THE BOOK OF REVELATIONS

And so, here is Part One.

This band is truly impressive, and this album is excellent. I don't know what happened on ProgArchives that it went almost completely unnoticed. To me, it's something of a musical sacrilege that an album of this quality has been overlooked or omitted.

Perhaps it's because many listeners today are looking for more original bands groups that don't sound like the classics, that bring something entirely new. But even so, this album deserves more recognition. It's outstanding, and in my opinion, even better than Part Two. The influences from Genesis and early Marillion are more evident here, which, for someone like me, is a definite plus.

Yes, this album is closer to that strange Genesis sound the Genesis of 1973, just before The Lamb Lies Down on Broadway. I'm really enjoying this band. It feels like a time machine, bringing back the essence of that era, but it also has its own unique quality. That's what makes it even more appealing: it sounds fresh and up-to-date without ever being annoying or pretentious.

The production is warm and vintage. Maybe the cover art is a bit lacking, but musically, this is an extraordinary work. I found some information online that's worth sharing: the band is led by Gerard Freeman handles vocals and keyboards and guitars he is the creative mind behind the project and , with a virtuosic, gymnastic style full of flair. Paul Blackwell on bass, fellow prog fanatic like many of us here a master of the four strings. Joe Donegan, the drummer, has played in several tribute bands including, of course, a Genesis tribute. Chris Millwater, on keyboards and guitar, is a seasoned musician with a background in jazz who adds great atmosphere to the band's sound. Finally, Daniel Monaghan is a young and very talented guitarist who brings energy and freshness to the mix.

A very good listen and a strong addition to any progressive rock collection.

Guided by music

I'm going to set the research aside and just let myself be carried away by the music.

The Book of Revelations isn't exactly a revelation in itself, but musically, it's a great piece of work. It draws heavily from the world of Peter Gabriel-era Genesis and Fish-era Marillion two of my greatest musical most beloved bands, so it's hard for me to be impartial. What I hear, I really like. And I find it genuinely impressive.

Chapter 2: Olympus Mons is an intriguing and evocative title. It makes me want to go back and explore a possible Chapter 1 maybe there's something there that connects to the beginning of this whole concept.

The music is very well executed. The analog keyboards and 12-string guitars give it that unmistakable '70s atmosphere. The bass and drums are crisp and clear, everything is played with precision and warmth. The vocals have a strong resemblance to Peter Gabriel and Fish, and at times I also hear echoes of Pendragon.

But The Book of Revelations still sounds original. If anything, it leans more toward classic prog than neo- prog, with a vintage spirit that feels genuine rather than derivative.

Honestly, I had a great time listening to this album. It's nearly an hour long, with 11 tracks that kept me engaged throughout. A very enjoyable listen.

1. Grand Prix for the GENESIS Charisma-esque opening, methodical and nostalgic; the guitar solo will need to be stronger to really break away from their own sound and the solemn, haughty finale. 2. Bacchus Up for its Gabriel-esque flute, the vocals plunging into the universe of the Genesis triptych; the guitar is less plaintive, otherwise we enter that universe of 50 years ago, which I adored in its time; today, I want to listen to one of the first four again. A beautiful rhyme indeed. 3. The Celebrated Axeman: ambient synth, good, Hackett-esque guitar, mimicry, after a beautiful, consensual melodic suite that brings nothing new to the genre.

4. Debacle in the Retirement Home, Part 1 arrives with the first of the three tracks in this triptych; the sound flirts with THE WATCH through the vocals. The bass is powerful, the keyboards are fickle, 5. Debacle in the Retirement Home, Part 2 follows without any segue, in short; the acoustic guitar is distinctive, the vocals warm, the atmosphere pastoral, the arpeggio gently unfolds without any jolts 6. Debacle in the Retirement Home, Part 3 with the continuation here, the flute embellishing the last part; well, the title reminds me too much of... GENESIS, look it up a bit, but it's still easy, only the more incisive guitar can make you think a little longer; the tambourines participate in the debacle, easy, in a well-controlled musical momentum; the more it is to make you dream, the less it is to use the clichés to the acceptable limit and then we cross the line; The finale won't have that drop of new prog blood, very black, dried, and lifeless, but that some early prog fans will try to revive by cutting off their little finger and adding a few drops, misery.

7. Safe as Sofas begins the final phase of this generalized triptych; focus on the vocals and arpeggios for the atmosphere of 'Supper's Ready' with the whole nostalgic and regressive clique of the sound of yesteryear. 8. Theophilia and Theophobia ... as much as I enjoy talking about connections, reminiscences, this track is so copied from a GENESIS track that I'll refrain, enough is enough; Gerard wants to stick to his favorite band, yes, the evidence is there, but diving into it with so much similarity becomes harmful for me, making me want to compare with the original, which breaks the listening atmosphere... 9. All the Way to Cedar Life... continues the copy/paste on the opening to the point that I give it a good point, it's really well sampled, well covered and in two key moments with the original band. 10. The Collapse of the Firewall... Sic with this ersatz of ..... by GENESIS, in an uptempo mode and a rounder keyboard for a change; but otherwise why would you want to regress like that? Well, the keyboard solo is worth the detour and finally shows a side of what Gerard can play. 11. The Liberated Labyrinth as a liberating finale for THE track that resembles THE BOOK OF REVELATIONS, and that's truly a revelation: using the material of the time and composing, as THE WATCH does so well, compositions bathed in atmosphere without reproducing it, a successful first attempt... at the last minute.