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The Samurai Of Prog biography
Founded in 2009 as a multinational collaboration project

Multinational ensemble THE SAMURAI OF PROG was formed as a project lead past Finland-based Italian composer and bassist Marco Bernard. He's been active in the Finnish Association for Progressive Music since 1995, and have been involved in their Colossus Magazine since 1996 - and instrumental in the Colossus series of theme albums they have created in cooperation with French label Musea Records.

It was for a contribution to one of those projects that The Samurai of Prog was born, and joining Bernard as permanent members we find US creative person Steve UNRUH and Finnish drummer Kimmo P�rsti. Besides this core trio, the philosophy of this band appears to be to involve boosted musicians every bit needed and wanted, and their debut effort Undercover from 2011 bears testimony to that line of thinking, with a list of guest appearances impressive in length, scope as well as quality.

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THE SAMURAI OF PROG discography

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THE SAMURAI OF PROG top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.45 | 87 ratings Surreptitious 2011	4.00 | 132 ratings Secrets Of Disguise 2013	4.00 | 209 ratings The Imperial Hotel 2014	3.77 | 133 ratings Lost And Plant 2016	3.88 | 167 ratings On We Sheet 2017
iii.91 | 137 ratings Archiviarum 2018	3.87 | 150 ratings Toki No Kaze 2019	3.82 | 122 ratings Bernard & P�rsti: Gulliver 2020	three.65 | 40 ratings Bernard & P�rsti: La Tierra 2020	3.96 | 63 ratings Across the Wardrobe 2020
3.24 | 35 ratings The Lady and The Lion and Other Grimm Tales I 2021	3.90 | 30 ratings The White Serpent and Other Grimm Tales II 2021	3.16 | vi ratings Bernard & P�rsti: Robinson Crusoe 2021

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THE SAMURAI OF PROG Reviews

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Showing concluding 10 reviews merely

Studio Album, 2021
3.xvi | 6 ratings
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Bernard & P�rsti: Robinson Crusoe
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

The Samurai take now chosen the story of the solitary simply inventive castaway. Daniel Defoe's novel "The Life and Strange, Surprising Take a chance of Robinson Crusoe of York, Mariner" (1719) immediately became globe-famous and much imitated, every bit the introductory text points out.

Partly information technology's obviously because of the oversupply of releases from the same production team (which actually can brand the faithful listener experience pretty full at this point), but this fourth dimension I bluntly remain relatively unthrilled and uninterested by however some other new theme anthology from The Samurai Of Prog camp. [The absence of Steve Unruh explains the moniker Bernard & P�rsti on some albums, but they do belong to the same oeuvre, made with a similar recipe with an international -- and, by now, familiar -- cast of collaborators.] Of course these musicians & producers withal are splendid at what they're doing, and Robinson Crusoe definitely isn't a weak album in its own right. Information technology simply won't be among my TSOP favourites, that much I tin say for sure even with limited listening rounds. This has a lot to do with the narrow stylistic pallette of vocalists which is not much up to my personal taste.

The instrumental 'Overture' is equanimous past Octavio Stampalia (of JINETES NEGROS). The way the arrangement picks upward in turns various instruments such every bit keys, flute, violin, trumpet and guitar is absurd and dynamic, but overall the slice is a chip over-bombastic to me. 'Like an Endless Sea' is besides bombastic and fully packed. Vocalist John Wilkinson is a patently Gabriel/Collins disciple. 'The Voyage Begins' is the expected and trusted David Myers solo piano slice.

'The Island of Despair' (by Alessandro Di Benedetti of MAD CRAYON and INNER PROSPEKT) features vocalist Bart Schwertmann, whose dramatic and hard singing mode I'm not fond of. Musically there's a lot to enjoy, such as the gorgeous guitar solos by Steve Hackett. 'Fri', however some other fully packed x-infinitesimal ballsy, features Marco Vincini's dramatic, Fish-reminding voice. 'The Rescue' features the legendary MUSEO ROSENBACH (and IL TEMPIO DELLE CLESSIDRE) vocalizer Stefano Galifi, whose stuffy vocalization I've never personally enjoyed. And so, y'all get my point? All the vocalists on this album stand for the basically similar, drama oriented approach (influenced past Peter Gabriel, Fish and difficult rock singers), ie. it's a much less varied choice of vocalists than on TSOP albums usually. Gracefully the finale 'New Life' is a great instrumental. John Hackett guests on flute.

My rating is merely three stars (for my subjective liking but too for the sense of having more than than enough by now), but if you dig the vocal way and bombastic dynamics, this album is strongly recommended. The system has fantastic diversity and there are so much of fine details to be establish.

Boxset/Compilation, 2021
four.00 | four ratings
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Coach ii - The Heart Years
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

Following TSOP's kickoff Motorbus box set subtitled "The Early Years" from 2018, this new gear up contains the albums On We Sheet (2017), Archiviarum (2018), Toki No Kaze (2019) and Beyond the Wardrobe (2020) with five bonus tracks. "Nosotros're calling this 'The Middle Years' because there'due south however plenty of charge left in our batteries", the core trio of Marco, Kimmo and Steve write in their liner notes. To me as a long-time listener and reviewer of TSOP, this period is perhaps their finest. Since I've reviewed each album at the time they were released, I'll just shortly quote each review and estimate how well my enjoyment of the music has lasted till today, although the perspective is naturally even so short.

ON Nosotros Canvass. "The multi-national prog-Gasthaus take at present released their about mature work. This is a beautiful and perfectly counterbalanced 65-minute set of finely crafted symphonic prog." Because so many excellent TSOP albums has come since 2017, On We Sail may not accomplish my Top Iii any longer, but information technology nonetheless sounds strong and highly dynamic. I recall the adventurous spirit has a KANSAS season here and there, due to the violin of Steve Unruh.

ARCHIVIARUM "is really a collection of recordings made throughout the years, none of the tracks having been on a TSOP album before. It contains compositions of the musicians that they accept worked with, and (more or less re- worked) tracks that originally have been released under other artists' names on the mentioned Colossus projects (the Decameron trilogy, to be more precise)." Partly considering several tracks were familiar in advance, this 1 didn't originally appear to me as an every bit rewarding TSOP release, but I have to say that present it stands boldly amongst other albums. The cover of CAMEL'south superb instrumental 'Ice' is wisely far from being a carbon copy. The original album had a cover of David Bowie's 'Heroes' equally a bonus rails, which I frankly didn't like. The decision to omit information technology here affects positively to the whole.

I accept oftentimes referred to TOKI NO KAZE as my favourite TSOP album, and probably I still recall so. "The concluding runway featuring Elisa Montaldo is another mellow highlight. I'm but blown abroad by the dazzler of this fantastic anthology." The album opener 'A Tear in the Sunset' feels all too bombastic now, but the remainder has maintained its charm wonderfully. This Hayao Miyazaki inspired anthology probably has the biggest amount of female vocals which I'grand fond of.

Beyond THE WARDROBE. It's only well-nigh thirteen months since my original review. "A marvelous, superbly produced album of first class retro-natured symphonic prog composed and co-performed by excellent prog musicians from various countries including e.one thousand. Argentine, Netherlands, Italy and Nihon. In fact I believe this album will be 1 of my biggest TSOP favourites!" Well, the subsequent new releases of TSOP and related have kept me too busy for having listened to this one very often. Simply yes, I greatly enjoyed it now. Relatively many classically inspired instrumentals on this one, and fewer guest vocalists (the regular TSOP collaborators Daniel F�ldt and Elisa Montaldo).

The BONUS tracks are scattered on iii discs (Toki No Kaze is nearly 75 minutes long on its own). 'The Fe Mask' is a snippet from the forthcoming album of the same proper name by Bernard - Lacagnina - P�rsti. A tight, Kansas- flavoured prog instrumental containing also a Bizarre quotation. 'Pentahedron' is very dynamically many-sided equally a symphonic prog instrumental, gracefully avoiding the overblown pretentiousness. 'White Skies' is a totally different version of 'A Queen's Wish' from The Lady and the Lion, and much better. But Daniel F�ldt's pb vocals (plus backing vocals by the composer Alessandro Di Benedetti) this time, leaving the irritating Disney fairy tale effect backside.

'Killing Hopes' sung by Elisa Montaldo is from another forthcoming album, Anthem to the Phoenix Star by Bernard - Grieco - P�rsti, composed by Marco Grieco. Pretty skilful song, although the acoustic instrumental department in the heart feels slightly out of place. And finally, 'Have Me Downward' equanimous by Alessandro Di Benedetti. John Wilkinson's Gabriel-like vocalisation underlines the heavy 70's Genesis influence.

If you haven't all the same purchased these albums by The Samurai Of Prog, with this box set you tin do yourself a big favour if you fancy retro-styled symphonic prog with international stellar cast and splendid production.

Studio Album, 2021
3.90 | thirty ratings
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The White Ophidian and Other Grimm Tales II
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

I've been reviewing new albums of this multi-national recording project for many years, and I'm glad to notice that finally there take been also other reviewers around lately. TSOP certainly are a force to reckon in the retro/classic prog styled section of the international prog field, despite not beingness a band in the traditional sense. The incredible pace of their releases, approximately two albums per year, may indeed be more than the listener really needs, but nevertheless the production squad (Marco Bernard, Kimmo P�rsti and Steve Unruh) has ever kept the artistic level very high, and the invited composers, usually simultaneously the keyboard players, seem to give their 100% dedication to the collaboration, also every bit all the guest musicians.

I was somewhat disappointed with the first album based on Grimm tales, The Lady and the King of beasts, and had certain reservations for this sequel besides. Will the theatrical approach of story-telling -- and not just whatever stories only the imaginative fairy tales from roughly ii centuries ago -- irritatingly over-dominate these compositions also? The answer is no. The White Snake is in my stance fashion better than its sister, starting from the structure of the anthology whole.

I appreciate the way the opening instrumental piece 'The Tricky Fiddler' makes a brief return in the finish to wrap it all upwardly neatly. It'south a fine slice featuring Unruh'south violin in a atomic number 82 role. The composition of Marco Grieco (a.g.a. MacroMarco as a ProgArchives included artist) has a flavour of classically inspired vintage Rock Progressivo Italiano, bands such as Quella Vecchia Locanda or New Trolls. The symphonic instrumental bliss only improves with the nearly ten-minute 'Searching for the Fearfulness' composed by Alessandro Di Benedetti (Mad Crayon, Inner Prospekt), which is probably my favourite track. In that location are lots of solistic moments for various instruments, ie. keys, violin, flute and electric guitar, all proceeding with an elegant and dynamic flow, and the cherry on the tiptop is the cute wordless vocalisation by Paula P�rsti.

'The Devil With the Iii Golden Hairs' does have the theatrical roled vocals (Unruh and three guests) just thank god not narrative parts the way the previous album had. In the movie Marco Vincini has a Fish-reminding face up pigment and he certainly puts a lot of drama in his vocal parts. Elisa Montaldo's vocals office beautifully as a softening element. Mimmo Ferri's composing style is undoubtedly heavily influenced by Plant nursery Cryme /Foxtrot era Genesis without reminding too closely any particular song. The following, equally lengthy rails 'The Travelling Musicians' composed by Luca Scherani is basically rather similar in its dramatic, multi-song structure. interestingly the lyrics mix English and Italian. Perhaps here the vocals dominate a bit also much; even though the bankroll music is fine, it is very subsidiary to the story-oriented vocals.

The title rail is the longest (17:37) and the most aggressive piece as a total-blown, multi-part prog ballsy. The French horn and trumpet of Marc Papeghin add a tonal sharpness, and composer Oliviero Lacagnina's organ sound is pretty tight too, simply there are also beautiful calmer sections featuring vocals of Camilla Rinaldi, and later also Irish flute of Rafael Pacha. Three rather song-centred long pieces in a row demands a lot from the listener, and therefore the instrumental reprise is a perfect way to shut the album. An excellent addition to a prog collection for those who fancy dramatic symphonic prog with vintage flavour.

Studio Album, 2021
three.90 | xxx ratings
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The White Snake and Other Grimm Tales Two
The Samurai Of Prog Crossover Prog

Review by Squonk19

For those new to them, The Samurai of Prog is a multi-national symphonic prog rock project dating back to 2009, led past Republic of finland-based, Italian composer and bassist Marco Bernard, with permanent members Steve Unruh on vocals, violin, flute and guitars, and Kimmo P�rsti on drums and percussion ? along with a raft of guest musicians and vocalists.

I reviewed The Lady and the Panthera leo ? volume i of a new serial of albums based on the fairy tales of the Brothers Grimm ? a few months ago. The White Serpent is volume ii, and I was interested in seeing how the series has developed and how information technology compared with the first anthology.

I am pleased to say that the quality of the instrumental symphonic prog produced by the projection remains of a high standard. The solid foundation that Marco, Steve and Kimmo create is enhanced by the talented guest musicians they take employed ? especially on keyboards and electrical guitar. The music is dynamic and various and full of invention that would please whatever followers of the genre.

However, whether you take to the album or not will largely depend on the lyrics and vocal approach. This is fairy tale storytelling prog style! Information technology can often feel similar a commentary over a local theatre grouping's Christmas pantomime. However, on this occasion, the vocals are much less melodramatic and integrate better with the musical flow and construction of the longer, narrative-led tracks, compared to the last album.

The first two tracks are instrumentals and work well. The Tricky Fiddler is a brisk and decorated rails, not surprisingly dominated by Steve'due south violin, which combining playfully with lush retro-keyboards, flute and lively electric guitar creates a Kansas/Tull hybrid at times. Searching for the Fright is more of an ensemble piece, with each musician seemingly allowed to take the lead as the rails ebbs and flows ? all propelled past Kimmo'due south drumming ? with prog noodlings a plenty, especially from the guest keyboards and guitar of Alessandro Di Benedetti and Marcel Singor, respectively.

The three, longer, storytelling tracks are each composed by a different guest keyboardist, and the iv-part The Devil with the Three Gold Hairs by Mimmo Ferri fares least well. The promising instrumentation (including some nice guitar soloing) is often swamped by the densely-packed lyrical content, and although the vocals are slightly less theatrical than the kickoff album, they are still overdramatic at times. The Travelling Musicians, by Luca Scherani, is better, however, lyrics and music well integrated and it flows more easily, and whilst y'all still feel you are listening to a stage musical at times, the vocals are stronger ? especially Elisa Montaldo as the cat and Alessio Calandriello every bit the rooster (only wish I could understand Italian!)

The five-office ballsy The White Ophidian has music composed by Oliviero Lacagnina, and is rather proficient. Fans of ELP/Triumvirat will enjoy the retro keyboards and synthesised orchestration of the Prologue onwards. At times in that location is a theatrical grandeur like to ELP'south Pirates. The narrative content is stronger too, with Camilla Rinaldi'southward vocals like shooting fish in a barrel on the ear and Massimo Gori's lyrics never dominating the instrumentation. Violin, keyboards and guitars apply the additional space given to them more effectively, and in that location is even some nice Irish flute playing earlier the proggy decision. The final, short instrumental The Tricky Fiddler ? Reprise rounds off the anthology with a more restrained, stately return to the original opening theme before a final swirl of violin.

A step up from the previous album, although despite the impressive prog instrumentation, it volition largely be your liking of musical theatre and lyrical storytelling which will decide if this anthology, the previous i or any hereafter releases to come from The Samurai of Prog are for you lot.

(from THE PROGRESSIVE ASPECT)

Studio Album, 2021
3.24 | 35 ratings
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The Lady and The Lion and Other Grimm Tales I
The Samurai Of Prog Crossover Prog

Review by Squonk19

THE SAMURAI OF PROG is a multinational symphonic prog rock project dating dorsum to 2009, led by Finland-based, Italian composer and bassist Marco Bernard, with permanent members: Steve Unruh on vocals, violin, flute and guitars, and Kimmo P'rsti on drums and percussion ' along with a raft of invitee musicians and vocalists ' many who have appeared on earlier releases. THE LADY AND THE LION, released in May, is book i of a new series of based on the fairy tales of the Brothers Grimm.

Equally someone fairly new to the projection, I plant much to enjoy with the ensemble piece of work beyond the relatively brusque, vi- track, 42 minutes anthology duration. Bernard'south bass and Porsti'due south drums drives through most tracks impressively, with Unruh's violin and flute and guitar lovely additions throughout.

Into the Woods is an atmospheric introduction to our journey into the world of magic with the whispered 'In one case Upon a Time' vocal welcoming united states into the concept and anthology series. The Iii Snake Leaves is even meliorate, with Unruh'south vocals combining well with some powerful and dynamic instrumental prog, with retro keyboards mixing fluidly with soaring guitar runs, driving bass and violin and flute supporting this mini-epic. Iron John is an uplifting, cinematic instrumental, written by Kayak's Ton Scherpenzeel, with glorious sweeping keyboard and some moving violin to end with. Long-time collaborator, David Myers, delivers a cute and melodic solo piano piece, The Lady and the Lion after on, too.

However, the two narrative-led tracks: A Queen's Wish and Blueish Lite, might be more of an caused taste for many symphonic prog listeners. A Queen'due south Wish is a very literal rendition of the tale of Snowfall White ' and unfortunately the excellent instrumental work (which is impressive) is rather dominated by the theatrical vocals and spoken words throughout. Phideaux's Valerie Gracious has a powerful, expressive vox, only in this context, her Kate Bush- like, Evil Queen portrayal feels like information technology is akin to a commentary over a provincial theatre or children'south television receiver Christmas pantomime. Blue Light closes the album and fares a little amend, but all the same suffers from that same melodramatic vocal style at times. Still, if you lot are at ease with that story-telling approach from similar concept prog releases from other artists (equally many are), yous might take no reservations and enjoy the approach ' equally musically, the album cannot be faulted.

The second volume is entitled THE WHITE WITCH and is due out in July. If they continue with the strong compositional work and tin can find a ameliorate rest between the impressive instrumental symphonic prog, and restrain the theatrical song performances, the Grimm Tales serial of albums might exist worth persisting with.

(From The Progressive Attribute - A Different Aspect)

Studio Album, 2021
3.24 | 35 ratings
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The Lady and The Panthera leo and Other Grimm Tales I
The Samurai Of Prog Crossover Prog

Review past Matti
Prog Reviewer

The multi-national recording project The Samurai Of Prog shows no signs of slowing down. In recent years nosotros've had many many albums of TSOP and related, such as the solo album of Kimmo P�rsti, and The Guildmaster projection with its folk orientation. The American core member Steve Unruh has been less, if at all, involved on several of those recent albums, but on this new release his contribution is very central. This time the album concept -- for which a sequel is undoubtedly to be expected after this yr -- is built on the fairy tales of Brothers Grimm. Every bit a literature lover I discover that quite appealing to start with. It's squeamish to have the plot summaries of the tales in the booklet, merely in the end I'm not happy of the way the story-telling occasionally dominates the compositions. I'll come to that after.

The instrumental opening track 'Into the Forest' equanimous by keyboardist Alessandro Di Benedetti (Mad Crayon, Inner Prospekt) is very charming in its airy melodic approach reminiscent of Camel -- ah, the flute! -- and Spectral Mornings -era Steve Hackett. 'The Three Serpent-Leaves' (nine:43) written by Chilean prog composer Jaime Rosas with Unruh'due south lyrics captures the tale's drama effectively. The music is very dynamic, at times heavy, and there are gorgeous soli for various instruments. Unruh's vocals remind me of early Marillion and Fish at his almost dramatic (eastward.g. 'The Web' for the whispered section). And so comes another instrumental, 'Fe John' composed by Ton Scherpenzeel (Kayak). He was a cadre fellow member in The Guildmaster, and also here he added some Sometime Music season although the rails rocks too. This far the anthology is only as satisfying equally one has learnt to expect from these hard- working guys and their contributors.

The latter half leaves me less impressed and a chip frustrated to be honest. The solo piano title piece by TSOP'southward long- fourth dimension contributor David Myers is cute all right (I hear a slight pop ballad flavor � la Billy Joel, which is not a bad thing), but it is sandwiched by two vocally over-theatrical pieces where the narrative level gets way as well dominant in my opinion. 'A Queen's Wish' (Di Benedetti/Unruh) is based on the fairy tale of Snow White, and Steve Unruh's vocals are accompanied by Phideaux'due south Valerie Gracious who acts as the mean queen. This is the album's longest track (eleven:36) and it contains fantabulous prog sections, but, as the vocals are generally either narrative or pure voice acting, I tin't help thinking of the audiovisual Disney fairy tales released in my childhood. In other words, the fine music becomes painfully secondary to the shamelessly melodramatic story telling. 'The Blueish Light' (composed by Octavio Stampalia of Jinetes Negros) suffers from the same feature. Valerie reappears as a witch.

So, this time my rating is lower than for TSOP releases ordinarily (five stars haven't been a rarity!), merely I desire to underline that it'south mainly considering of my disliking for the over-theatrical, story-telling oriented approach specially on two songs. This album is as well relatively curt compared to many preceding albums. The length in itself is not essential, but the lesser amount of quantity means in that location is less stuff to be fully charmed by. That said, the best TSOP albums such every bit Toki No Kaze are IMHO fantastic symphonic prog all the style.

Studio Album, 2020
3.96 | 63 ratings
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Beyond the Wardrobe
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

The multi-national, Finland-based recording project did it again, a marvelous, superbly produced anthology of beginning form retro-natured symphonic prog equanimous and co- performed by excellent prog musicians from diverse countries including e.g. Argentine, Netherlands, Italy and Nippon. In fact I believe this anthology will be one of my biggest TSOP favourites! (After editing two former ratings this is now my third full rating for this project.)

With 9 tracks this album remains nether an hour in length. This means the boilerplate rails length is slightly shorter than on several other TSOP albums, and that is actually a benefit for the whole in which each piece is very good and accept distinctive characters. The varying of vocalists and the placing of instrumentals is truly ideal here.

'Another Time' (written past Ronaldo Rodrigues and Steve Unruh who as well sings) evolves dynamically from mellowness to energetic instrumental department and features Marek Arnold on saxophone. Oliviero Lacagnina composed a pompous symph prog instrumental 'Honey Amadeus' inspired by Mozart. Ane may think of 70's RPI bands such every bit Latte due east Miele. 'King of Spades' (by Alessandro Di Benedetti) features Daniel F�ldt'south vocals. There's a classic Genesis influence in this charming, mellow slice, but likewise a cool electrical violin solo.

Unruh sings 'Woods Rondo' he co-wrote with Christian Bideau. Impressive dynamics between ELP/ Gentle Giant flavours and the more frail, mystical moments. 'Jester's Dance' is a classical music flavoured instrumental past Octavio Stampalia. 'Kabane' is sung in Japanese by the keys-playing composer Yuko Tomiyama. She has a beautiful, articulate vocalisation and the piece is very charming. 'Marigold' is a brief instrumental written by KAYAK's leader Ton Scherpenzeel and his keyboards share the spotlight with Unruh'southward flute.

'Brandenburg Gate' (by Oliviero Lacagnina) is rooted to Bach; this piece really could take come from the early 70's. The anthology closes with perhaps its finest song 'Washing the Clouds' written and sung by Elisa Montaldo. Moody, mellow, and on the more romantic side of symphonic prog, and Unruh'southward soli for violin and electric guitar points at bands similar Camel.

This album is 1 of my favourites of 2020, which indeed has been an amazing year for prog albums.

Studio Anthology, 2020
3.82 | 122 ratings
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Bernard & P�rsti: Gulliver
The Samurai Of Prog Crossover Prog

Review by Ovidiu

Sensational new anthology from two of the amazing musicians of THE SAMURAI OF PROG-KIMMO PORSTY and MARCO BERNARD!The music on this astonishing anthology is simply outstanding....vintage prog rock of the highest quality!Top prog rock and some amazing musicians involved in this ambitious project!The final upshot is a fantastic album of the highest caliber and the guarantee of some other wonderful release from this 2 magnificent musicians!Information technology's a wonderful journeying anf the sonic soundscapes created are perfect! Superbe music and great,great moments of pure please and enchantment!This 2 musicians seems to have an endless inspiration in the procedure to elaborate such exceptional high quality vintage prog stone! A serious mention to the graphic piece of work,sensational as usual,a masterpiece provided by the unique ED UNITSKY,which made hither another memorable piece of true fine art,which fits perfectly well with the aggressive music! Very coherent and cohesive album ,rich in ideas and musical expressions,a true ear candy even for the more pretentious and die hard fan of vintage prog stone!five stars for something memorable!

Studio Album, 2020
three.82 | 122 ratings
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Bernard & P�rsti: Gulliver
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

(NB: The Samurai Of Prog is NOT "Crossover Prog", information technology'south SYMPHONIC PROG, more and more than clearly with each release, merely I won't trouble the Symph team again on this matter.)

TSOP, this time namely bassist Marco Bernard and drummer Kimmo P�rsti from Finland (American Steve Unruh simply guests here), continue producing multi-nationally composed and played beginning-rate symphonic concept albums with an astonishing album per year phase. In 2019 came the anime/manga inspired Toki No Kaze, which I felt was the finest TSOP release so far. For me, this brand new album based on Jonathan Swift's archetype satire isn't taking that place, but this is actually the most coherent TSOP album ever, with an easy-to-follow single narrative entity, dealing with Samuel Gulliver's adventures in iv different imaginary lands.

At that place are half-dozen tracks on this 62-infinitesimal album. 'Overture XI' (7:42) is an instrumental equanimous by and featuring Andrea Pavoni on keyboards. Vintage keyboards dominate this RPI-flavoured slice, until the electric guitar (Kari Riihim�ki) starts soloing after a pastorally tranquillity moment, later to be joined past Marek Arnold's saxophone. Excellent symphonic prog runway!

'Lilliput Suite' (17:53) is the longest slice, divided into half-dozen movements. Composition and keys by Oliviero Lacagnina, and a wider guest listing (eastward.1000. violin, flute, trumpet). The music strongly resembles the Foxtrot-era GENESIS -- partly due to the Gabriel- esque vocals of Marco Vincini -- with some ELPish organ piece of work and orchestral arrangements thrown in. The move changes are not as seamless as they could exist, but overall this is a fine symphonic prog epic in a classic style. Information technology's important that there are delicate moments betwixt more than majestic parts, and lots of instrumental sections.

'The Giants' (eight:42) is an instrumental symph prog piece, limerick and keys by Mimmo Ferri. The splendid organisation gives diverse instruments their own turns to play powerful melodies. 'The Land of the Fools' (14:30) is written by keyboardist Alessandro Di Benedetti and sung by Daniel F�ldt from Simon Says. I'm not very addicted of the vocals as the lyrics occasionally feel as well central, but on the numerous and lengthy instrumental sections the music is very versatile and nuanced, sometimes reminding of e.thousand. Flower Kings, sometimes Happy The Man. The fragile piano is in a classical / jazz mould. Beautiful, fusiony or Camel-like guitar parts by Federico Tetti and Massimo Sposaro.

On Luca Scherani -equanimous 'Gulliver's 4th Travel' (x:17) vocalizer-violinist Steve Unruh shares the bilingual vocals with Stefano Galifi from Museo Rosenbach. This very RPI-ish, dynamic piece is, especially in a dramaturgic sense, reminiscent of Genesis effectually 1972-4, plus the lovely violin. The album ends with Alessandro Lamuraglia's instrumental 'Finale' that indeed has a bold temper of a grande finale.

As I said, "Gulliver" is a coherent anthology, despite sharing the composion duties betwixt six diverse keyboardists. I wouldn't be surprised at all if several TSOP listeners named this one their favourite (well, the only preceding reviewer already did). Equally always, Ed Unitsky has done terrific job on the covers and the booklet.

Studio Album, 2020
3.82 | 122 ratings
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Bernard & P�rsti: Gulliver
The Samurai Of Prog Crossover Prog

Review by Danlsch

This could hands be my favorite TSOP (-1) album. Aiming the compositions at a mutual theme creates a musical cohesiveness that works actually well throughout the entire album. Sure, there is plenty to recognize from vintage prog, but nil borrowed. Kimmo Porsti and Marco Bernard have put together an album that, to my ears, seems their virtually dynamic work to appointment. It is not hindered by the want to insert too many instruments to back up the compositions. More often than not the songs sport drums, bass, keys, and guitars--with other instruments used as small-scale embellishments or solos. The album has a more classic band feel. Porsti's drums are mixed more aggressively into the music which brings a stronger edge. Get this album. Highly recommended.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

DOWNLOAD HERE

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