A Different Aspect #98

The identity behind Edenya remains somewhat enigmatic. Marco, known only by his first name and possibly the namesake of the band, founded the project around 2010 as a solo instrumental project. He has remained its sole constant member ever since. Edenya released their self-titled debut EP in 2017. The Secret Destination You Are Looking For marks the fourth album from this French ensemble, and the third to be reviewed here on TPA, following the hauntingly beautiful Silence (2020) and the equally evocative Another Place (2023).

As with all previous releases, Edenya’s latest album introduces a new vocalist and once again, Marco has succeeded in discovering a voice of remarkable quality and emotional depth, one fully attuned to the multifaceted nature of the music. Lenoble brought a delicate poignancy to Silence, Elena Clélia offered a luminous presence on Another Place, and now Ingrid Denis steps gracefully into the spotlight. Her reimagined rendition of Little Girl, originally featured on the debut EP, is a standout moment, radiant and resonant.

Edenya’s music defies easy categorisation. At its most stripped down, it features delicate vocals paired with classical guitar, gently supported by understated keyboard textures. Yet at its most intense, the sound erupts into twisted, tortured riffs that flirt with heavy metal, accompanied by anguished vocal performances. These moments aren’t gratuitous however as they mirror the emotional weight of the subject matter. Take, for instance, the title track of Silence, which poignantly explores Marco’s long and painful battle with tinnitus. Similarly on this latest album, My Burden delves into the desperation and emotional turmoil brought on by the pandemic, told from Marco’s perspective. It’s a deeply personal reflection on the global chaos and isolation that reshaped lives, capturing the weight of uncertainty and the psychological strain that accompanied those times.

Music so often captures a moment in time. The Secret Destination You Are Looking For arrived during a period of change and upheaval, and its more delicate passages have offered a quiet kind of solace. In another time, I suspect the grander, more elaborate compositions will take on new meanings, offering a different perspective. The Secret Destination You Are Looking For builds on the band’s signature blend of acoustic textures, ethereal vocals, and emotionally resonant arrangements. Another absorbing release from Edenya and one that will continue to see them making waves across the progressive music community, and for good reason.

Following his recent releases from A Multitude of One, A Templar’s Tale and The Book of Enoch, the ever-prolific Colin Powell has team up with Dave Allen of Spirergy, under the Riffstone name, and produced another epic, symphonic prog concept album. Richard III is a bold, narrative-driven, historical concept album re-examining the life and legend of England’s most controversial king. Once again, the music blends deep storytelling with cinematic progressive soundscapes and layered musicianship. Jointly composed, with the duo playing guitar, keyboards, bass and programming as well as the vocals, the album explores the themes of loyalty, betrayal and legacy over its fourteen connected tracks.

Followers of Rick Wakeman, Genesis, Marillion, Big Big Train, Alan Parson Project and Steve Hackett, will find much to enjoy, in this merging of symphonic prog, neo-prog and rock, with light and shade, nice changes in tempo, and with the music both accessible and yet full of intricacy and complexity. Colin’s narration draws you into the story and instrumentally the tracks are wonderfully conceived and executed. Soaring guitar soloing, lush keyboards and delicate piano over a supporting rhythm. The soft vocals serve the narrative, but it is the sweeping and diverse instrumentation that most impresses across the album.

The opening instrumental, Richard’s Tale, leads you through his birth, with October 1452, with its lightly sprinkled vocals, then through his life, with tracks such as Plantagenets, Fotheringhay Castle, The War of the Roses, Lord Protector, The Princes in the Tower and then to Bosworth – Last Stand of the White Boar, before exploring his legacy in Eulogy, and the finding of his resting place in a Leicester car park in Here Lies The King. Medieval history explored to a traditional progressive rock soundtrack – history at school was never as engaging as this!

Released digitally, and as a double CD, with a lovely 16-page booklet, on 22^nd August 2025, Richard III is unashamedly retro in style and is a praiseworthy release that honours the spirit of the classic 70’s concept albums of Rick Wakeman and the accessible, melodic storytelling of the Alan Parsons Project. I look forward to more Riffstone releases from Colin and Dave in the future.

Barend Tromp and I have been Facebook friends for a few years now. Though we’ve never directly conversed, his musical posts have consistently piqued my interest, eventually leading me to explore his YouTube channel. For those unfamiliar, Barend is a remarkable bass player and multi-instrumentalist, equally adept on guitar, sitar, and keyboards. His latest release, Odd Time Concepts, marks his third album and follows the adventurous concept work Juvenile Fish Tales from late 2022.

As the title suggests, Odd Time Concepts is a rhythmic playground, with eleven tracks that dig into a variety of unconventional time signatures. Despite its experimental nature, the album remains surprisingly accessible – a testament to Barend’s compositional finesse. The grooves are tight, the arrangements clear, and the overall sound inviting, even as it ventures into complex territory.

The opener Sitharsis sets the tone, showcasing many of the album’s stylistic threads and features returning drummer, Nathan van de Wouw. Notably, Barend has enlisted two high-profile guests this time: Trey Gunn and Pat Mastelotto. Pat Mastelotto contributes to Thirteen, an enthralling track built around a 13/8 meter, while Trey Gunn lends his signature Warr guitar stylings to Madhuvanti, a standout piece with rich melodic depth.

Across the album Barend enriches the sonic palette with South Asian influences, lending the album a distinctive East/West character. This is evident from the outset with Gamelan Sepuluh, which blends gamelan textures with progressive motifs. The album traverses fusion, world music, electronica, and progressive rock, all anchored by Barend’s expressive bass work.

In essence, Odd Time Concepts is an adventurous instrumental album with the bass guitar at its core. If you’re drawn to rhythmically daring yet melodically grounded music, this one’s well worth your time.

Another recent addition to my Facebook circle is drummer and composer Jonhatan Tenerini, a native of Tuscany in central Italy. Though we haven’t exchanged messages, his presence piqued my curiosity. Jonhatan leads Noisy Shadows, both the name of his live band, featuring Francesco Gracci (guitar), Matteo Moscardini (bass), and Federico Gerini (keyboards), and the title of his debut album, released this May.

My introduction came via the YouTube video for Berbero, which may or may not be a nod to Béla Bartók. The setting is moody: atmospheric keys drift through a smoke-filled room as the camera glides across the quartet. Subtle lighting casts dramatic shadows, and the anticipation builds…

Berbero delivers, a cracking track that serves as a strong introduction into the album. It’s immediately clear that Noisy Shadows is a tight, well-rehearsed unit. The arrangement is thoughtful, allowing each musician to shine without overshadowing the collective sound. The album as a whole explores a progressive/fusion terrain, with a heavier edge that adds bite and urgency, whilst the inclusion of strong melodic themes keep the listener engaged.

The production is pristine, with Jonhatan’s drums front and centre, assertive but never overpowering. Most tracks hover around the 3–4 minute mark, striking a balance between development and restraint. The title track exemplifies this: concise, dynamic ensemble playing without veering into indulgent improvisation.

What stands out is the variety. End Of The Line contrasts Federico Gerini’s lush keys with Francesco Gracci’s razor-sharp guitar riff. Matteo Moscardini’s bass work shines on Slowly, locking in seamlessly with Jonhatan’s rhythmic drive. Stains and the multifaceted P.I.E. offer room for soloing, but again, the performances remain focused and purposeful.

Jonhatan Tenerini clearly lives and breathes drums, and that’s no bad thing. If you need proof of his kit mastery, look no further than his performance on Yōkai, which showcases his precision and flair…

Noisy Shadows is a compelling debut, an assured calling card from a band whose future will be well worth tracking. Their chemistry and craft suggest there’s much more to come.

French instrumental trio Path Of Ilya return with their third album, the follow-up to 2023’s Heterostasis, a release that was both intriguing and thoroughly enjoyable. At the time, the band described their sound as “a musical journey un-constricted by a particular style but its own,” and to their credit, they delivered on that promise.

Two years later, the line-up remains unchanged: André Marques (bass), Jean-Joseph Bondier (guitar), and Bruno Chabert (drums). It’s reassuring to see the trio intact, and fascinating to hear how their sound has evolved. While the guitar-bass-drums setup might suggest a conventional formula, Path Of Ilya continue to defy expectations.

On Heterostasis, they blended progressive rock and jazz fusion with hints of South Asian and Flamenco influences. With La Dégustation, they deepen their sonic palette and introduce a more pronounced conceptual framework. The result is a record that’s both intricate and infectious, ‘full of shifting structures, head-bobbing grooves, and seamless transitions‘.

The chemistry between the players is undeniable. Jean-Joseph Bondier’s guitar work is once again versatile, expressive and blistering frequently, while Bruno Chabert and André Marques form a rhythm section that’s inventive and locked-in. One notable shift, however, is the increased use of distorted and synthesized bass tones. André dabbled with this approach on Heterostasis, but here it’s a dominant feature. It fits the band’s evolving sound, though I do find myself missing the clarity of his cleaner bass lines. Still, it’s a minor quibble in the context of a group that’s constantly carving out its own niche.

The band describe La Dégustation, which translates to ‘the tasting’, as a continuous piece divided into seven movements, each flowing organically into the next like courses in a tasting menu. With seven substantial servings on offer, it’s best to take their advice: start at the beginning and savour the journey…