NEO-PROG

This band is new to me, even though they've released previous albums. As someone who's video-reacted to over 1,300 songs on YouTube, I've noticed that hearing a band for the first time naturally leads to comparisons with familiar sounds. So who comes to mind here? Talk Talk, Tears for Fears, David Sylvian, Steven Wilson (especially in the vocals), the Alan Parsons Project... and for some reason, the X-Files TV series!

Right away, I was drawn to Arnaud Nicolau's drumming. With all the modern advances in in-the-box drum production (which I have nothing against), it's refreshing and energizing to hear the tasteful flourishes of a real drummer on a properly mic'd kit. He's joined by Marc Anguill on bass, laying down great grooves throughout much of the album, not with a plectrum, but with what sounds like strong, two-finger plucking that firmly grounds the band.

The band is firmly rooted in sophisticated prog pop rock. Aurélien Goude's vocals are laid-back yet constantly reaching ?not in a strained way, but with a searching, introspective quality, as if he's a singer in pursuit of answers. Mathilde Collet adds beautifully complementary vocals on several tracks, helping to shape the band's distinct and nuanced sound.

Compositionally, the album is broad and expansive, with little repetition and a willingness to wander down long, winding corridors of sound. While it does rock out at times for emphasis, the overall vibe is laid-back in a cool, deliberate way. That's where I draw the connection between prog and noir: the music often feels wrapped in a smoky mystery, like it's unfolding in shadows.

There's some truly mature and memorable songwriting on display here, supported by superb arrangements and rich jazz-influenced chord progressions. The band isn't bound by predictable verse-chorus structures; instead, the songs unfold in expansive, often unexpected ways. Much of the music is piano-centric, with tasteful and layered use of synths and textures that complement the core beautifully. Trevor Horn would absolutely love this band?in fact, he'd be the perfect producer for them.

The album carries an introspective tone -relaxed, unhurried, and never trying too hard to impress. No one's breaking a sweat here, and that restraint adds to its charm. There's some lovely violin work on track 3, and a horn section makes welcome appearances throughout several songs. The atmospheric touches are especially notable -some tracks would fit seamlessly as background in a modern crime noir TV series.

A solid 4 out of 5 stars. Esthesis exude a smoky ambience I'd describe as prog noir?a sound steeped in jazz influences that creates a rich, atmospheric sense of mystery. While the tone leans toward the darker side, there's enough uplift to keep it moving forward with some optimism.

"Chaos" starts with piano before the sumptuous direct air on a Wallace poem as a base, expressive pad on the velvety keyboard, the laid-back vocal eyeing the phrasing of Nick from PENDRAGON. The heavy riff arrives, surprising prog metal, allowing a beautiful drift at the end of the chorus; its sound flirting with SAGA in the distance and RUSH closer. Final arpeggio soaring then nervous for an abrupt end. "Bad Bitch" changes direction by offering a catchy rock, with an alternative reminiscence, a zest of Steven WILSON and the colorful rock of Franck CARDUCCI. The latent break with the dull riff, the sound searching and an atmospheric keyboard solo then another guitar making the title fly. Prog metal takes shape with this redundant riff, these spatial notes. A finale in the great prog rock tradition bordering on heavy on the typical rhythm of ENCHANT, to signify the symbolic hatred of the singer. "Marvelous World (Losing Season)" crystalline piano, acoustic arpeggio leading to the marshmallow ballad swelling like a distant wave, an easily accessible crescendo with the haunting solo at the end, a touch simplistic.

"Paper White" with an assertive arpeggio worthy of YES, crystalline guitar notes; simple and addictive, the urge to pick up your guitar and mime; delicate like a rural interlude. "Whisper" closes with a marked prog intro, sound effects; the Mellotron and vocals hit the heartstrings, the heavy riff suddenly breaking the melodic aspect before launching into a Kashmiri air. A piece in eight musical tableaux, an intoxicating musical fresco featuring vocal highlights, a text on politics since the 1980s, the end of the USSR, apartheid, Ukraine, and a beloved film, mantra- like rises, and the languid sound of the guitar used as a weapon of spleen. The break reminds me of Steven Wilson, then Barclay James Harvest for the vocals and keyboards. The progression to religious choirs, the symphonic prog metal rhythm, the velvety keyboard with Dan as a guest amplifying the symphonic space, pricking up the ears very favorably. A childish cinematic outro nostalgic for our memories, have you found the eggs?

"Zaff's Fez" is a bonus track, a short track that starts off with a bang, with Derek Sherinian-style keyboards ending with a languid jazzy piano fade-out and a nod to a friend.

Cheat The Prophet is reborn after 20 years, offering a distinctive prog rock sound that moves them away from their original style, progressing towards a captivating, modern sound, all to their credit. Some reminiscences and complex arrangements for a genre that amalgamates ambient, metal, alt-rock and compulsive synths. (3.5) Originally on Progcensor.

IQ, one of the founding fathers of the neo-prog movement, combines different styles and continues to fuel the '80s neo flame.

"The Unknown Door" opens symphonically, like "2001," with solemn trumpets; a typical Chamberlain narrative on the neo keyboard. Four minutes of takeoff on typical IQ before the first cinematic deluge leans toward "Flash Gordon" at eight minutes, with its Olympian air and heavy riff evolving their sound. A blend of electro, Peter's soft voice, and Michael's sharp guitar make for this track with a Genesis-like metallic prog sound, rather well crafted. The ambient, cinematic, dark, muffled break, distant trumpets, the opening fanfare, the apocalyptic icy cold, and the Floydian acoustics create a meditative calm. The synth has a hint of animalistic Pink Floyd before the cathedral keyboard explosion, in the style of Yes. Michael intervenes again, launching the fourth part, Peter as an angel, Neil as a liberator, and Neil as a Riverside-esque frontman. We feel Marillion for the dithyrambic melancholic finale of this unknown door.

"One of Us" features a folk arpeggio with acoustic guitar for the interlude and Peter's lyrics about a painful relationship. "No Dominion" follows with a symphonic intro drifting through Peter's signature phrasing, a melancholic Welsh poem about the persistence of life. A deep crescendo with Neil in the spotlight, piano and keyboards leading the way, the solemn air with Paul banging as best he can and Michael delivering a monstrous solo, velvety and deep. The outro features a clock ticking back in time, stunning. "Far from Here" with its lullaby, Peter narrating on a somber keyboard and bells in the background; The choruses vibrate, the drums create a menacing air, the crescendo begins with the orchestral part, the keyboards, and the smashing of the pads. It flirts with prog metal, surpassing it with a bloody riff; the electro break sounds modern, rhythmic, and groovy. The Rothery-esque guitar solo and the energetic Banks-esque keyboard burst forth before the angelic return of Peter Anderson for the nostalgic coda. A personal evocation of a dear loss. "Never Land" continues with a shimmering atmospheric keyboard, with Peter and his warm voice guiding the track in two parts; calm, ethereal, bringing us back to a flight to an imaginary island where weightlessness reigns supreme, even though the title is written in two words. The track is full of emotion for the nostalgic finale filled with hope, with rays of sunlight in the distance. The rise stops with the return of the velvety keyboard oozing with melancholy.

IQ made IQ by adding electronic sounds and heavier riffs to surf the 2020s. Powerful atmospheres weaving intense emotional sounds, a distinctive sound keeping the fan on his musical base with a little more keyboards. A follow-up album is already planned, hoping for a small musical advancement because we only have IQ here. Originally on Progcensor. (3.5)

1 Firefly opens and puts the SOLSTICE sound in the spotlight, soft and marshmallowy with the violin and the female vocals, flirting with South American jazzy sounds; good but lacking in soul. The guitar solo saves the appearance a bit, but I don't see anything new or innovative for this band I had so much hope for. 2 Life Suit, more jazzy soft melodic fusion; a beautiful ballad like in the 80s or 90s, or even the 70s. Yes, I'm thinking of FLEETWOOD MAC; I'm waiting to find that pearl drop to get going. The mid-tempo variation that follows, with the rise of the reverberating guitar solo, saves the notes; I'm starting to doubt the appeal of the novelty. 3 Plunk, with this synth sampled on a trumpet, becomes repetitive before really getting going, bordering on annoying. The heavy guitar solo, yes, I insist, saves the appearance, but you really have to love this nostalgic atmosphere to take off; Redundant and soporific

4 Frippa for its cinematic intro, its energetic vintage keyboard; we repeat the same pattern and the same flaws afterwards, unfortunately; too bluesy-jazzy and the neo-prog I'm still looking for. The folky violin ambiance to melt, yes, but it lacks the momentum. A neo-keyboard solo contradicts me, voiceover again launching the... guitar solo always enjoyable, Andy hasn't lost any of his energy; go for the violin full of Albion. 5 Twin Peaks for the nostalgic vintage moment, where I dive back into their 1992 album! Sweetness, the bucolic enchantment of this genre apart, flirting between folklore and neo-ambience with the best guitar solo on the album, rich, gripping, a bit like IONA in fact. The vocal, with the marshmallowy hints of FLEETWOOD MAC of yesteryear, is interesting but not stimulating enough. The mid-track break is clearly neo, perhaps Matrix-esque. Yes, I want to escape; in short, from hypnotic psychedelic synth to ethereal vocals, I'm finally taking off. It starts again with a light, buzzing pad, a trendy bolero launching the final, overwhelming chorus. Phew, finally, the synth outro really reassures me.

6 Earthsong (Bonus CD) for the rehash of the track "Silent Dance" from the first album. The title track is too sugary and sticks, preventing me from taking off; a consensual tune without spark, far too melodic and predictable, a shame.

"𝗗𝗼𝗺𝗶𝗻𝗶𝗼𝗻 = 𝗟𝗶𝗴𝗵𝘁 𝗠𝗮𝘁𝘁𝗲𝗿"

1. The Unknown Door (22:33) (25/25)

The opening is soft, reminiscent of the Fanfare for the Common Man cover by ELP. The WWII radio in the back, the war-like horn section. This will take fans back to Harvest of Souls and The Seventh House, War Tale vibes like on a few other IQ epics. The opening section ends with a bit of a world music vibe too. Really cool!

The following section takes normal IQ songwriting while adding something totally different for them. Still the same soaring hammonds and mellotrons, guitar riffing, tambourine. This section tied together by an industrial sequencer led chorus. Weird part, a bit of a mess but doesn't hinder the listening excerience.

The next part is a bit heavier, what some call 'The Battle' section. Even compared to recent IQ works like 'The Road of Bones' and 'Resistance'... this is heavy. It has a really nice chorus-esque piece that really ties this heavy section together. Good hammonds, great mellotrons, chunky guitars sound really good too.

A little instrumental section, has some really silky basslines, really feels like 80s Neo-Prog. Has some Pendragon elements, but I feel like this section can be summed up into ... an 80s Neo-Prog bit with 2000's IQ flare.

The acoustic section next up reminds me HEAVILY of 'Dogs' acoustic sections by Pink Floyd, even 'Meddle'-esque. The Prog Folk elements are strong here. Plus these chords are very Floydian as well. Strong section, love the vocals, chords, instruments used... chef's kiss.

Now onto a slightly more typical IQ part, nice keyboard solo, well structured, proggy, but nothing new really. Just fits well in an IQ epic. Gives the average fan something to remind of the band they've always known.

The ending section is typical, a reprisal of the opening in a slower, more emotional, all instrumentalists involved. Is it unwelcome because of how predictable it is? Absolutely not. It's what you expect of a strong IQ epic.

Overall, this epic is a great alternative to Harvest of Souls. You want something just as well structured, has moments that are just as strong, and something a bit different? This is it. Each section feels like it's own song (which is the hallmark of a strong epic). Wonderful. The best epic since "Without Walls" and "Harvest of Souls" for sure (and it's not particularly close to me).

2. One of Us (3:10) (5/5)

Gorgeous acoustic track, beautiful. The vocals are soft, pleasant, and well mixed. The keys add a nice amount of atmosphere to this soft track. It's a song like Wintertell (off of 'The Lost Attic' by IQ). The song can even be compared musically to "I Believe in Father Christmas" by ELP (Greg Lake). Such a beautiful song, glad a song like that made it onto the final cut of an IQ album. Could make a grown man cry with how beautiful this is.

3. No Dominion (6:25) (9/10)

The single from the album. Of all the tracks, this is the one that retreads the most old IQ ground. Is that a bad thing? Absolutely not! This song, unlike the other singles, is a keyboard dominant track. I love how ominous and thick the keys are. The musical box like keyboard melody and sound is noted here, seems to be a theme. It's a typical IQ song structurally speaking, it shows the band's Genesis influence, while keeping it's darker side. Weird telephone like sound effect, followed by a wound-up musical box sound effect. Cool way to transition to the next song, sad there was a fade out. Good, strong, not groundbreaking, just good IQ.

4. Far From Here (12:44) (14/15)

The opening is very dark, atmospheric, love the opening a ton. Typical of a 2000's IQ mini-epic. A haunting musical box opening, very cool. Creepy, love it.

The next section shows off a bit more of Paul Cook's drumming skill. A bit heavier and more chaotic. Keyboard dense section with nice vocals from Peter Nicholls.

Definitely picks up a bit in the heaviness department, more straightforward, definitely just a bit more of a heavy chugging section. Probably the heaviest section of any IQ track ever released.

Sequencer to transition into the next bit, a bit like Nine Inch Nails or even Rammstein. Kinda returns back to the second sections theme. Nice reprise, ties the mini-epic together in a circular-esque structure. Beautiful chorus-like piece here too, love the mellotrons, sticks around in your head.

Soft, gentle end to this more chaotic mini-epic. Keyboard and guitar with a bit of vocals. Pleasant, it really fits on this album. Plus the end itself is just... so pretty.

This Mini-Epic overall does everything a solid IQ mini-epic ought to do. It's got good dynamics, heavy moments work well, gentler moments shine nicely, it's a more chaotic one than normal... but I think it works really well! It's a grower!

5. Never Land (8:16) (10/10)

The opening of this track is so beautiful. The lyrics are emotional, the mood is angelic, the production, silky basslines, piano in the back. This song is like a reworked, expanded, and restyled 'Oceans'. Amazing. One of the best album closers in their entire discography.

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Overall Rating: (63/65) Rating Percentage: 97% Favourite Track: The Unknown Door Final Grade: A+ ______________________________

I couldn't be more impressed with how the big boy's in Prog have released some of the best albums they've released in 2025. Steven Wilson's "The Overview" and IQ's "Dominion" have been borderline 'ten-out-of-ten' rcords!

This album takes tropes that this band is known for and adds completely new moods and sounds, effectively refreshing IQ's sound. It's impressive that over 40 years after their debut, they can still deliver high quality records. They haven't lost their identity, they only expanded on it. Incredibly confident album from IQ. It's concise, structured, well produced, and contains some of their best songwriting of the 21st Century. The second album this year to come close to my 10/10 score. 2025 truly has been one of the best years for Prog Rock in a while.

PA Rating: 5 stars - Essential: a masterpiece of progressive rock music.

Great album perfectly recorded

That was the first work of the band I had a chance to listen to after being very impressed with Bjorn Riis' solo album Fimbulvinter. Right from the start, All Rights Removed gave me clear vibes of Porcupine Tree, with passionate, crying- like solo guitar work reminiscent of David Gilmour. The vocals sound strikingly similar to Steven Wilson, adding to that haunting, melancholic atmosphere.

The lyrical themes revolve around inner struggles, heavy emotions, and a sense of loss, which is perfectly complemented by the introspective nature of the band's music. While the chord progressions stay in the realm of classic rock or post-rock simplicity, the long, immersive song structures shift the album closer to epic progressive territory.

The production is nothing short of stunning. Every chord, every cymbal hit is rendered with pristine clarity, showing the engineer's meticulous attention to detail. There's a cinematic feel throughout the album, as if each track tells a slow-burning emotional story.

All Rights Removed is a sad, but incredibly beautiful work. It's a deeply immersive experience that fans of atmospheric progressive rock will truly appreciate. This album has certainly made me want to explore more of Airbag's discography. 4/5

IQ are back with their third studio album in just over a decade, with the same line-up for all three, four of whom who played on 'Tales From The Lush Attic' all the way back in 1983. Michael Holmes has been the only constant through the band's career, but there was a stable line-up from 'Ever' to 'Dark Matter', and it is only the one album after that period, 'Frequency', which truly failed to shine, not bad for a band with the longevity of this one. Peter Nicholls (lead & backing vocals), Michael Holmes (guitars), Tim Esau (bass, bass pedals), and Paul Cook (drums, percussion) along with "newbie" Neil Durant (keyboards) may not be the most prolific, but arguably their output has been the most dynamic and consistent of the band's career. This is not a group who are going through the motions but instead are releasing some of their most important and fascinating music yet.

When I reviewed their last album, 2019's 'Resistance' I said that one of the things that truly stood out for me was the confidence of the band, particularly that of Paul Cook, and here we see that being taken to yet another level. Opener "The Unknown Door", which is the longest song on the album (and one of their longest ever) at 22 minutes, tells you everything you need to know about this IQ. Paul can be hard-hitting, blasting around the kit, or providing emphasis by sitting on his hands and doing nothing, Tim provides complexity with his hands and stability with his feet, Neil has long ago moved away from being compared to Martin Orford and has created his own niche in the band with banks of sounds and a happy understanding of the relationship between overplaying and providing support, while Michael can be bombastic and loud or picking an acoustic. There are multiple layers, the threads interweaving and combining the sounds into a majestic whole, and then at the front is the irrepressible Peter Nicholls. To me he has always been as important to IQ as Geoff Mann was to Twelfth Night, or Fish to Marillion. Yes, each band has released highly enjoyable albums without those frontmen, but were they true to the essence? I think not.

This is not an album from people heading gently into older age but instead is a band who still have something to prove, proudly progressive, moving forward. It is a band working together, with little in the way of flashiness as instead this feels like a collective release with everyone knowing their place in the pantheon and what they need to achieve. Consequently, it is a release which I loved the very first time I played it, and it has grown on me even more with the repeated listenings. There is a presence, a dynamic here which is difficult to explain, a majesty which only comes from a band still on the top of their game after more than four decades.

This may well be their finest release since 'Subterranea', not something I say lightly at all. Essential.

Much of what I think here is similar to what I said in my 'Pictures from the other side' review. No matter how much I listen to the main track I fail to find it 'Proggy' enough. Yes, there are the subtleties, but given 24 minutes one expects more of an memorable journey with a grand finale. I mean, it's all very listenable, but it doesn't really grab you. 'All around the World' seems to end up being blues number, which just leaves me cold. 'Cyan' is an instrumental which developes into a Steve & John Hackett type of song, which is good. Ultimately, despite the musicianship and production being superb, they can't hide what is ultimately a weak primary track.

It's difficult to know what to say really. The overriding thing for me is that much of it isn't strictly Prog, but then what is Prog? If the sound is too familiar then we'll criticise it for not being new, but the vehicle here seems to provide the basis for Love songs/Ballards, which surely isn't Prog. Whatever, if you listen to the album a lot then you'll find plenty of Prog subtleties to enjoy, as both the production and the musicianship are first class. The real winner here, and perhaps the most important musical instrument being used here is Peter Jones's voice, which never fails given the tasks thrown at it. These are heightened with the accompaniment of the female voice of Anghared Brinn, and when the pair of them sing together it's absolutely faultless. Overall, it's a pleasant enough listen, but probably not what you are expecting. Sadly, I feel that I can only award it 3 stars because I don't feel that there's enough of what I define as 'Prog' music to justify giving it more.

There are those rare moments when words are hard to come by for someone who feels so much at ease in expressing emotions, thoughts and impressions . Over the course of a quarter of a century writing reviews, I have on occasion published posthumous reviews of bands that have broken up or retired , a reverential look back at a past accomplishment worthy of praise or at the very least, analysis of what made them special. It's altogether a different kettle of fish when a band's final release is announced well ahead of time and the dread of your review becoming an obituary column is unbearably difficult. The only way to soothe that sadness is to contemplate the final opus as a legacy move by an artist well-deserving of putting a punctuation mark to a storied career. "Above All Else" in 2018 was the first instalment of Nova Cascade's prog path, where I instantly fell in love at first hearing that amazing voice and the lush musicianship that elevated it to such grandiose heights. Then came 2019's "A Dictionary of Obscure Sorrows" (now that is a prog title!) , a masterful sophomore release. Raising the bar even further on "Back from the Brink" that came out in 2021, it sealed my loyalty in crimson wax. When the stunning "the Navigator" emerged from the post-Covid fiasco, the key word became outright veneration. Leader Dave Hilborne has a voice of crushing poignancy that cannot leave anyone indifferent, his keyboard skills are equally magnificent, yet the spirit behind the man remains his greatest heritage! His final work is fully dedicated to former universally beloved bandmate Eric Bouillette, who sadly passed way in the summer of 2023, and the personal proceeds from "Boxman' are entirely passed on to the Pancreatic Cancer UK. That is what I call legacy! With long-time companions bassist Dave Fick, Colin Powell shining on both keyboards and guitars ( A Multitude of Two) , and finally newcomer Niko Chikviladze on the violin. Dave takes the Nova Cascade navigation to a mythical Norse ritual sending off! "Boxman" becomes a musical longship (Drakkar) laden with grave goods and tributes and sent adrift where seven blazing arrows are aimed at the huge sails and the pyre illuminates the stars.

Spanning a colossal 28 minutes+ instrumental , "The Choice" is the spark that will engulf the listener into a spectral voyage of profound emotional release, ambient keyboard colorations orchestrate a canvas of vivid sonic imaginary, pierced by the magical serenity of the violin , pools of piano providing occasional stability but the ethereal qualities exhibited are soothing comfort that sets the mood from the outset. When Fick settles into the appropriate deferential pace, time seems to vanish from the focus, unneeded and unwanted, as the anesthesia takes gently effect. The evolution of the piece swerves into symphonic bliss, Niko exuding a strong classical presence, as the transition arrives to a universe of absolute gorgeous melodies. With a shift in the drumbeat, the tingling transition to an elevated electronic atmosphere gives Colin Powell the opportunity to make his electric guitar glitter like molten strands of gold, helped along by choir mellotrons in the distance. The rhythmic pulse deliberately expands in vigor, as if wispy clouds ahead announce a change of weather, rivulets of restrained piano announcing the upcoming gale and ultimately unleashing a furtive guitar barrage. Bubbling synthesizers keeps the arrangement on unending periphery, always proposing a slight hint of expectation, various voice effects entering the fray, and the tempestuous guitar raging, thoroughly engaged, as the epic reaches a level of paroxysm that does not overstay its welcome, always offering new choices. This roller-coaster ride mimics the bouncy waves, a river of constant change. The final section is loveliness incarnate, a melody so exquisite, words are difficult to come by. The heavily stringed and choired outro is grandiose and wholehearted. If this is not the epic of the year, I surrender.

When Dave reaches for the microphone on "Smoking Gun", that incredibly hushed and frail voice hits your soul, causing profound tinges of legendary Strawbs frontman Dave Cousins, a voice anchored in romantic expression of the highest order, and though perceived as sensitive, it exudes immense authority. Tick-tock drumming, a looping and elastic bass and an echoing piano unite in a conspiracy to never surrender (like I did on "the Choice") on "If You Don't Succeed", a brooding patchwork of endless beginnings, searching for the proper outcome, resolute in their craft and succeeding one final time. Footsteps that lead to another realm.

The scourge of inhumanity is to be found on "Sentry", as any discourse on the futility of war finds a scholarly home in my realm, as an eternal student of conflict and the reasons behind it, proprietor of a colossal library right next to my enormous prog collection. As a hopeless romantic fool, I find nothing glorious in bloodshed, a wasteful exercise that became evident in visiting various military cemeteries as well as interviewing a long list of veterans over the decades. A song of mourning that affected me greatly.

The instrumental anguish on "As It Was & Is" serves as a perfect post-scriptum to the above carnage, the sorrowful violin from Chikviladze and the desolate piano expressing wordless agony. Another drop dead (excuse the bad pun) melody that gets just retribution with a whiplash guitar salvo from Colin, and some synthesized confusion from Dave, the orchestral backdrop raising the curtain on the proceedings.

The title track is where reverence seeks to impose its dominion and what better instrument that the mighty pipe organ, a personal favorite ever since "the Six Wives of Henry VII" was purchased so long ago. This is where that old tradition of looking at the LP artwork helps in defining the music within becomes apparent. The inspirational artwork is not only visually beautiful but also very a propos, as it contains all the clever hints needed to comprehend the story (oh so, 70s prog!) of how each life is a colliding enigma of potential opposites , depending on which cards are dealt, as well as which one you choose to play. The extremes go from a wooden box to a spectral palace beyond the suspended bridge on the horizon. The human condition is an endless maze of comfort and agony.

The French (RIP Eric) say "terminer en beauté" (finish in style but the Gauls are so much more expressive) and how appropriate to finalize the album and a career with "The End of the Line", a stirring and positive exit ramp instrumental that shines ever so brightly, a brisk percussive pace, glitter riffs, swooning bass support and an applauding piano, with Colin polishing off a masterful 'merci beaucoup'.

Nothing to look forward to more in the future than to regularly revisit all the Nova Cascade albums, as these works offer not only aural satisfaction but a much-needed artistic form of panacea for a constantly troubled world. 5 Deck of cards