Pendragon
Pure

When a band makes a turn, criticism is almost always divided into two fronts: the more traditionalist one, tied to the group's most distinctive and canonical sound and not very favorable to certain changes that inevitably criticizes it... and on the other hand, the one more favorable to artistic evolution and sound renewal who judges the turn as an excellent choice if the new sounds prove to be interesting and not given to banality.

Probably it was the same for Pendragon, but most fans, even long-time ones, seem to have greatly praised this "Pure," the eighth studio album of the British band. After a series of romantic and symphonic neo-prog albums, the band felt the need to refresh their sound. They had already tried with "Believe," oriented more towards an acoustic approach with hard rock hints and more atmospheric moments, sometimes even with an Arabian touch; now this need for renewal is felt again with a different approach. This time there are even metal elements, very current electronic experiments, orchestral arrangements, yet without altering the atmospheric flavor of their compositions. A demonstration of how the band still knows how to be very fresh in terms of ideas and still capable of surprises. There seems to be no trace of prolixity in the songs, and overall the album does not sound like something already heard. Let's say that the album can be considered a masterpiece that does not pale even in front of classics like "The World" and "The Masquerade Overture"; the title of best album of 2008 awarded by Class Rock Society does not seem to have been attributed casually and largely supports my opinions.

Giving an overview of the tracks composing "Pure" we find a really catchy opener, "Indigo," a 13-minute track featuring very rocky guitars, let's say even unusual for the band that was used to a much more delicate approach. Massive arpeggios that nod to Tool and metal-oriented riffs that are combined with keyboards enriched with new and decidedly more experimental sounds and at times even more "mellotron-like"... while the finale gives us a beautiful guitar solo accompanied by soft keyboards. "Eraserhead," with its 9-minute duration, sees an inspired Clive Nolan in orchestrations that do not give up on inserting more electronic passages. And then there is the 17-minute suite "Comatose," divided into three movements (also separated in audio tracks) but to be considered a single track, as indicated on the back. The first part "View From The Seashore" begins gently with keyboards but then attacks with very metal riffs that then become more hard rock and some old-style prog passages emerge, some mellotron-like sounds and before attacking the next part, we are struck by how Clive Nolan reproduces a string orchestra arrangement with his keys; the immediate attack with the next part, "Space Cadet," characterized by a very lively melody with guitar arpeggios supported by a nice rhythmic play and good keyboards and there is also some hard rock spray. The last part "Home And Dry," decidedly poorly linked with the rest of the suite, is instead more sad and delicate. After the suite closes, we are welcomed by the shortest track, "The Freak Show," where metal riffs and definitely catchy melodies reappear. We close with "It's Only Me," 8 delicate and atmospheric minutes that ensure a relaxed but noteworthy conclusion.

An excellent album released in a year, 2008, perhaps a bit lacking in prog releases (at least according to my knowledge). Much can still be expected from Pendragon... and I am watching!