STRANGER SKIES

Bassist extraordinaire and multi-instrumentalist Roberto Vitelli has a celebrated career, having played with the likes of The Roman Pro(g)ject, Taproban, The Samurai of Prog and B-Rain as well as fronting the seductive and critically acclaimed Ellesmere project of which this is the fourth and latest chapter. The latter project has had the benefit of being graced with some memorable guests in the past, names such as Dave Jackson (VdGG), Brett Kull (Echolyn), Keith More (Arena), Robert Berry, Trey Gunn (KC), David O'List (the Nice), Marco Bernard, Daniele Pomo (Ranestrane), Tomas Bodin, David Cross (KC), Tony Pagliuca (Le Orme) and Mattias Olsson (Anglagard) among a few others. On this release, add the likes of Clive Nolan, Graeme Taylor (Gryphon) John Hackett, Riccardo Romano and most especially guitarist Giacomo Anselmi (Goblin Rebirth, Stefano Panunzi), and vocalist John Wilkinson from the Swan Chorus who are heavily featured throughout. In fact, there is a common vocal style on each track, by which the title is clearly referenced over and over, in pretty much the same overt manner, obviously planned to perfection. Very clever!

The adamant glacial blizzard of "Northwards" is undisputedly addictive, an opening track one could only hope for, which rather cleverly is emulated on the 6th and final epic track "Another World", where the North Pole reference is repeated, for good measure! The lead vocals from Wilkinson have a strong Gabriel/Collins flavour, (what else is new), the guitar pyrotechnics from Anselmi are off the charts and Mattias plays the drums as if his life depended on it! Vitelli provides his usual Rickenbacker support as well as manning the keyboards, leaving Pendragon's Clive Nolan to handle the intro. Blistering piece of powerhouse prog that has an undeniably glacial Viking frost to it, that is most appealing.

Maintaining the icy atmosphere, "Tundra" expertly emulates the frozen vastness of arctic landscapes, undulating drum variations, lumberjack rhythms galore, as well as a totally unexpected a capella harmony vocals section that will recall Gentle Giant meeting Yes at a microphone convention. The stage is also set for an icicle melting lead guitar workout from Anselmi.

Majestic acoustic guitars usher in "Crystallized", played by Gryphon's Graeme Taylor, transitioning into a powerful scheme with Dave Jackson's patented sax digging up the permafrost with impunity, as Olsson pummels his kit with measured abandon. An instrumental showcase that packs a wallop.

Keeping the frigid snow bound theme, "Arctica" hustles and bustles like an icebreaker carving ahead, cracking up immense shards of blue ice. The guitars shiver, the frosty keys howl in the wind and the voice continues its pleading repetition of the title. Bombastic, complex, thunderous, and relentless.

Two epic pieces to finish off, the stunning title track, clocked at over a dozen minutes. As the bells toll, the churchy organ commands the lament, like a sea shanty for those who brave the cold seas with salty courage. Synths bubble as Bob Hodges lays down some dense notes, whilst being challenged by an obsessive flute courtesy of the other Hackett. All instrumentalists get the green light to stretch out their insertions, as Wilkinson provides celestial vocal anointments that clear out the stranger skies. Unsurprisingly, Olsson does a bang-up job on the drums as the flute dances in between the polyrhythmic fills. Riccardo Romano's acoustic 6 and 12 string work unites with a grandiose flute passage and a smooth vocal outro. With a running time of under 12 minutes, "Another World" is a rampaging bulldozer unleashed, fizzy guitar electricity, pompous keyboard elevations, a brooding bass shuffle and those masterful thudding beats. Toss in some more virtuoso sax from the VdGG-man and all that is left is for John Wilkinson to highlight the title "Another World" with a variation of the "Northwards" chorus. The obvious allusion to the North Pole only proves the astute case convincingly. The extended Giacomo Anselmi fretboard flirtations are dangerously insane, surely seduced by the sexy sax bursts and the dense interplay, which includes a fabulous Tomas Bodin outro to finish off this album in style, adding a jazzy piano element that is sheer genius. The children play, giggling in rapt enjoyment. Another World indeed.

Another fine chapter in the Ellesmere canon. Certainly, most worthy of pleasing fans of both the symphonic and neo styles, as the playing is truly top-notch. The usual fantastic cover artwork continues to inspire.

4.5 Intriguing Paradises

Ellesmere style of Genesis also reminiscent of Syndone, Camel, Rush and King Crimson.

'Northwards' symphonic, medieval intro on heroic fantasy with Clive delivering a bucolic arpeggio; lush trumpets for the hero's arrival; 2 minutes of pure joy preceding John's voice flirting with Collins as if Genesis merged with Rush; majestic, airy prog rock and a very beautiful guitar solo; 4 supposedly chilling tracks that warm my ears; 'Tundra' begins jerkily, the tundra sounds very pleasant with these bucolic synths, one of which is used as a fast rhythmic base; the Genesisian air second version in reminiscence and a Rushian break for a refreshing variation; choruses eyeing Yes from '90125' before Giacomo's solo assisted by Riccardo. 'Crystallized' glacial guitar arpeggio; refined musical interlude supported by a powerful bass and David's twirling sax for a syrupy melody; final Genesis 'Dodo' era. 'Arctica' short, intense, the reminiscences don't fade away, an updated, non-regressive sound; we feel the evolution in this playful symphonic journey with the omnipresent keyboard.

'Stranger Skies' warm vocals over a religious bell and organ of the same ilk; RPI procession like old times; about a Jethro Tull and a wacky story of more or less terrestrial fish; John on the flute bewitches by putting himself forward; John the other has this similarity to Phil with his vocals lulling us with a majestic, magical, liturgical melody; very well delivered with a repetitive ending which lets in a bucolic flute solo, which finishes off the progueux in need of an epic title. 'Another World' wow, it's serious from the start with this prog metal tune and the easy riff in reminiscence; the nervous sax then melting marshmallow; the rhythm evolves, dense, taking you to a space of time that passes around you; Giacomo launches a heavy solo, David calms things down; the metronomic air with the invasive vocal flirts on Genesis if they had continued, refined; a crimsonian break occurs, vibrant while Mattias hammers his pads methodically and Stefano sends us back into a regressive atmosphere with his Mellotrons; Tomas from the Flower Kings finally comes to bring everyone into tune with a psychedelic arpeggio; schoolyard voice, spatial sounds, the slap with a final disturbing rumble.For those who like the second version of Genesis.(4.5)

A band I've liked and followed since their 2018 sophomore album, II - From Sea and Beyond. They do melodic symphonic NeoProg right!

1. "Northwards" (6:50) very nice prolonged instrumental opening diminished by poor vocals at the end. (13.3333333/15)

2. "Tundra" (6:44) decent prog music is diminished by poor vocals. (8.75/10)

3. "Crystallized" (5:13) extended chorused 12-string guitar opening takes its time but eventually develops into a nice . VDGG-saxophonist David Jackson can still blow! It's sad for me to say this, but this is an example of a song that is "saved" by not having any vocals! (8.875/10)

4. "Arctica" (4:17) having multiple vocal tracks helps! (9/10)

5. "Stranger Skies" (12:18) sounds so much like a song as if GENESIS were trying to go back to Gabriel-era song constructs only using Peter as the flutist only and Phil Collins as the lead singer! The problem. comes, of course, when 1980s Genesis tries to go back to early 1970s sounds and engineering techniques: they can't! It is, however, a pretty decent NeoProg epic! I've never heard flutist John Hackett go this crazy! The final "movement" of 80 seconds is, however, a little too over-the-top in its Ant/Genesis 12-string guitar worship. (22/25)

6. "Another World" (11:43) a NeoProg song that feels as if it has its feet straddling between the music of Sean-Filkins- era BIG BIG TRAIN and Jem Godfrey's FROST*. GREAT contributions from David Jackson and Matthias Olsson on drums. (17.875/20)

Total Time 47:05

B/four stars; an excellent collection of finely crafted and performed NeoProg songs.

This is the 4th album from Ellesmere, lead by Italian progger Roberto Vitelli, and is firmly in the style of classic symphonic prog ala Genesis and Yes. Vitelli has assembled an accomplished band of musicians perfectly suited to the prog workout displayed here, with all the intricate instrumental passages and soloing to make successful prog, and are joined on this album by vocalist John Wilkinson, who sings in a voice and style suspiciously similar to Phil Collins. Thus, all the pieces are there, the vocals are fine and the instrumental sections do achieve a grandness and virtuosic satisfaction. However, to me, it just seems a bit too safe, ordinary, or run of the mill, and just going through the motions. What is missing here are great songs, as the songs and melodies here are just ok, nothing special. They just are not very engaging or compelling. Great playing all around, but the songs themselves just don't do much for me. Still enjoyable to listen to, but I can't get too excited about it, even with some great musicianship on display. Rating: 3 stars