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Review:
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I took my sweet time to get my hands on this only because
I knew that "Why the Sea is Salt" is going to get me, anyway.
I love the Gift, their first album "Awake & Dreaming" is
a perennial classic that rekindles many fond memories of
traveling throughout North America , playing dizzying prog
at the traffic lights in some small Kentucky town, the local
folk looking at me askance but polite. "Land of Shadows"
was, by Mike Morton's admission, a murkier affair, remarkably
dense and demanding but still 'gifted' with some fabulous
moments. Obviously a more personal affair that emoted with
palpitation. But a period of intense touring as well as
rekindling the partnership found on the debut with guitarist
Leroy James has altered the course for this London band,
taking it straight up into a vertical of dizzying heights.
Together with the talented fretman David Lloyd, James seems
inspired and involved. I have always felt that the talent
shown on "Awake and Dreams" was too good just to fade away.
It won't with this stellar release, I can all assure you.
Consecration? Proof? What would you like? Mike Morton is
one of the finest singers in prog anywhere. That being firmly
stated, the quality of the instrumentalists is off the charts,
with new bassist Stefan Dickers and drum maestro Neil Hayman
in complete harmony and "in the zone". Keyboardist is Italian
Gabriele Baldocci, adding RPI?like stylistics to the brew,
loaded with innovation and taste. Throw in guests such as
ex-Genesis guitarists Steve Hackett and Anthony Phillips
and Peter Jones, who quickly is becoming the 'enfant terrible'
of modern prog, here displaying some Irish whistling pizzazz.
This time around, there is less gloom and more energy, a
welcome twist for this stirring band in its ascendency,
proposing tracks that are immediate, ravishing and expertly
blooming with confidence. When directing a larger epic,
all the talent comes to the fore, especially Gabriele when
unleashing his classical heritage, supported by clever riffs
and leads from the dual axes, expertly fueled by the rhythm
corps.***
So it's only fitting to kick off with a 10 minute musical
voyage, "At Sea" glides effortlessly into the bay, splashing
excitedly, buoyed by a dedicated vision. "At Sea- Reprise"
at the end will shut the parentheses. The elegant piano
takes the spotlight in thrilling fashion, as Gabriele shows
his considerable mettle, with bass guitar as adventure companion,
rippling flourishes and an outright classical aroma. Shimmering
guitar reverberations heighten the emboldened mood, as the
signature starts evolving towards a rock riff, a tortuous
synth leading the charge. The arrangement turns into a rather
complicate formula of swirling notes, the electric guitar
raging, massive drums pounding and that darn piano acting
out romantic fantasies. Mike Morton then seizes the mike
and intones in fine manner the salty refrain, 'steering
the ship of fools' into cascades of ocean spray, highly
evocative of tall ships scouring the waves. The main melody
bursts through, seagulls screeching overhead, as the guitar
slices over the white water crests. Very nice indeed!***
The more traditional neo-prog of "Sweeper of Dreams"
is there to remind fans that they seek to entertain and
tell stories that have meaning. Nevertheless, the gifted
sounds are jarring, explosive and razor-sharp, the thumping
rhythmic tandem in particular, the disturbed snarl in Mike's
voice unrepentant. The dual guitar growls interlace nicely,
a momentary vocal tinted with childlike innocence and savage
insanity.***
Celestial swoons, colossal symphonics and unabashed
passion coalesce on the magnificent "Tuesday's Child", a
typical prog piece of endearing beauty and trembling fragility,
the guitars mingling in pastoral delight, acoustic and electric
feelings, almost a classic the Strawbs?like feel, Mike doing
the melancholic nostalgia thingy, also recouping that slight
Western pickin' style and sound that was so prevalent on
Awake and Dreaming. The 'sing-along in the pub as we guzzle
our brew' sensation really leaps out at the listener. Now
throw in some Hackettisms to complete the picture and kneel
at the shrine of classic prog, once again. A thriller of
maximum proportions, as typical The Gift tune as one could
hope for.***
In response to the yearning for never ending adventure,
"The Tallest Tree" features the guests and it takes on a
life of its own, Ant Phillips leading on the 12 string and
Steve Hackett taking over just like in the old days (LOL).
Definitely a heady tribute to the glory days of musical
discovery, missing only a Ghost and perhaps some Geese to
complete the bucolic picture. Prog lullaby, evocative and
memorable, Mike giving quite a performance. 'Only love remains'.
When Steve enters the fray, one cannot help but smile, realizing
the genius of this crafty musician, a true master of long
sustained notes, lyrical purity and heavenly discourse.***
"All These Things" is the mammoth epic and the showcase
piece, without any doubt. Over 20 minutes of inspiring adventure,
a strange fusion of acoustic genius, unremorseful angst,
odd hand claps and an abrupt church organ flurry that asks
'to kiss the chosen one'. Bassman Stef Dickers does the
Chas Cronk routine perfectly, pushing booming notes in all
directions, and prepping the table for a full-blown prog
workout, introducing raunchy dual guitar spasms, roiling
organ splotches and a heavy yet driving pulse. Deep Purple
comes to mind at one point, featuring a series of blitzkrieg
guitar explosions that shiver, shake and quake. Oh my! Thick
density and apoplectic rage; then, out of the blue, a piano!
Halfway through, crystalline licks alter the mindscape,
a melancholia-ridden lament sung expertly by Mister Morton
and the looped bass pirouetting in the Andalusian night
sky. 'Where the heart meets the horizon' intones Captain
Morton, one leg firmly placed on the rum barrel, the proverbial
parrot on his shoulder, telling his wise man's tale, piano
in tow. The astute poetry really hits home, just as the
pace quickens, a concoction of emotional consequences best
described by one who has seen the world and attempted to
understand. The music is very British, with just a hint
of twang and countrified air, again referencing classic
the Strawbs, in my opinion. A modern follow up to the glorious
"Ghosts" album, me thinks. Lloyd and James doing the Lambert/Cousins
act perfectly or so it seems to my ears.***
The return voyage heading back to the bay is evident
on "At Sea Reprise", a weary but content air of satisfaction
in having traveled in exalted company, the deck swabbed
cleanly, the sails unfurled and the rudder held by firm
and calloused hands, this is quite the ride. A howling synthesizer
leads the ship into the dry dock of restful awakening. This
just might be the top album of 2016, bar any last minute
interception at the goal line. Also one of the finest cover
artwork in eons, all shiny and glossy. Multiple return visits
will only accentuate the quality of what is being proposed
here.***
Tszirmay
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