IMMUNITY

Come 2013 and Machines Dream had to face the departure Keith Conway with the remaining members handling multiple instruments at the beginning of the recordings of a new album.However they eventually responded to this loss with the addition of two new members.Rob Coleman took over the lead guitar and Jake Rendell, who was helping on backing vocals during the sessions, was handled the responsibility of multiple instruments.Finally the new album ''Immunity'' came out in 2014.

Opening mini-epic ''Immunity (part one)'' is a modern prog suite along the lines of PINK FLOYD and PORCUPINE TREE, where the slow guitar lines and the hypnotic piano textures are showered by some sax parts and string sections, leading to a lyrical depth and a couple of mellow guitar solos.I do not know if this is a Mellotron used to build a bridge between the opening track and the 7-min. follower ''Battersea transcendental'', but it definitely sounds so during this second track, which is an engaging mixture of Heavy/Alternative Rock sounds with more vintage echoes.The receipt is more or less the same, even if the guitar parts are heavier and sharper, somesort of Heavy Orchestral Rock with clean vocals and a mascular atmosphere.In ''Broken Door'' the music returns in slow motion, the vocals are limited and the focus is on a powerful atmosphere, a bit reminiscent of later period PENDRAGON, with the dominant use of electric riffs and the discreet use of keyboards and flute strings.''My ocean is electric'' plays the role of the album's rocker, more fast-paced stuff with rhythmic patterns and distorted instrumental parts over Craig West's expressive vocals, featuring an angular keyboard execution by Brian Holmes.The immunity concept will close with the 15-min. second part, which is also the strongest of all compositions to my ears.The smooth piano lines are following the same atmosphere as heard in the opening piece, supported later by the nice electric tunes and the calm sax parts.What follows is a storm of dynamic drumming, mascular guitars, distorted vocals and flashy keys in a rhythmic delivery, leading to a PINK FLOYD-like salvation solo and the farewell, symphonic piano/synthesizer work of Brian Holmes.

An nice little album along the lines of MICE ON STILTS, NINE STONES CLOSE and COSMOGRAF.Atmospheric Heavy Prog with Neo Prog sensibilities and some well-placed psychedelic flavors.Warmly recommended.