ARDIS

With this their latest album, Ten Jinn are looking backwards as well as forwards. While John Strauss (lead and backing vocals, piano, keyboards), Mark Wickliffe (drums, percussion, bass, synth, guitar, backing vocals) and Mike Matier (electric and acoustic guitars) are still there, Ken Skoglund (who had been involved since 2003) has left, although he did master the album. Bassist Matt Overholser has returned for the first time since 1999's 'As On A Darkling Plain', Keyboard player Matt Brown is now a full member after playing on one track on 'Ziggy Blackstar', Skoglund has been replaced by Kenneth Francis while Stan Whitaker (Happy The Man) makes a guest appearance, also for the first time since 'As On A Darkling Plain'.

The album is another concept, here loosely inspired by Jack London's novel, 'The Iron Heel' (which apparently was one of Orwell's inspirations for '1984'). Published in 1908, it is one of the earliest examples of dystopian fiction, telling the story of an Oligarchy, which takes over America during the first decades of the 20th Century. This chaotic period of the past is viewed through the lens of a 27th Century scholar (Anthony Meredith) working out of the "wonder city" of Ardis in the year 419 B.O.M. (Brotherhood of Man), still standing four centuries after the fall of the totalitarian state and leading to the eventual rise of an enlightened society. Dramatic concepts need dramatic music and that is exactly what we get here, and while there are two keyboard players there are also two guitarists (plus Stan), and this is dramatic stuff.

While it is polished, and often based on the piano, there is a sense of danger within this, an edge if you will. This is far removed from albums like 'Alone', yet there is also room for more commercial numbers such as "Adumbrations: beginning of the end", and it is no surprise this was chosen as an early single with plenty of harmonies and powerful hooks. The album is prog which can be enjoyed the first time of playing, as while there is complexity and multiple complicated threads being pulled together to create the whole, it is surprisingly easy to listen to. The more one listens the more there is to hear, and while there is a lot going on the arrangements are clean and allow for everyone to be heard and have their time in the sun. This is their third album since their lengthy break, and is surely going to attract a great many more fans as this is superb from beginning to end.

It contains elements of neo, symphonic and crossover prog while also having some melodic rock elements, but there are also times when we get classical and Latin, all different flavours which allows the listener to take an enjoyable ride. The use of contrast is highly important, in all aspects from tempo and style through light and hard, so one is never sure where the journey is going to lead, just that it is worth taking.

Pennsylvanian NeoProg band is back with an album conceptualized around Jack London's political sci-fi novel, Iron Heel.

1. "Elegy I" (1:29) computer-generated piano and strings open this with a melodic cinematic piece to set the scene. (4.25/5)

2. "Brotherhood of Man" (4:02) the musical construction, vocal talents, instrumental sound choices, and NeoProg bombast of this song are all rather simple and "borrowed," i.e. every element of this song feels old and already done. It's pretty, melodic, and proggy, to be sure, but it's just ? old--sounding/feeling like the work of a regional prog cover band, not an artist who has aspirations to contribute something on an international level that might serve to progress progressive rock music. (8.4/10)

3. "Slaves of the Machine" (5:47) sounds a bit like or ICEHOUSE or SAGA with John Strauss's Michael Sadler voice. The music is solid but just there, providing nothing exceptional to distinguish itself--and the QUEEN-modeled vocals, while competently delivered, are so vanilla! Plus the aged keyboard sounds continue to grate on me. (8.5/10)

4. "Say Aye / Bishop's Vision" (6:45) Such a weird blend/phase out/phase in to two different songs. Why not just have them be separate? (12.66667/15)

5. "Elegy II" (5:49) an instrumental that shows John and his band members' true talents (despite the aged sounds coming from those keyboards) as both composers and performers (and engineers). (8.75/10)

6. "Adumbrations: Beginning of the End" (3:52) I can see why this song was released as a single: it's very poppy, reminding me quite a bit of 1974's PILOT (with the hit "Magic") or THE BAY CITY ROLLERS. (8.25/10)

7. "The Red Virgin" (7:54) again a dated, "already been done" feeling comes with every note of the first three minutes of this song--even if parts of it are blended together from multiple inspirational sources. Very nice instrumental weave in the fourth minute which, to my utter surprise (and delight) turn into a Tony Levin/King Crimson in the fifth! And then it continues on its angular, Crimsonian path--until the chorus at the very end of the sixth minute. The choral vocal melody weave and following section in the seventh minute are very likable and more original expressions. Easily my favorite three minutes of the album--and my favorite song on the album. (13.33333/15)

8. "Nightmare" (4:15) another instrumental, this time trying to convey in the domain of the menacing--through the use of very cinematic sounds and contrivances in order to do so. (8.66667/10)

9. "Ardis / Elegy III" (7:32) I very nice mix of excellent instrumental performances--especially from the Rick Wakeman- like keyboards, drums, and bass--but the vanilla Michael Sadler voice of John Strauss just rubs me the wrong way. (Or maybe it's how John's voice is engineered/effected cuz he's actually quite talented and stays on pitch incredibly well.) Plus, I have a strong aversion to the Brian May guitar sound--which is used almost exclusively in this song. (13/15)

Total Time 47:25

Overall, and continually when I listen to this album, I feel as if I'm listening to 1970s/early 1980s SAGA or even Australia's ICEHOUSE or Detroit's ART IN AMERICA. The keyboard artists, guitarists, bass/stick players, and drummers are all very skilled and talented, but the compositions often lack originality and are definitely held back by dated computer-keyboard sounds. I'll grant that the album's songwriting and musicianship is solid--and that most of it seems to gel better as the album goes on--but I just can't get past the too-familiar soundscapes and their out-dated keyboard sounds.

C+/3.5 stars; a pleasant listen of melodic SAGA/QUEEN-like music that might be of interest to many prog lovers. Give it a chance! You may love this!