This is the third of Johnny Unicorn's solo albums I've reviewed. I loved the other two, Sweet Edith Manton (2010) and Thinking Hard to Overcome Nervousness (2011), both of which were quirky, poppy, proggy, alternative dollops of wonderfulness. This is his sixth album and, according to his website, "is the world's first progressive rock exercise album. It is suitable as background music for a workout, or for any occasion. Lyrically, it is about finding positive ways to deal with fear and death". On the other hand, this is an absolutely monstrous album of progressive rock composed, performed, recorded and mixed by Johnny, with additional vocals and ideas by Naomi Adele Smith. We are still at the adventurous/alternative end of the spectrum but that, surely, is what makes it progressive. What's progressive, I ask, about 1980s British neo-proggers trotting out the same shite live (and taking festival spots from far better, younger bands) just so that they can make a few quid to enable them to make a CD of the same shite they were making 30 years ago? Johnny is best known for his work with Phideaux so he's obviously no slouch but this record, it has to be said, defies expectations. It is staggeringly good. Opener Sadness, all 14 and a half minutes of it, invokes the spirit of Cardiacs mixed with Abba, Kansas and Yes. Companionship, again clocking in at over 14 minutes, is a symphonic prog masterpiece played by one man. Sounds impossible, but head on over to Johnny's Bandcamp page and have a listen. The occasional female vocals are reminiscent of fourth-wave alt/prog hipsters such as North Sea Radio Orchestra and all in all it's a dark, brooding, monster of a song. Acoustic flourishes are out of the Spock's Beard playbook, and the Beard do get a mention in the 'thanks' section of the booklet. There are vocal harmonies, pulsing piano, violin, Fish-era Marillion, Dunnery-era It Bites, Collins-era Genesis, Earth Wind and Fire swing and swagger, a delicious guitar solo and glorious melodies throughout - Phideaux-esque but more evocative of the burlesque, carnival and pomp of Cardiacs. It's the best song I've heard all year by a country mile. It's tremendous and I'll be listening to it forever. Two shorter pieces close out the record. More introspective, sparse and ambient to start but then Sadness (Companionship mix) launches into a melody The Tangent would be proud of before, in an instant, the tempo changes again, with burbling electronica, Cardiacs again this time before Yes-style vocal harmonies and It Bites 'sha sha's'. There's a 1980s British electronic dance beat to Companionship (Sadness mix) but still with time for symphonic guitar and keys joyfully interspersed. There's Drama-era Yes aplenty and the tune closes out with a harder edged chanted atonal bit more reminiscent of Tales...-era Yes. So much is packed into such a compact running time you'll be reaching for the replay button the second it's finished. I guarantee. You really do have to listen to this record. Everybody should. The artwork on the gatefold CD sleeve is, as always, done by Johnny (and Adele) and is amazing. There's a four buck download option on his Bandcamp page if you don't want the physical product - I'd heartily recommend the latter though as all his covers are amazingly good and more than a little aesthetic pleasure is to be obtained from holding said cover. There's a nice minimalist booklet incorporating the lyrics. Which are tremendous too. Review by "Brian Watson" (www.dprp.net).
RATING: 8.25 / 10 **ORIGINAL**
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RATING: 8.25 / 10 **ORIGINAL**
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