THE INNER ROAD

Visions is a collection of charming prog instrumentals by multi-instrumentalist Steve Gresswell and guitarist Phil Braithwaite, doing business as The Inner Road. The album is clearly a labour of love and has a few rough edges here and there - the production, whilst competent enough, isn't exactly finely polished, and some of Gresswell's keyboard tones feel a little low-budget, though the duo do an admirable job of working with these limitations by crafting compositions which work well within the production constraints and sound good with the occasionally quirky keys. Reminiscent of a more ornate and baroque version of The Lens, what I glimpse in Visions gives me high hopes for the project's future output.

"Ascension" is The Inner Road's second album, coming quite rapidly on the heels of 2011's remarkable "Visions", an instrumental symphonic masterpiece that garnered rave reviews worldwide, yours truly included, in total rapture. As is always the case with momentous albums, how do you get it done again without falling into repetitive formula yet still keeping the creative spirit alive and well? On this stunning sophomore release, keyboardist and multi-instrumentalist Steve Gresswell has joined up with guitarist Jay Parmar, whose style differs greatly from previous fret colleague Phil Braithwaite's more Latimer-esque elegance, preferring a distinctly obvious oriental style, infused with dazzling harder sizzles recalling axe maestros Steve Vai and Joe Satriani. As much as Visions was way more pastoral, almost Anthony Phillips ?like, this new album is positively bursting at the seams with razor sharp , sledgehammer riffs that have a palpable Andalucian feel, the Moorish tinges are frequent and ultimately very satisfying. A new direction with even more accomplished symphonics is a laudable adventure and rewards the demanding audiophile with unlimited bliss. While preferring real drums to the programmed variety, it must be said that the mechanical beat box is well crafted and does not diminish in any way the eloquent music being presented.

The title track wastes little time in beginning the climb , as it has that seductive combination of grandiose and bombastic, loaded with huge instrumentation showcasing Gresswell's arranging talents, as well as providing some sensational piano and synthesizer work. Parmar is unafraid to rock hard and fast, choirs ablaze in the background. There is a definite celestial quality that fits the "Ascension" theme perfectly, a potent feeling of delightful exploration. "The Steel Sky" as the title implies has a dual tinge of harsh and delicate, a beauty and the beast syndrome that is ultimately a hallmark idiosyncrasy of classic progressive design. Bulldozer riffs, slippery synths, rollicking bass and swerving, screeching melodies. The whole bullied by some steamroller double bass drum programming in order to keep the pot boiling. "Two Worlds, Two Tomorrows" throws in some backing mellotron samples, a direct main melody that scours the soul , giving Parmar a solo spotlight to demonstrate his considerable skills, whilst bathed by Gresswell's glittering arrangement complete with soft synth lines and a breezy little section that gives even more room for reflection. "Altered Reality" has a distinctive bluesy feel, as Jay explodes over the symphonic arrangement laid down by Steve's lush orchestrations with a rowdy and exuberant growl that will please axe fiends of every persuasion. The programmed drumming is as expert as on Visions, never sounding too mechanical but the real clincher is the use of a brief massive choir work imbued with Oldfieldian grace and elegance. This is the definition of "beautiful", yet bold, passionate and offering up crisp contrasts to keep the listener on edge, palpitating! "Troubled Memories" continues in the same magnificent vein, bristling notes amid a sizzling mood, the exotic lead guitar line carving out a dreamy cycle of sound, pushed along by some mighty bass pummeling, drums akimbo and synths curtaining the stage. There is a slight feeling of dread, anguish and despair that is utterly palpable, showing the musicians predilection for emotive expression. It's not just overt "chopzilla" but songs with moody depth. I admit being a total sucker for this kind of instrumental genius and I do kneel at the shrine! "A Fleeting Dream" further consolidates the wealth of sounds displayed on the album, abounding in trembling fret distortion that tickles the senses, the instrumental prowess is truly remarkable. While technically demanding, the guitar soloing displays a spirit of continued adventurism that keeps the listener with bated breath, never quite knowing where the next flurry of notes will travel to. Parmar squeezes out all kinds of cat meows and rivet- popping phrasings from his emboldened instrument. The tremendous "The Awakening" has a slight electronica feel, pinging synths and ponging guitar phrasings both with undisputed authority, bathed in a complex swath of sound, a delicious tinge of dissonance giving the piece an organic feel. Those subtle choir-like effects only add drama and arousal to the mix, suave little details that makes the music breathe and exalt. The final section reverts to the mechanical synthesizer monolith and provides the platform for some juicier soloing, Parmar torturing his instrument with delirious glee. Fabulous track! The epic 10 minute+ "Flight through Eternity" ends this marvel with even more daring, as Parmar provides some unexpected sitar-like allusions amid his axe ramble, a quirky little detail that only serves to highlight the creativity behind the band's philosophy. The lengthy guitar solo is sensational, a bluesy performance that is ultra-cool, not only technically dazzling but also emotionally adept at pushing those hard to reach buttons.

Just like the preceding 'Visions', The Inner Road have crafted another memorable progressive avenue of instrumental splendor, full of playful exploits and dreamy atmospherics. This time the mood was more animalistic and impulsive, creatively aggressive and sonically impressive. I cannot fathom anyone not being impressed with this dream work, I daresay even our prog-metalloid cousins would enjoy this immensely and intensely. Certainly Symph fans but also guitar fan boys will rise to the applause! Of course, the artwork is spectacular once again, offering up a prog collector's fantasy of audio and visual art forms.

5 Elevators

The inner road is one of the most intresting and captivating bands I've come across lately. This is a young band formed around two musicians Steve Gresswell/ drums, bass guitar, keyboards and Phil Braithwaite / rhythm guitar/lead guitars, the album released last year 2011 named Visions is a killer one in every aspect. Highly orchestral symphonic album with plenty of memorable passages and inventive arrangements. They took me by surprise, never known that they sound so great. All album is instrumental with sporadicaly spoken words and excellent choruses. Visions sound like was issued in the glory days of prog, very smooth and elegant music, with long enough pieces to demonstrate that they mean bussines with this release, the album overall clocking around 70 min pure grandious music. Very enjoyble, at least 4 pieces are absolutly awesome and very intresting like Hidden Sea, Day of the sun, Dream catcher and Visions. One of the top albums in last years I've heared from symphonic prog, perfect written parts and musicianship is great. Maybe to some listners the problem will be that the album is mid tempo most of the time lacking in energy, but after more spins definatly they will change their minds, definetly a grower. Very diverse in arrangements with fascinating keyboards, guitars and some great drum parts, Visons is a winner in every way. Elegant is the main word if I'll discribe this album in one word. Another aspect is that I can't trace the influences behind this release, it sounds so good and almost original at best, a hard thing to achive these days in prog music. In the end 4 stars easy , recommended for sure, fans of the genre will love this album as I did. Very strong and a fresh air in today prog world.

UK duo THE INNER ROAD was formed by Steve Gresswell and Phil Braithwaite as a side project to their main creative outlet Coalition when it turned out that the two of them both had material at hand that didn't really suit that band. "Visions" is their debut album, and was released by Orbital Productions in the fall of 2011.

If you have a general taste for symphonic progressive rock as it was made back in the golden decade of the 1970's, The Inner Road has released a CD you will want to investigate. In particular of you tend to enjoy the instrumental variety of this style. A high quality production that should find favor amongst most, even listeners as obsessed with minute details as this writer.

The Inner Road is one of those stupendous homegrown releases that I, as a dedicated progfan truly admire and consequently constantly find myself on the constant lookout for. Far from the lavish, multi-layered productions that litter our genre, these seasoned musicians opt for the true essence of progressive music= melody, emotion and vivid soundscapes that take the listener into a fabulous world of introspection and bliss. Certainly, these gents do not aim for mass appeal, rather concentrating on finding fans that would coalesce with their vision of what synphonic prog should be. For fame and fortune, guitarist Phil Braithwaite and keysman Steve Gresswell depend on Coalition, a more commercial leaning neo-prog group with a vocal slant. In this concept, The Inner Road finds a lot in common with fellow countrymen Elegant Simplicity, a formula that relies on extended instrumental voyages that expose a myriad of tones and atmospheres, exploring new melodic concepts that seek to stamp an imprint on the listener's soul.

On the very first run through of any album, I tend to not listen too intently, so as to have some original detail leap out and seize my attention, a method that has proven its merits over the decades. On Visions, the aspect that made me look up and consistently admire were the superbly crafted melodies that saturate this 70 minute + jewel. No track goes beyond the 9 minute mark, so the restraint is most welcome. I love Italian pasta and Vietnamese soups, so I have no problem with endless noodling, even if the musician occasionally flutters into oblivion and forgets where it all began. The preeminence of the main melody is irresistible and the passionate soloing is just way beyond the norm!

From the dazzling opening seconds of "Hidden Sea", the ears pick up the tinkling synths in the style of Oldfield's stellar "Foreign Affair", clinging and clanging deliciously while Braithwaite unleashes the first of numerous solos that litter this remarkable release. The main melody is irresistible and the passionate soloing is beyond the norm. The drums are real, the bass is authentic and everything is just pure harmonic bliss, in a style reminiscent of instrumental Dutch masters Odyssice or Polish wunderkinds Lebowski. Each piece has its own distinctive stamp, such as the unaccredited female choir wailing, the spoken word samples and the sax sounding synth on "Day of the Sun", a strong Elegant Simplicity vibe here that is undeniable. Gresswell's orchestrations are slick, never heavy-handed and always accurate in keeping the mood intact. I mean that 2 songs in and you're already hooked, even if you do not pay too much attention at first, the music has a head-turning effect that is uncanny! Every piece is simply magnificent and powerful. The opening bars of synth-strings on the magical "Morning Mist" should humble the staunchest prog curmudgeon, with luminous guitar solos that recall Dave Bainbridge (of Iona fame), and as stated so astutely by 'toroddfuglesteg', a palpable British style that is undeniably pristine, evocative and yet structured.

The pace never dies off, no filler anywhere as the celestial "Heaven" shows its grace, an oboe-patch synthesizer waddles in lovingly, paving the inner road for the soaring electric guitar that scours the stratosphere. Such beautiful music! On "Life" the guitar really craves out some sonic escapades, within the realm of assorted effects and slithering synth solos, all crowned by some thunderous male operatic samples! Both 5 minute pieces "Lost Man" and "Night Light" offer more sizzling stylings that would make Tony Banks and Steve Hackett shudder with delight, liberally detailed with lush orchestrations and galloping arrangements, the music is never static or ambient. The regular use of choral orchestrations is also phenomenal, adding some detailed color to the proceedings.

The acme is perhaps reached with the torrid "Dreamcatcher", with its correlative American Native Indian sensibility, a sumptuous creative detail that I find astounding and ultimately clever, without ever falling into any New Age formulaic abyss. The musical interpretation is expressive and dreamy, deeply melancholic and utterly defined. A simple Indian flute melody is steadfastly held together by a hard beat, while the guitar slashes a few scalps mercilessly. The resulting solo is crafted with precision and effect. The contrast between the serene segments and the brazen blowouts is delicious. The title track does not relent, supporting a bright, rollicking air that wanders into various comfort zones, as always portrayed by some deft synth playing (that sax patch setting is stellar!) in the meantime, the feral axe shatters through the mellotron-like waves like some Exocet missile skirting the ocean's fury, searching out its target. Funky bass goes popping along for the mercurial ride. I mean this piece has everything to exalt over. "The Lowlands" is a heavily orchestrated tune that has a Celtic tendency (those bagpipe samples) but is topped off by an untamed and robust series of solos on the e-guitar. "Eclipse" is another selection that substantiates their craft with well thought out melodic structures and resonating sounds, perhaps more pastoral and fleeting that the previous stuff but still gushing with crafty keyboard solos and fretboard genius. Braithwaite is rambunctious even though the chorus seems celestial and vaporous. Finally "Beyond the Horizon" closes out this masterpiece with conviction and grandeur.

I thank you torodd for seducing me into getting this one with his words but this is my style of prog and I can only gushingly give this the maximum score allowed and then some, as I could listen to this everyday, forever. Fans of gorgeous melodies, expert playing and modern symphonic prog would be missing out not getting this marshaled into their collection. All I can say is that I found my Inner Road!

5 highway mirages

A new and welcome addition to the symph prog scene in England.

This band is a new band and this is their debut album. The musicians have a lot of experience here and I refer to the interview for the full band story. The experience though shows throughout the album.

The music here is instrumental symphonic prog with a lot of influences from the new age and ambient scene. Add to that a lot of influences from the celtic folk music genre + a lot of influences from the symph prog genre + church music and religious hymns. In short; Visions is one big melting pot. Just like an old pot on the stowe where you put in sauce, carrots, meat, onions and potatoes. The result is a proper British meal and that is exactly what Visions is. Visions is nothing but made in United Kingdom.

I really like the mixture of music styles here incorporated into each track. There are even some tasty bagpipes here. But most of the album is more pastoral than that. Some guitar solos breaks up the symphonic pastoral melodies. The flutes here are great though. My main gripe with this album is the lack of any really great tracks. The music on Visions is a bit too bland for my liking and is bordering to the muzak genre. But this is still a good album which will interest the followers of this genre. As a debut album, it is a good start. Feel free to give us some more of the same, please.

3 stars