IV

Here is another example of a melodic prog band that really deserves recognition, as I own all three previous albums, even though I have not reviewed them yet until this one. With this recent arrival on my Prog Rogue desk, I wasted zero time in getting a few listens in and muscularly attack my keyboard. StuckFish is the clever union of the two leaders, namely vocalist and fantasy land songwriter Phil Stuckley and guitarist /composer/comedian Adrian Fisher, a collaboration that began in with the release of their debut disc, 2018's the Calling. With this spanking new offering, it is safe to say, that while the preceding triumvirate were really very tasty, IV is off the charts amazing! Ably assisted by keyboard wizard and vegan martial artist Paul McNally, the blizzard inducing percussives from 'youngster' Adam Sayers and the reptilian bass of lead (and tall) lizard Phil Morey, this is a well-seasoned crew that have clearly mastered nine incredible pieces of music that should be acknowledged!

Phil's lungs on kick off the festivities on "Shadows and Moonbeams", an organ and guitar groove is expertly laid down and paved by a steamroller bass and drum, immediately attractive melodically, with just a slight cinematic sense of foreboding. Imagine a proggier version of that first Foreigner album, with Fisher peeling off a glittering solo that would make Mick Jones smile in appreciation. An exemplary opening number that sets the bar nice and high. On "Silently Waiting", Stuckley showcases a variant modulation on his voice which conforms to the needs of this softer, moody ballad as it eventually revs up into increased speed, namely propelled by the shivering guitar shards and the pounding rhythmic assault. The final third shifts into a nearly medieval feel, with a sweeping fretboard melody to die for, gliding into the heavens, with the protective Morey bass guarding the rear. Definitely a highlight track can be gleaned on the anthemic "Lifeline", with Phil directing a higher pitch that exudes passion and exuberance. The accessible sound crosses over into more ear-friendly territory, especially when the unexpected transition throws in some polyrhythmic fantasy with both keys and guitars swirling madly, surely a live concert highlight to be enjoyed. The rest of the album now veers into more progressive realms.

A brief piano intro wishes to celebrate "Liberty", a haunting companion piece to the previous piece, delving into a darker disposition that is explained in the lyrical content, when using words such as 'take control' and 'trust in me', a persuasive commentary laden with sufficient sarcasm and irony to please the most jaded pundit! The orchestrations are judiciously placed to enhance the drama, the pace claustrophobic and the feeling of doom and despondence brilliantly portrayed. Acting as a segue to the preceding piece, "Fragile" suggest a hint at 'the owner of a fragile heart ", very clever lyric with overt innuendo to the squire, I could not help smiling at the playful nod to the legends. The theatrical curtain is raised on the velvety revelry exhibited on "The Time of Your Life", a majestic theme based on a massive melody, a whopping vocal performance and the understated yet sensible orchestral backbone, all drenched in trepidation and hope. In a live setting, this would most definitely come down a storm, the poetic narration finishing with the word 'yes' (go figure, LOL). The sizzling guitar spot is simply sublime and stamps this track with a well-deserved golden buzzer moment, as the arrangement gently evaporates into the horizon.

Morey pounces into gear like a starved panther on the punchy "JFKX", a blistering rock groove that chugs along like a bullet train to nowhere, burning desire heard in the impassioned voice, another wink to the 'Hot Blooded' gang, also giving McNally a spot to flirt with Emersonian zeal on his ivories, before rocking ahead in full regalia. Finishing off with two of lengthiest pieces is why this album should truly amaze the prog community, an overt journey into more subtle auditory zones, a long organ intro matched up with tubular bells launches "Fly (on Feathers of Hope)", as the comp veers into dramatic inspiration, with Phil climbing an octave to demonstrate his skills once and for all. The pace is adventurous, with inserted orchestrations astutely used to provide excitement, giving way to another Fisher loop on his six-stringed device, culminating into a soaring flight into the clouds above.

And finally, we arrive at the glorious "SkiesFall", a sprawling 9 minute + epic that nails this treasure chest shut, a terrific electronic snail pace that seeps deep into the senses, with a hypnotic effervescence that seeks only to anaesthetize. The voice is entrancing as it grows in stature and when the coarse guitar rasps kick in, I remind myself that this excellent track could have figured in that James Bond movie with a close resemblance to the title, particularly the mid-section with its exotic ramifications of sound, at times dreamy and suddenly athletic, and then verging on hazardous. Even the lyrics hint at the various interpretations any listener may wish to attach, but this is (excuse the pun) a 'licensed to kill' piece of music that requires to be heard, ending with an axe flurry is treacherously intricate and sonically insistent enough to satisfy M, Q and even, surely grudgingly, Spectre. This number alone is worth the price of admission to a remarkable album, one that should do very well indeed.

4.5 Square quattros

I had skimmed over the previous 'Days of Innocence' from 2022 found it too inconsistent, good but too predictable because it flirted with many bands of yesteryear, and due to lack of time I had passed over it... well let's see their latest: A 'Shadows' that smells of melodic Asia that sets the tone, tasty, not bad at all, melodic prog with its break and reprise variation, ..a 'Silently' more typical in their Foreigner sound with the solo, the melody and the emphasis, which flows like a fresh torrent. A 'lifeline' too Yessian not to note it from the start and the melodic air of the Styx for a piece rich for its progressive development, very good therefore and rich in its evolution .. A dramatic, Manichean 'Liberty' which gives on US prog metal while they come from Albion, it denotes but it's not bad at all. A 'Fragile' which finally goes on a melodic ersatz of the Alan Parsons Project, marshmallow sweetness, excellent 30 to 40 years ago.

A 'The time' with a beautiful guitar arpeggio intro, a progressive symphony moment standard with the solemn voice, on Arena before it explodes ... a vocal break phrased on a poem and the solo which leaves the title without explosion, good but melodic! JFKX' finally returns to their sound although... synth, a heavy riff.. hard rock like Kansas, Boston not Foreigner again.. although the keyboard solo reminds me of the legendary Deep Purple that's to say, to write. An airy 'Fly', with an intro to the Hammond organ, we stop, we smell, it's the sound of yesteryear, it's priceless.. The conventional, melodic piece with a warm choir break part leading to a melodic guitar solo... yes no wave, beautiful and also predictable. A 'Skiesfall' with a strong bass, for a slow, disturbing tempo and again the very pleasant syrupy melodic line that I found in Alan Parsons. The riff goes over Phil's clear voice, the bass stays there, the heavy riff too... I find Arena for this crescendo, this long hypnotic coda takes me back to the Gathering for the atmospheric side, bang intimate enjoyable violin solo with another on the guitar; and always this bass that doesn't stop, in short superb final title that makes me circumspect.

Stuckfish were formed in 2017 by guitarist/producer Adrian Fisher and vocalist/lyricist Philip Stuckey, both of whom had been in the 1980's NWOBHM Wallsend-based band 'Overkill' (note, this is not to be confused with the other NWOBHM band of the same name who were also known as Dream Overkill). Since then they have released three albums and have been through more than their fair share of line-ups, including some who sadly passed away due to Covid. They came to the recognition of many with their third album, 2022's 'Days of Innocence', and now they are back with their fourth. Alongside Ade and Phil are Paul McNally (keyboards), Adam Sayers (drums & percussion) and Phil Morey (bass) and this album includes not only their shortest song ever but also their longest (which is less than ten minutes, so is it really long?).

If ever a band could be classified as the definition of crossover prog then this is it, as here we have a melodic rock band with progressive tendencies as opposed to a band approaching the genre from the other direction. There is no doubt this is a pleasant release, and it reminds me of the material I used to hear from Now & Then back in the Nineties, and I can imagine these guys on Frontiers as much as I can on White Knight as most of the acts on this label are far more overtly progressive. Mind you I can see a bidding war for their next release as does it really matter what pigeonhole they sit in musically? Music is not a pigeon, and the only thing one needs to worry about is whether it is good or bad, and for the most part this is very good indeed.

Highly commercial, with loads of nods to the American music scene of the early Eighties, it is difficult to reconcile this with anyone coming from the NWOBHM scene as it is far more sanitised than those early rough days. The only issue is that there is too much sugar, and there are times when it needs some bite to cut through all the pleasantness ? I wonder if they are quite this sweet when playing live, as this could definitely do with more bite. Mind you, it is a fun album nonetheless, and anyone into melodic rock will probably find this very interesting indeed.