April 2020 – Page 2

THE KINGS RETURN – KATATONIA PREMIERE NEW SINGLE “THE WINTER OF OUR PASSING”

TAKEN FROM THEIR FORTHCOMING NEW ALBUM “CITY BURIALS” RELEASED ON PEACEVILLE ON 24^TH APRIL.

With the release of Katatonia’s new opus City Burials imminent, on 24^th April through Peaceville Records, the band present their 3^rd single to be taken from their new studio album entitled “The Winter Of Our Passing” on 22^nd April.

The track is also being made available as an instant download with all pre-orders of the digital version of City Burials.

“The Winter Of Our Passing” follows on from the album’s debut single “Lacquer”, and the upbeat “Behind The Blood” featuring Katatonia’s trademark screaming guitar solo and hugely memorable chorus.

Of the new track vocalist Jonas Renkse states “’The Winter Of Our Passing’ is a concise song that mixes electronic elements with a classic Katatonia chorus. It’s a song about surrender and trying to navigate the darkness.”

Three years in the making, City Burials is another huge statement from the legendary band that are eleven albums into a career that spans three decades.

Katatonia released their most popular album to date, The Fall of Hearts, in 2016 to chart and media success; reaching #1 in the USA Heatseekers and #5 in the USA Hard Rock charts, #2 in Sweden’s Hard Rock chart, #3 in Canada’s Hard Rock chart, #4 in the UK’s Rock and Metal chart, #6 in Finland, #11 in Germany and saw success in Australia with their first ever chart entry.

With the winds of a new direction steering Katatonia onward & ever outward, the first single “Lacquer” exuded a newfound refinement and eloquence, parading meticulously sculptured treasures of turmoil with its poignant yet soaring vocal refrain. City Burials stands as Katatonia’s new triumph of deep, progressive rock with what has come to be a rejuvenating, stirring and profound chapter in the band’s legacy – a catalyst for the burdens of its creators, a collection of moments constructed out of the fragments of an evolving life, all compiled into one of the band’s most important modern works and statements to date, with the voice of Jonas Renkse guiding us through these latest trials of loss and ruin.

City Burials was recorded at Soundtrade Studios, Tri-Lamb Studios & The City Of Glass, throughout October & November 2019, with engineering work handled by Karl Daniel Lidén. The album also features a guest appearance by Anni Bernhard, the voice behind Stockholm based act Full of Keys. Artwork appears courtesy of Lasse Hoile, the image itself representing the ongoing era of the Dead End King.

The new opus is garnering huge praise from the worldwide media as is evident in just the small selection here:

“City Burials is arguably Katatonia’s strongest album for 20 years” 9/10 -Metal Hammer (UK)

“Yearning epics laced with sky-clawing guitar dynamics …. Welcome back, chaps” Prog Magazine

“City Burials” showcases them in the best shape of their career” – 8/10 – Blabbermouth

“Absolutely buy this record” 4/5 –New Noise

“Katatonia always excels in the art of shaping sweet and bitter melodies, piercing the listener’s heart.” Metallian (FR)

“City Burials shows one thing: there is still much passion within this band” Metal Hammer (DE) 6.5/7, soundcheck #1/album of the month

“Katatonia never sounded so modern like on this album. With City Burials they created a dreamy, melancholy album with lots of atmosphere” 9/10 – album of the month Eclipsed (DE)

“the record boasts a warm and engaging production that few other bands come close to “ 8/10 Sweden Rock Magazine

“exquisitely post-rock and atmospheric” Rock Hard (IT)

City Burials will be released on CD, deluxe mediabook CD with bonus tracks, black and coloured vinyl LPs with a bonus track and digitally (Digital pre-orders receive “Lacquer”, “Behind The Blood” and “The Winter Of Our Passing” as instant downloads). Pre-orders available HERE

KATATONIA LIVE

Katatonia will be appearing at various festivals in 2020 with details of headline tours coming soon…

Jun 13 -14 – Romania, Bucharest, Maximum Rock Festival (https://www.facebook.com/Maximum-Rock-Festival-132903160204572/)

July 16-18 – Finland, John Smith Festival, Peurunka, Laukkaa (https://johnsmith.fi/esiintyjat/)

Aug 5-8 – CZ – Brutal Assault Festival, Fortress Josefov (https://brutalassault.cz/en)

Aug 14-16 – US, Las Vegas – Psycho Fest (https://www.vivapsycho.com/)

Katatonia are:

Jonas Renkse – vocals

Anders Nyström – guitar

Niklas Sandin – bass

Daniel Moilanen – drums

Roger Öjersson – guitar

(Band photos credit Ester Segarra)

DEVIN TOWNSEND – launches series of live streamed, fundraising shows in aid of healthcare workers

Music fans across the world are missing the thrill of going to live concerts, and Devin Townsend is here to help. Devinis hosting live concerts in his home studio this month, each one raising money for healthcare workers around the world. The first took place this past weekend in support of Vancouver’s General Hospital, selling close to 2000 tickets, and raising nearly 50,000 dollars. Devin has put together an impressive 4-camera rig for these streams, controlled using nothing more than an Xbox controller. You can watch a recording here:

The second will be in support of the NHS in the UK, and the third will be in support of hotspot hospitals in New York. Shows will last around 50 minutes, with different setlists each time. The top donors for each show will receive signed merchandise from Omerch, album goodies from InsideOut as well as several high-end products from a number of Devin’s gear companies such as Mooer, Fractal, Toontrack, Dunlop and |Fishman to name a few. All ticket buyers will also receive a (somewhat tidied-up) remixed version of the show’s audio recording.

Saturday April 25th – Noon PDT / 20:00 BST / 05:00 AEST

Saturday May 2nd – Noon PDT / 20:00 BST / 05:00 AEST

Get your tickets here: www.stageit.com/Devin_Townsend

The release of ‘Empath – The Ultimate Edition’ was recently announced for the 5^th June 2020. This comprehensive version of 2019’s acclaimed album contains the original record and bonus disc across 2 CD’s, plus 2 Blu-Ray discs. The first blu-ray contains the 5.1 Surround Sound mix by Devin, with visuals for the full record, plus a stereo visualiser. You will be familiar with some of the visuals including the stunning video for the uplifting single ‘Spirits Will Collide’: https://youtu.be/AdHJurX0yVA

The second blu-ray contains a raft of bonus material, including ‘Acoustically Inclined – Live in Leeds’, a recording from his April 2019 acoustic tour where he performed tracks including ‘Love?’, ‘Deadhead’, ‘Thing Beyond Things’ & more.

It also features the full Empath Documentary, a ‘Genesis 5.1 Mixing Lesson’, a full album commentary & more. The four discs sit inside a beautiful art-book that contains new liner notes and images from the making of the album.

Pre-orders are now available here:

https://www.omerch.eu/shop/devintownsend/

https://Devin-Townsend.lnk.to/Empath-TheUltimateEdition

Review – Jack Hues – Primitif – by John Wenlock-Smith

Jack Hues is not a name that most will be familiar with really, that is unless you are conversant with the band Strictly Inc. that he was part of along with Tony Banks of Genesis or with the new wave outfit Wang Chung with who had a big early 1980’s hit with Dance Hall Days. Since those days Jack has kept himself busy with The Quartet and also been working with the boys from Canterbury Prog outfit Syd Arthur. All of which bring us to this new album ‘Primitif’, which is actually Jack’s first ever solo release. It is a double album of some 16 songs of various lengths and styles, including a covers of Bacharach and David’s The Look of Love and Lana Del Ray’s Video Games.

The record covers several different styles and moods, its lyrics can be somewhat bleak and desolate at times but this is not a bad thing, rather it shows incredible honesty and bravery by showing us his raw feelings. There is also something of a philosophical slant to some of these tracks as Jack contemplates mortality, fate and free will and how these could affect our lives.

This is generally an acoustically led album, although several song are fully electric, there are some very interesting guitar lines and parts to several of the songs and the mood is generally hopeful. It took me quite a few listens to start to make sense of this album as it is one that you will have to persevere with to fully appreciate but that actually makes it a far richer experience in my opinion.

The disc opens with the aforementioned Bacharach and David cover and it is a jaunty romp through a classic song with good use of keyboard orchestrations and a strong bassline holding it all together as Jack’s strong vocal lines bring the song home with aplomb. This is a fabulous opener that leads into the more melancholy Whitstable Beach which reflects on the bleakness of the northern Kent shoreline, this despite the track having a driving beat to it. The song has an excellent refrain in the closing section, again this is another powerful song.

The third track, A Long Time, is an acoustic shuffle with the guitar punctuating the song with clipped tones. This piece is all about letting go and almost feels cathartic for Jack as he sings of the difficulties in closing a chapter in your life. The next song is called Cut and is a shorter but still highly percussively driven acoustic instrumental piece.

These two songs are followed by the lengthy and epic track Winter, which is the longest track on the first disc. Winter is a deceptively enthralling track with its very clever use of guitar tones building the emphasis of the song, the finality of things and how death stops growth completely. The mid section has some very interesting musical elements at play, a sudden bass and burst of guitar and discordant rhythms being employed that sound unsettling and the bleak call to let me think of nothing that closes this somewhat sombre piece.

Diamond Ring is next, another gentle acoustic song that speaks of a ring that has been lost but the memories it held still remain in the singers mind as he recalls the wearer and the events that it represented.

The brief interlude of Spring follows, an acoustic and atmospheric instrumental piece that gradually builds in waves of increasing intensity and synthesizer noises that finally lead us to the epic closer of disc 1, Margate Train, a song that is full of memories that are exposed as the track continues. This is a very emotional song that deals with a mind full of memories that have surfaced, uncalled yet ever present in the singer’s voice and mind and that have gone away seemingly forever. The main refrain and synthesised strings return to close the song out on a very bleak line as the guitar reverberates away to silence, a remarkable track by any standards.

Disc 2 continues the journey, opening with the upbeat You Are The One I Love, probably the most straight forward pop song on the whole album and a very effective and memorable song too. Astrology speaks about free will and precession and predestination, Jack sounding similar to latter day Ian Gillan at times on a song that is lyrically challenging.

Summer is another short instrumental track segues into the song Stand In A Place Of Love, another angst driven acoustic outpouring that talks about Nietzsche (the German philosopher) whose influence on thinking and writings on good and evil were used by the Nazi party in the 1930’s and 40’s, especially that of a superior race of men.

An Ordinary Man is a storming mid paced rocker that really surges along with a propulsive guitar line running throughout and a propensity of urgent drums, really there’s a lot going on here musically that combines make this a really rather fine song indeed. The next track, You Will Kill The One You Love, features an accordion alongside more standard instrumentation and this gives it a unique organic sound that is very full and interesting. This leads into the penultimate track, Autumn, another brief electric piece with shimmering guitar chords played in an arpeggio style and a reprise of The Look Of Love lyrics alongside stacked vocals, all done to great effect.

The final track and the final station on our musical journey is Video Games, a reworking of a track by Lana Del Ray that Jack has taken and rather electrified making it more like a Miles Davis piece replete with some heavy guitar lines and a driving backbeat. He uses clipped vocals to add punch before expanding it into a more mainstream delivered song with acoustic guitar. It this quite well known song a distinctive spin from the more recognised original.

Video Games closes the album in style and proves that it was worth the wait and also worthy of your time and consideration. As I said its not an easy listen but stick with it and you will find the treasure that lies at its core. This is a sensational piece of work and I heartily recommend this masterpiece to you all, it may not be progressive as such but the craft that is on display here makes this album worth all the plaudits that it gets, so dive on in, the water is lovely.

Released 20th March 2020

Order the album from bandcamp here:

https://jackhues.bandcamp.com/album/primitif

KANSAS – launch video for ‘Throwing Mountains’; first single from new album ‘The Absence of Presence’

KANSAS, America’s legendary progressive rock band, has released a new song and music video for their song “Throwing Mountains” taken from the band’s highly anticipated new studio album “The Absence of Presence” out June 26, 2020 through Inside Out Music. Fans can listen and watch the music video at this link:

‘Throwing Mountains’ might be one of the heaviest songs KANSAS has ever recorded,” comments KANSAS guitarist Zak Rizvi, “At over six minutes long, I like to consider it a bit of a KANSAS mini-epic.” Rizvi wrote the music for the song with lyrics by KANSAS keyboardist Tom Brislin and drummer Phil Ehart.

Brislin says, “It’s very straight forward, ‘get your confidence going, take on any obstacle, conquer the world’ song. It’s pretty timely in the world, today.”“The song is so much fun to play,” adds KANSAS bassist Billy Greer. “The riff is like ‘Thunder of the Gods’ but dynamic at the same time.”

The band recently gave fans a sneak preview of what they can expect to hear on the album with this sampler video:

Today, ‘The Absence of Presence’ is available for pre-order.

“We are really excited for our fans to be able to get a taste of what is to come from ‘The Absence of Presence,’” says KANSAS lead vocalist Ronnie Platt. “I think people will really be surprised by the album. ‘The Absence of Presence’ shows the band firing on all cylinders.”

“The Absence of Presence” follows-up 2016’s “The Prelude Implicit,” which debuted at #14 on Billboard’s Top 200 Albums chart. KANSAS has sold more than 30 million albums worldwide, and is famous for classic hits such as ‘Carry On Wayward Son’ and ‘Dust in the Wind’ to the progressive epic ‘Song for America.’

“The Absence of Presence,” released by Inside Out Music, features nine all new tracks written by the band, produced by Zak Rizvi, and co-produced by Phil Ehart and Richard Williams. KANSAS’s signature sound is unmistakable throughout. The album showcases Ronnie Platt’s towering vocals, David Ragsdale’s searing violin, Tom Brislin’s dazzling keyboards, Williams and Rizvi’s electrifying guitar riffs, Ehart’s powerful drums, and Billy Greer’s rocking bass.

“The Absence of Presence” will be released June 26, 2020, on Inside Out Music and is distributed by The Orchard. The album will be available on CD, Double LP 180 Gram Vinyl, Limited Edition Deluxe CD + 5.1 Blu-Ray Artbook, and digitally on iTunes, Google Play, Spotify, Apple Music, Amazon Music, and all other streaming services. To pre-order ‘The Absence of Presence’, visit

https://kansas.lnk.to/TheAbsenceofPresence

“The Absence of Presence” Track Listing:

1.) The Absence of Presence

2.) Throwing Mountains

3.) Jets Overhead

4.) Propulsion 1

5.) Memories Down the Line

6.) Circus of Illusion

7.) Animals on the Roof

8.) Never

9.) The Song the River Sang

KANSAS will debut a song off “The Absence of Presence” this summer during Foreigner’s Juke Box Heroes 2020 Tour. More songs off the album will be performed during this fall’s Point of Know Return Anniversary European Tour. For more information on KANSAS, “The Absence of Presence,” The Point of Know Return Anniversary European Tour, The Point of Know Return Anniversary Tour, or the Juke Box Heroes 2020 tour, please visit: www.kansasband.com

Point of Know Return Anniversary European Tour Dates

October 18 – London, England – Palladium

October 20 – Frankfurt, Germany – Jahrhunderthalle

October 21 – Hamburg, Germany – Docks

October 23 – Tampere, Finland – Tamperetalo

October 24 – Helsinki, Finland – Culture House

October 26 – Stockholm, Sweden – Cirkus

October 27 – Oslo, Norway – Sentrum Scene

October 29 – Berlin, Germany – Tempodrom

October 31 – Brussels, Belgium – Cirque Royal

November 3 – Munich, Germany – Circus Krone

November 5 – Heilbronn, Germany – Harmonie

November 9 – Bochum, Germany – RuhrCongress

November 10 – Amsterdam, Holland – Carre Theatre

Review – Time Shift Accident – Chronosthesia

‘Chronosthesia’ is the debut album by instrumental quartet Time Shift Accident from Nuremberg, Germany.

What began as a loose jam band founded by a couple of friends in late 2013 has over time developed into a prog fusion powerhouse featuring some very experienced musicians.

The rhythm section has been a mainstay of the band since late 2014: Drummer Paul Ettl, a student at the Nürnberg University of Music, combines effortless groove, taste and mastery of odd meters, while Bassist Michael Schetter (Relocator, ex-Seven Steps to the Green Door) provides driving and melodic bass lines as well as a good chunk of the band’s compositions.

Guitar duties are handled by Dave Mola (Effloresce), who joined in early 2017 and whose melodic sensibility and funky fusion approach will surprise those who so far associate him mostly with the heavy side of prog metal.

On keyboards, Günter W. Schmuck is the most recent addition, having joined the band in early 2019. After studying jazz piano at the Munich Jazz School, he went on to record with the Fred Drumski Trio and the SHS Trio, as well as lead his own jazz quartet and salsa band (Orquesta Mistica). Günter has also played with various latin, fusion, funk and soul groups (Papa Caliente, Salsa Fever, Soul7even, Jamdeluxe), and is presently the musical director of the Flames of Gospel choir band.

I’m a sucker for a good instrumental album as a lot of you well know, make it a jazz/prog fusion instrumental and all bets are off, as long as it’s a good one.

I think instrumental albums suffer most from the ‘keyboard in the bedroom’ curse of music making on the internet. It seems like anyone can rattle off a few tunes and then upload them for everyone to listen to, whether they should or not is often a moot point because they can…

However, when it is done with the proficiency, care and attention of an album like ‘Chronosthesia’ then it truly doesn’t get any better. You have four obviously highly skilled musicians who cannot only play a tune to an absurdly high level but compose one too!

Time Shift Accident have produced an album of tracks that are complex but joyous to listen to, a wonderful cornucopia of music that does have jazz/prog fusion at its core in a symbiosis of Planet X and Liquid Tension Experiment-esque grooves but also has the flamboyance of pure rock and even the flair of Latin rhythms running through as the four musicians seem to be turning a jam session into something more technically proficient but oh so much fun.

Every track is superb but there are some absolute stand out moments like opener Cold Case with its funky, upbeat groove and a keyboard sound straight out of the 80’s, Ignalina Forest is just a seriously cool piece of music, jazzy as hell and something Herbie Hancock would be proud to have his name against, Wish is emotive, laid back and achingly cool and Pompei rocks like the bastard son of jazz/prog and heavy rock.

The stand out track (on an album of stellar tunes) for me though is the amazing The Hand of God, just over ten minutes of instrumental perfection, layers of perfectly crafted music that just takes your breath away. Every musician is at the height of their game, Dave’s guitar shines brightly, aided and abetted by the ever so elegant keyboard playing of Günter. Michael and Paul’s rhythm section lays down the grooves absolutely note perfectly creating a piece of music that just effortlessly flows along to its wonderful conclusion.

I will say it again, I am a big fan of instrumental music but it has to be really good to hold my attention. “Chronosthesia’ is such a beast, one of the best instrumental albums I have heard in a very long time, in fact and I hope it is just the start of things to come for Time Shift Accident because, if this album is anything to go by, they have an exceedingly bright future ahead of them.

Released 27th September 2019

Order the album from bandcamp here:

https://generationprog.bandcamp.com/album/chronosthesia

Caligula’s Horse launch video for ‘Slow Violence’, second single taken from ‘Rise Radiant’

Caligula’s Horse, hailing from Brisbane, Australia, a leading light in contemporary progressive metal worldwide, recently announced their fifth studio album ‘Rise Radiant’ for release on the 22^nd May 2020. Produced by the group’s Sam Vallen, and mixed by Jens Bogren (Opeth, Devin Townsend Project, Leprous), the record is their most focussed and potent artistic statement to date.

Today the band are proud to launch the video for the awe-inspiring second single ‘Slow Violence’, directed and produced by the band’s own Adrian Goleby & Dale Prinsse respectively. Watch the video now here:

Vocalist Jim Grey comments: “Our goal with Slow Violence was to create something more stripped back and minimal musically speaking, letting the guy’s performances speak for themselves. The result was something full of energy and with a powerful message that we’re all really proud of, and the hectic music video ended up capturing that explosive vibe perfectly. The idea for the themes in Slow Violence came out of my own frustrations with very visible hypocrisy in the face of a desperate need for change, and a youth that is crying out for unity in crisis. Slow Violence expresses that frustration along with the unifying message that one way or another, all are inevitably made equal.”

The band previously launched the track ‘The Tempest’, which Guitar World described as a “time signature-shifting guitar masterclass”. Listen now here:

Guitarist Sam Vallen comments: “Rise Radiant is the album we’ve been working towards for almost a decade. It represents everything we love about Caligula’s Horse – the colour, the ferocity, the introspection, the extremes – all tied up together in a way we could never have managed until now. As a band, we’ve never felt tighter, more inspired, or more driven than in the creation of this record. We’re tremendously proud of Rise Radiant, and we can’t wait for you to hear it!”‘Rise Radiant’ is an uncompromising exploration of the human experience dressed in vivid musical colour and virtuosic performances. It is an anthem for the regeneration of self-belief, an exploration of the themes of legacy, and a rallying cry for survival. Comprised of 8 tracks, ‘Rise Radiant’ will be available as a limited CD Digipak, Gatefold 2LP + CD & as digital download. The formats also include 2 bonus tracks, covers of the Split Enz track ‘Message To My Girl’ & Peter Gabriel’s ‘Don’t Give Up’, which also features a guest appearance by Lynsey Ward of Exploring Birdsong. You can find the full track-listing below and pre-orders are available here: https://caligulashorse.lnk.to/RiseRadiant

1. The Tempest

2. Slow Violence

3. Salt

4. Resonate

5. Oceanrise

6. Valkyrie

7. Autumn

8. The Ascent

Caligula’s Horse had previously announced their first ever North American tour, which has unfortunately had to be postponed to January-February 2021. Look out for more details on that soon.

Verbal Delirium Vocalist Jargon to Release First Solo Album – The Fading Thought

The Fading Thought” is the title of the debut solo album of Jargon, founder of Verbal Delirium. The album will be released this May on vinyl and digital format. The music combines elements of classical and cinematic music with progressive rock.

The arrangement of the string quartet was carried out by Nikitas Kissonas (Methexis), the drums were played by the drummer of Verbal Delirium, Wil Bow, while bass, production, mixing and mastering were handled by Leronidas Petropoulos. In the song How can I? Lupe (Mosquito) participates on vocals.

The artwork of the album was done by Dimitris Tzortis (Immensa Artis).

The album will soon be on pre-sale from bandcamp.com

TRACKLIST:

The Film (05:33)
In Search Of the Invisible Thin Line (04:53)
Dance of the Framed Words (02:38)
The Fading Thought (07:17)
Light (03:54)
Time Is Running Out (06:54)
How Can I? (06:22)
The Last Temptation (07:10)
Window to the World (04:54)

TOTAL RUNNING TIME: 47:35

Review – Long Earth – Once Around The Sun

“Long Earth is a prog rock band from Scotland.

We came together by a series of fortunate but unexpected coincidences. A bunch of musicians, some of whom had played together decades earlier, who just wanted to create new music and have fun. By strange coincidence, Mike, Ken, Gordon, Renaldo and Hew all played at the same Glasgow Festival in the 80s…but in 3 different bands!“

So says the PR info accompanying the second album from Scottish proggers Long Earth. I am a fan of their debut release as evinced by these words from my review of The Source,

“Taking what was great about classic 80’s Neo-Prog and adding some modern drama and pathos, Long Earth have given us a debut album that has been years in the making and all the better for it. Yes, it is not without some minor flaws but it certainly is an album that you will return to many a time and will be even more gratifying every time you do, bring on the next one guys!!”

And ‘bring it on’ they have indeed…

Where The Source was a great debut and a quality example of Neo-prog, ‘Once Around The Sun’ takes all that was good about that album and raises it not just one notch but a whole plethora of the bloody things!

The arrival of new vocalist Martin Haggarty in 2018 has added that extra level of je ne sais quoi, you know what I mean, something that you can’t quite put your finger on. Martin joins bassist Gordon Mackie, drummer Ken Weir (both of whom have a connection with Martin through legendary Scottish band Abel Ganz), guitarist Renaldo Kim and keyboardist Mike Baxter to give Long Earth the kind of stature already enjoyed by Scottish progressive’s royalty, Comedy of Errors, Grand Tour and the aforementioned Abel Ganz.

The final cog in the wheel is Hew Montgomery (who has history with all of the above luminaries) who has been a motivating factor in Long Earth, and co-producer of both ‘The Source’ and new album ‘Once Around the Sun‘.

‘Once Around the Sun’ comprises nine tracks of lushly composed and executed progressive rock where every note has a place. The whole album is joyously created and contains a part of every member. It speaks of the wonder of fresh spring days, a hazy and never ending summer, the first leaves that fall on a beautiful autumn day and the joy and warmth to be had sat in front of a log fire with those you love.

The songwriting is exemplary, take neo-prog classic opener We Own Tomorrow, a pin sharp example of the genre with Mike’s keys taking us right back to the 80’s with their wonderfully nostalgic sound. The balladesque wonder of My Suit Of Armour will bring a lump to your throat and a tear to your eye, wistful and melancholy in equal parts. Both tracks bring Martin’s superb voice front and centre, he has emotion and passion deep in his core and it shows with every word he sings and the guitar solo on the second track is just exquiste.

The urgently driven A Guy From Down The Road is suitably mysterious and enigmatic and lengthy, coming it at exactly twelve minutes. There’s a definite jazz-funk feel to the bassline and the whole song just grooves along nonchalantly, you may have guessed that I like this track! The band obviously hit it off and just seem to play off each other, there is a feeling of bonhomie that runs throughout the album and its a joy to feel and hear it in every note.

What About Love seems a little out of context with the rest of the album with its more mainstream feel, like a cross between early Wet Wet Wet and Fish era Marillion. It is, however, full of childlike charm and a simplicity that is difficult to ignore and eventually you begin to appreciate its appeal. Mystery and conundrum surround The Man In The Mirror with its 1950’s film noir feel and gallic undertones. A modern day soundtrack to films like The Maltese Falcon, you can’t help but love its enigmatic aura.

The album closes with four tracks named after the four seasons and every song fits each one perfectly. Spring has that feel of rebirth after a long winter, full of joie de vivre and a hope for the future. You’ve got to check out the guitar note on Summer, fans of early 80’s Simple Minds will definitely hear touches of The Big Sleep in there and it gives the song a feel of those long, lazy, hazy days of summer. You know what I mean, the ones when you were a child and had no cares in the world, this track definitely echoes those times and its sepia tinged invocation of memories is perfectly judged. The solemn, serious introduction to Autumn fits that time of the year perfectly as the long golden days of summer become just a memory yet those memories are full of love and you know we are going into a period of change which can be exciting. Kids love winter, they love the snow, the frosty mornings and the run up to Christmas and Winter is a perfectly written feel-good nod to the memories of the last twelve months. Good or bad, they make us what we are, let’s get together with those we love and salute what has passed and what we have to come.

With the provenance flowing through the band, Long Earth were never going to produce anything but a great follow up to ‘The Source’ but in ‘Once Around The Sun everything seems to have clicked and we see a band nearing their creative zenith. Take my advice, go and listen to what may well be one of 2020’s subliminal releases.

Released 18th March 2020

Order the album direct from the band here:

https://longearthmusic.com/shop/

Review – Ms Amy Birks – All That I Am & All That I Was by John Wenlock-Smith

Amy Birks, or Ms Amy Birks to give her her full name, is a young lady with a very bright future ahead of her. Well that certainly seems to be the case here with this debut solo release ‘All That I Am & All That I Was’.

Amy was previously a member of the all-female trio the Beatrix Players whose mix of genres embraced folk, singer songwriter acoustica, prog and quasi classical baroque chamber pop. Quite a heady and adventurous mix and an interesting one too. I saw these play to a capacity audience as a support act for Big Big Train in Basingstoke where the crowd listened very intently to their delicate yet powerful pieces. Well that was three years ago, but this album is very much of the now, and as the Beatrix Players are no more, that chapter is now closed, with this album being the beginning of a whole new and exciting chapter for Amy.

This new album has been a couple of years in the making and encompasses several themes and various historical songs also feature. These come from Amy’s rich love of history along with literature as shown in the opening number Jamaica Inn, based on and inspired by the Daphne De Maurier novel of the same name. This song has a flow to it that is reminiscent of Wuthering Heights by Kate Bush but without the histrionic vocals that that song featured. Find the epic video here;

What I especially like about this is that it’s a very catchy song with a fine chorus and some strong, yet understated playing from all, with lovely guitar from Oliver Day and a memorable melody that runs throughout the song.

Unlike the Heart follows and this is another very delicate song with a strong supportive bass line from Nick Wollage and some fine cello from Caroline Lavelle. In fact, the more you listen to this album the more you can hear within it the sparseness of the sound. This is especially true on the next song More, a very stark and raw song that talks of Amy’s divorce and the feelings around that difficult time. Here the instrumentation is very powerful indeed, all adding to the air of despair that the lyrics evoke. Ultimately this is a song about one woman’s coming to terms with and surviving the trauma of divorce. This is another very powerful song.

Not Every Night is a statement of continuance about how things were, but not how they are now, or will ever be again. A gentle song that has depths of feeling to it.

With All That I Am is gain about divorce, in which Amy speaks of the unhappiness surrounding the situation and questions are asked about the third party involved in the relationship. That Amy can sing of these matters so openly is admirable, she has moved on from the hurt into pastures new. Again, there is hope however this piece is quite raw emotionally as Amy exorcises her own demons.

The next song Say Something is totally different, in that it deals with a time of abuse that Amy suffered at school and thereafter whilst modelling. A situation in which she was the recipient of unwarranted attention and improper touch. She sings of these times very eloquently, openly questioning why the individual behaved in that way. The music in this song is very emotional and almost sounds wistful, despite the horrendous acts that it portrays. It is a very brave song but one that needs to be heard and spoken about. Personally, I find it a highlight of the album.

We then move onto a brace of songs based on historical figures, initially Catherine Of Aragon (Henry VIII’s first wife. He divorced her when she was unable to provide him with an heir and from whom he transferred his affections to Anne Boleyn.

This song (Catherine) is a triumph as it deals with the life of Catherine, a woman of strength who still loved Henry after his affections shifted and she was cast aside. This piece has a stately majesty and power to it, almost regal sounding and certainly delivered with respect and admiration even.

The Fault Of The Lady Anne is next. This is another moving piece, respectful and essentially sad dealing as it does with Queen Anne’s fall from grace. Her isolation from Henry and decent into an ill judged affair that resulted in her being taken to the Tower Of London and ultimately to her sad death at the executioners axe. This moving song is indeed very sad lyrically but is very well conceived, and if you’ll forgive the pun, well executed and delivered.

The Road to Gordes is about Amy’s experiences as a single woman travelling in Colombia (Spain) and how she would be noticed, but then often left unserved in restaurants and bars. This is an interesting song musically with some delicate guitar from Oliver Day, a lovely piano line from Amy and some fine interplay between the violin and the cello, as Amy finds her peace in the space of the situation and both accepts and enjoys the sensations it brings.

I Wish is a song that features the nimble fingers of Steve Hackett playing Spanish guitar to lyrics based on words from the Christina Georgina Rossetti’s poem I Wish I Were A Little Bird. This one is a really wonderful track, with Steve really giving the song some power and making its tale of unrequited love come alive. It is another excellent song, there is a suitably elegant video that accompanies it that can be viewed here.

The final track is called Keeps You Guessing and features piano from Romain Thorel of Lazuli whose jazzy improvisations really give the song a swing and end this exceptional album on a very positive note.

This album will appeal to all who enjoy music by the likes of Tori Amos, Kate Bush and Joni Mitchell and show that Amy is a lady of real talent and imagination who can cross genres at will and for whom the future looks very bright indeed. I will say that this album needs time to sink into your mind and to appreciate the very subtle instrumentation that is at play here, but it is a real delight to hear and appreciate.

Released 3/4/2020

Order the album from The Merch Desk here:

https://themerchdesk.com/index.php?route=product/category&path=88_296

Review – Glass Hammer – Dreaming City

What if the Devil never went to Georgia? What if he never made it and stopped off in Tennessee instead? Hold that thought and listen to Glass Hammer’s monster creation, Dreaming City, an unstoppable force that will blow your conceptions of this band wide apart…”

Yes, really, that was my first impression of the stunning new album from US progressive rock veterans Glass Hammer. They often say that first impressions last and, in the case of this musical gem, that is very true, it still sounds as fresh and vibrant after multiple listens as it did that first time, a sign of a truly good record.

I spoke to founding member and bassist Steve Babb about how the album broke new ground and was a bit of a risk,

“Yes we took risks. I was hoping that as we old-timers listen to it – it would make us feel young again. Like it was 1979 and you just discovered some really cool prog band had done a tribute album to your favourite sword and sorcery anti-hero like Elric or Conan. For inspiration I started searching for my old copies of Michael Moorcock books only to realize I had worn them out years ago and had to reorder used ones!”

Oddly enough…on the swords and sorcery thing, or what some call “grim dark” now – George R. R. Martin once signed the Glass Hammer guest book. Might have been around 2000 when he did that. I have no records of the guest book now but can remember him and a few other fantasy authors visiting.”

The artwork from the booklet is pure fantasy art, as is the cover and it really fits with what Steve and fellow founding member (and keyboardist) Fred Schendel wanted to engender with this release.

The music really hits you hard from the first track, in your face and powerful, you’ll hear a myriad of influences on the album, things never seen on a Glass Hammer album before…

“I think Fred’s major influences for this one were Rush, Tull and Gentle Giant.”, Steve told me,

“Mine were Rush, Tangerine Dream, Pink Floyd, the Space Rock genre in general…a modern band called Yuri Gargarin, Jacco Gardner and even my old band Wizards from the early 80s.”

The album flows with no gaps between tracks and this only adds to the listening experience which opens with what can only be called a monster of a track. The Dreaming City literally comes from out of nowhere with a monster riff courtesy of Steve Babb and Aaron Raulston’s thunderous drums. The vocals give a spine tingling edge, it’s just a thrilling, dark and delicious ride from beginning to end, the extended keyboard section from Fred Schendel is just genius. No time to get your breath back as a frantic guitar segues us perfectly into Cold Star, more of the same? Yes please! I am absolutely loving the heavier guitar sound on this album which, in conjunction with Fred’s ridiculously good Hammond, transports you screaming maniacally back to the 70’s. This is one thrill ride you definitely don’t want to get off, there’s a moment of calm where beautifully harmonised vocals really stand out (Reese Boyd has a superb voice) but, overall it will just leave you cackling wildly.

The Rush influence is first heard on Terminus, a synth heavy 90’s version that is. Uber cool and full of style, Steve and Fred lead us up a path rarely trodden by Glass Hammer and, you know what, it just works. It’s up-tempo, edgy and funky in that polished 90’s fashion that I’m a big fan of. The Lurker Beneath is a dark and slightly disturbing instrumental with the pulsing feel of the keyboards giving it a resonant frequency that will get under every prog fans skin with its spaced out feel. There’s a seamless transition into the monolithic might of Pagarna, a track that could literally move mountains. It has a range so low it must exist in the substrata of the planet and Fred’s guitar playing and Reese Boyd’s lead work screams Led Zep right at your unprotected core, just superb!

At The Threshold Of Dreams then heads off into uncharted waters with it’s Tangerine Dream-esque electronic/techno vibe. You feel like you are in the middle of a mind-bending 70’s artrock movie theme as the music explores the hidden paths of your mind, disconcerting but weirdly enjoyable. There’s a totally chilled and relaxed atmosphere surrounding This Lonely World, an oasis of calm reflection among the maelstrom that surrounds us where John Beagley’s cultured vocal adds gravitas alongside the organ and laid back, jazz-infused, guitar playing. Susie Bogdanowicz’s vocal prowess is then given free rein on October Ballad, a wistful and gentle song that touches the heart and soul, well it is a ballad after all!

The Tower is another Tangerine Dreamscape (see what I did there?) instrumental straight from the 70’s, a clever nod to the decade and to the science-fantasy genre that the album invokes and is based on. Next comes one of the most intriguing tracks on the whole album, the stentorian spoken word vocals and 70’s synth heavy keyboards give A Desperate Man a really atmospheric and eerie edge and it’s one that really works. It’s catchy and hypnotic and you find yourself pausing what you’re doing and just listening to the song and that is quite a skill to have, I love it. Remember Extreme’s ‘Get The Funk Out’?, well the intro to The Key really (and I mean REALLY) reminds me of that with its ever so funky bass line and drum beat and the way it strides ever so confidently into your path. You want some flute? You got it! Jazzy 80’s guitar? Yep! It is a wonderful cornucopia of musical styles and one that sets you up perfectly to what Steve Babb called an absolute beast of a finale!

Fred Schendel (Left,) Steve Babb (right) Glass Hammer co-founders

Watchmen On The Walls is one of those monumentally powerful prog epics that stands out on its own, just over eleven minutes of progressive rock brilliance. The thunderous guitar riffs and primeval drums combine with the towering drums and bass to give us a stand-out piece of music that speaks of tales of swords and sorcery with larger than life heroes and heroines battling unmentionable beasts and contemptible villains to complete incredible deeds. It is song writing that Neal Peart would have been proud off as this track truly has the spirit of Rush at its core and a fitting close to a superb album.

There has been some amazing music released this year already but ‘Dreaming City’ is a special and significant album that could turn out to be truly career defining for this much loved band. While the band have created something new using influences from the music that shaped them in the 70’s, there is no doubt that it is still uniquely a Glass Hammer album and that is always something to be cherished.

Released April 17th 2020

Order from the Glass Hammer store here:

https://glasshammer.com/official-store/

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