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 |  REVIEWS
 May 9, 2021: The following extensive review of The Sound of Dreams comes from Sue Smith of the Progressive Aspect. To access the full review  Random Acts of Beauty, his third symphonic album, appeared in 2010 with songs composed by Minasian and his son Justin. It also featured Andrew Latimer of Camel on one track, his first studio recording in eight years following his recovery from a bone-marrow transplant. Work began on the follow-up in 2013, but involvement with Moody Blues frontman Justin Hayward resulted in further documentary and concert work. Finally, we come right up to date with The Sounds of Dreams. The music itself begins in trademark orchestral fashion with a gentle, tinkling introduction and the warming tones of Justin Hayward on The Wind of Heaven (Prologue), drawing the listener in, smoothly evoking visions of sparkling sunshine on a meandering stream, moving seamlessly to All In, Minasian's sensual piano playing swept aside by soaring guitar, the swirling circles of envisioned light drawing you down into its soft embrace. There are echoes here of an older project, recalled by a group of musicians known as Mandalaband whose glorious soundtrack compositions swelled and soared in a similar vein. The guitar is given free rein as the sounds of a heavenly choir accompany it to a full stop finish. Moving on, the soft, blossoming sounds of piano, flute and bass meander into the Spring-like Faith, Hope, Love, effusively foretelling of renewed hope and light, much welcomed in these strange times. The Sounds of Dreams suite is next, beginning with a sitar rush before quickly settling into its former hypnotic flow. The indisputable voice of Annie Haslam floats in, the passage of time adding a further quaver to her haunting and distinctive voice, but nevertheless it soars and segues into the keys of a widescreen Lord of the Rings epic. The second movement darts in, more lively than anything previously. Billy Sherwood's bass drives the track, racing after the keys, before regaining mastery of the track. David's keys, this time more strident, lead the listener into a gallop across the plains, the starlit sky shining down, before tumbling down the chords as calm is restored, the balm of the orchestra and guitar taking sway once more as we sweep into the Third Movement. There's a wonderful interchange between keys and oboe, dancing with the guitar. We are in woodland now, witnessing the awakening of Life itself, a mystical melody rising and concluding on a symphonic swell. Leaving the Suite behind, the melodic journey into dreams continues with Road To Nothingness, the breathy gentle vocals, with a nod towards a soporific Gerry Rafferty, accompanied by further brushes of piano and woodwind, painting gently on the aural canvas. Guitar and a choral swell reappear right on cue, reflective and calming, reassuring, drifting; close your eyes and let it carry you along in awe and wonderment, before once more we finish on a choral high. Room With Dark Corners begins with a more folksy approach, reminiscent of Blackmore's Night, further reinforced by the powerful vocals of Julie Ragins. The melodic chorus draws further references to Hayley Griffiths or Olivia Sparnen-Josh. The lightness of touch here belies the title. It's a great uplifting track and the vocals are over far too soon, the track spiraling mysteriously into deep R.E.M. territory, ominous footsteps accompanied by birdsong, yet with mournful vibes. It’s slightly unnerving. Hold Back the Rain is announced with a flurry before melodic calm returns. Perfectly pitched piano is king here, the woodwind leading us through with a breezily simple yet poignant guitar interlude from Justin Minasian, rainfall drumming taking the track out to the end. Twin Flames at Twilight is the longest track on the album, beginning with acoustic guitar and woodwind gently twisting together, some Mellotron holding the patchwork together with a seamless stitching of musical wizardry. The orchestra builds quietly, guitars strum, the Mellotron returns and the vocals take over. Then throbbing guitar and drums crash in, racing across the track with phenomenal speed. It's the album's first dissonant section, but it fits right into the sequence, hammering relentlessly up and down the fretboard, with accompanying 'fuzz' guitar keeping pace effortlessly. Then, again without warning, this rough intruder is thrust gently to one side and the melodic guitar and orchestral overlay returns. Electric guitar returns again, this time in a harmonic accompaniment to its strumming acoustic counterpart, joined by epic keyboards. The vocals return quietly, leading us by the hand into the quiet safe paths of this dreamy album. Minor chords are used effectively here, a final nod to the epic, and then acoustic guitar strums us out to a conclusion and the story is gone, but oh so softly. Tinkling piano and delicate frissoning tubular chimes lead us into the straightforward So Far From Home, with the vocals of PJ Olsson producing a nice tone and lovely melody. The Moody Blues influence shows through here, even lending itself to sitting on an Alan Parson's album. And before we know it we are at the Epilogue, The Wind of Heaven, with the unmistakeable Annie Haslam singing about times 'lost and cast adrift'. This feeling of being bereft does not last, the Wind of Heaven promising to overcome all, if you let go and let it in to take you and guide you. All will be well. The keyboards and guitar swell in harmony once more, as the strong drum beat begins and we move towards the climax of the song, and indeed, the whole album. The wind rises, and then the mysterious horse gallops us out once more to the edge of the dream, and beyond. This is an immersive album, one that grows with each listen (as all good symphonic progressive albums should) and David Minasian's mastery of his chosen field is paramount here, not only in the writing and the playing, but also by the placement of the accompanying artists. Haunting, calming, intriguing, beguiling, exhilarating, and mellifluous all at once, this is an album for absorbing, with the headphones and a glass of a favourite something to accompany the experience. Dec. 29, 2020: The following review comes from the French publication Prog Censor. You have to dive right into 1984 with the album "Tales Of Heroes And Lovers" to find the first record of this American musician who, already by the time, offered melodic music infused with the mutation of prog, offered during the 1980's and embodied during this time, for example, by the album's of Camel. In 1996, accompanied by singer William Drews, he commits in a pop-rock style "It's Not Too Late", an album that I dare you to find a trace on the net. And then in 2010 he brought forth "Random Acts of Beauty" which gave him his first title of nobility. But who is he? Minasian is first and foremost a film director, producer and screenwriter, of essentially documentaries. But he has also produced concert and music videos for artists like Justin Hayward and Camel. It is then with a busy schedule that he launched his new album "The Sound of Dreams", which includes musicians like Justin Hayward, Steve Hackett, Annie Haslam and Billy Sherwood. Musically this album is bathed in the melodic progressive movement of the 70's and 80's in the wake of The Moody Blues, Barclay James Harvest, The Alan Parsons Project and Camel. The first track, "The Wind of Heaven (Prologue)", whose vocals are held by Justin Hayward, reflects this. It's an entry that instantly convinces us of the content of the album and helps to lead us wisely towards a solemn epic of another age - totally successful, melodically suave and wonderfully outdated with sounds of past atmospheres of melancholy. But the extended title track has some surprises in store, in particular with the salutary intervention of Steve Hackett in a solo of which he has discovered the secret. Like a magical album that revolves around the embodiment of its own definition - Sounds, songs, spacious flights, atmospheres that pass like a halo enveloping you and transporting you to other temporal strata. An extinct universe that has been revived. This is the archetype of what turned the music press of the 1980's upside down. It's like a cheerful snub of revenge. Superb album! Dec. 28, 2020: The following is from an amazing review written by Terry Craven from the Velvet Thunder website. To access the website Alongside this, he kept up his career as a solo artist and recorded what the publicity calls a symphonic rock album but what we would more correctly call as progressive rock, Tales Of Hearts And Lovers, in 1984 with Minasian singing and playing most instruments but with a team of backing musicians helping out too. A second progressive rock album then followed in 1996, It's Not Too Late, with vocal duties this time passing to William Drews, and it seems that both of these albums are now almost impossible to track down. Then in 1997 he began to work with Camel, amongst many other artists, which led to him producing and directing a number of concert and documentary DVDs for them including the sublime Coming Of Age. In 2010 he released another solo album in Random Acts Of Beauty which featured a guest appearance from Andy Latimer and it was/is, quite simply, a progressive rock masterpiece. As mentioned at the beginning, David Minasian is an artist who has passed me by and I just cannot believe it has taken me ten years to catch up with this simply delightful album. The record has now been remastered and is available again which has given us the chance to either revisit or catch up with this stunning progressive rock work of genius. Minasian sings and plays piano, keyboards and bass with his son, Justin Minasian, playing guitar. Minasian also wrote six of the seven songs with the 14-minute instrumental Frozen In Time being written with his son. Remarkably, he also managed to get Andy Latimer to play on the 12-minute opening track Masquerade which was his first recording in eight years following his recovery from a bone-marrow transplant and his playing on this is the usual fluid, joyful and emotional display that we have come to expect from this guitarist without equal. This new re-master also features a short bonus track in Masquerade Solo which again features the sublime talents of Andy Latimer but mainly it is the stunning keyboard work of David and the supreme guitar work of son Justin that commands your attention. David Minasian has a gentle and pleasant voice that leads you peacefully through the work which is so pastoral and evocative. This is a work that is steeped deeply in the tones of Anthony Phillips, Genesis, Greenslade and Camel with long, extended tracks that draw you into the beautiful and surreal progressive rock world of the 1970's that is still totally relevant and just as enjoyable today. One of the main reasons for this re-release of Random Acts Of Beauty is that David Minasian has now, finally, released his latest album with the equally stunning The Sound Of Dreams. Work apparently started on this album in 2013 but it had to be put in hold as he spent the next several years producing a number of live DVDs for Justin Hayward but, thankfully, it has now been finished and presented to us in all its prog-tastic glory. David Minasian again provides the vocals along with the usual sumptuous keyboards and 12 string acoustic guitar with Justin Minasian reprising his exquisite guitar work, but he has now brought in some quite masterful musicians for writing and performing duties and any album that includes Justin Hayward (The Moody Blues), Steve Hackett (Genesis), Annie Haslam (Renaissance), Billy Sherwood (Yes), PJ Olsson (The Alan Parsons Live Project), Geof O'Keefe (Pentagram) and Julie Ragins (The Moody Blues Live) is sure to be an amazing affair. When you first hear his work you are immediately struck by just how essentially English his music sounds and you feel certain that you have discovered some lost gem of pastoral, gentle and complex progressive rock that hints of green and rolling English fields bathed in the golden rays of a gently setting sun. I'm not sure how an American has managed to produce something straight out of the English psyche but he's done it magnificently too. It is impossible to pick out highlights as all of the material is so strong and the playing is totally off the scale but if you want a taster, then the three part title track which features Steve Hackett, Annie Haslam and Billy Sherwood working together for the first time is as stunning a track as you are ever likely to hear but this is the norm for this exceptional and traditional progressive rock album. Both of the albums by David Minasian are magnificent progressive rock delights with lots of fluid guitar that is so emotional that it almost reduces you to tears, and the lush and exotic keyboards work and synth runs are enough to show that he is a truly great player and one that needs, nay, demands your attention. This is simply wonderful music from an amazing talent whom we all should be aware of. Dec. 24, 2020: The following excerpts are from a review in Metal Brigade magazine. To read the full review It should also be noted Minasian's facet as a producer, director and writer of films with more than 150 credits behind him, and that has led him to work with people like Mel Gibson and Martin Landau as well as with legends such as Elton John, The Moody Blues, Alan Parsons, Kris Kristofferson and Three Dog Night. "The Wind Of Heaven (Prologue)" has the collaboration of Justin Hayward on vocals, keyboards and guitars - a dreamlike start, full of melodic and muted voices. "All In", far from breaking with the calm of the previous cut, starts almost fearful, supported by pianos and the slightest orchestrations to later give way to a distant guitar solo of Floydian airs as we approach the central bridge. The instrumental "Faith Hope Love," featuring Kerry Chicoine on bass, is set in a crescendo structure of classical ballad, good bass lines, elegant guitar solos and flute. It works as a preview of the three movements that follow. "The Sound Of Dreams (First Movement)", with Sherwood on bass, Hackett on guitar and Haslam on vocals, has its greatest appeal, in my opinion, in the participation of the former Genesis member on the six strings. He moves in areas closer to art-rock, with a certain air of Norwegians Gazpacho and leaves one of the best solos on the album. It's a quiet cut, which takes place between dreamlike melodic airs. "The Sound of Dreams (Second Movement)", the liveliest installment of this first part of the album, lasts just two minutes. And it's a shame. It contrasts with the rest of the previous songs and gives it some vibe, leaving me wanting more. It is a simple, well-constructed instrumental, with good arrangements and gallant solos. "The Sound of Dreams (Third Movement)" comes to raise the overall tone of the album. Built in the glory of Londoner Steve Hackett and supported by arrangements that give it all the vintage flavor of the most elemental symphonic sound. He neither has a vocal line nor does he need it. We leave the triad that gives the album its name with the "Road To Nothingness", where calm and peace reign indisputably. Acoustic guitars, quiet vocals, and beautiful arrangements that are reminiscent of the more relaxed proposals of Transatlantic and/or Neal Morse. It is electrified in its central bridge so that Justin Minasian leaves a guitar solo and, although it does not surprise in terms of writing, it does so in terms of taste for detail. Contained and well managed. I like it. "Room With Dark Corners", with Alaskan Julie Ragins leaving a remarkable vocal line (I would say my favorite on the album) wins in punch with respect to the rest of the album and constitutes another of the breaks with the general tone. It also brings a good guitar-keyboard duel on the central bridge and a last third that flirts briefly with psychedelia. Great. The vocal line that introduces "Hold Back The Rain" could have been sung by Simon & Garfunkel without a problem - beautiful and suggestive. The intro to "Twin Flames At Twilight", where I think I hear reminiscences of Isaac Albeniz's "Asturias", anticipates the longest song on the album. After the acoustic prologue, the wind arrangements and a light touch to the calmer moments of bands like Yes or King Crimson burst in. Turn the course again to accommodate the voice, and emerge in a quiet but picturesque pop-rock landscape with velvety voices and precise arrangements. It then hardens in time and abandons the vocals to deliver one of the most serious moments in terms of tone and rhythm of the entire album. The long central bridge reveals the most intricate facet of the Minasians while listening to a solo that could have been signed by the post-Ibanez John Petrucci. The calm is regained after the bridge binge offering a nice line of bent guitars to return to the verses. By far my favorite song on "The Sound Of Dreams" for tone, complexity and execution. "So Far From Home", with PJ Olsson on vocals, returns to the general tone of the album in a ballad that is almost as beautiful as it is predictable, where the Michigan native leaves another great vocal line, it is true, where the writing in crescendo incorporates a good solo. "The Wind Of Heaven (Epilogue)" closes this second work by David Minasian bordering the ten minute barrier. It features again the bass of Billy Sherwood and the voice of Annie Haslam. Another well-structured theme emerges again, with good rises and a remarkable work in terms of guitar lines. The lilting guitar solo that anticipates the bridge happens to be one of my favorites on the record, actually. "The Sound Of Dreams" is an album that lives up to its name, moving calmly, sometimes off, through lands that call for peace and reflection. An album that is difficult to fit into these fast and relentless times that we have had to suffer, but that well deserves good listening to help unravel all the music that it houses inside. Dec. 18, 2020: The following excerpt comes from Doc Krieger's Top 20 list of the best albums of 2020 where The Sound of Dreams came in at #1. To read the full review Dec. 8, 2020: The following excerpts are from various Amazon reviews. To read all the Amazon reviews Excellent album. If you like Camel you will love this album. (JS) The Sound of Dreams was wonderful at first listen and just continues to get better and better with each listen. I have met David Minasian and he let me listen to a couple of the songs long before they were in their final form. I was in tears, they were so beautiful. It would be very difficult for me to pick a favorite song because I love them all but I have given praise to Julie Ragins for her wonderful song on this album and especially liked Annie Haslam's two songs. The guitar work of his son, Justin Minasian, is mesmerizing. Great Job David. Please don't make us wait another 10 years for your next masterpiece. (GP) David Minasian's The Sounds of Dreams features prog-rock royalty: Justin Hayward, Annie Haslam, Steve Hackett, and Billy Sherwood. Lushness is the only word to describe Minasian's composition and style and The Sounds of Dreams production delivers ageless yet instant, crisp, and convincing prog rock. (AA) I had never heard of Mr. Minasian before but with this list of guest stars I took a chance. Very well rewarded. Well performed, recorded and produced. If you miss the glory days of the early '70s then this is the album for you. Lots of flutes and mellotron with guitar ala Steve Hackett, vocals by Justin Hayward - what's not to like? Very impressive CD indeed. (WP) Excellent. A must. (YC) This album, eventually released 10 years after its predecessor 'Random Acts of Beauty', is another collection of highly melodic songs and pieces, but it is an album which grows steadily on you rather than hitting you between the ears on first listening - those melodies do worm their way into your ears eventually, believe me! Worth investing in if you like melodic rock with soaring guitar melodies. (JG)  Dec. 4, 2020: The following excerpts are from the Arlequins webzine, the oldest progressive music website on the internet. To access the full review I would say that thanks to the many guests, the new album, while retaining concrete stylistic ties with the old, is pleasantly enriched. The lead voice we hear in the opening track, "The Wind of Heaven", is by Justin Hayward with his velvety tones. Minasian enters the scene as a solo singer in the following "All In" with his pleasant and calm tone. The piece shows us how David is a master in designing songs with a great atmosphere, lightened by symphonic keyboard moments with specific references to Camel and Genesis. In particular, the long electric guitar solo is very beautiful, which stands out clear against a soft Mellotronic blanket. But the central moment of the album is certainly represented by the suite "The Sound of Dreams", which is organized into three distinct tracks. The first, featuring Annie Haslam, co-author of the song, is dreamy and full of atmosphere, with muffled keyboard carpets; the second is a dynamic instrumental with more accentuated contrasts and makes use of the contribution of Billy Sherwood. The last movement, still instrumental, shines with the unmistakable guitar contribution of Steve Hackett who ends up dominating over the other instruments. On "Room With Dark Corners" we can hear the crystalline voice of Julie Ragins to interpret a song that is simple in its overall design but powerful in its melodies, while PJ Olsson is entrusted with "So Far From Home", another piece with AOR appeal where keyboard elements provide a valuable backdrop. "Twin Flames At Twilight" is the longest track on the album at 13 minutes. Minasian's vocal interpretation has a certain Beatlesque flavor which has a pleasant impact. The piece contains a central instrumental digression reinforced by sustained riffed electric guitars, which provides a positive detachment. There is ample room for technical solos that highlight Justin's fluid phrasing, who has grown much in technique and style from his previous work. "The Wind Of Heaven (Epilogue)" closes this rather long album by recurring the melodic theme of the opening piece. Interpreted this time by Haslam, the piece retains its simple and alluring structure, giving us a rarefied and delicately symphonic instrumental excursion. That this album is well done, carefully and professionally packaged and well structured is undeniable. Minasian's expertise is expressed above all in the construction of fluid atmospheres, suggestive keyboard backgrounds, and well-chosen melodies. The contribution of other singers can be seen as a strong point. The instrumental colors, embellished by the acoustic guitar, gives a beautiful light to the sound of this album. Those who loved "Random Acts of Beauty" can be satisfied because the new work is certainly at its height and perhaps even goes a bit higher. Those with an unbridled passion for melodic and romantic prog can approach it without fear. Nov. 30, 2020: The following excerpts are from a review in Amarok Magazine. To read the full review David had started his musical training on classical piano at the age of five. However, his real interests were in filmmaking and that is what he ultimately chose as his career path. As a result, he made several DVDs of Camel concerts and became friends with Andrew Latimer, which gave us the pleasure of hearing this fabulous guitarist on a track from Random Acts Of Beauty, Minasian's previous album, dating back to 2010. The Sound Of Dreams starts off very strongly on the 1st track "The Wind Of Heaven Prologue" which features the famous Justin Hayward, the emblematic singer of the Moody Blues. The whole album is from the same barrel, full of beautiful melodies. The superb piano chords of "All In" lead to a very nice piece in whereby, apart from the vocals (always well handled by David), the guitar solos are played by his son Justin Minasian who has nothing to envy regarding the masters of the genre. It should be noted that the son is omnipresent on this record, holding the main guitars and also participating in the compositions. After the song "Faith Hope Love" which is very pleasant, we attack the eponymous song, which develops in three parts over a duration of eleven minutes. On this title appears the beautiful Annie Haslam of Renaissance. The icing on the cake, on the first movement as well as on the third, is the guitar work of Steve Hackett, who by his unique sounds, singularly evolves the central piece of the album. It may be a coincidence, but the other long track "Twin Flames a Twilight" (nearly fourteen minutes) makes one think from start to finish of a composition by Genesis through its sequences of flute and the acoustic guitar. It's certainly Justin, but very Hackettian in style. David Minasian provides the vocal lead here as elsewhere on this disc. The song closing the album, "The Wind Of Heaven (Epilogue)", also over ten minutes, is once again performed by Annie Haslam who gives a version certainly more percussive to this powerful track, compared to that of Hayward. The Sound Of Dreams turns out to be a very fine autumnal album which will undoubtedly increase the already growing popularity of David Minasian who did well to make music, because talents like his are, in the end, quite rare.  Nov. 3, 2020: The following excerpts are from a ProgWereld review. To access the full review Minasian has released a new album with "The Sound Of Dreams", which in terms of sound is an extension of "Random Acts Of Beauty". That means an atmospheric symphony, a cross-pollination of Camel and the Moody Blues. For this record Minasian has brought in quite a few big names. Namely: Justin Hayward (Moody Blues), Steve Hackett (Genesis), Annie Haslam (Renaissance), Billy Sherwood (Yes), PJ Olsson (Alan Parsons Project) and singer Julie Ragins. These guys give the music of Minasian extra cachet. The basis is provided by Minasian himself (vocals, keys and guitar), his son Justin (guitar and keys) and drummer Geof O'Keefe. "The Sound Of Dreams" starts with The Wind Of Heaven (Prologue) which immediately sets the tone for the entire record. Nice atmospheric symph with Justin Hayward who makes his valuable contribution with vocals, guitar and keys. It will not surprise you that the sound is close to that of the Moody Blues. The most interesting piece of music on this record is The Sound Of Dreams which consists of three parts. In the first part you hear the penetrating voice of Annie Haslam. In the second part I hear nice hints of Yes. In the first and third part, Steve Hackett also shows his considerable qualities. On the long song Twin Flames At Twilight, Minasian starts with a nice piece on acoustic guitar and you imagine yourself in mid-70s Genesis atmospheres. And that is certainly not a punishment. The flute and the floating keys reinforce this even more. About halfway, Minasian starts to rock, and to be honest, I like that. The CD concludes with The Wind Of Heaven (Epilogue) in which Annie Haslam makes an appearance again. In this song, the theme of the first track is redone once more. In short, "The Sound Of Dreams" is a great album. Pleasant to listen to, good melodies, guest musicians who add a lot and with Twin Flames At Twilight, also some heavier prog.  Nov. 1, 2020: The following review of The Sound of Dreams appears in the November issue of Prog Magazine, the premier progressive rock publication. Old school vibes and prog luminaries keep the dream alive. Despite a multifaceted four-decade career as a film editor and director, soundtrack composer, music documentary producer, and solo artist with three previous albums under his belt, David Minasian isn't quite a household name in prog circles. His profile can only be improved by The Sound of Dreams featuring, as it does, a number of guests who all lend their talents to this album, including Steve Hackett and Billy Sherwood. It's a long, often dreamlike and airy journey bookended by the companion pieces The Wind of Heaven (Prologue) with Justin Hayward providing the warm and evocative vocal, and (Epilogue) for which Annie Haslam steps up to the mic. Much of the album is built around gentle yet expansive piano and guitar soundscapes to the extent that when things rock out a little on the likes of The Sound of Dreams (Second Movement) and the 80's pop rock balladry of Room With Dark Corners, it comes as a welcome contrast. Fans of analogue synths, flute and mellotron are well served from the outset, although there are plentiful aural landmarks to catch on the way, and listeners will be in the company of some pretty big names.  Oct. 20, 2020: Excerpts from another excellent Prog Archives review, this time from 'lazland', one of the site's most prolific reviewers. To access the full review There is a guest list here which can only be described as prog royalty. The wonderful Justin Hayward lends his lovely voice together with Julie Ragins who tours with The Moodies, but we also have Annie Haslam singing on two tracks, Steve Hackett playing guitar on another two, PJ Olsson of Alan Parsons Project fame, and Billy Sherwood who seems to be on virtually every new release these days, but justifiably. We should also pay huge tribute to David's son, Justin, and Geof O'Keefe who form the core trio of artists here. The album is bookended by The Wind of Heaven suite, Hayward singing on the first movement and Haslam on the finale. The opener is unashamedly reminiscent of Hayward's finest band moments without once descending into copycat tribute artist territory. Flute, guitars, piano, and gently rising keyboards back a melancholy vocal. Listening to the album for this review, I have played these back to back, and this creates an 18+ minute epic, and Annie's vocals on the main chorus of Wind of Heaven are particularly lovely. The orchestration and wall of sound at the denouement back some fine guitar riffing. The title track is split into three concurrent movements. Haslam provides a haunting vocal on movement one. Throughout movement two, an instrumental passage, Sherwood shows to me that he has learnt a lot from his periods playing with both Yes and Asia, because his bass lead is stunning and is precisely the sort of turn Squire and Wetton would have been expected to put in had they appeared here. Hackett lends his talents to the third movement, another instrumental piece, which starts with some lovely orchestration before that ghostly guitar washes all over you. The interplay between him and the fine piano and orchestral keys shows that the debut album's delightful soundscapes were no accident. The Ragins piece is Room With Dark Corners, and her pipes blast out a fine vocal performance. This track is perhaps the least complex, or rather the simplest, in terms of musical arrangements, and the most upbeat. Olsson's contribution is the vocals on So Far From Home, and is the vocal highlight of the album to these ears. It is simply sumptuous, dripping with emotion, and pushes a symphonic arrangement which delights. Those who read and enjoy my reviews will know that when I say this deserves to be a worldwide hit single, this is meant as a compliment. Five minutes of intelligent, soaring, and emotional pop/rock music. This is not all about the guest cast, though. Far from it. Minasian has a voice which can top that of many more well known lights in the prog world, and his arrangement skills are second to none. The soaring guitars and keyboards we loved on the debut are once more in evidence on All In, but are interspersed with some beautifully delicate acoustic guitar and piano prior to exploding into life. Road to Nothingness is a track I want played at my funeral. There is beauty in melancholy, and Minasian exploits it like no other I know. The guitar solo is a thing of wonder. Stressed? Out of your mind with worry? Watching too much COVID news? Get this on. Six minutes of utter delight. Hold Back The Rain is a lovely ballad which combines again the lovely flute, aching guitars and keyboard arrangements with David's unique voice. Twin Flames at Twilight is the longest continuous track on the album, clocking in at just short of fourteen minutes. It opens with a fine acoustic guitar solo before segueing into a medieval folk sequence that a certain Mr Blackmore would have been more than happy with. The main body of the track kicks in at four minutes, and includes some interesting changes in mood. The guitar riff which follows the initial vocal is not melancholic, it is dark, as dark as anything I have heard in some time. This whole sequence of music is wonderful, proving that Minasian can rock with the best of them, the almighty riff is followed by a beautifully arranged passage of music which really takes you back to that feeling you had when you first heard Wind and Wuthering. I do not mean this in the derivative sense, but in the lovely feeling of being surrounded by lush and deep sounds. This is a marvelous track which captures the listener's attention throughout. I am a fan more than anything else, and this music deserves our support. There was a thread on this site's forum recently entitled "is prog dead?". No, it isn't. In 2020, it is alive and kicking, and albums such as this prove it. Exceptional stuff, and extremely highly recommended. Let us hope it isn't quite so long before we get the next. Oct. 12, 2020: The following extracts come from an extensive 5 star review written by 'tszirmay', one of Prog Archives' premier reviewers. To read the full review This is symphonic prog at its best, featuring whopping melodies that inundate the stage with ornate piano, shimmering waves of mellotron, sizzling guitar interventions, as well as first rate vocals that underpin the beauty of the arrangements. This common theme envelops all 12 tracks here, even though they may vary stylistically but never in purpose. If you are a fan of melodies that grab your spirit and soothe your soul, look no further than this sublime work of art. The biggest impressions though remain the consistency, the pace, the subtlety, the variety and the excitement of the material presented. Kicking things off with Justin Hayward is not a surprise as David has had quite a long career in dealing with the Moody Blues, and on "The Wind of Heaven (Prologue)", the mood (pardon the pun) is set for the entire album, a majestic 8 minute epic of grandiose proportions , carving out a flute, acoustic guitar and mellotron melody (never a bad combination) that showcases a typical Hayward vocal delivery, that unusual quality of strength and softness first heard on 1967's 'Nights in White Satin' (53 years ago, gulp!) . The symphonic aura presented here is purely breathtaking, never saccharine or poppy as the piano tingles the spine and the choir support the theme. "All In" is led once again by David's romantic piano, and enough pastoral twists and turns to keep the flow going, crested by a forceful and dramatic chorus led by his son's shivering guitar, a very obvious nod to early Voyage of the Acolyte Steve Hackett's style, where acoustic and electric guitars court the mighty mellotron swirls. Obsessively beautiful, utterly intense, totally seductive. A brief bucolic instrumental, with flute and piano as leads, "Faith Hope Love" lays down another gem. David, Justin, bassist Kerry Chicoine and Geof have the time of their lives on their instruments, tight in unison. As I stated earlier, the pace of this album is a remarkable attribute, as each piece has its own spine tingling attribute, no better example than "The First Movement" of the title track, the microphone in the magnificent hands of Annie Haslam, who quite possibly delivers her finest vocal ever, ably supported by Mr. Hackett and his legendary sustain- laden electric guitar, the Sound of Dreams, indeed! She hits notes that are unfathomable, choir mellotron only adding to the grandiose nature of the song. Gulp! "The Second Movement" showcases the thick bass of Billy Sherwood, in a blistering and bombastic interlude that ultimately leads to the "Third Movement", where Mr. Hackett gets to let loose once again on his golden Gibson, the thin arc of light squarely on him and he just kills it, as one would expect from the legend. This is right up there with Firth, long, overwhelming and ravaging. And to think, we are only halfway through, I find myself already kneeling at the shrine! David Minasian is a spectacular keyboardist, composer and arranger but he also is the owner of a hushed voice that can rival anyone, incredibly unique and expressive. "Road to Nothingness" offers up a slew of keys (even some harpsichord bits), slithering guitar interventions where Justin Minasian shines once again. but above all, a voice that was built for that melody, evoking the spiritual mood of the lyrics and the luxuriance of the arrangement. Another melody from left field, the Julie Ragins-led "Room With Dark Corners" veers into a completely different realm, a classic prog-folk piece (a la Karnataka, Panic Room, Mostly Autumn) that presents the contrast between loveliness with a more forceful passion, a wicked guitar solo and a grandiose chorus. She belts it out with conviction. Fine piece of work. The melodic recipe keeps giving, as piano, mellotron and David's whispered voice exults on "Hold Back the Rain", a gentle and poignant breeze that features a Justin Minasian guitar slice, all wrapped up in elegant simplicity. The rain finally does arrive. The massive and highly symphonic 13 minute+ epic "Twin Flames at Twilight" is ushered in by a delicate acoustic guitar, weaving a tight, almost medieval tapestry, garnished with woodwinds as it progressively morphs into huge squalls of mellotron that yearn to define the main melody. If one would replace David's voice with Dave Cousins of the Strawbs, it would sound like something right out of the Hero & Heroine/Ghosts era. But then, something truly unexpected kicks in, a raunchy, distorted guitar onslaught that sizzles like some incendiary device, Justin Minasian displaying his considerable axe skills, oh dear! The fury stops on a dime, before the acoustic charm resurfaces, windswept keys in tow, as the main pastoral theme returns, a luminous lead guitar soaring high into the Twilight. A final vocal sets this one to bed. Simply wonderful exit on the acoustic guitar. Bravo! Perhaps a change of pace is in good order, especially after that mammoth extravaganza, so a more accessible song is next up. PJ Olsson has an expressive voice (he has worked with the Alan Parsons Band), that works well on ballad-paced material and this certainly fits the bill. So how do we end this colossal work, you ask? How about a reprise of the opening track but replacing Hayward with Haslam! Place the microphone within a 10-minute package and hear Annie just modulate that magical voice, there is a reason why she remains the undisputed 'grande dame' of female sung progressive rock. The attention to detail in creating an exhilarating set-list, the consistency of the melodies within a symphonic framework, adorned with occasional diversions are the hallmarks that make this such a consummate work. The guests shine like the sun at zenith and the listener gets to hear the "Sound of Dreams". What more can you ask? Oct. 7, 2020: The following excerpts are from the first of a number of Prog Archives reviews of The Sound of Dreams. To access the full review 1. "The Wind of Heaven (Prologue)" featuring Justin Hayward on vocals. This track has all the beauty of a Moody Blues song. 2. "All In" featuring Justin Minasian, David's son. Another beautiful track, with David's strong and soaring keys, along with a glorious chorus. 3. "Faith Hope Love". This track is a simple, yet poignant instrumental. 4. "The Sound of Dreams (First Movement)" featuring Annie Haslam. Who doesn't know and love Annie's voice? 5. "The Sound of Dreams (Second Movement)" featuring Billy Sherwood. Having seen Billy Sherwood with the "Royal Affair" tour, I am again impressed by his versatility. 6. "The Sound of Dreams (Third Movement)" featuring Steve Hackett. The guitar work on this track moves my soul. 7. "Road to Nothingness" featuring Justin Minasian on guitar. I had to check the liner notes, these are David's vocals, the range and beauty of his voice is equal to Justin Hayward's. 8. "Room with Dark Corners" featuring Julie Ragins. Another killer guitar solo that fits beautifully inside the vocal and keyboard arrangement. 9. "Hold Back the Rain". More gorgeous vocals and keys from David, an inspiring track. Buy this album and read the lyrics, it is worth every penny. 10. "Twin Flames at Twilight" featuring Justin Minasian. At 13:42 this could be the "true" prog track on the album. Opening with woodwinds and transitioning into a tempo that I associate with early Yes albums, then back to vocals and keys, this track stands out on the album. 11. "So Far From Home" featuring PJ Olson who is perhaps best known for his work with Alan Parsons, another beautiful track full of melody. 12. "The Wind of Heaven (Epilogue)" featuring Annie Haslam. A fitting, and superb, closing track. Annie's vocals are as strong as ever, bringing life to the lyrics. Oct. 5, 2020: The following excerpts are from the Rock 'N Roll Monuments website. To access the full review And now we've got The Sound Of Dreams! David Minasian manages to unite the past with our present and what he has created here is a modern symphonic masterpiece! At his side is his son, the great Justin Minasian, as a guitarist, who has a promising future. Another surprise is the album's entries. Take a deep breath and say... Justin Hayward (The Moody Blues), Steve Hackett (Genesis), Annie Haslam (Renaissance), Billy Sherwood (Yes), PJ Olsson (The Alan Parsons Live Project), Julie Ragins (The Moody Blues Live), Geof O'Keefe (Pentagram) and Kerry Chicoine (Mars Hollow). Somehow, dreams do come true! If you are a fan of all the above bands, I am sure you will love it! Intensely melodic, emotional and refreshing! Apart from the titans participating in The Sound Of Dreams, I would like to dwell on the nearly fourteen minute Twin Flames At Twilight... because it left me speechless, with all its progressive and symphonic parts! Finally, do not ask me if it is worth adding to your discography. I think you got your answer!  Oct. 2, 2020: Pete Whalley of Get Ready To Rock reviews The Sound of Dreams. To read his full review Which goes some way to explaining the plethora of rock 'royalty' who appear on the follow up to Minasian's acclaimed 2010 release Random Acts Of Beauty: Justin Hayward, Annie Haslam, Steve Hackett, Billy Sherwood, PJ Olsson, and Julia Ragins. And whereas Random Acts Of Beauty was highlighted by Andy Latimer's first studio recording in eight years, The Sound Of Dreams has been making ripples in Prog circles with two singles: So Far From Home featuring vocalist PJ Olsson, lead singer for the Alan Parsons Live Project; and The Sound of Dreams (Third Movement) featuring Steve Hackett. Heavily influenced by the symphonic style of the likes of The Moodies, BJH, and Renaissance, there's much to be admired here, both in construction and delivery, it plays to the strengths of the guest artists with the numbers they appear on virtually indistinguishable from their own works. Swathes of plush symphonic keys, meandering piano lines (Minasian is a classically trained pianist) and languid guitar lines (courtesy of Minasian's son Justin) dominate proceedings in a way rarely heard these days. And where the guests appear, Annie Haslam is in particularly fine form, it's the icing on an already sumptuous slice of symphonic rock. So if you thought the genre was flat lining, think again. Sept. 28, 2020: Alex Novak of Pulse Alternative Magazine had this to say about The Sound of Dreams. To access the magazine Oh, and by the way, David is also a classically trained pianist and that's evident in a definite grandiose feeling that permeates much of this album. 'The Wind Of Heaven (Prologue)' is the dreamlike opener with a gust of howling wind and there's immediately a classic Moody Blues vibe both musically and lyrically. That's really no surprise as Justin Hayward makes a guest appearance and adds his unmistakable tone to the evocative lyrics. What is immediately obvious is the cinematic nature of this music; both the opener' and the following 'All In' have a touch of 'Forever Autumn' insofar as they create strong mental images. The latter in particular with it's long, flowing solos, is a thing of beauty. 'Faith Hope Love' is a lavish instrumental that's full of rich textures and precedes the three part title track. The First Movement is a whimsical ethereal number before things take a darker turn on the Second Movement: like Yes on a bad tab, while the Third Movement gently ripples like concentric circles on a lake, while 'Road To Nothingness' cascades like crystalline tears falling upon virgin snow. 'Room With Dark Corners' belies its title and explodes in rays of golden effervescence with guest vocalist Julie Ragins adding a distinctly country vibe that's peppered with Celtic flourishes while 'Hold Back The Rain' has a touch of spring renewal. At almost 14 minutes 'Twin Flames At Twilight' is a song of epic proportions that begins rather sedately with a beautiful flamenco guitar motif that soon evolves into a crashing crescendo as the electric guitar takes precedent and slithers like a shocked eel until the sedate flamenco returns. It's a musical dynamic that works very well. PJ Olsson adds some sublime vocals to 'So Far From Home' and moves the album in a distinctly power ballad direction. 'The Wind Of Heaven (Epilogue)' is the conclusion and echoes the motifs introduced in the Prologue and brings the album nicely full circle. 'The Sound Of Dreams' recalls days of yore when you could really immerse yourself in an album and drink in the whole vibe from the cover to the sounds contained within. Enjoy. Sept. 23, 2020: The following review comes from Poland's MLWZ website. For the full review Today I can say the same about Minasian's second album, released literally a few days ago, entitled "The Sound Of Dreams". The list of invited guests who appear is even more impressive. It includes names such as Genesis guitarist Steve Hackett, Renaissance singer Annie Haslam, Yes bassist Billy Sherwood, current singer of Alan Parsons' band, PJ Olsson, founder of the Pentagram group, Geof O'Keefe, concert singer of The Moody Blues, Julie Ragins, as well as the band's lead singer, Justin Hayward himself. And it is Hayward's song "The Wind Of Heaven (Prologue)" that begins the release we are discussing today. This song is a musical rocket, a real firecracker, although defined by a lyrical, balladic and candy-like atmosphere, typical of Hayward's vocal expression. This is the beginning of the dream. Two more themes follow, the first being "All In" sung by Minasian, and the next an instrumental titled "Faith Hope Love", both of which continues the mood and defines the climates we find on this album. It is dominated by majestic melodies, the rich sound of synthesizers that constitute the background for soaring guitar solos (featuring the great work of David Minasian's son Justin, who repeatedly performs guitar parts that send shivers down the spine), as well as the discreet work of the rhythm section. We have a very effective three-part title composition on this album at almost 11 minutes in total! Here, Annie Haslam appears in the lead vocal role, Steve Hackett grabs the guitar, and Billy Sherwood plays the bass. As David says: "These are my heroes whose music I grew up with. Composing and recording with them was a dream come true for me. Therefore, the title of the album could not be more appropriate - because this is what dreams coming true sound like." It is worth noting that this three-part epic sounds stylistically as if it were taken straight from a classic Renaissance album. As unbelievable as it seems, the farther one travels into the forest, the more the tension seems to grow, as the subsequent compositions become more and more beautiful. The next ballad "Road To Nothingness" sung by Minasian sounds great, while the dignified vocal of Julie Ragins shines in probably the most song-oriented recording in this set, "Room With The Dark Corners". The lyrical, lullaby-sounding theme of "Hold Back The Rain" is beautifully presented (with our protagonist once again taking the lead vocal). And then there is "Twin Flames At Twilight". Lasting almost a quarter of an hour, this charming composition spanning between acoustic to almost heavy metal sounds, is genuinely beautiful, climatic, and shimmering with all the colors of the rainbow. A hint of nostalgia awakens in the song "So Far From Home" selected as the single and sung by PJ Olsson. In preparing the new album, David Minasian found an outlet for the fantastic and monumental finale entitled "The Wind Of Heaven (Epilogue)", which returns with Annie Haslam's voice and beautiful melodies. There is a gust of wind, a dark climate and the receding cavalry - It's a beautiful ending to this beautiful album. "The Sound Of Dreams" is an album that is intensely melodic, atmospheric, emotional and uplifting. What David Minasian and company have demonstrated is nothing less than a modern symphonic rock masterpiece referring to the best traditions of the genre - a masterpiece that can move the mind, heart and, above all, the soul of every sensitive listener. Sept. 19, 2020: The following review comes from Hardline Rock & Metal Magazine. For the full review In September 2020, a new album by this same David Minasian will be on the starting line, christened "The Sound Of Dreams", an album of 12 songs with a total playing time of 75 minutes. For the album, David gathered together a number of rock pioneers, including singer / guitarist Justin Hayward of The Moody Blues, singer Annie Haslam of Renaissance, bassist Billy Sherwood of Yes, singer PJ Olsson of The Alan Parsons Live Project, singer Julie Ragins of The Moody Blues Live and Pentagram drummer Geof O'Keefe. The album "The Sound Of Dreams" doesn't fit into a prog or any other category, It is an album with great music, a symbiosis of piano and guitar. A stress-free album in which every song really wants to and should be explored. Progressive elements are present, but not in the majority. The "sweet top of the cake" is the piano-heavy "All In" (featuring Justin Minasian), along with the three-part title track "The Sound Of Dreams'. Also the varied "Road To Nothingness", the epic progressive rocking "Twin Flames At Twilight" (featuring Justin Minasian) and the final, almost ten minutes long "The Wind Of Heaven (Epilogue)" featuring Annie Haslam. The long conclusion to this disc... Terrific! Sept. 13, 2020: Paul Davies of Decibel Report exquisitely reviews The Sound of Dreams. To access the review As a musician in his own right with stylish symphonic prog tendencies, his cinematic compositional sensibilities have also found him adept at convening the perfect players to affectionately reconstitute charm filled progressive sounds of yore. With top-grade guest artists including Steve Hackett, Annie Haslam, Billy Sherwood, and PJ Olsson all producing ultra-fine performances, Minasian skillfully engages the ear to drift back down the rabbit hole to fetch up on a plateau of cosseting surreal sonic landscapes. Galloping straight out of the gate, Minasian and The Moody Blues' Justin Hayward revisit their theme tune collaboration to the motion picture The Wind Of Heaven (Prologue) to mesmerically sweep proceedings along with a flourish. Where the romantic couples with the dramatic, stellar contributions by prog royalty permeate this fine record of note as Steve Hackett delivers guitar motifs redolent of his early solo era with his sublime guitar soaring above banks of choral mellotron on the monumental title track. Underpinned by Billy Sherwood's busy bass, doyenne of prog-folk Annie Haslam's still pristine voice, heralds forth the epic triptych of linked movements to this album's enchanting title grouping of songs. There's a garnishing of harpsichord, flute, climbing bass, waves of fuzzy guitars, and haunting mellotron throughout, as Faith Love Hope share similarities to a Mike Oldfield meets Sky sound-clash elevating this visionary recording to project the rarified air these musicians live and breathe. In keeping with the cerulean associations, another Moody Blues connection appears as Julie Ragins delivers a delightful elfish vocal to shine a pearlescent radiant light to uplift Room With Dark Corners. Further ornamental harpsichord, pomp pipes a-parping, bass pedals, and nylon acoustic guitar converge with serene mellotron to create a fine woven tapestry of sound at the core of this album's widescreen soundscape. This is evidenced with the conjoining of an awe-inspiring cacophony of electric interplay as Twin Flames At Twilight's magical storybook of sound swoops headlong into a verdant valley of lush instrumentation. There are many gentle and luminous passages of songs linking the major statements on this record. And with his graceful harmonic tones giving wings to early single So Far From Home, PJ Olsson delivers his Parsonic voice to majestic effect on this penultimate track with a performance par excellence. To bookend this album's overall apogee of sound-craft and dreamlike adventure in playful sonics, the finale of this progressive opus is a magisterial revisitation of The Wind Of Heaven, this time with Annie Haslam on the lead vocal to softly blow the studio door closed on this stunning collegiate release. Without a doubt, the breathtaking ambition and transportive effects of this album, not forgetting ever-present musician Pentagram drummer Geof O'Keefe and Minasian's son Justin, reward the listener on multiple plays and, like any theatrical immersion, is best experienced all the way through in one sitting for maximum effect. Not so much a trip back down memory lane to the golden age of prog, but an ongoing forward-thinking progressive adventure into rarely charted yet seductively familiar territory. Sept. 8, 2020: The following excerpts are from Andreas Hohn of AOR Music. To read the full review Aug. 28, 2020: Here is Prog Critique's wonderful review of The Sound of Dreams. To read the full review And for good reason. The splendid opening "The Wind Of Heaven (Prologue)" takes us into the atmosphere of "Night In White Satin" since it features Justin Hayward, lead singer of the Moody Blues. A composition which will thrill with deep happiness the worshipers of such intoxicating prog melodies. The ethereal prog-rock of "All In" gives the impression of evolving, shimmering waves, with volumes of synths which swirl gracefully, whispering in our ears the need for each of us to escape our world. Next, there are no zones of turbulence within the instrumental "Faith Hope Love", which features plaintive guitars and weightless keyboards. It's an interlude that sets up the centerpiece of the opus, the eponymous "The Sound Of Dreams" which comes in three movements. In the First Movement, we find the bewitching voice of Annie Haslam from Renaissance singing an enchanting melody. The Second Movement unfolds more lively, highlighting the arabesques of bassist Billy Sherwood of Yes. The Third Movement gives Steve Hackett of Genesis the opportunity to show all his dexterity with mind-blowing solos. This magnificent epic piece alone deserves the purchase of the CD. With a smile on the lips comes "Road To Nothingness", with sounds that cause our dreams to continue, smoothly and gently. Julie Ragins (backing vocalist for the Moody Blues Live) along with drummer / guitarist Geof O'Keefe of Pentagram delivers us to the "Room With Dark Corners", which is loaded with intense climatic power. A little gloom creeps into the superb ballad "Hold Back The Rain", which then brings us to the thirteen plus minutes of "Twin Flames At Twilight". A soft start on the classical guitar gradually delivers us to a place of exhilarating psychedelic euphoria. PJ Olsson, lead singer for Alan Parsons, then rocks our dreams with "So Far From Home" with formidable ease. Finally, Annie Haslam concludes with "The Wind Of Heaven (Epilogue)" where the instruments celebrate in pure 100% prog tradition. With the colorful "The Sound of Dreams", David Minasian has created a very beautiful album; a work enhanced by the interventions of legendary musicians and artists. If you enjoy intelligent progressive rock with an undeniable writing quality, this is most certainly for you! Aug. 20, 2020: CD Services in the UK were the first to do an extensive review of The Sound of Dreams album. To read the full review So, what is this 2nd David Minasian offering: 'The Sound Of Dreams' like? Here's a track-by-track overview. 'The Wind Of Heaven (Prologue)' features a Justin Hayward vocal and it's a beautifully melodic song that could pass as a MOODY BLUES ballad! 'All In' is six minutes of superb symphonic rock that falls into the CAMEL / MOODIES / RENAISSANCE / early GENESIS bracket with sweeping electric guitars, Mellotrons and loads of other stunning keyboard work. 'Faith Hope Love' is a sensitive instrumental featuring flute, keyboards, guitar and bass that slowly blossoms onto one full-blown symphonic workout. 'The Sound Of Dreams' is a near eleven minute 3 part epic that features an Annie Haslam vocal in Part I, Billy Sherwood bass on Part II and Steve Hackett's electric guitar on Part III. It's a highly melodic, well written piece where the sound of Annie Haslam's vocal tones are set over vast ranges of Minasian's keyboard flourishes for the first passage, bringing her RENAISSANCE time to mind. The 2nd section is a little YES like due to a Rickenbacker style bass sound driving the keys and guitars along. Steve Hackett's distinctive electric guitar soars throughout the 3rd passage over seas of Mellotron sounds and other textural synthesizers. 'Road To Nothingness' is a slow paced keyboard rich song with a Minasian vocal arrangement. Hackett-esque guitars are evident during the central instrumental passage, and then the music becomes very early to mid period GENESIS-like in the later stages. 'Room With Dark Corners / Hold Back The Rain' is another ten minute plus track that features Julie Ragins on vocals during the 1st part. This is a slightly faster paced song initially driven by strummed acoustic guitars, keys, bass and drums. There's a hazy central instrumental section packed with atmospheric effects before flute and piano bring in Minasian's sensitive vocal part over Mellotron strings and a heartfelt Hackett-esque electric guitar solo for 'Hold Back The Rain'. 'Twin Flames At Twilight' at just over thirteen minutes is the album's longest track, and it opens with a beautiful acoustic guitar solo passage before a flute melody emerges, followed by lush flourishes of Mellotron. David's vocal finally arrives at the four minute mark and brings with it a really nice melodic undertow to the music. Fuzzed electric guitar is added as the pace moves up a few gears and the feel becomes much rockier in style, with multi-layered keys filling the space, all very Prog Rock and fiercer than anything on the album so far. The instrumental mayhem comes to a halt just past the eight minute point where acoustic guitars and Mellotron offer a more sensitively arranged theme that's very reminiscent of GENESIS in style, and topped with singing electric guitar. Majestic keyboards introduce the final part with David's vocal shrouded in a very "MOODIES / BJH" style Mellotron sound towards the close, where added layers of majestic synthesizers provide a fantasy farewell. 'So Far From Home' features ALAN PARSONS PROJCT vocalist PJ Olsson bringing his voice to a ballad with a big hook that would easily fit snugly into an APP album for sure, with a fantastic keyboard arrangement and central guitar solo; this song has it all! 'The Wind Of Heaven (Epilogue)' is a ten minute alternative working of the opening track and now features Annie Haslam instead of Justin Hayward on vocals, providing a lovely symphonic finale to 'The Sound Of Dreams'. The closing instrumental two minutes are epic, with Hammond organ, Mellotron and electric guitar taking the track high towards its final moments. It's been a long time coming since 2010's 'Random Acts Of Beauty' but definitely well worth the wait. Aug. 13, 2020: The Spirit of Progressive Rock had this to say about the release of the So Far From Home single. To read the full review So Far From Home is a pretty solid progressive song that actually reminds me very much of the Alan Parsons Project. That's not because of the vocalist, although that helps, but the style and feel of the tune. I also hear similarities to Dave Kerzner's work. It is immaculately played and produced. It is well paced and has a flow that allows the music to build to a powerful climax. 
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