LIFESIGNS

This is the third release from Lifesigns, but first that I have heard, but I am very impressed. Lifesigns features John Young (keyboards-vocals), Dave Bainbridge (guitar), Jon Poole (bass-vocals), and Zoltan Csorsz (drums), all veterans of other bands, and they provide a diverse mix of styles, from pastoral to symphonic flourishes, while maintaining strong melodies and vocals throughout. Alternates between shorter more pop-rock sections to the more elaborate and lengthy prog excursions, culminating in the beautiful ballad 'Last One Home' and a brief reprise of the opening 'Altitude'. Overall, a beautiful and accessible progressive rock album filled with strong emotional connections, evocative melodies, and powerful instrumental passages. 4 stars

As one may ascertain from the title, this is a live album which was recorded at De Boerderij, Zoetermeer on the tour for their third album, 'Altitude', in August 2022. By this time the line-up was definitely feeling much more like a band than a session set-up, with keyboard player and singer John Young (The Strawbs, John Wetton, Bonnie Tyler, The Scorpions, Fish, Uli Jon Roth) still working with his next door neighbour Steve Rispin (sound) along with guitarist Dave Bainbridge (Iona, The Strawbs) and bassist Jon Poole (Cardiacs, The Wildhearts) plus newest recruit, drummer Zoltán Csörsz (The Flower Kings, Karamkanic, The Jan Lundgren Trio, Tomas Bodin etc.). Yes, this is a bona fide supergroup, with all the players bringing something special to proceedings. I have followed Bainbridge for some 30 years now, loving his touch and finesse, and in Young he has very much found a kindred spirit (although John used to be in The Strawbs, and David is a current member, they were not members at the same time) and he moves between acoustic/classical and electric to ensure he is always providing the support required. Jon Poole is one of the finest bassists in the scene and has been for many years (and as I keep saying, if you ever find his solo Zappa tribute album 'What's The Ugliest Part Of Your Body?' then grab it) and he and Zoltan fully understand there are times in this music when they need to sit back and wait for their time.

This is prog music which is reflective, full of lightness and deftness of touch along with loads of emotion and atmosphere. John has a wonderful vocal style, writing songs which suit his style, allowing him to hold the notes and it is strange to realise he is not more widely known for this as well as his keyboard playing. "Ivory Tower" is a wonderful example of the delights of Lifesigns where the first half is all about classical guitar and vocals with just little touches here and there from other instruments until it awakens in the second half with nice electric guitar, a dominant rhythm section and the vocals being far more forceful as the band remember the rock part of prog.

The total playing time is just 100 minutes, yet it goes past incredibly quickly as the music brings the listener into John's world. I highly recommend playing this on headphones so one allows nothing else to intrude into the world being created. They can be more dynamic, such as on "Shoreline", and one of the joys is the intricate interplay between the three melodic players with Zoltán driving from the rear, while another is the way John switches between keyboards and piano as the need arises. There has been a gap between each of the three studio albums and let us hope we do not have to wait so long for the next one, but is you have yet to come across Lifesigns then this is the perfect introduction.

My introduction to Lifesigns was their last studio album, 'Altitude' which won me over. Of course I backtracked to all the previous releases. So when 'Live in the Netherlands' was announced, I wondered how different this would be from their previous live album would be, 'Under the Bridge'. Of course the big difference is the inclusion of songs from the 'Altitude' album and it is one of the best live albums I have heard. This two disc set is a great showcase for John Young and band. Jon Poole exhibits his expert bass playing, Zoltan Csorsz, the new drummer to the band exemplifies this rhythm section with grace and timing. Dave Bainbridge a guitarist with feeling and passion and of course John Young expertly guiding his wonderful compositions of prog purity.

The set starts with 'N' from the second album, 'Cardington'. An excellent opener, it is energetic and exposes the rich depth of the songs to it's fullest. It sets up for what follows this fantastic night. It has waves of emotion with it's quiet moment half way through and then coming back to it's initial theme from the start of the song. 'Open Skies' follows, a nice shorter little rocker that keeps the audience entertained I have to say, 'Different' is a favourite of mine and am glad it is played here. A song I could listen to over and over again. This continues with 'At The End Of The World'. It has a calm, delicate beginning. Love John's classical type interludes in this piece with a haunting synthesizer coming in with military style drumming half way in. A beautiful and touching part of the music. There's a nice piece of vocal collaboration between John and the background singing getting near the end of this track that adds to the climax. The first disc ends with 'Impossible', another song from the second album. This song is very melodic and is very catchy. A great guitar solo rocks near the end of this track. Don't be surprised if this tune gets stuck in your mind long after hearing the song.

The second disc starts with the title track of the last album, 'Altitude'. The 15 minute epic starts with the soft piano tinkle and violin sounds opening for John's comfortable singing. Followed by the dramatic drumming and fast synthesizer, the guitar enters proving the tapestries weaving in this band is tight and well performed. A fabric of many colours for all of us to enjoy. This song has many twists and turns. The reason for it's length, to allow all the elements to flow and merge together.

What follows is most of the 'Altitude' album with 'Gregarious', 'Ivory Tower', 'Shoreline', Fortitude' and 'Last One Home'. 'Gregarious' has a beginning which reminds me of Beatles tunes which then incorporates a depth of strong bass and dramatic piano and synthesizer highlighting John's dexterity. I love how John Young gets introduced as the 'maestro' at the end of this track. A true comment for sure.

'Ivory Tower' starts with an almost fairy like tune, feeling like you are almost amongst the best of nature itself. Nice and touching acoustic guitar and rolling vocals transports you to another pleasant place. Half way through the change hits with the strong and melodic guitar solo. The energy erupts with a David Gilmour type guitar and drives the listener through to it's conclusion.

'Shoreline' begins very 'proggy'. Notes jumping around until it calms down to a more eloquent passage before introducing the John's singing. One thing I find with songs of Lifesigns is the choruses are usually very memorable and hits that spot that makes you want to singalong.

'Fortitude' is the final epic lasting 10 minutes. Underneath the singing on this song, the music seems to me very busy and complex, a deep undertow that compliments John's more softer singing tones. As always, beautiful guitar solo's ensue taking the audience on a lilting journey. A wonderful high energy synthesizer takes us to the end of this track and drives home as to why this band should get all the recognition it deserves.

'Last One Home' starts with a lonely melody and delicate singing. John's compositions takes us on a visual trip in the mind through sonic means. You can close your eyes and his music takes us to wherever. This song is the very definition of that comment to me.

'Kings', the final song and a brilliant concert closer. The guitar opens up with a strange Japanese tone leading to the whole band coming in and joining in this snappy little instrumental.

Listening to this album gives me envy to all who were there that night. The mood and atmosphere of this concert is astounding and would be a crime not to be released. I have no doubt I would have walked out of that concert with vigour and wonderment. As good as the studio albums are, this proves how good this band is live. This is high musical talent which cannot be ignored. I hope the future is very bright for this band because I would love to hear further recordings.

No disrespect to powerhouses Transatlantic, The Flower Kings and whomever the prog audience deem fit to be called a super group, my choice for a group of super veteran musicians would be Lifesigns, a dazzling outfit that currently has a few insanely talented players, namely the Ionic Dave Bainbridge (who is easily my favourite guitar player for the past decade or more) , the maestro John Young on lead vocals and keyboards needs no introduction, the classy Jon Poole on thundering bass guitar and a world class drummer (as well as compatriot) Zoltan Csorsz. The added 5th musketeer is sound designer Steve Rispin, an accomplished engineer who influences both studio as well as live output! Their three studio albums are extraordinary examples of refined, complex yet still accessible symphonic prog of the very finest quality. From their 2013 self-titled debut that featured bass legend Nick Beggs and drummer Frosty Beedle with guests Steve Hackett, Thijs van Leer, Robin Boult and Jakko Jakczyk onto 2017's magical Cardington (a personal fave), landing Bainbridge and Poole as well as more guests Menno Gootjes (Focus) and Niko Tsonev (Steve Wilson), finally arriving to Altitude , a 2021 release that settled the band into a loyal and homogenous unit that has now recorded a live album in the Netherlands, the object of this review.

The setting for this live concert is the now quite famous Dutch venue, the Boerderij in Zoetermeer in August 2022, presented here as a 2 CD set, with the first being a best of compilation while the second is more aligned with the Altitude album. A dozen masterful tracks that will provide any listener the seal of absolute quality in terms of pristine sound (Dank u wel, Mr. Rispin) within the context of exceptional tunes played by off the charts musicians.

The concert kicks off with engines on and motors running, as the colossal 'N' swerves into the collective spirit of the moment, an enthralling epic that acts as a willing anesthetic for the major sonic surgery that is about to begin. Thrilling from the get-go with a dancing piano motif that leads the crew, eventually blending in a variety of synthesizer and organ tonalities, a growling bass menace coupled with drumkit gymnastics, vacillating between bombast and serenity, all the while serenaded by John Young's rather fabulously convincing voice, the entire arrangement drenched in dramatic enthusiasm. The attention to detail is paramount, such as the slivers of electric guitar slashing across the stage, the fertile synth runs and dressing up with majestic mellotron to add to the thrill. Stimulating music by any and all accounts. 'Open Skies' is a John Young solo song, a bubbly little framework upon which a catchy theme takes hold, featuring a blistering Bainbridge rumble that would make Allen Holdsworth blush and the contributory bass and drums in complete harmony. A churning organ barrage is a highlight that leads to wild applause. 'Clap along to Zoltan' is said in the microphone and the crowd willfully obliges on the sleek 'Different', as Young's bluesy rocker voice grabs the attention, heavy pillar guitar in tow, Poole staggering along with the bashing beats in on the ride. An ornate piano and oboe patch preps the next phase, an intrepid vocal theme gushing with class and a chorus that sears into the nodes, eventually slipping away, slipping away. The interplay is razor sharp, the mood otherworldly and, well, 'different. A poignant finale.

From their debut album, and according to Young, a joyful song about the apocalyptic termination of mankind 'At the End of the World' is astonishingly upbeat, like endless musical rays of sunshine warming the skin. No hint of rage or anger, at least until halfway in, Zoltan revs up the wrists, arms, legs and feet and shoves this arrangement into a more bombastic realm, Young leading the fast-paced but still enchanting chorus into overdrive, with tons of harmony vocal backing. A scorching electric lead raises the roof! Beginning of a new world will rely on the imposing 'Impossible' enchanting the ears, and this is certainly an extremely catchy lyrical ballad with a singalong chorus for the ages. Yes, its accessible but otherworldly heartfelt and infectious. The Zoltan propeller is effective in keeping this amazing piece solidly entrenched as a highlight track. But when Dave scours the heavens, the prog element really shines through, a wickedly impossible solo that just keeps on giving.

'Altitude' is also longitude as this is a nearly 16-minute epic that forcefully stamps the prog seal on the proceedings, a typical stretched out framework for both melody and instrumental prowess to showcase their worth. The spotlight beam is on Young's piano and voice, as 'the tears roll right down my face', then some tumultuous drum shuffles, choir voices and Poole's guided missile bass shifting the whole into elevated overdrive. Loftiness is reached when guitars and synths join in in the rarefied stratosphere. Once beyond and in orbit, the mood becomes serene and galactic, more piano, and dried cheeks, a violin patch adding drama to the cosmos. An echoing vocal section with manic jazz flourishes from the Mad Hungarian as well as Bainbridge using some slide technique, really show the incredible creativity of this crew. More weeping, more ivory, more 'empty space'. The apotheosis is achieved when the arrangement reaches its apex, a paroxysm of unabashed pleasure and sonic bliss. The crowd applauds but is not over just yet, the afterglow needs to kick in first, with Young caressing his synthesizer in carnal delight. A very 'Gates of Delerium' feel for the outro. What a glorious high! (Excuse the pun). The bouncy 'Gregarious' recalls the opening tune 'N' in that it incorporates the same irregular rhythm but this time adding a monstrous verse and chorus. Convivially stating 'all the things we do, all comes down to you, how we sanitize'. A coarse tone on the savage guitar foray, full of piss and vinegar really hits the mark. Band member introductions of course.High above on the horizon, there is the 'Ivory Tower', borne out of a tremendous melody that can only be measured by the passion expressed from the voice. Life is a roller coaster for us all, no one has had a perfect ride and this piece certainly finds a proper way to describe the pitfalls. As such, it's a bittersweet ballad about 'finding my way home' and while perfection cannot exist, this beauty is a gem, nevertheless. The dynamic' falling down' section gets hot under the collar, finding a new direction is not easy (except musically it seems).

The mood veers now to jazzier perspectives with the cool cat 'Shoreline', a song about salvation that serves as a platform for some tingling electric piano, Zoltan proving he can flex with the best, like a steaming locomotive. The words 'Save Me' and a roiling organ need no further ornamentation, though Dave slaps off another guitar fizzle and John whips his synth into shape. 'Fortitude' keeps the melancholia alive, another splendid epic track that has the perfect balance between melody, chops, contrast, atmosphere, and technique, perhaps the most experimental track here with tons of variations, solos spots and boundless energy. So much so, I find it hard to believe I am listening to a live concert, as the sound is pristine beyond a Caribbean blue green lagoon. This is clearly due to Rispin sitting at the board, as he is a musician/engineer with a prominent role in the band. The magnificent 'Last One Home' wades in serene majesty, a soft undertow of melancholic reflection, blessed with a crushingly imposing melody sung to absolute perfection, and anointed with a masterful guitar solo that explains why Dave Bainbridge has been my top guitarist for the past decade. Restrained, profound, sincere, and devastatingly painful, a bluesy lament like you have surely not heard since Gary Moore left our world (I am sure he is applauding from above). A thing of beauty. The finale instrumental 'Kings' has a tingling keyboard intro that sounds like some thing from the Far East, before it explodes into a furious melange of riffs, rolls, rocks and shoals, a slight hint of Zeppelin that was awesome to behold (Ed- Stop with the poetry, will you!).

Easily the finest live album I have heard in a very long time. 5 Dutch windmills

I really like this band. They remind me of the bands from the 70's who kind of fit in between Prog and Soft Rock. But at the same time they really push into some really high quality Jazz Fusion territory. Like Ambrosia meets Luc Jean Ponty or something of the sort. There does seem to be some 80's Peter Gabriel influence sprinkled around that's hard to miss. The music does sound a bit more accessible than you would want it to be as a Prog fan but they make it a good thing. Something Big Big Train has mastered.

This isn't your typical Neo-Prog album by any means. Nothing really dark here. Warm fuzzies coming your way!

This is really a feel good Prog album and the music and vocal melodies are phenomenal. Takes you back in time to the Soft Rock/Prog hybrid albums from Alan Parsons, 10cc, Al Stewart, Ambrosia, Pink Floyd, etc. And like those early 70's Pink Floyd albums they have some really good epics attached. Fridge Full of Stars sets a really high standard of quality for what you thought would be more of a Soft Progressive Rock album. Thunderous bass from Nick Beggs. Beautiful piano and flute solos. Plenty of awesome Jazz Fusion, if you really like Pat Metheny and Weather Report you will love this. Probably my favorite track from this band so far and I love every track on this album.

Steve Hackett and Thijs Van Leer make guest appearances and really make the most out of those short moments and make them moments you will remember and appreciate. You will know exactly when their undeniable appearances are being made.

Highly recommended album for fans of older and maybe even newer Prog albums. It will resonate more with people who grew up in the 70's and 80's and bring back floods of great memories of how wonderful this type of music is. But somehow there is a more modern sound attached to this band. Plenty of new ideas that have rarely been used in the past and enough experimentation blended with more accessible material this album and this band could bring in diverse audiences. I think a lot of people who love Prog, Jazz, Classic Rock, Soft Rock, and any mixture of those genres could end up really loving this album. This band should be far more popular than they are bringing in pretty large audiences. At least they are putting out really good music.

2021 saw Lifesigns back with their third album, and although keyboard player and singer John Young (Qango, Greenslade etc.) is the only person still here from the debut, it is wonderful to see both Dave Bainbridge (Iona and others, one of my favourite musicians) and Jon Poole (Cardiacs, The Wildhearts ? and I've said it before so I'll say it again, if you ever come across a copy of his solo Zappa tribute album 'What's The Ugliest Part Of Your Body?' grab it) back for another round. Founder drummer Martin Beedle is not involved this time around, and instead his role is taken by Zoltan Csorsz (The Flower Kings, Karmakanic etc.).

The four guys involved in this release have been involved in many bands, normally more than one at the same time, and given the opportunity live their lives on the road (pre-Covid I saw updates from John of his touring with Bonnie Tyler, while David is often out with The Strawbs), so they all know what they are doing. Zoltán is a very busy drummer, hailing originally from the jazz scene, yet somehow Jon still finds room to make his presence felt, while Dave and John switch between support and providing melodic lead. The result is an album that is both pastoral and symphonic, delicate yet with a swelling beauty, a progressive rock album where the focus is on powerful songs and sympathetic vocals without masses of "look at me" sections. Musically, these guys have absolutely nothing to prove as they have been at the top of the stack for years, and I have been following Dave's releases for some 30 years now and he has never put out a bad one. So, why would he start now?

But this is John's band, and he knows what he wants to achieve, and the result is a series of prog songs which are one delight after another. They start with the longest song, the title cut which is more than 15 minutes in length, a real statement of intent. Yet somehow it never seems as if it is dragging, as there is a life and vitality within it which is a delight throughout. The highlight comes near the end, which starts as if it is a solo effort from John, "Last One Home". Delicate vocals, piano and additional keyboards, Dave lays down some wailing background guitar, while the rhythm section only come in after a few minutes, and then keep it restrained. The guitar solo is a thing of beauty, just notes being gently picked and sustained, bent and glorious. This is a real builder, and as the song progresses everyone ups the ante, both in the layers and complexity of playing, but it never moves far from the original theme and ends with some Moody Blues harmonies which are a delight.

This is a fresh album, full of light and joy, and stands out among the current crop as the restraint within allows the dynamics to build. We end with a reprise of the opener, here less than two minutes in length, which leads us easily into playing the whole thing again. Wonderful.

The Lifesigns sound and song quality is now, after three albums, legendary. I'll never forget the delightful surprise that was 2013's eponymous debut--an album that still sits on the edge for me as to whether it's a masterpiece or not. In terms of aural candy, it definitely is. Though the list of John Young's support cast has shifted, the sound is still great.

1. "Altitude" (15:18) a song that gets better and better the farther you get into it, the vocals and lyrics are a bit lackluster while the bass, drums, guitar and keys are quite good. Wonderful aural scapes and an absolutely gorgeous finish. I was hoping for/perhaps expecting the amazing lead and harmony vocals from the band's debut, I'm sad to find myself a bit disappointed. But, then, the sound production value is so beautiful, so clean and multi- dimensional, I'm almost willing to let go of my disappointments. (26.5/30)

2. "Gregarious" (4:38) opens with a bouncy piano sounding a bit like Queen or Foreigner. A bit too much like the quirk of "Cold as Ice" yet weakened by the relative stuffing into the background of John's lead vocal track. I was not expecting this as his warm, intimate voice was one of the highlights of the previous albums. Really nice PINK FLOYD "Comfortably Numb"/GEORGE HARRISON "My Guitar Gently Weeps" section from Dave Bainbridge and the background chorale singers in the fourth minute till the close. (8.5/10)

3. "Ivory Tower" (7:42) Whoa! 4:25 of Steven Wilson's Hand. Cannot. Erase. crossed with Peter Gabriel's "Mercy Street." Then it kicks into part two, drive. Nice music, nice sound--except for the thinness and deeply buried effect on John's vocal track. A song of regret and envy whose lyrics are a bit too simple. (13/15)

4. "Shoreline" (7:38) a jazzy opening turns spacey before still settling into an almost Steely Dan vein. Finally, John's vocal track is brought slightly forward and given a little girth (but still not enough). Keyboards dominate, chord sequencing and background vocals are definitely in the Steely Dan house of pop jazz. Great excursion into jazz fast lane in the instrumental sixth and seventh minutes. A very solid song with excellent musicianship that seems to need a different vocal approach (or lyrical topic). (Where are Donald Fagen or James Grant when you need them.) (13.25/15)

5. "Fortitude" (10:07) nice song structure, chordal flow, and melodic trails. Again, I'm not sure what John's singing about but something here feels meatier--feels like something to which I'm more connected (which is entirely due to the magic of John's voice). Just wish his voice didn't sound so compressed. Interesting tension built from the musical drift in the seventh minute. Brilliantly brought back to warmth and trust by the following vocal and instrumental passages--the latter of which, starting at 7:30 is quite powerful. Great synth work along with deep, throbbing bass. Now this is good prog! The best song on the album! (18.75/20)

6. "Arkhangelsk" (0:57) interesting inclusion on the album--unless it's meant to be the introduction to the next song. (4/5)

7. "Last One Home" (6:14) from the opening piano and synth chords one can tell this is going to be a sad song. It sounds like a pretty blatant lift of Elton John's "Sorry Seems to Be the Hardest Word"--piano, pace, and vocal melody lines. A song that seems to be about the relationship dynamics of a seaman and his distant wife while the seaman is at sea--the stereotypic idealization of the "sad" life of the sailor and the often solitary sailor's wife. Very nice bluesy guitar solo by Dave Bainbridge--for a full two minutes--in the instrumental middle. (8.5/10)

8. "Altitude (reprise)" (1:50) sounds like a new, trailing verse to STING's "An Englishman in New York." (4.25/5)

Total Time 54:24

For whatever reason, the engineering of the vocals are not as warm and intimate as those on Lifesigns, and, thus, not as effective. (Perhaps there has, in fact, been a weakening of John's voice over the past decade?) Having that gorgeous, engaging voice so "removed" instead of "in my brain" is actually quite a disappointment. John's support crew of Jon Poole, Zoltán Csörsz, and Dave Bainbridge are definitely a winning combination--as are the other collaborator guests. As competent as Jon Poole is, there's just something so magical about the bass/stick work of Nick Beggs. My final impressions are that the music needs to be more dynamic and John definitely has to record, engineer, and mix his wonderful voice back to the front and center of each and every song.

B/four stars; a nice addition to any prog lover's music collection--especially valuable for the two centerpieces, "Shoreline" and "Fortitude"--but, if you've never heard this band's debut, you are really missing out.

Lifesigns first self titled album saw them in full on prog mode with Nick Beggs onboard then the follow up Cardington showed their more AOR tenancies with Jon Poole replacing Beggs along with another assortment of guitarists. Now this third studio outing has the current line up of John Young, Jon Poole, Steve Rispin, Dave Bainbridge and Zoltan Csorsz giving the best of all worlds including AOR, prog and even a little jazz fusion. Whether it is on the 15 minute plus opening title track with its Strings and beautiful harmony vocals supplied by Lyndsey Ward (Exploring Birdsong) or on the punchy Gregarious there is plenty of depth to the song writing and each member of the band plays a vital roll in the overall feel of the album. Two songs are reworked from Young's earlier career with Ivory Tower getting keeping its twists and turns both lyrically and musically and even includes a special appearance from Robin Boult who appeared on the original John Young Band version. The second rework is Last One Home which is the tour de force of the album. Anybody who isn't in tears by the end of Bainbridges guitar solo has no heart. Along with all of this you also get the backbone of the album which is Shoreline and Fortitude both of which are sure to be fan favorites especially once the band can perform them on stage. This is defiantly the most complete album Lifesigns have released to date despite the lack of big name guests as on the previous releases and I'm sure it will see them reach a new level. John Young has a great ability to leave scope within the lyrics for the listener to interpret the songs in their own way and the five members of Lifesigns are definitely at the top of their game. An early contender for album of 2021.

Altitude is the third studio album by Lifesigns, the progressive project started by John Young, the keyboardist and vocalist who has worked with a plethora of stellar prog artists, notably Jon Anderson, John Wetton, Fish, and The Strawbs. On this, he is once again joined by Dave Bainbridge on guitars and Jon Poole on bass/vocals, alongside new drumming recruit, Zoltán Csörsz.

There is quite an eclectic mix of styles and composition here, but the honourable mention must go to what must be one of the finest ballads ever put to disc, Last One Home, a quite gorgeous paean to the power of nature, and man's mastery of it. This features precisely the kind of lush melodies, a beautifully understated at first, rising and peaking in intensity as it progresses, guitar solo by Bainbridge which should appeal to admirers of Latimer in particular, and atmosphere which ticks every single box for me. Sumptuous and a standout for the year, the closing passage in particular is deeply moving.

And what of the rest? The title track opens proceedings, and is also the longest at 17 minutes if one includes the reprise at the close. Young is a master of his keys, and the piano especially is rather lovely. There are some haunting backing vocals by Lynsey Ward before the track segues into its major passage. All four play as a really tight unit, and Csörsz in particular stands out for a rather excellent drumming performance. The track includes some nice violin and cello solos by guest artists, and altogether this is a sublime atmospheric piece of music, perhaps let down a little bit by some out of place forays into more jazzy territory in the second third, although this is perhaps a matter of personal taste on my part, because the thoughtful soundscape reasserts itself very strongly to close, including the triumphant return of the strings at the denouement.

Gregarious reminds me so much of Alan Parsons Project that I had to check whether it was, in fact, a cover. It isn't, and the comparison is in no way meant to be disparaging, because they are responsible for some fine music, and this is an extremely pleasant track in the main, although the keyboard noodling prior to the closing section again, I am afraid, is rather out of place with all around it. I don't object to a bit of noodling, but I do like it to fit into the work I am listening to. As elsewhere throughout, Bainbridge produces some lovely guitar riffs.

Another exalted guest, Robin Boult, plays some lovely acoustic guitar on Ivory Tower, with gentle keys as a backdrop, and yearning vocals create an intelligent piece dealing with love and betrayal. On this piece, the move from thoughtful to more charged and pacy music works better. There is some fine fret work from Poole on bass in particular.

Lifesigns are categorised as neo-prog on our site, and the start of Shoreline with its signatures and feel is perhaps the most "neo" as we understand it on the album. Perhaps it is indicative of how my musical tastes have progressed over the years when I state that I find this section unconvincing, but the overall sense of the album reasserts itself from the "Take me to the shoreline" middle section before Young first with a synth solo, and then Bainbridge with his riffs, take us back again. Those of you who think that Marillion were far better with that big Scottish bloke, and Pendragon should never have progressed beyond Kowtow, will get a lot out of this track, but it is the weakest track of the album for me, I am afraid.

The other ten minute plus track is Fortitude. Bainbridge shines again on this piece, which is a very wordy track. I do wish we could have had more than the final two or so minutes of the closing instrumental passage, a wonderful keyboard led section which soars, and is, to me, perhaps an indication that this album, as good as it is, could have been so much more.

At less than one minute, the instrumental Arkhangelsk is too short to really pass judgement on, but I get the impression that the dark mood it suggests could have been extended into something quite interesting.

In parts, this is a really fine album, but my overall impression after many listens now is that these are not sufficient to make this something really special as a whole, which is a shame. If I had rated this after the initial couple of listens, then my rating would have been higher, but, with familiarity, I have no hesitation in recommending it to readers of this review, but with the knowledge that it really could have been so much more.

I've known Lifesigns since around 2015 when I stumbled upon their debut album 'Lifesigns'. Well, I'd actually owned it for about a year but only had one listen through in a busy year for me. One evening I played it again, this time more attentive and Wow! I played it again and loved the rock/jazz fusion, the Yes overtones in 'Fridge Full of Stars', and the racing finale of 'End of the World'. Next step was seeing them 'live' and meeting some wonderful fans of theirs. Through them, I've made new friends and met John Young himself who is about the most genuine and personable rock god you could ever meet! So by now you may think this is not entirely an unbiased review. You could be right. 
With another brilliant album 'Cardington' in 2017 (reviewed elsewhere), Lifesigns started to lay down their credentials and strengthen their music with the addition of Dave Bainbridge, guitar extraordinaire (and another most personable guy). Ripples along the grapevine caused their fanbase to grow and soon their gigs were becoming family reunions and community events. Their Facebook fan page (Esprit De Corps) has become a great meeting place in these difficult times. When John Young (leader and keyboard player) announced 'Altitude' as their next album, a crowdfunding campaign was launched and within days had reached its target - -such is the support, loyalty and enthusiasm of their fans. And so the great day arrived this March (2021) for its launch. After all the hype and build-up, would we be disappointed? Would it become a musical step too far? How would the new drummer adapt? Would the remote recording of this album in these difficult times prove to be technically too stretched? Answers to all four questions: - No! In fact, we were all blown out by the album. Lifesigns have truly gone up a level. Never had I known a fanbase react so positively, genuinely and emotionally. There are tracks on this album that evoke emotion and bring people to tears - me included. There are guitar solos by David Bainbridge that Mr Gilmour would be proud of. John Young's keyboarding towards the end of 'Fortitude' against a phenomenal and powerful layer of bass always brings a tear. The songwriting, the amazing bass lines by Jon Poole, the genius and complex drumming of new drummer Zoltán Csörsz (ex-Flower Kings) make this, for me at least, a classic album which I haven't yet tired of playing. As someone once said to John Young - "you were born too late". Had Lifesigns produced this in the 70s, they'd be rivalling Yes, Genesis etc etc. But now people are starting to talk about them as this year's big discovery in Prog.
 I will admit that in my 50 years of loving Prog Rock, listening and seeing hundreds of bands, there have only been 4 bands that have made a huge impact on me - Yes, Genesis, Pink Floyd, Pendragon and now a 5th band has joined that elite ?. Lifesigns. I won't go into a track by track analysis of 'Altitude' because, in my opinion, they're all amazing but it's you that need to discover them for yourselves. The songwriting, the musicality, the quality of the production - you discover something new with each listening. My personal favourites amongst all these great tracks are 'Fortitude,' and 'The Last One Home'. The 15 minute epic 'Altitude' kicks the album off and many fans are citing this as their favourite track and this doesn't surprise me. The songwriting on it, the guest musicians and singers, bring another superb layer to this Lifesigns' production. Which gives me the opportunity to introduce the 5th member of the band, Steve Rispin, master sound engineer and musician who tirelessly and doggedly put this classic album together and boy!, does it show! Even though I'm a fan myself, I like to be genuine and sincere in my recommendations. I also considered carefully the Star rating I should give but the emotion and pleasure that this album gives me made it a no-brainer. 'Altitude' is simply a Prog album you must have in your collection and all reputable radio stations should be playing tracks from it. So, if you want to discover a massive contender for Album of the Year, buy this CD or get the download from the Lifesigns website. Then go and see the band 'live' and join a wonderful family. You won't regret it.