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David R Dunsmore
MusicWeb International, June 2020

As with Six the orchestra is dexterous and navigates the dense textures with clarity. The conductor Nick Ingman does a fine job and the orchestra and performers are fully committed. The recording, which I heard in Ultra HD is spectacular and whilst not in Surround, certainly engulfs the listener.

Not all music needs to be an emotional tussle and it’s good to hear the work of a musician that I’ve always respected performed so well. © 2020 MusicWeb International Read complete review

Elliot Fisch
American Record Guide, May 2020

The main abstract themes are smoothed out by excellent orchestrations and are played in full at the end.

Banks uses the orchestra and choir to make a somewhat religious sounding movement with the choir commenting on the orchestral themes… Like the rest of the album the music soars, it’s never boring, and it is sometimes very creative.

… The music is good, the orchestrations inventive, and the ideas are interesting. You might like his abstract style. © 2020 American Record Guide Read complete review on American Record Guide

Kevin Filipski
The Flip Side, January 2020

Genesis keyboardist Tony Banks—whose synthesizer sounds were one of the reasons why the band was a progressive-rock supergroup for decades, even when Phil Collins’ pop sensibilities took over for the band’s final years—tries his hand at symphonic music with these five works. © 2020 The Flip Side Read complete review

David Denton
David's Review Corner, December 2019

Known throughout the world as a founder member of the progressive rock band, Genesis, Tony Banks has turned in recent times to the world of formal composition.

For his fifth orchestral score, commissioned for the 2014 Cheltenham Festival, he has composed a suite of five descriptive pieces, the whole score given the name ‘5’. Much of the stylistic influences come from his work in the field of film soundtracks dating back to the 1970’s—Banks becoming a septuagenarian this coming year—the opening Prelude to a Million Years straight from a Hollywood epic with large-scale gestures as we ride into the wide expanses of Arizona, or some such place. Recording Banks’ music is akin to a jigsaw with parts recorded at various times and in different places, including Banks’s home, these diverse recordings then brought together in a mixing studio. You would not guess this as it emerges in a seamless flow that includes the solo cornet of John Barclay in the second and fourth pictures—Reveille and Autumn Sonata—the piano of Banks playing an important role throughout, particularly so in the Sonata. The wordless Czech choir take ‘centre stage’ in the final Renaissance. In his programme notes Banks pays tribute to Nick Ingman who has clothed his piano short score in a resplendent orchestration, then goes into the studio to conduct a very compliant Czech orchestra. If you enjoy wide-screen film music then you will most certainly want this disc, which is sumptuous in sound and extended in dynamic impact. © 2019 David’s Review Corner

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