Pendragon
The Window Of Life

Hello guys, with my first review I have chosen to talk about a New prog band often forgotten (I will explain the reasons later) but which in my opinion has contributed (along with Marillion and Iq) to bring back a type of music that seemed to be swept away.

The main criticism that can be made against a New prog band is that it is derivative, not original, deliberately referential. While it is often true that the works of these bands appear less innovative or experimental, it is equally true that the "children" of 70s prog have often created substantial works that do not pale in comparison to those that were more celebrated in the past.

The icon of this subgenre of progressive music is without a doubt Marillion, led by a frontman perhaps a bit too indebted to a certain Peter Gabriel, but in his own way a showman endowed with an undeniable theatrical technique that made him famous for about a decade. On the other hand, Iq has been the other side of the coin: less spectacular, less technically gifted, with a less charismatic leader and definitely a smaller following. Nevertheless, they contributed to the genre with some good albums that certainly do not look out of place in the 80s rock scene.

Pendragon chose instead to pursue a goal: following in the footsteps of the "masters," but opting for a less theatrical and deliberately more melodic approach. This has often led to harsh criticism, with many calling them "a pop band that wants to be prog." That is not quite the case, as albums like these demonstrate. "The Window Of Life" is certainly not the most famous album by the band led by Nick Barrett ("The World" from 1991, which precedes it, and "The Masquerade Overture" from 1996 are perhaps their masterpieces), but it is the one that codifies their sound, which has essentially remained unchanged to this day.

"The Walls of Babylon" immediately transports us into a majestic and mysterious atmosphere very (perhaps too) similar to "Shine On You Crazy Diamond", but which still offers 4 minutes of pure poetry. Everything then changes as the drums and bass become present, with a progression reminiscent of "Watcher of the Skies", which leads the track towards more typical rock atmospheres until the conclusion. The next track, "Ghosts", is more melodic and relies on the skill of keyboardist Clive Nolan and a somewhat subdued vocal performance by Barrett (most often the vocal parts will be their Achilles' heel). However, the song flows well and features solo interventions in good melodic taste. One of the most well-known tracks by Pendragon is certainly "Breaking the Spell", which perhaps best expresses the spirit of the band and what they love the most: romantic and dreamy prog, with long guitar solos and keyboards in the foreground. In the introduction, Barrett holds his own on vocals, and when the guitar solo begins, one is left in disbelief at the great skill of the guitarist: incisive, but never intrusive, with always interesting solutions that don’t bore you. A track that a true prog lover should absolutely listen to.

"The Last Man on Earth" is the longest track on the album (with its 14 and a half minutes), and in the first half, it retraces the intimate and enveloping sounds of the previous track. Subsequently, the drums and bass become more pulsating, and everything becomes more aggressive and distinctly prog, with tempo changes and guitar solos. "Nostradamus (Stargazing)" has a poppier and more commercial pace, with a chorus repeated too many times and eventually becoming boring. It is certainly the weak point of the album. The conclusion is entrusted to the beautiful "Am I Really Losing You?", a delightful and fascinating final gem, perfect as a concert's closure. Barrett's voice here is in symbiosis with the music, and the long final solo brings to mind the rarefied atmospheres of "Soon" by Yes, as if to close the circle of references started with "The Walls of Babylon".

In conclusion, then, an imperfect album, but deeply felt and played with conviction (a rare quality in a genre like prog often made of excessive technicalities), which makes emotions and not technique its strong point.