Magellan
Impending Ascension

The '90s marked the revival of prog, this we all know who love the genre... but in this phase of revival, there are also many groups that haven't received the attention they deserved.

The Magellan, a duo formed by the Gardner brothers, are definitely among these "unfortunate" ones. Although generally labeled as a progressive band, they have managed to go beyond this definition and present themselves as a decidedly creative and unpredictable band, demonstrating the ability to elegantly range from prog to metal, from tribal influences to those of the eighties, passing through funky and jazz, perhaps mixing them in an apparently irreconcilable and bizarre manner. All of this without ever adhering to a particular style, which is a great advantage (after all, where is it written that one must play only one genre?). It's a pity that few have noticed. I had already reviewed the incredible "Test Of Wills," the pinnacle of their eclecticism and imagination, but I think it's necessary to take a step back and talk about another underrated masterpiece: "Impending Ascension!"

The early days of this band (referring to the first two albums) were notably keyboard-centric, with the keyboards being intrusive and absolute protagonists, but in their markedly keys-oriented nature, they already showed a remarkable degree of imagination, already in the debut "Hour Of Restoration" but especially, incredibly, in this second work. I have never heard a keyboard so varied, crazy, and bold. We truly witness an incredible variety of sounds and solutions. The invasiveness of this instrument might closely resemble some '80s productions, the sounds seem to recall those of that period, but they are paired with others, such as tribal, orchestral, piano, organ sounds, and so on... In short, you never know what to expect! And also from a performance point of view, everything is truly impeccable! The level of virtuosity is notable, as is the number of complex scales and long phrasings; a comparison with the masters Keith Emerson, Rick Wakeman, and Jordan Rudess is not so exaggerated! But if the keyboard is sometimes the protagonist, you have to expect and thus accept the lesser weight of other instruments: the guitar, for instance, finds little space, remaining more in the background, although it sometimes flows into metal; the drums are sampled, and if I'm not mistaken, the bass too, which might seem like a flaw, but in reality, it contributes to creating a very fascinating eighties funky-pop atmosphere.

Taking a look at the 7 tracks, we find three songs that exceed eleven minutes: "Estadium Nacional" is an incredible track, extremely varied and engaging, and manages to range from tribal and "pirate" atmospheres to eighties sounds up to almost dance-like choruses, and there is also a powerful metal intermezzo... but equally incredible and overwhelming like a vortex is "Storms And Mutiny," and even "Waterfront Weirdos" doesn't joke around. We then find two tracks around 5 minutes: "Virtual Reality" but especially the more guitar-oriented "Songsmith," with its charming hard rock driven by funky rhythm. And we also find two notable "shorties" of brief duration: the instrumental "No Time For Words," with yet another remarkable synth work, with sounds that might closely resemble a "Tank" by Emerson Lake & Palmer; and the concluding "Under The Wire" with its particular industrial metal.

In conclusion, we find ourselves facing a richly arranged and extremely creative album. I think an aspiring keyboardist should absolutely listen to this work for its incredible variety offered... but even those who don't believe in the continuation of prog after the historical phase would benefit from this album. The '90s didn't always just replicate what the masters of the genre had already done, and bands like Magellan prove it. It would be a shame to leave these names in oblivion!