The members of Samurai Of Prog are among the most ubiquitous musicians in all of progressive rock. The are so many variations of SoP that I have lost count. The one thing they have in common is, of course, high quality music that revels in the melodic symphonic power of prog. Moby Dick, bassist Marco Bernard’s “solo” project, is another fine example. Solo here refers only to the categorization of the artist for marketing purposes; the cast of musicians, songwriters and vocalists will be familiar to any casual listener of the Samurai universe.
No one loves the concept album quite like the members of the SoP, so Herman Melville’s classic story Moby Dick is a natural fit for this crew, and that affinity is borne out by the music on this album. Loomings introduces Ishmael, the sailor who signs on to Captain Ahab’s ship, the Pequod, for a whaling adventure. A repetitive piano figure and violin open onto a darkly beautiful symphonic piece from which the song breaks out. As one might expect, the bass is a bit more prominent that on other SoP projects, but in a refreshing rather than obtrusive manner. Composer Alessandro Di Benedetti revels in Wind And Wuthering era Genesis, so busy drums and majestic guitar leads that colour within the lines add a dimension which beautifully reflects the bustling life of Nantucket, the centre of the whaling industry. The only shortcoming here is the vocal line which feels a bit tentative, out of step with the majesty of the rest of the track. Octavio Stampalia’s music easily capture’s Ahab’s anger and obsession in The Quarter Deck. However, the vocal melody again feels like an afterthought. Steve Unruh’s violin is used sparingly but effectively, leaving it to the synth and drums to do the heavy lifting and keep the song moving. The odd sound effects throughout (are they intended to represent the titular whale?) are cool at first, but wear out their welcome quickly.
Writer Linus Kåse mesmerizes on the Hammond and finally gives the vocal melody a place of honour on Fastfish, Loosefish. The fact that as a vocalist he is no Peter Gabriel clone helps to diverge from the Genesis influence and give the song its own identity, as does his harmonizing with Unruh. The guitars rarely get in the way of the keyboards, particularly the synths which have that seventies sound down pat, but the mighty Hammond never relinquishes control. The Quadrant brings a heavier perspective to Ahab’s fixation with the whale. Here, the guitar and bass pull the song forward as the keys give it an openness which reflects the vastness of the ocean. Piano and organ take flight with Bernard’s bass hot on their heels. When the song slows down and centers on the flute, it does not let up on the passion Ahab has for finding his nemesis. This is some of the best, most evocative music on the album. Michael Trew’s vocals carry Ahab’s seething anger, as if singing through gritted teeth. Mazzotti’s simple flute lines allow space for the drums and bass to carry the rage as the song comes to its conclusion.
The opening drone combined with the sounds of a creaking ship set the dark tone of The Chase as the final battle is set in motion. The disjointed rhythms, searing guitar and percussive piano combine to great effect, heightening the sense of catastrophe we all know lies ahead. Unruh disappears vocally into the character of Ahab, all spit and venom. The stereo imaging is noteworthy here as it adds as much dimension as the music itself. Jokinen’s guitar is as ferocious as Moby Dick as it destroys everything around it. With Ishmael the sole survivor, the music turns funereal, then angry, then resigned. The guitar resurfaces like the triumphant whale to close the song and assert its dominance. In typical SoP fashion, David Myers’ solo grand piano concludes the album, only this time with Bernard’s bass lending gravity to the tale’s conclusion.
A bonus disc of covers titled Undercover Deux is appended to Moby Dick. Unlike the first album, this one is a mixed bag of rock standards, classic prog covers and another original. The album begins with a credibly faithful cover of Rush’s Anthem. Thankfully, while close, it is not a note for note recreation, particularly with regard to the vocals. The obvious goal here is to have a bit of fun, and I dare say it sounds like that mission has been accomplished. As you might imagine, the bass is mixed forward, and Bernard gets to show off his chops. Songs like Zeppelin’s Good Times, Bad Times and Zappa’s Uncle Remus at times try a bit too hard to replicate the original vocals, and that’s too bad. I would have loved to hear what Bernard and company could have done if they just made the songs their own. Boston’s Foreplay/Long Time in particular suffers. Sometimes, imitation is not the sincerest form of flattery, and attempting to catch a new bolt of lightning in the same old bottle just gets you burned. On the other hand, when the band has a go at the prog classics, their comfort level returns and the performances are elevated. UK’s In The Dead Of Night and PFM’s Impressioni Di Settembre are highlights. While neither strays far from the source material, the magic of each tune remains in these covers. The most successful of the batch, however, is Al DiMeola’s Race With The Devil On A Spanish Highway. The performance by everyone involved is positively exhilarating, a monument to the best excesses of the jazz rock movement.
Wrapping up the disc is one final original, courtesy of Marco Greico. Stories Of The Sea is a duel between two monster bassists: Marco Bernard and Michael Manring. These are two men who don’t need to go ballistic to prove their bona fides (not that they don’t once in a while). Guitar and keyboards each get to show off a bit, but at the heart of it all is a song, and that is what comes through most of all.
Moby Dick is a rather enjoyable listen if mid-period Genesis is your sort of thing. If you have heard any of the Samurai of Prog projects over the years, you know what to expect, and you will not be disappointed. Undercover Deux, however, is not nearly as consistent. While it’s clear the participants were having a lot of fun trying their hand at some old favourites, the quality varies wildly. Recommended with reservations.
TRACK LISTING
CD 1: Moby Dick
01. Loomings (10:00)
02. The Quarter Deck (5:39)
03. Fastfish, Loosefish (5:36)
04. The Quadrant (10:43)
05. The Chase (11:09)
~ Bonus track
06. Epilogue (2:53)
Time – 45:00
CD 2: Undercover Deux
01. Anthem (4:24)
02. Good Times, Bad Times (2:47)
03. Uncle Remus (3:06)
04. Foreplay/Long Time (7:59)
05. In The Dead Of Night (6:56)
06. Race With The Devil On A Spanish Highway (6:23)
07. Impressioni Di Settembre (9:09)
08. Stories Of The Sea (5:09)
Time – 45:53
Total Time – 90:53
MUSICIANS
– Moby Dick
Marco Bernard – Shuker Bass
Carmine Capasso – Electric Guitar
Alessandro DiBenedetti – Keyboards
Marcello Ezcurra – Vocals
Mimmo Ferri – Keyboards and Guitars
Marco Grieco – Keyboards, Acoustic & Electric Guitars
Erik Hammarström – Drums
Toni Jokinen – Guitar
Linus Kåse – Keyboards, Sax, Vocals
Sonja Kåse – Acoustic Guitar
Giovanni Mazotti – Flute
David Myers – Grand Piano
Johan Oijen – Electric Guitar
Kimmo Pörsti – Drums
Tony Riveryman – Electric Guitar
Ricardo Spilli – Drums
Octavio Stampalia – Keyboards
Michael Trew – Vocals
Steve Unruh – Vocals, Violin
– Undercover Deux
Marco Bernard – Shuker and Rickenbaker Basses
Len Audsley – Lead Vocals
Valentina Bruno – Backing Vocals
Carmine Capasso – Electric Guitar
Ovidio Catanzano – Drums
Sean Francis – Lead Vocals
Marco Greico – Keyboards, Vocals, Acoustic Guitar
Steph Honde – Lead Vocals
Dennis Mahon – Lead Vocals, Keyboards
Michael Manring – Zon Hyperbass
Yannick Papail – Lead Vocal
Kimmo Pörsti – Drums
Tony Riveryman – Electric Guitar
Hans Jörg Schmitz – Drums
Steve Unruh – Acoustic Guitar, Drums, Percussion
ADDITIONAL INFO
Record Label: Seacrest Oy
Country of Origin: Finland
Date of Release: 24th October 2025
LINKS
Marco Bernard – Website | Facebook (The Samurai of Prog) | Facebook (Marco Bernard) | YouTube
