Arny always seems to give some a little different but without straying too far from his so far successful formula and the new release is no exception, delivering powerful and brooding tracks like opener Stir of Echoes.Read the full review by Martin Hutchinson at progradar.org
Arny always seems to give some a little different but without straying too far from his so far successful formula and the new release is no exception, delivering powerful and brooding tracks like opener Stir of Echoes.Read the full review by Martin Hutchinson at progradar.org
Mixing Marillion with costume drama and theatricals, opening track Assassin is quite an addictive one with a dark edge to the guitar riff and moody keyboards. The vocals are neat and demonstrative and suit the music perfectly. The song has an apprehensive feel, as if you are waiting for something to happen and not necessarily something good! An intriguing opening track with its early 90’s feel. Healing has an unhurried rhythm to it, mournful and pensive with the delicate piano and trite vocal. Definitely not one for the depressed among us! There is stark beauty to its pared back and downcast delivery though. A heraldic keyboard note introduces The Secret, a track that wouldn’t be out of place on a film soundtrack. A nostalgic, gentle wistfulness plays out before you, the vocals heavy-hearted and imparting world weary experience to the proceedings. Interstellar, whilst not being full of joie de vivre, lifts the mood somewhat with its homage to a mix of early Ultravox with a smidgen of Steve Strange thrown in for good measure. As I’ve said before, there is nothing too complicated going on here but what you do have is transparent and honest and thoroughly enjoyable.Read the full review by Martin Hutchinson at progradar.org
Released in February 2015 ‘Outlaw of Our Time’ takes a lighter, more commercial route than ‘Pathfinder’. The overall feel to the album brings thoughts of Asia, Foreigner and other AOR bands, there is even a touch of E.L.O in the vocal style and semi-orchestral feel.
Opening track Fibreoptic is a delightfully reminiscent of the synth inspired rock of the 80’s with a Georgio Moroder inspired keyboard that morphs into a guitar driven verse that Jeff Lynne would be proud of. The album segues though heavy electronica influence with Souless Night Driver, a considered and melodramatic track, to the ambient dance feel of Ricochet and back through the melancholia of Outstretched Hands to the World.
I get a real feel of the cinematic, ethereal atmospherics of Fractal Mirror running through this album, it is there in the background on tracks like Mediation, How Can One and Slow Motion, especially with the organ styled keyboard playing which gives a sci-fi inspired note to the music.
The vocals also conjure up thoughts of my good friend Mike Kershaw, measured and monotone they may be but extremely expressive with it. This comparison is most evident on Siren of the Sea, which has to take the gong of being my favourite track on the album. With its oriental influences and downbeat rhythm, there is an aura of David Sylvian all over this song and the meandering, intense guitar playing is a highlight of the whole album.
The album runs out with three extended tracks that all run with a laconic mood, pensive and wistful. Blind Faith, Gate to the West and Transatlantic Ghosts take a deeper, more thoughtful route through your mind yet still retain a simplicity, a lack of over-complication at their core. It is perhaps more ‘music that seeps into your sub conscious’ than easy listening with the more serious tone that they have. They close out the album on a very sombre note, I found my self getting lost in the midst of the final track. (Martin Hutchinson at progradar.org)