Drifting Sun - Forsaken Innocence (2021)

Funny coincidence (as if that childish concept even exists at all) that among my favorite current prog bands, namely Mostly Autumn and Drifting Sun, both decided to raise their craft by introducing topflight recruits to the group. Mostly Autumn hired Henry Rogers, a superlative drum guru who immediately impacted the latest 2021 release Graveyard Star, while my 'bon ami' Pat Sanders cleverly brought in (though I must say I guessed right on my first try, much to Pat's chagrin!) the illustrious John Jowitt, a bass maestro who has played with a horde of top prog groups (Aaah, look it up!). I liken him to the UK's version of Tony Levin, in that not only are they much in demand whilst mastering their instrument but are both a pure joy to watch play, so effusive is their level of passion. Plus, they are both bald as a cue ball.

Having followed avidly DS' progression over the years (dare I say decades), it is abundantly clear that Pat is a most gifted talent (and a damn fine human being) both on the keyboards as well as composing punchy prog ditties, but very few know that he is pretty tepid at selling his house (internal joke) ! (Laughter followed by applause). He is also very astute at choosing lead vocalists (with a little help from a friend) but simply loved Jargon's recent solo album and asked him (very politely) if the Greek microphone man would join his latest project. Obviously, the respect was mutual, as the vocals are off the charts with an almost Peter Murphy-like sheen on "Forsaken Innocence". French drummer Jimmy Pallagrosi adds his thunderclap style to the proceedings, in perfect harmony with Jowitt's booming bass lines. Past collaborator Matthieu Spaeter just keeps lighting it up with wicked guitar interventions, but truth must be told that Pat's mastery of the piano and synth are pure heaven for the ears, displaying not only technical wizardry but the emotional /romantic style he displays is way up the ivory tower (if you pardon the pun). The production, sound, contrasts, and pacing are all first rate stellar. He was quite modest when he announced: I think this is the best record we have ever done! YUP!

So let me break down the sonic delights: A delightfully whimsical beginning with the mini-epic nearly a dozen minute long 'King of the Country", where the band wastes little time in getting the juices flowing, at times garnished with gentle medieval inserts with a choir battling the whopping onslaughts of raging organ, pumping piano , gritty guitar splashes, all led by Jowitt's dexterity on the four string mofo (darn, he is so good) with the thunder drums bashing away. oh my! A clever melange of pace and speed, as Jargon sings a mournful tune, with a sad violin playing on the heartstrings. But the genius rests in Pat's dipping synth lines, a rekindling of his devout Manfred Mann Moog fixation (clear as a South African sky on all his recordings). A smattering of guitar and there goes Jowitt on a rambunctious cavalcade on his bass (I believe he actually complained to Pat of having made him sweat profusely). Jargon then talks his way towards the finale, ending with the most ornate piano ever.

The creepy "Insidious" is shepherded by the grooving bass once again, with Jargon sounding remarkably like the former Bauhaus man, as Pat slides his curving synths in and out the back door of the arrangement, pinging guitar flicks, plaintive vocalizing give this all an ethereal feel, until the spell is broken by bulldozer riffs, cannonading drum fills as the main chorus revisits the stage. Compelling music of the finest vintage.

That same charming piano segues on "Dementium", another chunky track loaded to the gills with power, precision, and sheer musical insanity. Obviously, the forced bunker lifestyle made many of us, artists included, dwell on the loneliness, the feeling of restless disorientation and at times, fearful trepidation of what comes next. These sentiments are evoked with Jargon's pained delivery, at times angry on the verge of growling in fury, the echoing choir work bouncing off the rubber walls of the routine, the bass pummelling forward, emulated by the choppiest keyboards ever played, courtesy of Ben Bell's rambling organ. By the end of this paranoia inducing track, I was exhausted! I noticed spiders too when cooped up in my darkened, candle-lit room, seeing silhouettes everywhere, unsure if it was a web or perhaps something malevolent. Forsaking Innocence, indeed. Bloody marvelous track, merde alors!

"New Dawn" serves as a respite after all that confusion, featuring a full-blown bass guitar excursion from the basso profundo, gorgeous guitar licks from Gareth Cole all caressed by hushed yet achingly sorrowful vocals, adorning beautiful melodies heightened by some more piano genius, this is a masterful moment in the Drifting Sun catalog. I was brought to tears, again.

Okay, no more pussyfooting around (as once stated by Fripp, or was it Eno?), let's get serious here! The two-part "Forsaken Innocence" suite takes over to raise the bar way beyond the sluggish Neo-Prog title thoughtlessly handed by the Prog Conoscenti. This is no soppy melodic prog, I beg to differ! The sheer musical complexity is astonishing, again with John's obese bass (or is it obass bese?) plowing ahead, letting Pat make his synth whistle like a gentle breeze, his extended showcase solo is elevated by a Spaeter burst full of tortuous agony and lightning- fast dexterity, a sweet violin outro closes part 1. Breather? Mais non! Part 2 explodes out the gates like a F1 race car, with burning bass tires, cam toms booming, screeching synths, all taking laps at a frenetic pace, as the organ power steering hugs the road ahead. Suddenly, as the fury temporarily dies down and cruise control sets in, a sublime melody rises, grandiose and serene, overtly symphonic in style and romantic in nature. Just plain spectacular modern prog music, intensely played, full of bravado and overt confidence. The piano main melody is crushingly charming, repeated for effect, as well as chaperoned by electric guitar and bass sustenance. Magnificence incarnate, this suite is Everest!

The crystalline reverie "Time to Go" is up next: first reaction? Where? Now I remember what this reminds me of David Minasian's 2020 and superb album "The Sound Dreams", a piano, acoustic guitar and voice triumvirate that really hits the spot. Short, sweet and delightfully bucolic, crowned with a melody that emotes.

Drifting Sun offers up a Bonus Track "Hand on Heart "to finish in overdrive, a 5-minute outburst that sums up nicely all the attributes this group can muster. Energy, beauty, drive, gusto and sizzle. It now becomes clear that Pat pays immense attention to melody and the hooks that can reel in the listener. He also understands atmosphere, technique and creativity. At no time does this record sound even slightly "filled" or "stuffy", it is constantly flowing, pushing inexorably forward. Together with this current line-up, I am sure this will wind up at the very top of 2021's lists for most, if not all, prog aficionados out there. It is THAT good! Keep on driftin' , son!

5 desolate naivetés
~ Review by tszirmay



Track List:
01. King of the Country (11:36)
02. Insidious (8:08)
03. Dementium (9:10)
04. New Dawn (6:48)
05. Forsaken Innocence (Part 1) (10:51)
06. Forsaken Innocence (Part 2) (14:52)
07. Time to Go (2:28)

- Pat Sanders / keyboards
- Mathieu Spaeter / guitars
- Jargon / vocals, keyboards (6)
- John Jowitt / bass
- Jimmy Pallagrosi / drums

With:
- Eric Bouillette / violin (1,5), guitars (7)
- Ben Bell / Hammond solo (3)
- Gareth Cole / guitars (4)



All thanks go to the Шибкий мужик

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