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Robeone Dream Suite Review by Gary Hill This is the second set from Robeone I've reviewed. As was the case with the first one, this is all instrumental, and all keyboard based (although there are things that don't sound like keys). It's all the work of Robert Evan Schindler. This is highly recommended for those who like keyboard music. It calls to mind various things ranging from the music of Keith Emerson to Rick Wakeman and even Deep Purple at times. It's all effective. I think I might actually like this one better than its predecessor. This review is available in book (paperback and hardcover) form in Music Street Journal: 2023 Volume 1. More information and purchase links can be found at: garyhillauthor.com/Music-Street-Journal-2023.

Track by Track Review

Hollow The multiple layers of synthesizer on this are at once symphonic and driving, fun and rocking. I'm reminded to a large degree of Keith Emerson.

All That Razz There is a real jazzy vibe as this cut gets underway. As this evolves and works out into more of a groove oriented piece, it moves into some decidedly fusion like zones. There are some killer bits of jamming here.

Levels More of a Synergy like exploration is on the menu here. This is powerful, rather melodic and another face of the sound of this project.

M Is for Moog This come in feeling a bit like video game music. It moves out from there with a real sense of style and purpose.

Jazzmorphis With a fairly standard exploration at first, this works out to a killer jazzy jam that has some definite Rick Wakeman and Keith Emerson elements at play. There is some cool piano sound here along with some driving drumming. It turns to mellower modes for the closing section.

Dream Suite At over twenty minutes long, this is the epic of the set. A gong sound can be heard as it gets underway. It builds outward gradually from there. It eventually makes its way to a driving synthesizer groove that is very cool. There is some synth soloing later that almost feels like guitar. That all peaks around the four-and-a-half mark and it feels like the track ends. Then Deep Purple like keyboard jamming rises up from there. The track moves to mellower symphonic zones from there. It works back up to some driving, powerhouse jamming as it continues. This gets into some decidedly ELP-like zones at times. More symphonic synthesizer takes over before another false ending hits around the 14-minute mark. That gives to a mellower movement that has a real Wakeman like sound to it. A flute wanders over the top of the track as it continues and piano creates some magic. Drums come in and the track moves toward more of a pure fusion zone as it continues. This moves through a decent amount of territory along the road as it explores the sonic territory. More standard fusion synth music eventually ends it.

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