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NIGHT DREAMS & WISHES

Modern-Rock Ensemble

Neo-Prog


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Modern-Rock Ensemble Night Dreams & Wishes album cover
4.14 | 70 ratings | 17 reviews | 27% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2019

Songs / Tracks Listing

1. Intro
2. Overture (5:52)
3. Night Comes - Dreams (11:09) :
- Night's Creeping in Town
- Morpheus the God of Night Dreams
- First Voyage with Morpheus
- Second Voyage with Morpheus
- Third Voyage with Morpheus)
4. Barocco Scherzo - Fourth Voyage with Morpheus (2:03)
5. Childhood & School Days (11:31) :
- The Gang of Young Roosters
- Nostalgia for Childhood
- Childhood
- Time Runs Ahead
- Mother's Lullaby
- School Days
- Time Runs Ahead
- First Love
6. Insomnia (3:44)
7. Dark Kingdom & The Evil King, Part 1 (7:38) :
- Dark Kingdom
- The Ball in the Dark Kingdom
- The Evil King
- Evil is Spreading Around
- Life of the Poor People
8. Dark Kingdom & The Evil King, Part 2 (11:19) :
- Despair, Fear & Hesitations
- Uprising
- First Battles and Small Victories
- The Main Battle: a) We are Winning!? b) Trapped by the King's Troops c) King's Troops are Surrounding and Defeating the Rebels
- Revenge of the Evil King
- Rebels - Prisoners and Slaves
9. Dark Kingdom & The Evil King, Part 3 (9:30) :
- Gladiators (Fight, 2ND Uprising and the Victory)
- Hymn to Freedom
- Gladiator's Feast)
10. Wake Up (5:42)
11. Final / Outro (6:27)

Total Time 77:56

Line-up / Musicians

- Vladimir Gorashchenko / keyboards, synths, acoustic and electric, 6- & 12-string guitars, recorder, percussion, lead & backing vocals, composer, arranger & producer

With:
- Max Velychko / electric & acoustic (5) guitars, drums demos, timpani
- Enver Izmailov / guitar, e-bow
- Bogdan Gumenyuk / soprano & tenor saxes, flute
- Igor Andriyevsky / violin
- Vitaliy Leonov / violin
- Konstantin Kuleba / viola
- Sergey Petrov / cello
- Igor Zakus / fretless bass
- Dmitriy Trifonov / fretted bass
- Taras Pivlek / contrabass
- Evgeniy Selezniov / drums
- Brody Green / drums
- Alexey Gordiyenko, Vladimir Gorashchenko, Andrew Nazarenko, Eugene Sokolenko, Tamara Gorashchenko, Oksana Chernetz, Anna Danilova, Illia Yakovlev / chorus vocals
- Alexander Kotov / backing & co-lead (12) vocals
- Anastasiia Gorashchenko / female voices
- Tamara Gorashchenko / kids voices
- Anna Danilova / kids voices

Releases information

Artwork: "Balcony" (1977) by Vitaliy Vasiliyev

FLAC download - bandcamp.com

Thanks to mbzr48 for the addition
and to Quinino for the last updates
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MODERN-ROCK ENSEMBLE Night Dreams & Wishes ratings distribution


4.14
(70 ratings)
Essential: a masterpiece of progressive rock music(27%)
27%
Excellent addition to any prog rock music collection(20%)
20%
Good, but non-essential (27%)
27%
Collectors/fans only (15%)
15%
Poor. Only for completionists (11%)
11%

MODERN-ROCK ENSEMBLE Night Dreams & Wishes reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by FragileKings
PROG REVIEWER
4 stars At last the new Modern-Rock Ensemble album has been released! I've been waiting for this one. I enjoyed the two main tracks on the previous album, "Touch the Mystery": "Meditations" and the title track. There are both excellent examples of composing for a symphony but using mostly rock instruments like guitar, keyboards, bass, saxophone, and percussion, and then adding some flute and some strings. The rest of the album included two short keyboard instrumentals, an old live recording from 1989, and a Russian lyric version of "Meditations". As an introduction to Modern-Rock Ensemble's music and the compositional (and unique vocal) abilities of Vladimir Goraschenko, not to forget the exquisite guitar playing of Max Velychko, "Touch the Mystery" was a great start. But I never felt it was a proper debut album. I always had the feeling that if Vladimir and company took the time to create a full- length album, it would be something grand!

And here we are at last. There was an extra tingle of excitement about this album because I heard that Vladimir had teamed up with Sean Timms of Southern Empire and Damanek for the production. Now keep in mind that I have only heard the whole album twice so far, listening to it on Bandcamp, and now I can't listen anymore for free until I purchase it. I am looking forward to having a hard copy on CD once the disc is released. But I feel excited enough about this album that I have to say something while I have a bit of time.

The opening track, "Intro - Night, Universe and Our Inner space", is quite serene and may seem like a a slow start but should be considered more of an awakening. The album proceeds to take us on many adventures, bringing us gentle, symphonic passages as well as more exciting rock-fueled music. There are moments that might seem like ELP or The Enid and other times that feel much more modern, especially when there's a fretless bass solo or Max Velychko leads the way with his guitar playing. I've felt before that he's like Steve Vai but without the over-the-top showiness. He has the moves but works them with the music rather than riding over top the music.

An unexpected surprise is the "Dark Kingdom and the Evil King" three-parter. Things do indeed turn dark and there are some sinister and forbidding moments in the music as well as savagery and aggression but tempered in a symphonic manner. In other words, don't expect power metal or death metal. Still, we hear the sounds of clashing swords and roaring beasts, and spoken lines like, "We have them surrounded. Crush them!"

I certainly feel that Vladimir has exercised a broad range of his music composition abilities, and with the help of many superb musicians, his ideas have been brought to life. I am also glad to hear that he has chosen to keep his deep vocals for any sung or spoken parts. I like that he has his own style of singing and doesn't sound like so many generic singers I've heard these days who are keeping up with a trend.

Check out this album on Bandcamp! It goes beyond what a lot of present day artists are doing musically.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
4 stars Vlad Gorashchenko is back with another ride into the wild world of his own imagination and this time he has upped his game BIGLY! Production values, compositional and melodic sophistication, sound and engineering qualities have all improved dramatically! After the over-inflated reaction to the previous album, I was ready to skip this one--in the expectation of "more of the same" but, I am so glad I didn't! This one really is worth checking out, all you katzenjammers! Especially if you appreciate complex, layered symphonic prog in the vein of THE PSYCHEDELIC ENSEMBLE, Arjen Lucassen's multifarious projects, the Colossus/Musea retro prog themed projects, and even Devvy Townsend's Ziltoid the Omniscient.

1. "Intro" (3:01) a beautiful multi-instrument intro to the album, with lush key washes supporting the inputs contributions of many solo instrumental "voices." Nice start! (5/5)

2. "Overture" (5:52) introduces several of the melodic themes that recur over the course of this 78-minute suite, including one that replicates Roye Albrighton's gorgeous main theme from "Always," a song from the 2004 NEKTAR album, Evolution, and another that sounds like it comes from ELP's Tarkus. It really is an overture! (9.5/10)

3. "Night Comes - Dreams" (11:09) nice co-opting of familiar sounds. (17.5/20): - "Night's Creeping in Town" - classical guitar with synth wash backgrounds and flute give this a very STEVE HACKETT sound. - "Morpheus the God of Night Dreams" - Fretless bass and a switch to steel-string guitar changes things. As Vladimir (or Alexander Kotov?) begins to sing I feel as if I am in the land of THE FLOWER KINGS. Even the two different background singers, first male and then female, do little to change this impression. Fender Rhodes finishes in the lead. - "First Voyage with Morpheus" - echo effects give the new sound an aqueous feel--like JOHN MARTYN with his Echoplex guitar. "Second Voyage with Morpheus" - At the 6:40 mark the electric guitar establishes a nice muted strum pattern which supports flute, acoustic guitar picking, and sustained reverse guitar soloing (á la Mr. Fripp in the Eno days). - "Third Voyage with Morpheus" - at 8:45 a new palette still based in the Echoplex percussive strumming ushers in two competing soloing saxophones along with bass and, eventually, full drums and screaming DAVID GILMOUR The Wall-sound guitar solo.

4. "Barocco Scherzo - Fourth Voyage with Morpheus" (2:03) recorder and second flute with church organ. Nice mediæval sound to it--even the melody. (4.5/5)

5. "Childhood & School Days" (11:31) (16.5/20): - "The Gang of Young Roosters" - opens with a little cacophonous chaos--like a school playground. What comes out of it is quite NEXUS-like--keys, prominent bass and drums, wailing electric guitars, and Hammond organ. - "Nostalgia for Childhood" - solo piano opens this section in a PSYCHIC EQUALIZER-like way--very emotional melody lines--joined by Mellotron, whistling, and blues COLIN TENCH-lke electric guitar in the fourth minute. Nostalgic is the truth! - "Childhood" - electrified acoustic guitar with voices reciting a nursery rhyme before transverse flute takes the lead--into kind of an IAN ANDERSON direction. - "Time Runs Ahead" - Music picks up with full band for a very short spell before - "Mother's Lullaby" - settling back into original form. - "School Days" - opens with heavily beaten toms, saw-synth, full band and aggressive vocal singing about "school days." Soloing saxophone is used to fill between vocal verses & choruses. Nice EMERSONian synth solo in the second half of the ninth minute before song moves into a more jazzy dreamy section with Aarp and bass soloing. The vocals here are a bit weak--or, rather, unfitting.

- "Time Runs Ahead" - THE PSYCHEDELIC ENSEMBLE-like - "First Love" - brief innocuous finish.

6. "Insomnia" (3:44) sounds like the Canterbury-esque music used beneath the story-telling of Gilli Smyth in MOTHER GONG's Fairy Tales only without the vocals. (8.75/10)

7. "Dark Kingdom & The Evil King, Part 1" (7:38) very good conveyor of drama. (13.75/15): - "Dark Kingdom" - symphonic THE PSYCHEDELIC ENSEMBLE-like with loads of drama in the music. - "The Ball in the Dark Kingdom" - an instrumental section that opens full on JETHRO TULL before shifting a little beneath the flute. - "The Evil King" - bombastic church organ with background electric guitars screaming, this sounds quite a little like DANNY ELFMAN's Nightmare Before Christmas soundtrack. It's effective. - "Evil is Spreading Around" - great guitar solo, the best section of the song. - "Life of the Poor People" - solo classical guitar, Steve Hackett-like, then brief harpsichord before finishing with finger-picking guitar and flute.

8. "Dark Kingdom & The Evil King, Part 2" (11:19) great story telling with just titles and instrumental music (19.25/20): - "Despair, Fear & Hesitations" - more TPE--even the melodies! - "Uprising" - ELP all the way! Great! - "First Battles and Small Victories" - OUTSTANDING section! Awesome keys and truly outstanding electric guitar soloing. Really captures the action and emotion. - "The Main Battle: a) We are Winning!? b) Trapped by the King's Troops c) King's Troops are Surrounding and Defeating the Rebels" - sounds like a section of NEXUS' epic contribution to Odyssey: The Greatest Tale plus more great electric guitar soloing. - "Revenge of the Evil King" - presents a voice narration and music not unlike Devvy's Ziltoid - "Rebels - Prisoners and Slaves" - contains more voice narration and music similar to Devin Townsend's Ziltoid the Omniscient.

9. "Dark Kingdom & The Evil King, Part 3" (9:30) a little too scattered and disjointed (17/20): - "Gladiators (Fight, 2ND Uprising and the Victory)" - opens with circus-like narration and fanfare before more music in drama like TPE, Odyssey, and even Arjun Lucassen - "Hymn to Freedom" - continues before going church organ and solo convent voice - "Gladiator's Feast" - TPE all the way

10. "Wake Up" at (5:42), thanks to morning birdsong!

Wow, do I think I'm hearing THE FLOWER KINGS circa 1999-2000! Beautiful song with gorgeous melodies throughout! Even a fretless bass! Great use of synths and choral bank background vocals. Maybe a little too close to TFK's "I Am The Sun, Part 2"?? But, still, this is as near to a perfect song as it gets! (10/10)

11. "Final / Outre" (6:27) in effect, this song opens as a continuation or variation on the previous song, but then bursts into full prog bombast around 1:15 whereupon many of the earlier themes are recapitulated. (9/10)

Total Time 77:56

4.5 stars; a near-masterpiece of progressive rock music--hindered only by the disorder and inconsistency of the first two epics ("Night Comes - Dreams" and "Childhood & School Days") and several motifs that feel a bit over-familiar. Still: Highly recommended! A really wonderful musical rendering of a literary storyline. Vladimir Gorashchenko takes a huge step forward in terms of sound, performance and engineering quality as well as gifting us some really beautiful, memorable music!

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl,Neo & Post/Math Teams
4 stars I've never heard of this band until Andrew Nazarenko, who sings in this album has asked me to review it. From the album's notes I see that this is aone man project by the multi-instrumentist Vladimir Gorashchenko (unusual for an "ensemble") , but with a very lot of guest artists. I have noticed the presence of three bassists, a strings section and numerous vocalists.

So let's see what it's about: first of all it's intened as a single long suite, apparently about the eternal fight between good and evil, but inside somebody's dream. I don't have other information, so this is what I have guessed. There aren't much lyrics as the album is mainly instrumental.

The 3 minutes introduction reminded me to the first track of "Land of Cockayne" by SOFT MACHINE, mainly for the mood. Being that an album that I like, despite what the hard fans of SM think, for me it's a very good start. Some passages are evocative, like parts of the Blade Runner soundtrack, even if not that dark. With the "Ouverture" it's clear that we are inside a suite. There's no solution of continuity between the intro and this, but here we start having percussion, odd signatures and a number of changes. I mean that there are many themes alernating inside this track, some of them will recur later. I have no other artists o compare this to. The strong bass, the keyboards, the signatures can be compared to YES, but the guitar doesn't have much to do with Howe's or Banks or Rabin's styles. "Night Comes, Dreams" starts with classical guitar over a keyboard layout. Guitar, keyboard and fretless bass, then the low pitched voice recalls CAMEL , but comparing this music to somebody else is just to give the idea. At this point I must say that I'm pleasantly surprised. This album is better than expected. Probably CAMEL is the best reference. Bogdan Gumenyuk at flute is as good as Mel Collins. The slap on bass sounds like a stick, and having mentioned Mel Collins, Gumenyuk is very good at Sax, too.

"Barocco Scherzo" is a little weirder. The main keyboard theme has a RPI sound, but the strange signature makes the difference. "Childhood and School Days" has some funky, too jazzy to be compared to Camel, with some darker parts which make the difference. Effectively, it' s more than a single track. Various themes come one after the other. A part of keyboards and guitar with no percussion followed by flute and piano is pure beauty. Incredible how it turns into a funky-jazz Zappaesque tune in the sung part. "Insomnia" is a short interlude featurinng a very good bass with flute and (glockenspiel?) playing a strange tune. It gives the idea of somebody unable to fall asleep.

Now the three tracks which follow are three part of something called "Dark Kingdom & The Evil Suite" which complessively score about 30 minutes. It would deserve a review on its own. It's darker than the previous tracks, as one can expect from the title. Robert FRIPP would probably like it. I won't describe the whole 30 minutes, apart of saying that it's very various even maintaining a dark flavor throughout the suite. Some Emersonian passages, some sounds like VANGELIS, 30 very enjoyable minutes.

A sweet "Wake Up" stops the bad dreaming. Acoustic guitar and keys on major and 7th+ chords and the baritone voice of, I suppose, Vladimir Goraschenko with the female harmonies of Anastasia Gorashenko. It's like CAMEL meet Ennio MORRICONE, plus the omnipresent flute. The Final/Outro is not much different in style. Ok, we had some bad dreaming, but now everything is fine and the album can happily go to its conclusion. In the various parts, the keyboard sounds go from WAKEMAN to EMERSON. It's another excellent track full of "classic prog". The only problem that I have with this album is that the various tracks have a very lot of different sections, like they were just a collection of short tunes tied together. Everything good, anyway.

There's time for a short bonus track, even if the lyrics are still about dreams, it's a rock song, quite different from the rest, good if taken alone but I find it "outplaced".

I'm enthusiastic about good part of the album, also because it exceeded my expectations, but I can't give it the maximum. It's an excellent addition, very above the average.

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant/Cross/Neo/Post Teams
4 stars "Night Dreams & Wishes" has been released as MODERN-ROCK ENSEMBLE's second full-length album in September, 2019. The director of MRE Andrew NAZARENKO says this album was produced as sorta progressive rock suite in collaboration with international musicians. His words made me have great expectations, and notified me the creation cannot betray us.

At first "Overture" has mysterious power giving you dreams and wishes, maybe due to Vladimir's fascinating keyboard works. Grandeur in the beginning, speedy, quirky explosive riffs in the middle, an incredible battle of guitars and drums ... all are pretty tasty. A short interlude "Barocco Scherzo" is another addiction, where wind instruments and horn sections form mystic musical stories. "Insomnia" is melodic instability (makes sense really, because it's one of my clitical issues). Sounds like they say this splendid uneasiness might be real "hardships" before experiencing dreamy dreams.

Maybe as everyone mentions, "Dark Kingdom & The Evil King" suite should be one of their masterpieces here. Weird synthesizer-based infernal earth rumblin', complicated / supreme guitar-oriented visualization, quiet harmonies featuring guitars, keys, and a flute ... lots of sound elements merged together like a silky veil of an Angel, but they never forget rock-ish mainstream. Neo-Prog-ish hard / a tad metallic sound waves with brilliant keyboard hints in Part 2 will be much appreciated by Art Rock fans (of course also my love). Needless to say, their rhythm section should be the core of Ensemble and greatly support all around as a strict framework. And another fantasy comes in the latter of Part 3 ... as if we would get immersed in kinda Heavenly moment after getting over tough, heavy, dark trial ground.

Finally you can have a future hope in "Wake Up" filled with fresh cool atmosphere. This track is crazy comfortable. Acoustic guitar whispers with slapping bass sounds and electric birdsongs drive you into cool clean air and delightful sunshine. Obvious activity and vitality you can possess in "Final / Outro" full of vivacious, enjoyable rock structure, and the newer day comes ...

Sometimes surprising various musical / melodic elements come up one after another, but this opus can be called as a wonderful storytelling based upon superb instrumental techniques. You can imagine all of MRE players have strong intention and energy for this creation.

Review by Matti
PROG REVIEWER
4 stars As it was expected, the long-awaited follower for the patchy debut album Touch the Mystery -- which has gained an enormous amount of 187 ratings with the ratio of 4,04 stars -- is placing Ukrainian MODERN-ROCK ENSEMBLE rather permanently in the front page's list of the most visited artists now as the album has been for some time available in Bandcamp and the CD edition is finally out. In a word, this 78-minute conceptual suite is ambitious. It can be felt that the artist, Vladimir Gorashchenko, has poured his whole soul, passion, life experience and world view into this work in an almost Mahlerian way. And mind you, I'm not saying this in a positive sense only. The parts follow each other seamlessly (more so than would be possible on a double vinyl album, I guess), so it's a massive piece to digest. In his liner notes VG opens the the concept in detail. Everything is centered around the idea of DREAMING, in both meanings of the word: the sometimes surrealistic visions we see in our sleep, and our wish to reach something grand and desiarable in our lives, ie. to make our dreams come true.

Approximately for the first quarter of the album, cinematic instrumental music is taking the listener into "the voyages with Morpheus"; contained is a calm vocal section about preparing for the night dreams. VG himself sings all the main vocals (with his deep, ageing voice), backed nicely by his daughter in this little song -- and to a lesser degree on the whole album. There's wonderful dynamics between beautiful delicacy -- starring especially VG's keyboards and Bogdan Gumenyuk's flute -- and the more intense moments with a Fusion flavour.

Later on the album starts to raise more ambivalent ("not sure if I like this at all") thoughts in my mind, with its more or less aggressive sections. First in the movement dealing with VG's restless youth, in which e.g. the antipathy towards school is woven into music -- and singing that at times gets poignantly ugly. Also saxophone increases the angry intensity in the music that all of a sudden has a hard, metallic edge.

Short, piece 'Insomnia' contains interesting Gentle Giant-like elements. A very needed interlude between epics.

Then we enter the 28½-minute (and multi-multi-part, if you read the track list and all the descriptive subtitles) movement titled 'Dark Kingdom & the Evil King'. It is radically overblown with its dramatic, and to be frank, rather clichéd plot about mean rulers and hard-lucked gladiators fighting for their lives and eventually rising against the power. During that massive movement my attitude turns rather negative, and it makes me think that the album as a whole is TOO ambitious, that it is being crushed by its own weight. Gosh, there are even some clashing of swords. I do understand that VG is not precisely deling with ancient Romans but with the restless world of today as well. Exactly because of that he maybe had too much aggression to pour into his magnum opus. There surely are also very fine passages along the way, but I find it very hard to sit through all that battling in multiple listenings. (Think of a spectacular and expensive theatre production dealing with something like the ancient Rome: you may well be impressed, but you'd never consider going to see it for a second round.) After that monster movement comes a couple of shorter pieces that are enjoyable and more purely musical (in contrsast to overblown melodrama), although not as climactic as a work of this size would demand.

So, I'm definitely not liking this album without some serious reservations, but for the great musicianship and some excellent moments, four stars are deserved. Also the artwork on the gatefold digipak cover is fine.

Review by siLLy puPPy
COLLABORATOR PSIKE, JR/F/Canterbury & Eclectic Teams
4 stars In 2016 band leader and mastermind of the MODERN-ROCK ENSEMBLE, Vladimir Gorashchenko launched his debut album after many decades of his on again / off again projects that actually began all the way back in the 80s. With "Touch The Mystery," the MODERN-ROCK ENSEMBLE which found Gorashchenko on vocals, synthesizers, guitars, sitar and in the producer's seat along with 16 other musicians caught the attention of the prog-o-sphere with an intricately designed blend of disparate styles of progressive rock. While conveniently tagged as neo-prog, the album exhibited a wide swath of influences ranging from the expected symphonic prog styles of Genesis, the derivative neo-prog bands that followed as well as the space rock atmospheres of Pink Floyd. Added to that were touches of classical, heavy rock and early touches of the Moody Blues, and it was no wonder why the prog world was so impressed with this belated effort that took many, many years to achieve.

Well, great things are worth the wait and although it took three years to conjure up a second coming, the MODERN-ROCK ENSEMBLE triumphantly returns in 2019 with the sophomore album titled NIGHT DREAMS & WISHES which tackles the unusual subject matter of finding inspiration and creativity through the forces that work with us in the night especially in the dream state where we can filter all illusions and unrealistic ideas and sublimate them into reality of course accompanied by the process of extreme effort and will power. The album is another lengthy one that maximizes the playing time of a CD at 78 minutes long and once again delivers an eclectic romp through the prog universe only even more so than its predecessor. Graced with an impeccable production and a cast of over 16 musicians and vocalists, NIGHT DREAMS & WISHES delivers the prog goods in a modern context with references to the past but with an identity existing in its own domain.

While bands like Wobbler and All Traps On Earth have displayed that prog rock is alive and well in the 21st century, those bands exhibit a retro experience whereas MODERN-ROCK ENSEMBLE sounds like a completely contemporary band, one that has learned from the past but has forged new territories and just one listen to NIGHT DREAMS & WISHES will unleash a plethora of modern day prog excitement unlike many out there who are simply retreading paths already taken. Like "Touch The Mystery," NIGHT DREAMS & WISHES takes the listener down a long and winding musical journey where one can suspend one's expectations for the duration and simply sit back and experience the sonic display of a magnitude rarely matched in the rock music paradigm. While the album is technically divided into 9 tracks with various sub-parts, in reality the entire listening experience is tantamount to one lengthy suite that encompasses a variety of moods, tones timbres and dynamics as well as checking off the list in the prog playbook but what really animates the experience is the creative flow in how it's all presented.

While starting off with a rather ambient mood with "Intro- Night, Universe and Our Inner Space" quickly followed by the cello-rich mellowness of "Overture," it would be easy to think that this was some sort of modern classical album with progressive electronic touches. Yes, the album does take its time on the rocket pad before launching but once it does, it bursts into the same style of jazz-fueled heavy rock that Steve Vai is famous for at least in the guitar department while symphonic keyboard chops and jagged time signatures take you into the prog heaven. The moral of this story is that motifs and cadences come and go. Heavy rock bursts onto the scene and then slowly fades out while organ bombast rules and then trades off. Other tracks exhibit a dreamier side of things such as the placid acoustic guitar strumming on "Night Comes, Dreams" which finds the first signs of vocals which are noticeably less prominent on this second album.

Lullaby rock gives way to flute based folk prog on "Barocco Scherzo" whereas "Childhood & School Days" bursts back into the heavy symphonic prog with the jazzy guitar sequences. "Insomnia" yanks the mood back to the mellow zone with a nice steady stream of flute driven prog but the track really goes off the deep end and delivers a series of avant-prog workouts with jagged angularities right out of the Yugen playbook. One of the highlights is the three part "Dark Kingdom & The Evil King" which swallows up over 28 minutes of playing time. As you can imagine, such ambitious efforts cover a lot of ground and displays the entire sound spectrum of MODERN-ROCK ENSEMBLE that alternates the symphonic prog with the jazz-fusion heavy rock, the Moody Blues type narrations and a lengthy journey down a technically infused instrumental workout that covers many tempos and time signature workouts. Nice touches include choral vocal efforts and freaky keyboard solos that stake out a new claim on overweening symphonic pomp in the brave new world but in a GOOD way of course!

The album ends much like it began with soft lushly orchestrated dreamy time music and after 78 minutes of listening time seems like a familiar friend. NIGHT DREAMS & WISHES is another excellent chapter in the recurring reality of the MODERN-ROCK ENSEMBLE who have proved that this project was in no way a one-off enigma and is hopefully here to stay. The music is professionally composed and the production is flawless with all the modern day attributes of keeping the sounds contained in their own spectrum of accessibility. The compositions display a range of complexities but never stray too far into the extremities of weirdness although dissonance and angularities pop up from time to time. Richly based in classical and progressive rock traditions, this album is easily digested for those well versed in the genres. NIGHT DREAMS & WISHES delivers a well laid out run of various tunes but on a personal note, i find it drags on way too much and doesn't take into account that the modern day attention span needs a much more dynamic range of changing things up. While this is a personal preference, i just find that no matter how good an album is, 78 minutes is too much especially given the nebulous subject matter at hand. Nevertheless, another amazing achievement for a talented Ukrainian band.

Review by TCat
COLLABORATOR Eclectic Team
4 stars 'Night Dreams & Wishes' is the 2nd album from the project 'Modern-Rock Ensemble' headed by Vladimir Gorashchenko from Ukraine and released in 2019. This album has really made the rounds in ProgArchives, and has been reviewed several times already, most of them being very positive reviews. This lush, well orchestrated and performed album definitely deserves all of the praise it has been getting, as it is quite an excellent album, full of multi-faceted music. Besides the talents of multi- instrumentalist Gorashchenko, there is a list of 24 other artists that provide the use of their talents to bring this album together.

The tracks 'Intro' and 'Overture' are all instrumental, full of layers of lush synthesizers and other instruments, and many of the themes are introduced here, that will also appear throughout the album. It's not until 'Night Comes. Dreams.' that the vocals start. In the beginning, it is only Vladimir singing, but later, a female guest vocalist joins in, giving some texture to the lyrics and vocal passages. In this track, a combination of peaceful synths and acoustic guitars give the track most of the relaxing sound. This track runs through 5 subsections. All the while, the music moves through lush and accessible landscapes that are well orchestrated, moving from soft, pastoral textures and later, the main spotlight being given over to brassy instruments and heavy guitar giving it more of a jazz/rock fusion. This full sound gives way to a simpler, almost classical sounding style in 'Bracco Scherzo', a short and light piece that reflects a bit of pastoral baroque-ness against a romantic period sound, and then suddenly becoming jazzy.

'Childhood and School Days', another track with several sub-sections, goes back to a chaotic, jazz/rock fusion sound, and even evokes the sound of the hard progressive rock sound that borrows from the likes of early Deep Purple with its heavy organ sound mixed with the spacey effects of synth-generated sounds. This track is a personal one in that it reflects a lot of experiences from Vladimir's own childhood. A sudden switch to a nice, peaceful piano interlude calms the atmosphere which becomes more peaceful when synths are added in, almost sounding like a combination of Vangelis and Tomita. Later, things turn more organic as acoustic guitar and flute return us to a simple and pastoral sound. Around the 7 minute mark, there is a sudden shift to a heavier sound led by guitar and synth, and vocals begin. There is a nice combination of sax, guitar and synth that keep this section heavier, progressive and solid. It's not until well into the 10th minute that the music changes back to a soft, music-box style sound that carries it to the end of the track. 'Insomnia' is the last track, and works as an intermediary track, with a airy and peaceful sound and birds chirping in the background. The music is a bit dissonant and sounds a bit unsettling while it stays light nevertheless.

The next 3 tracks make up the 3 parts to 'Dark Kingdom & The Evil King', each one of these parts having their own subsections, and having an overall timing of 28 minutes. Even though it might come across as an ancient story from the titles of the subsections, the theme is timeless: the use of pawns to fight the wars brought on by the evil politicians and leaders of the world, and these 3 tracks move us through the evil maneuvers of these warmongers. Music and vocals tell the story, and they do it all effectively, the music begin well composed and moving from dark and heavy passages to lighter and nostalgic sections, moving smoothly and seamlessly from one section to the next. It's very progressive as meters, tempos, styles and musical shifts take us through this epic masterpiece. Sections move easily through every style from baroque to heavy prog as these tracks play through, creating an album within an album. More time and story is told through long instrumental passages, that nevertheless, constantly change, and if you follow the section titles as the music goes along, you can easily follow the story that each section is trying to convey. Excellent guitar, organ, synth solos tell most of the story with occasional vocals and narrated sections, but most of the storytelling is left up to the instruments. Overall, this long track moves rather quickly, and even takes on the semblance to some of Rick Wakeman's own ambitious tales told through music, story and choral-like effects and etc, but here we get the balance of several instruments, and we end up with not just a one-man orchestra with guests, but with a one-man extravaganza. It's hard to believe most of this is the compositional responsibility of a single person.

Following this is 'Wake Up'. After the long, epic 3-part track, this one begins with the peaceful sounds of birds and synth, later the acoustic guitar joins in, and eventually the birds fade away as the melody continues, and vocals ala a Ukrainian 'Cat Stevens' sings a simple melody. It's a nice and simple change of pace, enhanced by the Tomita-like whistling synth. The last track is 'Final/Outro'. This track ties things up, closing the album in much the same way that it all opened up, layers of lush synth and acoustic guitar that gets replaced by a more complex and dissonant jazz/rock fusion, then suddenly turning heavy with harsh guitars and soaring synths. Then halfway through, a nice piano interlude brings in the last part bringing back the acoustic guitar, violin and the summation of vocals.

This is quite an excellent kaleidoscope of sounds and styles, quite amazing and well produced. It takes several listens to understand how it is all tied together by recurring themes and sections, and after 77 minutes, it may seem like quite an involved listening session at first, but the more you hear it, the more it becomes appreciated. This is definitely an ambitious undertaking, that at times tends to seem a bit too ambitious and heavy in substance, but overall, it is quite an excellent tour- de-force of progressive (and other) styles arranged in to a very organized and well-composed album. Easily 4 stars.

Latest members reviews

5 stars The album on review here, entitled Night Dreams & Wishes', is the second full-length album by the Modern-Rock Ensemble, a collaboration of international musicians under the auspices of Ukrainian composer and producer 'Vladimir Gorashchenkoa', (poet, and keyboard/guitar). It is, without doubt, an epi ... (read more)

Report this review (#2279063) | Posted by Geoff Penn | Friday, November 8, 2019 | Review Permanlink

5 stars Previous album of Modern-Rock Ensemble was interesting but I am not a big fan of compilation albums. However, my opinion towards 'Touch the Mystery' is changing. MRE has quite special sound and style. On Monday I've received the CD 'Night Dreams & Wishes' and was quite impressed by the quality ... (read more)

Report this review (#2272923) | Posted by Keyboard Crazy | Thursday, October 24, 2019 | Review Permanlink

4 stars This is an interesting album but is it sufficiently interesting to warrant seven consecutive five star reviews within the space of a few days - never seen that before. So is this album one of the greatest ever released or is this a bit of manipulation of ProgArchives ratings system? I suspect th ... (read more)

Report this review (#2261922) | Posted by CeeJayGee | Tuesday, September 17, 2019 | Review Permanlink

5 stars The playing time of 78 minutes is really something, but it is worth listening. About a year ago I read on the MRE website that originally Night Dreams & Wishes should had been a double album. However, Vladimir decided to put aside from the album some less important pieces. Now in my opinion this ... (read more)

Report this review (#2251457) | Posted by AndrewNazarenko | Sunday, September 15, 2019 | Review Permanlink

5 stars Great music! I'm real fan of Vladimir's previous album 'Touch the Mystery' which is perfect. 'Night Dreams & Whishes' at my opinion is real masterpiece and it opens new, very unexpected side of Vladimir's talent. Talent of composer, musician and poet. Vladimir structures his music in best scene ... (read more)

Report this review (#2251362) | Posted by Igor Cherezov | Sunday, September 15, 2019 | Review Permanlink

5 stars Three years have passed from the previous album of the Modern-Rock Ensemble "Touch the Mystery" and it was worth the wait. It's a Great Epic, Suite or Concept album or whatever you call it. I love strong epics: Yes "Tales From Topographic Oceans", Genesis "The Lamb Lies Down On Broadway", Pink F ... (read more)

Report this review (#2251344) | Posted by kent14 | Sunday, September 15, 2019 | Review Permanlink

5 stars Not often I see women's reviews here on PA. However, there are many young ladies who love Renaissance, Pink Floyd, Argent, Genesis, Ciccada and even much heavier bands like Rush, Dream Theatre and others. Recently a friend of mine told me that a new album by Modern-Rock Ensemble had been released ... (read more)

Report this review (#2251330) | Posted by HannaGer | Sunday, September 15, 2019 | Review Permanlink

5 stars I am not a big fan of long epics. Not at all. That's why upon seeing the length of this album ? 78 minutes, I was not sure that I can digest it, at least at one go. However, I liked the previous album by Modern-Rock Ensemble and found a right mood in the evening to give a listen to the "Night Dreams ... (read more)

Report this review (#2251177) | Posted by Sbob2 | Saturday, September 14, 2019 | Review Permanlink

5 stars There is not too often nowadays that composers are "feeding us" with many beautiful themes or melodies. That's why I am still a big fan of the art-rock of 70s, when not only the skill of musicians and their ability to play "machine-gun" solos were dominating, but there was a lot of Music and bea ... (read more)

Report this review (#2250777) | Posted by Yuriy Danko | Thursday, September 12, 2019 | Review Permanlink

5 stars This album of Modern-Rock Ensemble happened to be a lot different from the previous one "Touch the Mystery". "Night Dreams & Wishes" is much more complicated, being a 78 minute suite, however it's very interesting for me how the themes are developing and floating from one instrument to ano ... (read more)

Report this review (#2250435) | Posted by Progilya | Tuesday, September 10, 2019 | Review Permanlink

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