HEROIC MATERIALS

One of the best sounding, most disappointing artists to have graced my ears over the past decade, Robin Armstrong's Big Big Train-like historically-perspicacious songs and fine stable of collaborators have so much potential. Alas! for me this potential has remained obscured, trapped within its own self-immolating planetary core: potential, wholly unrealized, as there are no songs or albums that leave me wanting to come back for more. It's dull and insipid. As much as I look forward to hearing the lush landscapes of sound that Robin and Company create, I always come away unsatisfied--as if the drug has failed to assay my symptoms of discomfort; as if the balm has failed to assuage my itch. Album after album I purchased, then song by song, until I stopped buying and listening to Cosmograf music in the second half of the 2010s due to my fear of disappointment (and due to the dismal memory of all of the Cosmograf music I had deleted from my computer due to my utter boredom). It's not that I dislike Cosmograf music; it's more that I feel that my time is far more important than to be wasted on listening to mundane, unexceptional music--music that later makes me feel as if I've wasted valuable time, time that I wish I could have back. (A feeling that, I fear, increases with one's progression into one's "twilight years" and, thus, ay be unfamiliar to many of you younger folk.) Plus, I think I'm just tired of historical revisitation--of artists thinking that they're doing us all a favor by drawing attention to long "lost" heroes or time. Again: beautiful, lush soundscapes, attempting to express, in perfect seriousness, one man's respect and celebration of heroes (and times) past. Many will like the feeling of being washed in these sonic landscapes. I just happen to be not one of these.

C/three stars; a good contribution to Prog World from competent and sincere artists, but nothing more. Non fa per me.

RAF Squadron leader Robin Armstrong dons his leather flying cap, adjusts his goggles as well as his yellow silk scarf, takes one last sip of the morning tea and his ride, a spanking new Supermarine Spitfire Mark IIa is obediently waiting for him to fly into the wild blue yonder. Mission: clear the skies of Albion of all Iron and Swastika crossed enemy planes, intent on causing undue suffering on British cities, currently blitzed by Hermann Goering's supposedly invincible Luftwaffe.

Since my very early teens in the 60s, I was educated on WW2, as it was (and still is) the only world conflict whereby the cause was really worth the sacrifice, as Nazi world domination was a de facto reality that defied all of humanity, with consequences still reverberating at present, 80 or so years later. My studies in this period of time still continue unabated to this day. The Battle of Britain was, few historians will counter argue, the turning point of this horrible conflict, as it forced Hitler to fall prey to the gravest mistake any conquering army can make: fighting on two opposite fronts, which eventually and happily, spelt the collapse and the end of the thousand year Reich, barely 12 years later. Young, untrained British boys, together with refugees from conquered Poland and Czechoslovakia, fought heroically and unflinchingly to protect the island nation. Anyway, that is the history, and this is a progressive rock album.

Guitarist, multi-instrumentalist, and songwriter Robin Armstrong has had a quite a career with Cosmograf, of which I have a few in my collection. Yet, this latest work, without any doubt or hesitation, is HIS FINEST HOUR! "Heroic Materials" has an alluring cover artwork which harkens back to the history books depicting the magical Spitfire in flight, and though a war machine, it is still regarded today as being a visually impeccable looking aircraft, with elegant lines, Elliptical shaped wings and one of the finest engines ever made The Rolls Royce Merlin (later used on the equally impressive American icon, the P-51 Mustang). This release has ten tracks that constitute a complete suite, with a central theme being the concept and realisation of a mythical defensive weapon that saved the United Kingdom, through hardship, bombing and initial military unpreparedness. The masterpiece also has a recurring melody at the end to bring the narrative to its final, grandiose end in total victory. Frankly, while the Wall had more to do with Roger Waters trying to deal with his father's untimely death on the beaches of Dunkirk, this is musically speaking an equal, if not superior work, that surely will find its fanbase.

As the Spit climbs into the clouds at breathtaking speed, Robin doesn't pull back the throttle, quite the opposite as the opening track is a thunderclap of sound and fury, as today's radio rants about the ongoing energy crisis in the background and "I Recall" recalls the time when the peril was real and life threatening, Robin owns quite the voice, as the elegant piano played by Danny Manners (Big Big Train) and ringing orchestrations merge with the sound of the Merlin's mighty roar. This is just the take-off for the magnificent beauty of the title track, a sweeping epic of the finest vintage that seizes the moment. Everything is crushingly gorgeous, the powerfully emotive voice, the sizzling electric guitar, the intoxicating mood, and the vibrant pulse, here handled by wingman Kyle Fenton. This isn't Pink Floyd, it's rather Red Floyd! Thirteen minutes+ of scintillating music, made even more overwhelming with the high- pitched choir work that defies gravity. A brief moment of respite as the echoed plaintive voice blends in with the searing church organ, Robin shooting off a deadly Blackmore meets Gilmour electric axe volley that surely must have obliterated the Nazi Junkers 88 in its sights. The thrill of survival is airy, breezy, almost as an afterthought, all impulse to stay alive. This is a classic piece that will be in the history books (the story still is, lest we forget). The mellotron infested "British Made" retains the sense of urgency, as the stunning vocals remain poignant, harrowing, and resolute, the shrapnel-inducing e-guitar blasts another cannonade, burning oil smoke emanating from the hapless target, as the crew desperately bail armed only with parachutes. 'Welcome to England, Gerry!' . In between endless sorties, a brief respite to have a thought for a young lady ("Mary") who had only been kissed once or twice, a burgeoning love kidnapped by the brutality of war. Simple, effective, and heartfelt. The orchestrations harken back to a sense of 40s British music. The short companion piece "Blinkers" (flashing pilot lights or blinders, your choice!) adds more pathos and despair. Or is it dealing with fear and having only a stiff upper lip to combat the trembling ache. On the next cinematographic track, the mood becomes decidedly irate and despondent, "If Things don't Change" addresses the futility of it all, dying young, not growing old and wise, happiness nipped in the bud. Robin's magical voice modulates enough to be utterly convincing and rage accordingly, as he hits the high-pitched notes with both accuracy and deliverance. Another sinuous guitar foray sets the sky ablaze with mordacious zeal. On "The Same Stupid Mistake", the acerbic 'blah, blah, blah' effects are perfect, as the folly, the waste, the idiocy finally have their glorious time in the crosshairs, a worthless, forlorn plea that sadly goes unheeded, "do it all again ". Peace.

The main guitar-fueled melody is re-enacted on the appropriately titled "Regretful Refrain ", a long bluesy blitz that sobs, cries, and weeps in agony. An undulating of longing for the calm serenity that we take for granted, comfortably numb with all our creature comforts which we believe we are entitled to, regardless of our morality (or lack thereof) and that indifference and dissatisfaction (take that, Mick and Keith!) that seem to endlessly breed, unabated. The denouement, "A Better World" as promised earlier, does a reprise of that opening and rather ravishing melody, one for the ages, "I still love you,? We will make it new". Crushed

A Tartarean theme, a Gargantuan album, a Ginormous talent. Among the top 2022 albums for sure.

5 valiant tools

Robin Armstrong's Cosmograf is back just a year after 'Rattrapante', a decent-sounding concept album about time that ended up being well-received although it didn't tread on any new ground for what concerns the project in general. This new release happens to be yet another ambitious concept album, focusing on the story of a retired WWII Spitfire pilot who "laments a lost golden era, but reflects that the human race must change in order to preserve our existence on Earth." It is intriguing to see Armstrong tackling these larger than life (and sometimes maybe existential) topics, in reference to this and the previous more recent releases, but this certainly is one of the building blocks of the DNA of progressive rock.

However, the best portrayal of such a fine concept is the very solid sound, where the combination of both usually results in musical albums we tend to refer to as 'timeless' or even 'iconic', although this is a very clichéd word by today's standards. 'Heroic Materials', as goes the title of this latest Cosmograf album, is a fine collection of songs, very melancholic, this time also very acoustic, that do not showcase the full potential of this very gifted multi-instrumentalist, that is Mr Robin Armstrong. Somehow this album is lacking the energy or the vibrancy that one could grasp at while listening to some of the earlier records. There is less diversity here for sure as well as the feeling that despite its forty-five minutes of playtime, the record is just meandering a bit on a few occasions.

I enjoy how seamlessly some of the tracks flow into each other, especially on the latter half of the album, where the impression of one longer continuous piece is given off, but this could also mean that they do sound alike a lot. 'Heroic Materials' is a more stripped-down version of Cosmograf, a more straightforward and predictable release than 'Mind Over Depth' or 'Capacitor', just to give some examples of albums by the band I consider superior. Despite its minor flaws, I do find it an enjoyable listen. It is admirable how Robin Armstrong manages to keep his releases tight and generally very focused, although 'Heroic Materials' would not be my recommendation for someone who is new to this band.

Once again joined by Kyle Fenton on drums, with a special guest on the 13-minute title track, Big Big Train's Danny Manners who plays the piano, Robin Armstrong expands his catalogue with a generally weaker release compared to some of his pervious successes, less diverse, and less imaginative, but containing some nice acoustic sections as well as profound and evocative lyrics. Alongside the epic title track, I could point out to 'If Things Don't Change' as one of the stronger songs here.