ANOTHER MIDNIGHT BALL

Android is a Hungarian prog band that has a rather unique method of revisiting earlier releases and offering a different twist that can be of a technical, language or upgrade nature. Back in 2009 they released their debut "East of Eden" and then "East of Eden Revisited" in 2019, a massive improvement in dynamics, an improved sound and production, courtesy of Tamas Barabas of Djabe fame (as well as a wicked bass player). My reviews of both are testaments to the foresight, the humility and the perseverance of a band looking to constantly better their craft. So, it comes as no surprise that "Midnight Ball" (2011) gets an overhaul in 2022 with the release of "Another Midnight Ball". Same strategy, same recipe, same result! Now, of course, any legitimate review under such circumstances requires to revisit the original and then rather immediately while still fresh in the mind, listen to the newer version. Well, if the artists can do it, why should the reviewer not put in the same effort? The production is slicker, more polished, with English lyrics and sung in more hushed overtones as befitting an after-midnight event. The material is based mostly on Bulgakov's novel 'Master and Margarita". The other main characteristic is the predominance of Tozser's keyboards and less reliance on Dudas' electrifying guitar exhortations, though when called upon like on "REM Phase", the results are quite expansive. Android, as the moniker would imply have a very specific style, a clean symphonic modern take, blending in theatre storytelling (A Hungarian pastime), technical expression, jazzy overtones, and a touch of bluesy melancholia.

This is apparent on the epic 10-minute "Dream of a Prime Crime", where powerful organ swells unite with slashing riffs and spiraling solos that veer towards pummelling heavy rock, as the classic Deep Purple influences certainly shine through. Really cool material, I must say, with plenty of ebb and flow, as well as that jazzy piano outro. Finom! The next two tracks simply offer added contrast "Before Dawn" is both bouncy and dirty, the hushed vocals slithering among the clouds while the slippery "I'll Be One of the Gods" works as a complimentary track but in a different key and pace. Dudas shows once again his guitar mastery, as he flutters along masterfully amid the burping synths and thumping beats. Really good stuff. Another leviathan epic, the 11 minute 22 second "Legacy of a Pharaoh", where sprightly synths set the tone, with intense, complex, and polyrhythmic interventions. The English vocals are accented but nowhere near distraction (I have more difficulty with Japanese, Italian and Germans prog bands who choose to sing with a non-fluent vocalist!). The sweet and lofty synthesizer patterns are pleasantly aided by slick guitar flicks, slowly ramping up into a slow-moving frenzy, as if playing a cat and mouse game with the audience. Rasping guitar blasts, slashed with biting lead guitar soloing, this is quite a showcase, Dudas really knows his craft. Loving it! From the sands of Egypt to the nearby verdant hills of the Holy land, "Matthew 26:37" offers up a biblical interpretation via a short narration of said Bible section in English but salted with a lovely Hungarian accent that most people (not all) find charming. The blistering axe tremor is emotionally charged genius. "Judas Iscariot" is a punchy affair, within its nearly 10-minute running time, shepherded by a slick bass groove that hits the spot, time- ticking drum patters that add a sense oh history to it all. The keyboard soloing has a Wakemenesque whistle and pace to it, collapsing bass and chugging riffs notwithstanding. The raspy vocals supply the tragedy of the soul's suffering and the perfidy of the impending crucifixion. The unexpected bluesy guitar flow is absolutely divine, displaying a warmth that could only survive in a place like the Sinai desert.

The title track and the finale "Let's Play Together" (a clever wordplay on let's pray together, I get it!). The first has once again accumulated all the characteristics of the Android sound, a tingling keyboard patch that meshes with a driving rhythm section and those chunky riffs adding bombast, energy and symphonics. Little carnival like playfulness, with a pseudo-waltz section that turns into a wicked fretboard rant (I thought it was Macca's "Maybe I 'm Amazed" for a millisecond), Android just keeps the metal to the pedal (I know its backwards but its an android!). The finale is a lighter take, almost ballad-like, aiming to finish the Midnight Ball on a pleasant note, as the sun beckons over the Hungarian puszta , not to far from the lovely town of Debrecen . I hope to play with them when I get to return to my beloved homeland and reunite with family and friends after all this bunker lifestyle we are living.

In a nutshell, another great decision to enhance an already successful previous masterpiece with added TLC, attention to detail and some dynamics. I, personally would have preferred a more polished vocalist here, but thousands of prog acts can also be subject to the same criticism , as the lead microphone is not always on the same level as the instrumental prowess , even among the big boys (Hackett, Howe, among many others). So that micro caveat aside, well done!

4.5 nighttime dances (Esti tancok)