LEGACY PILOTS

A little differently. Actually this is the first LEGACY PILOTS production that completely convinces me. I don't want to rule out that I haven't reserved sufficent time regarding the former albums, but it somehow sounded not prog drenched and tricky enough until now. Anyway, yet this 'Helix' music emotionally is able to touch me very much during its 60 minutes playing time. I would assume apparently due to the inclusion of those two wonderfully worked out extended suites named re·sponse and Exploring My DNA. German multi-instrumentalist and producer Frank Us is driving the project for some years now, hence it's the fourth album listed under this moniker in the meanwhile. Besides the compositional aspect he's also managing instrumental contributions concerning guitars, bass and keyboards.

But to be honest, how would it probably work without the help of some seasoned companions? He once again could convince two prolific drummers to participate for example, namely Todd Sucherman and Marco Minnemann. Always a wise move. This also applies to the incorporation of different singing voices, basically making it richer, due to help of Finally George, John Mitchell, Lars Slowak, and Jake Livgren. The arrangements on The Human Being are possibly pointing to a highlight concerning this aspect. At the latest starting with So Nice To Be Here the impressing keyboards are getting the focus more and more, occasionally The Nice and ELP infected. Great! Frank Us promises much to discover when listening again and again. And he's telling the truth, simple as that. Besides the new Ricochet and Single Celled Organism album a lot of enchanting prog stuff has arrived from Hamburg recently.

LEGACY PILOTS Frank US is at the helm. He composed for jingles and private companies before returning with this 3rd album to his progressive loves; it plunges us into a colorful universe filled with maddening titles with the appearance of renowned guests and more intimate titles. A complex, fruity album, full of variations reminiscent of the PROG universe; unassuming pop rock tracks dare I say initially followed by lush epic tracks as the album progresses where emotion comes before virtuosity. An album in which Frank once again confesses his adoration for the legendary ELP. Better Days 'kicks off with a groovy tune as the radio edit track; melodic rock with its little synthetic digression, John's voice reminiscent of his different groups more on FROST *. "Ghosts of the Ocean" follows with an acoustic guitar intro leading to a calm and languid tune, an album ballad reminiscent of the title to be played in the stadiums, the one where your companion would cuddle in your arms; the title is worth its weight in notes with the charismatic solo of Steven hardly recognizable but always oozing with emotion, the keyboards ensuring the rhythm. 'Heaven Must Know' continues on a mid-tempo sound distilling a haunting soporific track; the synth puts back in order of battle by offering a nice variation with jazzy break piano; marshmallow title without a hitch from the 80's where Steve's second solo hits the mark, warm, all in crescendal development, raising the mood. "Mad Kings" changes its tone with a NEAL MORSE sound; good Jake Livgren and Eric Gillette are there, a sign? It deposits and launches the album here irreparably, a little KANSAS in the background, neo-rock prog nervous like the madness of men of power wanting even more; the drums turn up the tempo even more. "As Dominos Fall" for the intermediate title, a long instrumental piece half Latin, half jazz-prog for scales, a colorful piece with Pete on bass. When I say that they are much better and have fun especially outside their group MARILLION these two, in short, prog that's it too; Ricky Garcia releases an electric solo boosted by Frank's performance at the controls, then another acoustic limit then the final which explodes.

'Coast Cards' with Liza a voice reminding me of Stevie Nicks, marshmallow and languid title here; it's soft, calm, a walk on a moonlit night; small soft synth break halfway that gives a more sustained rhythm for a while. Playful, dynamic 'shadowplay'; the intro with Marco on drums and Frank as a very good keyboard technician print a seasoned track, warrior, nervous, rhythmic, frenzied; this is the second instrumental that gives prog nobility to the album; the guitar solo juggles with Marco's percussions; I find there the creative madness of the TOTOs. "A Change of Mind" in three parts, stereophonic spatial intro that reminds me of a title from Cars, piano variation on a keyboard giving the rhythm of the electronic APSARAS genre, rise ... progressive. Title questioning on hidden evidences, referring to the title on this impossible triangle. Musically Marco and Pete are in charge of the rhythm while Finally George sings with Frank; good Frank is a magician since he made me doubt his album early in the journey and manages to raise the level irreparably; from there to say to himself that he did not need so many guests I ask the question; track to listen to several times with for its latent atmosphere. The two-part 'A Compendium of Life' closes the album with progressive instrumental in which Todd and Lars handle the rhythm section expertly; a cheerful, spirited, energetic, progressive track; a title with numerous breaks, dithyrambic convolutions, symphonic then oppressive musical loops; nostalgic moment bordering on melancholy, acoustic guitar to meditate or cry on the unfolding of one's life; I repeat that Frank has a gift of organist which can send very high in musical limbo even more on this dantesque final, yes the word is said!

LEGACY PILOTS has just released a controversial album, very agreed upon at the start despite the appearance of many guests (Wilson, Marillion, Kino, Arena, Proto-Kaw, Styx, The Aristocrats, Lonely Robot or Neal Morse) drawing on rock-pop declination prog. You have to let go to understand the musical progression of this journey that awaits you and risks sending you into sophisticated, epic and progressive meditative territory. In short, I am leaving to recover from the last two.

LEGACY PILOTS is releasing its 2nd album here. LEGACY PILOTS with Frank US at the helm can also do concept or side-project or progressive rock-project by bringing here a few sizes that we have to mention from the start: Pete TREWAVAS, Marco MINNEMANN, Jordan RUDESS, Steve MORSE or even John MITCHELL. He had previously composed music for jingles and private companies and here allows himself to return to his major influence in progressive rock. A de facto tribute album, but not only in view of the guests who had free rein on their own parts; an album that just needs to be peeled after several free listenings, yes the holidays are also a bit of a change in habits.

"The Squad Is Back" begins with a symphonic and airy instrumental, it's good considering the cover, yes I sometimes want to be spiritual, in short an animated, punchy and almost dancing intro with the emphasis on synths, a space exploration which can recall certain prog developments of TOTO or MANFRED MANN, a remarkable intro of sensitivity, to listen! "A Different League" is therefore the 1st title sung by Jake, the punchy synth is here held by Jordan from DREAM THEATER and it feels, it drops as serious as I like, it rises in crescendo, it smells good 80's prog in addition to energetic. "Dreamers" follows with a title pulling towards the pop-rock there, a little of ALAN PARSONS by the intonation, title which has its musical break at mid-term decorated with choirs, return to the central theme by an evanescent piano, ballad who still flirts with TOTO in my opinion. "Innocent" and some crystalline notes for the start follows in the same vein with a borderline soulful, intimate pop title and with jazz-prog sounds here; it's sweet, syrupy, it denotes with the entry which let consider the heavy, a soft ballad "Wide Wide World" I announce it direct, is worth by the place left to John as much to the voice as to the guitar, timbre of voice at times which always reminds me of that of the Archangel during the verses; the clear, uncluttered chorus to play on a national radio station (yes I still imagine that the world will wake up and finally start listening to good music!); well that smells more of LONELY ROBOT than ARENA here for info and the fast guitar solo holds up well.

"Fear Pt. One (Proximity and Distance)" comes here to offer a more sought after sound with an evolving crescendo and by the voice and by the instruments, heavy rhythm, heavy, almost aggressive, interesting in fact, little more for the guitar solo which adds to the instrumentation. "Fear Pt Two (Hope and Failure)" follows but not chained, small disappointment of short duration because instrumental piece based on the percussions of Marco forward and airy synths filling the speakers, rhythmic a little Sicilian, then air by James BOND, in less than 5 minutes you have it for your ears, it's exactly the song that I love and that I can replay all afternoon because it is stamped prog-music! "Saccadian Rhythms" attacks the end of the album with an acoustic guitar tune, basic title with voice and chorus, piano which gives way to the guitar for a few moments, nursery rhyme that advances, BANKS synths for a slightly passable title all over. "Immortal" then tumbles with THE title of the album, Pete's recognizable bass, an intro that imposes it, I recognize a bit of an ANGEL or even Phil COLLINS solo, well I'll let you look there, and do not hesitate to tell me which one you have chosen, a drums with always Marco on the drums and a playful air, Génésisienne digression towards 3'30 '' with arrival of the voice almost in the middle of the title, which imposes alternating softness and flights; note her daughter's voice on it; final with a synth solo that will still delight fans of Tony BANKS, in short, listen and enjoy, my best simply. "To The Stars" with its refined piano then its acoustic guitar takes you on a ballad as if to recharge your batteries, to recover from the previous title, a very smooth title bordering on slow itself. "An Adventurous Journey" and the last track, cover of "Fear Pt Two" at the start, clean acoustics then mounted in two stages, at 1.15 "we enter the timeless work, epic as we like to say; also instrumental but full title, a deluge of musical sequences honoring many major groups of the progressive era, a piece which innovates in the experimentation and the composition of rock with various drawers on a common framework, a must which may make you want to listen to it again immediately, which I have done now, a sign that there is a lot of progressive musical material in it.

LEGACY PILOTS struck a big blow here by offering fairly conventional pop-rock ballads mixed with other remarkable titles, real progressive pearls, sophisticated rock titles, epic-progressive works where the emphasis is above all on the composition rather than on the deluge of notes. A concept album mixing soft with ballads and epic with majestic and masterful flights, remember this album that will make people talk.