‘Black Science and White Lies’ is the third album from Infringement after ‘Alienism’ (2019) and ‘Transition’ (2017) The album follows a man’s journey through faith, his identity and, eventually, his redemption.
Infringement are Stig André Clason (guitar), Kristoffer Utby (drums), and Hans Andreas Brandal (vocals). Keyboardist Bård Thorstensen joined the band for their live performances and soon became a permanent member. Their latest addition, to complete the permanent line-up, is Emil Olsen on bass. Brandal has a somewhat theatrical style of singing that works well on this fine two track (in multiple parts) album of two pieces, White Lies and Black Science.
Together these two tracks comprise the entire 43-minute duration of the album, an unusual and somewhat intense sounding album that mixes narrative and some fiercely strident and hard-hitting music. I recommend that you have the CD booklet at hand so you can follow the narrative more easily, as it is can be a bit obscure otherwise. Even so, it’s not easy to follow what’s going on. I found it better to just go with the flow and listen to it as a complete piece of a journey. On White Lies, the acoustic guitar, keyboards and piano work very well ,acting as a counterpoint to the despair of the vocals, as does the guitar break at the end of the track that gives such great dynamics to the piece.
I actually find strong connections in this piece to the parable of the prodigal son, where a son leaves home and eventually realises he was better off at home. This theme is especially apparent White Lies pt. 3 – Apostasy which is backed with a very muscular beat and a thrust of energy and power. There is great use of the Hammond organ throughout this section with some sinewy snaking guitar lines and power chords giving the track its impetus and drive. The following section sees the return to the fold as it were as he seeks reconnection to his family. Again this is all very much theatrical in tone and actually works well like that.
After this we move to the second, five piece, suite of Black Science, which is slightly longer in length. This piece opens with good interplay between the organ and the rhythm section with powerful drums from Kristoffer Utby and strong parts from bassist Emil Olsen alongside Stig André Clason‘s subtle guitar playing. The sound is complex and constantly changing in both style and tempo, there is more than a whiff of both Gentle Giant and King Crimson in this track as it evolves steadily, the piano from Bård Thorstensen is really fine and offers a good balance to the intensity of the other sections of the track.
I will admit to not having a clue as to what this track is about, although it seems to be about a state of evolution. The organ is very prevalent during the Crimson Skies segment of the track as are the epic tones of Redemption, along with more fine guitar work from Stig André Clason, whose playing is never less than stellar, his last solo concluding the track and album in style.
‘Black Science and White Lies’ is a very interesting and somewhat intense listen, as it will demand much concentration in order to fully grasp the concepts it contains. It is worth the effort though as Infringement reward you with some excellent musical passages and performances with some great sections and playing. I really wouldn’t mind delving further into previous albums from the band to get a grip of what they are all about.
The booklet for the album gives a lot more information and is a recommended aid to getting the best from the music of the album.
I can’t believe that in all my years, although being aware of them, I had never actually listened to any music from Stackridge, the Bristol based unit whose merging together of folk, prog, music hall and vaudeville stylings had somehow completely passed me by. Unbelievable and definitely my loss. So. now I find myself rapidly playing catch up, trying to rectify that oversight, which is rewarding, if not a little futile, as Stackridge have ceased to be, well for the moment at least.
Stackridge’s history is well documented online and in the rather marvellous ‘On Track’ book by Alan Draper, which details that history album by album. It’s possibly a book that many would enjoy reading, digesting and learning all about this seldom mentioned and largely overlooked band.
This fine 4 CD set comprises the reunion albums, ‘Something For The Weekend’, the ‘Lemon’ mini album and the 2008 release ‘A Victory For Common Sense’. The set is completed by a reissue of ‘The Final Bow’, a double album recording of their final show from their home city of Bristol recorded in 2015. It also features additional bonus tracks such as the 2006 re-recording of Purple Spaceships Over Yatton, Seek and You Will Find and both songs from the rare ‘Dummies’ CD single.
Stackridge have a near 50-year history, although it is a broken, disjointed timeline with periods of several years’ inactivity between the late 1970’s and the 1990’s, after which they returned to an increased level of activity once again. This means that ‘The Final Bow’ element of this release is able to draw material from their earliest and also their latter day releases and this makes the set different to the earlier live set of ‘The Forbidden City’ from 2007, with which it shares at least 10 tracks. The addition of track from 2008’s ‘A Victory For Common Sense’ helps as several of those tracks really make an impression here. As do long term fan favourites like Syracuse the Elephant and Slark, along with Purple Spaceships Over Yatton and Do the Stanley Stanley Aviator Brass, that draws the show to a fitting, if not a little understated, finale.
What I do like, and I think will appeal to Big Big Train Passengers, is the presence of Claire Lindley who adds her violin, guitar, ukulele and voice to these recordings. They all sound wonderful and pastoral even, at various points within the albums, especially on the live tracks where her presence is keenly felt. I also like that they delve back deep into their history for versions of The Road To Venezuela and God Speed The Plough. Something About the Beatles really appeals, with its somewhat whimsical lyrics. It does remind me at times of a less manic incarnation of the Bonzo Dog Doo-Dah Band without the whirlwind of mischief that was Vivian Stanshall, Stackridge seem to share a similar musical DNA, which makes their eccentricity all the more rewarding. I really am enjoying discovering all this wonderful music many years later on.
Whilst casual listeners may not find this the best introduction to Stackridge, it does have the advantage of offering a handy bite-size introduction to the band through its latter-day recordings and the great ‘The Final Bow’ set. This is all encased in a great clamshell box with individual sleeves for the albums, although ‘A Victory For Common Sense’ gets a gatefold sleeve and ‘The Final Bow’ gets a different picture for each disc, along with picture labels of each cover. The booklet is perfunctory and actually is a little light on details, giving more of an overview of the band’s history, the pictures are good though, it must be said, I certainly found it to be a fine set one that I will definitely return to again I’m sure.
I recommend it highly and I can only comment on how much I’ve missed out on over the years of this band’s existence. Don’t be like me, investigate Stackridge for yourself, you may be as pleasantly surprised as I have been with their excellent musicianship and witty and interesting songs.
Life has been a bit up and down recently and I have really struggled to keep Progradar up and running but we are still here, a not inconsiderable thanks has to go to John Wenlock-Smith for keeping the reviews running while I’ve been on a bit of a hiatus!
Anyway, 2025 started with some fantastic promos being sent so here are just a few of them, you’ll see why I think 2025 is going to be another stellar year for the music we all love!
Ghost Of The Machine – ‘Empires Must Fall’
‘Empires Must Fall’ is the hotly anticipated second album from Yorkshire-based progressive rock band Ghost Of The Machine, releasing on 7 March 2025 through ProgRock.com’s Essentials label.
Empires Must Fall maintains Ghost Of The Machine’s trademark anthemic hooks and beefy melodic rock production (once again courtesy of Leeds producer Bob Cooper) and it also explores “denser and darker arrangements that”—singer Bramald promises—will “scratch that ‘prog’ itch while striking a careful balance between shorter, more accessible songs and those epic-length pieces that we’re known for.”
The new album tells a continuation of the story that started with the ‘Scissors’ suite on the previous album. Bramald adds, “Our first record concluded with the tyrannical Puppet King being vanquished by his final victim… she slew him with a pair of scissors! So, we wondered what the consequences of that violent but liberating final act would be. We started with a simple question: what is true justice? Is the newly crowned Empress of the Light succeeding at being a benevolent ruler, or is she becoming a tyrant herself? Can she right all the wrongs that she herself had suffered? And what will it take to finally break the cycle of violence and coercion?”
God, these guys just keep getting better! There’s a confidence about Ghost Of The Machine that oozes from every track on this complete monster of an album. You’d be forgiven for thinking that the band had been together for decades, not just a handful of years. Powerful guitars and a wonderfully fluid rhythm section add to the elegant keyboards and Charlie Bramald’s superb, distinctive vocals to deliver a real tour de force of hard rock tinged progressive rock.
Keepers Of The Light opens the album with an energetic bravado that enthuses the listener and then The Days That Never Were adds some classic hard rock vibes to the album. The two epics, Panopticon and Fall Through Time, take this impressive band to yet another level. The former is a brooding monster of a track that ebbs and flows with a quiet assurance and maturity and speaks of a group of musicians on an ever upwards trajectory and working in an almost symbiotic relationship. The latter is a true progressive masterpiece that wouldn’t be amiss on a Genesis album. The haunting brilliance of The One is a highlight and the album closes with After The War, a modern progressive take on Dire Straits‘ Brothers In Arms to my ears.
‘Empires Must Fall’ is Ghost Of The Machine oozing class, skill and confidence to deliver a truly majestic musical experience that lingers long after the last note has ended.
Dominic Sanderson is a 25-year-old Liverpool-based solo artist from Wakefield. He places his foot firmly in the progressive rock field, with current influences being Van der Graaf, King Crimson, Gentle Giant and Caravan. Having made his debut in 2020 with the ‘Discarded Memories’ EP (featured on the sampler CD of Prog Magazine #116), Sanderson released his first full-length album, ‘Impermanence’, in 2022.
‘Blazing Revelations’ was completed between January and November 2024. The album was recorded and mixed independently by Joshua Joyner in an abandoned radio station. With the snatches of time available to Sanderson and the band members, what with commitments to careers, families and social activities, ‘Blazing Revelations’ was a labour of love, slowly chipped at when time allowed. The mastering was completed by Jon Astley (The Who) at Close To The Edge Studios.
Once again, Dominic Sanderson has created something truly progressive. I was a big fan of ‘Impermanence’ and I think he has taken his skill set to another level. A masterful collection of songs that inspire and surprise at every turn. There’s touches of Canterbury, swathes of symphonic and, over all, a supreme confidence in the composition and delivery on every track of this superb release.
Dominic is obviously not one to rest on his laurels and ‘Blazing Revelations’ continues his quest to expand the progressive genre with thoughtful, intelligent and complex creations like the acid edged majesty of From The Weeping Cradle with it’s complex rhythms and the wistful, Canterbury stylings of Faithless Folly, a convoluted, labyrinthine piece of music that takes you on an other worldly adventure. Add in the acid folk leanings of A Rite Of Wrongs and we see Sanderson take an enjoyable trip into the wider sonic world.
The stand out track is the near seventeen minute journey into the unknown that is Lullaby For Broken Dream. There’s something utterly compelling about this song as it opens up like an Edgar Allan Poe story set to music with discordant jazz sections that really test his fellow musicians and edgy, contemporary prog that makes for an complex and intriguing listening experience. An utterly worthwhile expedition into the creative mind of one of British progressive rock’s rising stars. Crimson-esque guitars and swathes of 70’s keyboards abound on this stunning piece of music that will leave you breathless in admiration.
With ‘Blazing Revelations’, Sanderson has redefined what it is to be truly progressive in the modern musical world and I for one am eminently thankful that there are musicians out there who are still creating works of art like this.
Human Pyramids is a Cinematic, Orchestral Supergroup from Glasgow, Scotland.
Led by Composer/Producer Paul Russell, the new album features musicians from Axes, Suicide Bid, Scottish Ballet and Modern Studies.
Their 4th album ‘Thank You’ was recorded all over the UK and Europe. Luscious strings, rousing horns, shimmering guitars and bubbling synths. The album expands upon their trademark euphoric sound from the first 3 records which have soundtracked countless TV Shows, Documentaries and Films. The album was mastered by Alan Douches (Sufjan Stevens / Animal Collective) in New York State.
I’m a huge fan of Paul and Human Pyramids, the uplifting music is wonderful to listen to and transcends all the crap in modern life. With ‘Thank You’ Paul has carried on with his fantastic formula, delivering an experience that is sonically beautiful and joyously mesmerising.
Take strings, brass, amazing percussion and funky guitar and add in a touch of utter joy and you get something that will leave a permanent smile on your face. Listen to the audaciously wonderful Full Bloom, the staccato feather like innocence of Scattering Sunlight and the wholesome delight of Glow and tell me that I’m wrong!
This world that we live in can be a daunting and scary place so take some time out of your busy schedule and let Human Pyramids whisk you away to a world of musical wonder and delight!
Thumpermonkey’s guitarist/vocalist Michael Woodman returns with his first full-length solo album, slated for release on 26/04/2025. ‘Hiss of Today’ entangles restless analogue-synth entities with lo-fi motorik percussion; part 60s baroque chamber pop, part Vangelis, part Thelemic ritual viewed through a broken kaleidoscope. Label owner and Gong frontman Kavus Torabi (whom Woodman toured with after the release of his debut EP, ‘Psithurism’) also gifts his unmistakable spectral psychedelia to the single, Lychgate. The album’s inspiration comes from an uncanny discovery: William Robert Woodman, one of the founding members of the Hermetic Order of the Golden Dawn, not only shared Michael’s surname but also died on the same date as Michael’s birthday. ‘Hiss of Today’ is equal parts nostalgic hauntology, tales of cursed ZX Spectrum tapes, and hallucinated 8-bit lore – expanded upon through a pre-release text adventure that fans can access from February 2025.
Photo credit Ashley Jones.
I was one of the first to hear ‘Psithurism‘ and was intrigued by Michael’s complex and intriguing music and he has returned with a full length release that improves on the promise of that EP to deliver a thought provoking and beguiling collection of songs that captivates the listener with its compelling stories impressive musicianship. Haunting and moody on tracks like The Wandering Nerve, the musical equivalent of scratching your finger nails down a blackboard and bombastic and theatrical on my personal favourite, The Button, a track that harks back to 90’s hard rock band Incubus to my ears. It is a journey through a feverish but calculating mind and one that produces something daringly different.
There’s nothing else quite like ‘Hiss Of Today’, with touches of Gong and Cardiacs in places, mingling with the cerebral style prog of Van der Graaf Generator and King Crimson, Michael Woodman has created a kaleidoscope of musical magnificence.
Dim Gray are a Norwegian band known for their cinematic, atmospheric sound that fuses rock, folk, and chamber pop. Following acclaimed debut, ‘Flown’, and the expansive, evocative soundscapes of second album, ‘Firmament’, Dim Gray are set to release their third studio album, Shards, on February 28th, 2025 on Grim Day Records.
Formed by Håkon Høiberg (guitars, vocals), Tom Ian Klungland (drums), Oskar Holldorff (vocals, keys) and former member Robin Kirknes (bass), the band added new members Kristian Kvaksrud (bass) and Milad Amouzegar (guitar, keys) in 2023. The band have established a strong live presence, as per their recent live EP, and have captivated audiences while supporting renowned acts like Marillion and Big Big Train.
Oskar adds, “Seven of the songs on Shards are about change, upheaval, severance; something shattering to pieces. Although most of these songs are sad or dramatic, some have a tinge of hopefulness to them, as sometimes the pieces of something shattered can be rearranged in different and better ways. These seven songs are bookended by two songs that deal with the opposite; a constant stasis, an unending struggle of two opposing kinds that are reflections of our personalities.”
With the breadth and ambition of the Shards album, Dim Gray are making good on not only what has come before but also setting their sights on, despite their name, a very bright future.
I’ve been on the Dim Gray journey since the start and this Norwegian band just get better and better with every album they release.
They have a very distinctive sound and this has coalesced into a more easily accessible and open set of songs on ‘Shards’. From the very first note of Defiance you are drawn into a musical cornucopia of wonder and delight. Jingling guitars, haunting piano and the distinctive, fluent vocals are hallmarks of this wonderful band’s very unique sound. The soaring choruses and dynamic strings add yet another dimension to the music and this can be heard to fantastic effect on the delightful Myopia.
Dim Gray are described as ‘evoking a blend of Radiohead’s experimental edge and Fleet Foxes’ pastoral warmth’ but, to my ears anyway, their sound has evolved to be very like the much loved Danish band, Mew, who are sadly playing their last two shows this year before disbanding. With driving, energetic songs like Murals with its superb folk style guitar, Dim Gray can forge a new path for themselves and create their own niche. The warmth and heartfelt passion of Feathers and Mooneater create a stylish juxtaposition with the wonderful Scandi pop/prog of the vibrant first single from the album, Peril, like A-ha brought bang up to date for present times, it’s uplifting, energetic and just brilliant!
Mesmerising and ethereal, Little One and Shards From a Broken Crown are perfect musical gems like atmospheric, euphonic ripples in a sonic lake but the best is saved until last with the ten minute odyssey that is Attakulla. A brooding opening gives way to Dim Gray at their magical best. Gorgeous harmonies and simply superb musicianship create an atmosphere of utter wonder that transcends mere mortality and finishes this musical creation on an incredible high.
‘Shards’ is a band operating on a higher plain. Widescreen cinematic music full of heart and soul, Dim Gray have given us the highlight of 2025 so far and it will take something quite remarkable to top it.
One of the best things about last year for me was getting out to go to more gigs than usual, several of these being in quite distant places for me. These included a couple of Sunday afternoon shows in Camden, another was in Reading and yet another was in Colchester, where I was fortunate enough to witness the first ever live performance from Essex based The Round Window, who were supporting the ever impressive EBB in a show at the Three Wise Monkeys public house.
This was a very interesting trip for me as Colchester is nearly 200 miles and several trains from Cheshire! Nonetheless, it was a trip I felt compelled to make as I had been utterly smitten by their second album ‘Everywhere And Nowhere’ which editor Martin Hutchinson had reviewed and raved about on this very site.
Which bring us in a very meandering manner to this latest release from The Round Window, the EP ‘Fram’, which is not long enough for an album but certainly strong enough to be a stand alone release. It contains a mere three tracks, however, when the tracks are as imaginative and varied as these then you are getting some real quality music that works well as both an introduction to the band and also marks a moment in their development as the band move forward to being more active and present in the current progressive rock scene.
The three songs, The Silence, Fram and the epic sounding Hourglass are performed by the three Lock’s, Richard on vocals, Thomas on Keyboards and Jack on drums. They are very ably assisted by Robin Armstrong of Cosmagraf who adds some impressive guitar toFram and bass on The Silence, along with Gareth Cole who adds his multi-faceted guitar tones to Hourglass. In Addition, Per Malmberg adds his guitar to The Silence. The EP is also produced by Robin Armstrong via his Gravity Dreams label.
This EP works extremely well in offering a concise snapshot of a band who have upped their game significantly with new material that draws on what they have done previously and yet have somehow managed to move several steps further on in terms of their overall confidence and also in their visibility in the current scene. What has helped in this is their constant self-examination of who they are and this EP distils their hopes and dreams into just three songs that offer another side to the band with thoughtful and intelligent themes delivered with style and grace.
First (and longest track) The Silence is a song written from the viewpoint of a soldier in the First World War who is remembering past seasonal festivities at home with his family, something he is hoping can happen once more when the madness is over. The song begins with a somewhat sombre and atmospheric soundscape which is very cinematic in tone before a beat is picked up with bass and drums. A strong vocal from Richard commences with the soldier’s memories and his strong wish to be home. The song paints a wonderful picture of family life that has been interrupted by events, at which point the song changes into a darker mood. A guitar break follows before more sombre words are voiced and we can tell that things have altered somewhat for the soldier as he tells his sister that all is not as he had previously communicated. He did it to keep his hopes alive but now they have been dashed. The song ends with sounds of a family gathering and it is a very moving track all told.
Fram tells the story of Fridtjof Nansen, a Norwegian Explorer who sailed in the ship Fram on an unsuccessful expedition to the North Pole in 1894. Despite his failure, he was hailed as a hero on his return. The song explores his thoughts and feelings on his failure and the subsequent success of Roald Amundsen in 1911 in the very same vessel, Fram. This track is very introspective and resigned in tone, not victorious in any way and has some great and very fluid guitar lines woven throughout.
Hourglass is another somewhat introspective and inward-looking piece, although it concerns itself with looking into the future at the end of another year and hoping it will be a better one that lies ahead. It is a reflection on the passage of time as well and is another superbly composed and delivered piece of cinematic progressive music.
This is a very satisfying, impressive release from The Round Window and bodes well for their next album. I consider myself lucky enough to have caught their first show and hope to see them again soon.
I’ve had ‘Disparity’ for a while now and have only just begun to fully appreciate its subtle elegance and beauty. Andy Foster and Kite Parade have created a very modern progressive rock album of strong songs and observations of modern life.
The album begins with the track Fraternal Angels, which is very upbeat, starting out with synth soundscapes and piano before the vocals kick in with a surging drive. The song is very wide open in sound and is an excellent opener to all that is to follow afterwards. The mid section of the track is very interesting as it details the state of the world and it’s inequalities, 20% of the world having 80% of its wealth and resources. The brief Open Your Heart calls for a fair redistribution of the world’s food supplies and wealth and to be fairer to everyone. Is This All There Is ? features Christina Booth of Magenta who challenges us to do and to be more as there is more to life than what we see and experienceT he delivery of this great song is excellent. The World Is Mine is from the view of one who is in the top tier of wealth and is still not satisfied with everything,
Lynsey Ward of Exploring Birdsong is the vocalist for Broken, which has a delicate piano and some great synth sounds among its shuffling melody. The introduction of Andy Foster’s excellent saxophone solo really adds to the dynamics along with some great slide type guitar sounds towards the end. There are great dynamics between the rhythm section of Jimmy Pellagrosi (drums) and Marcin Palider (bass) with Andy laying down a great guitar line on top. This segues into Forgotten Youth, which has a chunky riff and sound to it. This is another up-tempo song with very interesting lyrics. Also worth mentioning is the terrific sound that the album possesses and that comes courtesy of Rob Aubrey, the sound being excellent and clear with great dynamics. It sounds really good to these ears, modern with a great drive and urgency when required. I also like how the songs flow into each other, creating a continuous sound cycle which captures the attention. The song has an excellent outro that is very impressive and imaginative. The use of textures and colouring make this song very grand sounding and my favourite thus far on what is a very majestic album.
Is There Hope? is a prelude to the epic Make It Beautiful which begins with thunderous bass from Marcin which sets a strident tone for the song. The track has a great refrain that is very memorable indeed. This is a great piece of music, very hopeful and optimistic in nature, which is no bad thing! It is a plea to restore beauty to an increasingly ugly world. Yes, it might be a bit hippyish and unrealistic but one can hope that beautiful actions can happen and bring the beauty back for everyone to appreciate. All this leads into the final track, Listen To The Angels, another optimistic and hopeful song. Andy Foster might be a dreamer but he wants a better world and hopes that it will happen and, in these troubled times in which we currently live, surely that’s not a bad way to be. I for one applaud his efforts and share his hopes for a fairer future.
‘Disparity’ is a really strong album with much to commend and has some brilliant performances. It bodes very well for the future of Kite Parade, let’s us hope that it’s not too long before we see them in action once again, as they are at the vanguard of a growing wave of melodic and worthy progressive rock music.
I highly recommend this tremendous album to you all. As for me, I am going back to check out their earlier albums, ‘The Way Home’ and ‘Retro’ as they passed me by, so the time is right for me to get acquainted with them.
Voted Best Band in Prog magazine’s latest annual Reader’s Poll.
Solstice are pleased to announce the release of their 8th studio album, Clann, on April 4th, 2025 through specialist US label Progrock.com Essentials.
Voted Best Band in Prog magazine’s latest annual Reader’s Poll, and arriving on an exuberant wave of positivity created by previous albums Sia (2020) and Light Up (2022), both widely acclaimed within the prog community and beyond, Clann completes the most recent phase of Solstice’s 40-plus year career. As band founder, composer, and guitarist (winner of Prog magazine’s most recent Best Guitarist Prog Award) Andy Glass explains, “[Sia] made me realize the potential and by the time we were working on Light Up the whole band had raised its game. I believed then that a trilogy of albums was what it would take to create our best work and track that journey. Clann is the final album in the Sia Trilogy and it’s everything I’d hoped it would be. Let’s hope the universe likes it too.”
As Solstice keyboardist Steven McDaniel laughingly confesses “It’s terrifying to be in a band this good!” Boasting the same line-up since 2020, the members of Solstice channel their impressive individual talents to create music that melds elements of hi-intensity prog-folk, soaring new age, fragile ambiance, fresh funky pop-rock with world music leanings, and fist-pumping heavy rock jubilance, demonstrating a sophisticated, multifaceted modernity while retaining transcendent timeless qualities. A lauded singer-songwriter in her own right, Ebony Buckle, backing vocalist and now solid member of the Solstice family, reflects, “I love how these new songs feel like they’ve always existed.”
Enjoying both an artistic and commercial rebirth over the past 5 years, Solstice owe much to the addition of young singer Jess Holland in 2020, who brought with her not just a clear emotive voice that communicates both stridency and tenderness with equal ease and charm, but a beguiling energy that has directly impacted everyone in the band. As Andy Glass is eager to explain “Sia was our first album with Jess and what a total game changer that was. I’ve felt incredibly motivated and inspired ever since. Since then I seem to have this relentless appetite to take this music as far as we can. There’s nothing quite like feeling that kind of drive.”
Recorded both in a variety of recording studios and by individual band members at home, Clann includes a first in the band’s career with the track Plunk which features a brass section recorded at the beautiful Grand Chapel Studio in Toddington, Bedfordshire. Glass admits that “there might be a bit of a Big Big Train influence there somewhere!”
Clann manages to cover a great deal of musical ground in its nearly 40-minute running time. Firefly opens up proceedings and will be familiar to many already through its airing at numerous gigs and its inclusion on both the band’s Live At The Stables and Return To Cropredy releases. Its pulse-pumping energy, hard-edged yet infectious grooves, whirling bursts of synth and violin and its glorious guitar solo lift the spirit and sweep us into Solstice’s mesmerizing world. Elsewhere Life delivers smooth, soulful, modern pop with an elegant dance-friendly heart and Plunk is taut swaggering funk in 7/8 with brass stabs and a left-field, gritty guitar solo. Frippa is built on an urgent, bluesy Crimson-esque riff in 5 and spotlights organ, violin and even more incendiary guitar. Final track, the 14-minute Twin Peaks, in some ways harks back to what prog polymath and longtime Solstice fan Steven Wilson once described as the band’s “spacey and spacious” early material – it’s gentle, reflective and airy with pastoral, folky strains, yet builds into a soaring expression of rapturous celebration and spiritual freedom.
Lyrically, the album continues established Solstice themes of love, joy, peace, harmony and acceptance, yet Clann admits that not everything in the garden is always rosy. Although longing for some ultimate redemption, both Plunk and Frippa feature a level of reproach for unidentified liars and cheats with Plunkeven exercising some wry schadenfreude at the downfall of the song’s antagonist.
Check out the video for the first single “Firefly” here:
Solstice will be supporting the release of Clann with a strings of live dates including festival appearances in the UK, Europe and north America. The band’s live work has been fundamental to their growing popularity with a wide audience demographic. Always more than just a magical musical experience, the band’s gigs are consistently celebratory, invigorating, warm hearted and a lot of fun. The live work has fed directly into Andy Glass’s writing – “One of the joys of this beautiful band is the energy on stage… and that’s definitely played into the writing for this album. I only need to think about the gigs to imagine the possibilities and for the ideas to start forming.”
Clann Track List 1.Firefly 2.Life 3.Plunk 4.Frippa 5.Twin Peaks
All songs written by Andy Glass
Solstice line-up Andy Glass – Guitars, backing vocals Jenny Newman – Violin Pete Hemsley – Drums Jess Holland – Lead vocals Robin Phillips – Bass Steven McDaniel – Keyboards Ebony Buckle – Backing vocals Dyane Crutcher – Backing vocals
Formed in Aylesbury, UK, Solstice played their first gig at Berkhamsted Town Hall in early 1980. Although very much considered part of the early 80s British neo-prog movement, sharing stages with the likes of Marillion, IQ and Pallas, Solstice drew more on folk, folk-rock, neo-classical and psychedelic space-rock than most of their contemporaries. The band gained a small legion of devoted fans touring extensively, playing many notable venues such as The Marquee in London and The Friars in Aylesbury as well as at the prestigious Reading Festival in 1983. Although releasing self-financed cassette demos during this period, they didn’t record their debut studio album until 1984’s Silent Dance, before this chapter of the band’s career came to an end with Solstice splitting up in 1985. Over the next 20 years Solstice had long periods of inactivity peppered with one-off reunions, brief reformations and two further studio albums, New Life (1993) and Circles (1997), the latter featuring Clive Bunker from Jethro Tull on drums. The pressures of line-up instability, family life, other musical projects and the imperative of making a living proving more of a priority than keeping this particular band going.
With their re-mastered back-catalogue issued in 2007, Solstice enjoyed something of a renaissance, appearing live more frequently and going on to record a further two albums – Spirit in 2010 and 2013’s Prophecy. However, although the albums were well-received and a core fan-base persisted, there remained a sense that the band was treading water rather than moving forward in any meaningful way. Then, somewhat unexpectedly, everything changed in 2019 when Andy Glass, founder and sole surviving original band member decided he really wanted to record one more album. Looking at who might front the band, they settled on young singer and musician Jess Holland. This decision transformed the band’s fortunes in ways they could hardly have imagined. Prog magazine journalist Martin Kielty summed up the feelings of many when he opined that this led to “Solstice becoming the band they were always meant to be”.
With new album Clann set to complete a trilogy of albums begun with 2020’s Sia, Solstice have been busier over the last three years then they probably have been for the last couple of decades, playing numerous shows including high profile festival appearances at Glastonbury, Cropredy and Milan. Enjoying a level of acclaim and critical praise that surprises even the band themselves, Andy Glass almost has to pinch himself – “Suddenly there’s this out-pouring of creativity. We’re making music that’s as good as [anything] I’ve ever been involved in making. And people are responding to it. It’s absolutely extraordinary… I mean surprise doesn’t cover it. I never saw anything like this coming… and it feels incredible. It’s what’s driving me now having never been ambitious in the past.”
Due to some technical issues, we’ve been offline for a while but we are back with four fabulous new releases from Glass Hammer, IQ, Bjørn Riis and Oak. So, without any further ado, let’s dig in!
Glass Hammer – ‘Rogue‘
GLASS HAMMER GOES ROGUE WITH April 11th RELEASE
Glass Hammer’s “Rogue” spins the tale of one man’s fateful, final journey. “He leaves everything he knows behind,” explains composer Steve Babb. “And thinks he’s returning to a place where he once knew happiness, but in reality, his odyssey will sweep him away to somewhere completely unexpected.”
Babb explains that the ten-song album explores themes of regret, heartache, and the mortal salience that comes with age. “Life is fleeting,” he continues. “It’s a heavy topic for an album, but the music isn’t as heavy as our last few releases. Rogue is much more like the Glass Hammer albums our fans refer to as “classic.”
And who’s in the lineup? “It’s no secret that Glass Hammer reinvents itself every few albums,” says Babb. “It’s happened again! This time with a lot of new faces.”
Rogue features performances by Fred Schendel, Reese Boyd, and David Wallimann (GH guitarist 2006-2010). Vocalists Thomas Jakob (Netherlands) and Olivia Tharpe (USA) are new to the band. They’re joined by guitarist Oliver Day (UK), keyboardist Ariel Perchuck (Argentina), drummer Evgeni Obruchkov (Poland), and others. “It’s an international cast of characters,” Babb points out. “A super-talented group that our fans are sure to love.”
The hour-long Rogue is Glass Hammer’s twenty-second studio album. Fans can pre-order autographed copies, t-shirts and downloads on the band’s website:
GEP recently announced the release of Dominion, the long-awaited new album from IQ, the first new music in 6 years following-up 2019’s Resistance. Dominion will be released on March 28th, 2025.
Today, the band have released the video for the first single titled “No Dominion” which you can see here:
Peter Nicholls: “Hot on the heels of Resistance’ six years ago! Yes, it’s been a long time coming (we couldn’t be accused of rushing these things!) but we’re confident this album is really strong and has been worth the wait. To be releasing a new IQ album in our 44th year feels genuinely exciting”.
Mike Holmes: “We did actually write a lot more material for Dominion, but this choice of songs (and the running order) feels like a cohesive album to me. Even in this age of streaming individual songs I still approach a new album with a ‘side one’ and ‘side two’ thing in my head and the selection and placement of songs for Dominion just feels like a classic album should (I know, I’m using ‘old people’ speak!). “The original intention was to have a second disc of other material but that would have taken a lot longer to put together and we figured six years was quite enough. It does mean that there’s already quite a bit of stuff ready for the next one.”
Dominion will be available in a six panel digi-sleeve CD with 16-page booklet and a one-disc coloured vinyl album in a gatefold sleeve.
Pre-orders for the album will begin on Feb 17th, 2025 via the band’s website:
Bjørn Riis is among Norway’s most acclaimed and prolific artists in the progressive rock genre. As a songwriter, multi-instrumentalist and producer, he’s transitioned from learning his trade in obscure cover bands to having worldwide success both as a forming member of Airbag and as a solo artist.
This spring, Bjørn follows up his highly acclaimed ‘Everything to Everyone’ (“This fantastic musician’s best work!” – Progradar UK), with a new album, ‘Fimbulvinter’ on the 11th of April.
To whet the appetite of his fans, the track Gone has been chosen as a single and Bjørn has this to say about it:
“”Gone” was the first track I wrote for the album. It’s one of those songs you just want to play loud in your car going fast on the highway! I wanted it to have that pop and monumental feel to it, while dealing with a somewhat serious matter. It’s about the fear of not being enough, of being rejected and dealing with that by wanting to escape and flee. I’m playing all of the instruments, with Kai Christoffersen on drums and my long-time collaborator, Vegard Kleftås Sleipnes, mixing and co- producing.”
Gone can be streamed or downloaded from the following link:
‘Fimbulvinter’ is a personal album, based on Bjørn’s own experience dealing with anxiety. The lyrics are profoundly honest and emotional, describing utter hopelessness, paranoia and despair yet a hope and gratitude. Riis says:
“It’s not an autobiographical album but I wanted to share some of my own experience and write about a topic that I think is very important. Mental health is something everyone is dealing with in one form or another, in different periods of life. It’s something we all can relate to but it’s still somewhat of a tabu. The music is possibly the heaviest I’ve written. There’s some really powerful stuff, with guitars and drums, but there are also beautiful and evocative moments that adds a strong contrast and diversity.”
The title, ‘Fimbulvinter’, refers to Norse mythology and the tale of the long winter that leads up to Ragnarok – the end of the world and a new beginning.
Fimbulvinter feature Bjørn on all instruments and vocals, with contributions from Airbag’sHenrik Bergan Fossum (drums), Arild Brøter from Pymlico (drums) and Kai Christoffersen.
Once again, Bjørn has teamed up with long-time collaborator Vegard Kleftås Sleipnes, who co- produced, mixed and mastered the album.
Tracklisting for ‘Fimbulvinter’ is as follows:
1. Illhug 2. Gone 3. Panic Attack 4. She 5. Fimbulvinter 6. Fear of Abandoned
‘Fimbulvinter’ will be available CD, Digipak, Digital and Black Vinyl LP and Coloured Vinyl LP formats, and can now be pre-ordered at:
With their highly anticipated fourth album, ‘The Third Sleep’, Norwegian progressive rock band OAK delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond.
On the 25th of April, OAK follows up their highly acclaimed ‘The Quiet Rebellion of Compromise’ with a new album, ‘The Third Sleep’.
About the album, the band has this to say:
“The Third Sleep continues the development from TQROC lyrically and further descends into the darkness of the mind errands. The form is suggestive and poetic, with room for interpretation within certain limits. The album is also more outgoing than its more introspective predecessor, with socially critical lyrics that require the listener’s attention and an ability to read between the lines.”
With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, Oak has carved out a distinctive sound—both captivating and challenging in equal measure.
Recorded in Ljugekroken (Oslo), the album was mixed by David Castillo (Katatonia, Leprous, Opeth) and mastered by Jacob Holm-Lupo (White Willow, Donner) at Dude Ranch Studio, Sandøya.
Prepare to experience “The Third Sleep”, a thought-provoking journey through sound and emotion.
Tracklisting for “The Third Sleep” is as follows:
1. No Such Thing 2. London 3. Run Into the Sun 4. Shimmer 5. Shapeshifter 6. Borders 7. Sensory Overload
“The Third Sleep” will be available CD, Digital and Blue/Purple Smash Vinyl LP formats, and can now be pre-ordered at:
OAK originated as a duo, which expanded into today’s line-up of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars and Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars. The fact that OAK’s members come from diverse backgrounds, which range from classical piano, to electronica, to prog and hard rock, with references to both the alternative scene as well as the progressive rock scene, has allowed OAK to create a unique sound.
