A few years ago I saw a band on tour with the Darkness called Do Me Bad Things, my brother, who is almost as good at finding music that I like as David Elliott recommended them to me. Their USP was 5 different vocalists, mixing a trio of female vocalists with soul and a metal vocalist from the ‘tramp shouting in a dustbin’ persuasion, they were so good and their musical range was so diverse it inspired me to buy the album.
After one album they disappeared without a trace, leaving one great album and bags of potential.
(Romy)
I mention them now because listening to ‘Collision’, the debut album by the insanely talented Dutch band Golden Caves (out on Freia and distributed over in the UK by those nice chaps at Bad Elephant) remind me of Do Me Bad Things, if not musically then vocally, and the kicker here is that instead of needing three killer female vocalists, they have just the one, the soulful and versatile Romy Ouwerkerk whose stunning work throughout this album brings these 9 songs to life.
Formed in 2013 at the Dutch University Codarts in Rotterdam, they have been building a huge following at home, and with songs as great as this on an album that’s been honed to perfection over the past 4 years, you can see why.
(Alex)
Proving that the future of contemporary prog is very much in the hands of the youth (like the UK’s Maschine, or Saul Blease) they take the template and have crafted 9 well written and performed prog songs, with no room for lengthy epics or deviations, none of these songs get much over the 5 minutes mark, proving that sometimes less is more.
This 5 piece band have instead of filling a CD because they can, have put their heart and soul into this record, with the songs leaving you wanting more instead of thinking ‘is it over yet?’ and includes reworkings of their singles, the superb My Demons Hunt, and the simply sublime Bring me to the Water.
(Elise)
When they slot together with tracks like Doctor’s Prescription, Mother and the excellent closing When the Rain Falls, you know that this is a band who have a lot to say musically and have the confidence and skills to bring it off.
There is a great mixture of heavier guitar from Alex Ouwehand, whilst the keyboard work from Elise Polman shines throughout, and the anchors of the band Erik Stein on drums and Tim Wensick on bass allows the fluidity of the guitar and keyboards to take off.
(Erik)
As I mentioned earlier it’s Romy on the vocals that is the real revelation, soulful, rocky and on all tracks highly emotive, she is another of the new generation of progressive female vocals like Verity White or Kim Seviour who has an instantly recognisable voice, and who is firmly putting the case that contemporary prog is as much a females game as any other genre.
(Tim)
This is a mature and striking debut album from a supremely talented young band, who, based on the skills shown here and the maturity on this record, have a lot more to give, and are more than capable of making a massive impact.
If you’d not guessed so far I love this record and would put it down as the debut album of the year so far.
Corroded are back! Swedish hard rock band Corroded; a band that topped the music charts in Sweden and whose songs are worshipped by fans around the world – is finally back, and this time the stakes are raised! After previously creating music for the Swedish TV show ‘Survivor’ (Expedition Robinson in Sweden) and the globally popular video game Battlefield, Corroded now enters ‘Defcon Zero’.
The band comments – “With the new single Carry Me My Bones, we proudly present a collaboration with Anders Friden, singer in the world-famous In Flames, as a lyricist. The track itself is a hard rock song and the lyrics are hard rock as well so that gives us the unexpected number of 200% hard rock. All well, no end! Shit good!”
CORRODED – ‘Carry Me My Bones’
Tracks:
1 Carry Me My Bones ISRC: SEXTE1700701
2 Carry Me My Bones radio edit ISRC: SEXTE1700712
Lyrics: Anders Fridén [In Flames]
Music: Jens Westin Per Soläng Bjarne Elvsgård Tomas Andersson
‘Defcon Zero’ isn’t just Corroded’s first new album in five years – it’s also their first release on Despotz Records. Signing to Despotz Records has opened brand new possibilities for Corroded and given them the firepower to further strengthen their position, both nationally and internationally.
‘The goal with this album is the usual – complete world domination!’ explains singer/guitarist Jens Westin explains with a smile.
The sound on ‘Defcon Zero’ is harder without losing any of the melodic focus. Five years might have flown by but ‘Defcon Zero’ picks up when the acclaimed ‘State of Disgrace’ left off; whilst sounding completely new at the same time! Above all – it sounds Corroded.
‘We worked solely within the band this time as we entered this process, with only some raw ideas without any preconceptions. From there on everybody contributed. The creative process was based on our live performances and we had tremendous fun while recording’ Jens comments.
Some Corroded history Everything happened quickly after the release of Corroded’s debut album ‘Eleven Shades of Black’ back in 2009. The track ‘Time and Again’ was used in the Swedish version of Survivor (Expedition Robinson) and in 2010 the band won ‘Breakthrough of The Year’ at Bandit Rock Awards. When the next album, ‘Exit to Transfer’, hit the stores it went straight in at number six on the Swedish album chart. Corroded then wrote ‘Age of Rage’ for EA Games, a song that would be featured as the theme song for ‘Battlefield Play4Free’. ‘Age of Rage’ subsequently achieved Gold status, generating several million streams.
Five years may have passed since their last album but, during this period Corroded has kept on touring and their popularity has been constantly rising. Corroded pushed every limit and established themselves as one of the most prominent Swedish hard rock acts. Several of the new songs have become live favourites before they’ve even had a chance to be released, such is the dedication of the Corroded fan base!
‘We have more or less toured continuously and supported our previous album live for five years. In that sense we have been very lucky, but at the same time, we got the chance to play many of the new songs live and that proved to us they have an enormous strength’ says Jens Westin.
With the release of the new Corroded album, it’s time to reset the parameters and enter ‘Defcon Zero’!
On the eve of their forthcoming (seventh) album ‘Visuals’ on 28th April, Danish trio Mew are pleased to share new track Twist Quest. Taken from the album and accompanied by a video that sees lead singer Jonas Bjerre assume the role of creative director whilst also coordinating visuals for the band’s forthcoming live shows.
Watch it here:
Following 2015’s + – the band undertook tour duties around the world and on their return saw them enter the studio with demos that unlike previous works came to fruition comparatively swiftly in terms of writing and recording against a poignant backdrop of world events over the past twelve months
As Bjerre explains; “This song took shape during a long jam session, like we hadn’t done in a long time. It’s a joyful song, with dark lyrics. I guess the song is about being confused, and unable to keep your mind still from all the stuff that floats around it. The expectations we put on ourselves. But also there’s a sense of celebration in it.
Mew’s 80’s tinged pop euphoria reigns supreme on ‘Visuals’ and Twist Questfollows that road, dreamy vocals courtesy of Bjerre and flourishes of saxophone feature and contribute to an album that’s both nostalgic and contemporary, that looks back whilst marching forward, the sound of a band seizing the moment.
Visuals is released on 28th April though Play It Again Sam and available on CD, vinyl and digitally and is available to pre-order here.
Mew play live at:
7 May – Bangkok, Thailand – Voice Space
10 May – Kuala Lumpur, Malaysia – KL Live
17 May – Amsterdam, Netherlands – Paradiso
19 May – Paris, France – Point Ephemere
20 May – Antwerp, Belgium – Trix Club
21 May – Bristol, UK – Trinity Centre
22 May – Manchester, UK – O2 Ritz
23 May – London, UK – O2 Shepherds Bush Empire
25 May – Cologne, Germany – Luxor
26 May – Hamburg, Germany – Knust
27 May – Neustrelitz, Germany – Immergut Festival
28 May – Copenhagen, Denmark – Royal Danish Theatre
It was 1986 when the CD revolution was gaining pace and I bought my first music system with a CD player, a Panasonic system with the works, twin tape decks, graphic equalizer, record deck, you name it. I bought it from Quay Televison in Bridlington which, over thirty years later, is still standing, unlike my vinyl collection!
The first CD I bought was Billy Idol – ‘Whiplash Smile’ and from that day on,the writing was on the wall for all my cherished LPs which I’d collected over the last 7 or 8 years. My first record player was a hand-me-down from my parents. One of those old Sanyo music systems that looked like someone’s sideboard but played the music really well to my young ears.
Well, thanks to Billy, my CD collection expanded and I ended up selling all my vinyls to Smugglers Records for what now seems a pittance.
Fast forward 30 years and a certain Chris Topham of Plane Groovy (also a Virgin Airlines pilot I’ll have you know) messages me and ask me if I’d like to start reviewing vinyl. I have to admit I was a bit of a naysayer when it came to the new vinyl revolution and wasn’t 100% certain but I agreed to give it a go.
The album in question was the 3rd release from ex IQ vocalist Paul Menel and true to his word, Chris sent ‘Spare Parts For Broken Hearts’ over post-haste, arriving just before my new record deck!
Here is the PR stuff about this new album:
“This album, the first from Paul Menel and his new band, The Essentials, represents a further step in Paul’s musical evolution from his early days with 1980s UK proggers, IQ. It demonstrates well his growth as an artist and as a man, not frightened to face his demons and to confront the emotional challenges of life in the early years of the 21st century.
Ably supported by his band, The Essentials, featuring the powerhouse rhythm unit that is Tim Churchman on drums and Steven Swift on bass, this album has again been produced by the legendary Gavin Monaghan – renowned for his work with Robert Plant and Peter Gabriel among others.
Appropriately to be launched on Valentines Day 2017, the album takes us on an emotional journey into maturity, with catchy songs set to become earworms and which talk of love lost and found and the trials of life.
It’s a toolkit for those looking to mend a broken heart & go on the next phase of their life journey with Paul and his band at their side as part guru, part fellow traveller, part court jester reminding us not to take life too seriously…
Available initially on vinyl and download only through Vinyl Specialist, Plane Groovy“.
The first thing that strikes me is the quality of the packaging, the artwork by Graeme Bell is visually stunning on the cover and the vinyl centres themselves and it comes with a stylish lyric and credit sheet, it definitely feels a quality product to me.
Now, the music. Before I talk about the songs themselves, please remember this is the first vinyl I have played in a very long time. My ears have become used to a diet of clinical mp3s and compact discs so the first thing that struck me is the warmth and quality of the music as the needle tracks the grooves. It almost feels alive and what others would see as possible imperfections, I see as being an essential component of the sound.
There is a permanency to vinyl that you don’t get from anything else and I dismissed this with a nonchalant shrug of the shoulders for such along time. I was absorbed in the packaging, artwork and lyric sheet for along time and the simple act of lifting the needle to put it on the LP for the first time is joyous in its own way.
The first notes of ‘Til Dawn Rolls In’ immediately grab my attention, an upbeat and absorbing track with some excellent sax work from Sam Rogers and great backing vocals from EmmaSkipp and Kaytee De Wolfe. It has a cultured pop song feel to it but one that is much more intricate and intelligent than the usual fare we are given and would not have been out of place in the 80’s alongside Duran Duran, Simple Minds and the like. Like the bastard son of the Stray Cats and Chris Isaak, there is a warped rockabilly feel to the gloriously dark Strife with its dirty guitar riff and Paul’s edgy, knowing vocal delivery. It’s a song with a real raw immediacy to it, pared back and dangerous and I really like it, on vinyl the sound almost leaps out from the speaker to assault you.
With a graceful piano and a vocal that Paul Carrack would be proud of, Walk In My Shoes is one of many highlights on the album. A real 90’s songwriter’s classic track. Haunting keyboards and backing vocals add lustre and polish to this brilliantly classy song. I’m sat at the keyboard swaying in time as I write these words, it walks the right side of cheesy but I am seeing big hair and even bigger shoulder pads and an audition for that classic 1990’s Volkswagen advert theme. The edginess returns with Crash And Burn, a song that has a real 60’s tone to it, even a Bond theme feel with its big band strings and echoing drumbeat. You’ll love the guitar sound too and Paul’s vocal is mesmerising and dominant,especially on the catchy chorus. This is elegant pop music for adults with a mature overtone and an over 18’s certificate, imagine a dark nightclub in London’s soho and a singer in a sharp black suit, his trident voice cutting through the smoky atmosphere and you won’t be far wrong. Compare notes by playing the mp3 and then the vinyl straight after and you can literally feel the extra dimension that the latter gives to the song.
Humour is brought to the table by the Man of Steel and Kryptonite, a lighter 60’s sounding song with a levity at its core. The dancing flute of Mat Taylor gives it a playfulness and Ben Drummond’s rhumba guitar adds a sassy overtone. Paul’s powerful vocal is aided and abetted by the wonderful backing of Ange Lloyd and the song bounds along with glee right until the close. There’s a cinematic expansiveness to the jazzy Pedestal, a stylish song that really showcases the songwriting ability of Paul Menel. There is a standout performance by violinist Julianne Bourne and the whole song just feels like it should be the soundtrack to some stylish and clever movie that has to include a drive in a classic Ferrari on the Amalfi Coast, such is its passion and verve.
Bloody hell, what’s happened? The music has stopped…. Oh, yes,it’s the end of side one, hang on while I go and change it over!
Side two, now there’s something I never envisioned saying two months ago, opens with They Call Her Leaf, a song that will illicit comparisons to a certain tall Scottish singer and this is not surprising seeing that Paul was the lead singer of IQ in the 1980’s when the neo-prog movement first started and Marillion were contemporaries. It’s a powerful, anthemic track with fantastic backing vocals from Vix Vox and a chorus that soon becomes a definite earworm. There’s bombast and not a little bit of grandiosity and Paul gives a definitive vocal performance. You know those tracks that kept turning up on E.L.O albums? The ones where Jeff Lynne was channeling his inner 50’s rock n’ roll star persona? Yes? well Paul gives us his own version with the superb title track Spare Parts For Broken Hearts. It’s a rocking tune that just takes the lead and never lets up, there’s accordion and violin joining in with his demonstrative vocal that shows us the broad palette that this splendid musician has.
Blues and jazz combine on the rollicking The Pleasures Of Vicarious Vengeance. A guitar sound that George Thorogood would be jealous of and Sam Roger’s uber cool sax are the ultimate driving force on this energetic, funky song and you just have to let your hair down and join the fun. Atmospheric and moody, Hey, Did You Hear About Paul takes a more serious tone with Paul’s vocal becoming more serious and thoughtful. Jake Henry gives gravity to proceedings with his smooth keyboard playing and an 80’s neo-prog nunace from Tim Churchman adds flavour to everything.
A tongue in cheek 80’s Let’s Dance period David Bowie influence is what I get from I Told My Last Lie Today, the driving piano beat, accordion and funk infused guitar just make you want to dance and there’s some great vocal flirting between Paul and Vix Vox. Paul Menel shows he can wear different musical faces with ease and skill. A really upbeat song that is fun of fun and wants you to get down and join in with the party. The final song on what has been a really riveting and enthralling musical journey is the wistful Happy Face, a track that could have come straight from a West End musical with its theatrical feel. Jake Henry’s keyboards and piano give it a simple grace and Paul’s voice with it’s emotional edge is really touching. Duel saxophones from Sam Rogers and Andy Sax add the requisite jazz notes and Bryan Corbett brings his trumpet to this amazing listening experience, the silence that descends as you hear the crackling of the needle end is actually quite deafening.
So, I really have to come to two conclusions here and I’ll talk about the actual songs and album first. Paul Menel and The Essentials have produced a musical experience that is brilliant and enjoyable from the first note to the last.There’s humour, pathos and emotion in spades and it’s a varied and immersive listening journey. It’s an album that I will be listening to a lot that’s for sure.
Now Paul and Chris Topham have a lot to answer when it comes to vinyl. Is it a better listening experience than CD or mp3? To my ears there is a warmth and connectivity to vinyl that you just do not get with the other formats. My enjoyment of this album was definitely enhanced by the vinyl experience, the packaging and the listening. And, curse you Mr Topham, I now have twenty further vinyls to backup that verdict!!
On their 2nd LP, ‘Gargoyles,’ the Glasgow-based Big Hogg mine a rich vein of post-‘Sgt. Pepper’s’ sounds, including psychedelia, Canterbury folk/jazz/proto-prog, and the background music for those dance interludes that showed up in every 60’s movie regardless of whether the film was a musical. It’s a weird and wonderful ride.
While the music encompasses a range of influences, the songs do not come across as genre-bending or as mash-ups; rather, the album comprises myriad variations on the sounds of 1967-1969 that nonetheless cohere as a unique and idiomatic Big Hogg approach. The opening three tracks well establish this programme. Solitary Way blends folky acoustic lines, male and female vocals, and flute as a musical bed over which the drums, bass, brass, and electric guitar alternately lay down their own grooves. Vegan Mother’s Day takes a funkier guitar-solos-and-horn-showcases-galore approach, while Augogo begins with jazz arpeggios to delight the clientele of any smoky underground cafe before launching into a flirtatious mod bit seemingly intended for Bob Fosse. Each mood and tempo gives way to another at exactly the right time; the changes come across as perfectly choreographed movements rather than the butting in of a new dance partner.
Like Mr. Toad’s Wild Ride, ‘Gargoyles’ is a fun and thrilling ride, though it’s not quite safe as milk. The mood is ⅔ mellow trip and ⅓ psychotropic provocation as the band incorporates the punch of ‘Chicago Transit Authority’ with the Judy of ‘Dark Side of the Rainbow’. The album is shot through with a smattering of the supernatural (or perhaps simply a pagan approach to the natural?) that occasionally turns menacing, as on the imprecation of The Beast (A witch in the streets/And a woman gone loose…Burn the witch/Go up in flames) or the droning refrain and wailing at the end of Devil’s Egg, which strongly resembles the hypothetical conjoining of Frank Zappa with Drimble Wedge and The Vegetation. And the (mostly) innocuously-titled My Banana contains a rather anthemic and hooky chorus that you won’t want the children singing at school (Fuck off!/And give me peace/I want my life back/And my energy). Still, the sense of mischief is folded into quite a bit of fun and cheeky humour, as exemplified by many of the song’s titles (Vegan Mother’s Day, Drunk On A Boat, Waiting For Luigi, My Banana).
There’s really little to quibble over in this set, as the compositions, arrangements, performances, and production are all quite superb. Both lead vocalists serve their songs well, and the brass, flute, and wurlitzer sound like established members of the family rather than guests seeking accommodation. I will note that a few songs in the back half of the album employ a quick-fadeout that sounds to my ears like the band lacked direction in how to finish the tracks off. But on the whole, everything flows together nicely and the album nearly demands to played on repeat.
Big Hogg have really done it: ‘Gargoyles’ is one of the more unique, fun, and singular releases I’ve heard in awhile. The album fully inhabits that 1967-1969 period without coming off as retro, and it’s at least as upbeat as it is offbeat. Don’t fear the strange and unfamiliar, folks; embrace the weird and the wonderful. There are plenty of sing-along hooks and smile-inducing horn breaks here to carry a new listener through the initiation, and once you’re in, you’ll have twice as much fun as your benighted friends. Recommended for fans of progressive music, jazz, Bob Fosse dance sequences, Peter Cook & Dudley Moore films, boozy halloween parties, and Stonehenge.
New studio album “Novum” and 50th anniversary UK tour.
On 21st April 2017, Eagle Records release “Novum”, the brand new studio album by Procol Harum, on CD [Cat No EAGCD659] and 2LP [Cat No EAGLP661]. “Novum” is Procol Harum’s thirteenth studio album, and their first for fourteen years – following “The Well’s On Fire” in 2003. “Novum”is released in the band’s fiftieth anniversary year, which also sees the band undertake a very special UK and European tour. The album release is preceded by that of the single “Sunday Morning” on April 7th.
“Novum” features a stunning cover artwork by Julia Brown which references elements of the sleeve of the band’s eponymous debut album in 1967. With that album, half a century ago, powered by the huge and ongoing success of their debut single “A Whiter Shade Of Pale”,Procol Harum went on to help define the progressive rock genre in the early seventies whilst at the same time embracing their roots in blues and soul. “A Whiter Shade Of Pale” continues to be one of the best-selling singles of all time, one of the most recognisable and most played songs – ever.
Procol Harum has been an evolving musical force from the first performance in ’67, but always led by founding member, singer, pianist and composerGary Brooker. Most of today’s line-up has been playing together since the early ‘90s and it includes bassist Matt Pegg (Jethro Tull, Ian Brown), drummer Geoff Dunn (Jimmy Page, Dave Stewart, Van Morrison), guitarist Geoff Whitehorn (Roger Chapman, Paul Rodgers, Roger Daltrey) and Hammond organ player Josh Phillips (Pete Townsend and Midge Ure), but to all their fans, they are the real Procol Harum.
Gary Brooker said, “Our last studio album was in 2003, and with 2017 being 50 years of Procol Harum, something special was needed, which has resulted in a new album of new songs with the band as we’ve stood for the past decade, all contributing with producer Dennis Weinreich to make what I believe to be one of the finest Procol Harum albums ever – “Novum” – just listen.”
“Novum” sees a new direction for Procol Harum with the songs being written and created by the whole band, with most songs featuring words by Pete Brown, most famous for his songwriting collaboration with the members of Cream. This has given a different feel to the songs, retaining the thought provoking content for which the band has always been known but with a different slant and elements of humour.
TRACKLISTING
1 I Told on you / 2 Last Chance Motel / 3 Image of the Beast / 4 Soldier / 5 Don’t Get Caught / 6 Neighbour / 7 Sunday Morning / 8 Businessman / 9 Can’t Say That / 10 The Only One / 11 Somewhen
2017 UK Tour Dates
3 March: Royal Festival Hall with Orchestra [SOLD OUT]
6 May: Edinburgh Queen’s Hall
8 May: Manchester Bridgewater Hall
10 May: Liverpool Philharmonic Hall
11 May: Birmingham Town Hall
13 May Shepherds Bush Empire
14 May: Nottingham Concert Hall
16 May: Bristol Colston Hall
“Novum” marks not only an incredible fifty years of amazing music, but also the next step for this seminal band. As ever, the music and musicianship within the band is of the highest level and this long-awaited collection of brand new songs is sure to be welcomed by Procol Harum’s devoted fanbase.
“I have a small inkling that we could be listening to a band that could, if not should, turn out to be a big hit. The way the songs just flow perfectly, the brilliant musicianship and that fantastic voice all deserve success on a major scale. Vicinity stands comparison with any of the new bands out there and would not be awed by the greats. For a first full length album, Awakening is really rather good. I suggest you go out and buy it….now.”
I wrote those words back in October 2013 about Vicinity’s debut release ‘Awakening’ and it wasn’t until I got a message from vocalist Alexander K. Lykke recently that I realised how much time had passed since its release. Isn’t it about time we had a new album from these talented Scandanavians?
Funnily enough, that’s what Alexander was wanting to talk to me about, did I want a promo copy of their new album ‘Recurrence’, due to be released on the 21st of April? Of course I bloody did!!!
Fast forward a few weeks and here is the review…
First, a precis of the press release…
Vicinity are Alexander K. Lykke – Vocals, Kim-Marius H. Olsen – Guitars, Frode Lillevold – Drums, Pierre-Nicolai H. Schmidt-Melbye – Bass and Ivar A. Nyland – Keyboards and Synths.
The Norwegian progressive metal band Vicinity is back with a follow up to the critically acclaimed album ‘Awakening’ (2013), put on best newcomer lists by several webzines and Norwegian national radio (NRK P3). Their new creation, ‘Recurrence’, is a concept album that debates the cyclic nature of humanity, both as a whole and at more personal levels, while highlighting both the technical- and melodic aspects familiar to the progressive metal genre.
With ‘Recurrence’ the band set out to make an album that would be more than just the sum of its tracks, and envisioned an album where the songs would float into each other. The major theme of the album, lyrically, became: the cyclic nature of the human condition. Within that theme the lyrics explore and challenge topics like dementia and memory, and whether the world might be a better place without what humanity has become.
The band wanted to challenge themselves technically, but always keeping the songs and the album as a whole in focus. The result is an album of six tracks, varying in length from 5 to 22 minutes per song, in the tradition of bands like Circus Maximus, Threshold, Arena and early Dream Theater.
So, sounds very promising from the Press Release but let’s get right into the nitty-gritty and form our own opinion shall we?
The Unwritten Manifest gets us off to a cracking start with an excellent, urgent riff and stylish keyboard tone. It’s almost 80’s in its feel before we have a break and we set off on a hell-for-leather prog-metal fest of impressive licks and dynamic, powerful drumming. Alexander’s vocals seem to have got even better, his voice soars and he has no trouble hitting even the highest notes. I’ve been listening to a lot of Ultravox recently and Ivar’s synth playing doesn’t half remind me of Billy Currie and gives an additional dimension to the band’s sound. At times the vocals even venture off into Symphonic Prog territory and Alexander just takes it all in his stride. a pretty impressive opening to the album it must be said!
We segue straight into Phoenixand the guitar and keyboard opening does give that feel of something arising, Phoenix-like, from the flames. The technical ability of these guys is second to none and you feel they are really getting into the groove on this track as it flows immediately and perfectly. There’s a compelling and pressing feel to the vocals and a persuasive dynamism to the whole track as it continues to transfix you with its addictive guitar riffing and keyboard runs. You want vocal harmonies, you got them in spades my friend and Pierre-Nicolai’s impressive bass playing drives everything along, aided and abetted by Frode’s weighty drums. A highlight is the superb guitar run from Kim to wards the end, this song comes in at a tad under eleven minutes but it flies by in a haze of singular musical excellence to leave you breathless at the close.
So, imagine someone came up to you and said “Write me an archetypal Prog-Metal track with an addictive, soaring chorus, catchy riffs and a dynamic rhythm section and, while you’re at it, throw me in some more intricate, proggy sections…”, humour me here, okay? Then I’m pretty certain that if you came up with Mountainfall they’d class you as the prog-metal version of Diane Warren. Yes, from the first note, this track really is that good, there’s an immediacy to it that never fades, no matter how many times you listen to it (and, trust me, I’ve listened to it a LOT!), it is near prog-metal perfection. It is on this song that Vicinity prove what I’ve been thinking from the first listen to the album, they really have stepped up many leagues and should be classed in the top echelon of acts in this genre. The chorus is an insane earworm, you just will not be able to get it out of your head, Kim lets fly with some incredible guitar playing and Ivar makes the keyboards talk to you in improbable ways. Add in an uber-tight rhythm section and you really couldn’t ask for any more!
A relatively short track at five and half minutes, Extinctionis a super-cool song that mixes classy riffs and edgy vocals to give it an instancy that sits perfectly alongside another chorus from the Vicinity book of memorable sing-alongs. It moves through your atmosphere at the speed of sound (see what I did there?) dragging you willingly in its wake. The drumming is that intense and hyper that you wonder if Frode had to grow an extra pair of arms to be able to do it but, no, it’s just his innate ability, crikey, these guys can really play!
These’s another immediate segue intoImmaterial Failureand the prog-metal juggernaut takes a breath with a more laid back introduction. Slow and measured it may be but it’s still mighty imposing. There is a feel that this song is building up to something more monumental and profound. Alexander has a more emotive feel to his vocal delivery and the rest of the band are in absorbing mode, each note resounding in your ears, especially Pierre-Nicolai’s descriptive bass playing. The foot is lifted slightly off the break pedal for a short while to add a more pressing edge to the song but that moderate, deliberate fundation remains. We are treated to a scintillating solo from Kim-Marius’ fiery guitar and more of that cultured bass playing, these musicians can do restrained just as well as they can rock your socks off.
There’s no pause as we make the transition into The Long Goodbye, the longest and weightiest track on the album. A polished introduction consisting of Alexander’s haunting vocal laid over an ethereal piano note mesmerises you before a wistful guitar takes up the mantle. The blue touch paper is then lit and the energetic drums join a compelling, staccato guitar to drive things along, Prog-Metal epic? yep, here we go! Vicinity may have been influenced by early Dream Theater, Circus Maximus and the like but they are creating their own signature sound which is wholly evident on this intense, superb track. High notes are hit with precision on the vocals, the riffs almost have a life of their own and the bass and drums have a vibrancy that is electric to hear and feel. It’s almost as if this song compresses time, it may be over twenty-two minutes long but never outstays its welcome as its gravitational pull draws you in and doesn’t let go. Trust me, you will find yourself reaching out for the volume control to ramp it right up and your neck will ache from all the nodding along to the beat you will be doing. Vicinity can do intricate and complex as well as anybody but it is there for a reason, not just for showing off, there is a section towards the middle of the track where this is very apparent. This song, like the rest of the album, is a very absorbing listen as little nuances makes themselves known with repeated listens, giving the listener an insight into the music and the ethos of the band. So, I’ve come to the end of the album, what do I do now? Well, like a fantastic drive down an incredible road, there is only one thing to do, turn round and do it all again, just press play…
(All live photos by Geir Khile Hanssen)
It may have been three and a half years but the wait for a new Vicinity album has been well worth it. A slice of Prog-metal brilliance which you want to return to again and again, ‘Recurrence’ is a great achievement and shows that this band have now become a force to be reckoned with in the genre. Chock full of addictive earworms and musicianship from another planet, it should be on everyone’s wishlist!
