LOOKING-GLASS LANTERN

'A Victorian Christmas Compendium' is the sixth album by Graham Dunnington under his musical moniker of LOOKING-GLASS LANTERN. So, what have we got here? This offering contains 10 tracks and each miniature contributes to the general tapestry, producing a specific aura of this mesmerizing release. There's impression of comprising several parts of one longer script which nods us to the old-time Christmases existed in the pre-urban sprawl past (sleigh rides, ice skating on rural rivers, carolers moving from house to house). Excellent idea, even if you never actually experienced that yourself, and even if that's no longer exist in same way anymore (aside from on tree ornaments or in the television specials)... The music grabs from the outset, without loosing sight of a lyrical message. Graham Dunnington unveils his songs rather succinct (nothing extends over nine minutes) but infusing the tunes with great craftsmanship which makes the vintage sound easy to assimilate. Everything is perfectly played in the progressive symphonic rock field with pleasant vocal delivery. Hence, a heady mix featuring poise, precision and subtlety. As a whole, Looking-Glass Lantern have got their message across and do it quite spectacularly. While there is a sheer nostalgic cast to the compositions, you know what you're thinking about - the late Victorian epoch featuring exquisite charm. Definitely, best when heard with headphones, but also plays well during a dinner party or during an early morning with breakfast. I consider, this album can rightly be labelled a Festive season gift.

My thoughts (after the run-through)...

Being a fan of LOOKING-GLASS LANTERN for 7 years now, I was eager to compare the brand new album 'A World of Great Invention' with its predecessors. Well. Today I am able to describe some aspects of this stylish record. One statement can be derived immediately - Graham Dunnington continues to mature and his project stands alone like an undertaking of quality. Sure, you can hear the well-crafted progressive rock with a symphonic feel, depth and melodic panache, marvelous orchestration, vocal prowness, plus a quite unique storyline to complement everything. The sound environment is full of hypnotic bliss featuring Hammond, pipe organ, string synthesizer, 'choir', piano, harpsichord, accordion, concertina, guitar ingredients, various bell and tuned percussions. Mainly, LGL stays true to the generic approach, yet CD 'A World of Great Invention' unveils the musical paradigm on its own terms. To create an intrigue, the lyrical screenplay affords a distinctive subject matter for exploration here: the eight-track set is dedicated to the inventions and new technologies at the end of the Victorian era such like daily newspaper, the postage stamp, indoor domestic lighting, the department store, portrait photography, the bicycle, the advent of steamships, the industrialization of farming. It may be fair to lable this CD a concept album as much as the thematic work, since all the material possesses a type of adaptation to really do the story justice. Each chapter segues into the next one, creating a cohesive feel, bookened by the poetic writing and flawless delivery which make this LGL message a deeply emotional experience. The internal balance has been accomplished, showing a variety of tempos during the given time length. Wonderful atmosphere washes over listener, encircling, pulling closer to its core. There is a lot for the brain and the ear to absorb. It may take some time to sink in... Either way I can't see any sense to spend the whole hour with talking about the final outcome, because the sheer prog rock 'connoisseurs' should find their own meanings and favorite tracks on this remarkable album. So folks. Take a walk down CD 'A World Of Great Invention' by Looking-Glass Lantern for yourself.

I think, to fully appreciate the music of Graham Dunnington, (aka: Looking Glass Lantern), you need a penchant for concept prog, and a liking for a good story. Unlike the two previous LGL albums, this is not a re-telling of existing stories although, once again, Victorian England is the setting. Holmes and Watson are notable by their absence.

'Empire' refers to The British Empire but also to a fairly-wealthy Victorian home, the family who live within, and their servants. The storyteller is the maid, who asks for the listener's consent to describe her life and those of the other occupants of 'The Empire'. Thus, the first six tracks which comprise Part 1, introduce us to the maid, the cook, the governess, the master, and so on. Part 2 is a single 30 minute track entitled 'An Evening Soiree,' and how many self-respecting prog-heads could possibly resist a 30 minute epic. There is, if you read the notes, a further, rather unexpected element to the story. No spoilers though.

So, we begin with the maid who, like most below stairs, is a sad, unfulfilled creature. Going into service at a very young age, working her hands to the bone for long hours. She doesn't resent her role in the empire, the alternative of the workhouse being unthinkable, but she feels invisible ? nobody notices her or knows anything about her. The cook deals with the tradesmen at their back door entrance whilst preparing luncheon for the other world upstairs. She reflects on how different life would have been had she married. At the same time, the governess reminisces about the admirer who promised her the world then, without a word, left her. The Mistress of the house also has an inner turmoil ? she feels powerless and considers herself to be like a caged bird. All perform their duties with care and diligence, and keep their sadness to themselves.

In musical terms, these early tracks are varied, always strong, attractive melodies, never heavy. 'The maid' is accompanied by a tinkling piano as befits her solitary existence. All instruments burst in on the second track giving it a warm feel despite the melancholy lyric. 'The Cook' has an irresistible 'hook' and the track goes through many musical changes before returning to the original theme. The melody to a track like 'The Angel of the home' is strong enough to stand alone as an instrumental, a direction I'd like to see LGL go in the future. Generally, I feel that this album is musically stronger than 'The Hound' as the restriction of telling a long and complex mystery has been taken away.

An so to "An Evening Soiree"(30:03)

Like all good epics, An Evening Soiree has recurring themes, and enough varied ideas and pace- changes to justify a half hour track and to keep the listener interested. On the notes, Soiree is divided into 6 sections. I have to say that I don't like this practice as it implies that you are listening to a series of short tracks strung together. There are, however, no obvious breaks in the piece and you never lose sight of the fact that you are listening to a single work. The music follows the narrative; well behaved and welcoming at the outset, less fluffy and polite as the dinner guests reveal their differences. As I indicated, the music of LGL is never heavy and if prog metal is your thing, look elsewhere. Such styles would hardly compliment this tale.

Ok, so? the guests ? the vicar, the business partner and timid wife, arrive. The ever-present maid takes hats and coats, unnoticed and unappreciated as ever. This is Victorian England ? A portrait of the Queen, a roaring fire, the monarch of the glen, a stuffed bird in a glass case. Talk is polite and the vicar says grace? the queen is toasted. Then the business partner toasts the march of progress? and the awkwardness begins. He is the loudmouth of the group ? boastful and dominating of the conversation, he arrogantly speaks for everyone when he praises the glorious British Empire, our system of government, the march of progress and technology, and our humane treatment of the natives. There is much silent seething; the vicar preys silently in frustration at the man's superiority and overconfidence. The women talk of the weather and holidays, and the host's wife fumes inwardly about the minor role they must play in the whole charade. The maid flits in and out, invisible and ignored. And so it goes on, the vicar tries to raise his concerns about the poor but this is treated with polite condescension by the host and business partner.

In conclusion, this is a masterful and hugely entertaining piece of musical storytelling. It isn't a musical and isn't, (thank god,) a prog rock opera, (Lloyd-Webber vomit). It also, ISN'T neo-prog with all its doom and gloom, this is an uplifting and engrossing album that doesn't really fit the accepted prog genres. What stands out most is that the music revolves around the narrative, which some may find difficult on the ear? initially. All I say is, persevere ? it grows on you.

'And so the guests prepare to leave the empire'. Several years too late I fear.

Following up two prior, quite ambitious albums ('A Tapestry Of Tales' - 2013 & 'The Hound Of The Baskervilles' - 2014), LOOKING GLASS LANTERN return with a new offering 'Candlelight and Empire' which is another testament of classic progressive rock in a modern execution. To put my review into the right context, I wanna say that some closest musical cognates for LGL are such pillars of the genre as Genesis, Alan Parsons Project and Barclay James Harvest. There're many other reasons to be enthralled. This 'one person group' always offers their listeners lots of Sympho-tinged splendour, and the brand new CD is no exception. Four years back now, Graham Dunnington created the solo project to accomplish his own goals. Having the ability to play in a variety of different roles as the keyboardist, guitarist, drummer and bassist, Graham gives LGL a special depth - which majority of contemporary bands often lack. Sure, mister Dunnington is an incredibly gifted instrumentalist. He also possesses a heartfelt and recognizable voice, another trademark that helps to provide Looking Glass Lantern an extra stamp of quality. Well-written, composed, arranged, fully performed and produced by Graham Dunnington, CD 'Candlelight and Empire' is saturated with authentic progressive rock sound featuring the elegant compositions, melodical gusto, majestic soundscapes, divine keyboard textures, synth signatures, the polished guitar performance and dense rhythmic backbone. Certainly, the ethereal mode still prevails in material, yet this time around - together with a gorgeous suite 'An Evening Soirée' (30+ min. long) which stands out. There's a lot of detail and nuances to the songs that should reward repeat listens. Alongside the great music, you can hear the relevant lyrics with a special scenario. It's quite obvious, Graham Dunnington remains loyal to his source of historical inspiration, that seems really interesing. The new LGL record presents (once again) the storyline to contemplate a late XIX century's time to-the-point. Creating a slightly mysterious atmosphere of Victorian England is the important factor here. As far as the concept is concerned, descriptive lyrics are telling about one day in the life of typical middle-class family. There's a genuine feel of theatrics, a life-mirroring with emotional experiences. Involved songs are strived to maintain the general thread that should connect all pieces of this 'conceptual work'. The album grabs you from the initial theme 'The Maid', setting the scene. Overture-like chapter develops into a magnificent track 'The Girl Nobody Knows', which brings dazzling splashes of colour. The subtlety in build-up and plethora of hypnotising components are demonstrated on 'The Cook'. Afterwards, superlative 'The Governess and the Children' follows. (The utilized complementary instruments are Mellotron and accordion). It moves to the next song 'The Angel of the Home', drawing from the melodic and tying to the gentle piano. Supremely memorable piece with Hammond organ, 'The Husband' is much affected by classic Genesis style. Expanding the musical spectrum, the multi-layered epic 'An Evening Soirée' has embraced six parts ( 'A Shrine to Consumption', 'The March of Progress', 'A Civilised Nation', 'The Benefits of Empire', 'In Honour of St Cecilia', 'An Englishman's Home is his Empire', respectively). Being essential for the full story, 'The Maid' (reprise) sounds like a farewell to personages. Ultimately, when the last track finishes, you feel like you've listened to something wonderful, in the traditions of old-school progressive rock. In short, this release is delightful and if you have now a grave interest in Looking Glass Lantern, then you need to get it... RECOMMENDED!

LOOKING-GLASS LANTERN is the alter ego of Graham Dunnington. This Englishman shares a passion for classic progressive rock, while also being avid lover of literary characters that came from the pen of Sir Arthur Conan Doyle. Both influences are reflected over the musical project LGL. The majestic debut CD 'A Tapestry of Tales' from 2013 was a very solid offering, but there were few hints that the follow-up can be even more refined and more diverse. Now we have 'The Hound of the Baskervilles', a collection of nine compositions for intriguing and dramatic venture. The main line that passes through the 60 minutes of its length is a hypnotic tension which finds a vent in the penult song (a title track, btw). Thereafter gentle instrumental 'Retrospection' helps you to come back home from the exciting travel... Once again Graham Dunnington has created a symphonic prog album to guide listeners across the interesting adaptation of mysterious crime and subsequent unraveling. Overall the sound is orchestral with rich arrangements. Musical entourage led by huge keyboards and soaring guitars prevail throughout. Tight drums establish tempos, bass lines produce a strong foundation. The nice vocals fit perfectly with mysterious atmosphere and peculiar landscape. Each track interprets the basic concept in a highly theatrical style. All the necessary components that should characterize this ambitious work like a musical gem are here. Hats off...

If a multi-talented musician has enough confidence in his songwriting, there should appear the self-performed, self-produced and even self-released masterwork. It's time for Graham Dunnington to confirm this theory. So LOOKING-GLASS LANTERN takes the heritage of Victorian England into the 21-st century by means of wonderful CD 'A Tapestry of Tales'. Arose from famous adventures of Mr. Sherlock Holmes and Dr. Watson, this debut album is tour-de- force of symphonic progressive grandeur, filled with church organs and miraculous harpsichords, brass fanfares and tinkling bells, violin-like guitar passages and steady rhythm section. Classically oriented arrangements are on a top level. The vintage instruments (Korg, Roland, Yamaha) build up the atmosphere to recreate the feeling of that original era. The lead vocals complimented by neat harmonies add an essential part to sonic texture... Undoubtedly, Looking-Glass Lantern draws on the Genesis legacy ('Wind and Wuthering' period). A lot of Tony Banks-ish bliss strengthens such comparison. Being a real wizard with the keyboards, Graham Dunnington has mastery over the guitar. The soft-as-velvet tones display a resemblance to Steve Hackett. Fans of Phil Collins will find plenty of exquisite drumming. Melodic bass-lines evoke Mike Rutherford. Additionally to Genesis, there're enchanting moments to recall Alan Parsons Project and Barclay James Harvest; plus allusion to Keith Emerson (in dizzying heights of title track). Thankfully, everything sounds natural and organic. The musical content doesn't wear out its miraculous eloquence until the final note. Bravo!

After playing with a Classical Rock band didn't work out, UK-based classical-trained multi- instrumentalist Graham Dunnington decided to launch his own project under the name of Looking-Glass Lantern.Inspired both by Classical Music and 70's Progressive Rock, he moved on to the writings and recordings of a debut album influenced by the stories of Sherlock Holmes.Basically a home production, Dunnington was armoured with guitars, various keyboards ( Korg X5, Roland U110 and Yamaha TX81Z) and samplers and the album came out digitally in 2013 under the title ''A tapestry of tales''.

This work is at least surprising, when you have talent you can really come-up with a pretty cool album.''A tapestry of tales'' is actually a Symphonic Rock effort with romantic touches and, according to Dunnington, flashes from the atmosphere of Victorian England.It sounds like 70's GENESIS with occasional vibes from THE ENID and RICK WAKEMAN and comes close to a more Classical-inspired side of the Dutch US project.Long tracks with lush and elaborate arrangements, filled with dreamy keyboard interludes and more bombastic passages, leaning on a balance between instrumental orchestrations and vocal sections.But there are enough great guitar moves and atmospheric segments for a more flexible effort, which swirls around melodic patterns, Classical reminders and Prog Rock diversity and intelligence.Nice use of synthesizers to produce a mixture of vintage and modern keyboard stylings with sections sound as based on organ and harsichord and other parts coming closer to the pompous lines of Neo Prog acts.The mood of the album is excellent with many sensitive pieces linked to the virtuosity of a Classical composer, only significant flaw is Dunnington's mediocre voice, which even appears to be highly distorted.

I was very impressed by the work of this man.While not a classic, ''A tapestry of tales'' is a more than rewarding modern Symphonic Rock effort with great melodies, 70's inspirations and beautiful arrangements.Strongly recommended...3.5 stars.