar solo. CD2 of the package includes the same tracks as CD1, but with different vocalists: for this track, that’s Marcela Bovio (of Elfonia, The Gentle Storm, Stream of Passion, and MaYaN). Slayes is a tough act to follow, but Bovio shows she’s as spectacular as a supernova on her turn.

Track 02, “28 Days (Till the End of Time)” (07:20), is inspired by Donnie Darko. Russell Allen (of Symphony X) sings lead and keeps the disc feeling like a Symphony X album. John Jaycee Cuijpers (of Praying Mantis) does vocals on CD2. Timo Somers (of Delain) steals the show with a sweet guitar solo. 

Track 03, “Prescient” (06:34), is inspired by Primer. Ross Jennings (of Haken) supplies his truly unique vocals, along with Michael Mills (of Toehder), for a very satisfying combo. Will Shaw (of Heir Apparent) handles it on CD2. I watched Primer a long time ago and, unlike the familiar references on the first two tracks, I had to look it up to remind myself of the plot: “Friends and fledgling entrepreneurs invent a device in their garage which reduces the apparent mass of any object placed inside it, but they discover that it has some highly unexpected capabilities – ones that could enable them to do and to have seemingly anything they want. Taking advantage of this unique opportunity is the first challenge they face. Dealing with the consequences is the next.”

Track 04, “Back from the Past” (04:50), is inspired by Back to the Future, and it’s a real hoot. Jeff Scott Soto does the spirited vocals and Ron Bumblefoot Thal (of Sons of Apollo, Guns ’n’ Roses) the mind-bending guitar solo. John Jaycee Cuijpers (of Praying Mantis) does vocals on CD2.

Track 05, “Revel in Time” (04:37), is inspired by Bill and Ted’s Excellent Adventure, and is the most whimsical of all the tracks. Arjen is having lots of fun with this whole project, so it seems right to make this the title track. Also, the “revel” is a nice pun on “travel”, since “travel in time” is the unifying album theme. Brandon Yeagley (of Crobot) does vocals and Adrian Vandenberg (of Vandenberg, Whitesnake) the raucous guitar solos. John Jaycee Cuijpers (of Praying Mantis) does vocals on CD2.

Track 06, “The Year of ’41” (06:20), is inspired by the movie The Final Countdown. I guess this song is okay, and the movie has receded in my memory. Joe Lynn Turner (of Deep Purple, Rainbow) does vocals and the amazing guitarist Joel Hoekstra (of Whitesnake, Cher, TSO) does really fine work on the soloing. Jens Johansson (of Rainbow, Yngwie, Stratovarius) does the synthesizer solo, but on CD2 it’s Alessandro Del Vecchio on both vocals and the synthesizer solo. I had to recall the plot: “During routine manoeuvres near Hawaii in 1980, the aircraft-carrier USS Nimitz is caught in a strange vortex-like storm, throwing the ship back in time to 1941—mere hours before the Japanese attack on Pearl Harbor.” Fine, that’s great, but I think I’d prefer to hear the song by Europe that has the same title.

Track 07, “Bridge of Life” (05:13), is inspired by the movie Frequency. The inimitable Damian Wilson (of Threshold, Headspace, Landmarq) contributes memorable vocals, and I feel sorry for Wilmer Waarbroek on CD2 who has to be compared to the great Damian. I had to remind myself of the plot here also: “When a rare phenomenon gives police officer John Sullivan the chance to speak to his father, 30 years in the past, he takes the opportunity to prevent his dad’s tragic death. After his actions inadvertently give rise to a series of brutal murders he and his father must find a way to fix the consequences of altering time.”

Track 08, “Today is Yesterday” (05:46), is inspired by the movie Groundhog Day. Dan Swanö (of Nightingale, Second Sky, Edge Of Sanity) hams it up on vocals. At first, I thought the vocal performance was as ridiculous as the umlaut on the last vowel of his name. But after more listens, I warmed up to it. The track has nice thoughts about the classic Bill Murray flick. Lisa Bella Donna contributes Moog synth, and Marcel Singor (of Kayak) the appropriately obnoxious guitar solo. Arjen Lucassen himself (of Ayreon, The Gentle Storm, Stream of Passion, Ambeon, Guilt Machine, in case you forgot) does all guitars, bass, keyboards, and even the vocals on CD2. You can listen to this track every February 2nd: “A narcissistic TV weatherman, along with his attractive-but-distant producer, and his mawkish cameraman, is sent to report on Groundhog Day in the small town of Punxsutawney, where he finds himself repeating the same day over and over.”

Track 09, “A Hand on the Clock” (05:51), is inspired by the movie Source Code. The brilliant Floor Jansen (of Nightwish, After Forever) is stellar on vocals here, and it’s hard to believe someone of her talent is buried on track nine. Then again, I can understand wanting to lead with Brittney’s star turn on track one, and the rationale here seems to be Arjen saving his favorites for last, placing Jansen in the antepenultimate position, so that the excitement and anticipation builds as we listen to the CD and eagerly await her turn. Joost does a Hammond solo to add extra zip. Floor’s sister Irene contributes backing vocals but also the vocals on CD2 together with Marcela Bovio. I’ve only watched this movie once, back when it was first out: “When decorated soldier Captain Colter Stevens wakes up in the body of an unknown man, he discovers he’s part of a mission to find the bomber of a Chicago commuter train.” Pretty decent, but it’s Floor’s singing that I would return to again and again.

Track 10, “Beyond the Edge of it All” (04:52), is inspired by the British sci-fi/horror TV series Sapphire and Steel, which I did not know about until listening to this CD. John Jaycee Cuijpers (of Praying Mantis) does good vocals, and I think Arjen does the guitar solo here as part of the “best for later” logic of the album tracking. He must be a big fan of the show, because after looking it up and watching it, now I am too. I can’t believe I had never seen it before, because it is absolutely classic, and I am grateful to Arjen for bringing it to my attention through this album. Mike Andersson (of Tungsten, Star One) does vocals on CD2. Perhaps listeners will want to have a two-week film festival of all the movies Arjen has made this album about. That’s a great idea, and I welcome you to it. My own festival ended up being a Sapphire and Steel marathon:

“Sapphire & Steel is a British television science-fiction fantasy series starring David McCallum as Steel and Joanna Lumley as Sapphire. Produced by ATV, it ran from 1979 to 1982 on the ITV network. The series was created by Peter J. Hammond who conceived the programme under the working title The Time Menders, after a stay in an allegedly haunted castle. Hammond also wrote all the stories except for the fifth, which was co-written by Don Houghton and Anthony Read.  In 2004, Sapphire and Steel returned in a series of audio dramas starring David Warner and Susannah Harker.”

Track 11, “Lost Children of the Universe” (09:46), is inspired by the movie Interstellar. That movie is one of my top-ten favorites, so I approve of the “best for last” implication here. Roy Khan (of Kamelot) does vocals here, and the Hellscore Choir also shows up near the end for an unexpected twist. Steve Vai delivers an Academy Award-worthy guitar solo.

Surprisingly, Tony Martin (of Black Sabbath) is placed on CD2 instead, but I think Arjen faced an impossible choice here, because Khan’s dramatic delivery is just so darn good. I think Ray Gillen was a better singer for Sabbath than Tony Martin was, but alas Tony is better known.

Marcela and Irene contribute truly stellar interstellar backing vocals, as on so many other places on the album: they really deserve a lot of credit as the (perhaps unsung) background singing heroes that they are here on this disc.

Note: Arjen released this track as an advance single, with a mix of vocals from both Roy and Tony. So, if you are true fan and total collector like me, you will want all three versions of the song.

Thanks you Arjen and crew for another thrilling journey. I am grateful for hours and hours of so much enjoyment with this virtuous circle of sci-fi movies and songs. Rock on at warp speed!

Here are my top dozen picks for the year.

Think of them as 21’s 12 (Rush pun intended):

Transatlantic, The Absolute Universe

Arc of Life, Arc of Life

Anneke von Giersbergen, The Darkest Skies Are the Brightest

Greta Van Fleet, The Battle at Garden’s Gate

Styx, Crash of the Crown

Big Big Train, Common Ground

Iron Maiden, Senjutsu

Yes, The Quest

Dream Theater, A View from the Top of the World

Damian Wilson, From Limehouse to Lechlade

The Darkness, Motorheart

Crown Lands, Odyssey Vol. 1

Crown Lands had quite the year. First, these Rush superfans paid tribute with “Context—Fearless Part 1”, and its B-side “Right Way Back”, back in March.

In May, they offered live versions of the same, recorded as jaw-dropping proof that they were not merely wizards in the studio, but also a dynamic live duo, the likes which we have not seen before.

Then, they unleashed the killer single “White Buffalo” (in 7/8 time, no less) and the 13-minute epic “The Oracle” back in July.

The creativity kept on coming, as September saw the addition of “Inner Light” and “The Witching Hour (Electric Witch)” to the previous two tracks on the stunning White Buffalo EP.

Crown Lands has beautiful vinyl editions of everything, but you can also get the latter four songs on a nifty White Buffalo CD.

The year ended with a grand-slam live performance of all their new 2021 music, plus select gems from earlier years, on Odyssey Vol. 1, which you can also view online.

“I almost wish we were butterflies and lived but three Summer days. Three such days with you, I could fill with more delight than 50 common years could ever contain”~ John Keats

I am not sure where to begin or what to write. Or even if I should write at all. But the out-pouring of grief has been profound and deeply moving. So I wanted to say something.

To put pay to the rumours, speculation, inaccurate reporting and perhaps to help some of you with your own questions and sense of loss, I can tell you that David had a traumatic fall at our cottage during the early hours of Friday morning. I am not going to share everything which took place. Those intimate details are just for band members, David’s beautiful girls, his Mum and me. But I will tell you that David left this life being held in my arms on Saturday 20th November. I told him how much I loved him, that he was safe and that it was time to take the next step on his great adventure. To be with him during his very last moments is the greatest tragedy and greatest privilege of my life.

I waited all my life for David. He filled up my heart. He was inspirational, thoughtful, kind, generous, gentle, loving and funny. Goodness me, was he funny. We would laugh and laugh every day. He was the best of all men.

He leaves an enormous legacy behind. Not only in terms of his creative output but also the many lives he has touched, the friends he has made and the strong unshakeable brotherhood he shared with Danny, Dave G, Rikard, NDV and of course his dearest Greg.

I know David will always be right by my side. But if I ever feel I need that extra connection, I can always reach for the music. And so can you. Because even though he told us that we will find him in the hedgerow, let me tell you a secret : it’s not true. He’s in the music. That is where you will find him.

Good bye my beautiful boy – until we meet again one day.

X

WOW!

A big big surprise from Big Big Train today, as suddenly they have released four tracks from their surprise forthcoming album (Jan 28, 2022), Welcome to the Planet.

You can now immediately enjoy four tracks in advance: viz., tracks 1, 2, 3, and 6 from the forthcoming 9-track LP.

I purchased and downloaded the four tracks as an EP from Apple Music. So exciting!

I also noticed that Apple Music immediately applied the purchase as a credit to the future purchase (or pre-order) of the forthcoming album. Very nice!

The tracks are excellent. Enjoy, my friends.

Prog on, BBT! Thanks for the early early Xmas gift.

Our readers know that here in the Republic of Progarchy, we call ’em like we hear ’em.

So, it should be no shock if we hold nothing back, as when we discovered Dream Theater had dropped a deuce (see The Astonishing Pile of Crap), or, more recently, when Steven Wilson’s hand erases the raven and bites the fans that feed him.

In the same vein, we have to give credit where credit is due. And with A View from the Top of the World, the muscular and mighty Dream Theater serves up a grand-slam prog metal comeback.

This is a solid album and every track pummels home the undeniable truth that Dream Theater on a good day is a force to be reckoned with and can blow away almost any band on Earth.

Heck, I am convinced Mike Mangini could beat the crap out of any drummer on the planet. His enfilading fire over the drumkit carries me back to that adolescent wonder at hearing Neil Peart do things that you never knew a human could do with the sticks. Drummers of the world need to give this album some kind of special award for his performance alone.

But of course every musician in Dream Theater is top tier, and John Petrucci is a standout, not just for his masterclass in shredding faster than the speed of light, but also for his excellent lyrics on this album.

When you give this disc a first listen, don’t give up in exhaustion when Dream Theater’s dream team of musical prodigies overwhelms you with the Mozart school of “too many notes” musicality (the unofficial Progarchy motto). Wait patiently for those magical moments when you are hooked in and happily surrender, knowing that you can’t wait to return and hear the album again.

For me, it happened as soon as I heard “Transcending Time,” which is a truly glorious track that manages to combine the sound of the Steve Morse Band with that of classic Rush. The first line of the lyrics should immediately transport you to the metrical pattern of the first line of Rush’s “Red Barchetta.” This song alone should cement your purchase of the CD, as it did for me.

I can’t remember the last time I was this excited by a Dream Theater song. (Actually, I can. It was “The Enemy Inside,” and then the Limelight-laden “The Looking Glass.”)

The other track that knocked me off my complacent critic’s chair was the title track. Clocking in at twenty minutes, I have to admit that every minute of it is enthralling, and every time it ends I find myself wishing it would stop the fade and simply continue. It’s just so cool.

All hail Dream Theater for their most amazing comeback on this track and on this album.

It is right and just that the legendary Hugh Syme adorns this magnificent album with his most excellent art work.

Dream Theater FTW!

Let me answer that question right away. The album is excellent. It’s proof why prog lovers should be open to new musicians and new experiences and not just spend their time buying bloated box sets of the greatest artists of yesteryear.

Now, there’s nothing wrong with owning and collecting all of Steve Hackett, because he is amazing, and he’s total prog royalty. But we have to realize that there are so many other talented (but lesser-known) artists out there who also deserve our passionate support.

To his credit, Hackett obviously recognizes Lehmann’s talent. By happy circumstance, he surely knows her thanks to his wife. That’s great. Likewise, by happy circumstance, you know Hackett only thanks to your fan-marriage to Genesis. That’s exactly how we meet one other and discover new things.

Next question: should you buy this album? Yes, absolutely. It is worthy to be added to your prog collection. If you need a quick excuse, let me point out Hackett himself appears on track 6, “Forever Days”, and deploys a wicked guitar solo that alone is worth the price of admission.

So, if you need an appearance from prog royalty to justify the adoption of a physical CD into your collection, this is it. Thanks be to Hackett for dropping this solo onto Lehmann’s album and giving us all an excuse to get to know her better.

Hackett also co-wrote a nice little song with Lehmann that closes the album: track 9, “Where the Small Things Go”, which at 1:42 shows us that small little songs do indeed go well at the end of an album. It’s a nice finish, showcasing the artistic bond between the two artists with a gentle acoustic departure using classical guitar.

Lehmann wrote the rest of the album’s material herself and it’s all superb. The album kicks off with “Who Are the Heroes?” as we first get to hear her singing voice along with her guitar work. I was pleased to find myself making analogies to Kate Bush right away. Lehmann’s vocal phrasing and general sensibility (marking both her vocals and arrangements) call to mind Bush quite remarkably.

Lehmann’s voice is different in timbre, so don’t go listening and expect a soundalike. It sounds more like an alternative universe where Kate Bush smoked three packs a day. So, Lehmann is truly her own voice, but she’s still hugely talented like Bush and longtime fans of Bush will understand what I mean about their shared artistic sensibilities.

Further proof of my analogy is “Tinkerbell” (track 2, 4:52), which includes orchestral arrangements, and “Only Happy When It Rains” (track 3, 3:47), which has a swinging jazzy arrangement that would not be out of place on an early Kate Bush album. Here, the mischievous Hackett plays harmonica. And Rob Townsend plays sax; he also appears on “Memory Lane” (track 5, 4:49), a poignant personal reflection about dementia by Lehmann inspired by her mother.

“The Watcher” (track 4, 7:25) is an epic prog extravaganza that is well placed. After introducing her range of musical abilities on the first three tracks, Lehmann hits us with a prog experience that makes us happy we came on this journey. The title made me think of “Watcher of the Skies” immediately, but that obvious association aside, this track illustrates why I hope Lehmann keeps composing and putting out albums. She’s got what it takes and she makes great unknown music that stands well next to the best known of our favorites.

“Childhood Delusions” (track 8, 4:46) consolidates the Kate Bush comparison for me, with its jazzy whimsy. I can easily imagine Bush singing this song. Lehmann’s own unique voice is great on it too. Who knows, maybe they can do a duet of it sometime for charity. I’d totally pay to hear that. Kate Bush is one of my all time favorites, but I am most pleased to discover this album thanks to the nifty introduction that the generous Steve Hackett has arranged for us all.

The album credits don’t say who plays sax here, but maybe we should assume it’s Townsend a third time. The album credits also fail to tell us who the drummer on the album is, so I’m going to go right ahead start a rumor and say it’s Phil Collins, just to get more people out there buying this excellent album.

Nick Magnus and Roger King between the two of them offer impressive support, contributing keyboards and engineering and mixing on different tracks, thereby helping to keep everything throughout the album running smoothly at the highest levels of musical excellence.

“We Are One” (track 7, 4:56), which precedes “Childhood Delusions”, is also highly reminiscent for me of the sort of Kate Bush song I love, and it is another prog extravaganza standout (like “The Watcher”). If you haven’t already paused during this review to order a copy of this CD, let me just stop now so you can go do it. I hope you will enjoy this music as much as I do.