VISIONS

The Inner Road is one of those stupendous homegrown releases that I, as a dedicated progfan truly admire and consequently constantly find myself on the constant lookout for. Far from the lavish, multi-layered productions that litter our genre, these seasoned musicians opt for the true essence of progressive music= melody, emotion and vivid soundscapes that take the listener into a fabulous world of introspection and bliss. Certainly, these gents do not aim for mass appeal, rather concentrating on finding fans that would coalesce with their vision of what synphonic prog should be. For fame and fortune, guitarist Phil Braithwaite and keysman Steve Gresswell depend on Coalition, a more commercial leaning neo-prog group with a vocal slant. In this concept, The Inner Road finds a lot in common with fellow countrymen Elegant Simplicity, a formula that relies on extended instrumental voyages that expose a myriad of tones and atmospheres, exploring new melodic concepts that seek to stamp an imprint on the listener's soul.

On the very first run through of any album, I tend to not listen too intently, so as to have some original detail leap out and seize my attention, a method that has proven its merits over the decades. On Visions, the aspect that made me look up and consistently admire were the superbly crafted melodies that saturate this 70 minute + jewel. No track goes beyond the 9 minute mark, so the restraint is most welcome. I love Italian pasta and Vietnamese soups, so I have no problem with endless noodling, even if the musician occasionally flutters into oblivion and forgets where it all began. The preeminence of the main melody is irresistible and the passionate soloing is just way beyond the norm!

From the dazzling opening seconds of "Hidden Sea", the ears pick up the tinkling synths in the style of Oldfield's stellar "Foreign Affair", clinging and clanging deliciously while Braithwaite unleashes the first of numerous solos that litter this remarkable release. The main melody is irresistible and the passionate soloing is beyond the norm. The drums are real, the bass is authentic and everything is just pure harmonic bliss, in a style reminiscent of instrumental Dutch masters Odyssice or Polish wunderkinds Lebowski. Each piece has its own distinctive stamp, such as the unaccredited female choir wailing, the spoken word samples and the sax sounding synth on "Day of the Sun", a strong Elegant Simplicity vibe here that is undeniable. Gresswell's orchestrations are slick, never heavy-handed and always accurate in keeping the mood intact. I mean that 2 songs in and you're already hooked, even if you do not pay too much attention at first, the music has a head-turning effect that is uncanny! Every piece is simply magnificent and powerful. The opening bars of synth-strings on the magical "Morning Mist" should humble the staunchest prog curmudgeon, with luminous guitar solos that recall Dave Bainbridge (of Iona fame), and as stated so astutely by 'toroddfuglesteg', a palpable British style that is undeniably pristine, evocative and yet structured.

The pace never dies off, no filler anywhere as the celestial "Heaven" shows its grace, an oboe-patch synthesizer waddles in lovingly, paving the inner road for the soaring electric guitar that scours the stratosphere. Such beautiful music! On "Life" the guitar really craves out some sonic escapades, within the realm of assorted effects and slithering synth solos, all crowned by some thunderous male operatic samples! Both 5 minute pieces "Lost Man" and "Night Light" offer more sizzling stylings that would make Tony Banks and Steve Hackett shudder with delight, liberally detailed with lush orchestrations and galloping arrangements, the music is never static or ambient. The regular use of choral orchestrations is also phenomenal, adding some detailed color to the proceedings.

The acme is perhaps reached with the torrid "Dreamcatcher", with its correlative American Native Indian sensibility, a sumptuous creative detail that I find astounding and ultimately clever, without ever falling into any New Age formulaic abyss. The musical interpretation is expressive and dreamy, deeply melancholic and utterly defined. A simple Indian flute melody is steadfastly held together by a hard beat, while the guitar slashes a few scalps mercilessly. The resulting solo is crafted with precision and effect. The contrast between the serene segments and the brazen blowouts is delicious. The title track does not relent, supporting a bright, rollicking air that wanders into various comfort zones, as always portrayed by some deft synth playing (that sax patch setting is stellar!) in the meantime, the feral axe shatters through the mellotron-like waves like some Exocet missile skirting the ocean's fury, searching out its target. Funky bass goes popping along for the mercurial ride. I mean this piece has everything to exalt over. "The Lowlands" is a heavily orchestrated tune that has a Celtic tendency (those bagpipe samples) but is topped off by an untamed and robust series of solos on the e-guitar. "Eclipse" is another selection that substantiates their craft with well thought out melodic structures and resonating sounds, perhaps more pastoral and fleeting that the previous stuff but still gushing with crafty keyboard solos and fretboard genius. Braithwaite is rambunctious even though the chorus seems celestial and vaporous. Finally "Beyond the Horizon" closes out this masterpiece with conviction and grandeur.

I thank you torodd for seducing me into getting this one with his words but this is my style of prog and I can only gushingly give this the maximum score allowed and then some, as I could listen to this everyday, forever. Fans of gorgeous melodies, expert playing and modern symphonic prog would be missing out not getting this marshaled into their collection. All I can say is that I found my Inner Road!

5 highway mirages