DRIFTING SUN

Although DRIFTING SUN is celebrating its fourth decade in 2024 as a band having formed in Chesham, England way back in 1994, founder and remaining member Pat Sanders didn't really get the band started until it reformed and started releasing albums again in 2015 with "Trip The Light Fantastic." Since then DRIFTING SUN has been quite productive and not only has the band released six albums in less than ten years but has in the process become incrementally a better band with each passing release as well as becoming one of the most revered neo-prog bands of the modern era. Following the excellent "Forsaken Innocence" from 2021, the band is back with its 8th overall release - VEIL.

With an ever rotating cast of musicians and backing singers, VEIL finds Pat Sanders back in the driver's seat performing another keyboard dominated slice of stellar prog. Also returning is ex-IQ bassist Jon Jowitt as well as vocalist John "Jargon" Kosmidis who took the last album to an entirely new level of prog perfection. New to the team is guitarist / mandolin player Ralph Cardall of Thedeepstate and ex-Pendragon drummer Fudge Smith. The new lineup is joined by Suzi James from Fearful Symmatry and T.A.P. who performs violin on a few tracks as well as seven choir members who pop up randomly on this eight track album that spans the playing time of just over 47 minutes.

Despite a new lineup the band sounds like a team of seasoned pros on VEIL and demonstrates how to make the proper neo-prog album for the 2020s. Graced with a diverse listing of tracks, this album is a wild ride that implements all the expected keyboard heft with flashy synthesizer runs and layered atmospheres but goes so much further in exploring textures, timbres and dynamics. Starting out with a short two-minute instrumental with the time signature of a waltz, "Veiled" delivers a piano-based orchestral with dramatic a dramatic choir and a slow build up to the album's longest cut, "Frailty" which takes on the role of a mini album's worth of ideas in its own right with its many movements that tackle soft melodic passages with the grittier heft of guitar based rock.

The album continues with one killer strong track after another with all kinds of pleasing developments. Melodic hooks without any cheesiness and dynamics that range from pacifying piano rolls to raucous guitar solos add the spice. The highlights include? well everything! ~ however some interesting moments include the moments of virtuosity which neo-prog doesn't usually excel in. This includes the guitar shredding antics on "Eros And Psyche" and Sanders demonstrating his virtuoso piano rolls on the phenomenally precise "2-Minute Waltz." Another personal favorite is the closing "Cirkus" with its circus music rhythms and Kosmidis' vocal style that reminds me a bit of Anekdoten. The use of keyboards, guitars, choirs and varying percussion makes this entire album a gem of a listening experience.

Honestly i wasn't too impressed when i sampled the tracks available before the album's release but when i hear the album in its entirety i'm completely blown away! DRIFTING SUN really is the hottest ticket in the neo-prog section of the prog universe delivering a fresh new stylistic approach that doesn't rely on past masters for its inspiration. Sanders demonstrates his musical genius on so many levels on this one. I was fearing "Forsaken Innocence" would be a one-off fluke of brilliance but i am happy to be totally wrong on that note. VEIL is every bit as original and compelling as its predecessor and a welcome surprise in the first quarter of 2024. This band is on fire! I sure hope they can keep this intensity and perfection up for a few more albums because this is really the stuff melodic prog dreams are made of.

'Veiled' begins rural, theatrical, with a Mecano tune yes 'Hijo de la luna' it's beautiful, nostalgic, cracklings and a crystalline piano arpeggio, the orchestral keyboard; we see the dancer in the bottle.'Frailty' entry into the album and the direct slap; two symphonic minutes reminding me of the best Arena in the neo-prog vein; an air of melodic gadget inspector, the Hammond bringing warmth, playful rhythm, the theatrical vocal imposing this operatic title on an enjoyable side. Break with choir and pom-poms, a vibrant Kansas violin that of Suzi; the melodic, gently sloping, grandiloquent finale and the distant guitar solo giving goosebumps, all for a goddess story; nostalgic genesisian finale. 'Eros and Psyche' again the airy piano, leering air on Alan Parsons Project; synth flirting with Arena's 'Butterfly', the neo well in place; the explosive, fresh, cheerful chorus of the nostalgic opening; Ralph all in delicacy. Jargon's solemn vocal 'The Thing' before the folk-prog refrain of a Viking assembly; the melodic air before starting on a creamy synth solo, yes it makes you want, eyeing what Tony did from Genesis; moving guitar solo which echoes the thoughts of the fighters, all amplified by Fudge; a cappella finale with Ralph showing his dexterity in breathtaking echo stereo.

'2-Minute Waltz' nervous grand piano, playing with the keys and showing the importance of classical in prog, a little virtuoso interlude. 'Through the Veil' with the Genesisian Hammond, the drums and the heavy guitar for the powerful intro, a redundant tune of 'Frailty'oui the inspector, before letting the sound go on a progressive flight handling rock, pop and synths modern Saga; text on dementia and its agonies with a solemn ending. 'The Old Man' nostalgic, melancholy atmosphere giving way to hope; the voice is more reminiscent of Michael from Saga; guitar supported by the keyboards before escaping on a solo where the wah-wah pedal lets go, rises and explodes for an enjoyable finale with deafening silence. 'Cirkus' syncopated tune, melody from 1001 nights, a waltz, a drunken work, beautiful work by Jon; the tune from the beginning of the album returns here, introducing the theatrical concept effect; the dissonance is required, jarring the listener accustomed to a neo-consensual sound; accordion break from the jerking 'Time of the Gypsies'; this hubbub becomes bewitching with a folk, Olympian chorus; the progression with the keyboard throwing out its notes for the guitar to land on; the haunting finale to create the lack.

Drifting Sun has released a very beautiful album of creative neo-prog rock, captivating, danceable and energetic, a new sound.(4.5)

NEO-PROG PLUS!

Well, to be honest, this is my first musical encounter with the highly acclaimed Drifting Sun, while they have released already 8 studio-albums, 7 rated between 3.83 and 4.16 here on PA, between 1996 and 2024 .... oops! During my first listening session I got more and more excited, and concluded that I must have missed something by ignoring Drifting Sun for such a long time. These are skilled and experienced musicians, composing varied and elaborate songs, coloured with strong work on guitar and keyboards, and topped with inspired vocals. What a discovery for me, and what a nice surprise that Neo Prog Rhythm Section featuring Jon Jowitt and Fudge Smith, I have seen them so many times with their bands IQ and Pendragon.

The music.

Veiled (2:00) A short but wonderful blend of tender piano play, an orchestral keyboard sound, Minimoog, choirs and moving guitar, in a mellow atmosphere.

Frailty (12:05) A dynamic sound, shifting between dreamy and bombastic, with strong work on guitar and varied keyboards (synthesizers flights, powerful organ and tender piano), topped with inspired vocals (at some moments slightly theatrical). Finally a sumptuous climate with emotional vocals, howling guitar and choirs, to me it sounds like a mini rock opera, very well done.

Eros And Psyche (5:12) First a duet between beautiful Grand piano play and dreamy high pitched vocals. Then a slow rhythm in a bombastic atmosphere, featuring spacey synthesizer runs, powerful guitar riffs, and harder-edged guitar with moving runs. And finally again tender piano. What an excellent, very elaborate song, these guys know how to please the progheads.

The Thing (7:49) The first part alternates between dreamy, slow rhythms and bombastic, embellished with soaring keyboards, choirs, a flashy synthesizer solo and moving guitar runs, topped with inspired vocals. Halfway a long and moving guitar solo with biting runs, embellished with choirs, wow! In the second part mainly a bombastic climate, again with excellent guitar play.

2-Minute Waltz (2:00) Awesome Grand piano work, between tender and sparkling, I love this, variety and musical ideas rule on this album.

Through The Veil (5:45) It starts with powerful Hammond organ and fiery guitar, fuelled by a powerful rhythm-section. Then a slow rhythm with strong vocals, followed by a tight mid-tempo with Hammond. Now the music has turned into a dynamic and powerful sound, impressive, topped with strong vocals. In the second part a synthesizer solo and heavy and howling guitar runs. This bands deliver a good balance between song-oriented and instrumental parts.

The Old Man (5:44) First a dreamy atmosphere, with melancholy vocals. Then synthesizer flights join, in a slow rhythm and a bombastic sound, topped with inspired vocals. The music is coloured with piano and synthesizer. The tension builds, and culminates in heavy guitar solo, with biting wah-wah pedal driven runs. Finally dreamy with twanging guitar and soaring keyboards, wow, what an exciting composition!

Cirkus (6:34) I am delighted about the way the band has translated the title into music: a cheerful and catchy climate, fuelled by a dynamic rhythm-section, and embellished with strong, slightly theatrical vocals. In the first part a moving guitar solo and flashy synthesizer runs, then a female choir joins, in a sumptuous atmosphere, again like a mini-opera. Finally a dreamy climate with tender piano and violin, what a wonderful contrast with the rest of this captivating and dynamic song.

For those (many) progheads and symphomaniacs who are not into Neo-Prog, give this new Drifting Sun album a try, this band sounds like Neo-Prog Plus, way more elaborate and varied than the average Neo-Prog music.

It becomes quite daunting when the entire discography over the years of a band are all major winners, with nary a thought of any weaker one among the lot. Such is the case with my long love affair with Drifting Sun going back to 2015 when I discovered the band's "Trip the Light Fantastic" album. Since those heady early days, my online friendship with Pat Sanders (in both English and French, may I add) has been easily one of my cherished ones, on par with the one I enjoy with my esteemed Lazland. I must also admit for the record, that both the 2016 "Safe Asylum" and the follow up in 2017 "Twilight" have stolen my heart and still resonate deeply in a multitude of unexplainable ways. Both subsequent albums, the adventurous "Planet Junkie" and the sprawling "Forsaken Innocence" are essential, extremely well received critically and acclaimed by the vast progressive fanbase. This is not surprising at all, in view of the solid talent that was on display! So, the dark clouds of the pandemic have petered out, giving all the time needed to set up the next chapter, as Pat reveals "VEIL" to the eager general public. With returning veterans John 'Jargon' Kosmidis on vocals as well as the celebrated bassist John Jowitt, Drifting Sun has added ex-Pendragon drummer Fudge Smith, guitarist Ralph Cardall (aka the Grump) replacing Mathieu Spaeter, as well as Suzi James (Fearful Symmetry and T.A.P.) on violin, and 7 chorists to fill out the line-up.

"Veiled" is a striking keyboard display with strings and choir, in a very classical mode that serves as a brief introduction for the impressive epic "Frailty", a dozen minutes of inspired bliss that wastes little time in marshalling all the muscular elements of the rhythm section, John and Fudge thundering along, keeping apace with the streaking guitar lines and Pat's sizzling synthesizer and splashy organ prowess, most especially his increasingly inspired piano playing. Jargon stays true to his Greek roots by theatrically seizing the microphone and telling his marathon tale of a doomed affair, a classic human tragedy. A top-notch track that really sets the tone for the things to come, a powerful choir finishing off the arrangement with clever bombast.

That masterful piano establishes the stunning "Eros & Psyche", a duet with Jargon's touching voice, simplicity incarnate. The serene atmosphere is maintained until the transition to a more powerful elevation and the full exploration of the initial melody. Swirling electric guitar raises the delirium to celestial heights, 'catching the whirlwind of life' and closing 'those old and withered eyes of mine'.

Mystical moments among the frozen lakes, darkened moods recalling Odin and Valhalla as we travel towards "The Thing", the glacial choir clashes with the sorrowful lead voice, as Ralph unleashes a few Thor's hammer solos, full of screeching agony and windswept rage. A spectacularly atmospheric piece that would make a Pict, Norman, or Viking proud.

A "2 Minute Waltz" piano etude settles the mood for the next barrage, and it bears repeating that Pat's decision to showcase his ivory talent is well worth the applause. Leading into the appropriately flamboyant "Through the Veil", the main melody is world class, the never surrender vocal delivery is off the charts, as the underlying arrangement is full of bravado, transition, and complex variations, as highlighted by the furious rhythmic maelstrom displayed by Jowitt and Smith, who sound like they have played together for decades. Darn professionals!

The unambiguous attraction of "The Old Man" is self-evident, as the delicate melody is like a balm of comfort, immediately effective and instantly addictive. With poignant lyrics such as 'the old man weeping on the floor, knows his time has come, he stands still bruised and broken hearted, when the hour strikes, one more taste of bygone days', how can anyone be left indifferent, blasé, or bored? The 'frailty' of this slice of magnificence was presented as a pre-release video and it hit me then very hard as I pass beyond the golden years into the final countdown. Ralph peels off an extended and utterly wicked solo, right on the heels of a fluttering synth. My favourite track here and easily, one of DS's crowning achievements. I gulp in genuine admiration.

The finale "Cirkus", as befits the title, is a tortuous cavalcade of emotions depicting the absurdity of life: 'desire, foul sin clad in insanity', or 'time fades away, we live and you die, in the blinking of an eye'. Disjointed organ harassed by a damaging bass, carnival sonorities that transmit a sense of playful discord through the quavering vocals, the choir in full echo mode, rapid fire choppy rhythmic upheavals, all combining to exhibit all the contradictions of the human experience, including the good, the bad and the ugly. When Jargon exalts 'minds burning we know what we must do, plunge to depths of heaven or hell' and the choir expels the air in their lungs, only the sudden stop of the piano announces the silence of eternity.

The Covid isolation has provided him perhaps unwanted opportunity to introspect, and he has had more than enough time to reflect on the human condition during this solitary period (as many thinkers and artists have), finding inspiration in both word and sound. Easily a top candidate for 2024 honours.

5 Hidden Crab Salads (internal joke)

DRIFTING SUN or Pat SANDERS' baby for almost thirty years (1994 exactly). The man from CHESHAM who is no longer in CHESHAM has just moved from an Anglo-French training to a Franco-English training with a Greek touch! This one is none other than John "JARGON" KOSMIDIS best known for being the brilliant frontman of VERBAL DELIRIUM and author of a superb solo album in 2020.

The accomplices present are the two French Mathieu SPAETER, faithful six string players since the excellent "Twilight" in 2017 and Jimmy PALLAGROSI behind the drums, original session man and who has since spread into numerous progressive and non-progressive groups (ZIO by example). The only British member of the group remains, and there is no point in introducing Mister John JOWITT.

Friend Pat spoils his audience by offering us almost seventy minutes of music and what music we are going to see and hear. "King of the Country" opens the hostilities and it is what we call an epic with its eleven and thirty-six minutes, one of the highlights of the album (9/10), magnified by Mathieu's guitar SPAETER and the violin of a distinguished guest in the person of Eric BOUILLETTE (one of the leaders of Nice from NINE SKIES). Same fight, same level and even better for my personal taste with "Insidious" magnificently sung by John KOSMIDIS, vocals alternately powerful or with emotional restraint, a title in the great tradition of the emblematic pieces of DRIFTING SUN, watered down by the sumptuous piano and synthesizer parts by Pat SANDERS, it feels like "Safe Asylum" (10/10).

"Dementium" which follows, seemed to me a tone lower, but given the level of what preceded, this is somewhat normal, a tone lower does not mean bad in my eyes, just less exciting, despite Ben BELL's pioneering solo on the Hammond organ (8/10), perhaps it lacks additional instrumental breathing space? Delicate and old-fashioned ballad "New Dawn" highlights Gareth COLE's six-string, a piece with strong lyrical potential, worthy representative of a classy and classic neo-prog (9/10).

Ladies and gentlemen, now for the London peplum of this "Forsaken Innocence" with the eponymous piece and its more than twenty-five minutes. Maestro Eric BOUILLETTE on the violin to begin the affair, it's chiadé as we say at home, supported by the friend JARGON and his tone of voice skillfully deposited and by turns beguiling or more energetic while the master of the room SANDERS himself sends us heavy with his multiform or protean keyboards if you prefer, it's classier but the meaning is the same!

As I can't write a book for just one title, here's what I found while digging with my skillful little hands apart from what I just wrote above: magnificent violin (fourth then eighth minute, pure KANSAS downright then tenth to close the first part), loose piano (sixth minute), six strings of Mathieu SPAETER telluric worthy of a John MITCHELL therefore ultra melodic despite its power (ninth minute): the second part now....guitars and keyboards in fusion from the start, John JOWITT who concretes like the great bassist that he is (IQ "Ever", "Dark Matter" and "Frequency" I have never appreciated "Subterranea" no one is perfect. ...) and Jimmy who beats like hell on his drums! (10/10)

The piano/vocal of "Time to Go" is too short and the concluding place "Hand on Heart" too basic for your favorite columnist to be judged honestly. A final word on the remarkable and very gleaming production of this "Forsaken Innocence", listen to LOUD on your new speakers, what do you mean you haven't received them yet? DRIFTING SUN, the album of ultimate consecration, will the future tell us? Indispensable to my eyes and ears, as you will have understood. First publishing at : profilprog.com

Although originally formed in the '90's, this re-formed (in 2015) and re-imagined version of the band around original member Pat Sanders has been resurgent in recent years. This is their 5th album since their reformation, and it is without doubt their best album thus far. Diversity and versatility are keys here for this accomplished set of melodic prog songs from Drifting Sun. Although there are some tedious sections in the more downbeat first half of the album (in consecutive moody tomes 'Insidious' and 'Dementium'), the magnificent centerpiece 'Forsaken Innocence' parts 1 and 2 lifts the rest of the album to glorious heights. 4 stars

Scouring the 2021 top 100 list for exciting new prog metal (in vain) I took a chance on this album. I like it a lot and have listened to it 3 times over the last couple of days. Can't say I'm a huge neo-prog fan, but there are a few heavier parts to get the blood pumping. My first reaction was to compare it to the classic Souldoubt album, Dance of Light and Shade, especially the vocals. The album starts off strong with the 11:45 King of the Country, starting prog-folk before rollicking along Wobbleresque. The 2nd track, Insidious, is full-on Neo Prog in all its pomp with a New Wave edge. Lots of emotion - I love it! Credit to the music - the first 20 minutes flies by. Dementium and New Dawn slow the pace down, and ramp up the EMO, without losing the thematic musical concept. Forsaken Innocence Pt. 1 picks up the pace again, more Symphonic than Neo I think, and Pt.2 shows off the band's fine musicianship, and finally lets the guitar loose. If it keeps reminding me of Wobbler that's meant as a compliment. Time to Go feels like a coda but is just a brief interlude before the album wraps up with Hand on Heart, and reprise of the album's concept. Bravo! Give it a spin on Spotify - 945 monthly listeners is a crime for such a good band.

This new album from Drifting Sun, is, for my money one of the albums of 2021. On this new album Pat Ganger Sanders and co have evolved the traditional Drifting Sun sound, and with some fantastic guest collaborators like Gareth Cole, John Jowitt and Ben Bell, the sound is filled out with the unique contribution each one brings to the album.

The epic 3 part title track, which is the bulk of the album is worth the price of admission alone and is a worthy candidate for track(s) of the year.

The performances are stellar throughout, the songs are the epitome of contemporary progressive rock, and the album flows perfectly.

If you've not heard it yet, then you need this album in your life.

Some would say that because I was a former member of Drifting Sun, that I would be biased in my review of Forsaken Innocence, Drifting Sun's seventh studio album. To be honest, I tend to be extra critical of Pat Sanders' efforts as I know the quality and skill with which he writes and performs. I've known him for a long time. Let me tell you that he exhausts much blood, sweat and tears over every Drifting Sun recording. My time recording "On The Rebound" with him in 1999 was a collection of memories I will never forget. Though that album holds a special place in my heart, Drifting Sun have truly evolved despite numerous lineup changes. I have enjoyed various aspects of the albums along the way from the first record (Drifting Sun, 1996) to the most recent album (Planet Junkie, 2019), but Forsaken Innocence is the culmination of that evolution. This is the first Drifting Sun album I could listen to over and over again, day in and day out, but I don't. Why? It is such a special piece of work that I prefer a quality listen on a great pair of headphones over the raw quantity of listening during workouts, driving or working. Forsaken Innocence demands your undivided attention. Excellent production and engineering, a wide soundstage and masterful performances transport you away from wherever you happen to be at the time. Forsaken Innocence is indeed a masterpiece of progressive rock music if there ever was one.

My thoughts on the tracks:

King of the Country - Grand in scale, soaring crescendos permeated by soft interludes. A violin carries the melody throughout. John 'Jargon' Kosmidis' vocals are layered and dramatic. Mathieu Spaeter's guitars are tasteful and rocking without being overly indulgent.

Insidious - Dramatic, brooding, rhythmic, theatrical. Soaring stratospheric vocal harmonies and piano interludes string the melody together through a sound that sometimes evokes a classic prog style.

Dementium - The vocal melody here is truly infectious the way it flows over, through and around the other instruments. The interplay between Pat's keys, John's vocals, Mathieu's guitars, John Jowitt's bass and Jimmy Pallagrosi's drums is tight and cohesive. It's as if if these musicians were born to play together.

New Dawn - If there was a ballad on this album, this would be it. Slow, deliberate and imminently memorable. Jargon's vocals really show versatility and emotion here. A sweet sounding fretless bass line that shines, especially towards the end of the track.

Forsaken Innocence Part I - The flute in the introduction here reminds me a little of early Jethro Tull. Layered strings, keyboards, and a harmonized vocal line that is so well produced and performed that it reaches out and envelops you not only from left and right, but above and behind you. *Chills* Jargon, you're my new favorite singer!

Forsaken Innocence Part II - This instrumental track picks up the pace. A charging, dramatic rhythm. At first, it sounds like it's all over the place. As the song progresses, the thread that ties it all together becomes apparent and you are drawn in with a smooth piano and guitar section that builds to a dramatic climax.

Time to Go - Smooth and flowing, a great way to close the album. Another stunning performance by Jargon and Pat, with Eric Bouillette on acoustic guitar.

Hand on Heart - I have not heard this track, as its a bonus which appears on the physical cd and digital version of the album. I have an early release digital copy. I will update this review when I have heard it.

I first heard about Drifting Sun a couple of years ago when a friend, Ben Bell, told me he was playing some keyboards on their then new album 'Planet Junkie'. That album turned out to be a very special piece of modern Prog music and I've been looking forward to 'Forsaken Innocence' ever since.

Drifting Sun have actually been about since the early 1990's when founders Pat Sanders (recently relocated from France) met up with American Rafe Pomeroy and started writing together. Since then they have put out a number of albums and EPs and this is their latest.

As with 'Planet Junkie', this is a superb and original Prog album but it has many facets of the classic Prog bands while retaining a very individual sound.

The band's line up has changed over the years and now consists of Pat Sanders on keyboards, Jargon on vocals, Matthew Spaeter on guitars, John Jowitt (bass) and Jimmy Pallagrossi on drums. Ben Bell adds additional keyboards, Gareth Cole, guitars, and Eric Bouillette violin and guitars.

The thing that strikes me about the album is that they are not afraid of producing a palette of sounds that includes elements of folk, classical, rock and even jazz, often including many different forms in the same tracks. There is a strong keyboard bias to the sound but the guitars have plenty of their own place in the music.

Unlike a great number of the current Prog fraternity, Drifting Sun don't descend into metal guitar riffs and so their music has a very complex sound, working up and down the scales and constantly keeping the listener on the edge of their seat. The songs are (mainly) long but they never seem to be long for the sake of it. The title track runs over 25 minutes but runs through many different pieces to keep the listener's focus. The track is huge in scale and fast paced so that by the end the listener feels as though they have been on a journey ? albeit one that you just want to get back to start again and experience that wonderful rush of emotions and intrigues once more.

The playing throughout the album is quite fabulous. Jimmy Pallagrosi's drumming is powerful and impactful, Mathieu Spaeter's guitar playing is a real delight and the mix of electronic and analog keyboards makes the music all the more exciting.

There are a number of very good Prog bands around at the moment but I have to say that Drifting Sun are making music that works on just about every level and of all I've heard this year 'Forsaken Innocence' is definitely the best of them.