SIGNALS

Preacher may well be the new prog kid on the block, a British 8 piece band that has an intrepid vision amid strong progressive rock influences, infusing old school stylistics with a modern and fresh approach. The music yearns for a sense of sonic perfection and groove that is entirely admirable, committed to creating timeless classics that remain ingrained and thus enjoyed. There are some overt Floydian aspects such as the use of female backing vocalists that actually punctuate the themes as opposed to just whoosh in the back ground but in many ways Preacher integrate some different tinges to the whole brew. In fact upon further investigation, my belief is that the Floydian influence is not as pronounced as the rather overt Traffic-like feel, at times veering closely to The Low Spark/Shootout era. Lead vocalist Martin Murphy has a husky voice that can wander between Bob Seger, Runrig's Donnie Munro, the raspy Joe Cocker and good old David Gilmour but his delivery is always sincere and immaculate. Needless to say the vocals department is way up the ladder in terms of quality. Instrumentally , the players are all first rate, from solid drummer Iain Duncan, fluid bassist Gordon Munro , keyboardist Arnie Burgoyne, whilst the guitars are divided between acoustic (Ron Rodgers) and electric (Greg Murphy). This versatile group has done plenty live gigs in order to hone their craft and this confidence is overtly audible on the disc. They seem to be fit and pumped to become a strong future player on the prog scene.

All the 12 tracks are unique unto itself, though nothing is longer than 6 minutes and yet there is no sense of something missing, each piece content to deliver the goods, be it melodically as well as creatively. Very solid vision in terms of stylizing a progressive yet accessible approach, based on powerful ideas and deliveries that permeates each second of every track. Guitarist Greg Murphy has a slicing style that is always on the lookout for some sizzle, each solo fiery and tempestuous, one can only imagine what the live setting would sound like! The Traffic influences seem to be more in that bluesy prog vein that showcases a mood for a particular day. Though the title may imply imitation, "Time "is a different vibe that the PF classic, actually closer to recent Fish, a sorrowful piano-led lament laden with stark melancholia, the 'ooh' and 'aah' backing vocals doing a real job pushing the piece forward, and slit open by a very restrained and laid-back bluesy guitar solo that just never bursts through the obscured clouds. Holding back, are you Preacherman?

The bombastic "Jupiter" is a killer track, a devious infiltration of your sonic defenses and carpet-bombing your prog Spidey senses with bliss and glee. Martin extols the virtues of his throaty voice, piano firmly in the saddle, a chorus straight out of the PF cast, and a slow burn spiral axe solo that amuses and excites. There you go, lads!

With slapping waves, "The Sea" has an extended lead guitar flurry that is both exalting and visceral. A roller coaster ride that has all the classic blues traits, everyday lyrics full of longing and a standard rock delivery, bursting with emotion and collared by a whopping chorus. Arnie Burgoyne again leads his piano along without any hesitation.

The band has the balls to get a bit raunchy as a track like "Fat Cats" is so loaded with sweltering prize and aural stimulation that you start shaking your head, just like I did. Fresh, vibrant and mostly different than any of your pre-conceived expectations, these visceral brits get it! More bar-room brawn than pretty symphonics, the perspiration level here is quite apparent.

On a track like "Cry For Help" , things really start heating up, a blues torch song with soothing backing vocals, a Beatles feel stemming from the harpsichord-like motif that sugar coats the roiling, smoking organ swirl that shovels the clean guitar melody, I even thought I was listening to Roy Buchanan for a sec! This is blues-rock at its very finest. Lashing out at 'government plans', is prog becoming political, perhaps?

The title track just keeps the palpitating ear even more delighted, a colossal explosion of deep felt genius. The focus here is on bombast a bit like the style Procol Harum did so well, way back when. Martin growls through like some drunken sailor who had listened only to Joe Cocker all his naval life. Blustering guitar, a dirty lead vocal, sweltering keys and a rhythm tandem that kicks ass, well you get this kind of beautiful ear candy. Wow!

The spell-binding "Arrival" on the other hand, is the outright jewel here, the siren that hypnotized me to hunt this band down, a frightfully delirious masterpiece that has both very primitive beats and a nasty cinematic disposition. This once again bluesy piece has a highly urban cool feel, every instrument seems to be utterly incandescent and a sense of pacing and voyage that is laudable to the highest degree.

This vivid impression continues with "First Contact" another winner in the kick-ass blues rock category and way more visceral, hence the Traffic analogies, a style that is clearly not as atmospheric as the celebrated PF. Greg unleashes a torrid solo that will shiver your timbers, man this guy is really excellent and prolific!

Spooky keys ignite "The Factor", an ominous diminutive ode that inspires to hypnotize and convey some conspiracy, as we live in a world of endless lies, obscuration and treachery. Martin spews, rambles and rages like a man possessed, a clear indication of how great this band would be live.

The harder-edged "Friends of our Dreams" possesses that stiffer style in spades, as made evident on the quasi Dave Brock of Hawkwind rifferama, which also has this snarling electro cockiness, tossing out Roxy Music references on oboe and shuttling some turbulent guitar whirls that will make you stand up for the Preacher- man. Ridiculously good music.

You want celestial bombast? "Our Destiny" just takes the cake, a hurricane-fed track that could easily have been a prog-metal ballad a la Symphony X, the grandiose melody straight out of Heavensville. Jangly guitars, ethereal organ and a somber voice dripping affected solemnity, the power is soon ratcheted up to the bone, a painful bluesy legacy with a huge chorus, voices ablaze.

Okay they will submit to having the backing vocalists give the mike a whirl, a soul-full expanse that gives Martin Murphy the opening to really shine, riding a colossal hymn into the sunset, a metronome beat guiding the way. "I Will Be There" is a scorching love song, an out and out syrupy blues lament, bolstered by torrential mellotron- like strings with intense organic and synthetic choirs as a further demonstration of their unique vibe. Shut things down with a Burgoyne synth solo that scours the oceans and the seas forever. You are a Preacher and I am converted!

As far as debuts go, this is one of the most interesting coming out of the UK in a long while, albeit in a more 70- 80's style.

4.5 vicar indicators