A SECRET RIVER

Ten years ago, I had the pleasure of discovering a new band from Sweden called A Secret River with an album entitled Colours of Solitude. Deeply melodic and highly attractive prog music, firmly led by a strong bass guitar presence, superb drumming as well as judicious keyboard and guitar work, all having left a wonderful impression and a high rating, well deserved. Ten years after (no, not the band), the unit returns to the prog stage with a sophomore effort "Mirror Universe" that stays true to their vision, pretty much the same crew in charge, led by multi-instrumentalist and vocalist Andreas Olov, syncopation master John Bergstrand and keyboard maestro Bjorn Sandberg as well as Elin Bergstrand on added vocals. Three guest guitarists provide the fretboard electricity needed to fuel this engine. Note to all bass guitar aficionados, this is another sonic feast just like the debut album, it is littered with stunning bass lines that stand out clearly.

The wind-swept beauty of "Celestial Fields" really sets the tone, with a myriad of seductive features within a well- constructed structure that aims to create a complex yet effective, jazzy nevertheless hummable track. Infusing ornate piano musings, as Andreas' velvety voice emotes with a breezy grandeur, the direction taken over by a roiling organ, bouncy drum strokes and an unexpected and long bass guitar spotlight, played upfront, centre and dazzling. The following piano solo is no slouch either and all is topped off with a beautifully insistent chorus, that immediately settles in for the ride. Brash guitar riffing and howling choir mellotron elevates this to stellar status as the title seems to infer. Starting off in a conventional construct, "The Bridge" is certainly guitar heavy as it builds up a heady storm, the piano once again the choice foil in adding acoustic joy to the arrangement, while the monster rhythm section holds back nothing. The divine chorus is grandiose, soaring high into the sky, though this is a bellicose piece of bold prog rock as the rampaging guitars attest. Romantic is the mood for the quixotic piano on "Moments" but not for long, as the flirting turns into outright desire as the scratchy guitars monopolize the sizzle, held in check by another immediate melody and chorus, loud and proud, unfettered. A nine-minute bulldozer that offers no respite, a catapulting bass relentlessly keeping the pace on full throttle, the drum kit securing the rearguard. The electric guitar solo slices, slashes and goes back to its bullying tactics undeterred. I need a moment to catch my breath. The title track starts off as a piano-bass duet lullaby, taken over by Elin's voice à la Haslam, emitting a Renaissance feel that is emboldened by a rigid beat, electric guitar shavings and a distinct feel. Soon, the mood is hectic, almost chaotic, halted by an unexpected keyboard sampling, first some echoing electric piano and then a roiling Hammond organ solo. Intriguing, original and tasty. "Beyond My Fears" is electric guitar centric as the clanging fretboards weave a stirring pattern that soon adds on a choppy shuffle, upon which Olov gets to warble his take on his inner demon. A more conventional approach is proposed here, almost AOR but nevertheless tainted by a serpentine bass line that coils up from the mid-section, two fangs at the ready. The guitars start churning once again, transitioning into the vaporously dreamy, before elevating to a higher plane with a soaring killer guitar solo that expunges all the evil spirits. The ominously worded "The Pain You Didn't See" is a melancholic dive, where the verbose piano and seductive guitars dance together in a melodic tango, both able to express themselves to the fullest. An all-instrumental affair that offers also that ability to tell a story without words and leave it to the listener to decide what hurts and what is visible. Definitely a highlight track here.

Ending the album on a nearly 16-minute mammoth is quite a ballsy move. A slightly psychedelic kaleidoscope of sound greets "Billions of Souls" before evolving into an overtly romantic tone, the brooding guitar 'scorching flames' as the robustly bulging bass bullies the pulse along. Slight vintage The Flower Kings feel (Hello Sverige), especially audible in the vocal department as both the lead and harmony voices seem incredibly familiar. Stellar piano topping the raucous guitar surge is always most appreciated, and that devilish bass lurks just underneath. Each musician gets to stretch out their individual talents with extended spots, including Elin and Andreas who really shine separately or united on their microphones. This just maybe one of the top early 2024 epics to consider for greatness, as it rips, bulges, hurtles and swerves with the best of them. Worth the price of admission, I assure you.

Welcome back to the Prog universe, hopefully no more decade-long waiting periods for the next tributary, regardless how top secret your waterway may be.

4.5 Reflective galaxies

Swedish band A SECRET RIVER has been a unit in development for a good number of years, for many years the creative vehicle of Andreas and John, but then solidifying into a four-man strong band a few years back. Following an initial EP in 2012, they self-released their debut album "Colours of Solitude" in 2014.

The delicate blend of details that arguably can be traced back to neo-progressive rock, jazz-rock and AOR-ish rock that makes up the outer edges of the landscapes explored by A Secret River results in a fine and rather accomplished debut album. While not all that similar in style, the approach and the mainly delicate nature of the material at hand here makes me suspect that this is a band and an album that might appeal very well to those with an affection for bands such as Camel. In addition I would suspect that many with an affection for neo-progressive rock should find this CD appealing, and then in particular those who prefer music of that type to be of a frail and careful nature rather than lush and bombastic.

A Secret River is a new band from Gothenburg, Sweden, and it should be in a position to enthrall a vast section of the prog community, as it suggests a wide palette of sounds that are all executed with glittering meticulousness. 'Music for your heart and soul', they announce on their website and they deliver the goods on their debut album, "Colours of Solitude", a strong and confident of bright expressive prog that is ear-friendly , deeply melodic and ultimately, most enjoyable. Some have given comparisons to Anathema, Blackfield or fellow Swedes Moon Safari. The lovely sunlit cover photo actually illustrates the music quite well, a breezy, warm afternoon on a bench, cloudy wisps in the background and just chilling the day away. A strong quartet that seems to be in sync with each other, they offer a wide variety of styles from moody atmospherics, folky inspirations and driven symphonics, to little dabs of metal, neo and even a tinge of pop. Bassist/singer Andreas Alöv holds down the low-end nicely and has a most pleasing voice, breezy yet evocative. John Bergstrand handles all things percussive and keeps time perfectly. Björn Sandberg handles the keyboards and is 'blessed' to be a former church musician, and finally, the acoustic and electric guitars are held down by Mikael Grafström, who has a cool jazzy folk touch.

The compositions are quite appealing though, all pretty much in the 6-7 minute category and for the most part, the music is quite mellow and serene. The guitars and keys are more delicate while the bass and drums really provide the 'push' needed to give the pieces some vibrancy and zest. The vocals are of very high quality, the music quite un-complex, yet highly gratifying in intensity and dynamics.

The opening cut is quite indicative of what is to follow, a meandering, fresh and upbeat river of mellow prog that serves a simple purpose, the ongoing and eternal quest for love in an increasingly complex and technological world. "Blinding Light" is utterly hummable, in a style that the prog ladies out there would swoon to, making us men willing subjects. Reminds me of that ultra-chauvinistic but very true Napoleon comment about" Wine pleases the gentleman when the lady drinks it!". While keeping things accessible and ear-friendly, it does not mean that they are not inventive, as the synths can shriek with the best of them, the mood can be densely mournful and reflective with heavy bass/drum swagger as on the lovely "No Way to Say Goodbye" and some passages within this nearly 7 minute song have some serious jazzy swirl to the gusto, such as the Booker T & the MGs-like groove half-way through, a pure delight. The bass pummels nicely, the drums good and hard, while the soloists flutter in earnest pleasure. The bass can be quite assertive, a sure sign I will enjoy this beyond its otherwise simplistic limitations, as shown on the ebullient "Starbomb". The instrumental title track is another winner, as ornate piano cavorts on top of some sweeping synthesizer thus providing all the necessary magic, with a hint of taciturn imagery. Hint of medieval and baroque, the feel just exudes a discreet confidence which is most appealing. On "Are You Coming With Me?", there is some inspired bass playing amid the twirling melancholia, another unobtrusive but addictive track, laden with all manners of little details that just cry out class. This just blends into the epic (7 minute 41) love ballad "A Place to Start" which could be best described as a mix of 10cc, Split Enz, and such, perhaps the highlight track presented here. Some chugga- chugga is provided on the punchy "Passing Grace", a seductive ditty where both bassist Alöv and percussor Bergstrand really hit a muscle groove, a tight disposition that breezes along with supple synthesizer, shimmering organ and sublime but discreet guitar. The fragile "On the Line" is the menu finale, a thoroughly enjoyable collection of prog songs that get the job done and then some...

If you were expecting another icy and reserved, mellotron-infested doom spectacle, so typical of Swedish and Norwegian bands, well you will be in for a slight surprise, to say the least. Truth is A Secret River is quite original, inspiring and has enough detailed points of interest (the bass is fabulous throughout) to merit a visit, just make sure the little lady is around. She just might pop her head through the door and say "Hey, that is really nice stuff you are listening to, for a change!". You smile, she smiles, you light the candle and she turns off the lights , well, you can guess the rest....

4 clandestine streams

The first album from the Swedish band A SECRET RIVER "Colours of Solitutde" is one more prove that is possible make a good album of progressive rock music without the need great virtuosity and on the other hand is sufficient good taste and above of all a great dose of inspiration. TheTrack 1 "Blinding Light" open by a simple piano arpejos and soft vocals starting a "single" ballad "crowned" by a keyboard/guitar duo also simple but, very beautiful ! In a general way, this is the album tonic. The track 4 "Colours Of Solitude" deserve some detach due the "madrigal" main theme and recall some FOCUS influence. The track 6 with their overture with a synthesizer/eletric piano duo and the jazz style guitar solo is another very pleasant point Although I have make mention for some tracks, the whole disk deserves a good note. Due this considerations my rate is 4 stars !!!