Month: December 2022

Review – Verbal Delirium – Conundrum- by John Wenlock-Smith

Verbal Delirium are a Greek progressive rock band who formed in 2006. They have released four albums to date ‘The Imprisoned Words of Fear’ (2016), ‘From The Small Hours Of Weakness’ (2013) and ‘So Close And Yet So Far Away’ (2010), with ‘Conundrum’ being the latest, and second with Bad Elephant Music. This release is definitely interesting, mixing heavier elements with articulate vocals and sounds to create great music. This is my first exposure to the band and here are my thoughts on the album.

The album has eight tracks which vary in length and in style, ranging from brief vignettes like Falling with its Saga like sounds, especially in the vocals by Jargon, through to epic pieces like The Watcher and Neon Eye Cage, which are both over nine minutes in duration. Musically the sounds range from semi-choral to Beatles-like parts, elements of prime Queen through to jazzy inspired sections with saxophone and clarinet and violin and epic, partially ambient, soundscapes all tied together with a solid rock beat and groove. All this together makes for a unique and satisfying listening experience. The team of Jargon on vocals, George Pagidas on bass, Stratos Morianos on keyboards, Vasilis Armaos on drums and George Kyriakidis on guitar are a sensationally tight and focused unit who together bring this great music to life.

This jazzy element is most clearly espoused in title track Conundrum which really has a bounce and a spring in its step. Likewise, The Watcher also impresses with its use of Hammond Organ to swell the sound along with its Saga like vocals and the fiery guitar of George Kyriakidis, whose playing enlivens and grabs the attention throughout the track. The song is epic in style with a growing intensity that runs through the track. It’s a song you need to hear for yourself as it really makes a statement for the band, showing their dexterity in the composition and their skills to realise the piece. It really is a slow burner of a track but certainly impresses me, as does Neon Eye Cage, which opens with gentle electric piano and a graceful vocal from Jargon sounding not unlike Mika on this section. The song gains both pace and power with a unique guitar and keyboards exchange taking the song forward. I really like this sound, it’s different and fresh sounding, adding great dynamics to an already intriguing sound palette, there is also a fine guitar break at the six minute point which I find very melodious. This ends with strong bass and keyboards before resuming again to reach greater heights with more doubled guitar lines moving to the piano to take us to the end. The return of the electric piano tones and even more ‘Mikaesque’ vocals conclude this most fascinating piece.

Fall From Grace is the album’s last track, this reintroduces the Saga like vocals over graceful piano lines and orchestrations before a sturdy drumbeat begins. This song is a slower paced track but it has a strong melody and is very impressive sounding with another scorching guitar break lifting the track significantly. The guitar is very expressive and striking with lots of space and time allowed for it to soar as the song plays, it is all rather fine really. The vocalist Jargon is fabulous on this album and his vocals are both clear and strong with great phrasing and articulation and these really do make an impression.

I would say this album is rather fine indeed and is a grower that warrants attention and one that really is deserving of a wider audience. The prog world can be very insular at times and its fans can sadly be closed to great new music. Hopefully they will discover that which can be heard on this very rewarding album. I was certainly taken with it and can recommend it to open minded music lovers, it is highly impressive and deeply rewarding.

Released 25th November, 2022.

Order from bandcamp here:

Conundrum | verbal delirium (bandcamp.com)

Review – Tribe of Names – Evolver – by John Wenlock-Smith

This album has been quite a long time in arriving so its title, ‘Evolver’ is very apt. In real terms this is the follow on from the Valdez album, ‘This’, from 2017. Their plans for recording the follow up were drastically altered, initially by a line up change and then followed by the impact of the pandemic, which meant everything changed. The result being a name change for the band to Tribe of Names. ‘Evolver’ is the delayed result and what an album it has turned out to be, the new line up and name seem to have worked out well as this album is full of genuinely progressive music and some fine tracks.

Opener Tribe Of Names begins like an 80’s synth pop number but this is soon replaced by some solid bass lines and jangly guitar then latterly by some solid, meaty guitar riffery and an epic soaring guitar line which is all underpinned by that funky bass line and that’s all in the initial 3 minutes of starting! This is solid and exciting music to hear, it has lots of Rush type elements and guitar playing reminiscent of Alex Lifeson. I believe guitarist Karl Eisenhart started by learning Rush songs and still plays in that style, well he certainly learned his chops! The song is a great one with lots of odd time signatures and a great solo from Karl that plays toward the end of the track, a very strong opener. They Live To Cry is a more subdued piece, again this has elements of Rush running throughout but is all so well handled that it doesn’t really matter, This in not a tribute though, more it feels influenced by Rush, although not overly so. The song has great melody and music and I really like it.

Liar Liar has a strong and dominant bass part with touches of guitar arpeggios and linear playing. This is a shorter but no less interesting track and is great sounding too. Everyday Haunted is another brief track filled with sustained guitar tones over a swelling keyboard, an echoed vocal adding menace and interest. This is an intriguing piece of music with tremolo  guitar notes adding to the weirdness, all very strange but brilliantly so. We are then back in somewhat familiar territory with White Nile, a track that builds in intensity with lots of drum crashes and rumbling bass over guitar tones that could be straight out of La Villa Strangiato, another great track to be influenced from. The strident opening part gives way to a more mellow section of moody music, this is a highlight of the album thus far, excellent performances and solid and inventive playing from all parties.

The Last Unsung Girl is slightly different with a quirky sound, rhythm and melody. Coupled with its mixed time signatures this is certainly distinctive and yet oddly compelling with a great guitar line after which we get a funky bass and guitar section leading to a fine solo from Karl. This is an album whose songs will creep up on you and take a real grip on you, it’s certainly stirring stuff. Mayfly is another guitar led piece with more crunching guitar lines underpinned by a sympathetic bass. There is much beauty to enjoy here, it is very accomplished and well delivered by the band and another somewhat satisfying song. The final and longest track, Dirt On The Inside concludes this excellent album with its extended run time giving lots of room for the music to evolve without constraints, the slower opening section being allowed to build in its intensity for the initial four minutes. This leaves you waiting for the track to explode into life, which it does around the four minute mark where the guitar line surges forward with power in a dramatic manner before some solid bass runs are joined by guitar unison lines with tremolo again. The pace increases again to another excellent solo with the band firing on all cylinders. This is a most impressive track with lots going on musically and it all sounds really effective, there follows a slower, less intense, part which allows guitarist Karl to play some sustained guitar lines before reprising the earlier solo as the song draws to a solid close.

This album should appeal to folks who miss Rush as it explores similar territories. Overall, this is a very strong and musically diverse album with powerful statements and an excellent sound. The sleeve by Mark Buckingham is also very noteworthy and interesting, I heartily recommend this great album.

Released 4th November, 2022.

Order from bandcamp here:

Evolver | Tribe of Names (bandcamp.com)

Review – Arc of Life – Don’t Look Down – by John Wenlock-Smith

It doesn’t seem to be that long since the Arc of Life debut album that introduced the world to the venture formed by Billy Sherwood and Jon Davison of Yes, along with Dave Kerzner and Jimmy Haun on keyboards and guitar respectively. Well, this album is more ‘Yes’-like than the previous record was and I loved that album. ‘Don’t Look Down’ is more familiar sounding with Jon Davidson being in especially good form and giving Billy Sherwood a fine platform for his inner Chris Squire to shine through, as it does here on the opening track Real Time World. This song has quite a nod to Tempus Fugit from Yes’ ‘Drama’ album and features a rather muscular bass part to propel the track along with some spacey guitar lines from Jimmy that together add up to a very strong and engaging piece from all concerned. When you add Dave Kerzner’s epic synths, you have an excellent slice of this latest Yes offshoot, in fact if Yes decided to call it a day, Arc of Life could quite easily fill that particular void easily and would continue to create challenging new music of their own, as this album of six tracks can testify. I really like this song and feel its authenticity is commendable in being ‘Yes’ like without being derivative and it has enough of its own strength to warrant attention on its own merits.

Don’t Look Down follows and has strong vocal harmonies and a suitably gracious guitar line from Jimmy. Again, Jon sounds flawless on this song and much attention to detail has been used here to make a truly harmonious sound, creating a memorable song with a strong chorus. All Things Considered is quite a funky little piece with excellent bass runs from Billy and good keyboards from Dave, although it’s tone is a little lighter in touch. There is a lot happening musically within its five minute duration, including a very ‘Howe-ish’ guitar tone and solo that has touches that Steve would be proud of. The track is fairly understated but has substance as does Colours Come Alive that follows. this is a brooding track that slowly builds into its intensity and depth until towards the end where it gatherers pace and intensity. It’s another good song with great keyboard textures and tones, a fabulous guitar section from Jimmy and an elegant bass section towards the end that captivates you.

The penultimate song, Let Live, is another mid length track that opens with dynamic guitar and bass parts and has a strong rhythm to it. It is satisfying to hear this band firing on all cylinders and with heaps of energy. This is a faster paced song with much urgency to it. Again. the bass is fairly pivotal to the track and it is welcome for that alone, it really is good to hear the energy and craft to these songs as this bodes well for the future of the group. Maybe this will have an impact on the activities of their parent group, giving them some much needed impetus to their own activities? Arc Of Life concludes the album and is the longest track on the album which gives lots of room for some interesting musical passages. This is definitely the case for the opening minutes of the track which again include some powerful bass playing, something the main Yes band has been missing for a couple of years now, Billy’s bass growls like a wild bear on the prowl and it really makes the overall sound full and prominent. The song moves through several phases but with that prominent bass running throughout, reminds me of Awaken from ‘Going For The One’ for some reason. Jon is in very fine voice once more, this track is really impressive and it certainly has the time to explore its sound, making this an intriguing conclusion to Arc Of Life’s second album, will there be a third? That remains to be seen but, hopefully, there will be a positive enough response to this album that will encourage further activity.

Released 18th November, 2022.

Order the album here:

Don’t Look Down (burningshed.com)

Review – Duncan Parsons – On Earth, As it is – by John Wenlock-Smith

Duncan Parsons is the drummer for the John Hackett Band and bizarrely the bassist for Joanne Harris’s Storytime band, ‘On Earth, As it is’ is his latest album of original material.

The album is not a concept as such, although it has songs that share a common central theme. Much of the music is performed by Duncan, although he has managed to get assistance from some very interesting guest musicians like John Helliwell of Supertramp, Dave Bainbridge of Iona and Lifesigns and his fellow John Hackett Band members Nick Fletcher and John Hackett himself, who both add graceful parts to the lengthy opener Heaven, the album’s longest track at twenty three minutes. The song opens with seven minutes of instrumental music before Duncan’s vocals join in. This is intoned with a pulsating synth bass line which is very ethereal sounding, there is then a section of massed non-verbal vocalisations which add to the atmospheric nature of the track. Then follows an acoustic guitar section which which dissolves into deep keyboard bass and more vocalisations along with Lizz Lipscombe’s string playing. An urgent bass then picks up the pace and creates a strong platform for Nick Fletcher’s fusion guitar part in which he shreds wildly and, as always, immaculately with a great clear tone. This then gives way to synths that lead to another guitar outburst from Nick that takes the track towards its conclusion, the guitar playing on this section is breathtaking, very fiery and highly impressive. The song ends with synths and guitar lines playing, a really strong opener.

This Day follows and has plucked guitar harmonics from Duncan and bass from the legendary Leland Sklar, whose bottom end anchors everything together wonderfully. The track has Duncan playing a washboard and also John Helliwell elegant clarinet. This has a very satisfying jazz elements to it and the saxophone from John also impresses highly. Fissures of Men is a short, dynamic piece featuring violin, viola and cello all set against a sparse piano but it all sounds really good. This is followed by another shorter track, Finish Line, which alludes to a fractured and possibly broken relationship but, ultimately, the song is about how we choose to be.

Unnecessary Kindness opens with an acoustic guitar and is largely a solo guitar instrumental track and very accomplished it is too with plenty of shades of Anthony Phillips in evidence here, at least to these ears. Three Sixteen is more muscular in tone with some crunchy guitar and a simple, but effective, solo halfway through that is ended by the cello as the vocals begin again. This is followed with a mournful violin and some jolly flute as a contrast then a solid tap on what could be a cowbell leads to the last verse of the song. There’s not a little urgency and a comfortable yet easy guitar line leads to the song’s conclusion. This is a very good track indeed, a clear winner. Lead Us Not is another shorter track with the solid bass of Leland gracing proceedings again, along with the graceful flute of John Hackett. The song seems to be about temptation and how we battle with it and how it leads us to where we don’t wish to be.

There is reprise of the earlier Fissures of Men track but it is only very brief, this leads to the last and second longest track, Valediction (Power And Glory) which closes the album out. This song features John Steel on various guitars and is a very atmospheric piece of music with lots of good sounds and textures. It is all fairly free form in nature but very well assembled, with some fabulous acoustic guitar interjections and a great solo that moves over the sumptuous backing and it all sounds really impressive. Along with Heaven, these two epics bookmark what is a most impressive collection of tracks that certainly makes you think as you listen to this fine album. It is one that  most folk will be largely unaware of and more’s the pity, as this is a highly intelligent and articulate album of music.

Released 2nd December, 2022.

Order from badncamp here:

https://duncanparsons.bandcamp.com/album/on-earth-as-it-is

Review – David Longdon – Door One – by John Wenlock-Smith

When David Longdon died suddenly and unexpectedly from a fall last year, the world of music was deeply saddened. His loss, especially as he was gaining respect and stature as a fine frontman, singer, multi-instrumentalist, lyricist and visionary part of Big Big Train, was both unexpected and shocking. David had also finally, after many years, begun to gain both widespread acclaim and respect, furthermore he had found satisfaction in his life with partner Sarah Ewing. His legacy thankfully remains with this album that was 90% complete at that time having now been completed by his friends as a tribute to a good man, a Brave Captain, to coin one of his songs.

This album is different because of his passing but it is still a good listen, even if it is painful, for what has gone and for what could have been in his future. Thankfully, Big Big Train have chosen to continue, albeit in a different configuration and one that pays tribute to their deeply missed colleague.

The album is not actually very long in duration but it has flashes of brilliance and will need several plays to really understand, which is fitting really. It opens with Into The Icehouse, an instrumental, ambient piece of birdsong and minimal piano tones playing almost a lament. Watch It Burn is rather upbeat and urgent with an almost indie sound to it, all jangly guitar lines which lead into a memorable chorus. This is a fine second track and it is a joy to hear David’s voice as he swoops and soars in a familiar manner, the song is certainly stirring with some great guitar.

There’s No Ghost Like An Old Ghost has a strong vocal and great lyrics. The song talks about hidden feelings that haunt you as they continue to effect you. This is a very personal song and its lyrics reveal much about who David was, so it’s good that he found peace with Sarah, even though that was ended abruptly. The Singer And The Song continues the autobiographical tone as this track is about how singing his songs enlivens and satisfies him. This song also has a graceful guitar break that adds to the power of the words. Forgive (But Not Forget) is a further revealing song that deals with the hurt of a failed relationship. Sangfroid follows and is another song about relationships and their transient nature, this track has great lyrics that are really heartfelt and poignant.

The album’s longest track, The Letting Go, is about loss, which is painfully ironic as David died not long after its completion. The song deals with a difficult issue, letting go of grief and moving forward. Accepting the change that has occurred and facing it bravely whilst keeping the memory alive, even though the loved one has gone. A situation many listeners will have had to do for themselves with the loss of David himself. The song then enters a haunting melancholic flute section backed with piano as David sings “The Letting Go” over an ever increasing drum pattern which, in turn, leads to sustained chords and it’s a suitably strong ending to an excellent track. The final track, Love Is All, is a far gentler piece as David exorts us that love is all that matters and, indeed, it does matter and if you find it then work hard for it, treasure and guard it as love is precious and vital to us all.

So the album ends positively and with a strong message of hope that we can all accept and employ in our own lives. So from the tragedy of David’s death, we can find hope and purpose and celebrate his memory with this fine collection of songs. David will certainly be missed but his legacy lives on in his recorded works and this album will certainly be a part of that legacy that he leaves us.

This is a difficult album if you knew the man but it’s wonderful to hear what he had been working on in these days before he left us. Give it a spin if you can and enjoy it for what is is a fine collection of promise and, ultimately, of hope.

Thank you David Longdon, Rest in Peace.

Released 14th October, 2022

Order the album here:

Door one – Big Big Train

Review – The Aaron Clift Experiment – The Age Of Misinformation

Formed in 2012, The Aaron Clift Experiment is a multi-faceted band that blends influences from classic rock (Rush, Pink Floyd, King Crimson), modern rock (Porcupine Tree, Opeth), jazz, and classical – all anchored by a dedication to high-quality songwriting and musicianship.  Progradar has described the group as “one of the most impressive progressive acts currently on the scene.”

The band’s upcoming 4th album, ‘The Age of Misinformation’ is one of the most eagerly awaited prog albums of 2023.  A conceptual work about the destructive power of lies and the search for truth in the face of overwhelming odds, “The Age of Misinformation” marks a high point for the band’s lyrical ambition, musical creativity, and emotional resonance.

The band’s 4th album is a conceptual work about the destructive power of lies and the search for truth in the face of overwhelming odds.

Band founder, Aaron Clift, explains: “During the COVID lockdown of
2020 – 2021, my friends, colleagues, and country went through an
incredibly challenging time, and I knew that I had to say something
about it. ‘The Age of Misinformation’ is The Aaron Clift Experiment’s
document of that era.”

Aaron notes: “For ‘The Age of Misinformation,’ we wanted to do more
of everything: record music that was more intricate, more melodic, and
more diverse than anything we had done before. I’m really happy with
how we pulled it off, but above all, I love how the album explores a
concept that reflects the events of our current world. There are songs
all about frustration with the crazy state of politics, but there’s also a
renewed sense of optimism in other songs – knowing that there’s always
a light at the end of the cave.”

I’ve always found The Aaron Clift Experiment to be a band that can mix genres with consummate ease and blend various styles with aplomb to create their own signature sound. A new album from these talented musicians is always something to look forward to and ‘The Age of Misinformation’ is no different.

Title track, and album opener, The Age of Misinformation, is a hard rocking, in your face, diatribe about lies and misinformation and it gets its point over with Aaron Clift’s hard-edged vocals and the staccato guitar and drums of Anthony Basini and Pablo Ranlett-López respectively. This fast paced track takes hold of you and never lets go as it drags you along in its wake. L.I.A.R is a cleverly constructed track of different moods and emotions. The sophisticated layers of music create a lingering tension that is only relieved when Aaron’s soaring vocal intercedes. These guys have some serious musical chops and Anthony’s guitar work is rather tasty indeed and Clif Warren’s accomplished bass playing holds everything together splendidly. Well, what can I say about Bet On Zero? Coming in at over 10 minutes it could be described as an epic but this quasi jazz/prog/rock fusion piece is much more than that and the inclusion of Big Wy’s Brass Band gives it more than a touch of the ‘big band’ sound. Simply put, you won’t hear anything like it this year, guaranteed and, if someone had told me about the song before I heard it, I just wouldn’t have believed it could work but work it does and, oh, how brilliantly! Dark Secrets is another deliciously dangerous song that imbues a certain sense of drama and mystery through it’s urgent music and forceful vocals.

Rise seems to appear out of the shadows like a beacon of light and lifts the sombre mood as it wafts elegantly across your mind. Intricate melodies and gorgeous keyboards linger in the mind before the track changes tempo and becomes more compelling and pressing, culminating in another impressive guitar solo from Anthony Basini. The Color of Flight is just a gorgeous piece of music, the wonderful string quartet giving elegance and a wistful, ethereal quality. It literally dances across your heartstrings with its dreamy, wishful yearning and Aaron’s vocals are soft and contemplative, simply brilliant. Málaga takes the string quartet in a totally different direction, a modern, impelling song that moves along at a fair clip with an airy, hopeful atmosphere and the violin solo is just genius, adding, almost, a Latin American flavour. The album closes with the balladic wonder and calm of Weight of the World, a tender, passionate piece of music that really will touch your soul and this is where Aaron’s vocal and keyboard skills really get to shine. It is a fitting end to what has been a thoroughly enthralling experience.

There’s intelligence and creative brilliance running throughout this excellent album. These gifted and inventive musicians have not only given us some fantastic songs but also a wonderfully potent piece of social commentary. ‘The Age of Misinformation’ is without a doubt The Aaron Clift Experiment’s finest album yet and they will start 2023 with what is going to one of the year’s most superlative releases.

Released 6th January, 2023.

You’ll be able to order the album here from 6/1/23:

The Aaron Clift Experiment | Prog Rock Band from Austin, Texas

TRANSATLANTIC announce ‘The Final Flight: Live at L’Olympia’ for release 17th February 2023

TRANSATLANTIC – the Prog Supergroup of Neal Morse, Mike Portnoy, Roine Stolt & Pete Trewavas – are pleased to present a new concert set entitled ‘The Final Flight: Live At L’Olympia’. It was recorded and filmed in France on the last stop of a tour to promote the band’s fifth and most audacious album to date, ‘The Absolute Universe’. This was the multinational group’s first outing in eight years. 

Watch the band performing ‘Owl Howl’, a highlight from ‘The Absolute Universe’ album, here:

Released in February 2021 to unanimous praise, ‘The Absolute Universe’ came in two alternate formats; an abridged 64-minute record known as ‘The Breath Of Life’, and a companion piece entitled ‘Forevermore’ that added a further four songs, clocking in at an hour and a half. Though the foundations of both were shared, each format featured lyrics and music independent of the other. 

However, when Transatlantic finally hit the road they opted to perform a third format of the album, a full-bells-and-whistles, 96-minute Blu-ray culmination of both takes known as ‘The Ultimate Edition’ that had been released in 5.1 surround sound. Following that segment of the show Transatlantic took a short intermission and returned to the stage for a rollercoaster trawl through the remainder of their lavish catalogue. From the first note of ‘Overture (The Absolute Universe)’ through to the medley based around the first two Transatlantic albums that closes the evening, the performance comprised 3 hours of music in total.

“Ever since the start of this band we have played for three hours, so that’s something we’re all used to,” states drummer Mike Portnoy, who grins whilst describing his own experience as “butt-numbing”. However, Roine Stolt is ready to admit that this time felt very slightly different. 

“It was a great tour,” acknowledges the guitarist and multi-musician, “but when you include our spot at Morsefest [where besides performing ‘The Absolute Universe’ the band also revisited their 2009 album ‘The Whirlwind’ and revised a cover of Procol Harum’s ‘In Held (’Twas) In I’ that had featured on their debut from 2000, ‘SMPTe’] I felt the challenge of learning, or re-learning, three-and-a-half hours of music before leaving Sweden. Now that I am getting slightly older, I was a little worried about playing for that long – it requires a lot of concentration: ‘Is this one in 7/8 or 9/8? Maybe we’ll play it in 13/8 and in a different key?’ But of course, once we got out there onto the stage, those thoughts went straight out of the window.”

With a chuckle, vocalist and keyboard wizard Neal Morse reveals that as the tour found its feet Transatlantic threw an additional curveball. “We started playing songs slightly differently to the way you’ve heard them on ‘The Ultimate Edition”, he grins. “So what you get with this live album is similar, but essentially it’s a fourth version [of the record]. When you play live, from night to night it helps to keep things fresh by jamming a bit and changing things up as you go. There are a few examples of that, for instance, the beginning of the last section that starts with ‘Belong’ is quite different than the record – partly because we couldn’t remember it! So we made up a new structure.”

“We’re always as well prepared as we can be but in a way Transatlantic is kind of a show band” points out bassist Pete Trewavas. “Playing alongside Mike who is a powerhouse on the drums, there is this raw power. If he wants to raise the energy that’s what we do. We’re all taking solos here and there, though we get the songs across we’re all showing off as much as we can”.

Filmed by Paul Green (who also shot their ‘Whirld Tour 2010: Live in London release), and mixed by longtime collaborator Rich Mouser, this set will be available as a Special Edition 3CD+Blu-ray Digipak (incl. 5.1 surround sound) & as a Gatefold 180g 4LP release. Both feature artwork by Thomas Ewerhard & photos by Nidhal Marzouk. Pre-order now here: https://Transatlantic.lnk.to/TheFinalFlight-LiveAtLOlympia

Tracklisting:

1. The Absolute Universe Intro

2. Overture

3. Reaching For The Sky

4. Higher Than The Morning

5. The Darkness In The Light

6. Take Now My Soul

7. Bully

8. Rainbow Sky

9. Looking For The Light

10. The World We Used To Know

11. MP Intro

12. The Sun Comes Up Today

13. Love Made A Way (Prelude)

14. Owl Howl

15. Solitude

16. Belong

17. Lonesome Rebel

18. Can You Feel It

19. Looking For The Light (Reprise)

20. The Greatest Story Never Ends

21. Love Made A Way

22. The Whirlwind Suite

23. NM & RS Intro

24. We All Need Some Light

25. The Final Medley

Line-Up (on this recording):

Neal Morse – Keyboards, Acoustic Guitar & Vocals

Mike Portnoy – Drums & Vocals 

Roine Stolt – Guitar & Vocals 

Pete Trewavas – Bass & Vocals

With:

Ted Leonard – Guitar, Keyboards, Percussion & Vocals  

Melancholic metal masters KATATONIA Unveil Second Single “Austerity” + Official Video

Spellbinding New Album, Sky Void of Stars, out January 20, 2023 via Napalm Records | Pre-Order HERE!

With eleven full-length records under their belts, Swedish melancholic metal masters KATATONIA don’t need to prove anything to anyone. Yet, it comes as no surprise that the band is about to impressively solidify their unique stance in the world of metal and beyond once more with their 12th album, the hauntingly beautiful Sky Void of Stars. 

Today, KATATONIA unveil the second single and Sky Void of Stars’ album opener “Austerity”, along with a visually palpable video. The heartfelt offeringcrashes through the dark with memorable, mind-bending rhythms as it shifts with elaborate guitar riffs that perfectly showcase the musical expertise and experience of the band. Topped off by the dark, conjuring voice of Jonas Renkse and mesmerizing lyricism, the gloomy mood for the album is set. The song is now available via all digital service providers worldwide. 

KATATONIA on “Austerity”:

“We hereby present you our new single and the opening track of Sky Void of Stars – ‘Austerity’. Energetic and dark, stern and disenchanted. Enjoy.” 

Watch the official video for “Austerity” :

“Melancholy at its best! Already one of the best Doom albums of 2023!“ (EMP) 

“Another heartfelt offensive by KATATONIA“ (Metal Hammer, DE)

“…Katatonia hit with highly energetic atmosphere, holding a gloomy ambience with epic sounds and poetic lyrics to get lost in.” (Prog Report)

Founded in 1991, KATATONIA have continually embraced the dark and the light alike, and, living through genre evolutions beyond compare, ripened their own particular form of expression. From doom and death metal to soul-gripping post rock, they’ve explored endless spheres of the genre, accumulating only the very best aspects.

Emerging from the gloom, KATATONIA is a beacon of light – breathing their unique, never stagnant, atmospheric sound through this new 11-track offering, all written and composed by vocalist Jonas Renkse. Significantly shaping the genre while still staying true to their own musical values, they orbit the musical universe – leaving their imprints on the scene. Projecting their sound to the endless realms, Sky Void of Stars shines bright in metal and beyond! 

KATATONIA on the new album, Sky Void of Stars:

“Our 12th album, Sky Void of Stars, is a dynamic journey through vibrant darkness. Born out of yearning for what was lost and not found, the very peripheries of the unreachable, but composed and condensed into human form and presented as sounds and words true to the KATATONIA signum. No stars here, just violent rain.” 

Pre-Order Sky Void of Stars HERE:

KATATONIA is one of a kind in a state of perpetual evolution. With their previously released first single, “Atrium”, KATATONIA hit with a highly energetic atmosphere, holding a gloomy ambience with epic sounds and poetic lyrics to get lost in. Songs like down- tempo “Opaline” and moody “Drab Moon” fully embrace their melancholic sound while fragile “Impermanence” is accented by the original doom metal roots of the band. Like a dark star, these pieces relume the dreariness, creating an ambient auditory experience with memorable hooks while still inducing the crashing sounds of hard guitar riffs and pounding drums. The experimental mastery of the quintet and their atmospheric approach is purely vivid, making this album a thrilling sensation. With “Birds”, the artists show off their explosive potential with a quick and energetic sound, proving their genre-defying style.

Sky Void of Stars track listing:

1    Austerity

2    Colossal Shade

3    Opaline

4    Birds

5    Drab Moon

6    Author

7    Impermanence (feat. Joel Ekelöf)

8    Sclera

9    Atrium

10  No Beacon To Illuminate Our Fall

11  Absconder (Bonus Track)

Sky Void of Stars is now available for pre-order in the following configurations here:

Ltd. Deluxe Wooden Box (incl. Mediabook + Digipack Atmos Mix BluRay + Crow Pendant + Star Chart Artprint + Pin) – Napalm Records exclusive

Die Hard Edition 2LP Gatefold Ink Spot / FOREST GREEN (incl. Slipmat, Patch, 12 pages poster) – Napalm Records exclusive – SOLD OUT!

2LP Gatefold DARK GREEN – Napalm Records exclusive – SOLD OUT!

2LP Gatefold MARBLED TRANSPARENT/DARK GREEN – OMerch exclusive

2LP Gatefold MARBLED CRYSTAL CLEAR/BLACK –  OMerch exclusive

2LP Gatefold BLACK

1CD Ltd Mediabook (incl. Bonus Track)

1CD Jewelcase

Digital Album

[Ltd. Deluxe Wooden Box (incl. Mediabook + Digipack Atmos Mix BluRay + Crow Pendant + Star Chart Artprint + Pin)]

Experience KATATONIA Live 2022/23 

2022 North American Tour

w/ The Ocean Collective and Cellar Darling

02.12.22 – Los Angeles, CA / 1720

03.12.22 – San Diego, CA / Brick by Brick

04.12.22 – Mesa, AZ / Nile Theater

06.12.22 – Austin, TX / Come and Take It Live (+Soen as direct support)

07.12.22 – Dallas, TX / Amplified Live (+Soen as direct support)

09.12.22 – Atlanta, GA / Hell at The Masquerade

10.12.22 – Tampa, FL / The Orpheum 

2023 UK & Europe Tour

w/ Sólstafir and SOM

20.01.23 FI – Tampere / Tampereen Tullikamari (Pakkahuone & Klubi)

21.01.23 FI – Helsinki / Kulttuuritalo

22.01.23 EE – Tallinn / Helitehas

24.01.23 PL – Warsaw / Klub Stodoła

25.01.23 DE – Berlin / Huxleys Neue Welt

26.01.23 DE – Cologne / Essigfabrik

27.01.23 DE – Stuttgart / LKA Longhorn

28.01.23 CZ – Prague / ROXY Prague

29.01.23 AT – Vienna / Arena Wien

31.01.23 HU – Budapest / Akvárium Klub

01.02.23 DE – Munich / Backstage Werk

02.02.23 CH – Zurich / Komplex 457

03.02.23 IT – Milan / Live Club

04.02.23 FR – Lyon / Ninkasi GERLAND

06.02.23 ES – Madrid / Kapital

07.02.23 ES – Barcelona / La Salamandra

08.02.23 FR – Toulouse / Le Metronum

10.02.23 GB – London / O2 Forum Kentish Town

11.02.23 GB – Manchester / O2 Ritz Manchester

12.02.23 GB – Bristol / Marble Factory

13.02.23 GB – Glasgow / The Garage

14.02.23 GB – Wolverhampton / KK’s Steel Mill

16.02.23 DE – Frankfurt Am Main / Batschkapp

17.02.23 NL – Haarlem / Patronaat

19.02.23 FR – Paris / Le Trianon

20.02.23 LU – Luxemburg / Rockhal

21.02.23 BE – Antwerp / Muziekcentrum Trix

22.02.23 DE – Hamburg / Gruenspan

23.02.23 DK – Copenhagen / Amager Bio

24.02.23 NO – Oslo / Rockefeller Music Hall

25.02.23 SE – Stockholm / Fryshuset Arenan

KATATONIA – 2023 Latin American Tour

17.03.23 MX – Guadalajara / C3 Stage

18.03.23 MX – Monterrey / Cafe Iguana

19.03.23 MX –  Mexico City / Cafe Auditorio

22.03.23 CH – Santiago / Club Chocolate

24.03.23 AR – Buenos Aires / El Teatrito

25.03.23 BR – Sao Paulo / Carioca Club

KATATONIA are:

Jonas Renske – Vocals

Anders Nyström – Guitars

Roger Öjersson – Guitars

Niklas Sandin – Bass

Daniel Moilanen – Drums

Nine Skies announce their new concept album ‘The Lightmaker’ with a magnificent teaser and the story. Coming in 2023

Following the success of their acoustic album ‘5.20’, Nine Skies announce their new concept album ‘The Lightmaker’ with a magnificent teaser and the story.

The Lightmaker tells the story of Rudy, who is now living in 1001st and final life. 

The album retraces some of his existences through the view of several characters and the introspection of these various incarnations which undoubtedly encourage reflection on the human condition.

https://www.youtube.com/watch?v=RLfTkn80C5E

Nine Skies are a French progressive rock band inspired by many influences: rock, pop, progressive, classical and jazz.

They have released three full length studio albums and one live album.

Hungarian prog masters Kaltenecker-Marko share video for “Space Junk”

Kaltenecker-Marko, the Hungarian duo of Zsolt Kaltenecker & Adam Marko, released their debut album ‘Space Junk’ in April 2022. The album is a unique mixture of prog, modern jazz and other electronic styles which manages to impress and engage the listener at the same time.

Today, the duo are pleased to share the new video for the track “Space Junk ” which you can see now here:

Zsolt Kaltenecker & Adam Marko are among Hungary’s top musicians, and also members of the well-known instrumental band Special Providence who have toured with Haken, Spock’s Beard, and others. The duo invites the listeners to a special musical journey from prog, djent, downtempo to trip-hop and jazzfusion, many electronic styles are recalled live on two instruments, keyboards and drums. The minimal setup is really challenging and also gives air and space for the artists to showcase their abilities as musicians.

Tracklist:

1. Secret Shifter
2. Doubt
3. Higher
4. Space Junk
5. The 7th Wave
6. Unexpected
7. Wormhole
8. Bill Murray
9. Bunuel
10. Lemuria
11. Dharma Bums
12. Glitches
13. The Way 

Get the album here:  https://bfan.link/space-junk