ONE

Another début foray from veteran British proggers Brian Hulse (Plenty, Tim Bowness) on various guitars and keyboards, bassist David K. Jones (Bowness, solo) as well vocalist John Wilkinson (Ellesmere, The Swan Chorus, Bill Bressler, The Samurai of Prog, The Guildmaster) alongside drummer James Cooper (Mama, Moonshot) and keyboardist Antony Wretham (the Mousetrap Factory). They seek not to reinvent the prog wheel, just making it impervious to flat tires.

Both "Tomorrow" and "As Blue as the Sky " serve to establish the comfort zone, setting the parameters of what is to follow, introducing all the players. On the first one, Hulse's acoustic guitar is followed by the electric version, the rhythm section kicking butt, the organ roiling and broiling in the undertow. Yes, we are in Yes land and Going for the One. Jones' devilish bass in particular causing temporary arrhythmia, a superb musical intruder that sets the tone. The smooth instrumental section is splendidly concocted, infused with enough variety to keep any potential naysayers at bay. The second is shinier, brighter and more resonant, as the choppy percussion proves beyond any doubt. And contrary to the cover art, where the sky is earthy in colour and the ground is definitely blue, the topsy- turvy pace is what really sets this apart from all the other tracks, witness the swooning electric guitar solo from Hulse that illuminates the firmament. An elegant piano waves goodbye.

The luscious "Redemption" is the epic track that seals the deal here, a wonderfully executed slab of genius, incorporating a delicious vocal aria by Sian Doyle that exudes Celtic mystery. The piano leads the way through the foggy loch, a vivid soundscape that takes its sweet time paddling ahead in the opaque mist, a rushing organ and bold bass taking the helm elevating the overall energy . Captain Wilkinson steers the path with trepidation, in his usual Collins-like tone, while Jones' sombre bass provides the wake. The keyboards rekindle the technical mastery of Tony Banks, a harsher tone in the synthesizers, making this quite the evocative prog marathon. Had this piece been included on Abacab, well?. you can guess the rest! Magnificent.

Creating the sonic equivalent of "Autum Song" would be quite the task, as the fall season is quite sensorial, as opposed to the extremist birth, heat and cold, offered by the remaining trio. This is a harmless, very British pop ballad that would have fit on perfectly on "We Can Dance" , for example.

Reverting to more symphonic bombast on "One" can only be welcomed by applause, offering all kinds of ornamentation that hits the spot, namely an atmospheric entrance with ambient meanderings, followed by colliding rhythms, rural acoustic guitar, a pipe organ flurry, and finally the bass initiating a full-blown prog groove. Wilkinson's urgent voice 'rides the wind', all pomp and circumstance., the arrangement seductively poignant, as Cooper shifts the pulse into overdrive, synths barreling along for the extended drive. Veering into more ponderous reflections, the acoustics then lead the way for the solemn vocalizing , the ardent electric guitars adding the coup de grace (Cooper's drum stabs).

Two shorter tracks are up next , "Along Similar Lines" throttling up the piston-engine rhythmic machine into a frenzy of highway star driving thrills, laden with stinging guitar trappings, heavy bass exhaust, piano shifts and spoken voice effects. It certainly tips the needle towards the red zone, a racy slice of radar love. "Sail Towards the Sun" acts as a vocal version of the above track, instilled with ongoing movement and focused initiative. Harmony vocals add a fresh accessibility, the loopy synths and biting guitar flicks intensely playful , all wrapped into a tight melodic channel. Well crafted and enjoyable.

And a final lengthier tune, "World is Changing ", a profound thought that keeps proving that while humanity can improve on so many levels, it's also relinquishing past achievements by turning them into tragedy. All it takes is a few media-fueled socio/political manipulations, and we find ourselves still walking the tightrope. 'Along Similar Lines' is reinserted, though never clearly deciding whether the 'change' is for the better or worse. "The world is falling and seems strange' intones Mr Wilkinson, and you better believe it! The sweet synth solo exudes hope and peaceful resolution, and yet?The nervy drum fills highlight the information overload we all suffer from, unable to determine truth from lies. Home is where the heart is and will always remain. It's the world outside that needs repair and change. Excellent finale.

I found that the longer tracks were easily the most progressively expressive, as they provide the musicians with the expanse to stretch out and demonstrate their skills . The shorter ones are closer to comfort zones, more accessible and pragmatic pieces that have their own audience and certainly do not collide negatively with the weightier material. I also noticed that each subsequent audition made me smile even more, generally a very good omen. 4.5 haphazard opportunities

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