EQUATIONS OF MEANING

If one was bold enough to imagine what the ideal vessel would be for a 2016 version of a progressive Genesis, well, I would like to propose Tony Patterson as the likeliest candidate. Having a voice that is part Gabriel and part Collins is obviously a major attribute as well as the fact that Tony cut his teeth on being ReGenesis' lead vocalist, a band that unabashedly reprised the Prog icon in mostly live settings. I also cannot help to draw parallels to Mike Rutherford's debut (and only truly prog) solo album 'Smallcreep's Day", a personal and much idolized recording in my collection. My germinating interest was only accrued by the recent masterpiece Tony put together with Riversea and Nine Stones Close keyboardist Brendan Eyre, entitled "Northlands", to which I allotted a maximum score as it was a truly epic and genial release.

"Equations of Meaning" simply continues the spirit of Northlands with a similar mood, artwork, and artistic lineup, yet this is a full Patterson solo album, playing most of the instruments himself (guitars, keys, flutes and programming). Guest cameos include keyboardists Nick Magnus and Brendan Eyre, guitarist Adrian Jones, Andy Gray has a solo axe spot and Doug Melbourne on synths. Fred Arlington returns on sax and horns. Tony's voice, while obviously capable of imitating his icons, is starting to develop its own hue and dimension, which is the added bonus one gets with sublimely atmospheric material, that so effectively paints images on the mind. The entire recording is a n utter audio joy, basking in deep clouds of melancholia, celestial wisps of sacral sounds, possessing that uncanny ability to take one into an altered state of contemplation. There is also a sense that this is a very personal effort, deeply rooted in a certain perception of music, decorum, and art, and thus, highly original in its honesty and raison d'etre.

The spectral splendour of "Ghosts" serves as the ideal anesthetic, a mellow yet swelling carpet of synths and strings, both suave and seductive, like a melodic morphine seeping into the veins. Ready to get operated on, nicely medicated and quite comfortably numb. Gorgeous nirvana. In the spirit of the previously mentioned Smallcreeps' Day masterpiece, "The Magdalene Fields" recalls those glory days of reverberating acoustic 12 string phrasings, sweepingly sweetened voices both lead and backing, and titanic keyboard swarms. Fred's sax provides rays of golden sunshine amid the puffy synthesized clouds, the pulsing rhythms that remain discreet in the background, with loads of cymbal work. As the song whispers into silence, I cannot help but to let out a long, contented sigh.

Welcome to "Each Day a Colour" , a straightforward gem of bright musical disposition, both unpretentious and fragile, , boldly stating "the world begins to smile and a dreamer's dream makes it all worthwhile" , adding a solid guitar foray and a sudden end. "Cast Away" serves as a perfect segue, a windswept lullaby of soothing vocal breezes that are barely above a murmur, birds fluttering in the air, clanging guitar flicks, all utterly restrained. Achingly beautiful as the synthesized strings build into quite the climax. The first elongated piece is the 7 minute, three-part all instrumental epic "The Angel and the Dreamer", initially a platform for Siobhan Magnus to use her mellifluous voice to instill a vaporous mood, egged onward by a simple backbeat and a spiralling acoustic and electric rant that coalesce into a meaningful whole. The track also features some delightful horn work from Fred, the highly organic drum programming work is out of this world, as well as Melbourne's synth solo that is all charm, technique, and passion. Toss in some church bells tolling, a celestial choir and added avian tweeting, all combining to create a cinematographic canvas which is hard to overlook.

The solemn ambience continues undeterred on the entrancing "Beneath a Perfect Sky", as Patterson owns this ultra-smooth whisper that is completely addictive to these ears, a swooning infusion that remains whole-hearted to the core, making for some fascinating enjoyment. Sparkling piano blends into the mix with elegance and finesse, while the horn solo provides a most welcome jazzy touch to the ethereal sounds. While my descriptions may fool one into thinking that all the preceding tracks have a sameness about them, it is just my failing! Out of the blue, comes this scintillating piece of inspiration, , as "Sycophant" has some serious sneer, a James Bond-like orchestral theme that titillates unashamedly, kicking up the audition a notch, where the voices are all modulated to modern levels and of course, a rather snarly lyrical content that spits out venom in a gentlemanly tone (ah, the British flair!). Andy Gray's twisted corkscrew electric guitar solo only serves to further convey the nasty message: "I never liked you, I never will, just bide my time and move in for the kill". My, my, quite vile, wot? Tempered only by the cascading waterfalls of string synthesizers that act like a mellotron in heat! Effing perfection.

A short synpho-electronic interlude in the shape of "And the Sky was Opened' further gentrifies the sensational progression of this magnum opus, keyboard heavy sounds laying the groundwork for the next track, the uber addictive "Pilgrim". This is a modern serenade for pensive discourse, armed with an insistent beat, an obstinate voice and adamant forward propulsion thanks to some sizzling horn and unassuming drum work. A real stunner. The Brendan Eyre piano led "As the Lights Go Out" gives the opportunity for Brendan to reveal his delightful skill, as he flutters over the ivories with emotion and refinement. This will lead to the last extended piece and heart wrenching finale, "The Kindest Eyes" , a song dedicated to Tony' s wife Angela ( who very sadly passed away this year, RIP), a gulp-inducing ode to a partner who faithfully influenced his craft, a testimony to this album's generous disposition and highly personal touch . She was the angel; he is the dreamer. Adrian Jones of Nine Stones close fame offers a scorching slide and lead guitar solo that will blow your jaw sideways. I am so totally impressed, feeling this music so deeply, even upon first spin through.

Imagine 10cc's classic "I'm Not in Love" musically, with its stylish choir voices and moody lilt , you will get the idea., though this is way more wistful, creative and progressive. Exactly my kind of personalized progressive rock, highly evocative, heartfelt, and meaningful, from the first second to the last. I could listen to this forever and I fully intend to do so. You should too.

5 Equivalences of significance

PS. Thank you Keishiro and the Crossover team for reinstating this album.

I hadn't seen that this album had finally been admitted to the PA database. Too bad the admins still don't get that this is NOT a Brendan Eyre album or collaboration (Brendan plays piano on one song), but a Tony Patterson solo album.

This is lovely Neo Prog drawing from 70s ALAN PARSONS PROJECT, 80s GENESIS, and current day STEVEN WILSON with plenty of lush keyboard arrangements and ethereal vocal displays.

The drum machines may drive you crazy but the songs are definitely all gorgeous, mature constructs--they will quickly dig their way into your brain and never leave--you will never want them to; they are addictive.

1. "Ghosts" (4:01) an instrumental that captures the quintessential sound of the gorgeous electric guitar stylings of STEVE HACKETT--both Genesis-era and solo--before giving way to a more cinematic song style. Gorgeous. (9.5/10)

2. "The Magdalene Fields" (5:59) opens with an obvious "Entangled" GENESIS/ANTHONY PHILLIPS sound before the gorgeous AMERICA-like voice harmonies enter. The key shift down into the rather disappointing chorus are this song's only flaws. Otherwise, beautiful--especially the ethereal section beginning at 4:08. (9/10)

3. "Each Day a Colour" (4:48) opens with some gorgeous spaciness very much like the work of Steven WILSON's PORCUPINE TREE in the 1990s ("The Sky Moves Sideways" and Signify come to mind). When the band's rhythm section and vocal join in it still has a bit of the WS feel but also a kind of California dream-pop feel not unlike that of bands like PORNO FOR PYROS and WEST INDIAN GIRL. The keyboard work, chord progressions, and 'light' rhythmic approach make this another absolutely gorgeous song. (10/10)

4. "Cast Away" (2:35) again we find Tony and company masterfully replicating the STEVE HACKETT songs style when Steve is at his most melodic and intimate. Another absolutely hypnotic, dreamy gorgeous song. Flawless. (9.5/10)

5. "The Angel and the Dreamer (i.vision, ii. journey, iii. reprise)" (7:02) feels like a long lost song from one of ALAN PARSONS PROJECT's earlier days--Pyramid or even I, Robot era--even with the ANTHONY PHILLIPS-like 12-string presence in the middle. (9.5/10)

6. "Beneath a Perfect Sky" (5:09) casts such a hypnotic spell of lush beauty that you may find yourself pushing the 'permanent repeat' button and lying down to sleep in a poppy field ... forever. Echo-y repeat piano chords, intermittent synth washes, Mark ISHAM-like percussive keyboard sequencing, languid drum pace, Kate Bush-like background vocal incidentals, laid back Tony Banks-ian synth soloing, even a lazy trumpet solo, all contribute to the magic here. (9.5/10)

7. "Sycophant" (5:23) reminds me of the cinematic work of Poland's LEBOWSKI over-lace with an intermittent Hogarth-like vocal. Pretty good song! (8/10)

8. "And When the Sky Was Opened" (2:07) could've come off of one of STEVEN WILSON's spacier 1990s albums. Really cool. I'd love to hear a 10 to 20 minute version of this. (5/5)

9. "Pilgrim" (5:24) another hypnotic technologically created beat (quite similar to that of STEVEN WILSON's song from Hand. Cannot. Erase., "Perfect Life") whose dreamy music, melodies, and vocal don't quite stand up to some of the album's other gems. But it's still great! (I love the slow, single-note piano play at the 4:00 mark. Very dreamy!) (8/10)

0. "As the Lights Go Out" (2:44) is a pretty little piano-based song embellished by the occasional contributions of synths and flutes. (9/10)

11. "The Kindest Eyes" (6:30) again replicates the beautiful harmony vocal stylings that were so perfectly perfected by AMERICA in the early 1970s--but Tony here does only that: replicates; he offers nothing new, exciting, special or innovative. It's just okay, maybe even a little disappointing for its lack of buildup or climax. It would never be a radio hit in the way that AMERICA songs were.(9/10)

A-/five stars; a minor masterpiece of progressive rock music. This is without a doubt a collection of very beautiful, well composed songs. In fact, this is one of the most beautiful collections of beautiful songs I've come across in a long time. Astounding and spell-binding. This is MY FAVORITE NEO PROG ALBUM OF ALL-TIME.