An intriguing and enjoyable album.

Given that we had to wait twenty years for Darryl Way's last Rock album, 2014's 'Children Of The Cosmos', it's pleasing that the former Curved Air man should follow it up so quickly. 'Myths, Legends And Tales' is described as "a mixture of instrumental Symphonic Rock and songs"; and while the songs mix observations on modern life with stories and events that Way clearly finds significant, the inspiration for the album's instrumental pieces comes from Greek Mythology. "As a Rock violinist," he says, "I have always been searching for that elusive sound, turn of phrase and means of expression that would give the electric violin a legitimate voice in the idiom of Rock music. With this album, I feel that I have come closer than ever before to achieving this goal".

I have no doubt that at the very least he has succeeded in that endeavor, though whether he needed to in the wake of Fairport Convention's 'Liege And Lief', Bob Dylan's 'Desire', John Cougar Mellencamp's 'The Lonesome Jubilee' or Gorky Zygotic Mynci's 'Barafundle' (to list a few examples) is debatable. Similarly, Way's insistence that he is flying the flag for the "neglected genre" of Progressive Rock seems blissfully ignorant of its recent revival, and the breadth of application that the term currently enjoys.

Taken on its merits, 'Myths, Legends and Tales' is an interesting and varied listen. It's certainly full of surprises – from the burning abrasiveness of opener 'Apollo (Racing Against The Sun)' through the part Indie/part Radio Rock feel of 'Whatever Happened', to the rowdy, almost Honky-Tonk Blues of 'Dove Of Peace'. Elsewhere, 'Crusader' builds impressively; its melody augmented by marching drums and atmospheric keys, while the upbeat, almost danceable rhythms, occasional lounge feel and quirky violin fills of 'Helter Skelter' also score big with me. Pick of the crop though are the instrumentals 'Orpheus And The Underworld' and 'Prometheus Chained'; both of which are fine examples of evocative musical story telling. To be sure, not everything here is as striking; 'The Ice Man' and 'Strange Goings On', for example, are relatively bland affairs, and the vocals are often no more than adequate.

Darryl Way's violin playing is, as always, exemplary, elegant and tasteful; and it's great to see an old hand so creatively inspired. He has gifted us an intriguing and enjoyable album – but one that's a bit hit and myth(!).

Michael Anthony