01/09/2024
Many thanks to Prog Rogue for this wonderful review.
“Accomplished multi-instrumentalist Tony Lowe is back with another episode of his rather prolific ESP Project, a career that this writer holds in extremely high regard, what with his penchant for lush, highly melodic, dreamy and adventurous progressive rock. Tony has quite the reputation for finding great vocalists such as Peter Coyle, Damian Child, John Beagley, Alison Fleming and now introducing a new voice in the form of Louise Browne. As per norm in the last series of ESP albums, Tony handles all the instruments with an expertise that seeks not to dazzle in pyrotechnical wizardry, preferring a more subdued halo of symphonic keyboard sounds, applying solid bass patterns, as well as keeping the percussive side on track and creating the necessary movement for adventure.
With an 8-minute running time, “Curious Dreamer -the Dreaming Field” sets the tone for the musical magic that will enchant all the way through the setlist, a full hour of brilliant melodies, and expert playing. The misty introduction rekindles images of Celtic vistas, with Louise in fine form, a gorgeous high-pitched voice that glides, floats, meanders and caresses the theme like a balm of welcome serenity. The transition to a jazzier spark is simply marvelous as Tony accelerates the drum beat and rips an organ solo that channels images of Brian Auger, with the addition of orchestral adornments that evoke grandiose visions of dreamy fields and luxuriant valleys.
“Silver Waves” wastes zero seconds in installing the vaporous and achingly beautiful melody that will permeate the listener’s mind, adorned by all kinds of sonic details within the gigantic symphonic surf, Louise gliding atop the whitecaps and Tony tearing off short silver colored guitar bursts. Bliss is attained in the second half, as the rhythm shifts into a brief eddy of troubled waters, hushed spoken words and athletic percussive backing, before veering into a parallel universe of sound “that just washes over me”. Stunning!
Time has come for a folkier, bucolic countryside visit on “Glorious Persuasion”, a style of music that transcends the vast expanses of British rock, finding roots in all its lush gardens with apparent facility. Acoustic guitar, keyboard colorations, a delicate beat and a suave voice full of reverie is all you need to be convinced. And once again, midway through, the pace shifts to a racier, upbeat drum pattern, along with darker spoken words full of telepathic hints, Louise showing her undisputable talent, providing amazing pitch, tone and control. Three tracks in and I find myself willingly conquered, tarred and feathered!
The truth is not hard to find when all this revelry continues with the lengthy “Higher Inspiration-It Wasn’t a Dream”, Tony lays down a relentless rhythmic pace that is challenged by a calmer, airy vocal that scours the heavens, a fantastic contrast that works in sublime coherence. Filling in the space between with creative keyboard ornamentation, only to halt on a dime and switch to a more reflective domain is the hallmark of this band’s propensity for constantly keeping the interest level at optimum levels. “It Wasn’t a Dream” indeed! The arrangement then heads into the swirling expanses of orchestral symphonics, an ornate piano seeking to finish off the fantasy, with golden guitar glances waving soporific farewells.
Keyboard pageantry with small bursts of glowing electric guitars are to be found on “Shine”, a subtle electronic tangent that is both modern and clever, a glittering and at times trembling voice, this is quite the piece of music, incorporating all the classic elements that make this project so inspiring, highly progressive and thought provoking.
The attractive melodic theme on “The Brightest Star” reverts to the earlier folky tradition on “Glorious Persuasion”, a gleaming slice of accessible music that has no labels for direction, expressing the universality of simplicity, whether in Albion, Kansas or the Outback. The guitar solo is all sunshine and blue sky, a gentle breeze flowing through one’s soul, a tremendous track.
Experimenting is always fun and on “Life Pod”, we are treated to an absolute wicked bass guitar groove (my weakness, I admit), over which the organ gets to stretch out and ramble, synthesizer solo in tow. Athletic pulse throughout, corkscrew guitar phrasings, that confounded evil four string monster resolutely taking this instrumental into outer space. Lovely stuff!
Romantic ballad time “Love Returns” offers the amorous listener some confidence in the power of love, the synthesizer lead, allied with a sophisticated vocal seeking to entice, hug and embrace. Louise convinces once again with a phenomenal display of vocal flexibility.
“Shine” is given an ambient mix as a finale, a longer version that suggests a more orchestral, symphonic feel, with the bass replacing the original ‘electronic tangent’. Different interpretation, this track could have easily been titled “Sheen”, what with the underlying percussive tremors, titanic walls of electronic strings, a seeking and searching voice amid the vaporous gleam and a sense of perpetual bliss. Impeccable.
All the ESP albums come highly recommended, but this 2024 release is clearly a masterpiece that should create a tsunami of global interest, as the quality and delivery is beyond waves and dreams.
5 extra sensory perceptions”
