MYSTERIOUS TRAVELER

Back in 2019, I had reviewed his preceding album "Zodiac", which I had enjoyed as it contained a vast amount of interesting progressive influences, mostly in the instrumental displays, a non-vocal area that I suggested he continue to focus on. Ruud returns with this offering, garnished with another splendid cover from Ed Unitsky and a seven worthy tracks that set the bar higher than ever before. Ruud handles pretty much all the instruments, various keyboards (mostly synths and mellotron), a strong bass underpinning as well as rather impressive guitar skills, both on electric and acoustic versions. He is aided by drummer Kike Paglia throughout the release.

The journey begins with "Repentance", a raucous, wake-up call opening salvo with chunky riffs galore, reptilian guitar strokes that screech, bellow, and hassle as if kneeling at a shrine in atonement, with featured vocalist Frank van der Borg bellowing his inner pain. It's a nervous piece, full of piss and vinegar, with a choppy rhythm and an oblique guitar solo to finish of the remorseful outcry. The extended arrangement on the 8 minute + "Slow Down" initiates a slide guitar rant that might be greasy enough for some fried chicken and grits session with the local Louisianna sheriff, a cool Muscle Shoals influenced keyboard tag along, and a swampy drum beat. And then, it swings into a slow blues reflection that would make Gilmour blush with envy, as the bass and organ indicate a new horizon ahead, reducing speed and contemplating another hot afternoon under the blazing sun. Ruud excels at restraining his fretboard caress, highly evocative and deeply adventurous. Damn, the man can play. A final nod returns to the initial free for all, that had initiated this piece. Another extended composition, "The True Story" incorporates some simple yet pleasingly dissonant phrasings, some Celia van Onna harmony vocals in the background at first, before grasping the microphone in between ghostly fretless bass flurries, and letting her carry the swirling tune further. This is a track that would fit nicely into more 90s alternative rock sensibilities, not too far from the Cure, Portishead, or Peter Murphy feel, but armed with a more omnipresent lead guitar solo that goes on quite the tear. Another excellent tune.

Three gripping instrumentals follow in quick succession, and frankly, the real core of this release becomes most apparent. The nasty "Howling at the Moon" provides a more direct rock approach, complex and insistent rifferama not withstanding, it's a spiralling staircase of sound that also possesses a dense appreciation for sustained sonic pressure, a somewhat schizophrenic Stones meet Bauhaus feel. The title track settles into more cinematographic realms, a brooding soundtrack for some undefinable yet perilous excursion, unsure whether to choose introspective or extraverted scenarios. Slithering fretless bass runs a la Mick Karn (always my weakness!), tingling Asian intonations, thrilling percussives, and circuitous keyboard slivers, this could have been on an 80s Japan album, like Tin Drum! The third is the influential "Battlefield", suggesting a strong visual that meanders into sustained jazz-rock domains before skirting into heavier moods, looping axe runs, howling choir mellotron cascades and that unrelenting bass that just shoves this forward. Ruud experimentation is a true joy to behold, as his mastery of the electric guitar is unquestioned, unafraid to sizzle for extended periods as well as shifting the mood at will. Good show!

The nearly 9-minute finale "Beautifully Broken" settles the issue for me. Ruud is a master musician who does not necessarily need to rely on vocals, especially at the risk of deviating the interest away from his main focus. This was the case on previous albums but here it is smartly dosed as Celia does the final chapter absolute justice. Being a huge fan of female prog voices as they often, comparatively speaking, shine way brighter than the male counterparts. Don't start a fight here, there are exceptional masculine singers, and we all know who they are! But the ladies always seem to belt it out with sublime effect. This is definitely a more symphonic piece, contrasting glacial effects with a romantic warm mood, superb drumming for added corpulence and a heavenly, gut wrenching and emotional guitar solo that defines this artist to the fullest.

The third time is such a charm, Glorious Wolf becoming an act that has unquestionably arrived at its destination and is very deserving of having a much wider and appreciative audience.

4.5 Odd voyagers

More dramatic, more energetic, and more approachable. In the beginning of November 2023 a Dutch artist Ruud DIELEN aka GLORIOUS WOLF came back to the front line in the progressive rock scene, with his third full-length album fascinatingly titled "Mysterious Traveler" filled with an atmosphere as mentioned above. This creation features alluring female vocals, dark male-voice dissection, and sharpened melodic lines but let me say that one of the most addictive elements should be a combination of powerful guitar sounds and brilliantly technical playings by Ruud.

Just at the opening of the prologue "Repentance" the audience will get immersed in his heavy guitar explosions. This first track is quite interesting due to adorable timbres and familiar rock texture. In the following "Slow Down" a good fusion of catchy melody lines and psychedelic guitar waves can entertain us. Contrary to the former part of rhythmic sound enjoyment, it sounds like he would stabilize us with slower, more sensitive melodic streams. It might be good for us to interpret such a development simply as a sort of change of mind. The startup of "The True Story" is another wonder. The deep and heavy sound footage reminds me of some homage for Hal Blaine or Wall Of Sound by Phil Spector. The pairing of guitar, bass, keyboards, and drums is also tempting. The melody lines (not so strange nor complicated) are quite appealing for every rock fan.

"Mysterious Traveler" the titled track is mystically simple, plain, and crispy along with Ruud's dreamy guitar vibes and strictly supportive drumming. Cannot understand clearly his real intention to upgrade this song's title to the latest album's theme but can guess that he would produce such a new world with tiny sound components based upon easygoing rhythm foundations. "Battlefield" involves drastically theatrical essence, like the title itself. Pretty impressive is critical sound movement performed by the electric guitar in the middle part. Such a sudden dissonance of melodic development should surprise us. What a good strategy. On the other hand, the epilogue "Beautifully Broken" is not broken but structurally elaborated. Slow darkness sounds thoughtful and heartwarming. Ruud's crying guitar sounds are indepth and passionate too. Who can avoid that his mindfulness is on the last run?

He's not saying such a difficult thing like authentic progressive rock but an acceptable image of 'rock' or 'pop', for sure.

Here we have the third album by Dutch multi-instrumentalist Ruud Dielen, who has yet again provided all the instrumentation apart from the drums (Kike Paglia) and some vocals, although this time he has wisely brought in Frank van der Borg who provides vocals on one track and Celia van Onna who provides them on three. Given my major issue on 'Zodiac' were the vocals, this is something I definitely agree with. ProgArchives have determined this as being crossover prog, and given I was on the team when he was approved, I must concur, but this is crossover in the sense that he is crossing multiple genres and bringing them together as opposed to the defined crossover genre itself.

By far the most important instrument here is Ruud's wonderfully melodic guitar which can be very Gilmour-ish at times, while at others it is far more direct. This is an album where the music style can almost be defined by a decade, as this is loaded with the Seventies throughout with Ruud providing a masterclass in how to wring emotion from six strings. Following on from Frank's growly vocals on opener "Repentance" we move into the first of three instrumentals, "Slow Down". There are chunks of this which are pure Floyd, while at times we are thrown into the realms of psychedelia. One becomes transfixed at what is taking place, and to say I am surprised that Ruud has produced such a wonderful release with his third album is something of an understatement. Wherever one looks there are touches of real quality, whether it is the fretless bass here, the powering drumming there, the acoustic making an entrance in that place, all brought together with powerful use of melody and never overplaying.

The result is a highly effective and enjoyable release which is a great introduction to Ruud Dielen, and given the step change from his last album it will be interesting to see what the next one brings. This is Seventies rock containing plenty prog elements, and is one I thoroughly enjoyed.