NOVA CASCADE

There are those rare moments when words are hard to come by for someone who feels so much at ease in expressing emotions, thoughts and impressions . Over the course of a quarter of a century writing reviews, I have on occasion published posthumous reviews of bands that have broken up or retired , a reverential look back at a past accomplishment worthy of praise or at the very least, analysis of what made them special. It's altogether a different kettle of fish when a band's final release is announced well ahead of time and the dread of your review becoming an obituary column is unbearably difficult. The only way to soothe that sadness is to contemplate the final opus as a legacy move by an artist well-deserving of putting a punctuation mark to a storied career. "Above All Else" in 2018 was the first instalment of Nova Cascade's prog path, where I instantly fell in love at first hearing that amazing voice and the lush musicianship that elevated it to such grandiose heights. Then came 2019's "A Dictionary of Obscure Sorrows" (now that is a prog title!) , a masterful sophomore release. Raising the bar even further on "Back from the Brink" that came out in 2021, it sealed my loyalty in crimson wax. When the stunning "the Navigator" emerged from the post-Covid fiasco, the key word became outright veneration. Leader Dave Hilborne has a voice of crushing poignancy that cannot leave anyone indifferent, his keyboard skills are equally magnificent, yet the spirit behind the man remains his greatest heritage! His final work is fully dedicated to former universally beloved bandmate Eric Bouillette, who sadly passed way in the summer of 2023, and the personal proceeds from "Boxman' are entirely passed on to the Pancreatic Cancer UK. That is what I call legacy! With long-time companions bassist Dave Fick, Colin Powell shining on both keyboards and guitars ( A Multitude of Two) , and finally newcomer Niko Chikviladze on the violin. Dave takes the Nova Cascade navigation to a mythical Norse ritual sending off! "Boxman" becomes a musical longship (Drakkar) laden with grave goods and tributes and sent adrift where seven blazing arrows are aimed at the huge sails and the pyre illuminates the stars.

Spanning a colossal 28 minutes+ instrumental , "The Choice" is the spark that will engulf the listener into a spectral voyage of profound emotional release, ambient keyboard colorations orchestrate a canvas of vivid sonic imaginary, pierced by the magical serenity of the violin , pools of piano providing occasional stability but the ethereal qualities exhibited are soothing comfort that sets the mood from the outset. When Fick settles into the appropriate deferential pace, time seems to vanish from the focus, unneeded and unwanted, as the anesthesia takes gently effect. The evolution of the piece swerves into symphonic bliss, Niko exuding a strong classical presence, as the transition arrives to a universe of absolute gorgeous melodies. With a shift in the drumbeat, the tingling transition to an elevated electronic atmosphere gives Colin Powell the opportunity to make his electric guitar glitter like molten strands of gold, helped along by choir mellotrons in the distance. The rhythmic pulse deliberately expands in vigor, as if wispy clouds ahead announce a change of weather, rivulets of restrained piano announcing the upcoming gale and ultimately unleashing a furtive guitar barrage. Bubbling synthesizers keeps the arrangement on unending periphery, always proposing a slight hint of expectation, various voice effects entering the fray, and the tempestuous guitar raging, thoroughly engaged, as the epic reaches a level of paroxysm that does not overstay its welcome, always offering new choices. This roller-coaster ride mimics the bouncy waves, a river of constant change. The final section is loveliness incarnate, a melody so exquisite, words are difficult to come by. The heavily stringed and choired outro is grandiose and wholehearted. If this is not the epic of the year, I surrender.

When Dave reaches for the microphone on "Smoking Gun", that incredibly hushed and frail voice hits your soul, causing profound tinges of legendary Strawbs frontman Dave Cousins, a voice anchored in romantic expression of the highest order, and though perceived as sensitive, it exudes immense authority. Tick-tock drumming, a looping and elastic bass and an echoing piano unite in a conspiracy to never surrender (like I did on "the Choice") on "If You Don't Succeed", a brooding patchwork of endless beginnings, searching for the proper outcome, resolute in their craft and succeeding one final time. Footsteps that lead to another realm.

The scourge of inhumanity is to be found on "Sentry", as any discourse on the futility of war finds a scholarly home in my realm, as an eternal student of conflict and the reasons behind it, proprietor of a colossal library right next to my enormous prog collection. As a hopeless romantic fool, I find nothing glorious in bloodshed, a wasteful exercise that became evident in visiting various military cemeteries as well as interviewing a long list of veterans over the decades. A song of mourning that affected me greatly.

The instrumental anguish on "As It Was & Is" serves as a perfect post-scriptum to the above carnage, the sorrowful violin from Chikviladze and the desolate piano expressing wordless agony. Another drop dead (excuse the bad pun) melody that gets just retribution with a whiplash guitar salvo from Colin, and some synthesized confusion from Dave, the orchestral backdrop raising the curtain on the proceedings.

The title track is where reverence seeks to impose its dominion and what better instrument that the mighty pipe organ, a personal favorite ever since "the Six Wives of Henry VII" was purchased so long ago. This is where that old tradition of looking at the LP artwork helps in defining the music within becomes apparent. The inspirational artwork is not only visually beautiful but also very a propos, as it contains all the clever hints needed to comprehend the story (oh so, 70s prog!) of how each life is a colliding enigma of potential opposites , depending on which cards are dealt, as well as which one you choose to play. The extremes go from a wooden box to a spectral palace beyond the suspended bridge on the horizon. The human condition is an endless maze of comfort and agony.

The French (RIP Eric) say "terminer en beauté" (finish in style but the Gauls are so much more expressive) and how appropriate to finalize the album and a career with "The End of the Line", a stirring and positive exit ramp instrumental that shines ever so brightly, a brisk percussive pace, glitter riffs, swooning bass support and an applauding piano, with Colin polishing off a masterful 'merci beaucoup'.

Nothing to look forward to more in the future than to regularly revisit all the Nova Cascade albums, as these works offer not only aural satisfaction but a much-needed artistic form of panacea for a constantly troubled world. 5 Deck of cards

Eric Bouillette of Nine Skies, Solace Supplice, This Winter Machine, Drifting Sun, Imaginaerium, and the Room was, by all accounts, a universally respected as well as deeply loved musician, who passed away, way too young from pancreatic cancer almost a year ago this month. May he rest in eternal peace. The prog community of artists, journalists, promoters, and fans is a unique, profoundly intertwined circle that spans the globe. Showing its respect, it also has the ability to add gesture to mere notes, digital or otherwise and unite when facing tragedy. A Tribute to Eric Bouillette - Songs for an Angel Part One has already been made available. This new release by Nova Cascade is as just a cause as one might hope to encounter, as all proceeds collected through sales go to the Pancreatic Cancer research. Which is why I pre-ordered and paid for the download as well as the CD, so that I can contribute my humble little part, even though I did receive a review package at no cost. Prog is certainly not about fame and fortune, but rather more inclined to everlasting musical enjoyment between artist and fan. It's not about dazzling technique, lavish rock' n roll lifestyle or crowning the charts. It is inherently a serious genre of musical expression that does not require arenas, choosing to impact the profound impression their work may have on a universe of an unknown or unseen audience who care enough to listen, patiently at home in solitude with earphones as sole companions. A truly remarkable community.

I found myself deeply taken by Nova Cascade's previous two albums, their more serene ambient take on progressive rock nestled comfortably into my soul. Eric was working on 'the Navigator', as he was fighting bravely the ravages of his disease, whilst participating in the creative process with his usual passion and determination. He is featured here on electric and acoustic guitars and his blessed violin. Vocalist, composer, programmer, and keyboard player Dave Hilborne leads the seasoned and loyal crew, featuring bassist David Fick, Lorenzo Poliandri on drums, Charlie Bramald on flute as well as relying on the relief cavalry of guitarist Colin Powell and violinist Nino Chikviladze. Thirteen tracks of shimmering beauty, real human choirs (as opposed to the synthesized ones), gargantuan melodies, a plethora of detailed instrumental touches and a crushingly fragile vocal delivery that will squeeze your emotions into powder. As with all previous Nova Cascade albums, earphones will enhance the experience to celestial heights.

Dim the lights, settle in comfortably numb to the outside mayhem and all other distractions, and become 'The Navigator' and see where the good ship will take you to, as it will choose to anchor in 13 different legs along the route. The first of which is where you just might find 'Sleeping Dogs', a majestic female choir greeting one like a siren on the quay, a sensual violin scouring the deck, as Dave whispers most eloquently. Now, those not familiar with his vocal style will require a little adjustment as its is way beyond David Cousins of Strawbs, recent Bryan Ferry, the legendary Leonard Cohen or Dieter Meier from Yello fame. Suffice to state that it's extremely heartfelt, sincere, and poignant. Once you get the drift (excuse the pun), it will wash away your hesitancy, as it is quite a unique take on the microphone. As predicated by the obvious title, 'Safe Haven' is a nautical harbour of security that only the valiant and veteran sea farers could possibly cherish, the keyboard arrangement calm and reflective with some soothing flute to cast off the moorings. Like a painting by Constable or Turner, 'A Walk Along the Canal' is a pastoral reflection on tranquility and respite from the unpredictable seas, a leisurely stroll led by some suave guitar lines, meandering violin (Nino) amid the ornate piano motifs.

The epic 10 minute + title track has all the hallmarks of a classic soundtrack (think You Only Live Twice -James Bond), a deliberate build-up with those previously mentioned human choirs, gradually going tornado as an electric guitar with the wind in its sails sets the compass, the sextant close by for exactitude. Lorenzo's turbine drums channel the power into the massive propellers, while the acoustic guitar announcing calmer waters ahead. The main nautical theme is stunning, a titanic melody that will never sink (think You Only Live Twice -James Bond), buoyed by shimmering piano, glimmering synths, and a horizon of endless stars. The ballast bass undertow fluidly steers the vessel inexorably to its next port of call. The passengers can relax in their cabins, the captain is at the helm, as proven by the momentary 'The Night Crossing', a moonlit ferry that offers no waves to worry about, firmly steaming towards the next anchorage, surrounded by only the indigo blue nocturnal darkness. The guitar sheard is brimming with confidence, yet the violin peaceful and so the infinite mood is set for the next mooring. The charming 'The Fever Dream' has a slight Oriental theme, as if a sloop was heading purposefully due East, towards the South China Sea perhaps. After an initial flute driven serenity, a feverish guitar enters for an instant as if torn between reality and imagination, certainly not due to any seasickness. More redolent flute and violin adornments conjure spice-laden images of first, dhows and then junks, a marine medley of colour and urgency. Narration on 'Any Minute Now', sounding like a gently glistening lake speared by a canoe, as Dave at times reminds me of The Roxy frontman on his solo album Mamouna, the caring, crooning voice emotes with palpable sensitivity. The words are sorrowful, deeply personal, and earnest. I was gulping for air, as if caught in a deep-sea scuba outfit, the leaden boots forcing me deeper into the abyss. Like a majestic galleon heading towards Plymouth 'The Noble Lion', with its white sails, evokes images of Sir Francis Drake returning from an encounter with the Gran Armada, disrupting the pernicious trade demanded by Spain of its conquering sailors. The arrangement is calm, eloquent, prim, and proper and suitably to the point, very British, I say!

On the other hand, the aquatic 'Submerged' could be a modern soundtrack for a U-Boat hunt, as it menaces another convoy protected by vigilant destroyers, the churning waters are expertly depicted with a swirling electric guitar rant that splashes uncontrollably. The quarrelsome bass is like a great white shark plying the waves in search of prey. As a pure contrast, 'Weightless' is a trembling affair, like a catamaran suspended on one of its two hulls, gliding along with secure audacity, unafraid to battle the whitecaps. The delicate voice is truly mesmerizing, making this a superb track, aided by a sensitive ambient choir background.

Like a clipper sailing for home, 'Return to Haven' is a perfect illustration of the exhilaration of an oceanic journey's end, replete with sizzling excitement and memories firmly inscribed in the log. The instruments conjure up these sensibilities with remarkable ease. The heavenly violin (Nino again), the atmospheric synths, the athletic e-guitar, the nimble percussion, and the roaming bass are all stupendous as they express a gorgeous final theme that is to drown for and unite with Poseidon in Atlantis. Excruciatingly attractive. The final two tracks serve as a glorious musical eulogy to Eric. More poetry on 'Somewhere', steered by a scintillating rolling bass motif, on which all others sparkle. 'Where did it all the years pass, were taken before our time, the ties that bind move on'. The acoustic guitar on 'Au Revoir' strums the title track theme, reiterated as a violin inspired message, placed in the proverbial wine bottle (Bourgogne, of course), and cast off into the purest of sunsets. Safe travels, bon voyage, mon ami.

This review is dedicated to Bad Dog Promotions' Anne Claire Rallo, Eric's partner, who keeps his eternal flame alive in music, in thought and in remembrance. As well, profound thanks to all those who will choose to participate in this most noble cause. Just go to novacascade.bandcamp.com/album/the-navigator and contribute.

5 Explorateurs

Since 1969 when I first discovered prog and decide then and there to become an avid collector, I have perfected my passion by becoming a hunter/explorer, constantly on the look out for the next big thrill, often completely neglected by the "market" and its somewhat dollar fuelled dodgy requirements. Every year my goal is to uncover some hidden musical jewel that not only fits my tastes but also proceeds to blow my mind. In late 2021, I landed by chance on Nova Cascade a hitherto unknown entity from the UK, of which I could only identify one member, violinist and guitarist Eric Bouillette, (who I knew from his association with my pal Pat Sanders of Drifting Sun) and the gorgeous cover art of their release " Back from the Brink" helped me take the leap of faith.I have been justly rewarded as this album stands currently in my number 7 spot for 2021 best prog albums!

The are so many qualities to discuss here but perhaps it would be best to place this 38-minute beauty first into the proper musical context. Pastoral, soft symphonic, intricately woven but delicate sounding, sprinkled throughout with lavishly melodic movements, it verges very near to 'Slowdance'-era Anthony Phillips for the instrumental sections, a praiseworthy compliment as that album is considered by many as a top 50 all time prog album. I still see it as the most perfect Sunday morning option, gentle yet inspiring, a perfect companion. The first three instrumental tracks serve as the intoxicating introduction to the spirit that permeates the entire disc. Dave Hilborne weaves dense symphonic tapestries, while Dave Fick lays down some slithering bass motifs, drummer Lorenzo Pollandri adds a light touch to the acoustic, electric guitar musings, throwing in some delirious violin extracts, and a gentle flute adding to the whole.

But the huge surprise arrives with the 4th track, the majestic "Phantom" when the first vocals are introduced and well, my jaw just dropped! Dave Hilborne owns a voice that is closer to whispering and very near Dave Cousins of the Strawbs fame, a celestial addition to the already ethereal symphonics. A fragile, solemn, grandiose and awe- inspiring slice of melancholia. It also gives off the impression that the entire set list has now veered upwards and thus elevated itself to a higher plateau. "Classroom Keys" is a flute-led etude, while "The Hill" offers a slightly murky, nearly electro-Middle East feel, a proggy version of Ultravox' Vienna without the bombast, as Dave's vocal is smoky, misty and brittle. A glittering guitar solo comes ripping through the fog, as the bass pummels the ground below. Magical.

The epic 10 minute + title track is a natural highlight (among all the others), creating a neo-classical paradise, with plucked strings, a soaring and plaintive violin solo, elegant acoustic guitar picking, and backed by keyboard orchestrations. Painstakingly built up for maximum effect (hence the Slowdance allusion earlier) , the heroic melancholia settles into a cinematographic soundscape, just as organic as electronic , before halting on a dime and injecting a more solemn and bucolic feel , relying on mostly acoustic elements that ache with utter beauty. The acoustic guitar solo is noteworthy. What a fine piece of music. Ending on a lovely final note, "Long Winter" (we know what that is in Canada!) is a murmured heavenly ballad that caresses the soul, mellotron waves in the background and a gentle lilt on a melody to literally die for. This sounds like a Strawbs outtake, especially when Dave sings the word "ghosts"!

Fans of heavy metal frenzy will delight in this recording, helping them to properly refresh their frazzled hormones and get ready for the next onslaught. Others who prefer the more romantic side of music will love this too.

4.5 returns from the abyss

Dramatically colourful appearance in this album.

A UK act NOVA CASCADE have come back with their latest opus entitled "Back From The Brink" in September 2021, that is full of magical comfortable ambience seasoned with catchy, melodic movements by a variety of instruments as well. Synthesizer-oriented electronic pop signatures accentuate their imaginative sound structure. And some ethnic vibes sometimes slided all around the creation would sound quite exotic for the audience. Such elements can be heard in the very beginning of the departure "Rectify", slowtempo electro-ambience in a soft and smooth manner. In the first part of the following track "The Minutes After" we can enjoy slightly dissonant but delightful synthesizer plays by Hilborne. Such a glamorous texture makes us happy. The combination of acoustic guitar talks and calm, solemn flute whispers should be our pleasure too. The last percussive run encourages us. "There Is Always A Way" and "Phantom" (guess we could consider the two songs a series of events) consists of magnificent, enthusiastic keyboard theatre. Clearly artistic neo-symphonic touches are here.

"Classroom Keys" reminds us of the similarity to some Japanese Symphonic projects featuring keyboards and wind instruments. The shortest one has a pretty long fruity attack and flavour. It sounds like "The Hill" is one of the most complicated tracks in this album. A bit depressive, tragic atmosphere is around it. Crying guitar is also impressive. The titled longest track involves repetitive but kaleidoscopic ready-steady-go phrases featuring delicate acoustic guitar plays, modest flute vibes, based upon the sincere keyboard background. A mixture of Orientality and vivacity on the last run is pretty gorgeous. We would get immersed in the very last sad but beautiful finish. The last "Long Winter" gives us a cool, cheerful aftertaste, despite the fact the tough, challenging winter under the pandemic situation might be long and chilling.

Cannot recommend this album for ambient-music haters but let me say it sounds just like we are breathing in the fresh air, for Neo-Prog (or Crossover) fans, yes.