STEVE BONINO

When I was young, I was fascinated by myths and legends of ancient Greece, Rome and Egypt and I was given a book, 'The Story of Greece', which had belonged to my mum when she was a child herself. With lots of colour plates I was fascinated by the stories of Achilles, Hyacinthus, Apollo, Arachne and many others, including of course Pandora. Many people will have heard the term Pandora's Box even if they do not know the myth from which it was taken. Although the story has been retold many times in many ways, the base is always the same in that Pandora opened a container as she wondered what was inside, releasing many evils into the world and although she attempted to close it quickly only one thing was left behind, often referred to as hope.

Steve is a multi-instrumentalist, and although Eric Johnson has assisted with a guitar solo on one song, he does everything else himself apart from the female vocals, where Shimmer Johnson provides the lead on "My Name Is Pandora" and C.C. White provides additional vocals throughout. Steve is no stranger to concept albums, with the two excellent 'Stargazer' albums behind him, but it is very different indeed to work on an original story as opposed to a well-known myth, how to make it relevant for the modern day? Quite easily in his hands it appears, as he mixes it with the story of Eve and Christianity, bringing it right up to date when someone at a garage sale come across a jewelled box they cannot open and asks for advice, only to regret it when they get inside.

The lyrics are thoughtful and at times quite deep, making us think, but in contrast the music is light and full of hooks, so they combine together in a manner which is both fascinating and intriguing, making us curious to investigate further, much like the protagonists in the story. The idea of bringing in a singer to take on the role of Pandora herself makes total sense as here she has a voice and is able to explain who she is, and in Shimmer Johnson, Steve has found the perfect vocalization of his ideas. I can see them working together more in the future.

As well as the songs, there is a spoken word piece called "Origin Story", where we hear the story of Pandora according to the original legends, explaining to those who did not grow up reading Greek myths (which is most people in fairness), all accompanied by an underlying keyboard piece. I also ought to make mention of the drums, as although they are programmed it shows that when someone really knows what they are doing then they can become a valid instrument. It really feels like there is a human driving the sound as opposed to a computer.

The end result is an album which is deep, wanting to make us think and also investigate the story further, while also being thoroughly enjoyable on a musical level. Complex, and complicated, it is a delight the first time it is played and that feeling only deepens the more one gets inside.

Unlike his last two albums, where Steve became a Project, this release looks back in some ways to an earlier time, more specifically to 2016's 'Progress'. Back then he provided everything himself apart from the appearance of Jimmy Keegan on one track, and listening to the drum sounds on this album I thought that the Spock's Beard sticksman was again involved, but Steve ensures me all the drum sounds are indeed provided by himself. Steve describes it as his pandemic album, "Written and recorded while staying safe at home, it is a stylistic departure from much of my earlier work. Introspection and quiet reflection were the motivating factors in this very personal expression." This is particularly true on the likes of "Colors Of You", where Steve picks a delicate acoustic guitar, provides some string backdrops with no percussion, and delivers some wonderful harmonies. Each time I play it, this song makes me think of the late Sixties, as does the next one, "Instrumental". This is funky, has rich Hammond sounds, fuzzed bass, strummed acoustic plus some great woodwind. Steve has obviously been experimenting a lot with his synths, and it shows.

This is much more of a pop rock album than a progressive one, but who cares? I certainly don't, as this is something I have enjoyed playing repeatedly over the last few weeks. It makes perfect sense to me for Nick Katona to release this on PeacockSunrise as this is quite removed from the material on Melodic Revolution but has much to offer alongside the likes of other artists on this label such as Elfin Bow, Allison VonBuelow and Martin Springett. Bonino has a knack for writing perfect pop songs that contain depth and musicality, and he even finds room on this album for his own personal tribute to the original Superman, George Reeves. "We Are Gonna Be All Right" is the most upbeat song I have heard about COVID 19, this time with some wonderful clarinet, and demands the listener sings along to the chorus as it is so damn catchy! "The world has changed overnight, Angels fly into the light, If we embrace the heroes' fight, We are gonna be all right".

Anyone who has enjoyed any of Steve's other albums, or just wants to hear a songwriter and performer who really knows his craft needs to seek this out when it is released in September.

Coincidences can really be uncanny. Earlier this year I watched a video on YouTube about the Electric Universe Theory and another about the Saturn Theory at the suggestion of a friend. Subsequent visits to YouTube delivered various "theory" videos to my suggested viewing stream, and one such video was about ancient Sumerian tablets that tell us the Sumerian gods known as the Anunnaki were actually extraterrestrial beings that came to earth and delivered agricultural technology to human kind. There was even a thought-provoking video about the true origins of Eden that suggested "God" and "Satan" were actually different Anunnaki overlords and that all of Western religion's mythology is actually based on real events that occurred during the last visit of the Anunnaki alien beings. Not that I believed it, but it sure made for a good story. And hey, what if it were true?

The coincidence was that barely a couple of weeks later, Steve Bonino, whom I knew about through his work on with Bomber Goggles and his appearance on albums by Peter Matuchniak, asked me if I would be interested in reviewing his latest release entitled "Stargazer II". There had been a fair bit of buzz about it on Facebook and so I eagerly accepted. Well, well, wouldn't you know it? The story here in part two of the Stargazer saga includes ancient Sumerian tablets and the discovery that humans beings originated somewhere else in the galaxy. The Anunnaki were indeed alien visitors to earth!

Alright, let's back up a little in the story. The first Stargazer album told the story of an ecologically wrecked earth, and a desperate attempt to ensure the survival of the human race by sending several thousand select individuals off into space on a huge vessel to repopulate to another planet. The planet, known as Proxima B, is described in the story, and the new settlers must deal with a higher gravity, x-ray bombardment, and other challenges. However, the human race survives twenty years into the future and it seems we are going to make it!

In the sequel, a dome is constructed so that people can go outdoors safe from the harmful effects of radiation, and an exploration team discover the remains of an ancient city. Text documents found in the city are brought back for scrutiny and a specialist in Sumerian writing recognizes the alien text as the same as what is found on earth. The album ends with an opening for a third installment in the story.

Aside from the story, which I find compelling and exciting, Steve Bonino and company have created an album diverse in style but without trying to cover all bases and thus they avoid stretching themselves too thin. The music is based on vocals, guitar, bass, keyboards, and drums with some additional instruments on some tunes. In each song, the story plays out chapter by chapter, sometimes speedy and exciting, sometimes slower and contemplative. There's the folky "Under the Dome" with some enjoyable acoustic instruments and the exciting instrumental "Hyperspeed Overdrive". "Fear" is a personal favourite of mine as well for it's classic heavy prog sound in parts.

Steve has written an album of short songs, some with more lyrics than others, in crossover prog fashion; there's an obvious necessity for songs that tell parts of the story but still no shortage of creativity or range of musical expression. The album moves along at a good pace but with each track having something to offer both lyrically and musically. Short spoken monologues help push forward parts of the story or elucidate events.

I like "Stargazer" quite a lot, but "Stargazer II" sounds like the music has taken a step up. I just find the music to be that much more enjoyable, good though the first album is. One thing I really appreciate is that the music on this album doesn't try to overtake the story. There is a nice balance between lyrics and storyline and instrumental moments.

To conclude, I really like the story here and I can get into the music of the individual tracks. It's obvious the effort Mr. Bonino made to bring his vision to life in the songs. I'm looking forward to hearing what happens in part three!

US composer and musician Steve BONINO is perhaps more noted as an actor than as a musician, but he has been an active musician for quite a few years by now, as well as nurturing a solo career since 2012. Stargazer is his fourth solo album, and was released through US label Melodic Revolution Records in 2018.

"Stargazer" strikes me as a fine example of an album made in what I'd describe as art rock rather than progressive rock as such, featuring mainly retro-oriented material of an accessible nature given a light progressive rock coating and flavoring. Those who tend to treasure bands described as being art rock from back in the 1970's strikes me as being something of a key audience for this album, and then in particular if a science fiction theme album of this kind is regarded as being of general interest. A CD well worth a look by those who can recognize themselves in such a description.

It doesn't take a genius to work out that this is album is the follow-up to Steve's wonderful concept album 'Stargazer', as not only is there a '2' in the title the album art is also a direct follow-up. The story here takes place some 20 years on from where the last album finished, and interestingly has been left so Steve can return for a third album if he so desires. Although it may seem this is a band album, yet again it is Steve displaying his multi-instrumental skills as well as bringing in some friends to help him out. None of these were involved in the other album, but with long-time associates Peter Matuchniak and Jimmy Keegan (both who are in Steve's live band), plus the likes of Marco Minnemann, they all slot right into the groove.

Steve's combination of melodic rock, progressive rock, and damn easy to listen to hook-laded songs always make his albums a delight from start to end. The story is detailing in the fold-out digipak, but the lyrics clearly tell it as well, and the result is something which really does need listening to from start to end, as opposed to being dipped in and out of (and certainly never to be played on shuffle, a concept I have never managed to get my head around). While all those involved are masters of their craft, Steve's albums are always all about the songs as opposed to 'look at me aren't I clever' workouts. He can move from Seventies funk and soul into hard rock, with the bass being as important as the guitar, using dated keyboards, or we can be driven into staccato repeated riffs with piano. The ideas never stop coming, the album keeps moving forward and the listener is taken with it.

I listen to a great deal of music which can be termed intense, from complex prog to technical death metal, improvised jazz, avant garde, and everything in between. Sometimes I want to listen to great tunes without having to work too hard at it, music which is designed for me to enjoy on every level as opposed to feeling I am being shouted at. Steve delivers time and again, and here is yet another album which is a delight from the first note to the very last.

Prior to 2018's superb 'Stargazer' album (which has already been followed up by 'Stargazer 2' ? what do you mean you haven't got it yet?), this 2016 release was Steve's most recent solo album, although he had been heavily involved with other bands (including with the wonderful Peter Matuchniak). Again the album is just Steve, apart from Jimmy Keegan dropping in to provide drums on one song. Part of me says, that when playing this for the very first time the listener should listen to the last song first, as "Hard and Fast" is a wonderful tongue in cheek pisstake of what thrash metal would sound like if it was being provided by a pop prog rock artist (wait, hang on a minute?) but why bypass all the other great songs? "Blood Bullet Playground" never seemed more poignant than it does this week, less than 7 days on from the Christchurch attack. Downtuned, with an emotional Korn feel, it drives me to a dark place with a strong emotional, almost visceral response to the words and music. It demonstrates just how much of a complete artist Steve is, as while much of his music is poppy, rocky and with a great deal of fun, this is far more serious. "Will we never, ever learn. The next child could be your own" ? my youngest daughter lives just a mile or so from the mosque, and I used to work around the corner. Steve takes on yet another approach with "Obsidian", with layered vocals and percussive approach which again is very different to anything else on the album, far more progressive and spacelike. It is the sheer variety of material which makes this album again such a delight. I can see I am going to have to seek out the rest of Steve's bands, as everything I have heard from him has been simply superb. Get the 'Stargazer' albums, but don't forget Steve's back catalogue ? you won't regret it.

I listen to a lot of music, far more than any sane person should ever put themselves through (it's a dirty job, but someone has to do it). So, when I find myself singing a song during the day, and also waking up with it playing inside my head, then I know I am onto something very special indeed. That song is "Come Out and Play", which in many ways could have fitted in really well on Neal Morse's second solo album, 'It's Late'. Delicate, with picked guitar, delicate keyboards, gentle bass and Steve allowing his voice to go falsetto when the time is right, it is a true poptastic masterpiece which is already one of my very favourite songs. But, what makes this even more unusual is that in many ways this is a song which shouldn't have seen the light of day. Recorded between 2005 and 2012 these songs only feature Steve, with Jimmy Keegan providing drums just on "You Rock My World". Steve views this and 'Peace Rock's as a pair, and this makes sense as musically and lyrically there is a lot in common between them, but given they were recorded during the same period that probably isn't surprising. The drums are far more basic on here than on the other, yet there is still the breadth of styles, and this album even features the title track of the other album as it hadn't made the cut on that one. As a complete album, it must be said that 'Peace Rocks' feels superior (mostly in terms of the drumming), but if you want to hear an absolute classic number then look no further than 'Come Out and Play' for an example of singer songwriter delicate pop rock at its' finest. Yet another great album from Steve.

One of the continued delights in writing about music is continuing to make friends and contacts all over the world. One of these is Steve Bonino, whose superb 'Stargazer' album from last year is a delight, and if you haven't heard the debut by Bomber Goggles (of which he is a part) then you are missing an absolute treat. But here we are going all the way back to 2012, the first of three albums he recently sent me to listen to. While I was playing this for the first time I was reading the credits, and while Steve provides much of the instrumentation and vocals he has also been joined by a few guests, and I was intrigued to see that Jimmy Keegan is involved in much of the album (as well as mixing some of the songs), and he has also been joined by Spock's Beard bandmates in Dave Meros and Ryo Okumoto. That may lead people to think that this is another full-on progressive workout, but instead we have an album heavily inspired by the likes of Utopia and The Cars, full of hooks and powerful pop rock with a strong commercial element. Steve has a great voice, and he moves seamlessly through different styles and sounds, always creating something very special. One of my favourites is "Construction", especially the ending where the music stops but Steve keeps singing. Another is the very next track, as the chorus of "Personal Revolution" is just so different to the rest of the song. Polished, packed full of great songs, this is just a wonderful album which I fell in love with the very first time I played it, and it has only grown on me from there. Steve seems to be finally getting the attention he deserves with his recent albums, so get those and then go back in time to hear some truly great songs.

Although I have previously heard some albums in which Steve has been involved, most notably the awesome Bomber Goggles and their incredible album 'Gyreland' (if you haven't already bought this then you need to), this is the first time I have come across one of his solo albums. Steve provides guitar, bass, keyboards, drums, and vocals, and is joined by Böhn (acoustic and electric guitars and backing vocals) and Bingo Brown (drums, percussion, and backing vocals). 'Stargazer' is a concept album, and is the nickname given to the hero of our story born into a dystopian future in which man's neglect has made Earth no longer habitable. This is a similar theme to 'Gyreland' and the impact of humanity's impact on the earth, and at this point, it is not possible to save the planet so people have to leave.

Steve has a knack of bringing together multiple musical themes and styles and bringing them together in a fashion that is best thought of as crossover progressive rock, with large elements of power pop styles. The songs are all short, with only a couple daring to break the five-minute barrier and are incredibly infectious. In fact, one can imagine quite a number of these being played on the radio to great effect. Take 'Phoenix Rising' for example, here we have find Steve channeling Weezer while with 'In The Darkness' it is much more like Nik Kershaw! The music is fluid, sonorous, and always with stacks of melody and hooks.

It is an incredibly accessible album, one that I knew I was going to enjoy from the very first note, as the title cut opens proceedings with layered harmony vocals. This is a poppy funky rocking number that shows inspiration from Utopia, and I defy anyone not to sing along with the chorus when it returns. Straight away I was smiling, grooving in my chair, knowing that this was yet another to add to my list of albums of the year ' and given that 'Gyreland' is also in the Top Ten, Steve's not doing badly. He has a real knack of producing catchy songs, giving them enough depth so that they have a real presence, but also showing restraint. There is the impression that 'Stargazer' could have been a lot heavier, it wouldn't have taken much in the mix but it works great as it is. There are also little touches, like the bass slide up and down the frets in the chorus, which definitely add to the overall piece, and from that we go into the far more jagged 'The Celestial Show' which has a very different attack both in terms of arrangement and vocals, yet is also another great number. This is quite some album, highly recommended.