ONE DAY A NEW HORIZON

1982, two years before the 'Armageddon' that never happened! Lost amid the putrid dysfunction and social apathy where 3 million are unemployed in the UK, conveniently camouflaged by the Falklands war, the Red Brigades kidnapping of American general, the birth of the very first computer virus (The Elk Cloner) , the Unabomber strikes , racer Gilles Villeneuve dies, 'ET' comes to town and then goes home, Sabra/Shatila and many more events, Time's Man of the Year was the computer! And in the midst of another wide turn in modern evolution, the world of music relied on Jackson's Thriller, Madonna's first single and Abba was at its zenith. Prog relied on the ultra-commercial debut of Asia, but Marillion and IQ would only show up the next year, signalling the rebirth of prog. Things were very bleak and yet, we discover this hidden masterpiece, almost 32 years later! Treasure hunting indeed, as this is not only good, it's phenomenal! As far as instrumental albums with exemplary playing, I have rarely heard anything as shimmering as this jewel: everything is first rate class, from Rory Ridley-Duff majestic keyboards that span the entire analog spectrum, to guitarist Steve Anscombe's slippery guitar style, a delicious mix of Steve Hillage and Bacamarte's Mario Neto and finally some real tight bass and drum combinations , this is a finely chiseled gem , a particular focus is on writing blooming melodies, groups of notes that have a meaning and a purpose, in an overtly symphonic configuration.

"The Fugitive" instantly reminds of some soundtrack movie, with the obligatory chase scene, full of ebbs and flows, pastoral landscapes that glow with sonic maturity, a vibrant 9 minute canvas of picturesque horizons and fragrant details, a lush opener to a masterful opus. Guitarist Anscombe often parallels the synth lines as well as exploding into liquid lead forays that exude both charm and elegance. He has a soft spot for the volume pedal which can evoke the '3 Steves' (Hackett, Howe, Hillage). Yes, the keyboards have that 80s synthetic sound, as if wrapped in some delicate veneer, not cheesy at all but instantly recognizable as a period sound. The playing is truly superb, jubilantly romantic one second and pastoral refreshing the next.

Never before has a title been as accurate as this, "Thing of Beauty" is precisely that! A resounding synth melody that will sear into your brain permanently, I have been humming this uncontrollably lately, as well as pressing the replay button like some test monkey! Crystalline and heavenly, the only negative is that it's too short, could have gone on for another 7 minutes but, hey, no worries, the follow up tracks are all sheer delights!

"The Maiden" shows her age, a typical 80s melody, a jangly theme that weaves, wanders and wastes little time in impressing, Neil Goldsmith's drumming being hyperactive and resolute. The instrumental technique displayed is both complex and ear friendly, sounding like a variation of Genesis' Wind and Wuthering album, especially the non-vocal tracks.

Sleek and immediate, "Panamor" has a bass keyboard melody that gives it a modern sheen, with Anscombe entwining some nice string patterns a la Ant Phillips , providing the ideal setting for Ridley-Duff to caress his synthesizer with loving tenderness. Another fascinating piece that is compelling listening.

The brief "Hunting Extremely Large Animals" suggests another glittering Tony Banks-like keyboard piece, the synths blazing brightly as the drums keep the mood tight and athletic. This serves as a perfect intro for the irresistible epic, the near 10 minute long "New Horizons/Protos" suite, a celestial platform for Ridley-Duff to show all his skills, merging a whole series of melodies and intertwining them skillfully. His piano work in particular has that Wakemanesque quality of speed, elegance and a classical touch that is hard to challenge. Guitarist Anscombe definitely recalls the great Anthony Phillips in combining both acoustic and electric into the mix, flashing a few glittering solos in the process and always at the service of the glorious keyboard onslaught. Dynamic and cinematographic, the arrangement is never dull or directionless, quite the opposite effect is expressed, again with great style and 'delicatesse'. Truly grandiose stuff that needs an appreciative audience.

This 2006 rerelease offers two bonus tracks, with a different crew in Nigel Rippon on guitars, keys and Ian Carnagie on keys, bass. The brief "The Flea" and the slightly longer and more classically constructed "Variations on a Theme?" really does not alter the sound, still clearly in the Oldfield/ The Enid school of Brit sympho-prog.

The shocker is the fact that this delightful album has gone unnoticed and unloved for so long, as it represents the archetypical treasure that fans constantly seek to search out, far beyond all the big prog classics. A major discovery that is thanks to our own Apostolis, whose vivid descriptions brought this to my attention.

4.5 fresh skylines