SONS OF APOLLO RETURN WITH NEW ALBUM MMXX 17TH JANUARY

SONS OF APOLLO – former Dream Theater members Mike Portnoy and Derek Sherinian, Ron “Bumblefoot” Thal (ex-Guns N’ Roses), Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen’s Rising Force)–are ready to ring in the new decade with a sonic boom with their second studio album, appropriately titled, ‘MMXX’ (pronounced: 20/20).

Produced by The Del Fuvio Brothers (Portnoy and Sherinian), ‘MMXX will be released on the 17th January 2020 via InsideOutMusic/Sony as a standard CD package, Limited Edition 2 CD package (which includes instrumental mixes and a cappella excerpts), 2 LP + CD package, and on all digital formats. Pre-orders for all formats will be available starting November 15th, which will include an instant download of the album’s first single, ‘Goodbye Divinity,’ on iTunes and Amazon.

A teaser trailer was released on Inside Out’s official YouTube page here


“Stylistically, we have followed the same path as the debut,” outlines drummer Mike Portnoy. “But we feel that it has come out stronger, simply because we know one another better. ‘PSYCHOTIC SYMPHONY’ was the first time the five of us had worked together, so there was bound to be an air of experimentation happening. Now, we can draw on having the experience not only of recording that album, but also of touring together a lot. And now there is clearly a lot more obvious chemistry going on.”

“We did 83 shows on the last tour,” adds keyboardist Derek Sherinian. “And it was so worthwhile, because we came out of it with a stronger bond, and that is certainly reflected in what we wrote.”

The writing process began at the start of the year, as Portnoy, Sherinian and guitarist Ron ‘Bumblefoot’ Thal got together. “The three of us were at my home studio in Pennsylvania,” explains Portnoy. “And it took about three weeks to get all the music written. That was a very smooth process. The last time, it certainly must have felt a little weird for Bumblefoot to be writing with Derek and me, because we were strangers to him. Now, we know one another better and that helped things push along.”

“Because we all have our home studios, it meant everyone could record there as and when they had opportunity,” continues Sherinian. “We all had the luxury of being able to take our time to get all the parts done, which was a huge help in the way the album’s come out. I suppose in all, it took about eight months to record everything.”

The lyrics were written by Soto, who also came up with the melody lines with input from Sherinian. “While Jeff was left to come up with the words on his own, as the melody lines are part of the music, it made sense for me to be involved with that part,” says the keyboard player.

There are eight tracks on ‘MMXX’, with variations in length totalling 60 minutes. “The final song is ‘New World Today, which is 16 minutes long,” says Portnoy. “This one has elements similar to ‘Opus Maximus’ and ‘Labyrinth’ on the previous album. It has some insane, brilliant instrumental moments, which I am sure the fans will love.”

“We wanted to do something epic here, as we did with ‘Opus Maximus’ last time around,” adds Sherinian. “You have to remember that Mike and I come from Dream Theater, where we never bothered about how long a song was. So, for us doing a 16 minute track is not a problem.”

Here’s the track listing for MMXX:
1. Goodbye Divinity (7:16)

2. Wither To Black (4:48)

3. Asphyxiation (5:09)

4. Desolate July (6:11)

5. King Of Delusion (8:49)

6. Fall To Ascend (5:07)

7. Resurrection Day (5:51)

8. New World Today (16:38)


The album title was inspired by a simple chronological fact. “This will be released in mid-January 2020,” says Portnoy. “That means it will be one of the first releases in what is a new decade. So I came up with the idea of calling it ‘2020,” except having it written in the Latin form of ‘MMXX’.”

And the album’s artwork has been created by Thomas Ewerhard (who was responsible for the cover design of ‘PSYCHOTIC SYMPHONY’), which inevitably reflects the title.

As Portnoy explains, “For the first record, we had a mythological feel. This time around though, there’s a much more futuristic style to what we’ve got. It has a very 21st century appeal. And the band crest is more polished, cleaned up and a lot more modern than last time, when it had an old fashioned look.”

“Each member of this band has their own signature sound on their instrument,” adds Sherinian. “And when you put all of this together what you get is a wonderful five-headed beast. It makes this a sonically special band, which is definitely what comes across on ‘MMXX’. You can hear odd time signatures and amazingly crazy performances here. Overall, we’ve been satisfyingly more adventurous this time than we were before, and I know people are sure to love what we’ve done.”

In touring news, the band’s headlining ‘MMXX World Tour’ will launch January 24th in Pomona, CA, USA and will take them around the world throughout the new year. They have also just announced European tour dates for March 2020, and you can find those below:
Europe 2020
Mon 2nd March Drammen, Norway Union Scene

Tue 3rd March Gothenburg, Sweden Traedgarn

Thu 5th March Kyiv, Ukraine N.A.U Theatre

Sat 7th March Moscow, Russia RED

Sun 9th March St Petersburg, Russia Aurora

Tue 10th March Pratteln, Switzerland Z7

Wed 11th March Milan, Italy Live Club

Fri 13th March Bilbao, Spain Santana 27

Sat 14th March Barcelona, Spain Razzmatazz 2

Sun 15th March Madrid, Spain La Riviera

Thu 19th March London, U.K. Islington Assembly Hall

Fri 20th March Eindhoven, Netherlands Prognosis Festival

Sun 22nd March Show Brno, Czech Republic Sono

Tue 24th March Kosice, Slovakia Colosseum

Wed 25th March Budapest, Hungary Barba Negra

Review – no-man – Love You To Bits

It’s not often that I am gobsmacked by a new release but the new album from no-man, the Steven Wilson and Tim Bowness project, left me quite a bit dumb-founded on first listen.

Like some strange symbiosis of 80’s pop, 90’s dance music and noughties prog, Love You To Bits wasn’t what I was expecting from prog’s standard bearer – Wilson – and the master of cool – Bowness…

The new album, the first studio release in eleven years consists of two connected five-part pieces (Love You To Bits and Love You To Pieces), was twenty-five years in the making and lyrically chronicles the aftermath of a relationship from different perspectives.

Adam Holzman, David Kollar, Ash Soan, Pete Morgan and the Dave Desmond Brass Quintet guest. Produced by no-man, the album was mixed by Bruno Ellingham and mastered by Matt Colton.

Steven Wilson has been very successful at re-inventing progressive rock over recent years and, with his long-term partner in crime Mr Bowness, it appears that they have decided to re-invent what would be considered ‘pop’ music to most ears.

And, to my utmost astonishment, it actually bloody works (I make no apologies for the expletive, I was that surprised!). Using the velvety, comforting tones of Tim’s excellent vocals over an EDM/electronica inspired back-beat is just genius. There’s a vibrancy that is absent from a lot of today’s music, be it pop, progressive or whatever, it just leaves a huge grin on my face.

This inventive and entertaining album never fails to surprise at every turn with elements of pulsating fusion and a wistful and poignant ambience interspersed with crashing guitars and edgy drumbeats.

I have no idea what Steven and Tim were on when they came up with the idea for this pulsating masterpiece but, by golly, can they please give some to the rest of what is becoming a very moribund music scene.

Love You To Bits is a utterly fascinating and overwhelmingly entertaining musical adventure with superb dynamism and a diversity rarely seen in the strictures of conventional music.

Just do yourselves a favour and go and buy it, you will not regret it!

Released 22nd November 2019.

Pre-order from the link below:

https://no-man.lnk.to/LoveYouToBitsSo

Review – The Room – Caught By The Machine

“The expansive soundscape driven into their third offering blows the gates wide open with a wealth of captivating melodic prog rock tracks, delivered with a quintessentially British level of class and sincerity despite the very serious and thought-provoking undertones etched into the music.”

You’ve got to love a bit of PR blurb (well I do, because I used to write it!) and this gem, delivered with the latest release from UK based sextet The Room, certainly does capture the imagination.

On the subject of the album’s title, The Room comment that the concept of being ‘Caught By The Machine’ directly relates to the feeling one experiences when the state, a job, a relationship or even a drug begins to control their every living moment. It is a reflection on many aspects of the modern world, for better or worse.

Formed in 2010 by Andy Rowe along with Martin Wilson and Steve Anderson from neo-prog rock band Grey Lady Down, The Room never fail to deliver an outstanding performance – both in the studio and in a live environment.

I am going nowhere near the age old “Is it Prog?” debate with this review, I am judging everything on its own merits, after all it doesn’t matter what genre you may or may not think it sits in. There’s a simple question that needs to be asked, is it any good?

Well Martin Wilson’s vocals are on top form throughout, he has a commanding and powerful vocal style that really demands attention, the fact that is is very melodic just adds to the exciting mix. The addition of Eric Bouillette’s guitar, along with band stalwart Steve Anderson, adds a harder rock edge and some very impressive solos and the rhythm section of Chris York and Andy Rowe is as impressive and dependable as ever. April 2018 saw the departure of keyboardist Steve Checkley and the arrival of new keys maestro Mark Dixon who has fitted in seamlessly.

‘Caught By The Machine’ is a very tightly created collection of ten songs that have been crafted meticulously to the last detail (the Production by prog legend John Mitchell is particularly notable), excellent songwriting giving us gems like opener Bodies on the Road, The Golden Ones and Vanished. Tracks that flow perfectly from beginning to end with catchy chorus and exemplary musicianship.

The Room have created their own distinctive sound from debut release ‘Open Fire’ through to the sophomore album ‘Beyond the Gates of Bedlam’ and that continues on the latest release but here it has matured and become something very classy indeed. Driving guitars, swirling keyboards, a dynamic rhythm section and Wilson’s urgent vocals creating highs of the likes of Run, Drowning In Sound and my particular favourite: It’s Not My Home.

The reggae guitar infused Broken seems a little out of place to me but, other wise, there are no low points in this memorable album. I got to the end of the darkly delicious final track Bloodstream and just pressed play again.

‘Caught By The Machine’ shows a band who are evolving into a major player. Inventive, impressive and superbly crafted, the simple answer is yes, it is very good indeed…

Released 22nd February 2019

Purchase from The Room’s website here: https://theroom.band/

YES Announces UK Tour The Album Series 2020

YES, one of the most innovative of all prog-rock bands, and true legends of the genre, have announced a 8-date UK tour for May and June of 2020. The Album Series 2020 Tour will feature their 1974 Relayer album in its entirety together with a selection of other classic YES favourites. An extensive European tour will be announced soon.

This tour follows their 2018 highly successful #YES50 Anniversary tour and again features the line-up of Steve Howe (guitars), Alan White (drums), Geoff Downes (keyboards), Billy Sherwood (bass guitar and backing vocals), Jon Davison (vocals) and Jay Schellen (additional drums and percussion).

The show will comprise two sets by the band with full production and a high definition video wall. The first will feature favourite classic tracks from YES’ extensive catalogue. The second will feature
Relayer, the seventh studio album by YES, and one of the band’s most distinctive. Relayer marked a slight change in direction as Patrick Moraz replaced Rick Wakeman on keyboards bringing an edgier, avant-garde feel to the album. This was perfect for the opening track Gates Of Delirium, almost 22minutes in length, with its battle scene featuring the keyboard of Moraz and Steve Howe’s guitar. The battle gives way to the beautiful closing ballad Soon, a prayer for peace and hope.

The album continues with Sound Chaser, a prog-rock-jazz fusion experiment heavily influenced by Moraz’s style and To Be Over, a calm and gentle conclusion to the album, based on a melody by Steve Howe.
Released in late 1974 on Atlantic Records, Relayer continued YES’ success reaching number 4 in the UK album chart and number 5 in the US Billboard chart.

“We are really looking forward to playing ALL of the Relayer album” says Steve Howe. “Having premiered The Gates Of Delirium this year, we continue by expanding our Album Series with all the tracks: The Gates Of Delirium, Sound Chaser and To Be Over.” Howe goes on to say: “During the first half of the evening we’ll be performing a refined selection from Yes’ enormous 50 year + repertoire. See you there!”

Alan White comments: “I always enjoy coming home to England so I’m especially looking forward to Yes’ upcoming “Album Series 2020” tour. “Relayer” I believe, is one of the most creative and interesting musical compilations in the bands repertoire. Challenging and extremely enjoyable to play, I’m happy to be bringing this music back to live stages throughout Europe. I hope all who attend our shows will enjoy these cuts as much as we like performing them for our audiences.”

UK dates are as follows:
Tuesday 26 May Liverpool Philharmonic Hall

Wednesday 27 May Nottingham Royal Concert Hall

Friday 29 May York Barbican

Saturday 30 May Gateshead The Sage

Sunday 31 May Glasgow Royal Concert Hall

Tuesday 2 June Birmingham Symphony Hall

Wednesday 3 June Manchester Bridgewater Hall

Friday 5 June London Royal Albert Hall

Tickets go onsale at 10.00am Friday 11th October and are available from: 24hr Ticket Hotline: 0844 249 2222 bookingsdirect.com Meet & Greet packages available, for info go to yesworld.com Showtime is 8pm.
Roger Dean will attend every show on the UK and European dates, and will have an exhibition of his iconic art, will be available to chat with fans front of house and sign merch, plus will be in the VIP meet and greets.

ABOUT YES
Steve Howe: guitars, backing vocals (1970 – 1981, 1990- 1992, 1995 – present), Alan White: drums, percussion (1972 – present), Geoff Downes: keyboards (1980 – 1981, 2011 – present), Jon Davison: lead vocals, acoustic guitar (2012 – present)Billy Sherwood: guitar, backing vocals ((1994, 1997 – 2000), bass guitar, backing vocals (2015 – present)

Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans, Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.

UK www.yesworld.comwww.facebook.com/yesthebandwww.twitter.com/yesofficialwww.youtube.com/user/yesofficialwww.instagram.com/yesofficialsoundcloud.com/yesofficial

Review – Nova Cascade – A Dictionary Of Obscure Sorrows – by Leo Trimming

What exactly  is ‘A Dictionary of Obscure Sorrows’?

According to Wikipedia (and who could doubt that source of information!) ‘A Dictionary of Obscure Sorrows’  is a website created by John Koenig that defines neologisms (that’s new words and phrases to you and me) which are designed to define emotions for which we do not yet have a descriptive term. When you hear this new album by Nova Cascade you can sense why they might decide to use that phrase to name their album. Previously describing themselves as ‘Ambient Progressive Rock’, on their promising but minimalist debut album Above All Else, Nova Cascade have developed that blueprint further with more defined pieces. but there is still an overriding sense of  fragility and dreamlike visions which are hard to define.

Nova Cascade have now moved on from their peculiar origins in an online gaming chatroom out of which artists shared musical ideas, and now present a more fully formed and mature album. The sparse, organic feel which characterised ‘Above All Else’ now gives way to a more lush and layered approach but at heart they retain their more ambient and impressionistic style, with some echoes of later Talk Talk. The gorgeous cover artwork by Charlie Bramald places us in a warm, shimmering and comfortable candle-lit library, and the music conveys a sense we are sat in the glow of candle light as we hear these lush sounds which contain contrasting stories of light and darkness.

Dave Hilborne appears to lead this project with his distinctive light, breathy vocalisation and subtle synth laden soundscapes, such as the opening instrumental Unwavering. There is also a slightly harder edge on some songs, such as the bitter Rabbit Hole (with echoes of later Peter Gabriel) which features quite a percussive programmed edge and pointed lines about deceit:

‘This illusion you expertly weave,

Let’s take a trip to the far side,

Descend in a rabbit hole of deceit.’

However, even such perspectives are coated in fairly lush production with no sharp edges. Echo and Narcissus flows languidly in on a bed of keyboards and softly programmed percussion. Hilborne’s delicate vocals reflect the disappearing fragility of the legendary Echo as she wasted away until only her voice remained. Once again rather tortured lyrics are conveyed in swathes of restrained, rather gentle instrumentation, particularly the evocative violin of Eric Bouillette. Such agony rarely sounded so delicate:

And, oh, that stench in the air is your hate

Just leave me be with what’s left of my fractured soul

Nova Cascade seem to like touching on sinister or negative subjects in rather pastoral ways, such as the instrumental Apophis, which may refer to an Egyptian Pharaoh or  an ancient Egyptian ‘chaotic being’ until you read the sleeves and note one small line: ‘All Eyes to the Sky in 2029…’ a quick internet search reveals that Apophis is a sizeable ‘near Earth’ Asteroid that in 2004 was thought to have a distinct possibility of striking Earth catastrophically in 2029. Readers will be pleased to hear that after re-calculations this possibility has now been deemed Zero! Nevertheless, it gives Nova Cascade the excuse to compose a suitably spacey soundscape, enhanced by Charlie Bramald’s stellar flute, which is then transformed with some more ominous synth throbs before floating off in to space again.

In contrast the nostalgic Plasticine and Paint touchingly conjures up idyllic visions  and memories of childhood with Bramald’s subtle flute underlining the sense of pastoral reminiscence in a rather beautiful piece. In their previous album ‘Above All Else’ there was a sense of it being a rather ‘home made’ or even a ‘demo’ type album, which it’s organic and intuitive approach to capturing sound enhanced. Nova Cascade seem to have moved on from that rather lo-fi or sparse feel but have not lost that essence of fragility and dream like quality.

The centrepiece to the whole album is the decidedly more ambitious extended instrumental ‘A Dictionary of Obscure Sorrows’ which features the Blue Man Group drummer David Anania (indeed the album sound overall would have benefited from more use of a live drummer than programmed percussion.) It is interesting that in the sleeve notes in relation to this song Dave Hilborne has quoted a few ‘neologisms’ for hard to describe feelings, presumably from the aforementioned Dictionary of Obscure Sorrows, including:

‘Sonder’ – The realization that each random passerby is living a life as vivid and complex as your own

‘Kenopsia’ – The eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet

Not only are those great new words I will try to use in the right context in future, but somehow the music in this imaginative and evocative piece of work conveys those intangible and almost impossible to define feelings. Hilborne paints the main canvas on keyboards alongside the ever present deft bassist Dave Fick, especially in the second half when Anania’s drums have more impact. Eric Bouillette chimes in with a subtle Steve Rothery like guitar solo in the closing stages in the most ‘progressive’ track on the album.

Nova Cascade quote the now sadly deceased Mark Hollis of Talk Talk in their sleeve notes;:

‘Before you play two notes, learn how to play one note, y’know? And don’t play one note unless you’ve got a reason to play it’.

Such a quote tells us where Nova Cascade are coming from, and conveys their philosophy in where they want to go. This album is certainly no ‘Spirit of Eden’ by Talk Talk (and to be fair what else is? – it’s an all time classic!) but you can tell that would have been an influence, especially in the vocals. Guitars, piano, bass and guitars weave together melodically. There are times when it is beguiling and beautiful – there are other times for this listener when I just want something a little more of substance to hold on to as you drift in an ocean of ethereal , vague subtlety.  Nevertheless, ‘A Dictionary of Obscure Sorrows’  is certainly a very significant step up from ‘Above All Else’ . This album would appeal to lovers of delicate, ambient soundscapes and softly pastoral sounds and images, and I have a sense that the ethereal and talented Nova Cascade will show even more development of their distinctive sound and style in the future…

… now I just need to find a word that can convey that hard to define that feeling?

Released 9th September 2019

https://www.youtube.com/watch?v=R5cO1j4uzEA&feature=share

Order from bandcamp:

https://novacascade.bandcamp.com/album/a-dictionary-of-obscure-sorrows

Review – Afenginn – Klingra – by Progradar

Afenginn, which means “intoxication and strength” in old norse, is Danish composer and musician, Kim Rafael Nyberg, one of the leading neo-folk, post-classical voices in Scandinavia.

Having toured all over Europe, Australia and the US and performed at numerous festivals, concert halls and venues, Nyberg’s deeply ambitious, orchestrated compositions are based on his seemingly mercurial creative impulses with a strong DIY underpinning, with each of his previous bodies of work being a clear departure from the last. Obvious comparisons would be Hauschka, Goldmund, Jonny Greenwood and Dustin O’Halloran.

“Klingra (circle in Faroese) is one of my more delicate and introspective pieces that leans one degree further into the neo-classical realm. I’ve been working with the theme of circles/cycles to inspire both the way the music is composed and the story within the poetry”, says Nyberg.

Photo Credit: Søren Solkær

With a sound palette of two pianos, a string quartet (The Danish String Quartet), pedal steel guitar, synth bass and two drummers supporting the haunting vocals of Ólavur Jákupsson (Yann Tiersen), the music is incredibly intense, both emotionally and dynamically.

It speaks of stark landscapes, too big for the human mind to comprehend, almost pagan and primeval, of the land and with millennia of history coursing through every note and word. It is a powerful and cinematic soundscape on which Nyberg layers his palette of beautiful and ethereal pieces of music.

So exquisite is the music that it is almost painful to behold in its minimalistic glory, the norse melancholy drawing you into its intricate web of gradually building emotive tension. The highlights are many but Vitin (the lighthouse) leaves an emotional mark on you that lingers long after the mournful strings fade away to just be a lingering memory.

Any of these wondrous compositions could be used as a dark cinematic soundtrack, the fragility and contemplative feel leaves you thoughtful and almost overwhelmed by empathy, I have not heard anything quite like this in a very long while. Ólavur’s deeply moving vocals are the perfect foil for the wistful and winsome grace of the music and will move you to your very soul.

Music for long winter evenings in the company of someone you love, ‘Klingra’ will make time stand still as you listen to every nuance and subtlety, it is an incredibly involving experience that I believe everyone should enjoy at least once.

Released 11th October 2019

Order from the bandcamp site:

https://afenginn.bandcamp.com/

Review – Rise – Strangers – by Progradar

“Music is the literature of the heart; it commences where speech ends.” ― Alphonse de Lamartine

I love that quote and it expresses perfectly how I feel about music, music has been my saviour in times of need and my champion in times of triumph. An ethereal miracle that salves the soul and inspires the heart and the latest album by the Sussex-based (UK) singer/songwriter RISE (previously Talitha Rise) is the pure definition of ‘the literature of the heart.’

RISE’s (aka Jo Beth Young) new musical journey weaves together intimate and cinematic stories marrying reverberations from the past with the struggles of the present day.

Exploring themes of love, loss, rebirth and transformation, RISE says: “David Gray once wrote a line that has stuck with me – “and when we meet again, we will be strangers”. That, in a nutshell, is the idea behind this album. This album traverses the challenge of the personal ‘abyss’ and the emergence from the bleakness of loss and separation. This gives way to hope, wisdom and the taking of responsibility.

Each location adds another layer of meaning and context to the stories within each song. I wanted these songs to be a conversation with the land, the place, the history that I was in at the time but it is intertwined with some of my own intense personal experiences.”

Strangers‘ is a collection of 9 songs that explore human nature, relationships and the harsh realities of life but Jo Beth’s amazing vocals imbue everything with a dark and painful beauty and sepia tinged loneliness and despair.

These songs are more like stories, pieces of music that bring the characters to life and you are kept hanging on every note and every word, the inevitability and bittersweetness of change is apparent throughout.

Opening track Dark Cloud lays the foundations and sets the sombre atmosphere from the first stark note. There is a feel of a soul laid bare and a heart that has been broken time and time again and this runs throughout this phenomenal piece of music, through the classical tinged wonder of Temples and the harsh realities of title track Strangers, which speaks of a husband returning from war so changed that he is now unrecognisable. This is music that is utterly enigmatic, captivating and yet, in places, full of foreboding.

The simple, pared back allure of Cry Back Moon, the drama of Burnt Offerings and the mournful grace of the elegant Rabbit Eyes show a songwriter at one with her craft, weaving mesmerising stories that draw the listener in and when you have a voice as stunning as Jo Beth’s, it is an instrument in its own right and one which imbues every song with an aura of mystique.

The first track released from ‘Strangers’ was the wonderful Radio Silence and on the album it returns like an old friend, perhaps a little world weary and disheveled but a friend who you are happy to spend endless hours with trading nostalgic stories of a brighter past. Skysailing has that contemplative feel of a warm breeze on a hazy summers day, a thoughtful, slightly melancholy song that leaves traces in your memory long after it has finished.

The album closes with the utterly beguiling dark folk brilliance of The Old Sewing Woman’s Song, the story of a life lived unfulfilled and one which is told at Jo Beth’s enthralling best. Nine minutes of musical perfection that harks back to the old days of bards and storytellers as they regaled their audiences with tales of legend, often dark and forever fascinating.

Music truly is the literature of the heart when it comes to releases like ‘Strangers’, this album is truly a work of musical art created by one of the most avant-garde folk songwriters currently alive. Each track has layers of texture that are almost primeval in nature, each is a living and breathing entity that will take each listener on their own personal journey. I suggest you get your hands on a copy and see where this incredible record takes you.

Released 18/10/19.

Strangers Pre-order and Video on Indieogo https://www.indiegogo.com/projects/r-i-s-e-strangers/

The Pretty Things Announce ‘The Final Bow’ deluxe boxset (Featuring David Gilmour & Van Morrison)

The Pretty Things – Credit Judy Totton

British music icons The Pretty Things will release ‘The Final Bow’ via Madfish on 1st November. Celebrating 55 years of the greatest band most people have never heard of, The Final Bow captures The Pretty Things at their riotous, unique & mercurial best.  Recorded across 3 sets of classic tracks featuring special guest appearances from good friends David Gilmour and Van Morrison at Indigo at the 02 in December 2018. The Final Bow will be released as a beautiful and carefully curated deluxe edition and as a 2xLP soundtrack set as well.

Featuring 2 concert film DVDs and 2 live recording CDs, the deluxe edition will also feature a special 10″ of Phil May and Dick Taylor’s track selections and a 52-page hardback book packed with live photography by acclaimed photographer Judy Totton, ‘The Gospel according to Mark St. John’ extensive sleeve notes and Phil & Dick’s individual sleeve notes telling their story as a ground-breaking, ballsy and ambitious band. As Rock and Roll’s greatest nearly men.

Invaluable to the development of British music, The Pretty Things have been a critical success and a huge influence on artists as diverse as David BowieAerosmithThe RamonesBob DylanThe Sex PistolsThe White StripesKasabian, The Lightning Seeds and countless more. A who’s who of music icons site The Pretty Things and their outrageous behaviour, incandescent stage performances and astonishing catalogue of remarkable, ground-breaking recordings as fundamental in the creation of their own work.

Still creating significant music today and with a rich catalogue including top-level albums such as The Pretty Things, S.F. Sorrow & Parachute, they remain a hugely significant artistic and creative force. They are a band to revere with no other first-wave artist but The Rolling Stones outselling their frontline recordings today and probably no artist at all out-performing them live.

This electric performance features all of the youthful and incendiary vigour from their 60s beginnings, showing off a technical prowess by performing tracks from their full range of styles: first wave R’n’B, psychedelic rock, and the blues. Led by founding vocalist and guitarist Phil May & Dick Taylor, the band was driven by their current line-up consisting Frank HollandJack Greenwood & George Woosey and featured returns from original recording band members Skip AllenWally Waller & John Povey. The evening was transformed from unmissable to sensational with the guest performances of Pink Floyd guitarist David Gilmour on classics including “Cries from the Midnight Circus” & “L.S.D.“, and legendary vocalist Van Morrison on blues classic “Baby, Please Don’t Go” & soul standard “You Can’t Judge a Book by its Cover“.

The Final Bow is a startling and essential snapshot of a band who, for over 55 years, have never stopped pushing, growing and honing their craft – a record 5 decades in the making.

Phil May: – The Pretty Things: “After 55 years, saying goodbye to The Pretty Things electric band was a seismic, emotional blow and a genuine life loss, for all the band and our manager.  But, to be forced into it on health grounds, when the band was riding high, creating great new music and touring so successfully, throughout the world, made matters worse. But, life’s a bitch and then you die…

That said, this box set and what it represents, as a lasting tribute to the band I love, the life we have lived, and the way we have lived it, in music and performance, is unparalleled. I know I’m lucky, I, and the band, made it through a 2-hour 45-minute performance, in the best form we could have hoped for and we all feel that we created a performance, worthy of “The Pretty Things” at their best. That we captured it on film and on record, that we had our great, old friends, David Gilmour and Van Morrison alongside us and creating the moment and that, most of all, the o2 was sold out with our friends, old and new, young and old, and the people that we have done it for and who made it possible for us, was the icing on the cake.

This is a great representation of a great night, a wonderful gig, a heart-breaking moment and – a life in rock and roll. We love it, I hope you do, too..”

‘The Final Bow’ can be pre-ordered from Madfish now with the first 500 orders of the deluxe edition receiving a signed Insert by Phil May & Dick Taylor.

Review – Lee Abraham – Comatose – by Kevin Thompson

So how does one of your favourite guitarists improve on his previous excellent releases?

How about making it a concept album?

What if it’s all one track?

Hmm, let’s see shall we……

The haunting beep of a life support machine with mourning guitar introduces us to ‘Numb-Pt 1’. Wait…I thought this was all one track you cry! It is, just divided into the sum of it’s parts. Heavier guitar portents doom, the sound of traffic, impatient car horns as keyboards lead us to the crash and burn, sirens wail in desperation as the ambulance flies to save. The bright lights and guitar screams of tearing metal, the acrid smell and fumes from burning fuel.

I’m in a bed, white walls, connected to machines, whispered voices round me. I feel the sharp jab of a needle as it sinks into my arm and a cold numbness creeps through me, as ‘Realisation’ dawns on me, I’ve been in an accident. Same old routine, stuck in traffic, patience frayed around the edges. The voice in my head warned me, heedlessly, to slow down as I found the open road and pushed my foot to the metal. Bright lights, wet road surface and the ‘Twisted Metal’ foretold with the lyrics see me undone.

A feeling of detachment from reality probably due to the medication allows me to watch my body rise up towards a glow above my bed as I ‘Ascend The Sky’. Am I dying, is this my final journey accompanied by a chorus of angelic voices and uplifting chords? I never imagined the trip to be an upward one. A bell tolls though it doesn’t seem a death knell, more a calling as I float in the air, calm and relaxed in ‘The Sun’. I remember the days spent with you, laid in a field watching light clouds trace paths across the sky whilst we basked in the warmth and I reveled in your soft kisses.

Will I ever know those feelings again? I never meant this to happen, what wouldn’t I give to kiss you one more time. Elation dies and once again I am left feeling ‘Numb-Pt2’. Cruelly the music rips the memory from me and the sky blackens with clouds of drums and rumbles of bass gathering in a menacing armada, as I am tossed and turned by swirling keyboards and pummeled by driving guitar.

There is a stillness and I am surrounded by white, hot light, cloying and burning my throat. Am I nearing the end, is there no retribution as I reach in my mind for a chance of escape above the wailing guitar solo, whilst in reality I lay ‘Comatose’ and helpless to my fate .I can hear the wheezing, asthmatic rasp of the bellows on the breathing apparatus, accompanied by the dull beep of the monitors connected to me whilst a piano counts the beats of my fluttering heart. Does this mean I will survive and ‘Awaken’ from my nightmare to find you sat at my bedside holding my hand. A stirring guitar solo reaches for the heavens, am I saved? I stand detached once more, at the end of the bed looking at myself hope rising with the words from the voice in my head.

A dramatic finale as the music explodes to an end, at which moment everything goes black and silent. No! What is happening, don’t leave me here. Has my body woken and in doing so discarded my corporeal self to the unknown?

Does our protagonist survive, is he given a second chance at life with the opportunity to mend his ways and live as a better man? That decision is left up to the individual listener to decide.

So, how does Lee Abraham, from one of my favourite bands, improve on his quality back catalogue?

Firstly, inviting Marc Atkinson, one of the best vocalists around to sing on the album, a stroke of genius. Vastly underrated and oozing all the emotion required for such a story, Marc’s silky larynx matches all the challenges of being the storyteller here, an astute choice by Mr Abraham to present his wonderful lyrics.

Yet more enlightened choices regarding the musicians on board, bringing back the force de majeure on drums that is Gerald Mulligan and the wizard of the keys on piano, Mr Rob Arnold. Lee takes up the bass duties, as well as blessing our eardrums with some beautiful guitar work, that lingers long in your head, after the album closes.

I’m of a mind to leave the ending ambiguous as I like the idea this story could continue so I don’t want to know what happens to our subject. What I do know is that I consider ‘Comatose’ to be an excellent album, that holds the top spot in my listening catalogue at the moment fighting off all contenders.

Whilst I resist making lists of favourites, if I did, ‘Comatose’ would be among this years best releases for me and in my humble opinion is Lee’s finest release to date.

Oh, listen to me blathering on, it’s finished, where’s that replay button…

Released 27th September 2019


Order from Progrock.co.uk:

http://www.progrock.co.uk/abraham-lee-comatose-c2x29679667

Cover image courtesy of Rob Arnold

Album Review – League of Lights – In The In Between

League of Lights – the electronic rock/synth pop duo featuring couple Farrah and Richard West.

Farrah and Richard met on the outskirts of London, crossing paths for the first time in the mid 1990’s. Many years later they assembled a stellar cast of luminaries comprising Dutch guitarist Ruud Jolie (Within Temptation), American drummer Mark Zonder (Fates Warning) and fellow Brit Jerry Meehan (Robbie Williams) to guest on their debut album in 2011. Simply entitled ‘League of Lights‘, the album fused elements of pop, rock and metal into their own unique blend.

“We come from very different musical backgrounds,” says Richard, “and League of Lights is all about where we meet in the middle. It couldn’t exist without both of us”.

The following year the duo teamed up with Glynn Morgan (Threshold) to record the single “Forever”. The three also performed together on stage for a unique concert backed by a 40-voice choir.

Now in 2019 Farrah and Richard are back with a new album ‘In the in Between’ that showcases Farrah’s sublime and enchanting vocals across 14 new original songs with a sound that makes room for electronic rock, synth pop, piano, cinematic soundscapes and everything in between.

“It’s been a long journey to get here,” says Farrah. “From the day we recorded our first song together we’ve been working towards creating something that combines the heart of who we are. We’re really proud to have reached this point on our journey “.

Photo courtesy of Dariusz Szermanowicz at Grupa13

“It took us a little while, but I’m so proud to share our new League of Lights music with you.”, Richard goes on to say, “It’s just me and Farrah doing everything this time – in the past we’ve collaborated with such talented musicians and good friends, but this time we wanted to make something that was 100% ourselves. So we hope you love it as much as we do!”

Most of you will know Richard from being a co-founder of the legendary prog-metal group Threshold but he also released an album with Dec Burke and Simon Andersson in 2015 under the name AudioPlastik and, to these ears, League of Lights is definitely more comparable with the latter.

To be honest this album is chock full of catchy hooks, brilliant vocals from Farrah and Richard’s distinctive keyboard sounds. I have had it on repeat ever since I was sent the promo and it is rapidly becoming a favourite which, knowing what music usually floats my boat, has come as a little bit of a surprise.

Songs like Due Diligence and Spectrometer could easily grace the mainstream dance charts with their infectious rhythms and driving beats and the icing on the cake is Farrah’s honeyed, mellifluous vocals that harks back to the great synth-pop anthems of the 90’s.

Opener Shockwave has a more direct and harder edge and you can hear the rockier side of Richard’s keyboard playing, surely a track that will become a live favourite with the soaring chorus and sing-along verse.

The whole album is just one incredibly addictive hit of excellent songwriting and serious musical talent that continues to deliver track after track. The ethereal beauty of Scarlet Thread, the 80’s electronic grooves of Down Down and the ambient EDM vibe of Strong Enough, the quality just never dips.

The best is kept until last which, for a record of this sheer quality, is quite a thing to say. Hammer is an intense, powerful song where Farrah’s voice captivates and enthralls and Kings and Queens is, for me, the highlight of a stand out album. It hypnotises and mesmerises throughout its intriguing three and a half minute running time. The measured delivery of the stylish vocals and the brilliant guitar motif give the song some real gravity and depth, one of the best I’ve heard this year and that’s saying something.

The passion continues with the symphonic/synth prog influxed Roll and List, another elegant and exquisite piece of music and the album closes with Promises and Dreams, another track that would have graced the 90’s with its sublime grace.

What League of Lights have done is written a wonderful homage to the synth-pop highs of the late 80’s and early 90’s and brought it bang up to date for a modern musical world. For me it is chock full of nostalgia and is a wonderful and involving listening experience. Another highlight in a year that is beginning to produce quite a few but don’t take my word for it, go out and buy it and see for yourself!

Released 27th September 2019

Order direct from League of lights:

https://leagueoflights.com/shop/