Review – Nick Fletcher – A Longing For Home – by John Wenlock-Smith

In 1975, which was a momentous year for music, The late John Miles wrote, “Music was my first love and it will be my last, music of the future and music of the past”. Later on John lamented that in this world of troubles my music pulls me through. These are sentiments that I guess many heartily agree with, I certainly do, and I would imagine that Nick Fletcher would too, especially based on conversations that I’ve had with him. Whilst he might not live for music, being the family man that he is, there is little doubt that music through creating, producing and performing, plays a major part in his own life.

Of course, if we’re were talking about him in the 1970’s, Nick would be heralded as a major guitar hero and would invariably be highly rated amongst his peers. Sadly those days for guitarists are possibly over now.  The irony is that, in Nick, you have a consummate talent who really deserves a bigger platform and reach that an independent release fails to offer him. Certainly, talent like Nick’s is rare and should be valued and recognised far more.

His new album, ‘A Longing For Home’, is a prime case of this. His last album, ‘Quadrivium’, was spectacular enough but this one takes the bar and lifts it up even higher, making this an album that will be the envy of many guitarists around the world. With its staggering displays of virtuosity, speed runs and flights of finger work, Nick most definitely makes that fretboard scorch and burn, as he does here amongst this albums ten tracks.

The album is the last part of a trilogy of albums made up of ‘The Cloud Of Unknowing’, ‘Quadrivium’ and now ‘A Longing For Home’, which concludes the trilogy through the genre of  progressive jazz/rock fusion. On this release Nick explores the connections between science, religion and spirituality and how that relates to each of us as individuals.

The album begins with the excellent Satori which has a busy rhythm section plowing a mighty furrow and giving Nick a platform on which to solo furiously, an opportunity he makes the most of! The backing is spot on and you can sense that this is a field in which Nick excels and feels very comfortable indeed. The subtle keyboard work of Caroline Bonnett underpins everything with grace and aplomb and the groove reminds me of Spyrogyra at times, except Nick’s take on fusion is more fiery and less jazz-lite than Spyrogya’s ever was. The Secret Of The Ascent introduces Norwegian Jan Gunnar Hoff to proceedings and he is phenomenal here, helping create a background wash of keyboards that helps move the track along briskly and yet retaining its musical charm and integrity. Joy Turning Into Sorrow is a delicate classical guitar piece (Nick also has a fine pedigree in this realm having written and performed many solo classical guitar performances over the past 25 years or so). The Final keyboard notes of this piece lead us into the wonderfully evocative track Sitting In The Sunboat, which is a longer track in which Nick solos extensively and with style. Whilst his soloing is fiery, it is never at the expense of either melody of emotion, being both stylish and  warm. The piano solo in the middle of the song also impresses greatly,

Even more impressive (if that’s possible) is the simply gorgeous Her Eyes Of Azure Blue, which Nick says called for a different approach from him. It has a very lyrical style and a features a fretless bass solo from Jonathon Ihlenfeld Cuniado which fits extremely well with the overall sound that the track conveys. Nick is most definitely a team player here, graciously sharing the platform with his fellow musicians and this helps and actually enhances the music that he makes. This shows that music is a collaborative effort and has a very symbiotic quality in which every one’s effort are rewarding to the listener. This track and its predecessor are the highlights of the album for me as together they convey the skill and vision employed here by all the participants. Whilst Nick’s name adorns the cover, it would not have the same depth of emotion without the help of Anika Nilles, Jonathan, Caroline and Jan’s presence and significant musical input. Anika’s drumming shows why Jeff Beck wanted her in his last band, her performances here are thundering, powerful but ultimately tasteful.

The next piece, A Pathway To The Hermitage, has a light, almost joyful, tone and title track A Longing For Home follows with a suitably cosmic and atmospheric sound which evokes the vastness of space, just how small and alone we are as a planet and how we are almost insignificant in the greater cosmos and universe. Nick’s guitar is laden with reverb and echo to help convey this vastness. With shades of David Gilmour on display here, this track is another winner! As is The Sage, The Monk and The Scholar, which is, to be truthful, a storming rocker of a track with a powerful riff and afiery guitar throughout. An epic guitar solo and a superb organ section help maintain the intensity of the track, one which rocks ferociously and is, unsurprisingly, another winner.

The penultimate piece is Crossing The Sacred Threshold which sees the return of the melody from The Secret Of The Ascent. This is a lovely touch and brings a sense of unity to proceedings in that we are reaching towards a conclusion of sorts. The album closes with the only vocalised track on the album, To Hear The Angels Sing. It has beautiful wordless vocalisations from Olga Karpova (Dikajee) whose presence brings a classy end to proceedings. Olga is a classically trained Opera singer and it shows here as she vocalises over a shimmering wash of sounds and textures from Nick’s elegant guitar. There are no keyboards or other instruments on show here and this is a peaceful final conclusion to the album and is very ethereal sounding indeed.

This album is without a doubt one of the first instrumental albums of the year with hints of some of the jazz fusion greats, Al Di Moela, Alan Holdsworth, Pat Metheny, John Mclaughlin and many others. Please don’t let this wonderful and terrific album slip by you otherwise you will definitely regret it!

Released 21st October, 2024.

Order direct from Nick’s website here:

https://www.nickfletcherguitarmusic.com/product-page/nick-fletcher-a-longing-for-home-cd

Interview With Nick Fletcher – John Wenlock-Smith

John Wenlock-Smith: This latest album. ‘A Longing For Home’, completes a trilogy of albums, explain the themes behind these for me again please, if you will.

Nick Fletcher: The three albums are kind of all linked together thematically, all to do with the connection I can see between Science,Religion & Spirituality. I just think all these things, rather than being in opposition to each other, are in fact closely interwoven and the albums explore that connection and how they relate to that in our own lives and experiences. The albums explore that theme and how that relates to us each as an individual.

JWS: this album is fully instrumental, apart from the last track, why is that?

NF: I came to a point whilst making the last album where I realised that my strengths do not lie in songwriting, they lie in composing music. I’m not good at writing lyrics to express what I am feeling. The songwriting format is not one I’m comfortable with and the melodies I write are quite difficult for a singer to get to grips with and for them to do the songs justice.

On this latest recording, the last track has what appears to be a simple melody but it isn’t really, it has a big range and called for a specific type of singer, so it needed a specific voice who could bring the melody alive.

So, to that end, I sought assistance from a good friend of mine; Dikajee (her real name is Olga Karpova) who, as well a being a great prog singer, also is a trained opera singer. I think it felt that she was able to bring to life fully what I had envisaged.

JWS: Tell me about you writing process please Nick?

NF: It’s interesting that you say that! I guess that, compared to how many folks write these days, my way of writing could be deemed ‘Old School’, in that I hear the music in my head, develop it on my guitar (unplugged) and then I score it out. However, I don’t make any demo’s at all. So, when it  comes to making the album, it means it can be difficult to convey what I hear to the musicians who I am working with.

Often Caroline Bonnet (my co- producer) looks at me oddly when i’m trying to explain things to her. It calls for an element of trust as she is used to hearing a demo version and working upwards from that. Whereas I hear it all in my head, so she has to trust my vision really. It’s one that requires zero technology, I never plug the guitar in a, if it works unplugged, I know it will work when it’s recorded. I try to avoid searching for the sound, I see sounds as colours and I don’t want that interrupted or overshadowed by sound.

I’m also a classical musician and that approach is tied in with that as well.

JWS: The artwork for the album is also very interesting!

NF: Yes, if you look at the cover and the inside CD tray, you will find there is a message hidden within and that connects the whole album together. It’s possibly a little cryptic but it is there if you look for it.

JWS: I’ve heard the album but the download I received wasn’t in the correct sequence so, whilst listening the other day, I had to keep flipping back to the track listing and then play the next track which meant the album didn’t flow continuously and in sequence meaning it was hard to fully grasp. When I get the album for myself then I can listen fully and without interruption and thus get the full picture clearly.

JWS: Do you hope to be able to play the album live at all?

NF: I would love to, it’s a dream that I’d love to be able to bring to reality. However, it’s not easily achievable due to finance and also logistical issues,plus most of the band on this album are based in Europe, which further complicates matters. So do schedules and timing, if it becomes feasible or possible then I’ll try to make the dream come true for certain.

One of the reasons for using a different band for this album was to reinforce the concept of music as being universal and a force to bring us closer together. There is more that unites us as opposed to separates us and I see music as a critical part of that path. It’s an important statement really.

JWS: So what’s happening with regard to the John Hackett Band?

NF: Well, next year marks the 50th anniversary of Steve Hackett’s ‘Voyage Of The Acolyte’, an album which John played a major part in both the writing and the recording of. So, next year, we are doing a number of songs from that album along with new songs from the forthcoming John Hackett Band album, which is nearly completed and will be entitled ‘Red Institution’. Although no release date has been set as yet but hopefully it’s not to far off now.

I’m also going to continue with some classical guitar shows again, along with continuing to write music for another album which will be a standalone album. However it will be another one with a conceptual narrative as I like having a concept to work with.

JWS: Do you have a favourite track from the three albums ?

NF: That’s a question I’ve never been asked before! Obviously I like them all but, possibly, the track Her Eyes Of Azure Blue from the new album ‘A Longing For Home’, as it calls for me to play in a different style, whereas normally I’m flying around the fretboard, doing pyrotechnics. Here it’s needs me to play in a more structured manner, which is different for me, I guess how I feel will change from day to day but today it’s that one.

I hope that helps!

JWS: Yes it certainly does. Well, Nick, that’s my questions, thank you for your time and the informative answers, I really appreciate it. I look forward to seeing you in November in Reading.

‘A Longing For Home’ is out now, order direct from Nick here:

https://www.nickfletcherguitarmusic.com/product-page/nick-fletcher-a-longing-for-home-cd

Review – Frant1c – A Brand New World – by John Wenlock-Smith

This new album is a little unusual, it’s history is a complex one but it is ultimately something of a triumph. Coming, as it does, following a set of significant lifestyle changes for one of its key architects, Anne-Claire Rallo. In the wake of her partner Eric Bouillette’s sad death from Pancreatic Cancer in 2022, Anne-Claire has forged a new life in musical PR with Bad Dog Promotions, who are going from strength to strength.

Eric actually contributed to this release and it is his final appearance on any album and here he offers guitar, keyboards piano and also aided in the arrangements. The album also includes contributions from Alexandre Lamia (Nine Skies), Martin Wilson (The Room), Johnny Marter (nine skies) and Helen Tiron (Sun Q). This album also benefits from the mixing and mastering skills of John Mitchell.

The album is most definitely a labour of love for Anne-Claire and is possibly cathartic for the tough time she has been through in the aftermath of Eric’s death. The record is concerned with the tale of Charlie and Hope, who have spent their lives together until a day when Charlie wakes up alone in a world that has changed completely. Charlie goes in search of Hope and this journey takes him to new discoveries and encounters whilst he searches for his love.

The album is truly symphonic in nature and I have to say it sounds really great too. It begins with Prologue (The Awakening), a brief spoken introduction and shimmering sound effects before a piano is heard playing a somewhat plaintive melody which is joined with a moving violin part. As an opener it sets the scene wonderfully for what is to follow. Come Back To Earth features the excellent, clear and strong vocals of Martin Wilson, who is on excellent form here. His voice is powerful and emotionally charged, he sounds like a Marillion era Fish on this track. People In Their Cages features clips of old radio shows and talks of our reliance on the media to both inform and also to entertain us, as we are unable to think for ourselves, referring to us to being a zombie nation. Where Have You Been? is a wistful song of loss and longing. It has some great guitar lines that works really well and the vocals are again excellent.

The album’s longest track, The Ballad Of Peggy Pratt, is a song about a lost person, this time a woman, who lives in her past looking back to her better days. The track opens with a piano setting a downbeat tone before it builds with very evocative vocals from Martin that really sets the scene of faded glory and to present disillusionment. The song has several sections to it, including a stellar instrumental section with lots of riffing guitar tracks. This fades to moody piano motifs before an epic guitar solo really adds elegance to the proceedings. Sweet Confusion is a duet between the characters of Charlie (Martin) and Hope (Helen) in which they speak of the confusion that sounds and separates them emotionally. It also shows the longing for reconciliation and healing between them emerging. On The Run opens with keyboards and synth effects and concerns a world of crazy people running around. The song has a good melody and features Martin’s The Room colleague Steve Anderson on guitar who adds real flamboyance and flair to this excellent track. It is one of the album’s finest to these ears and shows great performances from all parties involved. Take A Little Time (The Encounter) addresses the gulf between the friends and their desire to draw closer once again, in spite of the obstacles that lie in their paths. A New Path is the album’s penultimate track and offers a glimpse of a way forward and back to normalcy. This has a heavier tone that works well for it, the song also has more atmospheric sounds and great guitar flourishes adorn the track. Epilogue (A Brand New World) concludes the album with delicate piano lines and a spoken vocal from Anne-Claire adds to the excitement of the track, there isn’t a vocal per-se as the spoken world tells the tale. There is also the return of the spoken voice part from the opening track, again this works well in telling us to Wake Up several times before the album ends.

‘A Brand New World’ is an interesting tale but you will need to listen carefully to really understand it. What is without question is that this is a most ambitious album and one that really works on the whole. It is definitely worth listening to and deciding for yourself, musically it is excellent as are the vocalists who really shine on these wonderful songs.

Released 27th September, 2024.

Order from bandcamp here:

https://frant1c.bandcamp.com/album/a-brand-new-world

Review Oddleaf – Where Ideal and Denial Collide – by David Edwards

If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train.

The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly.

The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clément Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 – accentuating the more feminine aspect of the band’s music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album.

There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes – celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.

The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina’s repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album.

Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier’s deep bass and Clément’s drums push the music through to Adeline’s lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature’s endless cycles of growth and renewal, despite the efforts of mankind to disrupt it.

“Precious life, endless birth,

This is our Mother Earth,

Water, air, desert, snow,

Let’s fight for her, because…”

Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu’s pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.

Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline’s singing almost has a feel of Magenta’s Christina Booth at times and the backing vocals, keyboard wash and piano support her so well.

The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world – representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or ‘odd’ leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society.

“Ethereal Melodies,

From millions of my leaves,

Are spreading hope and peace.

The only way for me,

Guardian of the prophecy,

For I’m the eternal tree.”

It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album’s promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.

The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well – starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline’s longing vocals begin.

“Bring me back in time

Take me through the tunnel of life.

Bring me back all this colours of a long gone past.

Bring me back to a simple life,

Please take me back in time.”

There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman’s journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind’s fall into the abyss.

Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence – Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina’s superb keyboard skills really dazzle and shine, as do Olivier’s bursts of resonating electric guitar. The musical template twists and turns, with Clément’s busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes – majestically climbing higher to a wonderfully proggy crescendo (I’d liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on – it is impossible to describe adequately in just a few lines. I can’t wait for Part 2!

I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock – mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure – this is not an album for prog rock fans to miss out on. Highly recommended!

Released October 11th, 2024 (CD, Digital)

Order from bandcamp here:

https://oddleaf.bandcamp.com/album/where-ideal-and-denial-collide

Review – Sloane Square Band – Thoughts – by John Wenlock-Smith

Recent times for me have seen a renaissance of worthwhile progressive music emerging from France and especially from the excellent promotional work of Bad Dog Promotions. We’ve already reviewed Pryzme and The Raging Project, now we have this Prog/AOR crossover from SSB – Sloane Square Band.

Sloane Square Band hail from France and is the brain child of French prog musician Claude Segalin, who was a noted prog musician in the 1970’s. He started making music again in 2017 when he met a bassist who had played in the band Guelf with him in the 1970’s. This meeting inspired Claude to have another go and to write and create some new music again and ‘Thoughts’ is his second release under the SSB banner. 

The album is only about 43 minutes in length with just nine tracks of mainly gentler music with a definite Pink Floyd type sound, especially in the guitar solo. This means the average track length is between four to five minutes and nothing here overstays it’s welcome, making the album is a really good listen, not totally earth moving or essential but it has much to commend it.

Within its tracks, apart from the Floyd influences, I detect distinct echoes of United Progressive Fraternity and Unitopia especially with ecological and environmental concerns (very much a staple part of UPF’s DNA). In addition, the vocals aren’t a million miles away from Mark Trueck’s vocal style either.

As I say, most of the album consists of slower paced tracks more reliant on atmosphere rather than bombast, although the track Fishes is different in that it is far more traditional sound wise with a driving beat and powerful guitars. This one really kicks ass and I really like it, there’s excellent Bass from Alix Guglielmi here too. My Fathers is a sensitive and extremely sincere expression of both respect and thanks to Claude’s father, which touches the soul with its warmth and sincerity.

Hiroshima is another strong track and possibly my favourite of the those on offer. It features current Pink Floyd bassist Guy Pratt and the vocalisations of Joniece Johnson. The track begins with gentle acoustic guitar which contrasts strongly with the darkness of the lyrics. This has delicate flute from and strings amidst everything that is going on. The piece also has great guitar work and some sensitive synth lines and the soaring vocals give the track a definite Pink Floyd vibe and sound. Quite a remarkable track all told and probably the album standout along with Fishes. I Will Never has a strong chorus and melody throughout, the guitar pattern is especially familiar to these ears. There is a great vocal performance from Canadian vocalist Richard Groulx, indeed his vocals on the whole album are very fine indeed. The mixtures of styles and approaches from soft prog to AOR works very well.

Overall this album has a lot to commend it. It may be short and perhaps lack a good lengthier piece but what is here is most certainly of good quality and, whilst it may not be utterly essential, I feel that those who listen will find very much to enjoy within its grooves.

Mention must also be made of the excellent sound garnered by Steve Forward (Sound Engineer) who has made an album of crisp sounding tracks with excellent separation and space between the instruments, it really is a joy to listen to.The digital cover is very Marillion in style and is a good fit for the music it conveys.

Released 21st June, 2024.

Order from bandcamp here:

https://ftf-music.bandcamp.com/album/sloane-square-band-thoughts

Review – Frost* – Life In The Wires – by Kevin Thompson

After a busy weekend I now find myself sat at home full of cold and in need of cheering up.

Ooh! What’s this in my inbox?

Ooh! It’s the latest Frost* album for review.

Ooh! It’s a double album.

Ooh! It’s a concept album.

Can this be what I need to perk myself up. Let’s cough and sniffle through the upcoming album to see what we can find.

Ivor Novello award-winning composer and musician Jem Godfrey is best known for co-writing and producing a number of commercially successful songs for some well known musicians.  His own band Frost* are about to release their new album Life In The Wires which is a direct follow up to their last album, Day And Age, this has set up the premise for the new one. Fleshing out the imaginary world who’s character imagined on the previous album was searching to be heard, we are introduced to Naio, who Jem Godfrey describes as an aimless kid heading for a meaningless future in an AI run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find “Livewire” to see if there’s a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom.

‘Life in the Wires’ features the welcome return of drummer Craig Blundell (‘Blunders’ to the band), to join the continued guitar and vocal services of stalwart John Mitchell (also known as ‘Connaught’), the wonderful Nathan King on bass, and Mr Jem Godfrey himself doing just about everything else including lead vocals. Now I have a problem with John as I love his material and own all his output, but such is his distinctive voice and guitar work, that at times other people’s albums on which he features can sound like John Mitchell and Friends. But on this concept album the consistency of Jem Godfrey’s lead vocals, adds that distinguishing edge without John having to compromise.

Three tracks are already available to listen to on YouTube, (Life in the Wires, Part 1, Moral And Consequence and Idiot Box) which all seem to have been greeted with great enthusiasm. So, fortified with cold remedies, let’s without further ado, climb into the comfort of the album and delve into the individual tracks.

The first and shortest track on the new album, ‘Skywaving’, starts with the end of the last track from the previous album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?” Looping keys swirl as Naio decides he will follow his dream and the voice he has heard in the hope of finding a destiny of promise.

Notes blast morse code like from the speakers as if there is ‘Life in the Wires, Part 1′. The voice of ‘Livewire’ on the radio urging anyone listening, to step out of the dystopia they are living in and seek him out for a new life, as keys and guitars fizz across the airwaves, plundered by drums and bass. The signal drifts out on melancholy piano keys, is there something out there?

(A pause to blow my nose and grab another hot drink, must keep up the liquids and we’re back to it).

The piano drifts into the next song lyrics lamenting sorrowfully on a once warm family home devastatingly affected by circumstances and grieving guitar solo, turning it into ‘This House Of Winter’.  Warm breezes of instrumentation waft across the grooves easing the chill and drift into the following number….

‘The Solid State Orchestra’, as Naio prepares to defy the All Seeing Eye and set off on his dangerous search of paradise, will it be worth it? Will he find what he is looking for? He steps outside to the noises of the street.

Leaving no note he intends to escape the city and disappear like a mist created by an ‘Evaporator’,the music flows with urgency and there’s an increase in excitement and trepidation with bursts of guitar, as the rhythm section of bass and drums drive him forward with Jem’s keys holding it all together.

(For me this is probably the catchiest track on the album and I find myself wandering round singing the chorus, between sneezes).

Livewirebroadcasts on the hour every hour whilst Naio tries to find his way through this ‘Strange World’ on a more ambient track that blossoms and throbs to life with delicate keyboard passages from Jem’s nimble fingers.

The reverie is broken as guitar crashes in buzzing like an angry wasp and the keys jab with accusing pointed fingers. We don’t care what you want, do as you are expected and watch the Idiot Box. Turn against anyone who does not conform, they are the enemy, like a cold virus, like Naio. A message of encouragement from Livewire as another hour passes, keeps him going.

Confident in the affirmation of his decision to continue his quest, Naio thinks fondly of ‘Absent Friends’ he has had to leave behind on this gentle keys and orchestrated sound, no connections to link them to him as it is too dangerous.  They’re gone but not forgotten.

Obedience. All should follow, to learn subservience at the ‘School (Introducing The All Seeing Eye)’ (ASE) and be taught not to stray, as this foreboding instrumental patrols the grooves ensuring all toe the line. No revolution will be tolerated as the music storms forward.

The campaign and aggressive music search to discredit Naio and ‘Properganda’ is spread for all to hear, that he is not well and is against the ASE. The marching wall of instrumentation tries to rout him out and leave him no place to hide. Another message from Livewire with well wishes, but saying farewell.

(Another break for a hot drink and menthol lozenge to clear my head a little and focus on this welcome distraction).

The last message has left Naio doubting and questioning himself on this subdued track. He had hoped to find a ‘Sign Of Life’, but nothing other than repeat messages. Has this all been a futile dream, has it all been for nothing. This siren seems to have led him astray trying to crush his dreams on the rocks of oppression?

He thinks of the ‘Moral and Consequence’ he may face for his actions as fraught guitar goes round and round in his head. He had to try, there must be more to life, outside the reach of the ASE.  He is ready to face whatever happens he’s no longer afraid.

Is there ‘Life In The Wires (Part 2)‘ on this penultimate track of epic, composed music? There most certainly is with deliberate nods to the most excellent Milliontown from 2006, paying homage as it nears it’s 20th anniversary, most noticeably on this, the longest track that builds with a cornucopia of solo’s and rhythmic passages, meshed beautifully together. It ripples with ribbons of joy and flourishes like fields of swaying wheat blessed in sun-kissed fields, golden and bright.

There must be more to life, everyone needs to stand up and make waves, ‘Starting Fires’ of change and believe. The revolution will build, take shape and change the world and musical thinking as the album draws to a close, waving the banner for a better future.

Jem said he wanted to return to solos after the restraint and focus on astute arrangements for Day And Age, which has I feel added impetus to Life In The Wires, making it sound fresh and alive, with the band gelling as one in perfect harmony and synchronisation. It may not have cured my cold, but it is powerful enough to lift my spirits and give me the warm glow I always feel inside when an album hits the spot.

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.

Frost* have certainly still got plenty of life in their wires, can you here me?

‘Life In The Wires’ will be available as a Limited 2CD, Gatefold 180g 2LP and as Digital Album, with subtle difference across the 3 formats for added interest. The album features artwork design by Carl Glover, who also designed the cover of ‘Day And Age’.

Released on October 18th, 2024 on InsideOut Music.

Order the album here:

https://frost-band.lnk.to/LifeInTheWires

Review – Steve Hackett Live at Victoria Hall, Stoke – by John Wenlock-Smith

When Steve Hackett commenced his very successful reinterpretation of classic Genesis music back in 2009, it delighted and enthralled fans worldwide, especially as Genesis as a band were inactive at that time, having last played dates in 2007 around the world. Phil Collins left the band to be replaced by Ray Wilson and their subsequent album ‘Calling All Stations’ failed largely to have the impact that the band felt it deserved. After some touring Ray left, Genesis was put on ice, Mike Rutherford resumed his ‘Mechanics’ activities and Tony Banks wrote a classical album.

Fans were left in the dark with only Steve Hackett continuing to perform a few tracks as part of his shows. Recognising that these were the most called for segments, he decided to revisit that body of work and has continued to do so to this day. Steve has given folk what they wanted, a proper tribute to that wonderful institution and the music of Genesis performed by one who was there. Over the years Steve has revisited various albums successfully, most recently ‘Selling England By The Pound’, ‘Foxtrot’ and ‘Wind And Wuthering’.

This year he has decided to cherry pick the best songs of the much loved and much requested ‘Lamb Lies Down On Broadway’ album, which is 50 years old. For me this was a dream come true as I missed the original live shows and, once again, Steve and his band did not disappoint and rose to the occasion magnificently.

As usual with Steve, the evening was split into two halves, part one being his solo material in support of the ‘The Circus And The Nightwhale’ album, with several key tracks included like opener People Of The Smoke and Ciro Inferno. Other solo highlights included a full version of Shadow Of The Hierophant with Amanda Lehmann singing and playing rhythm guitar, the ever popular Every Day and a electrifying version of Camino Royale, along with a menacing take of The Devil’s Cathedral with a great vocal from Nad Sylvan.

The set was well balanced and really showed off the strong material and excellent performances. For me, it shows both the versatility and strength of Steve’s incredible talent and the bands commitment to Steve’s music.

A short interval Led to the Main event and the ‘revisited’ part of the evening, ‘The Lamb Lies Down On Broadway and other Genesis material’.

This second set began with the title track The Lamb Lies Down On Broadway which got a very hearty cheer and reception from the sold out Victoria Hall crowd. Next came Fly On A Windshield, Broadway Melody of 1974 and there was also suitably slithering version of Carpet Crawlers. The crowd were also treated to strong renditions of The Chamber Of 32 Doors and Lilywhite Lilith, and a brief, moving take on The Lamia followed by It, which ended the ‘Lamb’ section perfectly, all of this was extremely well received by all those present in the Victoria Hall.

The evening then introduced a number of classic Genesis songs, a crowd pleasing singalong of Dancing With The Moonlit Knight which was very much appreciated, as was an excellent version of The Cinema Show which highlighted the excellent keyboards skills of Steve’s long-time stellar musical arranger Roger King. The last song was a short take of Aisle Of Plenty.

I say last but then it was encore time which gave us a masterful version of Firth Of Fifth, a song which has possibly the finest guitar solo in prog, it certainly stands up well against Comfortably Numb! This track featured Rob Townsend’s saxophone taking the part of Peter Gabriel’s flute, which lends a different air, before Roger King’s extend piano motif leading to that guitar solo from Steve. A suitably crowning moment of any Steve Hackett show and he delivered it with passion, grace and fire to the enthusiastic and appreciative crowd.

There was a drum solo from Craig Blundell, who has made his mark over the past few years and this was a well choreographed solo which led into Los Endos, Slogans and finally back into Los Endos which, fittingly, was indeed the end of the show!

It was a remarkably strong performance from Steve and company and a great time was had by all, as the swathes of people left clutching their merchandise that served as a memento of a spectacular evening’s entertainment.

I eagerly await the live CD/Blu Ray set from the Royal Albert Hall planned for release next year.

Photographs courtesy of Lee Millward and the author.

Review – Gabriel Keller – Hope Despite Everything – by John Wenlock-Smith

This second album from French musician Gabriel Keller is an album of two distinct parts, on one hand you have a treatise on the horrors of war seen through the eyes of a soldier on the front line, the other part of the album is much more light hearted in nature and traces the journey of a drop of water from glaciers and the northern lights to the sands of the Sahara desert. It concludes a quest for inner peace and an ode to love. So it is, in essence, quite an interesting musical album ranging from gentle acoustic numbers to heavier Porcupine Tree musical styles.

The album begins with a brief introduction, Why?, which introduces the first part of the album with sound effects of war. Guns, rockets and military sounds set the scene very and this leads into The Letter – Part 1, in which the soldier shares his torment of being on the front line and his mother, who longs for her sons safe return. This track verges between Rush-like guitar sounds and a harder edged sound interspersed with the fine vocals of Emi B. It also has symphonic touches too which makes for a somewhat unusual sound. It is a great sound though with some great guitar fills and solo’s. The Guns Are Approaching  emphasises both the futility of the war that is taking place around him and the fact that it is also drawing closer every day. It opens delicately and acoustically before a more punishing riff is introduced, adding a more metallic sound, more like European power metal. This is another strong piece overall and the vocals from Emi B again make a strong impression, as does Gabriel’s soaring guitar solo and playing. The Letter – Part 2 opens with eerie sound effects and a distorted guitar playing harmonics and arpeggios. This is the album’s longest track at just shy of ten minutes duration and has great dynamics among a lot going on. This song also has more than a passing nod to Rush in the guitar playing (shades of La Villa Strangiato). More guitar and power chords are at play here as the track gathers impetus making this the most compelling piece on the album, mixing its styles and sounds in a most satisfying manner.

My Son is a plea for the return of the mother’s son from the frontline. The vocals are superb as they harmonise on this sad plea. No Surrender and Oppression are about standing in opposition to submission in the face of difficulties. The former is a more traditional rock number with definite Rush influences and touches, I’ve noticed this in other albums I reviewed from French outfits like Pryzme. Obviously, Rush made an impact on French musical styles over the years, mainly their post 70’s epic period. The latter song continues this theme of solidarity and resistance, opening with the Cello of Lucie Lacour. This is another harder sounding track with good rhythmic switches in style that really sound great. There is a lot of inventiveness within this track, possibly one of the best for me, after the both parts of The Letter.

We then move into the second part of the album which is more acoustically driven, although the cello is evident in parts. Poussi​è​res Eternelles is sung in French and sounds suitably ethereal in style and tone. Your Way has more excellent guitar playing, mainly acoustic with electric embellishments, which sounds really good, I like this track a lot, it’s very positive and uplifting. Change is the album’s penultimate piece and has a real swing to it with long suspended chords that have a jazzy touch to them The great vocals from Emi B again make a good impact. I love how this song shimmers and sways very elegantly making it very cosmopolitan sounding There is a superb guitar solo as well that really sounds excellent. Mahaut is an ode to love. This is a slightly downbeat, subdued piece with lots of intricate guitar fills and is a fitting conclusion to a most interesting album.

‘Hope Despite Everything’ is a very impressive collection of songs with some strong performances and material, all of which are imaginatively portrayed. This album is most definitely worth a listen If you can!

Released June 23rd, 2024.

Order from bandcamp here:

https://gabrielkeller.bandcamp.com/album/hope-despite-everything

Review – Jordan Rudess – Permission To Fly – by John Wenlock-Smith

Jordan Rudess is best known as the current keyboard player for progressive metal giants Dream Theater, who he joined over  20 years ago. During this time he has contributed significantly to their ever evolving sound, mainly because of his development company that produces new technologies for musicians.

Jordan is certainly an intelligent and articulate musician who is always pushing the boundaries in some way or another but he is also a solo artist in his own right. This new album, ‘Permission To Fly’, sees him joining forces with a hand picked collection of musicians to make a classic prog rock album. His choice of musical compatriots throws up some interesting choices, Steve Dadaian, by trade a highly acclaimed cosmetic dentist who is also a keen shredder (guitarist), along with Devin Townsend’s drummer Darby Todd. For the vocals, Jordan turned to Joe Payne (formerly of The Enid) who also works for the likes of John Holden, amongst others,  while also maintaining his own solo career. Jordan was highly impressed by Joe and reached out to him for this album.

The album opens with The Final Threshold which features a stunning opening keyboard segment full of bombast (very ELP!) which then fades to a gentle piano before Joe begins singing softly but with his very expressive and wide vocal range. The album has just nine tracks (two extra on the initial CD release) and has a mixture of styles from ballads to all out prog rock tracks. Into The Lair is something of an epic track with a very strong vocal from Joe and you can see why Jordan chose him for this project. There is also a great bass solo in this track and a fiery guitar solo by Chilean guitarist Bastian Martinez. This track has it all, storming keyboards, brilliant guitar playing and above it all soars Joe’s sterling vocal performance. Haunted Reverie has discordant and eerie keyboards setting the scene. With its supernatural theme, this is a slightly unsettling track but very well delivered. All the lyrics for this album come from Jordan’s daughter Ariana.

The Alchemist is another longer track initially driven by keyboards. There’s a rather unusual mid-section vocal part which is very different from what you heard before and it’s possibly unhinged or mad, it certainly makes you take notice! The song has a sad ending when the Alchemist realises his life’s work is futile and has accomplished nothing of any worth and he is, after all, just a man. Embers is far more normal sounding and has an excellent piano motif that runs throughout (just like on Bowie’s Life On Mars) and an epic guitar solo that plays out the track superbly. Shadow Of The Moon opens with a very gothic sounding piano and drums. The song is about space exploration and the possibilities that this offers to the world but also of the potential risks we. The track ends with an extended keyboard outworking in conjunction with the superb bass.

Eternal is very much like Dream Theater in places, certainly more familiar territory for Jordan, the opening eventually gets to the vocals at the 2.40 mark! This is another good track, albeit it a tad Andrew Lloyd-Webber in style at times. There is a definite operatic or musical theatre leaning tot he song, albeit with a very prog style musical backing making it most impressive really. For what is a love song, this has some excellent keyboard parts from Jordan. Footsteps In The Snow is a more even tempo track with great lyrics. This track appears to be about the brevity of life and about the memories that remain behind, a rather philosophical track overall. The album concludes with an instrumental entitled Dreamer, full of deep chords and swirls of keyboard voices It is all very ethereal sounding and very stately and a great ending.

‘Permission To Fly’ is a real roller-coaster ride of an album, from bombastic thunder to gentle melodies and all points in between. This is a highly impressive album and one that befits the highly acclaimed Jordan Rudess. Whether this is a one off remains to be seen so, for now, dig in. In places it is totally weird but most enjoyable with it! Highly recommended indeed.

Released 6th September, 2024.

Order from this link:

https://jordanrudess.lnk.to/PermissionToFly

Review – Steve Howe – Guitarscape – by John Wenlock-Smith

Inspiration can come in many forms and as a result of many different factors and influences, such as a new experience or a new relationship or a trip somewhere new that strikes a chord within. These Inspirations can be worked out in a number of different ways.

Such is the case with this new album from iconic Yes guitarist Steve Howe, whose creative juices were extremely stirred by his purchase of a new keyboard. This meant Steve had to become deeply acquainted with his new purchase to the extent that he composed these tracks for this latest solo album. Solo, although utilising the percussive talents of his son Dylan Howe, with whom he recorded the 2020 release ‘Love Is’.

‘Guitarscape’ is totally instrumental in tone and Steve’s recent acquisition of a Novatron Summit keyboard was the inspirational basis behind the album. As always, Steve offers the listener a variety of styles, both electric and acoustic, performed on a variety of Steve’s classic guitars, a breakdown of which guitars are used for each track are noted in the album’s booklet.

So enough preamble let’s detail exactly what this album offers the listener…

The album commences with the driving electric guitar track Hail Storm in which Steve really cuts loose with some fiery guitar runs and fills. Spring Board has a country music feel to it and, again, shows Steve’s mastery of tone and styling. There is some very technical and proficient playing on display here with the keyboard tones adding warmth and depth. It’s a really fine track that works very well. Distillations is an acoustic number that shows fabulous playing and a sympathetic keyboard sound that gives this track depth too. Up Stream opens with keyboard swirls and electric guitar. The track relies heavily on volume swells and sustained notes and Steve seems to be getting in touch with his inner David Gilmour, as it follows a similar sort of sound, to these ears at least. Secret Mission is another fleet-fingered acoustic track where the really delicate finger work makes for a memorable piece.

Passing Thoughts is another brief acoustic piece that follows a similar line to the previous track withSteve showcasing his impressive skills. Touch The Surface sees Steve using a tremolo effect on his guitar tone, rather impressively it has to be said too! The good thing about this album is that it offers listeners a showcase of Steve’s highly impressive, tasteful and varied guitar styles. In addition, nothing is very long so tracks and styles change rapidly, which is a good thing I feel. Spring Rhyme, in line with its title, has a real bounce to its step. It is a very short, but very fine, track. On Equinox we find Steve playing pedal steel guitar very effectively and Seesaw revisits the acoustic guitar tones in another very brief track.

The keyboard voicing sets the tone for acoustic track Gone West. Steve’s delicate fretwork also supporting the track well. It is the albums longest track and I rather like it a lot. Suma is a brief electric interlude that leads into the album’s penultimate piece, Spring Tide. Another shorter electric track where lots of interesting runs and fills play off good rhyming support from the keyboards and Dylan’s excellent drumming. The album closes with Steel Breeze an electric pedal steel guitar piece that Steve does so well. I like the way he has doubled the guitar at various points, it really sounds great.

‘Guitarscape’ is an interesting and different sort of album for Steve and one that offers a snapshot of where he is now at seventy seven years of age. His prowess and skills thankfully show no significant sign of deterioration or decline, for which we should all being thankful. It is proof that Inspiration is never that far away.

This may not be to everyone’s tastes but the more musically inclined will find much to appreciate here.

Released 27th September, 2024.

Order the album here:

https://lnk.to/hkKdov