CHILDREN OF ANOTHER GOD

Steve Hackett protégé, ex-Autumn and ex-The Enid keyboardist Nick Magnus should be no stranger to prog fans, not only for his mellotron-drenched style but perhaps also for his walrus-like facial hair (he does look a bit weird). I do not know his debut 1993 album, appreciated his second "Inhaling Green" (1999), really loved and reviewed his 2004 release "Hexameron" that owned a slew of crafty pieces that really made the grade, the result surely did not disappoint with some lovely symphonic-laced tunes such as the epic and lush "Dancing on the Waters", the über- Celtic "Sophia's Song" and the seductive "Seven Hands of Time", interspersed with some poppier material ("Marduk", "Brother Sun, Sister Moon") that noticeably recall the Alan Parsons Project (APP). So suffice to say, "Children of Another God" was a no-brainer purchase, as far as I was concerned and certainly delivers a strong contingent of elegant pieces that will please the undemanding progfan.

The widely varied menu is therefore similar to past releases with profligate melodies such as the magnificent title track that features the warm Gabrielesque voice of Tony Patterson or the sweeping , flute-laden and buzzy guitar- driven "The Colony is King", both being outright marvels and prog classics. This last piece could have graced any Steve Hackett album and received the suitable applause, as its quite deserving.

Then there are some of those more accessible songs, such as the APP-like "Dr. Prometheus", sung by Pete Hicks (Hackett's old band) who also sings on the cinematographic "Crimewave Monkeys". The rather liquid "Identity Theft" has Magnus taking over the mike and doing a decent job, but I fear it's a bit of the weakest link here, though that xylophone patch does have some merit. The instrumental "Twenty Summers" certainly entertains the faithful and does not shock any monkey.

The sensational vocal-led "The Others" features a clear and powerful female voice that shines ever so brightly (owned by a Linda John-Pierre) and rekindles semi-operatic themes within the symphonic curtains (synthetic oboe, piano, orchestrations). Tony Patterson shows off some more vocal variation on "Babel Tower" which does sound like a Rael outtake, full of ivory bombast and muted shrieks, sudden acoustic guitar pastorals and a raging organ/mellotron passage to rouse the innocent (a reprise of the majestic title theme) and garner this with a stamp of class. But he really kills it on the glowing finale, a monster delivery floating upon sheer symphonic beauty, a masterstroke that will convert the unbeliever, "Howl the Stars Down" is a definite keeper.

In its essence, there is nothing ground breaking here in terms of progressive development, just an array of finely chiseled songs that relive the Broadway Sheep, and smooth the weary soul. All in all, a great recording that has all the goods.

4 Gigantic Slices