Thank you so much, John Giordano and The Progressive Aspect, for this spectacular review of C.O.R.E. !!

Here is the entire review, reprinted in full below:

“The first I heard of Circuline was when they were added to the roster at RoSFest in 2016. Because I was unfamiliar with the band, I dutifully bought their debut album, Return, to see what they were all about. Nothing could have prepared me for the emotional connection I would form with the band. It seemed as if they came out of nowhere fully formed. The level of songcraft was matched by their proficiency as instrumentalists and vocalists. Formed from the ashes of prog tribute band Downing Grey, core members Andrew Colyer (keyboards, vocals) and Darin Brannon (drums, keyboards) along with guitarist Bill Shannon sought a vehicle for their own original compositions. With the addition of Billy Spillane (vocals, guitar), Natalie Brown (vocals) and Paul Ranieri (bass), the band was a cut above, right out of the gate. Their second album, the even more brilliant Counterpoint, began a musical chairs tradition that would make Yes blush. Several guitarists and bassists later, and with the departure of vocalist Spillane, the band has risen once again, this time with bassist Shelby Logan Warne (Kyros) and guitarist Dave Bainbridge (Iona) enhancing and expanding the sound even further.

Live, Circuline performs like they were already in the top tier of progressive rock acts. Check out their two live albums/videos for confirmation. Like Marillion, this is a band of savvy marketers as well. With their latest album, C.O.R.E., each week for twelve months they have released a performance video, a lyric video, a behind the scenes video and a gear video, as well as interactive videos with the fans. These guys and gals are the consummate fan-friendly group, and as a result (full disclosure) I have become cordial with several members of the band. When I learned of the latest line-up changes, my level of wariness was high. Spillane was both a great vocalist and frontman, and Bainbridge’s soaring guitar solos as part of Iona seemed an odd fit, not to mention keyboardist/vocalist Warne stepping to the fore as a bassist. C.O.R.E. proves that not only was there no need to worry, Circuline takes what would be challenges for a lesser band to catapult them to new highs. This is, without a doubt, the best album of their career to date.

C.O.R.E., which stands for Circuline Original Reimagined Evolving, is an album full of surprises. Making the best use of Colyer’s sound designs thus far, the aforementioned Warne on nimble (and even funky!) bass, Brown and Colyer up front as lead vocalists in a way you haven’t heard before, and Bainbridge morphing his sound to suit each song, this is an album that reaches for new levels. In the process, it achieves and surpasses them.

It’s hard to decide where to focus your attention first when Tempus Horribilis kicks in. Disembodied voices, keyboard pillows and guitar squeals draw you in different directions before the bass and drums knock you off your perch. This is a band out to prove something, and nothing is going to stand in its way. Even the choral “AHHHH” packs a wallop. Nearly every song is a mini epic, going through multiple moods, tempos and time signatures. The song calms down as Colyer takes the first lead vocal, but the acoustic piano and cymbals are the first building blocks in a new wall of unease. The repeated refrain of “Times like these, a vise, like dying, like bombs” keeps the tension in the song while Bainbridge’s guitar, a soaring and soothing presence in Iona, here underlines the sense of fear and dread. Brown’s skills as a lyricist beg the question why it took this long for her to contribute as she gives voice to hopelessness with “The plague of dissension/Gaslighting tension/My faith is gone”.

Third Rail flips the script with melodic and lush arrangements. Acoustic piano and guitar along with sitar effects lend a radio-friendly atmosphere to this song. The duel between Bainbridge and guest guitarist Alek Darson is masterfully understated. The piano and guitar lend their gentility to the introduction of Say Their Name, a perfect foil for Brown’s heart-in-the-throat vocal turn. Warne’s bass is beautifully elastic, a smart lead-in for Bainbridge’s very nearly funky rhythm guitar. Even Brannon shows off a bit with a couple short drum solos that lift, rather than interrupt, the song. Lyrically, the song splits the difference between political expression (BLM?) and universal experience. When the tempo picks up at the end of the tune it feels like an affirmation that we can get this right.

A twisty bass run sets the stage for All. Colyer’s treated vocals are thickly layered and smooth as silk. When Brown joins on the chorus, the effect is transcendent. The song seems to have Yes’ Changes in its DNA, yet Circuline put the song through so many changes that it manages to rise above its influences. Brannon and Warne are a formidable rhythm section, full of both power and finesse. Colyer’s Julliard training comes to the fore on his piano parts. Still, its his synth work that makes you understand why he was a more than worthy stand-in for Keith Emerson in Robert Berry’s 3.2. Speaking of Berry, he does an amazing job of mixing the album (why can’t John Myung be heard with such clarity on Dream Theater records), each vocal and instrument clear and crisp.

The delicacy and majesty of twelve string guitars and solo piano evoke Anthony Phillips on Temporal Thing. When the rest of the band fill out the piece, it is taken to yet another place. Brown’s vocals seem to extol the virtues of love but with enough space for the listener to fill in the blanks. Soundscapes and a heavy guitar introduce You before leading into an interesting mix of percussion instruments that bring a sense of foreboding that swallows You whole. Is this a bad relationship or something more sinister? The spoken vocal asides that populate the album are used to tremendous effect here, spare but intense. The chorus melody is an absolute earworm; however, it’s the feeling that something is not quite right that sticks with you. Blindside, possibly my favourite song on the album, lightens the proceedings with a lilting refrain that will remain with you long after the song is over. Colyer is a master at writing melodies, and even better with killer harmonies. Bainbridge finds plenty of space for an Iona-esque solo that takes wing as Brown’s wordless voice plays around and between Colyer’s thickly layered vocals, creating something totally new and different for Circuline.

Insistent bass notes on the piano, chunky guitar chords, and in-your-face bass runs are the hallmarks of Transmission Error. The music is appropriately claustrophobic and dense for the dark lyrics. Listen closely to the plethora of sounds throughout, some obvious, some just beneath the surface. Colyer’s piano solo is a highlight which melts away to guitar riffing which in turn yields to bass riffs before a synth/guitar/violin mashup messes with your brain. At nearly ten minutes, it’s the longest song on the album. The mind boggles at the thought of how they might tackle an epic track. The grand mellotron-infused finale lifts the song to the heavens as the massive vocal proclaims: “The chance that I take/Missteps I’ve made/I have found my way back home”.

C.O.R.E. is the sound of a band firing on all cylinders. If there is a better album out this year, I have not heard it yet. Do you want your prog to be intelligent, sophisticated, full of talent and unexpected delights? Do you want songs that challenge and yet stick with you? Listen to C.O.R.E. and be amazed. I am already salivating like Pavlov’s dog at the thought of what Circuline might come up with next.”

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The Progressive Aspect and John – reading this review made band members Andrew Colyer and Natalie Brown cry with gratitude. Thank you so much for these amazing and kind words!

Here’s the link to the original article on their website: