GLEB KOLYADIN

IAMTHEMORNING's musical mastermind has gone rogue! And we are so glad he did! This kind of creativity should not be slowed or held back. In the typical piano-based chamber music constructions common to IAMTHEMORNING's albums (especially their debut), Gleb has opened himself up to the collaborative inputs of some of London and Petersburg's best--and the outcome is outstanding.

1. "Insight" (4:11) reminds me of the sound, style, and support of John Tout with Renaissance. When the synth solos happen then there is a bit more of a Keith Emerson feel, but really, this is more akin to the intros to "Trip to the Fair" and "Mother Russia." Nice guitar work from Vlad Avy. (9/10)

2. "Astral Architecture" (6:29) delicate solo piano work is eventually joined by deep vocal of Antimatter's Mick Moss. Equally delicate toms, cymbals, and percussion join in, then synth and cello. As it builds, so does Gleb's piano intensity. Wonderful! Crescendo in the fourth minute cascades to the opening quietude before the mounting menace of drums, bass, and guitar join in. Awesome song. (9.5/10)

3. "White Dawn" (2:30) (4/5)

4. "Kaleidoscope" (5:50) Now this is a Keith Emerson-like piece. Nice to have maestros Gavin Harrison and Nick Beggs to weave together with as Carl Palmer and Greg Lake would have in days long gone by. An uncredited female voice sings vocalise during the third minute as vibraphone also plays a significant part in this gorgeous section. Flute joins in at 4:45. Nice overture-like feel to this one. That's a good flute player! Gleb takes the final solo on a couple vintage-sounding synths. Nice tune! (9/10)

5. "Eidolon" (2:10) stride-like piano blues. The melody sounds quite familiar--something from old-time jazz. Awesome, haunting ending! (5/5)

6. "Into The Void" (1:44) a variation on the previous song with different tempo and dynamics. Sounds like a song from IAMTHEMORNING's first album. (4/5)

7. "The Room" (4:13) opens with a kind of VINCE GUARALDI feel to it before becoming more modern jazz-rock infused. Nice work from Gavin and Travis. Delicate solo piano interlude in the middle before diving back into the rock medium at 2:20. Nice soli from synth and sax in the hepped up second half. (9/10)

8. "Confluence" (10:23) opens with a little Satie-like feel before heavily treated vocals of Steve Hogarth join in-- talking. Fretless bass and seaside synth noises join in at the end of the third minute. Around 3:40 a koto-like fast "plucked" keyboard sound rises from beneath to take over supplying the main fabric of music over which drums, bass, and piano play. This is stunning! The next section has toms, hand drums, and harp(?) building its stunning weave while piano does his thing and just before rock rhythm section (guitars, bass, drum kit) drive the song more insistently. The harp and koto/dulcimer/zither sound take the fore at the end of the ninth minute, gelling in a delightful weave with the piano and percussives to the final seaside fadeout. Fantastic! (9.5/10)

9. "Constellation / The Bell" (3:16) this solo piano piece has a very classical, romantic feel to it, though the main melody is more modern. What a pianist! The second half contains the participation of some female voices/vocalists performing an eery ghostly melody in the lead fore. Wow! That was not expected! (5/5)

10. "Echo / Sigh / Strand" (2:25) more grandiose piano-based music, this time supported by all kinds of hand percussives. The second part is an extraordinary display of two-hand piano play. The third part sees some eerie guitar and synth sounds joining in as the song builds to a final crescendo. (5/5)

11. "Penrose Stairs" (5:01) this one could also be a Keith Emerson song--with its many disjointed stop and start sections all precisely sequenced with and by the piano. Nice acoustic guitar work (I assume by Vlad). Not my favorite kind of music or style, but I can certainly appreciate the virtuosity on display here. (9/10)

12. "Storyteller" (3:19) opens with a low end bass piano arpeggio that reminds me of Peter Gunn as well as the opening to RETURN TO FOREVER's "Sorceress." The collective appearance of the full rock retinue gives it more of a RENAISSANCE feel. The recorded theatric "radio" voice joins in before we return to instrumental. A wicked and wild extended synth solo spans the second and third minutes, playing right up to the end. (8/10)

13. "The Best Of Days" (3:24) rondo piano chord sequence supports the singing voice of Steve Hogarth. The music may be too pretty for Steve's voice and lyrics, but I still like it. This one perhaps should have been saved for Marjana. One can imagine what Marjana's stunning voice could have done with this one. What gorgeous music! (9.5/10)

Five stars; a masterpiece of classically-oriented progressive rock music. Truly, I can think of few contemporary composers able to express the type of instrumental virtuosity that Gleb possesses. Check this album out! It's available on KSCOPE, of course.