FORSAKEN INNOCENCE

Some would say that because I was a former member of Drifting Sun, that I would be biased in my review of Forsaken Innocence, Drifting Sun's seventh studio album. To be honest, I tend to be extra critical of Pat Sanders' efforts as I know the quality and skill with which he writes and performs. I've known him for a long time. Let me tell you that he exhausts much blood, sweat and tears over every Drifting Sun recording. My time recording "On The Rebound" with him in 1999 was a collection of memories I will never forget. Though that album holds a special place in my heart, Drifting Sun have truly evolved despite numerous lineup changes. I have enjoyed various aspects of the albums along the way from the first record (Drifting Sun, 1996) to the most recent album (Planet Junkie, 2019), but Forsaken Innocence is the culmination of that evolution. This is the first Drifting Sun album I could listen to over and over again, day in and day out, but I don't. Why? It is such a special piece of work that I prefer a quality listen on a great pair of headphones over the raw quantity of listening during workouts, driving or working. Forsaken Innocence demands your undivided attention. Excellent production and engineering, a wide soundstage and masterful performances transport you away from wherever you happen to be at the time. Forsaken Innocence is indeed a masterpiece of progressive rock music if there ever was one.

My thoughts on the tracks:

King of the Country - Grand in scale, soaring crescendos permeated by soft interludes. A violin carries the melody throughout. John 'Jargon' Kosmidis' vocals are layered and dramatic. Mathieu Spaeter's guitars are tasteful and rocking without being overly indulgent.

Insidious - Dramatic, brooding, rhythmic, theatrical. Soaring stratospheric vocal harmonies and piano interludes string the melody together through a sound that sometimes evokes a classic prog style.

Dementium - The vocal melody here is truly infectious the way it flows over, through and around the other instruments. The interplay between Pat's keys, John's vocals, Mathieu's guitars, John Jowitt's bass and Jimmy Pallagrosi's drums is tight and cohesive. It's as if if these musicians were born to play together.

New Dawn - If there was a ballad on this album, this would be it. Slow, deliberate and imminently memorable. Jargon's vocals really show versatility and emotion here. A sweet sounding fretless bass line that shines, especially towards the end of the track.

Forsaken Innocence Part I - The flute in the introduction here reminds me a little of early Jethro Tull. Layered strings, keyboards, and a harmonized vocal line that is so well produced and performed that it reaches out and envelops you not only from left and right, but above and behind you. *Chills* Jargon, you're my new favorite singer!

Forsaken Innocence Part II - This instrumental track picks up the pace. A charging, dramatic rhythm. At first, it sounds like it's all over the place. As the song progresses, the thread that ties it all together becomes apparent and you are drawn in with a smooth piano and guitar section that builds to a dramatic climax.

Time to Go - Smooth and flowing, a great way to close the album. Another stunning performance by Jargon and Pat, with Eric Bouillette on acoustic guitar.

Hand on Heart - I have not heard this track, as its a bonus which appears on the physical cd and digital version of the album. I have an early release digital copy. I will update this review when I have heard it.