COSMOGRAF

Good, solid album from this Neo-Prog band from the U.K., their 10th. Quite enjoyable listen, while you are listening to it, with good songs, good musicianship, nice instrumental passages, nice vocals. However, I find that as soon as the album is over, I can't remember anything about it, not one song, not one melody or theme. It just is not very memorable for me. So, that's my analysis, after listening to it three times through. Good, enjoyable, but nothing stands out and is just not very memorable. Quite good, all well-done, but just a bit too standard-sounding Neo-Prog. Rating: 3

The 'galactic earl' is back, Robin Armstrong having carved a rather illustrious career for himself, on the strength of his mastery of two major factors for any kind of success (personal or artistic) : quality and consistency . Owner of pretty much his entire discography, I hold him personally responsible for providing me and my battered soul, countless days of unmitigated sonic joy, with such glorious productions as The Man Left in Space, Capacitor, The Hay-Man Dreams, among many others, and most especially his previous album Heroic Materials which I consider to be an outright prog classic. "The Orphan Epoch" features, as per norm, Robin's multi-instrumental prowess on everything but the drum kit, here held by long-time collaborator Kyle Fenton as well as asking Peter Jones to blow some sexy sax on "Seraphim Reels".

Piano to plunge into the "Division Warning ", a temperamental etude that launches a devastating surge of enraged guitars and even angrier vocals, the venomous solo flung two steps away from madness, the echoed distance in the voice ominous , oh my Robin is really pissed off! Fenton's depth charge concussions are petrifying as well. A merciless onslaught that finally subsides into abject solemnity. I feel already bereaved and it's only the opening track.

Thankfully, "We Are the Young" is easily more nostalgia than Armageddon, laced with a deep melancholia bordering on romantic souvenirs of times gone by in a flash, bullied by the next 'important' event. The piano maintains its haunting recollections of lost melodies, and the tired voice somehow urgently searches for something or someone. Robin doing some loving caresses on his fretboard, a bluesy feel to the flickers of his wrist, until fate hits the fan and the marching drums lead the parade into an expanse perhaps near the Waters Wall, the bass flirting with grumbling disaster, the electric guitar spitting out rancid slivers of aggression and an organ no longer in the confines of a church. A very cohesive sense of confusion, perhaps an eventual epitaph for the elderly.

Wailing voice and weeping saxophone meet in agreement on "Seraphim Reels", and they certainly hold on to each other like two lovers on the bow of the Titanic, the scorching solo guitar carving up all the emotions of the universe, as the dreams always seem different from what it seems. Peter Jones erupts into blistering scream on his saxophone, a brassy voice that compares to none, Robin gliding on his axe's neck, bending strings and dripping sweat, tears and blood.

A grandiose feeling of cavernous disassociation rules on "Kings and Lords", massive choir work in particular expressing the voice of the land. The drawbridge is lowered, and the teaching begins, the muscular riffs establish a foothold on the coat tails of the truth, the bass curtailing any form of objection to the path ahead, with Fenton pummelling like a man possessed. Its an angry, heavy and a tad insane blast of hissing prog. The mood remains gloomy on "You Didn't See the Thief", not surprising in the world of unending lies and distortions, Robin hitting the highest notes on the microphone whilst the atmosphere maintains tenseness as expertly shown by the intimidating bass revolt underneath the scratched surface. This polarity between the extremes is compelling and beguiling , traits that keep the listener on the brink, never quite knowing what comes next , even after multiple listens. It makes his compositions timeless and adventurous, always dancing close to the edge. An oasis of ambient reflection is more than welcome , and "Empty Box" is far from being devoid of any ennui or fluff, it's an incredibly poignant track that works more on a subliminal level, as if deeply ensconced in some soporific trance, touching not flexed muscle but grey matter instead. The guitar pyrotechnics underline the internal torture of solitude, just long enough for the appearance of some blessed panacea. Gorgeous.

Finishing off in raw mode is portrayed on the possessed "The Road of Endless Miles", a no-nonsense expression of pure emotion, no hint of theatrics, no frills, the melodic piano almost honky-tonk and the guitar definitely rock n roll. But it's the heartfelt vocals that really sets this track and album apart, Robin can alter his tone seemingly at will, in order to fit the right mindset. Not surprising for a master musician who is savagely uninterested in compromising his craft. We are therefore blessed once again to listen to his magical music, hallowed be thy name! 5 stray times

Cosmograf is a very consistent project, but I noticed recently that I tend to love an album, then just enjoy the next, then love the following one, and so on. So, starting with the first one I heard, The Man Left in Space, I loved it, then only partially connected with Capacitor, then adored The Unreasonable Silence, and on and on. That trend has stopped, however. I absolutely loved 2022's Heroic Materials, and now Robin is launching The Orphan Epoch on May 23rd, and it is close to tying with Mind Over Depth as my favorite from him.

Robin Armstrong of the UK is the brains behind the project. When I say "brains", I really do mean that since Cosmograf is lyrically heady and precisely composed in a way that only a perfectionist could produce. He brings with him fantastic drummer Kyle Fenton, and Peter Jones guests on saxophone on one track.

This album represents some changes in Cosmograf. I mean, the sound is basically the same: progressive rock with some edge. But I sense something different, not so much an evolution as a full realization of the project's style. Robin doesn't seem shy about flexing his guitarist muscles anymore, and the keys, too, are gorgeous and played with aplomb. With the excellent rhythm section, towering saxophone spot, and continued strong lyrics, this album feels more completely Cosmograf.

The album addresses the divide that society wants to place between groups of people. This choice is most often binary, never nuanced or accounting for other ideas. They want to herd us into one of two labels, which I suppose would make it easier to control. The Orphan Epoch sets this as a foundation but then discusses young people and the disconnection and disinformation that is fed to them as they grow to become the next generation. What future awaits? Can the world handle such toxicity and lies?

The album has seven songs and they are all terrific. The singles "Kings and Lords" and "You Didn't See the Thief" are both outstanding; I love how hard the former rocks, and how the backing vocals add a sense of sobriety and history. Robin's guitar solo near the end is pure fire. The latter is even better, though, with its reserved character, electronic tone, and robust instrumental. What a great song!

But, you know, those aren't even my favorites. I love the opener "Division Warning", a pumping and powerful track with celestial keys and a sense of urgency. "We Are the Young" follows with more of an acoustic sound, but that marches into a whirling organ atmosphere of choices and confusion and melody.

My favorite track on the album is "Seraphim Reels", feeling a bit like a 2000s Porcupine Tree song with an injection of saxophone. I absolutely adore how Peter is featured throughout; Robin's voice is perhaps the most vulnerable and expressive that it's ever been. It's honestly a quieter track for the most part, but Peter lays down a thrilling, gritty sax solo that blows me away every time. I love how Robin's guitar takes its lead, ending the track in a deeply satisfying way.

The last two tracks on the album are both winners, too. "Empty Box" is a softer song that mostly floats in dark spaces with Robin's vocals. I like how it briefly erupts near the end, but the song works very well as an introspective break in the music. The closer "The Road of Endless Miles" doesn't try to impress with fancy tricks; no, this piece is pure and golden rock with fantastic guitar work, a memorable rhythmic hook, and an ambience that makes me want to listen forever. Between the gorgeous piano and melodic guitar work, the song easily becomes a favorite even if just because it sounds so damn attractive.

Cosmograf's albums are always worth the time, and it feels like Robin is only getting better at what he does. This album is quintessential Cosmograf, more so than anything else he's produced. Combine that with some of the feelings of Porcupine Tree's Fear of a Blank Planet, and you have a potent record that prog rock fans absolutely must hear.

A really drab album! This is the sixth studio release by Robin Armstrong-headed progressive rock project Cosmograf and this also happens to be one of the releases on the heavier end of the Cosmograf spectrum. 'The Hay-Man Dreams' is melancholic and sorrowful act and is actually conceptually bound by the family story of a great-grandfather's passing, with the music reflecting the overall dark themes and explorations with a sound that is quite vintage, full of heavy, sweeping guitars and scorching mellotron cries, topped by the idiosyncratic vocals of Armstrong which are always recognizable and a significant part of the Cosmograf musical universe.

And while the retro measures of the album are there, structured as a six-track single LP, there are a few contemporary influences as well, meaning that amidst the Floyd-ian or pastoral 70s musings, you might as well catch glimpses of a Porcupine Tree or Thomas Thielen-reminiscent episodes. This is all good but somewhere along the lines the excitement wears thin, the tension that is usually omnipresent on other releases by Armstrong is a little dim on 'The Hay-Man Dreams' as the record meanders through some extended instrumental passages like on 'The Motorway' or the 12-minute title track. On the contrary, 'Cut the Corn' and 'Trouble in the Forest' successfully deliver just that tasteful piece of grim melancholia, with that soaring grip of the mastermind's vocals delivering the rather forlorn lyrics of the songs. This 2017 release is good, tight listen but I genuinely feel that there are stronger offerings in this discography.

'Capacitor' by Cosmograf is one of the truly excellent underground progressive rock albums of the 2010s - this is the fourth album by Robin Armstrong's solo musical project and is a concept record (just like almost any other one in this discography) that focuses on the theme of storing the human spirit, a rather fascinating topic that is developed beautifully through the music, which can be defined as immersive, cinematic, thoughtful and at times incredibly dark, with extensive use of heavy guitars and lush and spacious synths, elevated by the unexpected and suspenseful shifts together with some great melodies. This album also sees some long instrumental passages that either build upon a certain kind of atmosphere or help to break down and finish off a particular song. 'Capacitor' is in any case a tremendously well-executed entry that infects you with its imaginative soundscapes and grim sounds.

The opening track is a strapping instrumental that goes through a few different passages both heavy and electronic that sets an interesting tone for the record. 'The Fear Created' then takes up the drab tones and allows them to transition into the first really cinematic song, this is a really great opener for the record that impresses with the powerful but very crafty arrangements. Of course, this album features mostly longer-format pieces that go beyond the six-minute mark, which is probably the right amount of time needed for each distinct piece to develop rightfully and thoroughly. A more acoustic entry follows in the face of 'The Reaper's Song', which features a really memorable, strong refrain, while 'The Drover' and 'White Car' are perhaps the culmination of the record - these tracks are moody and swaying with great instrumental work, offering some very ominous moments. And while it would be difficult to place the highlight on any track on 'Capacitor', these two would probably come closest. The two final tracks are slightly less diverse than what comes before but maintain the overall gloomy feel and are still quite good. The entire albums is very evocative, at times it might even remind you of some Porcupine Tree deep cuts, but it also works perfectly as a concept album and is by far the most intricate and imaginative Cosmograf studio album.

Robin Armstrong's Cosmograf is back with a new concept album titled 'Heroic Materials', a really tight release that is necessarily very moody and with a refined taste for the acoustic as we hear how the unplugged guitars and piano arrangements form the backbone of this album. 'Heroic Materials' tells the story of an elderly ace fighter pilot who looks back upon his life and realizes how much the world has changed, with the album featuring both shorter pieces that serve as interludes or are there to add an episode of the story, and several longer (or rather, regular length) tracks that really depict the compositional force of Robin Armstrong. In this case I would not point to the longer tracks as the ones forming the musical identity of the record as they certainly make more sense in unison with all the shorter bits of music - the entire album works quite well as a concept record and the melancholic mood is carefully embedded into its fabric.

This album does not contain the usual rich layers of sounds, for which Cosmograf might be recognized as well as the heavy, thumping and almost doomy guitar riffs, nor does it offer the extensive use of synths and synth effects, which categorizes many previous releases of Armstrong. 'Heroic Materials' intends to be a rathe stripped down, raw and emotive collection of songs that has a rather striking emotional impact instead of a more technical one. This idea of the album's musical world is perhaps best depicted by the 13-minute title track, one of the central pieces on here - a rather steadily moving piece that is really mellow and with a strong sense of longing. The portrayal of the main character's thoughts, feelings and worldview is brilliant. We also have the lovely 'British Made' as well as 'If Things Don't Change', two of the strongest entries on the album. The entire LP works really well but is ostensibly different from the rest of the catalogue, which does not take away any of its value.

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

COSMOGRAF known since 2011 with 'When Age' distills a prog rock à la BARCLAY JAMES HARVEST, PINK FLOYD hovering between neo, prog metal and melodic rock of the 70's. This 9th post-pandemic album is supposed to talk about the great works to avoid a dark end and it is Robin at the helm of his home studio who distills these prog-moving titles to which I will add some snippets of GENESIS. A progressive concept declined in interlocking titles to hope for a better life than that of this former Spitfire fighter, stunned and horrified by the cruelty of Life. So let's take a closer look.

"I Recall" for the opening, all in delicacy, voice and piano and choirs, misty clarity and this Wallian plane bringing "Heroic Materials" in three parts for a majestic, solemn and heavy sound at the same time. I find the melody of BARCLAY JAMES HARVEST on this epic title, an anthem where the piano is held by Danny of BIG BIG TRAIN; at 5 minutes it goes up with heavy guitar, dark choirs, story on the activities of May disillusioned pilot; an organ as a break, voice-overs and we suddenly find ourselves in 'The Wall' revisited at the vocal level, solemn musical influence and Gilmourian guitar solo; PINK FLOYD has a hidden son? The finale takes up the hackneyed solo voice theme to amp up the emotion and show the extent of Kyle's orchestral and rhythmic drumsticks. "Industry" sad vocal interlude, 'Final Cut' mode, piano-violin declination before continuing with "British Made" with a torn vocal à la Franck CARDUCCI on an acoustic à la 'Pigs'; Robin's solo is fresh, ethereal, touching; it brings greatness to this symphonic and sad title at the same time, striking us with its Anglican melody à la Charisma until the last touch. "Mary" and another plane in the distance for a sad WATERS-style melody about the hero's vanished first love, BJH are getting further away now.

"Blinkers" continues with the piano and Robin who draws his voice on the COSMOGRAF sound there, it suits him well. "If Things Don't Change" comes on a newer sound, mysterious Wilsonian voice, then to the distant WATERS; text on the exhaustion of fuels, on the death of his entourage and melody between darkness and hope; the riff with the organ leads on the tracks of a tortured Steve WILSON, a crescendo allows a more rock orientation with an XTC sound before the dark side returns, a bell in the distance; note the crystalline guitar solo which ends in a beautiful way and sends on "The Same Stupid Mistake" to recognizable blah blah blah (yes I wanted to do that one) and always a haunting melodic air which gives hope for clarity with this redundancy in the chorus. "Regretful Refrain" arrives, the guitar taking the lead on the Wallian cinematic with plane attacking; a moving instrumental, the rising notes can make you cry, it's simple and beautiful; the voice-over lets Robin talk more than sing, plaintive; the expected solo shows Robin's expert work: he does everything on the album but above all he does very beautiful solos bringing emotion easily; final which rises, I let you guess which group I think of on high voices. "A Better World" for the end, it's raining, we hope...a better world on the melancholy beach, the one that kills with choirs, rise and dazzling solo.

COSMOGRAF finally Robin, combines here some great titles interspersed with musical interludes to land before facing another melancholy melodic air. This association makes it possible to amplify the sound rendering and to give a progression in the album, something which would not have been so obvious without. Here the narration gives intensity and the soft then nervous instrumental parts amplify the effect; the texts are very dark but also too realistic. 'Rattrapante' was very heavy prog and had lost some of the soul of COSMOGRAF, this latest opus gives it back its legitimacy. It's up to you to see if you still want to dive into the neo-prog universe of the 80s and offer yourself a singular musical regression.

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.

In a year that has featured some excellent releases already, this is my favourite to date. I have found earlier albums by Cosmograf to be inconsistent; they are brilliant in places, but less impressive in others, despite the high quality of the musicianship. This new album is superlative throughout, featuring melodic keyboards and soaring guitars - and an intriguing narrative throughout the album of a former WW2 Spitfire pilot reflecting on significant events in his life. The highlight for me is the 13 minutes title track, Heroic Materials. I have had the album for a week now since its launch and have played this song repeatedly.