STEVE THORNE

Back in 2005 I was sent the debut album by an artist I had never heard of, Steve Thorne, 'Emotional Creatures: Part One'. I may not have heard of him, but he had the whole of Jadis playing on it, plus the likes of Paul Cook, Tony Levin, Geoff Downes and Nick D'Virgilio! I was also so impressed with the artwork (by Danny Flynn), which was inspired by 'Squonk', that I not only bought a gicl'e print of the album art but also bought another print at the same time and they are both still framed and on my walls at home. That album was released on IQ's GEP label, but I lost touch after that as I moved to the other side of the world and asked that no-one ever send me any music to review ever again. Well, it worked for a while.

Consequently, I have only heard one of Steve's other albums, 2016's 'Island of the Imbeciles' which was also released on White Knight, and it is only now some four years later that he is back with the next. On this album he has totally changed his line-up and here he has been joined only by drummer Kyle Fenton (Cosmograf) and local guitarist Geoff Lea with Steve playing everything else himself as well as providing vocals. The concept behind this album is probably best expressed by reading the words of Steve himself, 'If the lyrical subject matter of this album upsets, triggers, threatens or offends you, I'm afraid you, as once did I, have a common and widespread problem known as 'cognitive dissonance' and are, unknowingly a member, as I was of the largest religious belief cult ever devised by human beings on earth known as 'Scientism' or, more accurately, 'Heliocentrism'.' We even get to hear Patrick McGoohan saying his most famous line from 'The Prisoner', 'I am not a number! I am a free man!' which is repeated in case you missed it first time.

Steve has never been afraid to say what he thinks, often providing social comment wrapped up in strong crossover progressive rock which takes his singer-songwriter style as a base and then moves on from that. Simple musical ideas often have complex arrangements placed over the top, all to provide the platform for Steve to clearly annunciate his ideas in a melodic and well thought out manner. There are times, such as on 'Word Salad Surgery' where the music takes flight with keyboards combining with superb lead guitar and dynamic drums, and others where it is far more laid back and dependent on acoustic guitar. He is a strong wordsmith, a great singer, with an innate understanding of string melodies and arrangements which makes this yet another incredibly interesting album.

STEVE THORNE is a singer, composer and multi-instrumentalist who is releasing his 6th album here. A well- known artist with the "Emotional Creatures" since 2005, he is the missing triptych. He founded before COLONY EARTH and THE SALAMANDER PROJECT. His musical orientation draws on melodic compositions with traces of folk at many times, the Anglican terroir, and other sequences shot on indie and especially prog rock in general. I personally find the influences of Peter GABRIEL, GENESIS, JETHRO TULL, TEARS FOR FEARS for nursery rhymes and other rhythmic ballads. In terms of sound effects, a few voices will surely remind you of SUPERTRAMP but above all the great PINK FLOYD with voices from "The Wall" and shouts like "Animals". I had come across it like a good number of progressives since he had managed to bring Tony LEVIN, Nick D'VIRGILIO, Geoff DOWNES and some members of IQ and JADIS to his album, just that. The different titles were: "Littlle Boat P1" begins the album with a little nursery rhyme in the Charisma Label atmosphere, with fanfare trumpet, bleating and festive noises in a square, all to soak up the typical bucolic English world. "He Who Plays The Piper" with its 9 minutes allows you to delve even more into this universe with targeted connotations in relation to heliocentrism, there you do not have to dive into it; however the musical rhythm after this long intro is quite energetic, well in phase between the voice and the instruments for a good neo-prog, some will say crossover prog given the variety of sounds offered, short title inevitable; there is everything inside, hovering prog, neo-prog, an almost hypnotic atmosphere that quickly passes the title. "Rainy Day In New York" continues with a title where the voice is eyeing Peter GABRIEL's side, a song in rhythm as in the time when the prog tinged with bourgeoisie by offering only softer and nostalgic titles, I think there "And Then There Were Three" and its long disused synth solos, not bad but predictable, in short it is light and refreshing. "Waking Up" continues the musical walk with a ballad on the piano bringing the ethereal voice and simple but also engaging arpeggios, a beautiful ballad in itself on a spring evening in a park on the outskirts of London. "Word Salad Surgery" for a more energetic title, there I think of going to ARENA for the voice, which allows Steve not to keep the same rendering on his different songs; a nervous piece which pours into an agreed air without leaving in progressive convulsive convolutions as in his previous albums. Note a very nice solo guitar here, putting a little more energy. "Psalm 2.0" with always an intro to the "Sheep" of PINK FLOYD, in fact we often find these sheep in many titles, there I feel more the voice of Phil COLLINS or even that of FISH before losing a large part of his vocal cords, I speak of FISH because the magic guitar reminds me here of that of his friend Frank USHER on "Sunsets On Empire", in short a neo-prog piece with sensitivity, a melody also with these sheep who multiply at the end of the title. "The Fourth Wall" continues with an even more genesian sound which reminds me of the era of "Follow You, Follow Me" with a more pop fruity voice and even AOR, I hear there a refrain taken from "Heavy Metal" the sublime BOF of the film of the same name, I leave it to you to search, of course because you also have to put yourself a bit to contribution; the solo is faithful, well ventilated and lit. "Monkey Business" drives the point home with an air taken from Lewis CAROLL, piano taking for the nursery rhyme, I see the rabbit at the bend of an alley, I also hear archaic sounds of what XTC was doing so well, a Wally BADAROU synth, short festive title here with its small progressive development, voice back at the end. "Waves" follows for a more intimate air, a ballad validating the fact that Mr. Steve seems to have softened over time; it's beautiful but you can feel an air of repetition throughout the album. "I Won't Forsake Truth" does the same with a title starting on the piano, introspective title in ballad then rise more rock prog a little symphonic, it is air, it is fresh, it is also predictable, especially since the second half of the album; note this slide solo which makes you want to dance slow with your bride. "Little Boat p2" comes here to close this flight with the repeat of the 1st title and its final return of the sheep! an album in continuity.

UK artist and composer Steve THORNE appeared as a recording solo artist back in 2005, and have been releasing new solo material at a steady pace ever since. "Island of the Imbeciles" is his fifth and most recent one, and was self released in 2016.

While Steve Thorne, at least on this particular album, isn't creating music in the heartland of the progressive rock universe, this is a very good album that deserves attention. Existing somewhere in the triangle of singer/songwriter music, mainstream pop/rock and progressive rock, this is an album that merits a check by those with a fondness for the most accessible parts of progressive rock. Music of the kind that, at least in my view, has an even greater potential outside of the progressive rock oriented audience as well. A superb album, that certainly deserves more attention than it has received so far.

When Steve released his debut album on GEP back in 2005 I was immediately struck not only by the music but also by the artwork. So much so that I visited the website of artist Danny Flynn and purchased two framed prints, including that of 'Emotional Creatures Part One' (which is inspired by "Squonk"), and they are still on my walls today. All my other music prints or framed albums are in my study, but these are in other places in the house, so Steve has definitely had an impact on me. Tony Levin and Nick D'Virgilio were on that debut album, and they are still here on this his latest, joined by solo artist Robin Armstrong and well-known British musician James McLaren. Steve plays all other instruments, indeed some tracks are genuine solo efforts!

This is true crossover prog, highly influenced by the likes of Jadis and the more pastoral side of IQ (Paul Cook, Martin Orford and Gary Chandler all played on the debut as well). Steve has a wonderfully clear vocal style, is a strong songwriter, and I find myself at a loss to explain why he isn't more well-known as an artist. As I write this there isn't a single review written for this 2016 album on ProgArchives, yet his music is always of the highest quality and he is able to get some of the very finest musicians to work with him, so he is highly regarded in the scene even if the wider progsphere has to uncover his work. This is his fifth studio album in eleven years, so he's been working hard.

Lyrically, this is hard hitting and passionate, a mixture of political comment, opinion and a lamentation of the current state of modern life, and its effect on people both spiritually and physically. They are honest, sincere and he also provides brutal social comment, and when combined with the music and the complex yet simple nature of the songs one has to wonder why this hasn't been more widely received. Definitely worth investigation.

I have a soft spot for this relatively obscure neo-prog artist, his first 3 albums (including this one) are all quite splendid and have been rated nicely. Strange that he is not more well-known because he is a wonderful vocalist, great song writer and surrounds himself with the cream of prog session players (Gavin Harrison, , Pete Trewavas, John Giblin , Nick D'Virgilio, Tony Levin, Gary Chandler, Martin Orford, Geoff Downes, John Jowitt etc...) . He should rate as high as Fish but doesn't have the Dickman's credentials. But think Sean Filkins or even Guy Manning and you get the idea. Both "Emotional Creatures" albums were loaded up with crafty little nuggets, well sung and well played, often memorable. The course has been set for another thoroughly infectious series of progressive songs, not the most intricate stuff around but done to neo-prog perfection. Each song has its own 2 pages in the magnificent booklet with an eloquent photo that does the music enormous justice.

The robust "Kings of Sin" platforms some pressing vocal despair from Thorne, featuring Nick flailing on drums, the master Tony Levin bossing his distinguished bass and Arena's John Mitchell rubbing his guitar. The song's lyrics refer to the hedonistic rock n roll lifestyle of It Bites, progressive sex for the progressive members of this famed progressive band (see photo).

The flimsy "Feathers" is more of a mid-tempo rocker with Jadis' Chandler at the wah-wah guitar stand and Trewavas rumbling his bass along for the ride, a poppy tune with a hugely infectious chorus , a pleasant affair dealing with the fragility of human veils and social mists. Breezy "drivin' down the highway on a sunshiny day" type of feel, a fluttering feather as a side dish. .

"Paper Tiger" is a killer tune, with my revered John Giblin on his patented fretless leading the way, a subtle and gorgeous melody and Thorne showing off some decent pipes especially evident with the colossal chorus. John Beck (It Bites) fiddling with his ivories only add to the suave mood. Steve handles the dripping axe lead rather well, oozing with the appropriate amount of despair and agony. Well done pop-prog !

This is followed by the murky genius of the title track with Nick and Tony laying down a steely, concrete rock foundation for Thorne to exercise his considerable vocal talent, lathering some heady keys and guitars into the mix. Levin's stalking bass is a joy to observe, a four stringed maniac weaving his seductive 'basso profundo' charm. The singing is both angry and anguished, providing some obligatory goose bumps. The pic is spell binding as well.

For those who are uninspired by the numb cold world we live in, the poignancy of "Granite Man" will hit home, as the photo in the booklet depicts some despondent , silver-bearded shaggy man lying on a what seems to be a fountain's pedestal. Gavin proves his massive international fame with some stellar stick work. Amazing again!

"Black Dahlia" is a neo-prog take on the famous Hollywood murder/mystery that continues to fascinate after decades of awareness (songs, books, movies) , the contrast between the sweet and the acrid is quite obvious, a trickily swerving chorus increases the essence of this brooding subject matter, the synths playing the role of seductive horror as if a soundtrack , once again showing the smarts behind the craft, This is no ordinary pop world, not by a longshot as the man is a singer/songwriter/instrumentalist of considerable talent. To prove that his currency is definitely current, the next one, "Sons of Tomorrow" is a rather bleak admittance of where our collective future lies, as politicians play with our lives, sending young eager men to die eagerly, for some oblique "oily" cause. Steve, reading history is like watching a yo-yo, only the killing technology has evolved, while our minds have withered. This can be seen in our new found oxymoronic words such as "smart bombs", "politically correct", "weapons of mass destruction" and "seeing eye drones". To quote Calvin" "Sometimes I think the surest sign that intelligent life exists elsewhere in the universe is that none of it has tried to contact us" .

"Valerie" is the customary love ballad, sweet fragility and sheer loveliness, the accordion adding a nice spice. This is a welcome diversion.

The depressive "Victims" is back to the apocalyptic stupidity of our daily routine, victimized by the fast rat-race we all are asked to live, "not knowing the difference between right or wrong anymore, the sense of being alone, human life is cheap, we are all victims that's for sure". Musically, the production is cinemascopic and embellishes the material to a polished degree. Lennon said "All You Need is Love". Yeah, right !

"The End" is the only weak tune here but the photo of lemming-like precipice jumping is shocking, a gripping acceptation of evil (live backwards) in our routine existence, as if welcoming the release from daily bondage without compromise, austere but bona fide.

After the end, there is the red velvet drape, in a heavily gilded and ornamental theatre of the absurd, the spotlight slowly ebbing in intensity, ready to bud farewell. Forlorn melancholy ??

Over the course of 3 albums, Thorne has showed consistency, the next one may be a masterpiece.

4 Crimson Felt curtains

This was a pleasant surprise to say the least. Steve Thorne is a name i've seen over the years helping out bands as a session musician or guest. Anyway this is his first solo album and he's brought in a lot of help. Orford, Cook and Jowitt from IQ,Tony Levin, Geoff Downes, all of JADIS, Nick D'Virgilio and more. Despite all the guests here Steve is the focus with his appealing vocals and great song writing. By the way the cover art here is perfect for the album title. So well done. I'd love to have that blown up and on my wall. I was surprised at how often I though of MARILLION here, Ken Baird also came to mind several times.

"Here They Come" opens with a music box then sounds that are almost the direct opposite including marching styled drums. "God Bless America" is my least favourite lyrically. I like my neighbours to the south. Anyway the song is led by acoustic guitar and vocals. Some good flute too. "Well Outta That" opens with strummed guitar and synths as these urgent vocals come in. Maybe theatrical is the word. He reminds me of Fish at times here. It turns more powerful as the drums become more prominant. Contrasts continue. It kind of spacey before 4 minutes as it settles to the end. "Ten Years" is one of my favourites. Acoustic guitar and fragile vocals along with background synths. It turns fuller then settles again with those haunting synths as contrasts continue. The atmosphere is incredible.

"Last Line" opens with strummed guitar as vocals join in.They get passionate before it kicks in. An emotional track. Organ 2 1/2 minutes in as drums pound. "Julia" is mellow early on then it kicks in at a minute. So moving. Contrasts continue. An aggressive section with vocal melodies late. "Therapy" is such a feel good song. It ends with sampled words and a spacey soundscape. "Every Second Counts" opens where the last song left off with atmosphere and spoken words. A beat is included then it kicks in before 2 minutes. Nice. Some guitar too 4 minutes in.It ends as it began. "Tumbleweeds" opens with acoustic guitar,synths and vocals. It does get fuller but this is all about the lyrics. "Gone" opens with strummed guitar, bass, drums and vocals. It kicks in heavily after a minute as contrasts continue. "Goodbye" opens with some beautiful acoustic guitar melodies as reserved vocals join in. Synths too. The atmosphere is powerful 3 minutes in to the end. Gulp. Birds come in singing reminding me of the gorgeous cover art.

A very solid 4 stars. Highly recommended.

Singer/songwriter meets prog rock? Well, that´s the impression this album gave after several spins. Not that the formula is mature: there are some tracks that are much more in the singer/songwriter vein while others are pure progressive. Anyway, it´s an interesting work and worth checking out. I was first atracted to this CD because the many famous special guests it includes, it is not everyday you see people like Nick D'Virgilio (Spock´s Beard), Geoff Downes (Asia), John Mitchell (Arena, Frost), Tony Levin (King Crimson, Peter Gabriel), Pete Trewavas (Marillion, Transatlantic), Gary Chandler (Jadis), Gavin Harrison (Porcupine Tree) and Martin Orford (IQ), among others, playing on the same record, is it? But they all act here like players only, for the CD is the brainchild of Steve Thorne, songwriter.

At first I must admit that this work did not appeal much to me. It seemed too modern and superficial. However, after repeated listenings I was able to understand that there was more than meets the eye (or ear). The guy knows how to craft fine tunes and give them the necessary arrangement and instrumentation to make it more than just ´songs´. Actually, as the name points out, this is a conceptual work, the second part of his Emotional Creatures, part 1. I didn´t hear any of his previous records, but this one is quite well done and perforned. It sounds simple, but it is not. Actually the CD demands the listener´s full atention to be fully appreciated. But it is worthwhile.

Conclusion: although I can´t say it is one of my favorite CDs, I must admit that Part Two: Emotional Creatures has its charm and so does his formula. As I said before, the mix does not always work, but he´s heading an interesting direction and I´m looking forward to hear his next albums. I hope that he can develop from here and come up with something unique. Promising. 3 stars.

Part 2 of the Emotional Creatures saga.

I really enjoyed, somewhat unexpectedly, the debut "Emotional Creatures Part 1" and it remains firmly entrenched in my playlists. As some have already mentioned, Steve Thorne is a truthful projection of artistry in its most precious and pure form, a delightful tunesmith that chisels rough cuts that are adroitly adorned and polished with proggy shine from a shimmering cast of guest musicians from IQ (Orford), Jadis (Jowitt, Chandler, Christey) , Yes (Downes), Spock's Beard (Meros, D'Virgilio), King Crimson (Levin), Porcupine Tree's Gavin Harrison, Pete Trewavas from Marillion , Arena's John Mitchell and many more?. These are all heartfelt songs that have meaning and substance, dealing with ills of modern society and enveloped in a highly original delivery, quite reminiscent of similar multi- instrumentalist/songwriters like Canada's Ken Baird, Bert Heinen (Like Wendy) from Holland or England's Guy Manning. This is not the rampaging Anekdoten onslaught, the exuberant Flower Kings epic romps or even the moody PTree daze, though these gentle tracks will recall Wilson's more ballad oriented material (without all the gloomy apathy and the IV drip haze). The structure of the songs are pretty classic, an acoustic guitar spine that highlights the lyrical material and the emotions within the vocal delivery, perhaps not proggy enough for some but totally endearing even within the first spins, as the musical honesty is so appealing in this formulaic, over branded MP3 world of ours. This one is a denser progression from Part1 with velvet slivers of misty mood that enthralls like some sonic narcotic and seduces the jaded listener into immediate attention. From the opening instrumental waltz, cleverly titled "Toxicana Apocalypso"(another- this time wordless- anti- hard drug rant), the improvement becomes immediately evident, swirling melodies deftly played by the guests with utter bravado. Tony Levin's bass looping madly, intense drumming from D'Virgilio and same raging Downes organ blasts define this lofty opener, a whirlwind of delight to follow. On the splendidly vaporous "Wayward", the illustrious Gavin Harrison pummels along with Tony (what a glorious tandem!) in a silky groove that may recall prime Roxy Music, giving Thorne the platform to shine vocally, gentle one moment and raspy the next. An amazing track that exudes class, this is a superb ride. The anthemic "Crossfire" retains a discreet sense of elegance with Geoff Downes piano providing the main setting, a turbulent tirade about fallen soldiers and wasted youth caught in the crossfire. Thorne's voice soars majestically, expressing with troubled despair the plight of a once great empire. John Mitchell blitzes mightily on lead guitar, a quixotic solo that defies description. On the perplexing "Roundabout" (not the Yes song, bubba!), the synthesized effects become intoxicating, a freefall into the swirling miasma of life where Thorne emotes courageously in a style reminiscent of Fish or even his Marillion replacement Steve Hoggarth. Very spacey and spirited. The rather nasty "Hounded" is a colossal slab of progressive folk, actually closer to Porcupine Tree, Thorne's pipes rasping ragingly at the pain of misguided love while the Spocks Beard rhythm section pounds away in revolted anger. Jadis' Gary Chandler provides a mathematic guitar solo that bridges the gap in spectacular fashion, all tone and texture, as the Rickenbacker bellows beneath. The howling choir effects are beguiling. "All the Wisemen" is another little lyrical jewel, a sardonic stab at our alleged leaders (who seem to wind up causing more damage than good), in a simple veneer enflamed by a Mitchell solo that pains convincingly as Levin's bass rumbles proudly along. Thorne shows his vocal talents here in unabashed fashion. We have a new wizard, a true star! A quirky change of pace is next , "Great Ordeal" being a mandolin-led folk ditty that is as English as one can hope for, dirt simple and unpretentious. Both "6am Your Time" and "Solace" are short instrumentals that quantify the musical qualities of the artist , a pot- pourri of sound that does not serve as filler but rather as a mood setting for the final turn, first the staggering "The White Dove Song", perhaps Steve's masterstroke up to now. A sassy/brassy piece which sounds right out of the Sgt Pepper/Magical Mystery time zone, with a smiling Peter Trewavas bass leading the charge, lush orchestrations galore (viola, violin, cello, trumpet, French horns and bass trombone) , providing the stage for a monstrous Thorne delivery (a huge chorus and devilish verse) and another organ romp from the Asia guy. Absolutely ballsy move on the arrangement and it's pulled off oh so successfully! The finale is another stunner, "Sandheads", the longest track here clocking in over 7 minutes that ultimately encompasses the genius of this "to watch closely" artist. This is where the two album theme of the 'emotional creatures' concept is explained within the lyrics and providing closure and explanation. This being a closing chapter, Thorne will be moving into different realms on the next album. Another fully orchestrated tirade on the human condition, the lyrics focus on the contradiction in the all aspects of societal life, showcasing clearly why we can be fallible yet lovely at times, a complex animal that seemingly inspires both love and hate. A thoroughly enjoyable musical adventure. The artwok is similar to part one, the production first rate all around . I look forward to future "thorny" albums from this talented gent, this man needs to be discovered by you all now! 4.5 tender mortals

Part 1 Emotional Creatures

Road technician goes his own way, as Steve Thorne spent many years as a Pendragon concert stalwart and courageously embarked on a prolific solo career, with a little help from his many friends and musical acquaintances. There is a bevy of illustrious names that most fans will recognize Paul Cook, Martin Orford and John Jowitt of IQ, the Jadis crew are all here with the addition of Gary Chandler and Steve Christey , drummer Nick D'Virgilio of Spocks Beard as well as Geoff Downes of Asia and the inimitable Tony Levin. Not a bad lineup ! Thorne's singing style appears to veer near Fish territory, albeit a mellower version than the wild Scotsman, poignant lyrics and passionate vocals are his main signatures. Upon first spin, the perception is confusing because it is surely far from "deep" acts such as Porcupine Tree or the other bands mentioned above whose members guest here. You need to listen to this a few times and then suddenly conclude that many of the songs bloom like a fine wine, enticing the sonic palate with lingering staying power. Both "Ten Years" and "Julia" are exceptional pieces that I discovered only after hearing them incrusted in my brain while working, unaware at first of their impact. On the masterful "Gone" bassist John Jowitt (of IQ, Arena and Jadis fame) shows why he is so highly touted and revered in the prog community, his Rickenbacker dueling with a fretless bass in some tribal demonstration of presence and power. His handling of both is dizzying, certainly a unique display of the "basso profundo" at its best. (I will state it again ad nauseam, that prog bassists are gleaming as well as creative, twisting not only technique but tone as well). The other jewel here is the gut wrenching anti-cocaine anthem "Last Line", a rousing and bitter rant against the ravages of blow, with imperative lyrics and disturbing vocals. This is primo stuff that defies being ignored, a passionate tirade against this evil powder. "Therapy" is another grower, a prog ballad that shines lusciously and remains hummable after only a few spins. Days later, it remains moored in the shores of my memory bank. The sweeping mandolin caressed "Tumbleweeds" is also an extremely pleasant ride, emitting overt folk tendencies that wink at Guy Manning. The sarcastic "God Bless America" wanders into anti-Bush territory first explored by colleagues IQ on the quirky "Harvest of Souls" from Dark Matter, walking the thin line between loving and hating the USA (it's always been the government not the people, yanks!). Everything is delicately appealing, great production, astounding artwork from Tony Lythgoe and sizzling playing by all the invitees who strive not to overshadow the delicacy of Thorne's songs. This is personal music that will charm and seduce the casual listener as well as a fine example of the successful simplicity of prog . Ideal escape when you need not challenge your ears and mind to excruciating complexity and just want to float in succulent serenity. Very unexpected and very impressed, I am! 4 arousing spikes.

WAVES OF EMOTIONS I have kept this "Emotional Creatures #2" in my shopping cart for a while...until I read the news that the 3rd album from Steve Thorne is next to land...so I decided to give it a try. Also the musician line-up was so impressive to read (gosh! A squadron of favorite proggers!). The final impression is that I like this album, I like this kind of music. Not too dark, even joyful in some cases, maybe easy to reach...but not banal. Deep basses, no distorted guitars, melodic keybords and back sounds...not really in the heavy side of prog, at all. But with some blistering moments, like the fantastic and blowing final 2min 30sec of "Hounded", with full-fledged band weapons firing.

Like waves, the songs of "Emotional Creatures #2" are not taking the listener by storm, they are not really deep, but they are anyway stirring and moving the great ocean of music. And Steve Thorne keeps the helm with good talent. Do I need to add that pretty soon the next Steve Thorne will be added to my shopping cart? 3 Solid stars, and recommended to whom likes melodies in prog music.