Progradar’s Best of 2024!

2024, well the second half, has been a tough year for me and I took my eye off the reviewing ball from August onwards due to changes in my life. It doesn’t mean that I haven’t been listening to amazing music though!

As my friend John Wenlock-Smith has already said, 2024 was an amazing year for music, progressive rock in particular, and here are the highlights for me. They are not in any order, just the albums that I have enjoyed listening to!

2025 will see me attempt to revive my reviewing mojo and it may mean a change of format so watch this space! In the meantime, enjoy my selection of some gems from last year…

Emerald City Council – ‘Motion Carries’

Emerald City Council have entered the progressive rock scene with a massive bang. ‘Motion Carries’ is a superb album, utterly immersive and uplifting with incredible musicianship, soaring melodies and a real sense of fun. This is music that touches the mind and lifts the soul and I haven’t stopped smiling yet. Trust me, you need this album in your life!

Albion – ‘Lakesongs of Elbid’

With ‘Lakesongs Of Elbid’, Albion have created an immersive, almost hypnotic collection of songs that is like listening to the stories of old, sung by travelling bards as they travelled the lands. Allow yourself to be drawn into its embrace and you will enjoy seventy minutes of wonder and music that will not only take your breath away but your heart and mind too…

Big Big Train – ‘The Likes Of Us’

What an emotional rollercoaster, I have spent the last four weeks listening to ‘The Likes Of Us’ at every opportunity. In the best tradition of Big Big Train albums of the past, it is not merely a collection of songs, it is a musical masterpiece that becomes part of your life and, for me, that means this album stands tall with the likes of ‘The Underfall Yard’ and English Electric’ 1 & 2. I know it is early in the year but it is going to take something incredibly special to topple this off the top of album of the year list and, for a long time fan of the band, that fills me with joy and makes me very happy indeed!

Cosmograf – ‘Live At The 1865 (Official Bootleg)’

A new Cosmograf studio album is on the way but, ever one to give back to his audience, Robin has sated the craving for new music by releasing what I am sure will become a seminal live album in the progressive rock scene. Close your eyes and you could almost be there, basking in the glorious music and that is what makes ‘Live At The 1865’ an essential purchase.

Jo Beth Young – ‘Broken Spells’

After four years Jo Beth Young has returned with an immaculately created and conceived album of pure wonder and musical genius. A piece of music of, and for, the ages and possibly the best album that Kate Bush never released.

HFMC – ‘Eternal Snapshots’

Music is written to connect with people, to move you on an emotional, spiritual and intellectual level. If it is done right then it leaves you in a much better place than when you listened to the first note and, with ‘Eternal Snapshots’, Hasse Fröberg & Musical Companion have delivered one of the most superlative musical events of the year so far.

Blue Rose Code – ‘Bright Circumstance’

Music can reflect life and accompany us on our very personal journeys and we should be honoured that Ross Wilson has invited us to join him on his own poignant and introspective pilgrimage through his faith. What he has given us is one of the most intense and intimate records released this year, with faith and devotion as its central themes. ‘Bright Circumstance’ is an utterly captivating triumph and should propel Blue Rose Code onto further and better things, it really doesn’t get any better than this.

Amarok – ‘Hope’

An utterly stunning collection of songs that bears Amarok’s impressive hallmarks throughout, ‘Hope’ is one of those albums that hits you at a base level in a totally emotive way. It is music for the mind and the soul and in a world collapsing around our very feet, we all need some of that, don’t we?

Age Of Distraction – ‘A Game Of Whispers’

2024 has already been a bumper year for superb releases and Age of Distraction have just added another fine album to the mix. ‘A Game Of Whispers’ is a collection of mighty fine songs that define the contemporary progressive rock and melodic metal genre and is a dramatic and profound listen from beginning to end. My recommendation is you just go out and buy it!

The Tangent For One – ‘To Follow Polaris’

‘To Follow Polaris’ is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five. However, taken in isolation, what you have is a wonderfully inventive and amazingly performed collection of songs that stay true to the core of Andy and the band’s beliefs. Witty and acerbic throughout but with some moments of pure musical bliss, it is yet another highlight in this storied musician’s stellar career.

Nordic Giants – ‘Origins’

‘Origins’ is a wondrous journey through all that is great about Nordic Giants. A collection of songs that have been fine tuned from the original to deliver an almost spiritual and addictive listening experience and one that will not just appeal to long term fans of this utterly compelling band but also to those lucky enough to be discovering them for the very first time.

Gallowstreet – ‘A Trip Worth making’

With ‘A Trip Worth Making’, Gallowstreet have leaped straight into my musical affections,. It is such an infectious, upbeat and addictive experience that you forget just how technically impressive these musicians are because you are just enjoying the joyful brilliance that they bring to each of these compositions, the energy just free flowing and imbuing in you a fabulous joie de vivre.

Nine Stones Close – ‘Diurnal’

‘Diurnal’ has to be one of the most imposing and impressive releases I’ve heard this year. Nine Stones Close have returned with a new line-up and firing on all cylinders and have created what, to me, is their finest album yet. A wonderfully direct, dynamic and energetic listen from beginning to end and one that will be on many best of the year lists come December 2024, I highly recommend it.

Airbag – ‘The Century Of The Self’

‘Century of the Self’ is a mesmerising and involving odyssey that elevates you to a musical nirvana that not many artists can create. Airbag are one of those bands that just seem to get better with age and this new release just might be their best album yet, and that’s saying something!

Returned To The Earth – ‘Stalagmite Steeple’

Robin Peachey and Returned To The Earth may not be well known to most people out there but, with the utterly magnificent, transcendental brilliance of ‘Stalagmite Steeple’ they deserve to be up there in the higher pantheon of progressive rock. You will not hear many better albums of any genre this year and I implore you to seek it out and add it to your own music collection, you will never ever regret doing so!

Orion – ‘The Lightbringers’

The best music can take you on a wondrous, fantastical journey where, for a short while, you can forget about the trials and tribulations of this planet that we inhabit and with his latest superb Orion album, ‘The Lightbringers’, Ben Jones does just that. It is a highlight of another fantastic musical year and one that I feel will be on many people’s end of year lists and it deserves to be.

Long Earth – ‘An Ordinary Life’

All great albums are the product of an intensive creative process and, in ‘An Ordinary Life’, Long Earth have given us the highly impressive fruits of their artistic labours. A wonderfully immersive musical journey that will have you coming back for more, it is a highlight of what is becoming an extraordinarily outstanding year for new music.

Meer – ‘Wheels Within Wheels’

I have to say that repeated listens to this album have allowed me to appreciate it more fully and I can certainly appreciate the crafting that has gone into making the album sound as good as it does here. ‘Wheels Within Wheels’ is a most worthy album and one that will hopefully win Meer many new fans.

Frost* – ‘Life In The Wires’

I’ll let my good friend Kevin Thompson, who reviewed the album for Progradar, give his conclusion as I couldn’t agree more!

“Milliontown is one of the most successful prog rock albums of the last 20 years and rightly held in high regard, lauded by fans and critics alike. Life In The Wires may not surpass it but damn! it runs it close. One of the best concept albums I’ve heard for sometime and one of the best albums of the year so far.”

Nick Fletcher – ‘A Longing For Home’

Not just one of the best instrumental albums of 2024 but on of THE best albums full stop! With his classical music background and undoubted skill on the electric guitar, Nick Fletcher has to be one the greatest living guitarists, he’s also a fellow Yorkshireman so what more could you ask for! Joking apart, Nick is one of the finest musicians this country has produced in recent years so do yourselves a favour and check this album out!

John Greenwood – ‘The Boy’

John describes this album as, “A vicariously autobiographical concept album describing the life, ambition, sacrifices and ultimate regret of the eponymous Boy. The album is a single piece, with 6 parts punctuated by narrated snippets of the story by actor, Mark Addy.”

To me, it is just stunning, a beautiful piece of work and even better than John’s previous release, ‘Dark Blue’ in my opinion. It’s more of a story than just a musical concept which makes it utterly engrossing, touching, sentimental and one of the best albums of the year.

So, there you have it, 2024 in twenty-one albums. There are lost more wonderful releases out there and I will have missed some but, within this selection, you have some of the best music you could ever wish to here.

Look out 2025, I am coming for you refreshed and ready to review!

John Wenlock-Smith’s review of the 2024 musical year

2024 has been quite a year hasn’t it really? From the vagaries of politics and re-emergence of Donald Trump to again become US President again, the implosion of the Tory party and the triumphant Labour landslide, to the downfall of Assad in Syria, it has all been quite eventful, all in all.

Thankfully, musically it has been a good year, especially for the likes of Taylor Swift, whose ‘Era’ tour was a huge success, the reunion dates for Oasis were another success, especially for it’s promoters, if less so for their fans who struggled to get any reasonably priced tickets. Prog thankfully doesn’t suffer in the same way and great music shows could be easily found for very reasonable prices, except maybe David Gilmour tickets, but Steve Hackett and Big Big Train shows were far more fairly priced, as their sell out statuses clearly showed.

The year has some truly fine and many very worthwhile releases and here is what really hit it off for me. As with previous years, I have a vocal winner and an instrumental winner of the year and you’ll understand why as I reveal them to you all.

There’s also a note about why each was selected as being so very good, invariably i’ll miss something that I should have included, such is often the case as its not always easy to recall timings and release dates etc., There are no live albums or ‘best of’ though, even though several of each were very good releases.

Here we go then..

20. Wedingoth – ‘Five stars (A) live’

A somewhat interesting mix of heavy metal with distinct Pink Floyd overtones, all recorded live and portraying their 2023 five star album.

19. PsychoYogi – ‘Astro Therapy Brain repair’

The 2024 quirky release from Chris Ramsing and band with more King Crimson styled jazz musings.

18. Nataraja – ‘Spirit At Play’

A one off project from Jack Jennings with Andy Edwards and John Jowitt of Frost/IQ mixing Indian classical music with synthesisers and fiery guitar a la John McLaughlin and Jimi Hendrix. A very intense listen but wonderfully conceived and delivered.

17. Infringement – ‘Black Science and White Lies’

More musings on the state of the world from the Norwegian stalwarts, full of dynamic music and strong observational lyrics.

16. Storm Deva – ‘Storm Deva’

Technically released at the back end of 2023 but gained popularity this year. Wonderful orchestral type music with fabulous vocalist/keyboardist Carollyn Eden along with sublime guitar work from Stuart Clark, some beautifully symphonic music and melodies.

15. Rick Wakeman – ‘Yessonata’

A totally solo piano album from the ex-Yes keyboard man which distils over thirty melodies from the prime era of Yes music. Have fun spotting the various melodies employed herein and, as a bonus, there is an instrumental synopsis of Rick’s ‘King Arthur’ piano suite.

14. Catalyst*R – ‘Pace Of Change’

A second album of impressive prog and electronic music from the ex Winter Machine men, check out the utterly epic Pendle Hill 1612.

13. Orion – ‘The Light Bringers’

The superb second full release from musical prodigy Ben Jones with lots of Rush overtones, especially with the spectacular artwork from Hugh Syme .

12. Kite Parade – ‘Disparity’

An album that highlights the challenges of this modern world most eloquently, there is some truly some great music on offer here.

11. The Windmill – ‘Mindscapes’

Latest release from the Norwegian retro-proggers. Just four tracks but such great tracks they are! One wonderfully long epic and the the other three being shorter, but no less impressive, pieces.

10. Age of Distraction – ‘A Game Of Whispers’

This offshoot group saw some of progressive music’s current stars (ex-This Winter Machine member John Cook, Ghost Of The Machine‘s Charlie Bramald and Mark Gatland of Hats Off Gentleman It’s Adequate to name three) band together in a new ad-hoc Project which married their progressive tendencies coupl with a harder edged sound to a fantastic impact. A second album is due in 2025 and possibly some live shows too!

9. Oddleaf – ‘Where Ideal And Denial Collide’

Surprisingly endearing and engrossing 70’s influenced Prog from new French outfit featuring the lovely Carina Taurer and colleagues.

8. Brendan Perkins – ‘Favourite Places’

A fantastic album that would most probably be of interest to Big Big Train ‘Passengers’ as the music is very expansive with very Pastoral overtones at various points. A most engrossing listen.

7. Nick Magnus – ‘A Strange Inheritance’

An excellent nautically themed collection of songs. This one really resonated with me and I really love Nick’s compositions on this album.

6. John Holden – ‘Proximity and Chance’

Another excellent release from the Cheshire based multi instrumentalist who, again, has enlisted some A-list players to support his epic pieces. This was, for several months, my album of the year but was then overshadowed by the following releases.

5. Kyros – ‘Mannequin’

Another top notch release and a fantastic fusion of 80’s style synth-pop and progressive music. An exquisitely produced and delivered album of sheer class.

4. Stuckfish – ‘IV’

This is a major step up from this north-east quintet and is full of great songs, some of which are crying out for more live performances. Sheer class and fine quality to boot.

3. Ruby Dawn – ‘Blood On Water’

The superb second release from Carola Baer and colleagues, who have crafted an album that is partly based on Romeo and Juliet but also contemplates life and all it’s seasons and challenges.

2. Forgotten Gods – ‘Memories’

This album came from nowhere but such is its emotional depth and rawness, along with its honesty and strong lyrics, it really makes a deep and lasting impression.

1st equal…

Instrumental album – Nick Fletcher – ‘A Longing For Home’

A further ten slices of Nick’s incredibly imaginative and polished musical musings with a truly impressive European based set of musicians. An album full of powerful themes and melodies along with jaw dropping skill and improvisation.

Vocal Album – John Wilkinson – ‘Imposter Syndrome’

Highly impressive solo album from The Swan Chorus and Ellesmere vocalist in which, over eight strong tracks, John sings of how he feels a fraud as a singer but goes on to prove that he is no fraud or imposter, rather he is a genuinely talented writer and performer. This album is a remarkable achievement and is a thing of beauty, crowned by John’s warm and evocative vocals.

It has been a vintage year for releases, you’ll notice that I’ve shied away from major label albums, despite there been several great ones but it us these 20 Albums have impacted me the most through 2024.

Interview With Bill Bruford – John Wenlock-Smith

John talks to legendary prog musician Bill Bruford about his days playing with progressive royalty such as Yes, King Crimson and Genesis and much much more:

John Wenlock-Smith: Over your long and illustrious career you have worked with many of progressive rock’s major artists. Which made the biggest impression?

Bill Bruford: With Yes, at the beginning, I was bright-eyed, bushy tailed, arrogant, famously in love with my own abilities, and didn’t know that I didn’t know shit! It wasn’t until I met Jamie Muir in King Crimson in 1972 that I began with music toddler-steps, when Jamie explained to me, none too patiently, that the music didn’t exist to serve me, I existed to serve the music. Who knew?! By the time I’d been through the Crimson mill for a couple of years, I’d learned to calm down a bit, and even not play if the music didn’t call for it. With Genesis I was a sideman from whom fresh ideas or input was not required, so that was easy.  In UK, guitarist Allan Holdsworth had been my suggestion. Brilliant and sensitive as he was, he occupied much of my time just trying to cheer him up and keep him in the band. So I learned from all of these situations. They all made an impression. But I don’t really do superlatives. Life’s too subtle.

JWS: You have played with many excellent bass players.  Who was the best, in your view?

BB: There are many musicians of varying capacity making many choices every day. Some come into your orbit for no reason you can think of, and make a good fit, some less so. All musicians have strengths and weaknesses; some more obvious than others.

As an all rounder who can play anything, from classical to metal, Tony Levin takes some beating. He also has a magical way of making you feel he’s making it up on the spot, as much for his pleasure as yours, even though he may have played it a thousand times before. We share a sense of humour. An interviewer once asked him: “What’s the difference between playing with Bill Bruford and Steve Gadd?” Without a pause, came the answer: “One of them shows up on time”.

JWS: Allan Holdsworth was part of both the original U.K. and the Bruford line ups. How was your relationship with him? Was it a positive one?

BB: Allan was a brilliant musician in many ways, but as a person, he was mercurial, changeable and with low self-esteem. He needed a lot of managing, and it wasn’t always possible to make him happy with the group’s performance or his own performance within it, for that matter. But I’ll go to the ends of the earth for someone who could play that blinding solo on ‘In the Dead of Night’.

JWS: Sadly that version of UK only made one album, were there any other recordings that could be released any live shows ? The original UK could do with an expanded version being issued.

BB: Forgive me, but you’ll know more about this than I. My understanding is that Eddie Jobson now appears to control all rights to the original UK album and has issued as many versions of it as possible, doubtless full of outtakes and alternative versions and the like. He sent me a copy of the ‘Ultimate Collectors Edition’ but I haven’t listened to it.

JWS: You made several albums with Patrick Moraz. What recollections do you have of that period, which saw a change in your playing approach?

BB: In a duo, you have a lot of room to manoeuvre of course, but also a lot of responsibility. The drums have the ability to shape the form of an improvised piece as it’s emerging. For example, on Music for Piano and Drums, the tracks ‘Any Suggestions?’, ‘Living Space’ and ‘Hazy’ are completely improvised. On our second album, Flags, the tracks ‘Split Seconds’ and ‘A Way with Words’ are also improvised. The music may sound as if it’s written, and some of the written music may sound improvised, but that’s our business, not for you to worry about. Some people get nervous if the music just appears, without the benefit (or hindrance) of weeks spent in a rehearsal room. They accord it less value.

JWS: Your latest release (‘The Best Of Bill Bruford – The Winterfold & Summerfold Years’) revisits several eras of your career. How and why did you select the tracks for the set?

BB: Well, you’re looking for a balance of the things you do; a balance between styles, between improvisation or composition, between different eras, between electric and acoustic. The Summerfold and Winterfold labels have about 30 titles between them, so clearly I can only offer what I think is a fair representation of what I consider to be some of the better tracks. There’s music from my 70s band ‘Bruford’, from my duo with Patrick Moraz, from both electronic and acoustic editions of Earthworks over 20 years, and a return to duo music with my second improvising partner, the Dutch genius Michiel Borstlap in the noughties. It’s an excellent package for the newcomer who may have heard my name and would like to hear more.

JWS: You retired from performances for several years but I see that you are involved with a new outfit. What was it about this band especially that caused you to choose to return?

BB: It was a gradual process from complete burnout in 2009, when I couldn’t stand the sight of a drumkit, through 13 years or so in academia, to one day – very suddenly – sitting at some drums and feeling exhilarated all over: urgently and violently keen to start all over. I’d sold all my own drums, years earlier, so I had to go and find a new set and start a daily two-hour daily practice routine.

Then I formed a rehearsal band with Guildford guitarist Pete Roth. Pete had worked as my drum tech in Earthworks 20 years previously . I knew he was an accomplished guitarist, but I was astonished how far he’s come by the time we started working on the highly interactive, jazz-adjacent music and writing that we do today. One thing lead to another through 2023; a few gigs, but only in South-East England. We’re gigging all through 2025 principally in the UK, but also Japan and European clubs and Festivals. It’s a privilege to support and mentor a much younger player, and I get to play whatever I want on the tubs.

JWS: You obviously have a good and realistic approach to curating your own legacy of recordings. Are there plans for any further reissues or releases?

BB: “No plans”, as the politicians say. I’ve downgraded myself from professional musician to amateur. Instead of being a recording artist with an international career and all the hassle that goes with that, I’d rather be simply a performer. I have no wish to generate new music under my own name. I’ve been curated to within half an inch of my life.

JWS: I know you are not a part of the latest King Crimson project, BEAT, but have had any involvement in their construction as they cover the second phase of your King Crimson activities.

BB: I’m in touch with Danny and have let it be known that I’m available should he want any advice, but he has the gig under control. Interestingly, Danny was a keen customer acquiring a ton of Bruford percussion at a huge international yard sale I held. Now you can hear some of my instruments on the current BEAT tour. I was asked to do it, but I declined. I’m no longer interested in large-room repetitive rock composed 40 years ago, when I can have small-room, close-up-and-dirty interactive music, invented today, and still see my grandchildren. I’m low-maintenance and free as a bird.

JWS: What recollections do you have from you days in Genesis?

BB: Genesis was the quintessentially family-minded band. In 1976, we were mostly childless young marrieds, and wives or girlfriends were encouraged on the road. Genesis treated touring as an extension of a trip to Harrods. All necessary requirements were laid on, the partners behaved themselves and didn’t interfere unduly.

They were exceptionally considerate to employees, from the high-status sideman such as myself or, later on, drummer Chester Thompson and guitarist Darryl Stuermer, down to the lowly third drum roadie from the left. Even girlfriends of sidemen were welcomed into the bosom of this extended family, an unheard-of generosity.

Easy, I hear you say, when you’re a loaded and successful rock band like Genesis with private planes and plenty of manpower to help. But this warmly accommodating, family-friendly attitude had existed from the beginning in that particular band – it was just built into the fabric. King Crimson was bleak, spartan, and unwelcoming to outsiders; Genesis was generous and gently accommodating. I loved playing in King Crimson because I had an emotional and intellectual connection to the music we originated. As a sideman in Genesis, I was only called upon to play some one else’s drum parts, so I was easily bored, and didn’t behave well. I’ve been apologising to them for this ever since!

JWS: Do you have any contact with you old bandmates at all?

BB: Steve Howe, Tony Banks, Tony Levin and Iain Ballamy are accessible and we see each other regularly but not often. I can pick up the phone to all my old colleagues and get a warm reception, which I think speaks to a degree of compassion for the man, not just the musician.

Pete Roth Trio tour: Dates and Tickets: https://www.peterothband.co.uk/

Bill Bruford YouTube Channel https://www.youtube.com/@BillBruford

Bill Bruford website www.billbruford.com

Review – John Wilkinson – Imposter Syndrome – by John Wenlock-Smith

John Wilkinson is the singer in the Genesis tribute group Mama that celebrates the Phil Collins era of that particular band and John has a voice very similar to Phil, as any who have seen Mama can attest. John is also the singer for Liverpool based The Swan Chorus and their last album ‘Achilles and the Difference Engine’ was my favourite vocal album of 2023. Whilst work on the next Swan Chorus album continues, John has found time, with assistance from fellow Swan Chorus member Colin McKay, to craft an album full of great songs and music that allows the majestic voice that John possesses free reign to weave his own magic.

‘Imposter Syndrome’ is a great album and I was fortunate enough to be given an exclusive preview of an unmixed version of the track Stranded many months ago so I was delighted to acquire the full album in due course. It is a collection of songs that I heartily recommend as it is very memorable and bears repeated listens. In addition, the cover art is excellent with an almost winteresque style. The album contains eight tracks and a bonus acoustic version of Ghost Dancers. So let’s dive in and see what it’s all about, shall we?

T3he album opens with Pulling Threads which wouldn’t have sounded out of place on that wonderful Swan Chorus album, such is it’s strength and catchy chorus. The track is hinged on a strong keyboard motif and guitar line from Colin McKay. Ghost Dancers is a stately track with another fabulously memorable chorus that unaware or misinformed folks would easily mistake for Phil Collins himself, it is astonishingly good, excellent stuff indeed. The flute style keyboards in the mid section are also superb, as is the fluent guitar solo, making it another very good song indeed. On King Of Yesterday the Collins influence is undeniable and, if Mr Collins  had done this song, it would have been on radio worldwide. It is another very catchy track with an earworm chorus. This is followed by a truly heart-warming song called I’ll be There, which would be a great song for a wedding or for anyone who needs a little support, as it is all about being there in times of need or difficulties. This is a very warm and positive track and I really like it’s sentiments. I know John means every word of the song as he has a family situation that requires his constant support. It is a humble tender song with great words, I like it a lot.

The Sci-fi inspired track Exodus deals with how we are destroying our world and the need to escape and make a fresh start elsewhere, acting as a wake up call to rectify things whilst we still have chance. It has another upbeat keyboard part and strong guitar melodies at play, this is also the longest track of the album with great keyboard parts. There is a lot going on lyrically and the song has suitably strong vocally,  the mid section is good too with its chiming keyboards and descending sounds. You can definitely get the The Swan Chorus style that this track offers, it is another very strong piece of music indeed. The Big Conspiracy has a strong beat and some powerful drum patterns. It is a song is about conspiracy theories and their prevalence today and how some people believe all sorts of lies and half truths that are offered these days. Title track Imposter Syndrome deals with John’s feelings of self worth and how he feels a fraud at what he does. It’s a pity as he certainly is no imposter to these ears! Okay, he sings in a tribute band but his own unique work with The Swan Chorus and Ellsmere surely bear testimony to talent, they certainly do to me anyway. The album concludes with Stranded, a song with a strong nautical feel in both the sounds and it’s lyrics. This wouldn’t have been out of place on Nick Magnus’ ‘Strange Inheritance’ album from earlier this year, it’s an excellent story telling song, an epic track with strong melodies and instrumentation. I really like this song as its one I heard many months ago and it still impresses now.

Not only will ‘Imposter Syndrome’ appeal to fans of The Swan Chorus but also to anyone who likes great songwriting with fantastic melodies and fine vocals, it is a very strong album of great songs and performances by John and Colin.

Released 2nd October, 2024.

Order from bandcamp here:

https://johnwilkinson1.bandcamp.com/album/imposter-syndrome

Review – Forgotten Gods – Memories – by John Wenlock-Smith

Well this one came completely out of the left field, as it were, proving itself to be a most worthwhile release. What a treasure it is too, a remarkably assured and intelligently written album of insightful songs that hold great meaning too. ‘Memories’ is, above all, an emotionally laden release that has significant memories for vocalist Mark Cunningham as these songs unveil their tales. It really is a very warm album when you consider the trauma Mark has experienced in his lifetime, making it not bitter but full of fondness and love even.

The album begins with Alive which is pretty much a testament to Neal Peart of Rush with whom Mark feels a connection through their shared love of motorcycles and the open road. This track is a commentary on a trip Mark made to Italy through Switzerland and the alpine pass at Monte San Giorgio that leads over the mountains on into Milan, Italy.  According to the pictures I found on the Internet, it looks to be a very beautiful area and a challenging Ride, albeit one with impressive scenery and views. You can feel the acceleration and the wind in your hair almost as you hurtle along, it’s a great opening track. The epic The Pillars of Petra concerns itself with the actions of certain world leaders after World War Two where they divided up the Ottoman empire and in so doing created the state of Israel, misplaced Palestine completely and set in motion an effect that continues to this day of a middle east crisis. Unsurprisingly, all in the search for profits for their own nations and desires. The song has some wonderful Arabesque sounds in its backing, Mark showing strong sympathy with the people of Palestine and their ongoing struggles for recognition and right to a homeland. This is a very impressive track indeed and has a lot going on both vocally and in the assured music that it being played by Mark’s fellow band members. Keyboard player and producer Dave Boland, guitarist Steve Harris, bass player Michael Kentish and drummer David Hallett all deserve special mention for the magic their individual contributions add to the whole album and the overall positive impact of this fine release.

It has some gorgeous piano lines and some very sympathetic free flowing basslines in support. The subtle drums and percussion accompany this mood beautifully and it is a joy to hear such fabulously imaginative music as this which helps escalate this album greatly into a thing of real beauty. I think it is fair to say that this is a pretty outstanding track all told however, the best is yet to come with an extended instrumental section preceded by a news bulletin that is an exercise in propaganda to justify the actions. The music takes on both an urgency along with a harder tone and the return of an earlier guitar motif from Steve Harris that really delights the ears before it becomes more stately in tone. It is a simply mesmerising track, truly excellent and an epic in every sense of the word.

Everybody’s Hero is Mark’s tribute to his Neal Peart who died of brain cancer aged 67. Peart was a big influence on Mark and, after his death, Mark established the annual festival Prog For Peart which donates its proceeds to charity in remembering Neal Peart. The song celebrates Neal’s life and successes and also comments on how he overcame his own personal tragedies (Neal’s wife and twenty three year old daughter died within 6 months of each other). Neal semi retired to rebuild his life and went travelling extensively by motorcycle through Canada and North and South America in the process,  where he found his peace and got remarried again before returning to make further music with Rush. It is a very heartfelt song and one that expresses his admiration without being cloying in any way, it even uses some Rush type sounds in the guitar and bass motifs. Vigil is a glorious and heartfelt tribute to Mark’s mother who died whilst he was a teenager and he has a storehouse of great memories of her and her kindness and consideration to others, especially the downtrodden and neglected in society. Such was her impact on Mark’s young life that he became a youth and social worker in the north east for a while which inspired the song Alone. But back to Vigil which opens with Peter Jones playing the whistle incorporating an improvisation of Amazing Grace, which adds to the beauty of the track immensely as does the opening guitar motif leading into a very emotional vocal from Mark as he watches his mother die while knowing that her presence remains within his heart and her impact on his life is clear. This song is not morbid, it is more a celebration of who she was to him and is full of deep love and sentiments. Mark himself admits that he lost himself for a few years before coming to his senses again. Grief will do that to you if you let it, thankfully Mark came back a different man and a better man at that.

Alone is, as briefly mentioned, about an experience Mark had as a youth worker where he encountered a teenage girl who felt that at 16 years of age, she had little future ahead of her and so opted for a life of lesser choices even to the stage of contemplating becoming pregnant as a means of escape from home to her own council property. The song is very sad in the sense of opportunities lost and unspent chances. Rose & Pink is the album’s final track and opens with a chugging Hammond organ and strong guitar flourishes from Steve. This is a very upbeat and positive song with a uptempo backbeat, not quite disco but definitely in Scissor Sisters territory!

So there you have it, ‘Memories’ is fifty five minutes of unexpected brilliance from Mark Cunningham and his highly impressive fellow musicians in Forgotten Gods and a debut album that stands proudly amongst this year’s finest releases. It is truly fabulous, you really need to hear this fantastic album soon!

Released 7th October, 2024.

Order the CD direct from the band here:

https://www.forgottengods.co.uk/store/p5/Memories_CD.html#

CIRCU5 announce new studio album: Clockwork Tulpa

UK prog rockers, CIRCU5, have announced that their second album, Clockwork Tulpa, will be released on March 7, 2025.

The album is now available to pre-order at https://www.circu5.com/. Pre-order supporters gain access to bonuses, including posters, early-access downloads and ‘The Vault’: a boxed flash-drive collection featuring behind-the-scenes demos, lyrics and concepts from the album’s creation.

Clockwork Tulpa is CIRCU5’s first album release as a full band, with Tin Spirits frontman Mark Kilminster and drummer Lee Moulding joining founder Steve Tilling. “With Mark and Lee in the band, CIRCU5 can now establish its own unique identity,” says Steve. “I’m excited about where we can take the band next.”

The 10-track album comes nearly eight years after CIRCU5’s eponymous 2017 debut. The extended gap was due to Steve contracting Long Covid and committing to projects with ex-members of UK rock band, XTC. “The songs reflect life’s ups and downs during that time. But I learned a valuable lesson: don’t be swayed by the plans of others. Stay true to yourself and your goals.”

Clockwork Tulpa continues the story of ‘Grady’: a troubled character moulded from birth by the mysterious CIRCU5 organisation. “It’s not just storytelling,” says Steve. “It’s a reflection on how people navigate the trauma of tough childhoods without falling prey to isolating belief systems. But ultimately, it’s about making the best songs we can.”

Ahead of Clockwork Tulpa’s release, CIRCU5 have made two album tracks – Freakshow Train and Skin Machine – available on streaming services. To pre-order Clockwork Tulpa, visit https://www.circu5.com/

Clockwork Tulpa tracklist

1. Make No Sound

2. Sing Now

3. Freakshow Train

4. Skin Machine

5. Infinite Lucid Geometric Fever Dream

6. Clockwork Tulpa

7. Violet

8. Change the Weather

9. Don’t Spare Me

10. Scars

Watch the video for Freakshow Train here:

Review – Neal Morse & The Resonance – No Hill For A Climber – by John Wenlock-Smith

Neal Morse is something of a workaholic it would seem, A man with fingers in many pies as it were. Alternatively he could be called a man who dabbles in many interests, ‘No Hill For A Climber’ is definitely a little different, let me clarify that a little for you.

Neal has had to overhaul his band with the return of Mike Portnoy to Dream Theater in 2023, which effectively ended their long association through Transatlantic, Flying Colors and The Neal Morse Band. Neal decided to totally review his band and has chosen to work with a more local set of musicians, all of whom Neal knew through his own activities in the Nashville area. Many of them were with his church, City On A Hill, and his Morsefest shows but, whilst the members may have changed, the themes remain. Maybe not quite the same but still prevalent, if not so much to the forefront. This is possibly a good decision as his music’s often overt Christian message can be an obstacle to some folks. Personally it’s not a problem for me, however I’m fully aware that other folks do not appreciate it in the same way.

This album has a mere five tracks. Oaky, two are of epic length but the other three show a different side to Neal and are also very worthy, so let’s dig in and explore…

The album starts with the twenty minute plus brilliance of Eternity In Your Eyes. The track has an almost symphonic opening section with lots of layered keyboards amidst percussion embellishments before it kicks off properly. A chugging rhythm part kicks in, again with lots of keyboards and some guitar lines playing in unison before breaking down into a funky keyboard section with a glorious sounding organ. The vocals kick in about three minutes and, as an opening statement of intent, this is highly effective and very impressive. The sound is not wildly different to his earlier albums but it is a bit fresher as he is using a much younger set of musicians this time around. However, a lot of the elements and sounds will be familiar to those who know Neal’s previous work. What is different though is that Neal is sharing a lot of the vocals with Johnny Bisaha, who sings most of the upper register parts which gives a distinctively different flavour to the material, almost taking it in a Yes type direction at times but still maintaining the symphonic progressive style. The track is formed of seven different sections one of which, Part IV, is an instrumental piece. Very good it is too! The track is inspired in part from a line in a book by Barbara Kingsolver entitled Demon Copperhead, which is a retelling of Dickens’s David Copperfield, set in Appalachia and one that explores contemporary issues.

Thief is all together different in that it is shorter and has a much looser structure with elements of ‘Discipline’ era King Crimson influencing the music at times. The song also employs brass sounds effectively which, with the lumbering sound, has a great impact. I love the looseness of the sound, it has strong dynamics and is both funky and loose at the same time. The guitar works is very effective as well, kudos to Chris Riley who plays this so well. It’s all captivating stuff and a strong statement of intent. All The Rage again features some great guitar lines, the song is about the emptiness of fame and how hollow that can be. Neal finds his own answer in his faith and offers that this may be the solution that many are seeking but avoid by taking different choices and directions, usually to their own detriment to. Ever Interceding is about being in the middle of a situation and seeking God’s help by interceding. It is a difficult concept for many to understand possibly, but still a great set of lyrics, even if they may be a little to oblique for some.

The final, and longest, piece is the album’s title track, No Hill For A Climber. Lasting just shy of twenty nine minutes in length, this one has more than a touch of the overblown brilliance and melodramatic edge of Transatlantic stamped all over it, guitarist Chris Riley channel his own inner Roine Stolt at times. The song has vocals from both Morse and Bisaha, with the latter covering the higher register parts once more and most effectively too. It’s great to hear how Neal has embraced this next chapter of his career. The song again has multiple parts to it, five in all, and is about overcoming adversity in life and how the acceptance of faith can help with this. The track is suitably triumphant at times, all wrapped in fantastic symphonic prog rock melodies and soundscapes. It also has eastern sounding melodies and textures in the third section, Burn It Down, which is about the fight for control of the ego, again this impresses greatly. The whole song is a very satisfying journey into triumph. Okay, it is very faith focused by why shouldn’t it be? Neal makes no secret of his own faith and how he has been impacted and changed for the better by it and he shares that clearly in this epic song which has enough twists and turns and excellent musicianship to give it full on prog credentials!

This beautifully crafted album opens a new chapter for Neal, although as to where it leads him to next is very much a blank canvas. One thing is certain though, it will definitely be interesting and rooted in his own progressive history. ‘No Hill For A Climber’ is another excellent addition to Neal’s musical canon and I cannot recommend it highly enough.

Released 8th November, 2024.

Order the album here:

https://nealmorse.lnk.to/NoHillForAClimber

Review – Stuckfish – ‘IV’ – by John Wenlock-Smith

I raved about Stuckfish’s last album ‘Days Of Innocence’ in my review in 2022 so I am very glad to report that this album continues in the same manner and vein. Although a few things have changed for the band, namely they are now part of the growing White Knight label run by Rob Reed and David Mackie. Also, they have a new keyboard player in Paul McNally who replaces Gary Holland (who left very amicably because of being unable to fully commit to the bands increased level of activity).

This new album has nine tracks, in all of varying lengths and all have a very different fell to them with differing moods. You do notice the quality oozing through the songs though as they are all very impressive sounding. The album begins with an acapella style opening on Shadows & Moonbeams, a song about Sarah Bernhardt, the French actress who had a very busy romantic life in that lots of men fell in love with her, thinking they were ‘The One’ who could win her heart completely. However, they never succeeded and she left a trail of broken hearts in her wake. It is a piece with a great chorus that will stay with you for ages and is one of the best opening tracks of the year with its chugging bass lines, sympathetic keyboards and a strong haunting guitar line from Ade Fisher. Silently Waiting is quite a fierce number with more solid keyboards and great acoustic guitar in the mix. This has a great vocal from Phil Stuckey who sounds a little Styx-like in his delivery, as he does on a few songs here. The song is about wanting to rebuild a relationship, here he is Silently Waiting for a positive outcome. The mid-section has an exciting and dramatic interplay between the musicians that impresses greatly and the whole band are on fine form here. The return of the acoustic guitar is a plus, as is the lyrical guitar solo that plays towards the tracks conclusion, another excellent track from the band.

Lifeline opens with strong chord work and, again, the Styx comparison holds true. Another strong vocal from Phil makes this a standout track for me, again the chorus is a distinct ear worm and will pop up unannounced in your thoughts during coming days. The song is about being free to be yourself and it is a fantastic song that calls out for a live performance, especially the great keyboards that close out the track. Liberty takes us to the poetry and musing of 13th century Persian poet and philosopher Rumi, who wrote about how love completes us. Again, the chorus is very memorable and strong and is repeated several times to great effect, Fragile is a short song, the shortest in Stuckfish’s canon of works and it benefits from a chugging bassline and atmospheric keyboards along with a very solid back beat from drummer Adam Sayers, whose meticulous timekeeping powers the track along. The song relates to how we are all fragile as individuals with our own life stories to live, experience and enjoy and how we can also make a new start when life fails us. A very short, concise and powerful track. The Time Of Your Life talks about how choices made early in life upon the expectations of other can be a burden that many are unprepared and unable to reach or cope with. The spoken word section is very memorable and works very well in the song, as does the excellent guitar solo from Adrian that crowns the song in style as he channels his inner Rothery in a very lyrical solo. This is another triumphant song, utterly magnificent!

JFKX rocks with style as more chugging bass and great keyboard textures and synths abound before a very meaty guitar riff is introduced by Adrian. The mid -ection has a keyboard solo from Phil McNally. Originally this song was written for Marc Storace of Krokus fame who rejected it, his loss being our gain. Fly (On Feathers Of Hope) begins with a very Yes like sound of keyboards and great guitar. The song is about love as a spiritual experience and expression so that it can be almost dreamlike. Which is an interesting construct as opposed to the traditional long slog of love that most folks experience. I guess it is all in how you approach it and also how much you value and appreciate your loved one. It is a journey that you take together and that is reflected in how you experience and express it for yourself. The album closes with the epic Skies Fall which is about near death experiences. This song is a slow burner with its strong use of bass, drums and keyboard interjections along with some harder metal edged guitar power chords. It slips into an almost eastern sounding mid section with more great guitar lines and that solid rhythm section holding everything together. There are great lyrics to this song too and, as the song builds in power, a great guitar break draws the song to its conclusion in style, including an effects pedal that changes pitch in a most dynamic way to fine effect.

So that’s it, a highly impressive sounding album full of memorable songs, strong choruses and excellent musicianship. If you get the chance to hear this album then you really must take it as it is certainly one of the years strongest releases and the band are more active touring wise these days too. So watch out for them as live this material will be fantastic!

Very Highly recommended indeed.

Released 13th October, 2024.

Order the album here:

https://stuckfish.bandcamp.com/album/stuckfish-iv-with-12-page-lyric-book

Watch the video for Shadows & Moonbeams here:

https://stuckfish.bandcamp.com/track/shadows-moonbeams

Review – Ruby Dawn – Blood on Water – by John Wenlock-Smith

Back in 2022 I wrote an extensive review of the debut album from Ruby Dawn as I was very much taken by it, hailing it to be one of my albums of the year and recommending it very highly. Well, it’s now two years later and a lot has happened since that first review. Ruby Dawn have a new album emerging onto the prog world stage in this month and it promises to be equal, if not superior, to that stunning debut album.

So let’s dig in, as they say, and see if that album was a fluke or whether this album can create something equally as captivating as the debut proved itself to be.

Initial impressions certainly bode well as the album has a very striking cover, very Hypgnosis in style and could easily be a Pink Floyd sleeve, such it is simple elegance and it is one that definitely catches the eyes. Comprising of eleven tracks ranging from the shorter Maker of Me to the lengthier epics Chronicles of a Celestial Soul and Juliet, both over seven minutes in duration. This is an album of feelings, of impressions and one that is firmly rooted in real life experiences. Experiences that have been faced and dealt with in the past few years by Carola Baer and her supportive crew of musicians, and also her own family members.

Whilst I know some of the background to this album, I don’t feel it is for me to lay wide open the headaches behind the music, except to say that Ruby Dawn have risen above the challenges to make an album of real strength, beauty, integrity and resilience, superbly deep recording. Opening with a steady drum beat before Carola’s suitably breathy vocals arrive, Juliet kicks off the album off in style. This track has a very meaty sound to it with solid and fluid guitar work from Dave Salsbury, whose playing is on fire here. This is an exciting and satisfying opener and proves how well the band gel. It also shows just how much the band have grown and have developed their own musical style in the two years since the debut album.

It also proves that the first album was no fluke and that this album will not suffer the Second album syndrome that has affected and derailed many a group over the years. Arms Of Love is a song about realising how together we are strong, being able to cope with whatever curve balls life may throw at us and also how it is better to be loved than left out in the cold, alone. With Alice Come Home we again have a very dense sounding track with great musical support, strong bass playing from Ian Turner and more fine guitar tones and soloing from Dave Salsbury, whose fretboard must have the grooves burnt into it from it from the ferocity of his playing across the whole album!

Title track Blood on Water is a slow, brooding song with an increasing level of intensity mixed in amongst its strong power chords. I really like this track, it’s honesty and integrity shine strongly here as Carola seeks to makes sense of her world as it now is, different. This has to both be realised as such and responded to in a totally new manner. Social Disaster follows with another excellent guitar part from Dave and strong supportive bass from Ian, along with the suitably robust drumming of Adam Perry, whose sterling backbeat holds everything tightly together in a most marvellous manner. Easy Feels is a highly atmospheric track and one that would appear to deal with the difficult area of loss of control and how that affects a family unit. This has a very Dave Gilmour style guitar break at it’s heart and it certainly impresses greatly.

This is an album that was borne out of painful, heartbreaking challenges and situations encountered and having to be dealt with. This theme of overcoming adversity is woven throughout all of the songs. Yet, despite its darkness there is also a ray of hope and light that still shines through. This alone gives the album much of it’s emotional depth and rawness, along with its honesty. For that boldness alone,  I applaud this deeply rewarding and emotionally haunting album.

The centrepiece of the album for me is the sprawling epic that is Chronicles of a Celestial Soul, which elaborates on the issue of suffering and the uncertainty that goes along with it. Again, we encounter Resilience and bravery as the situation is stared down and faced and confronted with courage and commitment.

The album is a triumphant statement of intent and a testimony to not giving in, instead choosing to face things head on with a confidence that may not actually be felt, yet somehow arises to battle the situation and fight until it ends. This album is actually life affirming and is a declaration of the power and value of love, teamwork and steadfastness in the midst of adversity and the promise of hope and also the recognition that better times lie ahead. Such is the beauty of hope that a new and different dawn will rise and life will continue.

Released November 1st, 2024.

Order from bandcamp here:

https://rubydawnband.bandcamp.com/album/blood-on-water

Review – Tiger Moth Tales – Inside The Cocoon – by John Wenlock-Smith

This Review is for a CD/dDVD set that delves deep into the highly successful and highly acclaimed ‘Cocoon’ album by Tiger Moth Tales (TMT) and comprises of a seventy-four minute audio document containing a mixture of conversations with Peter Jones, five live tracks from either the first TMT concerts and more recent ones from The Boerderij in Holland from earlier this year.

The accompanying DDV features a live solo performance by Peter Jones, mainly on guitar, again hailing from 2024, an interview along with the promotional video for the extra track on the ‘Cocoon’ 10 year anniversary edition, called Return To Chigwick in which Peter comments in song on the extraordinary journey he has been on since the release of the original album. This extraordinary, prolific, musician has released eight albums over the same ten year period along with appearances with Camel, It Bites and Cyan (among others). He has also performed session work for The Barock Project, four John Holden albums and also four Red Bazar albums and numerous shows. It’s been a very fruitful ten years for Peter and this CD tells you far more about the making of, and also the inspiration behind, the music.

In all honesty this is possibly an album you will listen to infrequently, although the DVD may receive more attention, featuring his interpretations of five Genesis songs, as the band were always a major influence on Peter’s intention to make a progressive music career for himself. The DVD is very illuminating, as Peter doesn’t tend to do many solo guitar shows so, to have one recorded for posterity is wonderful in itself, as are his Genesis covers, on which he does incredibly well in converting his admiration for the band.

This release definitely has its place in Peter’s recorded output and shows his versatility off to fine effect. As a Fan who has been on the whole journey with Peter, this is a most welcome release and highly enjoyable indeed. The live tracks on the CD include Overture from 2016, recorded at one of the earliest Tiger Moth Tales shows in Nottingham,  a version of The Merry Vicar and also A Visit To Chigwick, both from the same Nottingham show in 2016. There is also a live version of Feels Alright from a 2024 show in Holland.

It is a very interesting and informative release and you cannot help be amazed at both how productive, creative and determined Peter is who, despite being blind, does not allow his disabilities severely impact his ability to create some seriously impressive music. You will discover who the original ‘Vicar’ was and why Peter felt compelled to write about this man in particular. The interviews are informative and illuminating about both the detail and the vision behind the ‘Cocoon’ album. For me, it is the snippets of information that Peter reveals that help you appreciate that he does not allow his disabilities to affect his creativity and he shows incredible aptitude and resilience. It also makes abundantly clear the sheer creativity and attention to detail that Peter has applied to the project, as a companion album to the original release this is very welcome.

I really enjoyed this extra album and DVD but understand that it will not appeal to everyone, however, those that do partake will find much here to enjoy and appreciate, especially the demo and live tracks, which show the evolution of the album. It also gives much detail about how the album emerged and became a testament to both Peter’s talent and resilience, making it a story of successful endeavours and genuine imagination. ‘Cocoon’ remains a landmark album for Peter and this accompanying release really sheds light on what helped make the album such a refreshing and rewarding experience.

Personally, for me, I really enjoyed this and my admiration for Peter has increased even more as a result. It’s an interesting listen and the music tracks add even more to this fabulous little package, which I suggest will become increasingly more valuable as times goes by. So, if this is up your street then I strongly suggest that you search it out whilst you can as it may not be around for that long.

A real hats off to Peter for delving into his own archives to compile this fascinating release about his stunning debut album ‘Cocoon’ as he celebrates its 10th anniversary.

Released 6th September, 2024.

Order the album here:

https://www.whiteknightshop2.co.uk/home/Tiger-Moth-Tales-Inside-The-Cocoon-CD-DVD-p687857062