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If you loved him for his insane prog‐rock onslaughts with Emerson, Lake & Palmer and The Nice, take note: this is different. With über‐ conductor Terje Mikkelson and guitarist Marc Bonilla, Keith hasn’t just rehashed ELP and solo tracks with an orchestra (alongside new work), he’s immersed them in contemporary classicism.

Psychedelic, raw pieces have become compelling ‘modern classics’, encompassing aspects from across his career, including his film score work. Considering his long‐standing appreciation of classical elements, Three Fates stands clearly as the record Emerson always wanted to make.

Propelled by his classical/jazz/prog‐fusion keys, and the rousing Satriani‐esque tone in Bonilla’s playing, it’s a polished, full‐scale approach, and it’s particularly effective on Tarkus, realised in awesome progressive‐classical form.

Some of the manic unpredictability that made ELP so electric is arguably missing, but altogether it’s a stirring flourish of prog‐rock sensibilities and symphonic inspiration.

Polly is deputy editor at Classic Rock magazine, where she writes and commissions regular pieces and longer reads (including new band coverage), and has interviewed rock's biggest and newest names. She also contributes to Louder, Prog and Metal Hammer and talks about songs on the 20 Minute Club podcast. Elsewhere she's had work published in The Musician, delicious. magazine and others, and written biographies for various album campaigns. In a previous life as a women's magazine junior she interviewed Tracey Emin and Lily James – and wangled Rival Sons into the arts pages. In her spare time she writes fiction and cooks.