This album is a triumph.
It's been almost four years since the band's last album, 'The Twenty-Seven Club', their progress hampered both by vocalist Christina Booth's battle with cancer and Rob Reed's apparent lack of mojo for writing new material. Fortunately, both have overcome those challenges and produced another terrific album.
As if to out-Prog the genre, the album consists of just three epic tracks ranging from eleven to twenty-six minutes in length, and it has to be said that thanks to Reed's skill as a composer and brother Steve's lyrical contribution, they don't feel that long and never outstay their welcome – each one is something of a masterpiece. Unlike their previous albums, there's no underlying theme or concept with each track being a standalone piece.
'Trojan' is about automatons emerging from the sea, filled with banished people, 'Colours' references Vincent van Gogh, while 'Legend' is a zombie tale based on Richard Matheson's 'Omega Man' book – and jolly good they are.
'Trojan' starts atmospherically before bursting forth with Chris Fry's wonderful guitar; it reminds me of 'Demons' from their 'Home' album with its Steve Hackett style attack. This opening salvo is underpinned by thunderous bass and drums courtesy of Dan Nelson and Jonathan Griffiths. The track then moves through many different phases, some heavy, others majestic and restrained, but ultimately they all flow together seamlessly. All the protagonists get to show their qualities and both Fry and Reed produce the first of many terrific guitar and keyboard solos across the album. There are some significant Pink Floyd references, not least the reverbed drums late in the piece.
'Colours' is quintessential Magenta with its big hooks and subtle but delightful keyboard and guitar embellishments. Fry's soloing is Dave Gilmour (Pink Floyd) personified and Reed's Hammond Organ work wouldn't be out of place on a PF album either.
'Legend' starts with movie soundtrack effects before the music kicks in with another refrain that quickly burrows into your subconscious. Booth's emotive vocals convey the despair of the song's subject, the last human on Earth. The chorus is glorious and the mid- section is something new and unusual for the band, quite angular. However, it's followed by a delicate, short but nonetheless superb Fry solo. Another solo is punctuated by Reed's wonderful synth touches; he certainly is a master of arranging as the subtle little flourishes he inserts throughout are brilliant. This album is a triumph.
Gary Marshall
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