MANGROVE

Leading off with a 10minute+ title track is a case in point, as it's a rather upbeat and pleasant introduction, not far from the Flower Kings in a certain way, simple yet also sprinkled with a plethora of twists and turns, variations that flow quite transitionally, highlighted by the majestic vocal chorus. Slippery synth flutters evoke a sense of gentle adventure, emboldened by a sublime guitar line that has a melody to ache over. Injecting calypso steel drum effects and a rolling bass line keep the attention firmly focused on the next orchestral segment, where a violin rules the waves, blurring the thin line between symphonic and neo to perfection. The finale and highly addictive vocal is in a haze as if caught in the desert ("I can see the setting sun"), a shimmering choir mellotron ushers in a lead guitar solo that shudders in ornate beauty and profound exhilaration.

Alternating between light and dark, "Reflection" wanders in sonic realms that are wholly unexpected, issuing pinging electronic elements, layers of attentive keyboard orchestrations, and volume pedal caresses from the lead guitar a la Hackett. The elevated vocal is exalted and utterly stunning in its poignancy, tingling the spine and seducing the ears.

The ominous intro on "Stay" is only a prelude to a temperately sung ballad, sincerity incarnate, led by a deliciously carving bass guitar phrasing, swaying organ, delicate flute, and a marshalling drum pace that might evoke a few Floydian influences. One can easily foresee the impending arrival of a gloriously melodic solo on the guitar and well, its quite the beauty. Magnificent pipe organ to finish off the vanishing melody. Change of pace on the wickedly technical "Chasing Something" that certainly demonstrates some flavourful chops and blitzkrieg technique from all three musicians, fast and furious like some high-speed pursuit on the highway. But it's the e-piano solo that seals the deal, a masterful input of jazzy creativity into the mix. The lead guitar solo is sublimely complex, even tortuous where needed, celestial at times but lightning quick and thunderous.

I thought that I was listening to Edgar Winter's Frankenstein for a second on the merciless instrumental "A Touch of Light", with alternating flashes of a Saharan mirage (as depicted on the glorious cover art), hard-nosed guitar riffs and chugging organ, bruising bass onslaught and some nasty drum percussives take this track into another realm of expression. Intense like the arid heat emanating from the broiling sand, the sonic caravan moves into the granular storm undaunted, crossing colossal shifting dunes and hoping for some impending oasis of deliverance. The elongated axe solo is a glimmering delight. Speaking of oasis, "Raindrops Falling" can be a blessing when faced with dehydration, as the pastoral flute (from Bart Laan) and acoustic guitars lead into glittering expanses, where sweet vocals rest in harmonious eloquence. A radical departure from the previous track's fury. Roland shoots off a suave synth foray, quickly followed by a trilling fretboard line, yet the melody remains simple and effective. This could have been a strong composition on And Then They Were Three, what with the underlying Banksian organ motif and that sunny vocal line that gives hope to those how heal from the music.

And how do we close off this majestic album? In true prog fashion with a titanic 24 minute + epic piece, "A Call to Arms" which may just be one of the finest epics of 2024. Densely cinematographic, deeply committed to a story that defines our troubled times, as the human race seems utterly blinded by piss-poor politics, overt media manipulation as well as living in a world of lies, omissions, distortions, and selfish dispositions, full of entitled madness. Are we really progressing to a better world? The music displayed is fraught with agony, despair, and rage. The bass muscles in on the raging organ, the drums pounding like a missile barrage as the ruthless guitar ravages the frontline with battle hardened vehemence. With endless transitions and variations keeping the interest alive and kicking, the morbid storyline moves forward like an armoured column veering towards the fight. The afore mentioned orchestral arrangement qualities that Roland has mastered are highly obvious here, boldly symphonic, and imposingly reflective. Ornate piano flourishes provide momentary lapses of anger, crying out for hope and salvation, and serene synth bandages the pain for a few seconds. Laan provides another lovely flute spot, that truly hits all the pleasure nodes, in harmony with the piano and the acoustic guitar. "After all these years, we have waited for so long". The final is a guitar crescendo for the ages, a patiently crafted, highly memorable, and melodically addictive slice of electric heaven, that would induce Latimer, Hackett, Rothery and Gilmour to applaud like an iconic quartet in absorbed appreciation.

While 15 years of patience was well worth the wait, I hope that Roland and crew receive the necessary impetus to continue in this vein, as this is quite the spectacular release, that will compete mightily in my top 2024 albums list.

5 imaginary spans

Listening to Beyond Reality I notice how easily Mangrove switches from a bombastic 24-carat symphonic rock sound to a more polished and even song-oriented approach. This reminds me strongly of other Dutch band Kayak their Seventies sound. For example.

A surprising shifting mood from neo-prog to early Floyd with piano, slide-guitar and Hammond organ and finally a compelling symphonic rock sound with vintage keyboards and sensitive guitar in Time Will Tell.

From progressive pop to howling guitar with breathtaking choir-Mellotron drops and a splendid bombastic grand finale featuring all symphonic rock elements in the titletrack.

And from a polished sound with catchy rhythms to another strong grand finale with a strongly build-up guitar solo and lush choir-Mellotron in the final composition Voyager.

But Mangrove also delivers a fine ballad entitled Love And Beyond: sensitive guitar and piano with warm vocals, followed with a slow rhythm featuring howling guitar and floods of Hammond organ.

My best impression of Mangrove is when they are fully playing in the 24-carat symphonic rock tradition. Like the varied and dynamic, IQ-like Reality Fades with omnipresent fat synthesizer flights along delicate classical orchestrations with moving guitar work, a break with a wonderful Hammond and Moog sound and a dreamy part with soaring church organ, what a fantastic composition! And the first track Daydreamer's Nightmare, an epic of 15 minutes: it's layered with shifting moods, breaks and strong musical ideas, it contains a captivating tension between dreamy parts with classical guitar or piano and melancholical vocals and bombastic parts with heavy keyboards and howling guitar runs. The colouring by vintage keyboards (Hammond, Moog and Mellotron) is great and in the end the music culminates into very bombastic with lush keyboards and sensitive electric guitar, I am in Prog Heaven by Mangrove their trademark sound!

In my opinion this Mangrove sounds very tasteful, melodic and accessible. For those reasons it will appeal to a wide progrock audience, 'thumbs up' for this promising Dutch progrock band that unfortunately has disbanded.

These moves by the leading members had more than a positive impact in Mangrove's overall style.The confusing sound of their previous release is subsituted by more-developed and focused compositions with symphonic and Neo Prog inspirations, while van der Horst's voice recalls the vocal lines of ROINE STOLT.The new music side of the band is pretty attractive.Based on the path bands that MARILLION, THE FLOWER KINGS and SPOCK'S BEARD developed over the years, they present long and well-executed tracks with changing themes and moods, quite close to the style of KNIGHT AREA and GALLEON, where melody meets atmosphere meets adventure.The style is modern Symphonic Rock, much based on synthesizers and guitars with sporadic organ and Mellotron washes, not very original but certainly on a higher level than their debut.Interesting melodies, bombastic synth instrumental parts and very tightly connected textures result series of great pieces of Prog music, that can be both deeply lyrical and musically intricate.There is some obvious influence by RUSH in some of the guitar moves, but there are also plenty of nice solos included.This is pretty typical Neo/Symphonic Prog of the modern Dutch school, featuring the principles of the Symphonic Rock genre surrounded by modern elements and a clear production.

I will say this again, The Netherlands appear to be among the top 3 countries regarding Neo/Symphonic Prog acts of decent quality.Add yet another group in the list, as Mangrove's ''Touch wood'' is an excellent album, that is far from personal, but contains tons of extraordinary moments for the fans of the genre.Strongly recommended...3.5 stars.

The opening ''Freedom'' is a negative surprise, like a late-60's rocker ripping off the guitar chops of THE JIMI HENDRIX EXPERIENCE and having a completely dull chorus.Things will get better from this point and the band delivers decent but far from essential compositions.The three-part 10-min. ''Zone'' contains influences from RUSH, CAMEL, PINK FLOYD and PORCUPINE TREE with long both spacey and psychedelic guitar work along with background synths but the vocals of Holdtman remain totally unexpressive.The rest of the album features compositions mostly somewhere between Heavy Prog and Neo Prog with guitar in evidence, mediocre arrangements, while the vocals are very melodramatic and definitely not among my likings.Some good guitar riffs and solos are actually the only things to remember.

Amateur production regarding Mangrove's first steps.Uninspired musicianship with a few decent ideas, which will please a very small number of Progressive Rock fans.Better avoid it.

From the outset the style of the album shows itself to be smooth, deeply melodic and wonderfully fluid. Throughout there are subtle changes of moods between quieter and more strident passages but always the music is very inspiring and uplifting. The listener will enjoy the mix of soaring guitar work backed by a solid rhythm section with keys used to equally good effect whether in a lead role or simply providing a dramatic backdrop for guitar and vocals.

There are times during both of these opening numbers where the keyboard work does tend to get a bit on the twiddly side, almost akin to early Marillion, but it would be simplistic to think of 'Beyond Reality' in terms of yet another Neo-prog offering for the use of this style of playing comes across as more of a nod to what has gone before rather than being the backbone of the album, and I have to say it sounds really rather fresh and inviting in this environment. The added pop overtones in the second track, with vocals that reminded me of A.C.T. at their best, was also most welcome adding another new edge to the bands rich sound.

Having rolled off two long numbers Mangrove go on to prove that they are equally at home writing slow ballads as we move into the gentler restrained tones of 'Love and Beyond'. This opens with vocals supported by soft piano work, building up gradually with superb IQ like guitar work before bringing things back down to earth once more for a very restrained finish. This really is a top notch track that I could listen to again and again.

Next up is 'Reality Fades' which is a solely instrumental number. Here guitar and keyboards vie for attention underpinned by some fine bass and guitar work in what proves to be a most pleasing and somewhat anthem piece.

The title track, 'Beyond Reality', is a mid length track with a lot going for it. Opening with a soft piano introduction the guitar and bass quickly cut injecting some power before cutting back to vocals and acoustic guitar. Instrumental breaks allow for injection of some very emotive guitar work, which manages to impress without the need to go over the top. As the track progresses additional layers build up producing a fuller, richer sound while the vocals take on a more classic rock style.

'Voyager' is another longer number which brings proceedings to a very satisfactory conclusion and once again everything you could want is here. Atmosphere, drama, passion - the music really is magnificent and leaves you on a real high. The only thing to do at this point is to go back and listen to it all over again!

The packaging is as ever superb in that the booklet provided is professionally produced with excellent art work. One criticism I do have however is that the lyrics are all printed in mirror image. While this is an amusing novelty initially it quickly becomes more than just a little irritating if you want to read the lyrics while listening to the songs, particularly if you don't happen to have a mirror handy!

With this album Mangrove have continued to build on their past work while at the same time they have taken giant strides towards creating a unique sound that is truly their own.

From a musical point of view there honestly is nothing I failed to like about this album, my only concern now is where on earth can the band go from here? I don't know the answer to that question but I sure look forward to finding out!

This really is a band that continues to go from strength to strength and I am hugely impressed with this release - for all progressive rock fans I would urge you to check it out!

Very highly recommended! 5 Stars

"Facing The Sunset" has this epic intro but it sounds so much better when the song settles in with a beat around a minute. A calm with organ after 2 1/2 minutes as reserved vocals join in. It picks up before 6 minutes with guitar. Another calm before 8 1/2 minutes this time with piano. Reserved vocals join in. Sampled mellotron before 11 1/2 minutes. "I Fear The Day" opens with laid back piano as reserved vocals join in. Mellotron 2 1/2 minutes in. Relaxed guitar a minute later.The strummed guitar before 4 1/2 minutes with mellotron is good. More guitar before 6 minutes then the vocals return.

"There Must Be Another Way" is the best track and it is an instrumental. Piano to start before drums and a fuller sound take over. This is good as the guitar becomes prominant. It settles 4 1/2 minutes in as acoustic guitar comes in then the synths roll in before 7 minutes. It then starts to build. An uptempo section after 10 minutes with guitar out front is a highlight as well. "Hidden Dreams" is the closing 21 minute epic. I like the intro of guitar and drums. Synths follow then vocals. It settles after 5 minutes with vocals and piano. Mellotron before 6 minutes. It picks back up. A dark calm 9 1/2 minutes in as mellotron rolls in.Vocals a minute later.This is GENESIS-like. It picks back up 14 1/2 minutes in. Vocals are back before 17 minutes.Relaxed guitar and sampled mellotron end it.

Overall a pretty good album. If the first two tracks were as good as the last two i'd give this 4 stars for sure. Still an enjoyable listen.

When you look at the track list, the elements are there: four tracks clocking at almost one hour. But when I looked at the line-up my enthusiasm was severely tempered. Roland van der Horst is still in charge of the vocal department which is all but great news.

Still, I have to be honest and tell that some instrumental parts are well crafted but too reminiscent of "Genesis" to be fully interesting. One can't feel the passion that animated the early "Marillion" or even "IQ" either. To cut a long story short the title track is only a third tier neo tune: good guitar though and pleasant mellotron (but nothing from the other world).

Vocals during "I Fear The Day" are quite dreadful and the band is trying to emulate some of the great Scandinavian scene with the use of the Mellotron and with some very cold lines. The contrast with the warm guitar is very pleasant though.

The best that this band could do is playing some instrumental piece: and that's exactly what happens with "There Must be Another Way" (indeed)!!! This is a travel between neo and prog metal for the start, an almost Hackett / Howe for a short acoustic guitar break (quite pleasant) later on, an average middle part quite chaotic which opens on a fantastic and bombastic guitar finale.

Two real great minutes of music: it gets to your heart (at least to mine) and fills your ears with joy. Excellent (but the whole song lasts for over twelve minutes).

The epic holds some fine moments as well; but very much derivative from the great ones I have mentioned already.

This album is better than their debut (easy task should I say), but I am much less enthusiast than my fellow colleagues. Two stars.

"Daydreamer's Nightmare" Delicate, dreamy classical guitar, sitar, and synthesizer drift into more explosive music that remains steady, introducing a thick guitar solo. A soft verse brings in heavier music and sounds quite like early Marillion without the pizzazz. Although this song has an exceptional vocal melody, it isn't excellently executed (though it isn't done poorly); still, this is easily the strongest composition, with several great instrumental moments- the main guitar solo really shines.

"Time Will Tell" Ninety seconds in is a segment that is almost a carbon copy of the beginning of the verse of "Machine Messiah" by Yes, right down to the bass run. This lengthy piece relies heavily on various keyboard solos, including synthesizer and electric piano. I think the guitar solo is expertly crafted and works extremely well over the music. With a rather shoddy transition, the music turns into something right out of the notebook of 1973 Pink Floyd, which dully drags on until an upbeat synthesizer-led conclusion takes over.

"Love And Beyond" Simple piano and soft vocals make up this slow-dance prom song, which is interrupted by a decent guitar solo.

"Reality Fades" This is a fairly lackluster instrument with some enjoyable guitar lead, but not much else.

"Beyond Reality" Gorgeous piano opens this track, which includes some tasty electric guitar. The intro drops off, bringing in acoustic guitar and singing. Otherwise, the song is several minutes of utter cheese. The singer even adopts this Roger Daultry-like grit in his voice, and his singing "I will survive" makes me chuckle.

"Voyager" Relying heavily on synthesizers, the final track has a Supertramp-like sound, with a keyboard hammering out the chords and a quirky lead vocal, but does develop into something heavier, with Uriah Heep-like shrieks. The track is mostly one extended guitar solo, however, with some uninteresting music backing it. The guitar itself is great though- the player really channels Steve Hackett. Still, the overall piece borders on monotony.

From a dull and weak debut which was totally "Genesis" derivative and of little interest, the band was able to display a better offering for this "Beyond Reality". This is best confirmed during the excellent opener "Daydreamer's Nightmare". Almost fifteen minutes of very good instrumental passages: by far their best song ever.

The neo feel strikes back with the epic "Time Will Tell" which starts as a gentle and standard song. Average (but invading) vocals and too little space for musical development. Fine guitar as usual but average keyboards are the conventional spices of their music.

To be complete, it is true that the second half is very much Floyd oriented and, again, a very Gilmour-esque guitar passage is raising the level quite substantially. The closing section is an ocean of Banks oriented keys: very pleasant indeed, but I have heard these lines maybe a hundred times already?

The excellent instrumental "Reality Fades" holds some fabulous guitar passages: melodic to death, crafted a shell: in one word gorgeous. Splendid. Exceptional. At times, this Dutch band really sounds great during this album.

This work is a major improvement in comparison to their weak debut and average sophomore album. The title track is again very symptomatic of the whole feeling: superb guitar but average (mellow) vocals. Just too bad?

Still: it is a good compromise between neo and symph (this is the first of their efforts that can be partially referenced as symphonic IMHHO). The final section holds very much of the great "Afterglow" from who you should know.

"Pendragon" lovers should be delighted with these superb and so moving guitar solo. A fine album; three stars.