Lucid Dreamer

I went into this expecting something quite different that what came gently out of my speakers. I was expecting progressive rock of the "neo-prog" order; and while there are hints here and there that might qualify for that appellation, in all honesty, Magus have more in common with Tangerine Dream, despite there being some nods in the direction of Yes (the acoustic guitar in the third movement of "Rif," for example, nods at Steve Howe), and the more pastoral sections of Genesis. In fact, my thought in that regard was that, if you were to take the instrumental, pastoral passages out of the best of classic Genesis, make it a more atmospheric, intimate, and ambient, then you have the realm that Magus dwell in.

Magus is Andrew Robinson with various members of the band on each of the tracks, and Lucid Dreamer is a compilation release containing the Traveller album from 1997 (minus a couple of tracks), the entire Highway 375 EP from 1998, and two live tracks from 2000 that were previously unreleased.

I'd call Magus an acoustic electronic group as, although electronic instruments are being played, they have the feel, warmth and earthiness of acoustic instruments. And yet, don't expect everything to be moody and ethereal, as there is the decidedly more active and throbbing "Until The Sun Burns Out" which vocally is a mix of spoken-word "news report" (in voice that sounds like Murray Head - famous for that hit "One Night In Bangkok"), sound effects (babies crying, etc), and effect-treated singing - it's a mid-tempo, electronic-like prog rock track that moves along like driving a steady 65 mph (or the equivalent in kilometers), this latter owning mainly to the steady rhythm of the bass. It's a cool track, but not the overall best this album has to offer.

No, the best track here is "Rif," a prog ambio-rock epic full of those things that characterize progressive rock -- chiming, ringing, shimmery guitar solos; layers of keyboards and synths; rhythmic percussion, shifting tempos and dimensions -- and those things that define ambient or electronic rock (it's a little of both) -- complex and repeated patterns, elongated synth washes, cinematic textures, and a general unhurriedness about everything. It's a 20-plus minute track that comes in movements, although, at least here, they are not identified as such. It's instrumental prog taken to a higher order; or new age given some muscle and heft. However you look at it, "Rif" bridges and blends these two dimensions. Although I'm not doing it at the moment, this would be absolutely mesmerizing joined with the "visualizations" in your favorite media player… or what you can imagine inside your skull. It is a fabulous piece.

This is exulted praise indeed; although "Rif" maybe the jewel in the crown, the other precious stones are far from mere baubles. Opener "Traveller" contains the amorphous ambience of slowly undulating synth washes, shimmery, jangly guitar, scratchy guitar effects (almost like a violin, actually) and frenetic flute or recorder-like sounds. The lands our "Traveller" is passing through is a smorgasbord of cultures. "Khyber Pass/Nostradamus" begins as a rhythmic, ethnic, percussion journey pushed along by the gentle current of keyboards, supported by a strident and warm acoustic guitar (the "Khyber Pass" portion). This acoustic guitar takes over half way through, leading into the vocal section, "Nostradamus." In an odd way, despite it being the more "active" section, it is that which seems the most still… it's like looking at a moment from all angles (movement) and yet the moment is frozen in time.

"Until The Sun Burns Out" is a sci-fi tale; the lyrics aren't in the booklet and I've not transcribed them from listening, but the gist has something to do with the future of man, rise of machines… I'm not sure. The bit of news report, in an English voice (but Robinson is an American from Vermont (?)), details the death of a girl (or several someones in some tragedy). Perhaps it's the result of the sun burning out?

"108 Steps To Babaji" - Babaji is an Indian Saint, a Yogi, who was active in the years 1861 - 1935 (at least), the term babaji meaning "revered father." The track here is another ambient-electronic instrumental, guitar centered, just ethereal enough to feel mystical - shrouds of mist surround, obscuring but entirely hiding details…

The trio of "Highway 375" -- part of the trio from the EP of the same name that includes "Arrakis-Dune-Desert Planet," and "Highway 375 (Revisited)" -- is lead off by a high and tight toned guitar and more undulating synth passages. There is a cold, lonely, and dark (as in night, a cloudless night) feel to this section. Partly because of the name, the rhythm of the road is evoked, and some spacey keyboard effects give this a space-rock kind of feel. In fact, the pitch of some of the tones reminds me of the Star Trek theme, at other times it's The X-Files. The next section is dark in another way, but also evoking a lonely, desolate feeling. Now, perhaps because I've read the book and seen the movie, I have visual images of Dune coming to me, but twisty, turny synth passages that begin this section and the sound of a strong wind all underscore a stark and dangerous place. A third section is rhythmic, tribal with more of the tight-toned guitar soloing on top. Yet another section is rockier, and filled with reedy synths and throaty guitar; what once was ethnic drumming becoming rock drumming… Needless to say, this isn't anyone thing, but a series of vignettes. The last section reminds me the most of the music used to accompany computer animation; though it retains some warmth, it is the most synthetic of the album's music. That isn't a bad thing, as these passages are quite interesting, but it's a slight departure.

Well, it may not have been what I was expecting, but it sure was a pleasant surprise. This is terrific music, the highlight being, as I said, the excellent "Rif." Recommended without hesitation.

Stephanie Sollow
ProgressiveWorld.net
December 27th 2007

The Garden

The Garden" is the sixth release from the American band, built around the multi-instrumentalist Andrew Robinson. The title track is the cover track, and is a bit over 24 minutes, divided into 12 sections.

The story is told about Kae and the main character who live in the Big Silence, the time period, after a terrible illness destroyed amost all human life. Kae and the main character have layed out a garden together, their own Garden of Eden, and they are happy there. Of course, things can't stay that way, all of the time, and one day, a gang of criminals comes to visit them.....

Well, you should listen to the rest of the story, for yourself. It is a track full of variety, starting with guitar strumming, darkly, and is accompanied by flute, rhythmic drums, and finishes with great synthesizer solo.

The next track, oncoming drums become very dark and metalic, to symbolize, that the criminals have arrived. This part has a fine bass solo in the Chris Squire style, and again great flute playing which makes you think of Ian Anderson. This track ends with a part, that could have been snuck out of Supper's Ready.

Grains of Sand, the third track, shouldn't be forgotten either, a wonderful symphonic tune, with lovely vocals. The CD ends with The Stone Circle, which begins with quiet strumming of the guitar, which is raised to a Klaus Schulze-alike finish.

A nice disc: I like to stay in this garden a little longer.

More information at: www.magusband.com.

André de Waal
IO PAges
Translated from dutch into english by GardenStone
....and then into american by Willow

The Garden

The adjective "progressive" has almost completely fallen out of favor, especially when describing politicians and rock bands. In the current zeitgeist, to be called the "p-word" has all kinds of unjust, negative connotations.

During the 70's, "Progrockers" such as Genesis, Emerson Lake & Palmer, YES, and Pink Floyd ruled the FM airways while selling zillions of records and selling out huge stadiums. These days, commercially successful progressive rock bands are as common as... liberal politicos.

I asked Brattleboro's Andrew Robinson, the mastermind of the unabashedly progressive rock band Magus, what happened to the genre.

"It has gone underground," he said. "The original progressive bands from the 60's and 70's are reaching the end of their careers if they haven't broken up already.

"And most are creatively bankrupt, just resting on past laurels. There are hundreds of new bands in this genre."

Most of which do not generate even a tiny blip on the pop music radar screen.

Robinson started Magus, which he named after a book by Brazilian author Paulo Cuehlo, 15 years ago. After doing a handful of shows, the group underwent numerous personnel changes. Explained Robinson, "Unfortunately, life and other commitments usually get in the way... the most difficult thing is finding a muti-keyboardist who's into this genre of music."

These days Magus rarely plays concerts, choosing instead to work out of Brattleboro's Sky Pines Studio, where Robinson uses a number of guests to flesh out his musical vision, as he has done on his sixth CD, "the Garden."

Collaborators from the underground network of progressive rock such as Gary Strater, bass guitarist of the 70's cult favorite Starcastle; Tomas Hjort, drummer of the Swedish Neo-Prog band Cross; as well as vocalist Lynnette Shelley and Nathan-Andrew Dewin(harp) of the American group, the Red Masque, lend their talents to the mix. Robinson also enlisted the help of some top-shelf area players, including electric guitarist Joe Boyle(last seen in these parts with the recently defunct Aloha Steamtrain), local muti-instrumentalist Dan DeWalt and Bob Stabach, and area prodigy Jesse Cross-Nickerson.

Said Robinson, "I met Jesse when I wandered into the Common Ground when he was DJing Goth Night. He ended up collaborating with me on several songs and he wrote an instrumental segue. He's a master of dark ambient sounds and he's only 18!

"The Garden" is what many of the best prog records were - and old fashioned "concept album" where all songs revolve around a theme or story. The CD booklet contains a short sci-fi tale that follows the exploits of the young narrator John and partner Kae. "I wanted to have two very naive characters living in peaceful isolation who had never travelled far and that only knew about the world and history through books and what their parent figures told them," said Robinson. "In the story there's an undescribed plague that had broken out and almost wiped out the human race.

"'The Garden' takes place about 20 years or so later. This scenario of course would be fertile grounds for a band of amoral miscreants to raise havoc, which would certainly happen in a situation of lawlessness. I would assume that people living in such isolation would almost create their own mythology and have a unique way of seeing things. To Kae and John their garden has almost mystical qualities and they're very attached to the animals they care for."

The 24-minute opening title track would make YES and ELP proud, with it's shifting moods and mini-crescendos driven by synthesizer noodlings and the yin-yang vocal tradeoffs of Robinson and Shelley. The warmth of the music, innocence of the characters, and cohesive integration of the talented guests' contributions into Robinson's project help "the Garden" avoid one of the pitfalls of many progrock efforts - emotional distance that can leave the listener cold. The album's three other extended tracks effectively bend and twist a number of musical genres - "electronic, folk, world music, heavy rock, space rock, modern rock, gothic, post-punk, and symphonic" as listed by Robinson on the band's website(www.magusband.com).

"I look at "the Garden" as a bridge connecting the past, present, and future of progressive rock," added Robinson.

One hopes that there is a future for Magus and their chosen genre- aboveground.

Dave Madeloni
Brattleboro Reformer, 10/31/02

The Garden

The Sixth Disc from Andrew Robinson (a/k/a Magus) is an inspired, audiophile-quality winner. While members of Starcastle and Cross (among others) help out, Robinson's solo skills, typified by the superb "the Sailor on the Seas of Fate", really carry the day.

The CD booklet tells the tale on which that 24-minute title track is based. Unfolding with the graceful logic of long-form Pink Floyd, this post-apocalyptic vision throws some interesting curves into what is fairly standard territory in speculative progressive rock. For example, although the piece ends optimistically, it's immediately followed by the menacing Korg tones of "Sailor", which hits some deep, "Zeit"-era Tangerine Dream water in it's five-minute voyage. The juxtaposition of these tracks puts the sunny climax of the title epic in a whole new light.

The mesmerizing "Grains of Sand" also skews one's perception of the primary story, while "the Stone Circle", a beautiful, poignant piece for synths and concert harp, evokes further, delicious ambiguity. From intimate detail to expansive space, this is a stunning work.

Larry Nai
Progression Magazine #41

The Garden

The Garden is de zesde release van de Amerikaanse band die draait om multi-instrumentalist Andrew Robinson. Het titelnummer is gelijk het topnummer: in ruim 24 minuten, onderverdeeld in 12 secties, wordt het verhaal verteld van Kae en de hoofdpersoon die leven in de Grote Stilte, de tijd nadat een vreselijke ziekte bijna het gehele menselijke ras heeft uitgeroeid. Samen hebben Kae en de hoofdpersoon een tuin aangelegd die hun eigen Hof van Eden vormt en waar ze gelukkig zijn. Dat kan natuurlijk nooit lang goed gaan en op een slechte dag komen de boeven op bezoek .... hoe dat verder gaat moet je maar luisteren. Het is een nummer vol afwisseling, beginnende met duister gitaargetokkel wat al snel overgaat in het eerste gedeelte van het verhaal dat met fluitspel en ritmisch getrommel wordt begeleid. Een puike synthesizersolo sluit dit gedeelte af. Het getrommel wordt daarna erg duister en metalig om aan te geven dat de boeven zijn gearriveerd. In dit stuk zit een goede bassolo à la Chris Squire en wederom goed fluitspel à la Ian Anderson. Het nummer wordt afgesloten met een stuk dat zo uit Supper´s Ready is gelopen. Grains of Sand, het derde nummer, is ook vermeldingswaardig, een lekker symfonisch nummer met goede zang. De cd sluit af met The Stone Circle, dat begint met rustig getokkel en dan opbouwt naar een Klaus Schulze-achtig einde. Een lekker plaatje: in deze tuin wil ik wel wat langer blijven. Meer info: www.magusband.com.

André de Waal
IO PAges

The Garden

With "The Garden" Andrew Robinson, a.k.a. Magus, presents his most ambitious project yet. For one thing, this is a concept album set in a kind of end-time mood in the not too distant future. The complete story can be found on three pages of the booklet, the four songs of the album are the story turned into music.

Moreover, the eight guest musicians play a more essential role than on the previous albums, with contributions to the music as well as to the composition. The most famous partner probably is Gary Strater, bass guitarist of the now re-united Starcastle. Also participating are, among others, Lynette Shelley (vocals) and Nathan-Andrew Dewin (harp) of the American group The Red Masque, and Tomas Hjort, drummer of the Swedish Sinfonic / Neo-Prog band Cross.

With Magus' other releases in mind, one can consider "The Garden" a continuation. On the whole, the relatively numerous vocal parts in the first half and also the dominating instrumental parts, seem to be more extravagant, more elaborate, adjusted to the carefully unfolding story. The musical pauses with spherical sounds are also longer, as if Andrew Robinson wanted to give the audience more time to immerse themselves in his story. The artist himself sees this album as a bridge between the past, present and future of Progressive Rock, which does not stop him from allowing a wide range of stylistic features to influence his work. This palette includes electronic as well as folk elements. World music, Space Rock, symphonic and "ordinary" rock music, they all find their place here, without giving the audience an impression of listening to a patchwork. This album, which does have many calm moments, always finds its way back to livelier and more complex passages, is held together by its atmosphere.

Despite audible improvements, especially in depth and stylistic variety, as well as the contributions of the guest musicians fitting harmonically into the overall concept, "The Garden" cannot help straying into certain tedious passages. Even so, the story's plotlines are skillfully interpreted, dramatic, gloomy or hopeful at times. A smoothing could in some places have added a bit of fluency to an album that sometimes seems to be standing still. However, as mentioned previously, this may be quite intentional, in order to allow a closer identification with the story and leave enough breathing space for one's own thoughts and feelings.

In essence, "The Garden" can be classified as a well-conceived and well-devised concept work that could have done with a little more punch here and there. Nevertheless, this is a splendid, quite atmospheric album on the borderline between Rock and Progressive with all their facets.

Kristian Selm
Progressive Newsletter Nr.41
September 2002
translation by Tim Peters

the Green Earth

Ken Boyle's superb cover painting, "Eavesdropping on Crows," daydreams the listener into this recording's unique terrain. Opening onto a gentle sonic landscape, Bob Stabach's marvelous flute plays a prominent part on "Rainforest." This segues into to the title track, where Phil Bloch's supple violin work further defines the distinctive character of the music.

Leader Andrew Robinson's musicianship is fine on all fronts: excellent vocals, a great ear for hooks and arranging, and keyboard parts, that are interestingly conceived for each piece. "North Atlantic Song" for example, is a haunting, spacey ballad, while "Sea Without a Shore" is a quiet knock-out for Robinson alone, multi-tracked. Beginning with an unearthly keyboard passage, it moves through rock and classical moods. Bloch returns on the spacious "Stranded," where he plays with keen feeling.

Magus references a variety of influences, such as Genesis, Jethro Tull, Celtic, even progressive dance music. Robinson's sensitivity to instrumental textures, colors, and pacing, combine with a strong story-telling sensibility, to make this an uncommonly pleasurable listening experience.

Larry Nai
Progression Issue 40
Spring 2002

the Green Earth

Over the years one finds again and again new artists who are fascinating for some inexplicable reason. Their music contains something special which touches you more than other releases. This can't always be easily put into words. Andrew Robinson and his project, Magus, is such an example.

To be sure the album is only 42 minutes long, but what counts is quality and not overblown emptiness. One problem that Magus has is that the music can't be clearly categorized. One is reminded of Procupine Tree, but Andrew Robinson reacts negatively to this, since he was neither influenced by the British group, nor had he ever listened to their music, until he got tired of the comparisons and bought their CDs. Let's put it this way: the unusual world of Magus mirrors influences from Space Rock, Progressive Rock, and Electronic Music. Yet there are very rich melodies, powerful yet peaceful moods, as well as a driving beats. Andrew Robinson succeeds on this album with a combination of beauty, lightness, and depth. Of all his releases, "Green Earth" is his most compelling work.

It starts with the driving, two-part opener "Rainforest", beginning with the flute introduction, followed by a driving, powerful chorus intonating the message "Cutting them down, clearing them out..". In contrast, the second part has a steady groove with dramatic solo sections of flute, keyboards, and violin. Then there's the more simply constructed, more acoustic, but very atmospheric, "North Atlantic Song" or "I Am the Sun" which display another side of the musical palette. Even slight Celtic influences, noticeable on "Stranded", again with a beautiful violin part, give this album a special nuance. Such ambient soudscapes can certainly be found on previous releases too. After a calm section, the album ends as powerfully as it began with another two-part song, "The Man Who Killed the River".

Still one small overall criticism should be made: For financial reasons, a real drummer was used on only two tracks, and with electric drums at that. But since most of the songs don't require much rhythm and are more atmospheric in nature, this small undersight is not that important. Andrew Robinson, alias Magus, deserves in any case, more attention, and whoever wants to sample his music, can do so via his website by clicking on the link on our homepage. In Germany the album is distributed by Pängg Records and should be easily available: Pängg Records and Distribution, Werkstrasse, 67354 Römerberg.

Kristian Selm
Progressive Newsletter Nr.39
March 2002
translation by Kurt Oertel

the Green Earth

The overall theme of the latest from Andrew Robinson and company begins with some ecological concerns, moving on to themes of natural harmony, with the title track (an instrumental), "Rainforest", "The Man Who Killed the River" (another instrumental), "North Atlantic Song" and others. Magus (for this release) is basically Robinson on guitars, keys, percussion, mandolin, programming and vocals, with a collective of other musicians playing guitars, drums, flute, organ and violin, track depending. There are four styles at work here in varying combinations: a relaxed and expansive psychedelic sound reminiscent of Meddle-era Floyd, a very programmed electronic based sound, an acoustic driven laid-back melodic sound (typified by tracks like "Stranded"), sometimes peppered with some world influences (mostly via hand percussion), and to a lesser degree a symphonic neo-progressive rock sound vaguely reminiscent of the very best bands like Pendragon. All these forces are at work in varying degrees on each of the ten tracks, offering an overall style that is quite varied and original. About half the album is purely instrumental material; the vocal tracks vary stylistically but are uniformly good. While the focus is generally more atmospheric, there are intermittent outbursts of instrumental fire, as on the closing track with its spirited double tracked guitar solo. In all, compared to previous releases, this is a big step forward for Magus, better focused with a clearly defined sense of purpose. Recommended.

Peter Thelen
Expose Issue 23
December 2001

Echoes From The Edge Of The Millennium: 1987-1999

If Roger Waters issued this album, everyone would be hailing it as a minor progressive classic. As it is, Echoes From The Edge Of The Millennium: 1987-1999 should at least wrest Magus mainman Andrew Robinson from the clutches of anonymity.

As Robinson stresses in the liner notes, Magus is now a full band with a hot young keyboardist in Rue Yamauchi; exciting things seem in store for this bunch. But on most of Echoes ..., Robinson does most of the work via keys and guitars, with (sparing) help from a seven-member supporting cast.

These 14 tracks represent the best of Robinson's work from the last 13 years, most of it previously released on the other discs and remixed for this compilation. They are superb selections, anchored by malevolent/dreamily melodic spacescapes, panoramic instrumental rockers and some excellent balladeering. Pieces like "Sandman" and "Until the Sun Burns Out" could send Waters back to school, while the 12-minute instrumental "Rif" and the closer "Highway 375" exemplify Robinson's innate knack for groove and melody.

I love this album, not only for the music therein but for its proof that an independent outfit like Magus can match the big boys in ability and inspiration. My highest recommendation.

John Collinge, editor
Progression Issue 34
Winter/Spring 2000

Echoes From The Edge Of The Millennium: 1987-1999

I first saw this band mentioned in the French progressive rock magazine Acid Dragon. The main player in Magus is Andrew Robinson, who has had a lot of help from other musicians over the years. When I first heard this I considered it a masterpiece covering ambient, space, new age, and progressive music. It's in the style of Tangerine Dream, has a slice of Hawkwind, but is also Berlin-style electronic music.

The first track, "The Traveler", starts in an ambient-trance style, but soon segues into a more upbeat movement. Another track that caught my attention is "The Sandman", a real progressive trance piece that tells the story of the Ruler of Dreams and I wonder if the idea came from Neil Gaimon's The Sandman. "Until The Sun Burns Out" is an upbeat song and the lyrical message is that human evolution isn't dying but old machines are, and also tells about spirituality under violence. A very good song. "The Earth's Sharp Edge" has a good guitar solo. "Spanish Waters" is very upbeat with a good progressive style. "Rif" really got my attention with its Tangerine Dream style of guitar and synth solos with traces of keyboards backing it up over its 12 minute length. Probably the best instrumental on the album. "The Last Flight Of Saint-Ex" proved to be another solid instrumental with lots of good beats, ambient synth, and great guitar. Overall, a very good set and recommended to fans of electronic progressive rock.

Carlo R. DeShouten
Aural Innovations #10
June 2000

Echoes From The Edge Of The Millennium: 1987-1999

I can't help it, but once again I recieved a disc from a band from the USA that has made my progressive heart beat a little faster. Although Magus has been around for quite some time, they released their self-titled debut CD in 1995. "Echoes...", their third album, however is my first real introduction to them. Magus was formed in 1987 in Vermont by multi-instrumentalist and songwriter Andrew Robinson and drummer/engineer Bryce Chicoine. Before their first full length album, Magus released 2 cassette EP's that already showcased their musical abilities. Many of these songs were used for later projects and can be heard on "Echoes...", a compilation of tracks recorded over a 12 year period. Although from various sources, the album plays as a whole as most of the tracks run into one another.

The music Magus makes is very hypnotic and spacious at times. It travels the borders of space rock and prog, managing to create atmospheric texture. What comes to mind on some songs is mid period Porcupine Tree. Opener "Traveller', from the second album with the same title, is very much in the "Sky Moves Sideways" mode. Atmospheric keyboards, spacious guitar, a hypnotic bass line, and whispered vocals. The Porcupine Tree mood is obvious throughout the album as others like the more song based "Sandman" have a "Radioactive Toy" feel to it with it's faint organ and acoustic strumming that alternates with washes of synth and guitar.

Also from the "Traveller" album is the edited version of "Until the Sun Burns Out", a mixture of Tangerine Dream with a groovy bass keyboard line and Porcupine Tree. This is a song about the final days of Planet Earth.

Lyricwise the band certainly stands her ground with inspiration coming from novels like Paul Bowles' "The Sheltering Sky" or a musical adaption of the John Masefield poem "Spanish Waters'. The epic "Rif" also from the 'Traveller" album is edited down to a healthy 12 minutes and is an atmospheric track with a "Moonloop" like buildup.

Other highlights on this disc are the beautiful ballad "She's the Lady", with sensitive guitar and vocals or the flowing "the Earth's Sharp Edge" with a great guitar solo.

This album gave almost the same feeling when I discovered the "Sky Moves Sideways" album. It does not have that epic feel but comes close. Welcome to the new millennium!

p.s. The cover is also of a striking beauty, showing half a face covered by two hands. With these hands again holding a sphere where usually the eyes start.

Maurice
Acid Dragon
*****

Live at the Rock'n'Roll Cafe, New York, June 12, 1997

Prog Night in June promised the return of Brand X. Unfortunately they canceled, literally the night before. I wasn't the only one disappointed, but it was a pleasant surprise when MAGUS, a new band from Vermont, took the stage. A trio of guitar/bass, keys and drums, MAGUS produced a very full sound. I've heard them compared to Pink Floyd, but I would say that at times they sounded more like the legendary German band Eloy. Ah, slow and dreamy guitar leads with keyboard washes - Brand who didn't show up?!? MAGUS had some very nice acoustic interludes and added a touch of diversity to the Eloy/Floyd sound. A good debut from a group I'd like to see again.

Paul Arzooman
Progression

Traveller

MAGUS is one hell of an American progressive band that is also a group of militants for the progressive cause. Where some bands seem to accidentally end up making progressive music, and others avoid the label for fear of putting off powerful people in the music biz, MAGUS boldly introduces itself as a progressive band in the most noble sense of the word.

No plagiarism whatsoever for MAGUS, nor any noticeable reference to any of the great masters of sstyle - at the very most an homage to Master Fripp may be detectable in "Blue Sky, Deep Lake". Apart from that, MAGUS is developing a very personal style of music that very cleverly calls on technology to create strange and dreamlike atmospheres.

MAGUS has organized this album around the concept of travel and discovery. The drawings on the sleeve perfectly illustrate instruments of travel-maps, a compass, and this album does indeed invite us to take part in a musical voyage. First and foremost, however, we are invited to take an internal voyage, and the music is there to open the doors for us in our internal worlds. After all, our only limits in this initiatory journey are those of our own imaginations. All you have to do is let yourself be carried by the often floating musical atmospheres. Sometimes this means diving into the unknown, but it is always a passionate experience.

This fairly simply constructed music primarily plays on the suggestion of emotion, in a way similar to that of Pink Floyd. The manner in which it was created matters very little: we could scrutinize each and every technical aspect. The main thing is that this music has soul, feeling, and emotion. A strange and powerful work, which requires a certain open-mindedness to get to the heart of it's substance.

Philippe Gnana
Harmonie Magazine
France
translated from the French
by Trish Moalla samir@moalla.com

Traveller

After the opening track, "You Know the Way", a rather commercial sounding Alan Parsons like song, this writer wasn't really expecting a whole lot from the rest of the disc by this Vermont based trio of drums, keyboards/vocals, and guitars/basses/keyboards/vocals - the latter being one Andrew Robinson, primary composer, arranger, and producer.

Fortunately, things turn around right quick and by the third track, "Traveller", they are cruising through some fairly spacey territory, perhaps not far from the planet Ozric. Within minutes they are exploring some Middle-Eastern modal themes on "Khyber Pass" followed by some Fahey like acoustic guitar work at the beginning of "Nostradamus". Occasionally they take on a Rush like flavor - a heavier rock based sound that builds and grows, but much of the material here is very drifty and passive, allowing the mind to roam. It continues onward: two excellent multi-sectional sidelong suites in "Rif" and "Until the Sun Burns Out" are seperated by the introspective "108 Steps To Babaji". Magus are definetly onto something, reaching above and beyond the standard song oriented fare. One would never have suspected from the opening cut, but that's what surprises are all about, aren't they?

P.T.
Expose

Traveller

This album by Vermont group MAGUS opens like another American neo-progger but quickly shifts gears to an epic work reflecting influences of Pink Floyd and the exotic world/trance/ambient forays of Nik Turner.

The title track is very much Floyd-flavored, segueing smoothly into the Middle Eastern-infected "Khyber Pass". Interesting stuff all, distinguished by the guitar, keyboards and singing of mainman Andrew Robinson: Robinson favors nuance and atmosphere over flash and chops, making for a panoramic and seductive listen.

"Traveller" is very much the sum of two long tracks, the 13-minute "Until the Sun Burns Out", a mystical rumination on mankind's alleged apocalyptic destiny and "Rif", a 20-minute instrumental journey between electronic keys and acoustic guitar.

MAGUS definitly has an ear for contemporary prog-rock. Worth checking out.

John Collinge
Progression

Traveller

MAGUS is an American band formed in Vermont during the autumn 1994 by the talented multi-instrumentalist Andrew Robinson (vocals, guitars, bass, bass pedals, keyboards, percussion, and programming). In 1995 he released his debut album, titled "Magus", an introductory opus for the future technique and compositional skills. His technique is based upon the ambient and the beauty of the themes, as well as a great improvised performance. After that first experience, Andrew joined forces with a group and gigged and recorded a new work, and with Debbie Moore (keyboards) and Jeff Costello (drums) began to organize the new stuff. Jeff Costello wasn't able to play drums on the whole recording, so he was replaced by Bryce Chicoine.

And so he released "TRAVELLER", a complex work that recovers past and present progressive styles, being one of the most interesting recordings of the present progressive (not neo-progressive) scene.

In this CD you'll find charming melodies and rhythms that'll transport you to a wonderful universe. "You Know the Way", divided into five parts, is influenced by CAMEL (Single Factor era), whith serene chants and exquisite guitars and keyboards. But the more we listen to this CD, the more we find a lot of different styles from those created by Andrew Latimer. "Traveller" shows us a great PORCUPINE TREE influence with sounds that recall the melodies of the "Up the Downstair" LP. "Khyber Pass" is an arabesque exercise with Andalucian and Oriental ambients that join the melody, almost acoustic, of "Nostradamus", a calm composition with soft voices. With "Until the Sun Burns Out" we return to PORCUPINE TREE and disturbed ambients that introduce us in the theme's development where the spacey sounds are dominant (nothing to do with industrial music) due to great keyboards that fly through the theme and the hypnotic rhythms that stress the "tempo" of the composition. It reminds me of mid 70's ELOY. The end of the suite, narrated with a distorted voice, gives the theme an enigmatic and gloomy character. "108 Steps to Babaji" means to relax the previous tensions with some smooth keyboards and guitars and a monotonous and delicious rhythm. And then comes "Rif", a 20 minute macrosuite divided into seven movements. The sounds described here reveal a STEVEN WILSON influence ("the Sky Moves Sideways" era). The suite develops different phases with stressed rhythms linked with beautiful moments on keyboards and guitars that create musical landscapes. Look out! I'm not talking about copying because the countless passages and the effective MAGUS details, ruled by other rhythms, are different from those generated by STEVEN WILSON's band (I'm thinking about ALAN PARSONS or UK or ROBERT FRIPP).

To resume: a CD you don't have to lose. A new work that recovers our interest in progressive, space, melodic and symphonic rock. Andrew Robinson dreamed all that we imagined and he put the music to a long journey within our feelings. Extremely beautiful.

Jose Luis Martinez Arilla
ATROPOS Magazine
Spain

MAGUS (debut)

"MAGUS" is a moody, sensuous album brimming with acoustic guitars and multi-hued synth colorings, all serving as a backdrop for Andrew Robinson's resonant vocals - often comparable in tone and inflection to those of Greg Lake. The Lake influence is particularly evident on two beautifully haunting tracks, "The King of Nothing" and "Good-bye". Hints of the Moody Blues and Pink Floyd lurk within these well-crafted compositions, highlighted by a nine-minute-plus opus, "...and the River Joins the Sea..."

This album essentially was a solo outing by Vermonter Robinson, with able assistance from six session players. MAGUS has since evolved into a full band, and reportedly is hard at work an a follow-up. It should be a good one, considering the promise of this very impressive debut.

John Collinge
Progression