Reviews – Progradar

Review – IQ – Dominion – by Jane Lee

A new IQ album is always something to celebrate. One of the bands at the forefront of the British Neo- Prog revival, IQ have been producing albums since 1983 as well as rewarding their loyal fan base with regular appearances on the concert circuit. The band has seen a few changes in personnel over the years, with guitarist and main songwriter Mike Holmes providing the only constant presence, but the current line-up have remained together since 2011. Inevitably their musical style has undergone changes over the past four decades, but the IQ sound is highly distinctive, creating powerful atmospheres and forging deep emotional connections with the listener. Unlike its predecessor Resistance, released almost five years ago, at 53 minutes Dominion fits neatly onto just two sides of vinyl. The album title and theme, inspired by the poem “And Death Shall Have No Dominion” by Welsh poet Dylan Thomas, encourages us to assume power over our own lives and to make the best use of the time we have now. Reflecting this, both music and lyrics feel more positive and optimistic than the previous few albums – by IQ standards, anyway!

IQ certainly know how to hit the road in style; their first album, Tales From The Lush Attic, opened with the mighty 20-minute tour de force that is The Last Human Gateway. But at 23 minutes, The Unknown Door is their longest opener yet and provides a superlative showcase of what makes this band so special, transporting us instantaneously from grandiose visions of darkness and existential dread to intimate soundscapes of heart-stopping sweetness and delicacy. The track opens dramatically with a heroic fanfare evoking the spirit of adventure while also recalling the evocative bugle call of The Last Post, traditionally performed in remembrance of those who died fighting for their country. This leads into a recording of Neville Chamberlain’s legendary speech launching Britain into WW2. Peter’s vocals, supported sympathetically by Neil’s atmospheric keyboards, have a visionary quality as he declaims the essential message of the album: The time is now to send it out. It’s in your hands, the world you’re waiting for. After a joyous and laid back guitar solo the storm clouds inevitably gather, and with a dramatic shift into minor tonality a relentless battery of drums and dramatically gothic keyboards plunge us headlong into darkness and confusion. Militaristic rhythms, brassy synths and the deep roar of bass pedals reinforce the warlike imagery of the lyrics, and the band members work in perfect synergy to create a sense of menace that builds inexorably towards a frenzied climax, finally stalling onto a grinding dissonance. The third section opens with a chilling depiction of post-apocalyptic devastation. Emerging from a chaos of electronica, a phantasmal echo of the opening fanfare gives way to a restlessly strumming acoustic guitar, eerily wailing synths and sporadic bursts of distant gunfire. There is a spine-tingling moment when Peter’s magical invocation of that other door to our lives open wide is answered by a grandiose blast of church organ and celestial choirs. Thrilling vocals and imperious drums propel the music towards a heroic climax before fading back to the visionary and optimistic mood of the opening. Mike’s transcendently ecstatic guitar blazes and subsides, bringing music and lyrics back full circle to revisit the opening question:

And in the world you’ve been waiting for

Who should find this unknown door?

After the epic grandeur of the previous track, the wistful simplicity of One of Us returns us gently down to earth. In this delicately poignant song about a broken relationship, Peter’s vocals are in more relaxed mode, accompanied sensitively by acoustic guitar and understated keyboards.

Borrowing its title and some of its lyrical content from Dylan Thomas’ poem, No Dominion explores our relationship with fate and chance, urging the listener to trust the timing of your life to be right. At its core the track consists of a two-verse song with a bridge and final chorus, but the stunningly cinematic instrumental arrangement transforms it into something much more complex and symphonic. Implacable fate is evoked by a majestically ascending theme on keyboards, given added depth and solemnity by bombastic drums and Tim’s portentous bass. This is succeeded by a restlessly wandering keyboard loop that perhaps suggests the infinite possibilities of the quantum universe described in the first verse. These two thematic elements are skilfully woven through the fabric of the track, unifying and expanding the structure as well as lending an aura of gravitas and mystery. The dramatic coda features a passionately emotional solo from Mike – one of so many on this album – then fades out into a surreal sequence of chimes, whirrs and rattles suggesting the death throes of a clockwork toy. I would love to know the significance of this ending which to me feels somewhat anticlimactic after the sublime glory of all that has gone before.

Far From Here opens introspectively with a ghostly waltz from Neil’s keyboards evoking the eerie chimes of musical boxes and striking clocks. Like those portraits where the subject’s eyes seem to follow you around the room, Peter sings with a quiet intensity that makes each listener feel he is addressing them personally. The tumultuous entry of drums and bass masterfully transports us to that nightmarish battleground of dark forces that is IQ’s natural habitat. Peter’s vocals positively smoulder with excitement and urgency and Paul’s relentless drums pound out like heavy artillery, intensified by wildly swirling synths and Tim’s restlessly prowling bass. The pressure builds remorselessly, culminating in Peter’s desperate cry: there still is time yet. Lyrics and music hereafter become more uplifting, crowned by a gloriously emotional and life-affirming guitar break. After a mystical keyboard solo where time seems to be magically suspended, we return to the reflective mood of the opening. Heart-rending lyrics and yearningly wistful music combine to create a powerfully moving coda that resonates still deeper when we learn that this track was partially inspired by the death of Peter’s mother two years before:

All the hours I was with you

Right by your side

With the time escaping us, ever knowing

I tried to reach you, to be there,

Where you need to be, always in my heart

And you’re not far from here

When I recently saw IQ perform Never Land live, Peter emphasised that the title comprises two separate words, and has no connection with either Marillion or Peter Pan (!) When we are young, life is an adventure, and we feel invincible – we learn to fly but never think about landing. The song traces the emotions of the person left behind after their partner has departed from the adventure of life, progressing from bewildered grief to the realisation that the departed one lives on through his memories of the experiences they shared. The tinkling bells and dreamy haze of keyboards recall the opening of ‘Fallout’, the closing track of Resistance, and evoke a similar atmosphere of nostalgia and longing for the unattainable. Peter’s vocals resonate with an intense sense of yearning, enhanced by pulsing keyboards and Mike’s tenderly consoling guitar. A hypnotic four-note falling figure on keys which gradually gains in intensity will make a dramatic return at the climax of the track. The full band enters with a warm rush of sound, sending a powerful surge of emotion streaming through the music like those last golden rays of the setting sun which are a central image in Peter’s poignantly evocative lyrics. The pain of loss is universal, and after Mike’s final, passionately yearning guitar solo Peter’s radiantly expressive vocals irresistibly draw the listener in to relive all the anguish of that emotion and find consolation in the album’s closing moments:

I see you now, I see you now

In all ways we shared

You’re still everywhere

Dominion should not disappoint IQ fans; the level of musicianship is as superlative as ever, the track sequence delivers the familiar but magical juxtaposition of the darkly transcendental and intimately personal, and every note carries a powerful emotional charge. Peter Nicholls has never been in finer voice, and his poetic lyrics explore themes that are both deeply autobiographical and universally meaningful, evoking moods and emotions that perfectly match the intensity of the music. To my ears this album feels a little more straightforward and less – dare I say it? – pretentious than some of its predecessors, which hopefully will attract new listeners into the welcoming fold of the IQ family without alienating diehard fans. This will be my second review this year to include those contentious words “potential Album of the Year material” but in this instance I make absolutely no apologies. Whether or not you are already an IQ devotee, Dominion is an essential and profoundly rewarding album which delivers more satisfaction with each new listen.

Released March 28^th, 2025

Order the album here:

https://gep.co.uk

Review – CIRCU5 – Clockwork Tulpa

Clockwork Tulpa is CIRCU5’s first album release as a full band, with Tin Spirits frontman Mark Kilminster and drummer Lee Moulding joining founder Steve Tilling. “Apart from a few guest spots, the debut album was a solo effort – and quite a lonely experience,” says Steve. “With Mark and Lee in the band, CIRCU5 can now establish its own unique identity. I’m excited about where we can take the band next.”

The album comes nearly eight years after CIRCU5’s eponymous 2017 debut. The extended gap was due to Steve contracting Long Covid and committing to projects with ex-members of UK rock band, XTC. “The songs reflect life’s ups and downs during that time. But I learned a valuable lesson: don’t be swayed by the plans of others. Stay true to yourself and your goals.”

Clockwork Tulpa continues the story of ‘Grady’: a troubled character moulded from birth by the mysterious CIRCU5 organisation. “It’s not just storytelling,” says Steve. “It’s a reflection on how people navigate the trauma of tough childhoods without falling prey to isolating belief systems. But ultimately, it’s about making the best songs we can.”

CIRCU5 (pronounced ‘circa five’) is a UK band blending prog and classic rock influences with evocative songwriting and storytelling. Founded as a solo project by lead singer and guitarist, Steve Tilling, CIRCU5’s 2017 self-titled debut album featured performances from guests including Dave Gregory (XTC, Big Big Train) and Phil Spalding (Mike Oldfield).

‘Clockwork Tulpa’ is a collection of frenetic, high energy compositions with delicious and catchy hooks and a sound not unlike mixing early It Bites with XTC, The Jam and even touches of Julian Cope and Teardrop Explodes. It is a very addictive sound and the edgy, almost chaotic delivery of the tracks works brilliantly. Steve describes CIRCU5 as being a mix of prog and classic rock but I think you have to throw a bit of punk and also some alternative 80’s rock in there too!

The relative briefness of the songs also works in the album’s favour as each new piece ratchets up the drama and pace a little bit more. Album opener Make No Sound could have come straight from an 80’s Francis Dunnery led It Bites album but one with a touch of punk’s righteous energy and disregard for authority. Steve has a fantastic hard edged vocal and his guitar seems to have a life of its own, Lee hits the skins as if his life depends on it and Mark’s bass sits there with knowing nod. It’s all a bit mad, bad and utterly exciting and the high octane thrills continue with Sing Now, the bass on this track is especially cool, striding defiantly forth with Steve’s funky guitar and Lee’s ever energetic drumming in tow. What you get different here is the complete sea change when the chorus is sung, all sweetness and light and very clever songwriting, I may add. One of the first tracks released from the album, Freakshow Train adds a bit of pomp and a little bit of circumstance to proceedings. The energy and vibrancy kept in check in exchange for a pulsating rhythm and husky vocal, all making for a mighty fine song indeed and one of my favourites on the album. Another single release is the rather dynamic Skin Machine, thumping drums, a squirrelling guitar and delicious bass adding drama to Steve’s commanding vocal performance and giving us a widescreen wall of sound.

Straight from the 80’s and another nod to It Bites, Infinite Lucid Geometric Fever Dream (yes, that really is the title!) is a flat cap wearing, jaunty romp of a song and one that never lets the smile leave its face. If your foot was tempted to tap on this album then it wouldn’t be able to hold itself back here! The epic cuts just keep on coming, title track Clockwork Tulpa has more of the intensity and vitality that runs through the core of this fine release and the music really is The Jam inspired with the hyper wired guitar and frenzied drums and bass, let me get my breath back! Phew! Thanks guys, Violet turns down the forceful fervour a notch, not much mind! To my ears, there’s a definite touch of Tin Spirits to this track and I can quite imagine that Mark had a hand in this rather impressive track with its jangling guitars, uber-cool bass and excellent drums.

There’s a feeling of quirkiness to the Laid back groove of Change the Weather, a rather splendid piece of music where Steve really shows his vocal prowess and the guys just jam superbly to deliver some fine music. Don’t Spare Me takes the rampant energy on show and harnesses it into something more considered, while not losing any of the potency and vibrancy that makes this album what it is. Hard rock and a touch of prog combine perfectly to produce an excellent song that stays in your mind, I really like this track. The lazy, hazy days of summer are brought to mind by the delightful Scars and any track that has a trumpet on it will always put a smile on my face and Alan Bateman does that with style here. This song is like a musical breath of fresh air, all sweetness and light, as it dances across your synapses, the elegant bass and drums adding a layer of sophistication. The guitar is superb (a nod to Paul Clark for his additional lead here) and Georgia Tilling adds some gorgeous backing vocals to this sepia tinged delight. What a wonderful way to finish an excellent album!

I was a big fan of what Steve Tilling did with the debut CIRCU5 release but the addition of two fine musicians in Mark Kilminster and Lee Moulding has created a group of musicians that seem to act as one and in perfect harmony. ‘Clockwork Tulpa’ is a collection of consummately crafted songs that come together as a brilliantly cohesive whole and that makes it one of the best albums you will hear this year.

Released 7th March, 2025.

Order from the band’s website here:

https://www.circu5.com

Review – Pattern Seeking Animals – Friend Of All Creatures – by John Wenlock-Smith

Pattern Seeking Animals have recently released ‘Friend of All Creatures’, their fifth album in five years. They have also changed the label from InsideOut to G.E.P but, otherwise, it’s pretty much the same as earlier releases, i.e. this is a band that, in tandem with excellent writer John Boegehold, take the core of Spock’s Beard to create new music that is not suitable for the Beard and release it under the PSA banner. As a result, John has an alternative outlet for his newly written music, making it a win-win situation for all parties.

With Spock’s Beard being largely inactive in recent years, largely involved in other things but still a going concern as such, it is into this vacuum PSA have stepped to fill the gap. They operate in a similar vein, offering longer progressively inclined songs with meaning, and with no lack of skill, to craft strong, modern sounding music that will appeal to progressive music followers.

This new album continues in that same style, by offering a further seven tracks of carefully curated prog rock. As is usually the way with Pattern Seeking Animals, you need to hear the album a few times for the songs to “drop” as it were. Certainly familiarity with the music will definitely be to your benefit. Again, I can hear Elements and traces of bands like Kansas and Styx in how the songs are built in layers and with hooks everywhere to grab your attention.

The album starts with Future Perfect World, which is one of the four longer tracks. It starts with a simple riff and lots of keyboards gently playing away, there is also some Hammond organ at points, creating a very good wall of sound. The vocals from Ted Leonard are pitched perfectly, as one would expect. The group is a four piece with guitar and vocals from Ted, drums from Jimmy Keegan, bass from Dave Meros and keyboards, programming, mellotron, guitar and ronrocco (mandolin like stringed instrument from the Andean regions) from John Boegehold. John also provides some vocals and production, in Reality he is the driving force of the band, although more than ably assisted by the others. The song has a strong chorus and is very much an ear worm of a track, barely a moment being wasted as each minute adds new textures and complexities. Another Holy Grail is the album’s longest track and is a very complex creation with lots happening at various points. The song seems to be about searching for a way to move forward in an ever changing world. There are sections of orchestrations in this track which split the track into sections really, making for a long track but a very briskly moving one that is always changing in a new direction and this keeps the interest throughout. I really like that the song evolves over its twelve minute length. Down The Darkest Road has a haunting, mournful beauty to it with a moving viola line and part from Eliza James which adds beauty to the song. It also has a strong chorus calling us to follow down the darkest road, a very captivating track indeed. In My Dying Days is equipped with a Duane Eddy type guitar type riff and also has a great brief solo from Ted, who continues to grow in confidence in his playing on every album.

The Seventh Sleeper begins with a sequencer playing a repeated motif before a synth lazily winds its way across the track. This is aided by fine rhythmic support from Jimmy and Dave and underpinned by some rhythm guitar lines from Ted, who sounds very much like Steve Walsh of Kansas here, no bad thing for me at all The track is laid back in tone with an almost piano bar part in it, all very languid really despite a sinewy guitar line playing. I do like this song as its somewhat different to what PSA normally deliver and it certainly stays with you. The brief Days We’ll Remember has a laid back feel, along with a strong chorus that swells in sound. The song is about memories that stay with you for a long time and is a very upbeat song and, lyrically, extremely strong, another great track. The album finishes with Words Of Love Evermore, another longer track with strong synths in the opening section and great guitar from Ted. To me, the song’s meaning is a little obscure but a lively guitar solo towards the end grabs the attention significantly. It’s a very interesting track and one that concludes another fine set from the band.

Pattern Seeking Animals continue their ongoing progression as they develop and improve album by album. ‘Friend of All Creatures’ is another highly recommended album from a group who continue to grow in stature and this album shows that very clearly.

Released February 14th, 2025.

Order digital from bandcamp here:

https://pattern-seekinganimals.bandcamp.com/album/friend-of-all-creatures

Order the CD from GEP here:

Pattern-Seeking Animals – Friend of All Creatures

Review – Random Option – One – by John Wenlock-Smith

David Jones (bassist for both The Swan Chorus and Mama) is a very productive man indeed. This new release following on from his own solo album of 2022, he excellent, almost art rock influenced, prog album which saw him join forces once again with Brian Hulse and Peter Goddard, who were both involved with an earlier album that Tim Bowness was involved with called ‘Moonshot’. An album which was part of the inspiration for Tim’s own album of 2017, ‘Lost In The Ghost Light’, which chronicled the fading years of a fictitious classic rock musician. This concept was explored more fully on the ‘Moonshot’, and all of these had David’s involvement to some degree.

This latest release from David is both a departure from, and also a reinvention of the styles he has used in these other projects, not forgetting the 2023 release of The Mousetrap Factory, which featured older material being reappraised and approached with fresh ears and better technology, alongside more experience. Much as Robert Reed has done with his Cyan albums and to a similar good effect.

The album has eight tracks of differing lengths and moods, the first of these, Tomorrow, has an instrumental opening section of acoustic guitar before the drums of James Cooper come powerfully into the sound. Next comes the guitar of Brian Hulse and then David’s meaty bass and the organ of Anthony Wretham complete the mix. After all this excitement there are the excellent vocals of David’s Swan Chorus bandmate, John Wilkinson, who is proving himself to be a big asset to anything he is involved with, like the excellent Ellesmere album of last year and his own solo album, ‘Imposter Syndrome,’ which was my favourite vocal album of last year. Well, here again he is in very fine voice and with material that is interesting enough to give him a platform on which to shine once more. As Blue As The Sky has an almost ambient sounding opening and bears a strong resemblance to the great music that Swan Chorus make. There’s great piano from Anthony Wretham again and another strong vocal that, along with a graceful guitar line from Brian, make this another winning song for me, it has a real majesty to it. Redemption again opens with ambient sounds and a gentle piano motif. There are also some soaring vocalisations from Sian Doyle which greatly impress, as does her harmony vocals in the main body of the song It is a bit of slow burner of a track, very atmospheric in tone but very impressive all the same. A heavier, more typically prog, section follows with great organ from Anthony and an almost spiralling synth line being played. This is another longer yet very strong track. Autumn Song is next and this is a lot lighter in tone and has a definite bounce to it. I really like this one, it has some great effects in it and a fine melody as well.

The album’s Title song One has more ambient background sounds in its opening part before a strong and harder riff is introduced along with powerful bass and some great guitar lines from Brian The track then returns to bass for a more delicate part with tinkling piano and Hammond organ before another fine line from Brian is added. The drums and bass re-emerge once again before John’s vocal commences. After the first verse the song changes tack and becomes more of a gentle canter, all very effective, before the heavier, powerful part from before begins once again, giving great dynamics to the track. We then move into a gentle and more dreamlike section with simple drums and more evocative guitar. This is another fine track enlivened by fabulous performances from all parties as the song gently fades away. Along Similar Lines sees vocalist Peter Goddard of The Mousetrap Factory deliver the vocals. A long-time collaborator of David Jones, he basically speaks the words over the music, which has a distinctly 80’s sound to it, possibly to recreate the style The Mousetrap Factory used to operate within. Sail Towards The Sun is the albums penultimate song and begins with delicate acoustic guitar melodies and expansive keyboards. It’s all very gentle and captivating before a strident synth line begins and John starts singing once again. The final track, World Is Changing, expands in sound with a strong chorus and more synths, the song has impassioned vocals and a delicate beauty to it and is a fitting conclusion to what has been a very worthwhile album of great material from David and his colleagues.

Also worthy of mention is the very atmospheric artworks from Anthony Wretham who work adorns the cover and inside sleeve of the digipak cd version

I really enjoyed this album, I feel it has a lot to commend it and, whilst we all wait for the next Swan Chorus album to emerge (sadly without John Wilkinson’s vocal), this fine album will fill the gap in the interim.

Released 1st march, 2025.

Order from bandcamp here:

https://randomoption.bandcamp.com/album/one

Review – The Far Cry – Once There Was – by John Wenlock-Smith

I came across ‘Once There Was’ via a post from Don Skazin on the Prog Explorations Plus Facebook page and was suitably intrigued enough to reach out the band offering to review the album for Progradar, proof indeed that social media can make a difference. I contacted Jeff Brewer, The Far Cry’s vocalist and bassist who very kindly sent me a CD of the album to get to grips with.

The album has four songs, ranging in length from the short (by their standards at least) The Following through the longer tracks, Unholy Waters and Crossing Pangea, to the truly epic 12-part title track Once There Was. Alongside Jeff are Robert Hutchinson on drums, percussion and spoken word, Chris Dabbo on keyboards and vocals and finally Brendan Kinchla on guitars. The album is encased in a neat digipak sleeve with a booklet with full credits and lyrics.

To my ears, Unholy Waters bears a strong resemblance in sound to the legendary band U.K. Especially in both the keyboards and vocals. This is not a criticism, merely a comment that do find this track similar in style. Mind you, I like U.K. a lot, so this works for me too. Many a band wear their influences on the sleeves clearly but, when the music is as good as this, it doesn’t really matter or devalue it at all, especially as U.K. are no longer in existence as such. The song concerns itself with mysterious places like the Bermuda Triangle and the like and the lyrics reflect this very convincingly. I especially like the strong bass work from Jeff and the Holdsworth-esque guitar line from Brendan, which adds great dynamics to the very impressive sound of the album.

Crossing Pangea is an instrumental with a suitably journeying sound to it, giving the impression of movement or travelling. There are lovely fluid guitar lines running through it and the urgent rhythm section powers the track along very happily and impressively. I really do like this track as its moods are very strong and different showing that these musicians are very talented and highly competent in their playing abilities. There are some great piano and synths on this track and it rattles along through its twelve and half minute run time in some style. There’s a great bass part from Jeff on this track, really strong and when overlayed with the keyboards of Chris, it sounds really splendid. This piece is an evolutionary stroll of a track, very impressive stuff really, especially in the closing part of the song. Next is the shorter The Following which commences with a rippling piano line. The song addresses the futility of war as told in the story of blind allegiance and following such leadership. It questions why we follow such dangerous leadership into destruction and pain and it makes a strong and valid point.

The final track is the album’s multi-part title track Once There Was. This consists of twelve parts of which five are instrumental in nature.This is a very interesting song with lots happening in its various sections. The song addresses the demise of a town as it gets left behind as life changes, often in unexpected ways. There is a long keyboard based solo on The Agitation section of the track, all very ELP like in nature. The Far Cry are certainly unafraid to show their influences in such a manner. In fact, I find their approach very refreshing and I like how they pay honour to the past greats by using their sounds as a template for creating something that is their own. This is far better than the plagiarism that can be a component in many modern prog bands rather than treading the delicate balance between homage and the forging of a new path. This song was the first written for this album apparently, with parts from various members being worked on together to make this epic piece of music.

On ‘Once There Was’, I find that The Far Cry have found a balance that works in their favour, and that’s no mean feat. This is to the commendation of the band and bodes well for future releases they may make. I really think this album will appeal to many prog Fans as a band like The Far Cry are truly making new wine from old skins, as they say. So, if Neo-Prog is your bag then you must check these guys out for yourself.

Released 1st March, 2025.

Order from bandcamp here:

https://thefarcry1.bandcamp.com/album/once-there-was

Review – Gustaf Ljunggren & Emil De Waal – Mikroklima

Following the success of their 2023 release ‘Stockholm København’, two of Denmark’s most celebrated musicians in multi-instrumentalist Gustaf Ljunggren and drummer Emil de Waal present their fourth collaborative album.

Expanding on their growing reputation for crafting songs and sounds with masterful senses of subtlety, narrative and capacity to form meaningful connections with their collaborators and audiences alike, ‘Mikroklima’ was released on February 7th on April Records.

One element that truly sets this album apart, is the bold move of inviting a group of 12 year old school children from a music class into the studio to record alongside Gustaf and Emil. Drawing from years of experience leading music workshops with young musicians, on ‘Mikroklima’ Ljunggren and de Waal wanted to capture the sound of musicians from different generations and experiences coming together to contribute their ideas to their compositions.

I was a big fan of ‘Stockholm København’ so, now my music mojo is finally returning, I had to listen to this new release and ‘Mikroklima’ didn’t let me down. These two incredible musicians have created something organic that truly flows from track to track. Ljunggren’s elegant acoustic and electric guitar playing blends with de Waal’s sophisticated grooves creating something almost organic in nature. These two have an almost symbiotic relationship and are utterly complimentary to each other. The lush swathes of synthesisers and Rhodes piano add a spiritual feel to the proceedings and the whole album has an ethereal atmosphere.

These tracks are not just written, they are subtly crafted and created to have soul and to connect with the listener in a meaningful fashion. Listening to these amazing musicians at the height of their creative power is something quite wondrous to behold and an utter privilege. Through the mesmerising title track Mikroklima and the more strident Bolde all the way to the final two musical gems, Waaltz and Meeen, Ljunggren and de Waal take you on a mesmerising and hynoptic musical journey that sometimes challenges you but is always nothing less than captivating, enthralling and spellbinding.

It’s hard to pick one track out as a favourite as the album should really be consumed in one sitting for the full, glorious listening experience but Brud is consummate style and panache personified and as cool a jazz track as they come.

Restrained and yet bursting with spirituality and, most of all, life, ‘Mikroklima’ is more than just a collection of songs, it is a living entity that exists to bring joy to all who listen to it.

Released 7th February, 2025.

Order from bandcamp here:

https://gustafljunggrenemildewaal.bandcamp.com/album/mikroklima

Review – Nicholas de Renty – Retour Au Bercail – by John Wenlock-Smith

Progressive music certainly has the ability to throw you some strange or odd musical curves, take this album from French solo musician Nicholas de Renty entitled ‘Retour Au Bercail’ which translates as meaning ‘Return to The Fold’ .

Nicholas performs the majority of the instruments apart from on the track Traquenard where he is joined by Anthony Malaussena who adds guitar and bass to the track, Nicholas playing drums, piano and the vocals, which are all sung in French. A lot of the other instruments are delivered via the computer, the brass and woodwind elements for example that enliven proceedings. This release is best heard in one setting, i feel, as you can then appreciate the intricacies that are built into the music especially in the title track Retour Au Bercail which has excellent brass and woodwind sections.

The album is basically the story of Nicholas’ return to the faith he grew up in but deserted in his youth. He now feels the need to address the spiritual emptiness he has been experiencing and sees a return as being in his best interests. This is bold for such a step to be considered and then taken and ultimately to be chronicled in the music he has made.

I had a translation of the lyrics so I could follow his journey, there is an understated beauty to this musician in his openness to embracing faith once again, which is to be applauded. This album will probably be passed over by many which is a shame as it is really rather good and interesting musically. I would say the singing is a little different and unusual but it is not unpleasant being strongly choral in style. I understand this might be off putting for many but I would urge you to persevere with it as it does become rather calming with a distinct spiritual tone and flavour to it.

I especially liked the opening track Luerre éternel (eternal war) which has a drum solo at both the opening section and at the 5.55 mark where Nicholas vocalises over the beat before a rippling piano and subdued brass are heard. Nicholas then really pounds the skins a for few minutes, oddly enough the dynamics of this work exceptionally well, giving the track a really strong dynamism and emphasis. The lyrics are actually more prose, being almost poetic in nature and tone, the choir like chanting is a good fit for the track which is about how we are all in a spiritual war with the forces of evil (Satan and his demonic hordes).

As I say it is an intriguing and deep concept. One with it’s spiritual overtones and concept could, I accept, be problematic for some listeners and the album is maybe not an easy listen per se. However, many a great album is equally as challenging yet critically applauded like ‘Red’ by King Crimson, which is an equally dark and intense piece of work.

I have to say that the more I listen to this album the more I have come to appreciate it’s difference, which I feel is rare in a genre where little has changed since the founding fathers’ original masterpieces were released. This album at least dares to be different in many ways and that alone is worthy of recognition. As such, I would recommend that folks with an open mind would have a listen at least as there is some great music on display here,

Definitely one for the more adventurous listener to at least have a go with, although I would say it would be more appealing if the booklet had the words translated into English so then non-French speakers couldn’t least be more understanding of the contents of the words.

This has not been an easy review as it has required the input of Anne-Claire from Bad Dog Promotions to help with the translation, which then allowed insight into the themes behind the tracks, for which I must recognise her invaluable assistance. aAs it is but I urge perseverance with this most interesting release which I actually really enjoyed, hopefully others will too.

Released 27th August, 2024.

Order from bandcamp here:

https://nicolasderenty.bandcamp.com/album/retour-au-bercail

Review – Hats Off Gentlemen It’s Adequate – The Uncertainty Principle – by Roger Trenwith

“Learn to live with uncertainty, learn to cope with reality…” – so begins the last stanza of the last track on this, the eighth album by Hats Off Gentlemen It’s Adequate. That’s a line that applies more than ever in these unsettling times we live in, as much as it applies to front man Malcolm Galloway’s health struggles, which involve a hereditary condition affecting connective tissue, and a degenerative macular illness. Refusing to be brought low by this, there’s a three track EP, Between The Worlds (see the Bandcamp page) that came out a month ago. It contains a blistering version of the live favourite i’mtiredandeverythinghurts from last year’s Prog For Peart festival, and its techno-punk raging at bodily frailty seems to sum up Malcolm’s frustrations perfectly.

Keeping up the duo’s love of science (of the real and fictional varieties!), the recurrent themes of The Uncertainty Principle ostensibly derive from Heisenberg’s 1927 theorem of that name, although obviously there is also a strong personal element running through it all. The Bandcamp page for the album includes a potted history of quantum theory, and I wouldn’t expect anything less from these two highly personable musicians, who have nurtured each other’s nerdy obsessions since school days.

At times, you can easily hear a lyric such as “Everything changed. Everything we thought we knew changed” and cast your thoughts to the lunatic across the pond, gleefully destroying everything our lives in the West have been built on since the end of WW2. Topical stuff, indeed. This album provides a healthy dose of musical escapism to aid the passage of the stark reality of the lyrics, always a good combination in any form of popular (ahem…) music.

Musically, the band offer up their signature combination of melody and righteous rock’n’roll anger. The blistering guitar and charging rhythms of The Ultraviolet Catastrophe being an example of all brakes off, instrumental Sturm und Drang. Following that is the wistful Copenhagen, an early album appetiser from last year, with Malcom’s voice slowly rising to full-on yearning, his instantly recognisable vocal style being one thing that makes this band stand out. Ah, yes! It is a band, and the other half of it is the irrepressible Mark Gatland whose infectious enthusiasm offsets Malcom’s angst perfectly. His bass is dextrous or thundering, or both, and is a vital part of the equation.

Can a duo be a band, you may wonder? In the words of Robert Fripp, HOGIA (unlike their music, the name is a tad unwieldy, you have to admit!) are the epitome of a “small, mobile, intelligent unit”, with the rest of the music and the drums being programmed and delivered via technical wizardry that is way beyond my ability to even begin to explain. And it works live too, so much so you forget that you can only see a guitar and a bass guitar being played in front of you. The whole is definitely “a band”.

This musical witches’ brew is in full effect on Inside The Atom, a synth-led molecular examination that whizzes around its nucleus with a gleeful freedom before being joined halfway in by some superb sky-saw guitar from Malcolm, who can play a bit, o yes!

There’s examples of the band’s ear for a good pop song too. The Think Tank has Malcolm and Mark playing fast’n’syncopated with the sort of song that Matt Bellamy used to write when he was on his game. One Word That Means The World (Arkhipov) provides a history lesson, if like me you had to Google “Arkhipov”! All I will say is, it is possible none of us would be here if Vasily Arkhipov had said “Yes”, rather than “No”. “We don’t know who we are, until we are forced to decide”, as Malcolm vocalises. Decisions, decisions…

The title, and last track, is almost bluesy to begin with before becoming anthemic. These chaps meld a number of styles into a recognisable whole, and it’s just a shame that no-one seems to have heard of them outside of our small pond. Yes, they’re “prog”, but also so much more than that and deserve to be far bigger than they are…but would that destroy the magic? Uncertainty, uncertainty…

Released 4th March, 2025.

TRACKLIST

Certainty
Everything Changed
The Ultraviolet Catastrophe
Copenhagen
Cause And Effect (But Not Necessarily In That Order)
The Uncertainty Principle
Inside The Atom
The Think Tank
One Word That Means The World (Arkhipov)
Between Two Worlds
Living With Uncertainty

Total time: 62:07

MUSICIANS

Malcolm Galloway – lyrics, lead guitar, synths, mastering

Mark Gatland – bass guitar, vocal engineer, additional guitars and synths, co-producer

With:

Kathryn Thomas (flute 6, backing vocals 11, co-producer 10)

Ethan Galloway (vocals 11)

LINKS

Bandcamp: https://hatsoffgentlemen.bandcamp.com/album/the-uncertainty-principle

Website: https://hatsoffgentlemen.com/

Facebook: https://www.facebook.com/itsadequate

Review – Glass Hammer – ‘Rogue’

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.”

That’s the PR synopsis of ‘Rogue’, the twenty-second studio release from the seminal US prog band Glass Hammer, now more of a solo project for founder Steve Babb who has collected a rather impressive band of brothers and sisters to assist him on this new release.

‘Rogue’ features performances by frequent collaborators 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 Perchuk (Argentina), drummer Evgeni Obruchkov (Poland), and others.

Steve is right, after the recent powerhouse albums from Glass Hammer, ‘Rogue’ is a much more thoughtful and measured affair and a bit of a return to classic albums from the much loved band. I say a bit of a return because I think Steve continues to reinvent Glass Hammer and they are never quite the same in each iteration.

“I have had enough of winter with its gray hills and gray skies, the gray buildings and gray, downcast faces. Nothing can cheer me in this place. Even the sun has hidden its face from me, but who can blame it? Why should it waste its light upon such a dismal scene? I do not wish to sound melodramatic, but I feel I shall die a slow and meaningless death should I remain in this limbo land of drizzling rain and chill wind! I should have left years ago, but I am determined now to do just that. So southward I will flee! Back to sunshine and clean air! Back to that happy realm where I spent my youth playing in the sand and splashing in the waves. And, maybe, back to her…”

So another concept album then? Not really, ‘Rogue’ is more an album of themes and it actually works brilliantly, let’s delve a bit further…

What If opens the album in fine style with an early Glass Hammer vibe entwined around some definite Mike Oldfield vibes. It is tripping the musical light fantastic and is airy and uplifting with a soothing vocal. I’m getting an 80’s prog vibe from this luscious track and it leaves a great early impression of what is to come, especially impressive is the guitar from David Wallimann. That 80’s electronica vibe continues with The Road South, a gorgeous keyboard note leading us into another soaring piece of music with some rather fine guitar from Oliver Day before there’s a metamorphosis into something a bit more dramatic. The powerful vocals add definite gravitas to the song and make it another excellent piece of music. I have to say, so far, so bloody good for this new album! A strident keyboard heralds Tomorrow, Steve Babb getting his quality bass head on here, sometimes it’s easy to forget what a fantastic musician he is but the bass playing on this track is top level. Fred Schendel joins Oliver on guitar and what you get is just a joyous expression of intricate musicianship enhanced by the superb vocals of Thomas Jakob and Olivia Tharpe.

I love the opening to Pretty Ghost, fine guitar, thumping bass and swathes of glorious keyboards creating a fantastic widescreen 1980’s cinematic feel to the track. Olivia’s lush vocal carries the song on with class and lustre, possibly the finest four minutes of Babb’s career so far. Talking of 80’s, Sunshine is soaked in the nostalgia of that decade with it’s almost 8-bit keyboard intro, the wonderful lap-steel guitar from Schendel and Olivia’s solemn vocal. The measured rhythm and thoughtful, pensive tone adds a real depth of emotion to the song. I Will Follow takes me back to earlier Glass Hammer with its catchy beat and dancing melody. It’s a captivating musical journey that flies along at a serious pace and is led by the wonderful vocals. That’s always been a highlight of all that’s good about the band and they get it absolutely spot on here, not forgetting Oliver Day’s fiery guitar solo too! It’s a breezy five minutes of accomplished progressive rock that shows Steve Babb has lost none of his songwriting credentials.

Now we get to the business end of the album with one of my personal favourites, The Wonder Of It All. An intro that could have come straight from an 80’s sci-fi movie leads into some rather fine guitar from Atillio Calabrese before the elegant vocals begin, accompanied by excellent, polished keyboards. It is a really sumptuous and astute piece of music that draws you in to its dignified grasp. When I was talking to Steve about the track he said that, the more he worked on it, the more it reminded him of a Genesis song. I like the fact that it almost leans away from being ‘prog’ and does feel like it’s right on the edge of Genesis’ ‘Invisible Touch’ era while still retaining the intricate sensibilities of progressive rock. It’s just a brilliant song no matter how you dissect it! One Last Sunrise is a charming respite from the rest of the album. It still has an 80’s electronica vibe with its layers of chiming keyboards but there’s also a lightness of being to its charismatic and engaging soul.

Steve tells me he was going for an Ozric Tentacles vibe with the utterly brilliant Terminal Lucidity. It was also an attempt to do something like the last song on ‘Arise’, just not quite as long. Well, to my ears, he got it spot on, this piece of music is just fabulous and has a real 80’s electronica vibe before bursting out into something more dynamic, maybe even Krautrock and definitely heading up the Tangerine Dream alley with its expansive, intricate melodies and distorted keyboard notes. It’s almost like Steve was composing a theme for an epic sci-fi film and got lost in his own thoughts, just magnificent. The guitar and synth solos from Reese Boyd and Ariel Perchuk just add to the majesty. Steve comes out of his reverie, the track becoming almost symphonic in nature and ending with a feel not dissimilar to an overture, theatrical and gloriously pompous like the best overtures always are. I have a funny feeling that Steve really had some fun when writing this grandiose ending and it just made me smile.

All good things must come to an end and, as if in perfect synergy, this outstanding album closes with the track All Good Things. A confident musical procession and a testament to our character and his epic life’s journey of ultimate highs and deep lows. It is a powerful piece of music that leaves questions in your mind, all correlated by Ariel Perchuk’s questing synth solos and Oliver Day’s mastery on the guitar. As this imposing and dynamic song and album come to an end, you are left with a feeling of fulfilment and of a cycle completed.

With an opening worthy of a Mike Oldfield classic, hints of the legendary Kansas & Genesis and a wonderful overlying 80’s electronica vibe, Steve Babb goes all ‘Rogue’ with us on this new and surprising release from Glass Hammer. Following a more mellow progression, one of the most creative minds in modern music returns with a measured, considerate and ultimately rewarding journey and shows what it truly means to be progressive.

Released 11th April, 2025.

Order now from Glass Hammer’s website:

https://glasshammer.com

Review – Sharks: Car Crash Supergroup – The Island Years 1973-1974, 3CD Box Set – by John Wenlock-Smith

It almost seems that in the 1970’s you couldn’t move for supergroups, that strange scenario where bands split, only to re-emerge in a new combination of musicians. Some of these were very successful, like Emerson, Lake & Palmer, others less so, where the combination was just to volatile to exist peacefully enough to make their mark, like Beck, Bogart & Appice or Rough Diamond, for example. Punk might have brought the demise of many such groups but it didn’t kill them off completely, as bands like Asia can attest.

Sharks were one of those groups that should have been far bigger than they were, somehow they never quite made the grade despite having a very strong line up of Steve ‘Snips’ Parsons on vocals, Andy Fraser of Free on bass and Chris Spedding on guitar, along with Marty Simon on drums. Their debut album ‘First Water’ was released in 1973 on the Island label to much hype that unfortunately did not translate into many real sales.For the second album, ‘Jab It In Yore Eye’, Andy Fraser was replaced with Buster Cherry Jones. It was released in 1974 to a world that wasn’t very bothered. The band toured the USA to good audiences but, again, without more sales. Upon their return, they recorded a third album, ‘Car Crash Tapes’, produced by John Entwistle of the Who, but Island weren’t satisfied with the results and opted not to release it, this caused the band to split up and go their own ways. Spedding did some solo and Guitar Graffiti albums and he was also one of The Wombles, the one with the flying V guitar. Snip joined the Baker Gurvitz Army and Buster Cherry Jones returned to the US and started a new band with Donald and Ralph Kinsey called White Lightning, who released an album for Island records in 1975.

This set comprises of the first two releases, along with that third, unreleased, album ‘Car Crash Tapes’. It also includes live tracks recorded in Providence, Rhode Island in 1974, one of which features Leslie West of Mountain on Guitar. So that’s the back story but what’s the music like? Well, if like me, you were too young to remember them (I was 14 at the time), let’s have a listen through and I’ll tell you what I think.

The debut ‘Fresh Water’ emerged in 1973 after Fraser had left Free after their ‘Free At Last’ album of 1972, wasting little time in joining forces with Chris Spedding to form Sharks, who were signed to Island Records, with whom Fraser’s previous band Free had resided. Steve ‘Snips’ Parsons was spotted by Chris Blackwell and, after a successful audition, was offered the role of singer in Sharks, who Blackwell was managing at the time, having cut his teeth in the North East around the Hull and Humberside area.

The band travelled around in a customised PontiacLle Mans that they affectionately called The Shark Mobile, due to a fin on the roof and teeth on the grill which made an impact. A lot of their interesting history is detailed and recounted in the album booklet along with some great historical photographs of the band. They crashed the car into a tree in the north of England whilst on tour, with Andy Fraser injuring his arm. After this he though heavily about his options and decided to leave whilst he had the chance as he saw the crash as being a bad omen.

‘First Water’ is not a bad album in many respects, with a mixture of classic sounding rock and some sweet guitar work from Spedding. A lot of the tracks are slow burners, meaning that it takes time to really get into them fully, Follow Me being a prime example of this, with a strident piano from Fraser holding the song together and an ascending riff from Spedding that is fairly dramatic. I really like this track, it’s somewhat understated but could have been great live with its decent guitar break and fill section. Ol’ Jelly Roll has more piano and a initially delicate vocal from Snips which channels his inner Joe Cocker in the gritty vocals. This one has a touch of Free about it, especially in how it builds in intensity. Brown Eyed Boy is a Rolling Stones like romp with great dynamics to its swagger and Snakes And Swallowtails is another slow builder with Fraser’s bass at the forefront to good effect. I like this track with its understated playing that suggests the song is going to explode into something special, and it finally does, sounding tremendous, if not a bit short, when it could have been allowed to run on a lot more.

Drivin’ Sideways is more standard rock fare that doesn’t really go anywhere, despite good performances from Snips and Fraser and some almost countrified guitar fills from Spedding. But, despite its initial opening, I actually do like this track and it definitely grows on you. Steal Away sounds like a more mellow Free song, very subdued but actually rather good. Doctor Love is certainly of its time, especially in the lyrics. The track has a sinewy guitar line running through that sounds not unlike Paul Kossoff, which is a nice touch. The final song of the debut is Broke A Feeling, which is a fairly muscular sounding track with some good guitar fills which, along with the bass and the piano of Nick Judd, make a good sound. It’s all a little loose and all the better for that really. The mid section where Spedding lets rip is especially strong making for a strong finish to an album that had much promise that somehow the band were unable to capitalise on fully.

Sophomore album ‘Jab It In Yore Eye’ continues in a similar style and tone to the debut, although it seems a bit more focused somehow. The playing is more concise and impactful, it would seem that the departure of Fraser and the addition of Buster Cherry Jones was good for the band, allowing Snips’ songwriting abilities to be more widely seen, he writes or co writes seven of the album’s ten tracks. Baby Shine A Light is a great song with some excellent guitar work from Spedding, whose playing is subtle and yet exciting on this track. Sun Beat Down has a muscular sound to it, being quite a strident song yet somewhat understated and never actually exploding into life. It’s a bit of promise unfulfilled here despite some good guitar fills. Rain Or Shine is an acoustic song that lacks something, whereas Kung Fu is far better with its chopsticks type piano and some sweet guitar lines from Spedding which enliven proceedings. The Japanese words don’t really add much but Speeding’s playing in the mix does add some excitement to this track. Sophistication is next, a track in which The Clash were instrumental with their Should I Stay Or Should I Go track, you can see that in its stop start riff. Cocaine Blues follows and is a more restrained track. Revolution Of The Heart opens gently with acoustic guitar and then settles into a more rock like groove. This is another slow burning track that gradually increases in its intensity to become something really fine over its six minute duration. With Chris Speeding’s understated guitar lines really hitting the mark, this track never explodes as such but the intensity and build both make a real impact.

The third album, ‘Car Crash Tapes’, is not as good as the first two and you can see why Island rejected it. The live tracks are taken from a bootleg recording that have been cleaned up for this set. Again, these are of their time but are a nice addition to what is another fine set from the ever-reliable Cherry Red /Esoteric label and the booklet is of the usual very high standard.

In conclusion, this won’t be to everyone’s taste but it shows that some quality music was being made in the days before punk. How this band failed to achieve major success is one of Rock’s more tragic tales.

Released 24th January, 2025.

Order from Cherry Red here:

https://www.cherryred.co.uk/sharks-car-crash-supergroup-the-island-years-1973-1974-3cd-box-set

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