Then drums and electric guitar enter the piece, with sequencer-like keyboard "bass" track to soon follow. The rock instruments have now taken over, are the dominant purveyors of the music--which remains pretty much the same despite the drums and thumping bass. The heaviness of this progified version of the chamber music is a bit surprising, but you can tell these instrumentalists know what they're doing.
At the seventh minute, the rock rhythm instruments desist while synth and harp continue weaving with synth bass chords and. This evolves into a pretty harp-dominated accompaniment for a Javi and Alia duet. Around jazzy fretless bass joins in and then, with the next round, Fender Rhodes, drums, and jazz electric guitar.
Then flute--which plays tag with the guitar for a bit before the two lovely voices team up in a round of vocalise before segueing back into their lyrical duet. In the 12th minute, the electric instruments are let loose to wreak havoc, followed by an emotional tenor sax! In the fourteenth minute the Arp synth and violin bring back some of the themes from the opening as the rest of the musicians seem to peter out and die off.
A metaphor for the Holocene Extinction? The Cliff! His daughter, Alia, is quite a talent--as is bass master Dani Fernandez. Highly recommended! Review by tszirmay Special Collaborator Honorary Collaborator. Lately, Dave has been working with Sally Minnear, a female vocalist with a glorious voice that name should be familiar to those fans of the Kind Behemoth that lived in a glass house, full of power and glory with a freehanded octopus and his three friends etc..
The apple falls not far from the tree, as the two have a chemistry that is hard to describe. Spirit, I guess. The lockdown had taken Dave away from touring with both Strawbs and Lifesigns, putting himself in composing mode and the result will probably outclass the previous glories as this whopper is a timeless classic of the finest vintage.
The sea churns, the lively gale and the salty mist coalesce as one, the cold fuses with the warm heartbeat of an unconquerable soul. The aptly named finale "Something Astonishing" perfectly conveys the scintillating minute journey that any music fan can enjoy by inserting this masterpiece into their eternal prog collection. Sandwiched in between these two colossal pieces, 11 other tracks offer a plethora of variations on the adventuresome theme, such as the hugely contrasted epic "Girl and the Magical Sky" where gentle child-like serenity finds delicate piano ornamentations allied with the sweetest voice on one hand, smartly clashing with bombastic swells of unmitigated explosions of fiery organ, rampaging bass and screeching electric guitars, all held in place with deft yet muscular drumming.
Dave's solo is a killer. The sense of flow lingers on "Clear Skies", where a playful guitar lead scours the clouds, tin whistles in support of another powerful mellotron fueled explosion, as Jon Poole's nimble bass hopscotches over the flat stones like some drunken madman, as also expressed by a charging synth solo that just kills it.
Still woozy from the onslaught, Dave propels the core minute blockbuster into the melee, the astonishing "Ghost Light", a showcase piece if there ever was one, showing off the talent described earlier, Sally's voice soaring mightily one moment, then suddenly hushed in internal contemplation.
The Jon Poole bass guitar carves quite the path in the undertow, nimbly lunging across the sonic landscape, with plenty of ebb and flow. A male voice belonging to Iain Hornal from 10cc and ELO fame encourages the duet, raising the stakes even higher.
The electric guitar slithers and slices the spectral horizon, towering, swerving, and veering into the stars above. This is such a majestic and grandiose adventure, magnificently played and sung! Really wow! A trio of shorter tracks certainly help calming down all the previous goose bumps, an ornate piano and voice piece that evolves quickly into an extended synth, morphing into a wicked guitar ramble.
Lots of polyrhythmic drumming complicate the mood, with great indulgence and a dazzling rip on the piano. Next, Iain Hornal takes the mike and enters ballad mode, with Donockley providing the slick Celtic accoutrements and Sally joins in.
Breezy, sweeping ocean mist and loads of melancholia. Van Essen leads some spirited violins and violas, combining with Julie Cameron-Hall, on a majestic neo-classical instrumental that is painfully strident and gorgeous, overwhelming, and touching.
I am not always a fan of such orchestral interludes but this is just plain off the charts, both in gut wrenching emotion and technique. The next four tracks seem to reflect another set or suite of tunes that continue to raise the bar.
Starting with the thrilling title track, a more traditional Celtic jig, except the main protagonist is a devilishly exuberant electric lead guitar, doubled by violin, aided by sturdy bass lines and extraordinary drum fills. That Celtic undertone continues on the next piece, the rather hopeful sounding ''Speed Your Journey'' , where Sally gets to sing her piece , sublimely encouraged by wicked bass and drum support.
Another jig like piece serves to showcase the rather complex melody, full of swerving notes, played at blistering speeds by all the musicians, Dave leading the band on his sulfurous guitar, mellotron swirls in the background. I mean, just incredible to listen to such dexterity!
Yngwie eat your heart out! You can also password protect your archive using the Encryption Section that helps you encrypt your archive using the AES algorithm. This software also gives you a shortcut in the Windows Explorer through which you can quickly archive and extract archived files back to normal.
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