One of the issues of being known as a reviewer, plus also taking some years out of the scene to concentrate on collating some books, is that material can build up. In the end I decided to keep up to date with the most recent material and delve into the older material when I had time. Due to multiple reasons neither of these approaches have worked, and I now find myself in a position where I still have albums to review which were sent to me years ago as well as being somewhat behind on the more recent albums (although I have committed to reviewing every single album ever sent to me). One way of slowly dealing with this is that when I am sent an album by a band, and I have yet to review the old one, then I do both at once. That is what has happened here, as I am pretty sure keyboard player/singer Mike Visaggio sent this to me nearly 7 years ago but given I have recently received the new live release, I dug this out of the vaults and put it into the pile, which led me to discover this is a real delight and I definitely should have played it sooner!
This was the debut album from the quartet, released in 2009, and as well as Mike features Todd Russell (guitars), Tony D'Amato (bass) and Michael Murray (drums, backing vocals). There have been quite a few changes in the band over the years since then, and only Mike and Michael are still involved. I have no idea why there was a six-year gap between this and the second album, ‘Travelog’, but during that period a decision was made for Mike to drop lead vocals and concentrate on keyboards, which to my mind is a shame as vocally he is very strong indeed. This album is built around the keyboards, and I found myself having internal debates as to whether this section or that sounded more like Keith Emerson or Rick Wakeman, as his use of Mellotron is reminiscent of both. There are times when the music does sounds as if could have come from the Seventies, that is mostly due to the keyboard sounds being deployed, and for the most part this is a very modern sounding album indeed. The keyboards and use of piano are indeed evocative of Procol Harum, yet there are also plenty of others when it is more like 3 or a fresher Flower Kings.
Melodic and incredibly accessible, this is progressive music which has much in common with classical in the way some of the keyboard string arrangements are set, and one can imagine songs such as “Peace of Mind, Peace of Heart” having a major live presence, building from an emotional keyboard-led vocal into something far funkier and more dynamic. Overall, this is an incredibly polished and enjoyable progressive rock album which just gets better the more it is played.