Sentimental Mercenaries – Chapter 2: Leon

Sometimes an intro requires a little, or as in this case a lot, more time and space to be able to interprete a review properly, especially if it is a very special album like this one by Israeli band Sentimental Mercenaries. As can be read elsewhere on my website, I was musically shaped to a lesser extent by the big names from the 70s but more by the bands that were responsible for the resurrection of prog in the 80s, mostly called neoprog. Marillion with Script for a Jester's Tear was the absolute reason and all albums with Fish that followed are very dear to me. (but also after that the guys made beautiful albums where I started to find Fish solo less and less interesting) Of course there are more music lovers with the same experience and certainly also musicians and that's what it's all about now. Gil Elkan is apparently just as shaped and touched as I am and he is also an excellent drummer and lyricist who has already made an album with his band Sentimental Mercenaries, whose name comes from the lyrics of the song Fugazi from the album of the same name. Fellow bandmember Dor Levin is resposible for all the music on this album. The first album of this band completely passed me by and that's not surprising because it contains heavy, black metal and that's certainly not my thing. How special is it that the second album, Leon, is completely different. As a result of two advance singles that were advertised on Facebook with very nice covers in Mark Wilkinson style that could have been from Marillion albums I was made aware of the existence of this band. After listening to these tracks I was completely overwhelmed because it was so very well done. With singer Marco Vincini of the successful Italian Marillion cover band Mr. Punch, they also have a singer who clearly approaches Fish's style. He sings all songs except the last one, but I'll come back to that. It's as if Marillion had some songs left and certainly not the least. As Gil himself indicates, this album is a pure homage to the band he loves so much and we should see this album with purely original music as such. There will probably be people who think this is a kind of ripoff, but I don't belong to that group, not at all. The music on Leon is so beautiful that I am very happy with this excellent album. A real downside is the fact that the album is only available as a download or on streaming services, but for enthusiasts, like me, you can always make a CD(R) of this. But still a pity. I also regret the choice of the final cover that has nothing to do with those beautiful Wilkinson covers of the singles. But Gil has deliberately chosen this to show that it is an original album with its own identity. And while we're at it, the grunt-like vocals in the last, short, song were not necessary for me either, although it is another hint for what we will hear on the next album. So that is going to be heavy stuff again. This is the last criticism because in terms of music it is just beautiful, very recognizable and just rock-solid, period. The blood-curdling beautiful guitar solos of Yochai Moyal, and there are many, make Leon a feast for the enthusiast. Gil's excellent drumming is close to that of Ian Mosley, subtle when needed, powerful when asked.

The album contains seven tracks and because this album has to be judged as a whole I will not go through all the tracks separately but I want to give a total impression with some more specific information here and there.

The album title, Chapter 2 :Leon seems to suggest that we are dealing with a story in multiple parts but that is not the case, this album is a standalone epic. Without wanting to explain the lyrics too much, which I don't like because I think everyone should interpret them for themselves, it is clear that it deals with a wide array of human emotions and reactions to things like loss, loneliness and injustice. Vincini is perfectly capable of conveying this vocally and with his sharp, somewhat biting, vocals he sounds a lot like Fish but also shows his own identity. Especially in the quiet passages he has a somewhat warmer voice but everything is brought with passion, hey he's Italian, what else did you expect.

The length of the tracks varies from just under three minutes (The Knot) to the more than thirteen minutes of the title track in which all the stops are pulled out. It's as if you hear Mark Kelly's keys swaying and every guitar part and sound Rothery has to offer. Tracks like Lover's End, fairly quiet ballad with stunning guitar solo, Sentimental Mercenary, full bombast, and Freudian Creatures, more towards Garden Party, form the prelude to the two longest tracks, Fish's Corner and Leon. These are both very varied tracks with all the trimmings and the highlights of the album for me. It feels like in the 80s again but with a contemporary interpretation. As a Marillion lover, and especially the time with Fish, you can't possibly not like this and the discussion about originality is nonsensical and not important as far as I'm concerned. I am incredibly happy with this album and that is what it is all about for me, does the music on offer touch me and boy, this album sure does.

Despite the fact that it's only just January, I can't help but conclude that it's going to be very difficult to release an album in 2026 that will push Leon off the top spot of my annual list. It's a pity that it will probably be only one album, but for that one I'm very grateful to Gil, Dor and their fellow band members.

Music 94

Cover 62