DEEEXPUS

I was pleasantly surprised with the debut "Half-Way Home" from this band in 2008 especially admiring the PORCUPINE TREE references circa "Deadwing". A nice heavy album with lots of synths giving a Symphonic feel and the vocals sounded like they were from a Crossover band. The band is the duo of Andy Ditchfield the multi-instrumentalist, producer, composer, song writer and on and on while Tony Wright is our vocalist. Several guests added solos on their debut but here on the follow-up "The King Of Number 33" from 2011 they have added a drummer and lots more guests including MARILLION's Mark Kelly playing keyboards on three of the five tracks.

And speaking of songs the title track is almost 27 minutes long covering half of the album's time and is divided into six parts. Nik Kershaw sings on the closer which is a top three along with the opener and title track. This sounds a lot like their debut, they didn't vary far from that formula which is good but I do like the debut better. I think the band were more inspired and as I mentioned those PT references are cool. Ditchfield is so good at contrasting the heavy and lighter moments and as I said the synths really are prominent at times.

I was surprised at how sad that second track is "Maybe September" with the melancholy dripping from it. Violin and morose vocals along with the piano. Then it kicks in surprisingly around 4 minutes in. Again the contrasts are great and this one out of nowhere. A nice clean guitar solo 6 minutes in before the outro of piano and reserved vocals. I'm not big on the "Marty And The Magic Moose" track, those synths. The closer "Memo" like the opener is over 7 minutes and has some awesome sounding heavy sections but again contrasts abound and some interesting sounding synths too. The long title track has it all but the heavy synths and sound to start "The Hunt" might be my favourite part. So much though over the almost 27 minutes. Lots to digest and tied with the vocalist singing the title here and there.

Another solid record from these Brits. I am surprised they aren't more well known or that I didn't even remember hearing about them back then.

DEEEXPUS was the brainchild of multi-instrumentalist Andy Ditchfield who is also a songwriter, composer and producer. "Half Way Home" is the debut and really a duo at this point with Tony Wright the singer plus we get several guests adding solos here and there. I liked this album from the first spin, in fact I was quite surprised at how much I enjoyed this obscure band. Yes Andy is a huge PORCUPINE TREE fan and going to one of their concerts inspired him to keep going in the music business so we do get that "In Absentia"/"Deadwing" vibe happening on this 59 minute record. This recording is nice and heavy at times with those riffs, lots of depth with a good singer and good songs making this a solid 4 star recording in my world.

"Greed" the opener is a top three for me with those repetitive sounds and repeated themes but bottom line this just sounds great. Lots of synths on this one. "Pointless Child" is almost as good and I like the electric piano on this one. Some beauty here as well. "PTtee" is a top three and the over 12 minute homage to PORCUPINE TREE usually with the guitar expressions but also with the vocals. This song has it all, the heaviness, lots of synths even sequencers early on. The vocals before 8 1/2 minutes are shockingly Steven Wilson.

We get a couple of 7 minute range tracks after this in "One Eight" and "Seven Nights". "One Day" reminds me of PT with the samples and music over 1 1/2 minutes then there's the mammoth closer, the title track at over 17 minutes. This is not without it's flaws like the whole album but it also hits some highs. Man they are on fire late after 13 minutes and then anthemic is the word a couple of minutes after this. A sample of someone giving a speech is so PT after a powerful section where the guitar is on fire around the 7 minute mark.

A very good album that PT fans should have some love for but as much as I've referenced PT it really just has that flavour pop up every once in a while. They contrast sounds very well, the mellow and heavy. A feel good album for me.

My Highlights: - Me and my downfall - Marty and the magic moose - King of number 33 (I thru VI)

This is the follow up album for the band's (project...) acclaimed debut Half Way Home (2008). Make no mistake, this is heavy prog with lots of power riffs and galloping drumming, however for this release Ditchfield (the brain genius behind this masterpiece) and Wright join forces with no other that Marillion's own Mark Kelly, and there's where Heavy prog meets Neo Prog, and the result is simply fantastic, heavy but melodic, superior and very memorable. Me and my downfall opens the album with a clear message...we are here to rock and rock good, presenting the what the storyline is about and kind of what to expect for the next 50 plus minutes. Maybe September along with the last track Memo stands maybe as the weak spot of the musical experience, still good but forgettable at times, but not for long because the instrumental Marty and the Magic Moose catches the listener attention once again and won't let it go for the rest of the musical experience.

But this album is all about the title track, The King of Number 33, a suite with amazing movements where everyone on the band has the chance to display all their virtuosity and power, from the beautiful (and sometimes angry and depressed) vocal harmonies, the incredible guitar riffing and song-along licks that often battle with Kelly's keyboard precious madness, and the "all tempo" performance of the rhythmic section. Truly a work of genius, definitely a heavy prog masterpiece that should please any Porcupine Tree, IQ, Spock's Beard and Marillion fan. This suite has everything that a prog epic should have, no questions about it... and the lyrical content, the storytelling behind the already reviewed musical performance... a boy and his obsession with buses and the era of Kings and Queens of England who gets on the Number 33 (city bus) and basically stays there like forever, people goes in and out (his court) while he commands them to pay allegiance to the king and take a seat... "I'm the king of everything my tired eyes can see, I'll permit your ride just one more time, and suggest you take your seat" This is definitely an album that you have to experience by yourself and enjoy its full musical and lyrical content, guaranteed to get hooked!

Since I went to my first prog fest outside Pittsburgh a few years ago, I've gone back and forth about whether to try and get up to speed on bands playing at a festival before I actually go. I've both gone in completely cold and completely prepared and both approaches have their plusses and minuses. What I've settled into is looking at how deep a particular band's catalog is and, if they've got more than a couple of albums, pick one up ahead of time to try and get my feet wet (aurally speaking, of course).

So why, you might ask, did I pick up the new album from this year's ROSFest lead off hitters DeeExpus (don't ask what the name means ? I have no clue), given that it's only the band's second? A good question with an easy two-word answer: Mark Kelly. As a long-time Marillion fan and keyboard player Kelly's one of my musical heroes (and a nice bloke, to boot). I thought it would be interesting to hear him back in the overtly neo-proggy widdly-twiddly keyboard role.

That being said, the main man behind DeeExpus is Andy Ditchfield ,who made a brief appearance at ROSFest last year during Tinyfish's excellent Friday night set. Ditchfield is the main writer for the band, in addition to handling guitar, vocals, and keyboards on most tracks. Kelly throws in on a few of tracks, most notably the 25-minute title track. Regardless of who's playing what at any given time, the tracks hum with strong melodic bits that define neo-prog (for better or worse).

They also reflect a trend in recent years of neo band leaning more and more on hard-rock style riffing. "Me and My Downfall," the lead off track here shows that particularly well. I don't know if this is just a natural progression or a change that's been brought about by the success of heavier prog bands like Dream Theater, Porcupine Tree, and Opeth (that's my guess). Regardless, DeeExpus never slips over into too much balls 'n chunk, which I appreciate.

As I mentioned, the centerpiece of the album is the epic "King of Number 33," which is the best long-form prog tune I've heard since The Tangent's "In Earnest" back in the last decade. In this case, the song tells the story (inspired by actual events, I believe) in which "Number 33" is a bus and the "King" is a mentally ill man who, after years of being a mostly harmless oddity, explodes into some kind of violence (just what is left quite vague). Maybe it's because I have a particular affection for epics about lost souls ("In Earnest" certainly qualifies as well), but the lyrics really grab me in a way that lots of others don't.

Two old teenage bandmates frok the North-Eastern part of England decided to form this project in 2007.Multi-instrumentalist Andy Ditchfield teamed up with singer Tony Wright after many years and DeeExpus became reality, following the already prepared ideas of the first.The initial plan was to form a proper group, but the two decided to write down the material for the first album on their own forces.A team of guest musicians was gathered in order to record this debut work, these were guitarist Phil Sloane, bassist Ian Raine and drummer Leigh Crowther.The album, entitled ''Half way home'', was independently released in 2008.

DeeExpus belong to the second incarnation of Neo Prog groups, which started to add heavier overtones in their music, still retaining some of the magic from the old years.Good things is the band sounds pretty flexible, incredibly passionate and dymamic and sufficiently inspired to offer long tracks with dominant guitars, clean yet expressive vocals and a fair number of keyboard acrobatics.The production is good and the arrangements are interesting with accesible lyrical material, pounding rhythmic tones and some impressive, bombastic sections.Although less symphonic in nature than the earlier bands of the style, DeeExpus manage to deliver music with endless energy, grandiose moments and lots of modern colors, featuring sound effects, vocal distortions and metallic guitar riffing.The enviroment remains proggy enough with numerous changing moods and alternating tempos, passing from emotional songwriting to powerful instrumental themes with comfort.On the other hand their first effort fails a bit in terms of originality, sounding somewhere between ARENA, PORCUPINE TREE and KNIGHT AREA, combining the great vocals with powerful guitars and sharp keyboards with constant presence of more laid-back piano textures.The songwriting though is solid enough to satisfy fans of modern Prog Rock.

Good to great debut, which seems to contain an inner spark, ready to set everything on fire in the not too distant future.Bombastic and mascular Neo/Heavy Prog with efficient keyboard and guitar waves.Recommended.

A delightful prog rock offering, DeeExpus' "King of Number 33" continues the legacy of the band following the very interesting debut from 2008. The most important change is the addition of Mark Kelly on keyboards and his importance on the band's sound is pretty obvious on the tracks where he contributes.

Although Steve Wright appears on the line-up of that year, he only guests at the album, while the song-writing force continues to be the duo of Tony Wright and Andy Ditchfield. Half of the album is reserved for the 26+ minute, 6-part, title-track which shows some of the song-writing skills (and reveals some of the influences) of Ditchfield. With the exception of the Spock's Beard-influenced, "sweet"-sounding refrain whose melody returns from time to time, the rest of the song is a solid heavy piece with adequate variety on the mellower parts and doses of Neo-prog, resembling Haken and Dream Theater, boosted by the Marillion-esque keyboards of Kelly. The latter's high-point is definitely "Maybe September" where after a (rather long but beautiful) melodic introduction, the song is lifted to unimaginable heights with a powerful Neo-keyboard passage that carries it safely to conclusion. The follow-up from the instrumental "Marty and the Magic Moose" is simply stunning and along with the title track constitute a very strong middle section. Although not poor, the opening, Porcupine Tree-driven, rather simplistic, "Me and my Downfall" fails to impress, except for the instrumental passage following the second refrain, and the same applies to the (rather commercial-sounding) closing "Memo" with Nik Kershaw on lead vocals, who, nevertheless, gives a strong melodic performance.

The influence from Marillion is more than welcome in an album that balances very successfully on the heavy prog side (mostly influenced by later Porcupine Tree) and the Neo-prog injected by Kelly. The production is powerful and the whole package rather professional. Despite the small deviations from quality, the album as a whole leaves a feeling of satisfaction to the listener and flows freely, deserving not less than 3.5 stars (rounded upwards in this case).

Best moments: Maybe September, Marty and the Magic Moose, Accession

After listening to the debut album HALF WAY HOME of DeeExpus, there's only one thing I could say: I'm glad there's still really good music in this planet! This album is really remarkable. Although it is marked here as a heavy prog album, which indeed it is, it also contains many elements of neo progressive sound, and that combination was really awesome. All the tracks have this trend of sounding hard at parts, melodic at others. The musicians are really remarkable, and there are some songs that resemble Porcupine Tree (especially some fragments that made me think I was about to hear "Anesthetize") but in a very different version. Deeexpus might be said to be the calm version of PT. Very good album!

Still known as The DeeExpus Project at this point, DeeExpus' first album Half Way Home finds the gang angling for a place amongst the UK's new prog innovators. It's clear that the band all have a deep affection for the scene when they include here a song like PTtee, which is a song about going to a Porcupine Tree concert and how ace Steven Wilson and his band are, and there's definitely a Stupid Dream/Lightbulb Sun-era Porcupine Tree influence at work here. Still, the band are capable enough that these occasional acts of homage don't descend into pastiche, and the album as a whole is a fun listen.

Deeexpus's live in Poland is quite an achievement for a debutante band on its first album and from the opening snow-plow heavy 'prog 'Greed' , the general impression is where has my jaw fallen? Darn, I need my mouth to talk! Well, my fingers will do all the work; at least they have been left intact! All the musicians impress mightily, bass monster Ian Raine looks utterly menacing, keyboardist Marc Jolliffe quite the contrary, while Andy Ditchfield and Steve Wright interlock their fretboards convincingly. Drumster Kev Jager pummels his kit with complete abandon and vocalist Tony Wright sings like the wind. What can be more pleasing?

'Pttee' is a barely veiled homage to Porcupine Tree, possessing the same clanging contrasts between groove psychedelia, raging electric onslaughts and tight rhythms. The prowess is deafening, between Ditchfield burning up the guitar and the pooling of achingly beautiful emotions, deftly portrayed by the hearty lead vocalist.

'One 8' is where their ability to craft lush symphonics comes to the forefront, a talented vision of melody, deep felt passion and structural instrumentalism. From the initial pastoral serenity painted by puerile piano tappings, the sweet lullaby begins to take shape and penetrate profoundly into the bliss. Suddenly as expected, the mood turns slowly more aggressive and then outright speedy, axes ablaze and riffing hard and fast, Raine pushing it all along like a death-metal he-man (he looks the part, too). A Wishbone Ash-like dual guitar barrage will undoubtedly elate the fans of such parallel forces at work.

'Pointless Child' is even more sedate, a sadly distressing affair, with mortal lyrics and a deadly chorus, using multiple backing vocals with guitars unafraid to buzz in the background. Breezy, crystalline and vibrant. The sing-along qualities are nothing to pooh- pooh, it's plain exhilarating! Loopy synths and all.

'Red' (no, not the KC song) is an original non-album comp that succeeds astrally, wonder why it never made it to record as it's a lovely slice of classic British prog, with all the usual suspects ingrained within the fabric of the song. Soulful singing and elegant accompaniment, flayed first by a terrific organ rumble, vibrating merrily and then slain by a driving axe solo full of vigor and sizzle. A colossal wave finale sets this one down to rest, Raine and Jager really punishing.

They finish off their brief opening slot of a multiple billing in Katowice with the bold, daring and epic 17 minute piece 'Half Way Home', a soon-to-be prog classic. In keeping with the theme of tragedy and despair, the subject is suicide, never an easy narrative but an epidemic nevertheless that has plagued humanity since time immemorial. This epic has all the adornments and grandiosity one could ask for but in a modern, hard-hitting format. The wah-wah pedal is used a la Steve Wilson, crashing, careening and carving crazily. Then, starkly, the forlorn mood is elevated by tape effects of an academic narration, gloomily morphing into rage, confusion and anger. Raine presses boldly on his chubby bass. Jager hits 'em hard between the eyes.

Encore, you ask? The sleeping beauty '7 Nights' puts all this magical music in perspective, entirely entertaining and riveting, wielding a huge chorus and some slithery synthesizer playing. A highlight track that has all the goods in spades (clubs, hearts and diamonds too), amazing on the debut disc and even better live! There is that unmistakable Level 42 vibe mentioned in my album review,

Knowing that 2 other more established bands were to follow, (Overhead and RPWL) the crowd showed amazing enthusiasm for the effort, a sure sign of impacting the unexpectant crowd and forging a future career. the band genuinely enjoyed themselves and the crowd. seeing is believing , what a talent here!

The slick package comes with a full CD version, bonus tracks, band interview and extra video. Yup! A star is born!

4.5 rest areas

I liked Deeexpus' 'The King of Number 33' so much; I went out and lassoed their debut as well as their Live in Poland DVD, mostly due to the amazing sounds that I witnessed on that magic second album. My favorite drummer Henry Rogers plays on the DVD but not on the debut, which suits me fine,

'Greed' is malicious opener, armed with a punishing barrage of mighty drums (Leigh Crowther), flailing along to the keyboard ('Cynthia'sizer again) sway, backed by gorgeous Tony Wright vocals and a Phil Sloane lead guitar solo. The setting is metallic heavy-prog like In Absentia-era Porcupine Tree, relentlessly hacking away at the pleasure nodes. Bassist Ian Raine holds down a cavernous low-end, dexterous and powerful, a dream come true for bass fans, what a cool and simple riff can do to an arrangement, what a way to kick of a debut disc! Phew!

'Pointless Child' forges the melancholia ahead, very despondent and binary rhythms unite to form a classical prog- ballad, presenting a valorous vocal full of emotion, the bass bubbling along and the bashing drums. The piano sits way in front, almost childlike in its expression, as the song becomes more upbeat and graceful, at times even close to breezy and well-crafted English pop (say Supertramp with a wicked guitar).

If Porcupine Tree was referenced earlier, here is the undeniable proof in the pudding! A track called 'PTtee' is no coincidence and the music within involves a Kraftwerk-like drone intro on ponging synths (TEE-era) and the impetuous guitars pummeling mightily, razor- sharp and lethal, the rumbling surge devastates , only to be briefly softened by an elegant piano sortie. Crowther is no slouch on the drummies, hitting hard and often! This is another awesome track, gargantuan pillars of 'boom' batter the brain into proggy submission, showing why there has been so much recent adulation for this talented band. The seeds were set here for the sophomore release of which this is a fine (though tougher) brother. A Manfred Mann-like synth blast (Mike Henderson ) adds even higher octane fuel to the incandescent fire, slipping into a serene mid-section with e-piano (devilish decision!). The colossal guitar solo is ridiculously raucous, careening outrageously and brashly untamed, searing the chorus all the way. Phew!

'One Eight' mellows the atmosphere somewhat, an effortless piano theme and a sweepingly sweet voice dance in loving embrace , hip to hip and lip to lip. It's a slow comprehensive song, with massive orchestrations that suddenly (you guessed it) gets heavy. An extended Sloane onslaught (word games again!) leaves any potential indifference far behind, catapulting the piece forward like a laser-guided projectile. Power ending, boom! Phew!

Snippet time for 'One Day' , a Beatles White Album-like ditty , pastoral Englishness front and center, cricket and crumpets, if you please!

'Seven Nights' owns a bass riff to exhale for and some delectable Tony Wright vocals, soulful, groovy and memorable, held together by an accessible chorus, all amalgamate like a proggier Level 42. Insistant synths and drums induce hypnosis and ultimately the Formula One guitar solo nails you to the cross. Titanic track, this! Phew! To have the sheer audacity to end their premiere release with a 17 minute rambler, well'..That's ballsy! The title track 'Half Way Home' has all the ingredients necessary to vulcanize the finest pedigree of prog . The usual premeditated cheerful introduction blooms into a shimmering refrain, organ trembling mightily, guitars clanging with joy and exalted vocals. The bass and drum arsenal packs a tight punch and batter ahead mercilessly. The raging guitar swirls screech amid the leaden riffs, veering nearly into heavy-metal delirium. We are brought back to placidity with a forlorn narrative vocal effect and a gloomy musical pretense, pioneered by classic Pink Floyd, the bass taking over the controls to the heart of the home. Intensely dreamy and touching, the epic searches out many volatile sonic landscapes, blending luxuriant symphonics with stunning effect (cascades of mellotron). Then things boom-boom again, break-neck sizzle, machine gun guitar, bass and drum salvos, what a climate of swirling panacea! I have rarely witnessed such a powerful progressive rock epic. My goodness! Phew!

This is the essence of Deeexpus' talent, the ability to go from very heavy to very airy, and back, without being corny and mostly, by adhering to the structural purity of their craft. That is laudable to the hilt. Andy Ditchfield is another musical genius, I can assure you! A star is born!

5 Phews