TO THE FAR AWAY

Dave Bainbridge is without any question, one of my favourite current artists, having followed his path since the early Iona days, where my left eyebrow was first raised on numerous albums by that celebrated British prog band, such as Open Sky and the Circling Hour. Since those heady days, his solo albums such as Veil of Gossamer, Celestial Fire and Celestial Fire live have been decorated with every star at my disposal, though I would have added the Victoria Cross, La Legion d'Honneur and the US Medal of Honor, thus raising the other supercilium. His work with Lifesigns and Downes/Braide on guitar and the Strawbs on keyboards proves his mettle on all forms of main rock instruments and as such, has carved out quite the reputation in the prog community. David's guitar acrobatics are spirited to say the least, a heady blend of Hackett-like melody and Holdsworthian sizzle, obviously tinged with a Celtic sheen that can not and should not be denied. The music is therefore very spiritual, with warm cascades of Uillean pipes, tin whistles and bodhran, while also incorporating violin and viola, courtesy of former Iona stalwart Frank Van Essen, a fabulous drummer who is also a crack virtuoso on the strings. But do not be fooled by this side of their repertoire as these musicians have no fear of rocking and often blazing (The Celestial Fire live album is full of classic Yes reprises that will make your jaw drop). Powerful, heartfelt, and exhilarating progressive rock of the highest order.

Lately, Dave has been working with Sally Minnear, a female vocalist with a glorious voice (that name should be familiar to those fans of the Kind Behemoth that lived in a glass house, full of power and glory with a freehanded octopus and his three friends etc..). The apple falls not far from the tree, as the two have a chemistry that is hard to describe. Spirit, I guess. The lockdown had taken Dave away from touring with both Strawbs and Lifesigns, putting himself in composing mode and the result will probably outclass the previous glories as this whopper is a timeless classic of the finest vintage.

The sea churns, the lively gale and the salty mist coalesce as one, the cold fuses with the warm heartbeat of an unconquerable soul. "Sea Gazer" is a grandiose opener, a Celtic showcase that seeks to introduce the moody atmosphere that will permeate the entire set as well as the talent that this band owns in spades, with clubs, diamonds, and hearts in tow. The aptly named finale "Something Astonishing" perfectly conveys the scintillating 72- minute journey that any music fan can enjoy by inserting this masterpiece into their eternal prog collection. Sandwiched in between these two colossal pieces, 11 other tracks offer a plethora of variations on the adventuresome theme, such as the hugely contrasted epic "Girl and the Magical Sky" where gentle child-like serenity finds delicate piano ornamentations allied with the sweetest voice on one hand, smartly clashing with bombastic swells of unmitigated explosions of fiery organ, rampaging bass and screeching electric guitars, all held in place with deft yet muscular drumming. Dave's solo is a killer. "Rain and Sun" consolidates further this divergence of attitude, acting as a near segue to the previous piece, allying swelling string orchestrations with an Oldfieldian tinge that was last heard on Mike's Voyager album. The sense of flow lingers on "Clear Skies", where a playful guitar lead scours the clouds, tin whistles in support of another powerful mellotron fueled explosion, as Jon Poole's nimble bass hopscotches over the flat stones like some drunken madman, as also expressed by a charging synth solo that just kills it. Breathtaking!

Still woozy from the onslaught, Dave propels the core 14-minute blockbuster into the melee, the astonishing "Ghost Light", a showcase piece if there ever was one, showing off the talent described earlier, Sally's voice soaring mightily one moment, then suddenly hushed in internal contemplation. The Jon Poole bass guitar carves quite the path in the undertow, nimbly lunging across the sonic landscape, with plenty of ebb and flow. A male voice belonging to Iain Hornal from 10cc and ELO fame encourages the duet, raising the stakes even higher. The electric guitar slithers and slices the spectral horizon, towering, swerving, and veering into the stars above. This is such a majestic and grandiose adventure, magnificently played and sung! Wow! Really wow!

A trio of shorter tracks certainly help calming down all the previous goose bumps, an ornate piano and voice piece that evolves quickly into an extended synth, morphing into a wicked guitar ramble. Lots of polyrhythmic drumming complicate the mood, with great indulgence and a dazzling rip on the piano. Next, Iain Hornal takes the mike and enters ballad mode, with Donockley providing the slick Celtic accoutrements and Sally joins in. Breezy, sweeping ocean mist and loads of melancholia. ''As Night Falls'' ends this triumvirate with a solo guitar rant, an oozing flurry that squeezes every ounce of passion from the stringed neck, a mix of Latimer and Holdsworth rolled in one. Divine.

Van Essen leads some spirited violins and violas, combining with Julie Cameron-Hall, on a majestic neo-classical instrumental that is painfully strident and gorgeous, overwhelming, and touching. ''Infinitude (Region of the Stars)'' is an everlasting explosion on a timeless album. I am not always a fan of such orchestral interludes but this is just plain off the charts, both in gut wrenching emotion and technique.

The next four tracks seem to reflect another set (or suite) of tunes that continue to raise the bar. Starting with the thrilling title track, a more traditional Celtic jig, except the main protagonist is a devilishly exuberant electric lead guitar, doubled by violin, aided by sturdy bass lines and extraordinary drum fills. And just to add a little Irish/Scot sauce, Uillian pipes and whistles finishes off the delight. That Celtic undertone continues on the next piece, the rather hopeful sounding ''Speed Your Journey'' , where Sally gets to sing her piece , sublimely encouraged by wicked bass and drum support. Another jig like piece serves to showcase the rather complex melody, full of swerving notes, played at blistering speeds by all the musicians, Dave leading the band on his sulfurous guitar, mellotron swirls in the background. I mean, just incredible to listen to such dexterity! (Yngwie eat your heart out!) .

And the finale, a starlit gaze into the reflected sky, searches out the last drop of creative juice, offering up a glorious, almost cathedral-like experience, where organs, guitars and choirs are ablaze in ecstasy. A no nonsense top 3 album for 2021, a true prog classic. A must hear and a must have.

5 Remote Distances