ARAGON

This album does everything wrong that it amazes me how people can hail it to such a high regard! The vocals are awfully trying to imitate Peter Gabriel and fail to do so successfully. The substitution of a real, human, drummer and bassist by these synthesized and computerized instruments for their entire duration of this album really makes me hate this one all the more. I wish that they had just focused more on melody-led songs rather than utilizing this awfully computerized rhythm section. And while the album has been in the works for a long while, the resulting product simply overstays its welcome almost right from the start and it provides little to now enjoyment throughout its arduous runtime. This one just drives home the point that it's excruciatingly hard to find proper progressive-rock from Australia...

One star, no doubt.

Some 30 years ago I heard one of the most amazing prog albums I had ever come across, 'Don't Bring The Rain' by Aragon. At the time I bemoaned the fact they were Australian and unlikely to get the success or critical acclaim they so richly deserved and that proved to be the case, with the band breaking up after their sixth album in 2004. There are few albums I can say I still play regularly from back then, partly due to always having so much new material to listen to, but I can honestly say this is one of them. That "The Crucifixion" is not recognised worldwide as a prog classic is nothing short of a travesty, and I long ago gave up on them ever getting back together and releasing any new material, but they put out a single in 2014, and there have been a few more since then, with this being the latest.

The line-up these days is Les Dougan (vocals, drums, percussion, keyboards), John Poloyannis (guitar, bass, keyboards, percussion) and Tom Behrsing (keyboards), as it always has been. There have been a few other musicians and guests involved over the years, but this trio have been the core since the very beginning and that debut album (which was released in 1988!). At 11 minutes long, this is classic Aragon, containing everything I expect from then in that the music is haunting, changing, full of contrast and an arrangement which builds and then lifts off. This band can go from delicate and emotional to powering and full-on rock (led either by keyboards or guitar) without notice and just as quickly switch it back again. The listener has no idea where they are going, just that the journey is worthwhile even if the route is unknown. Then there is Les. I have long lost the ability to say anything constructive about his vocal style, as he is one of the finest and most individual singers in progdom who comes across as a mix of Geoff Mann, Michael Sadler and Peter Nicholls. Like them he is instantly recognisable and when he is singing the music is designed to put him firmly in spotlight, yet Aragon also delight in instrumental sections,

This is epic, in so many ways, and long-standing fans will enjoy seeing the continuation of "Rocking Horse" which has been appearing in different forms for many years. Complex, progtastic, progressive music does not get any better than this. I can play this all day, and the other day I just set it on repeat and marvelled on how it gets better each and every time I hear it. I only have one question now for the guys from Melbourne, when do we get an album?? Please!!!!!

An OMNI that is worth more than a passage through our space! - Act 1 with The Dark prepare yourself for this haunting spatial intro which marks the innovative sound, A Private Matter yes a synthetic drums, either you stop, filthy for you for a prog album or you surpass and you enter the world of ARAGON filled with emotions; The Sweet Unknown follows and goes straight to Fish; marked accentuation on this synthetic bass, for me ahead of its time and thumbing its nose at the prog curmudgeon who wants sound the way he wants and will complain about the end of the prog Mohicans in this society; in short Tom puts on his synth touch, John a spleen glimpse of Rothery; The Gate closes this title chained with a swirling tune, Les launches and heats up

- Act 2 followed by End of the Line in 2 parts, a spatial electro interlude, taking a photo of another world and this latent bass, we move on to the 2nd, the metallic percussion amplifies the spatial, giant, aerial neo-metal prog side and a neo guitar that screams louder; ah this drum kit, even robotic, I'm starting to like it, it reminds me of Phil's in 'In the air'; Next Please cinematic yes I use words that did not yet exist at the time, 15'' for the break with this cough of wanting to smoke like a grown-up, this robot sound ah 15'', this typewriter and Untying the Knot in 3 parts again and Fish which becomes even more encrusted, he even starts to cough; the sound becomes heady, nervous, the vocal ready to vomit out his text, bam aerial vocal break on a real neo MARILLION or IQ, the finale with these metallic sounds, I still can't get used to it

- Act 3 Cold in a Warm Place with finally a calm, crystalline title and the marshmallow-like synth, Les shows that he can vary his voice, the most for a neo group; he modulates it and gives sensitivity and a very beautiful guitar solo followed by a dark, long, intoxicating ambient break, bringing a latent atmosphere; The Gathering yes it must be that go one more door and Under the Eye to finish this 3rd concept drawer where everything is different and everything is linked; an OMNI with ARENA which brought the prog out of a cruel lethargy, that alone deserves attention; ah this synth break à la GENESIS 3rd version I get lost in the titles with these 30 pieces, come on let's settle down and listen for yourself above all!

- Act 4 In Deepest Sympathy for the exception a piece for a title where are we going? come on a broken glass yes we must follow, The whispers to us - Act 5 The Meeting (was initially released separately) but which is well integrated here more to ask - Act 6 Burning Off ah that's it, halfway through and we finally arrive at the ARAGON sound, the one best known, but Les resumes his vocal vomit, fortunately the keyboard softens the air; succession of breaks with 6 subtitles, some linking together perfectly, others more or less stuck together and sowing doubt... yes the prog blood flows freely here, guitar which searches for itself, synth which rounds off in echo, drums including we end up getting used to it; aside to return to these titles which honor neo, prog, music in general even if the soulless drums that I spoke of at the start can slow down; the guitar solo; The Waiting Room ends this title with this newspaper read and the cup of coffee which is poured over it

- Act 7 At the Mercy of Lions on a consensual title which feels good, yes it's... predictable, the bass rests the ears a little; good spatial effect for Waiting for the Big One in 2 parts and the heaviness of the bass and the choirs which come to see what the speakers have in... their stomachs, of course; it doesn't vibrate, the adjustment isn't that bad, no more experiments with loosening the putty from the windows; Sings them... normally and it's very pleasant, more in the strings; it vibrates, a plane, an aircraft, it screams, aren't we at the gates of Paradise? At Heaven's Gate makes us believe it; Hello God melodic and catchy then Brave New World with this intro and this riff from behind in the distance which puts us on alert; a pure metronomic crescendo based on prog on an angelic vocal, one of the most beautiful climbs that even Hogarth did not imagine, a sovereign pleasure and at the end we doze off... bam woke up at this knock at the door

- Act 8 The Switch as the last act and MARILLION, GENESIS for the orchestration on an arpeggio and a posing tune; The Cross cottony synths and the dream continues, ARAGON here is indeed the best representative of MARILLION, bucolic, chivalrous, airy with these trumpets from up there, a beautiful crescendo again and a well-standardized, high, sublime guitar solo before the outro Auld Lang Syne in music box, in short It's just goodbye but no I'm putting the replay on!

A Marillion-inspired band of multi-nationals that formed and recorded in Australia that shows tremendous potential--greatly due to the wonderfully passionate vocal performances of lead singer Les Dougan.

1. "For Your Eyes" (4:44) opens with harpsichord-sounding guitar picking before a pulsing bass-and-drum structure is established for the singing to join in. The vocalist is dramatic, theatric, but not very impressive or winning--kind of like a weak GEDDY LEE trying to sing with the power and emotion of AC/DC lead singer Brian Johnson. The music during the choruses is too standard rock, it's the down time subtleties that are interesting and engaging. (8.25/10)

2. "Company Of Wolves" (9:22) (16.5/20)

- a) Under the Hunters' Moon (3:30) babeling brook water sounds are soon joined by keys and percussives giving the soundscape a very fairy-like feeling. Barking and then heavy bass tom play enter providing quite a contrast to the delicate fairy sounds. (8/10)

- b) In the Company of Wolves (5:51) more background sounds from the fairy world before a cheap keyboard begins adding a pattern of chords. At 1:25 heavy, pounding drums re-enter before singer Les Dougan enters with a FISH- or OZZIE OSBORN-like vocal performance. The vocal dominates despite the tinny music's attempt to thicken and become more complex. Fairly impressive vocal performance. (8.5/10)

3. "The Cradle" (5:32) gentle prog start with pretty late-80s heavily chorused guitar strums over which the odd voice and stylings of Les Dougan sings. He gives it quite an impassioned try and it almost works. The background "harmony" vocals are pitiful. (8.25/10)

4. "Solstice" (3:40) opens with a fairly flagrant attempt to recreate a classic GENESIS. The metal voicings of Les Dougan soon arrive and not long thereafter the lead guitar (sounding more like BABYLON's David Boyko or MIREK GIL than Steve Hackett). Decent BABYLON-like song. (8.25/10)

5. "Cry Out" (5:33) An interesting m'lange of sound as each and every musician here seems to be drawing from different eras and styles of GENESIS or classic rock sounds, riffs, and styles. Les Dougan's singing gives it its own unique stamp (though there he uses a very familiar "St. Elmo's Fire" melody). (7.75/10)

6. "Gabrielle" (3:30) pure FISH theatrics in this vocal over acoustic guitar finger picking. Easily the best song on the album. (10/10)

7. "The Crucifixion" (15:39) (27.5/30)

- a) Part 1 (7:38) synth strings and pregnant New Wave-like bass line with straight time drum beat provide the sole backdrop for the first four minutes of Les's impassioned vocal. It works. Then there is a major softening--with only guitar and Les's whispering voice--before a burst forth into a speedy swinging pseudo-Rocky Horror-like section. At 5:50 there occurs another stop and slow down, this time for a low keyboard bass note over which spacey flanged synth strings slowly twist and snake their way to the end of this Part. (13/15)

- b) Part 2 (8:11) again the FISH and MARILLION comparisons are unavoidable. Les opens with singing over synth washes--which continue for a few minutes while eventually being joined by simple electric guitar "solo" arpeggi, bass, and drums. Les rejoins in the fourth minute to deliver an amazingly passionate "I'm still waiting" vocal before the band rises up to the album's first truly proggy instrumental passage, complete with multiple keyboard sounds and searing electric guitar soloing all at the same time. Impressive! Why they didn't do more like this I don't know. (14.5/15)

8. "For Your Eyes (Reprise)" (1:14) interesting outro. (4.5/5)

Total Time: 49:14

Odd that there are so few instrumental solos, that the songs are so reliant on a single theme and singer Les Dougan's impassioned vocals. The instrumentalists here are competent and do an admirable job of creating cohesive song constructs but their proficiency on their respective instruments seems to be under-confident and, perhaps, "under progress." Still, thanks to the stellar second half, this is an album that introduces to the world a band with tremendous potential.

B/four stars; an excellent debut for this multi-national Neo Prog band.

In my (very) humble opinion, this masterpiece is really worth to include in hypothetic "Neo-Prog Hall of Fame" (along with selected releases of MARILLION, PENDRAGON, IQ, ARENA, etc.). These guys managed to create an atmosphere of old prog-rock, that refers to bands like GENESIS, YES, CAMEL. The sound is overall dark. The band features the dense and at the same time floating sound, leaving the keyboards dominating. The opening, title and longest track in the album is simply brilliant, leaving an impression of a real rocking horse with the use of sampling keyboards. Sadly, this album (along with the others from the band) is not easy to find. Otherwise a great job, 5 of 5.

Aragon had been working on a monster concept/autobiographical album since the start of the 90's, which was actually a slow work in progress, which ''Rocking horse...'' surpassed through the sands of time.Actually the 92' mini-album ''The meeting'' was the fifth act of this long work, which the band managed to finish by mid-90's.With respect to the fans, who had already purchased the fifth act a few years back, the album ''The mouse'' was released in 1995 without the pieces of ''The meeting''.Three years later the full work was re-released by LaBraD'or Records in a double-CD edition.

This is a collection of thirty tracks, flowing in a tight cohesion and passing through tons of different moods, all of them connected to the already familiar style of Aragon.No epics or even mid-length pieces, ''The mouse'' is a story unfolding via very short tunes in the vein of PENDRAGON and CLEPSYDRA, fronted by the trademark fast paces of the band, the use of many dreamy instrumentals and the aggressive vocals of Les Dougan.Of course the somewhat synthetic keyboard sound and the overall plastic production, which comes along with all Aragon releases, is not among the advantages of the album, it seems at moments that the sound quality has been stuck sometime in the mid-80's.Otherwise this is another decent effort by the group, not always sealing its extended length, but containing good enough material with theatrical singing, rockin' grooves and even symphonic backdrops in a MARILLION/mid-70's GENESIS vein.Maybe they should have used a larger number of longer pieces, because some of these arrangements are fascinating, for example ''Cold in a warm place'' gives plenty of room for variations between CAMEL, GENESIS and PINK FLOYD overtones and a very poetic vocal performance by Dougan, ''The sheer joy of creation'' reminds of the greatest days of old ABEL GANZ with its playful guitar, sweet keyboards and emphatic vocals, ''Brave new world''features a a slow development from background echoes to more bombastic music with sentimental solos, while ''The cross'' is a fantastic, old-styled MARILLION-like tune with another Dougan monumental vocal performance and the use of semi-symphonic synths next to discreet New Wave samplers.The good thing about ''The mouse'' is that the are no weak pieces or dead holes in the process, everything seems to be in the right place next to the mass of memorable tunes and pompous instrumental sections.Lack of trully fascinating moments, but the band passed a really hard test on producing a long and consistent album.

For fans of MARILLION, PALLAS, PENDRAGON, ABEL GANZ and IQ, this is strong Neo Prog with efficient melodies and a decent flow among all pieces.Recommended.

Aragon seemed to work fine even with the trio of Behrsing, Poloyannis and Dougan and after ''The meeting'' they decided to go on with this reduced line-up.In 1993 a third, now full-length, album of the band came out on the Dutch SI label.Entitled ''Rocking Horse and Other Short Stories From the Past'', this work contains 6 tracks of reworked material that predates even the first album of Aragon.

''Rocking horse'' is actually the track that dominates the album, clocking at exactly 20 minutes, and featuring some very interesting work by the band.Its first part is dedicated to a very lyrical Neo Progressive Rock with limited instrumental parts but a great performance by Dougan on vocals with both sensitive and more aggresive singing.The second part though is exclusively instrumental with floating keyboards, powerful grooves and some more dreamy passages, a bit too long but still decent.The ''Other Short Stories From the Past'' of the title refers to the next sum of tracks, written in mid-80's, and offering catchy and lyrical Neo Prog with good breaks, incredible theatrical vocals, decent keyboard work and an overall nice performance by Aragon.A couple of these though suffer from flexibility with long hypnotic keyboard parts close to Electronic Music and distorted vocals, not what one would expect by the Aussies.

Despite its flaws this album is another pleasant listening experience by Aragon, mainly because of Les Dougan's superb vocals and the deep atmospheres the band could create with ease.Recommended.

I guess the point of this album was to return to the band's progressive routes, after the rather commercial direction they took in Don't Bring the Rain. Unfortunately, this double-CD concept album fails to convince. Once again, the keyboard sound is decent and the vocals by Les Dougan are alright, but the band rather lacks for strong compositions, with what few good ideas the band have being diluted to the point of irrelevance in order to fill out the narrative. The album ends up being all filler and no killer, the concept is incoherent, and on the whole the brilliant potential shown on the Rocking Horse release is pretty much completely squandered by this point.

Aragon's debut album is a rather forgettable affair compared to the earlier material collected on their classic Rocking Horse album; that showcased an interesting, spooky, electronic- influenced take on the whole neo-prog deal, whereas this time around they cleave much more closely to the late-1980s Marillion/Pendragon playbook. Poppy opener For Your Eyes and the embarrassing Christmas song Solstice represent the album at its worst, whilst songs such as The Cradle and The Crucifixion don't accomplish very much except giving me a craving to listen to some early Marillion, or perhaps Pendragon's The Jewel. It's a real shame the band didn't feel daring enough to include more material along the lines of Rocking Horse on here; as it is, the debut has to be seen as a wasted opportunity.

I have to agree with SouthSideoftheSky here in saying that the pre-Don't Bring the Rain demos collected on Rocking Horse are truly excellent, and I'm also baffled that fantastic songs such as Rocking Horse or Ghosts weren't included on the band's debut album. Had these pieces been released in the latter half of the 1980s, when they were originally recorded, the entire history of the band might have been very different and they might have been held in much greater esteem than that they enjoy today.

Combining a Marillion-inspired theatrical neo-prog approach - singer Les Dougan rivals Fish when it comes to emotionally expressive vocals in the neo mould - with more prominent and varied keyboard work, at points drawing more on the progressive electronic genre than on the symphonic prog keyboardists most neo-proggers found inspiration in, the band come up with a truly original and haunting sound which is express perfectly in the songs collected here. It's rare that I feel inclined to give what is essentially an odds-and-sods collection a high mark, but in this case I feel compelled to. The band's decision to hold back this material - only releasing it after the neo-prog high water mark had come and gone - must surely go down as one of the greatest strategic blunders on the part of any neo-prog band.