HOURGLASS

Third album (and third review) for master keyboardist Ben Bell, a seasoned player who has graced a multitude of fabulous albums from artists such as Drifting Sun, Kashgar, Gandalf's Fist, Broken Parachute, Tom Slatter and Fusion Orchestra. His previous recording, 2016's "Five of Cups" was an excellent work which garnered high praise on many sites, accentuating not only his superlative ivory tickling technique on piano, organ and synthesizers but also a rather skillful vocalist to boot. "Hourglass" is therefore 7 years in the making, and it has all the requirements for surpassing his previous efforts, as tasty as those already were. Ben is ably assisted by drummer James Chapman on 4 tracks as well as featuring the current wunderkind of Prog, the incredible Pat Sanders of Drifting Sun (we are all pals allegedly) doing a Moog solo on one piece. The album is tentatively to be released on May 1, 2024, but I got an advance copy to review. Ah, connections, connections.

"Wake Up "could very easily be a dawn's early light etude on piano, a gentle awakening from the torpor of rest, ready to face a new day with all its intricacies, even in routine. A fitting segue into the first of three epic tracks, "Carpe Diem", seizing the day in Latin, where the gleaming ivories resonate with new found vigor, the athletic drums in full support, the solo voice ably assisted by choir manifestations, even daring to hit those very high notes with apparent ability. Clanging guitars blend well with the tingling piano, staying true to the intense arrangement that exudes awareness, with dreamy transitions that remind the listener that the clock is ticking. Ben's vocal skills are seriously on par with his talent on multiple instruments, the man can play like the wind, but the voice is quite impressive.

The first of two short "Promenade" pieces provide moments of reflective introspection, the piano setting the stage for "Blind Faith", the second 10 minute+ rocking extravaganza, where the wicked Hammond organ now takes the spotlight, Ben is regarded as one of the finest in Progland, and the raging arrangement is the ideal platform for an initial synthesizer flurry from Sanders, setting up his pal on the churning beast with a series of wandering bursts. Ben tosses in some grittier vocal lines, electric guitar ablaze, as the pace subtly morphs into another choir fantasy, symphonic in its melodic bearing before collapsing into a dissonant vapor. The disillusionment of failed trust.

The childlike piano on "My Home Is Tomorrow" is hopefully positive 'as the road stretches onwards', but the voice becomes agonizingly intense, the tempestuous organ blast even more incendiary, the glowing Moog embers billowing like ashes falling from the skies. The sizzling guitar scorches mercilessly, the drums pounding in unabashed fury. Once again, saner minds prevail as the dust settles, the ornate piano and the voice now delicately in acceptant submission. The cymbals thrash as if to say goodbye to today.

"Promenade 2" is quite different, gently insistent chaos, perhaps inspiring some kind of maritime accident, as the third epic "Castaway" kicks into gear. The delirious electric guitar splashes onto the cosmic beach, a bruising bass undertow and drum concussions, like coconuts dropping from the sky. This is the longest track, a vivid solitary musical adventure, 'drifting into serenity', letting the axe lead the way, as the raising vocal growl implies a certain finality, perhaps even anxiety. A gust of sonic wind and the ambient piano waltzes over the electronic orchestrations, a bright disposition that still carries a sense of impending consequence. The elegant keyboard spins its soothing magic remarkably until it gets shoved aside by the organ tormenter, obstinate and ominous, as the stormy arrangement transitions back into density and courage in the face of despair. A furious guitar swerve sets the sun back in its hiding place, as "Wake Up (reprise)" recalls the infallible notion that night has once again arrived and perhaps, the time has come to rest those bones beside the fire.

4.5 flowing sands

Review #120.

Hourglass is the brand new album of Patchwork Cacophony, the personal project of Ben Bell, who you probably know either from this project, or from Broken Parachute, or from Gandalf's Fist.

Luckily enough, I was able to listen to his 1st and 2nd album at the time of their release, so I was able to spot the differences and changes in every new album's style and sound. His debut one was a good effort, but it was rather obvious that he was not sure yet of the style he wanted to play. So, there were many influences and different styles mixed there. The 2nd album, Five of Cups was a far better album without a doubt. Once more, Ben did almost everything by himself, but this time he had Marcus Taylot and Tim Hall as guests; both on guitars. (Marcus Taylor is his bandmate in Broken Parachute).

And now, 8 years later, he released his 3rd album, Hourglass, which is the most enjoyable, well crafted, and better produced of all 3. The album includes 8 songs, and 4 of them are between 8 - 11 minutes in length. The other 4, are short instrumental pieces which are working like "bridges" between the long ones. The 4 long tracks are excellent, and the 4 short ones are doing the job the way they should. Have in mind that there is also another option for those who might be interested, which is the Halfhourglass. This is an EP, which includes only the 4 long tracks of the album in shorter "radio friendly" versions. This was a great idea, and it is a very pleasant EP.

The Hourglass album is available in Digital format on platforms like Bandcamp for example, but is also available as CD. As for the Halfhourglass EP, if I'm not mistaken, it is available only in digital format, and it can be found on platforms like Spotify and Apple Music.

So, no matter if you will choose Hourglass or Halfhourglass, be sure that you will pick a really great album!

Give it a try, you won't regret it!

My Rating: Somewhere between 4.0 and 4.5 Stars.

PATCHWORK CACOPHONY melodic and symphonic rock; Mellotron and Hammond keyboards and multi-layered vocals for a relaxing atmosphere.

"Wake Up" opening instrumental like the morning sun, Olympian arpeggio, sovereign, all of a majestic YES intro. "Carpe Diem" continues on a melodic framework with vocals with choirs above all; a long, festive, bucolic variation with an intimate moment and a dark piano; the spleen guitar, launching progressive intonations of yesteryear varied enough not to resemble a particular group; the finale shows fine skill by revealing grandiloquent fruity notes. "Perspective I" completes this movement with another haughty arpeggio, a crystalline variation of great beauty. "Blind Faith" with a SUPERTRAMP-style acoustic guitar at the start; dynamic title where the keyboard leers at that of BANKS at the start, then taking its ease by developing an air conducive to travel, to jumps in space; note a well-paced guitar solo on it.

"My Home Is Tomorrow" solemn piano arpeggio and here we go again for a piece stamped with symphonic prog rock; the twirling keyboards with the appearance of Pat's fingers from DRIFTING SUN, on ELP, a little bit jazzy, the high voice for a very melodic nostalgic rock which goes into a slightly festive folkloric gig, far from its House; airy, spatial, contemplative finale with the muffled voice and yet another piano arpeggio. "Perspective II" for the keyboard interlude moment of plenitude, resuming your breathing before launching "Castaway" for best song it's true; rhythmic, energetic with the contribution of James on drums; vocal forward, warm choir; a keyboard that leers at the PENDRAGON, the air that smells of TOTO, STYX and more nervous; the break halfway through with the piano arpeggio and the flute that vibrate the ambient air; the time to settle down and start again with a melodic guitar solo, more in emotion than in technique. "Wake Up (reprise)" says it all, the atmosphere still dark, mysterious, solemn to close this conceptual album. Note Halfhourglass the EP with "Blind Faith", "My Home Is Tomorrow", "Castaway" and "Carpe Diem" in radio edit, durations of 5 minutes for those who fear long titles; personally I don't see the point because it cuts the intro but who knows that it's on? radio?

PATCHWORK CACOPHONY concept album giving pride of place to melodies rather than instruments; a simple, effective album that recalls old sounds without delving into vintage, a plus for the current decade. (3.5) Initially on Profil Prog.