BACK FROM THE BRINK

Dramatically colourful appearance in this album.

A UK act NOVA CASCADE have come back with their latest opus entitled "Back From The Brink" in September 2021, that is full of magical comfortable ambience seasoned with catchy, melodic movements by a variety of instruments as well. Synthesizer-oriented electronic pop signatures accentuate their imaginative sound structure. And some ethnic vibes sometimes slided all around the creation would sound quite exotic for the audience. Such elements can be heard in the very beginning of the departure "Rectify", slowtempo electro-ambience in a soft and smooth manner. In the first part of the following track "The Minutes After" we can enjoy slightly dissonant but delightful synthesizer plays by Hilborne. Such a glamorous texture makes us happy. The combination of acoustic guitar talks and calm, solemn flute whispers should be our pleasure too. The last percussive run encourages us. "There Is Always A Way" and "Phantom" (guess we could consider the two songs a series of events) consists of magnificent, enthusiastic keyboard theatre. Clearly artistic neo-symphonic touches are here.

"Classroom Keys" reminds us of the similarity to some Japanese Symphonic projects featuring keyboards and wind instruments. The shortest one has a pretty long fruity attack and flavour. It sounds like "The Hill" is one of the most complicated tracks in this album. A bit depressive, tragic atmosphere is around it. Crying guitar is also impressive. The titled longest track involves repetitive but kaleidoscopic ready-steady-go phrases featuring delicate acoustic guitar plays, modest flute vibes, based upon the sincere keyboard background. A mixture of Orientality and vivacity on the last run is pretty gorgeous. We would get immersed in the very last sad but beautiful finish. The last "Long Winter" gives us a cool, cheerful aftertaste, despite the fact the tough, challenging winter under the pandemic situation might be long and chilling.

Cannot recommend this album for ambient-music haters but let me say it sounds just like we are breathing in the fresh air, for Neo-Prog (or Crossover) fans, yes.

Since 1969 when I first discovered prog and decide then and there to become an avid collector, I have perfected my passion by becoming a hunter/explorer, constantly on the look out for the next big thrill, often completely neglected by the "market" and its somewhat dollar fuelled dodgy requirements. Every year my goal is to uncover some hidden musical jewel that not only fits my tastes but also proceeds to blow my mind. In late 2021, I landed by chance on Nova Cascade a hitherto unknown entity from the UK, of which I could only identify one member, violinist and guitarist Eric Bouillette, (who I knew from his association with my pal Pat Sanders of Drifting Sun) and the gorgeous cover art of their release " Back from the Brink" helped me take the leap of faith.I have been justly rewarded as this album stands currently in my number 7 spot for 2021 best prog albums!

The are so many qualities to discuss here but perhaps it would be best to place this 38-minute beauty first into the proper musical context. Pastoral, soft symphonic, intricately woven but delicate sounding, sprinkled throughout with lavishly melodic movements, it verges very near to 'Slowdance'-era Anthony Phillips for the instrumental sections, a praiseworthy compliment as that album is considered by many as a top 50 all time prog album. I still see it as the most perfect Sunday morning option, gentle yet inspiring, a perfect companion. The first three instrumental tracks serve as the intoxicating introduction to the spirit that permeates the entire disc. Dave Hilborne weaves dense symphonic tapestries, while Dave Fick lays down some slithering bass motifs, drummer Lorenzo Pollandri adds a light touch to the acoustic, electric guitar musings, throwing in some delirious violin extracts, and a gentle flute adding to the whole.

But the huge surprise arrives with the 4th track, the majestic "Phantom" when the first vocals are introduced and well, my jaw just dropped! Dave Hilborne owns a voice that is closer to whispering and very near Dave Cousins of the Strawbs fame, a celestial addition to the already ethereal symphonics. A fragile, solemn, grandiose and awe- inspiring slice of melancholia. It also gives off the impression that the entire set list has now veered upwards and thus elevated itself to a higher plateau. "Classroom Keys" is a flute-led etude, while "The Hill" offers a slightly murky, nearly electro-Middle East feel, a proggy version of Ultravox' Vienna without the bombast, as Dave's vocal is smoky, misty and brittle. A glittering guitar solo comes ripping through the fog, as the bass pummels the ground below. Magical.

The epic 10 minute + title track is a natural highlight (among all the others), creating a neo-classical paradise, with plucked strings, a soaring and plaintive violin solo, elegant acoustic guitar picking, and backed by keyboard orchestrations. Painstakingly built up for maximum effect (hence the Slowdance allusion earlier) , the heroic melancholia settles into a cinematographic soundscape, just as organic as electronic , before halting on a dime and injecting a more solemn and bucolic feel , relying on mostly acoustic elements that ache with utter beauty. The acoustic guitar solo is noteworthy. What a fine piece of music. Ending on a lovely final note, "Long Winter" (we know what that is in Canada!) is a murmured heavenly ballad that caresses the soul, mellotron waves in the background and a gentle lilt on a melody to literally die for. This sounds like a Strawbs outtake, especially when Dave sings the word "ghosts"!

Fans of heavy metal frenzy will delight in this recording, helping them to properly refresh their frazzled hormones and get ready for the next onslaught. Others who prefer the more romantic side of music will love this too.

4.5 returns from the abyss