Tufnell Park’s Dome is a new venue to me, if not to Londoners who like progressive rock music. It is very conveniently located across the road from Tufnell Park underground station and adjacent to the Boston Arms public house. Well, last night it hosted quite a remarkable, spectacular and effusive end of tour show and celebration for Solstice, who were concluding their current tour in support of their hugely impressive and exuberant ‘Clann’ album, you can read my Progradar review here:
Solstice had previously hit a lot of familiar points like The 1865 in Southampton and their own local Caulfield Arms in Milton Keynes, amongst others. The Dome itself is very straightforward in layout with a bar to the left and a big open floor space with a decent sized, raised, stage and a small seating area to the right. It was about two thirds full, with about 150 people or more in attendance, which isn’t a bad size for any band. I expect on the strength of this new album and tour that future shows will garner a far bigger audience as the band, in this version, are most definitely one that are going places now, promising a most rewarding experience for any prog aficionado. Many of the crowd are regular supporters of the band, although a swift poll check from Jess revealed a healthy number of new attendees, who are probably converts now after this strong showing tonight
Ebony Buckle opened the show in a more pared back incarnation but, even in this stripped-down version, their songs show their strength. Especially well received were I Think I Just Saved My Own Life,Russian Dolls and 900 Years, they all stood out for me, as did the final song Disco Lasers. A swift changeover led us into a very celebratory show from Solstice who have a stage full of artists, including violinist Jenny Newman and Andy Glass, who leads the band being their only original member from the 1980’s and who has led the band into this very new and exciting phase of their career.
Along with bassist Robin Phillips, drummer Pete Hemsley and keyboard player Steven McDaniel, they are complimented by three excellent and individual vocalists in Jess Holland,Ebony Buckle and Dyane Crutcher who together weave a beautiful magic in tandem with the rest of the band. At times I was reminded of the mighty Santana, in that the music seemed to flow like a river of music, not only in discernible points of reference in tracks that I recognised, but also in the onstage dynamics and interplay between Andy, Jenny, and the various vocalists, each of whom were really going for it.
I also loved the sheer joyful exuberance that was on show tonight. There were many highpoints such as the excellent guitar tones displayed during Mount Ephraim where Andy really laid down some seriously strong guitar lines. In truth though, there was nary a poor number played with lots of older tracks receiving a very positive reception from the very vocal crowd. There was even much prog dancing! Heaven forbid don’t tell Charlie Bramald as he’d be appalled by such joyful actions! Andy also sought to teach us prog clapping at some point, which was a bit of fun for everyone.
Overall it was a Triumphant performance by the band, as always with Solstice and they were truly stunned by such a positive reaction to their wonderful music and presence, making for a very special and important evening for both the faithful Clann and also for the band themselves. Special mention must be made for Chris Parkins of London Prog gigs who hosted this event so well and for the sound guys and merchandise staff who worked tirelessly on the band’s behalf. Also to Solstice themselves for being so accessible to their fans, they were actually somewhat overwhelmed by their response, being very gracious in both their time and willingness to sign CDs as memento’s and also to chat to everyone.
It was a most excellent evening all told, which put the matter of my arduous journey back North to the back of my mind, being both an expensive and also challenging one, with the added yet unexpected bonus of something of an adventure as I traversed the home counties in the early hours.
Unbelievably this is Brendan Perkins’ twenty-eighth solo release since 2008 when he decided to follow his musical aspirations full time. ‘Stories from the Old Church Lane’ follows from last year’s wonderful ‘Favourite Places’ album which he actually released on CD and that I gave a very positive review to for this very site. You can find that Review here:
This album is in a similar vein, although this time it concentrates on the lives of the folks who live in the area of a local church. Whether this us an imaginary church is not entirely clear but the album seems to draw upon personal experiences that Brendan has had or encountered over the years since he moved to a rural location. Either way, the tales he has conjured up are certainly imaginative and told with warmth and a positive attitude that translates into the music the album conveys. The album is entirely self-composed and performed by Brendan although his partner Helen Flunder features on vocals on the track Another Eveningtime. The music flirts around the edges of progressive rock but is actually very pastoral in tone and would a definitely appeal to fans who like that style of prog, as offered by Big Big Train and the like as there is a strong storytelling element to these songs.
The albums begins with the track Another Eveningtime which opens with a piercing guitar line underpinned by synths and assorted sonic embellishments that fuse together to make a pleasing wall of sound. To this is added Brendan’s trusty Rickenbacker bass providing a solid bottom end before the vocals start, speaking of settling down and building a new life in the shadow of the church. It’s a very positive song with great guitar lines and a fine backing. Olivia Ruth is about a lady who collects things, it is also a song about memories and how they can affect us and how we look at a life. The words are very descriptive as they are poured out and the song is full of warmth rather than criticism. It is about accepting and welcoming different approaches to life and is enlivened by some great guitar and bass interplay in the final part of the track. Amelia’s Wedding is a song about expectations being realised, in this instance the wedding of a daughter to a man and how they begin a new life together, with all the opportunities that affords. This is a fairly bass driven track with lots of ethereal keyboards in the background, creating an interesting sound palette. It is another very warm sounding piece with lots of hope and positivity towards the happy couple on the very special day of their wedded union.
Bram’s Return (from Metro Fair) opens with a fine acoustic guitar line, the song is about returning from the big city to a more relaxed and less stressful way of living as the author realises that the big city life he has lived wasn’t really for him. Instead, he finds peace and contentment in a new place and opens a new chapter of his life. There is a distinct touch of Mark Knopfler in the guitar playing on this track and the use of space in the arrangements and sound really adds something special. The extended length also gives room for lots of free expression. This is a song extolling that the best place to be is with the one you love, which is of course a most excellent thing to desire. Ned And Mary is another gentle song talking of a couple’s evolving life story through different times, but all underpinned by the love they share and celebrate in Old Church Lane. It’s a lovely song with more superb guitar lines woven through it. This is much shorter track but still a good one, if not a tad contemplative in tone.
The final track is Summer’s End which celebrates the harvest and the festival that it brings, exemplified here by the annual dance which really beings the village together in gratitude and celebration. The description of the dance is very warm and speaks of a shared experience that is welcomed by all the inhabitants of the village. It is a very well composed track and a strong close to the release.
‘Stories from the Old Church Lane’ is a rather uplifting and life affirming release from Brendan Perkins. Certainly there is a lot of excellent material and songs here and I would urge you to have a listen for yourself, you may very well be rather surprised and taken with it.
Red Bazar are the band that Peter Jones uses when playing band shows as Tiger Moth Tales, in return for which he adds keyboards and vocals to their songs and elevating them in the process with his excellent voice and his deft keyboards. It’s a symbiotic relationship as both parties gain significantly from it’s existence.
‘Blood Moon’ carries on from 2022’s excellent ‘Inverted Reality’ and has eight tracks of fine, if slightly heavier, material from the band.
The album begins with Fall On Your Own Sword, which is a strong opener driven by the sturdy bottom end bass of Mick Wilson, who has since decided to move on with his place being taken by Roman Dubrovsky. The track is an epic one in style with a storming guitar riff, strong Bass and Peter’s always impressive vocals. It has a harder edge to its sound interspersed with lighter sections and parts. I really like this song and it is a strong opening track. When The World Burns is a softer piece which centres on an acoustic guitar motif and subtle keyboard textures. It’s an emotion laden song with a fine guitar solo from Andy Wilson. High Velocity is a brooding instrumental with driving bass, surging guitar parts and strong synth lines all conspiring together to make a really urgent and driven track. There’s a fine keyboard solo from Peter before the track returns to the main riff and melody, gathering intensity in the process. This is a standout for me and I loved it when it was released online last year as a taster for the full album. Start Again opens gently with an acoustic guitar and delicate keyboard flourishes. The song is about a relationship and the opportunity to redress the balance by starting Again. It’s a tender track of impassioned vocals and mood and it captures the dynamic of the relationship fully in a thoughtful and yet sensitive manner. This song impresses greatly with it strong melody and performance.
Baron’s Eyes is based on the Sherlock Holmes story ‘The Illustrious Client’ and is another interesting track talking about revenge for wrongs done to a client by the Baron. There are great synth lines to this bristling track. Fighting Force is another instrumental tour-de-force with a strong guitar line and a very upfront bass part, alongside more excellent keyboard textures from Pete. Penultimate track Over is awash with superb guitar playing and swirling synths. It’s a brooding piece of music that builds in drama and dynamism. A powerful and engaging song that could be straight from one of the great 1990’s hard rock albums. The final track of the album is title track Blood Moon, another very strong track. Although I have to confess that, without the lyrics, I don’t really know what the song is trying to convey. I believe a blood moon is significant on several levels, including the end of the world. However on this occasion, you’ll just have to enjoy the song like I did and decipher its meaning for yourself!
So, in summary, another strong album from Red Bazar which I must recommended to all especially if, like me, you are a fan of Peter’s immense talents which are well showcased here alongside the other highly skilled members of the band.
Solstice are currently on a noticeably upward trajectory and this new album from the veteran proggers certainly agrees with that statement as it isa most uplifting and positive album of some very fine music indeed.
The album has a mere six tracks (if you include the bonus), all around the 5 or 6 minute duration, along which there is a near fourteen minute epic in Twin Peaks.
The overall impression is that Solstice have found a rich vein of inspiration that they are digging deep into. In this instance that vein is a very uplifting and joyful one, maybe it’s a response to the current tough times in which the world finds itself with global madness on the geopolitical stages and an almost demented leadership that seems to be looking after the rich and ignoring everyday folks. This promotes division and accelerates discord while throwing out all the mechanisms that help govern. Onto this disquieting stage steps Solstice and this album that instead of moaning offers the listener a very uplifting escape from all that misery, instead offering some really positive sounds of joy that extoll gratitude and promote an air off togetherness. Even it’s title, ‘Clann’, speaks of building a team of togetherness and family or clan.
The opening track is Firefly, which sets the tone for the whole album, starting with a very upbeat synthesiser line and with the surging vocals of Jess Holland, who has a very distinct and clear voice which, when blended with the rest of the band, sounds extremely fine and very strong. Above all of this lies the splendid violin of Jenny Newman which is the icing on this exceptional cake. Andy Glass’ guitar lines weave magic everywhere, bringing the music together tightly. Andy is a fine player who is extremely melodic in style. There’s no wonder why he won this year’s Prog Magazine award so convincingly! Life, again, has a jaunty melody that accompanies the music, the song having both a looseness and a sparseness to it that works in a most attractive manner. There’s a lot happening throughout its six plus minutes duration as it builds in its intensity with Andy’s liquid guitar lines providing a great sonic tapestry of textures and sound. Plunk is a very funky number with a strong rhythmic drive and fine organ sounds. It is played in an unusual time signature which adds to its effectiveness, as does the brass embellishments that are employed during the song. This track is definitely a punchier little number that would work well live, I’m sure. An excellent guitar solo from Andy further enlivens things significantly, his playing whilst flashy and furious, is just right for the track as he doesn’t overplay it but it all works for the maximum impact of the song.
Frippa has more than an element of 1980’s King Crimson to it, especially in the main guitar riff. This track also benefits from the versatile and athletic violin of Jenny Newman who dances all over it, blending in well with both the angular guitar work by Andy and excellent keyboard work of Steven McDaniel. The precise drums of Peter Helmsley and the subtle yet strong bass lines from Robin Phillips are mightily impressive and when this dynamic rhythm section combines with the sweet, clear vocals of Jess Holland and backing vocalists of Ebony Buckle and Dyane Crutcher, you are a totally compelling and captivating close. The epic Twin Peaks has nothing to do with the David Lynch series of the same name, rather this is a sprawling track that works on every level with its gradual building and brooding intensity and sweet violin lines. It is a journey that keeps you enthralled throughout its near fourteen minute duration. There is not a moment wasted or surplus to it, it really works as an extended showcase for all that is good about the fine band and this great album. The bonus track Earthsong is a revisitation of a song that appeared on the first Solstice album ‘Silent Dance’ from 1984, here it is given a 2024 treatment by the current incarnation of the band. It opens with ringing guitar tones from Andy and some subtle bass lines from Robin, as I’ve never heard the debut version I can’t comment on this reworking except to say that it fits in well with the rest of the album and a delicate yet dynamic vocal from Jess works well and brings the album to a stately finale.
To be honest, what I like about this album is that it makes you happy, it’s upbeat and uplifting and, in a time where all we read and hear is downbeat, it’s great to have something that lifts you up, for a while at least! This album does that across its six tracks. Remember when music was a source of joy for you? Well, this music returns that feeling to you and so it is highly recommended from here.
This is a great album from a band who have weathered many storms and difficult times and seasons to re-emerge stronger, bolder and with much to offer in today’s world. I have no hesitation in commending this most wonderful release from Solstice.
This, sadly, will be the final album for Nova Cascade, the group that came to be from conversations arising out of an internet chat room back in 2010. It became a series of collaborations which resulted in the making of five excellent albums, including this latest and final instalment, ‘Box Man’. The new album sees originator and prime mover Dave Hillborne exercise his penchant for a more ambient and introspective version of progressive music. The origins of ‘Box Man’ date back some twenty-nine years to an idea that Dave had that he has now managed to fully realise.
The album consists of seven tracks, one of which, The Choice is of an epic length of twenty-eight minutes. This Extended length gives ample time for its themes to surface and connect with the listener. The music is very ambient and would appeal to folks who enjoy the gently evolving music of bands like Tangerine Dream or Camel. The song opens with a stirring violin line from Nina Chikviladze, who has stepped in to replace the much missed Eric Bouilette. The violin part captures the age, essence and spirit of Eric in a most gentle and respectful manner. The track is in 8 sections that combine to make a singular piece of music. It impressively strong, Dave and his fellow contributors, Colin Powell (guitars) and Dave Flick (bass) have crafted a lush expansive and warm soundscape with Nina’s violin adding significantly to the recurring melody lines to make for a very impressive opening track to the album. A soaring guitar solo from Colin Powell oozes effortlessly over the song before the keyboards return and things move on in a different manner with sequenced sounds utilised to see a semblance of pace and urgency introduced. The guitar then returns, playing an almost eastern sounding guitar line that fits well with Dave’s keyboards. There is another shift in pace to a more upbeat segment before a quieter more ambient feel returns. It is all very ambient with lots of space in the sound making for a real masterclass in musical composition and sound scales and this track has them all in spades.
Smoking Gun which features Dave’s vocals, which put me in mind of amore hesitant Feargal Sharkey, over which we hear a strident guitar line. The song also has a recurring keyboard motif which is very memorable indeed. The melodic sounds of IfYou Don’t Succeed benefit from a prominent bass line and part. This is an instrumental of different moods and tones with some further splendid and very tasteful guitar lines and fills, all underpinned by the excellent bass of Dave Fick. The use of whistling also graces this track and makes for a great, atmospheric piece of music.The next track is Sentry which has sound effects of war and battles and has suitably sombre lyrics as a war survivor recalls the events that still traumatise him each night. He is thankful to be alive but has to live with the dreadful memories of those evil days, it is a truly engrossing piece of music.
As It Was & Is is instrumental in nature but, his time, the violin carries the melody as Dave’s keyboard play an excellent piano line. The whole band then join in and make a great noise together before the piano melody returns, this time with fluttering synths before a fine, surging guitar line is introduced, to which bass and drums are also added. A really powerful statement. Box Man, the title track, has prominent organ parts and a rippling piano line along with a bubbling bass and more great vocals from Dave. The song is a comment on someone who has fallen on hard times and to whom life has not been kind, so much that he finds himself on the streets. The album closes with The End Of The Line, another instrumental and quite a sprightly one too, with more great bass work and good guitar. The keyboards are wonderful evocative and ever changing in tone and sound. It’s a great way to close the album.
If ‘Box Man’ does turn out to be the final album from Nova Cascade then they have most certainly gone out on a remarkably high note with such a strong and rewarding release.
With their highly anticipated fourth album, ‘The Third Sleep’, Norwegian progressive rock band OAK delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond.
On the 25th of April, OAK follows up their highly acclaimed ‘The Quiet Rebellion of Compromise’ with a new album, ‘The Third Sleep’.
About the album, the band has this to say:
“The Third Sleep continues the development from TQROC lyrically and further descends into the darkness of the mind errands. The form is suggestive and poetic, with room for interpretation within certain limits. The album is also more outgoing than its more introspective predecessor, with socially critical lyrics that require the listener’s attention and an ability to read between the lines.”
With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, OAK has carved out a distinctive sound—both captivating and challenging in equal measure.
I’m a huge fan of OAK and their wonderfully haunting music that really gets under your skin so I was very excited when I heard that they were releasing a new album and, boy, have they not let me down!
From the opening notes of No Such Place with it’s beautifully complex musical arrangements and Simen Vallal Johannessen’s lilting vocal, I was hooked and realised that these guys have done it again. The addition of the delicate but emphatic woodwind just gives a deep meaning and gravitas to the song and there’s a fantastic flow to the music. London has a darker, harder edged opening, almost industrial in feel where Sigbjørn Reiakvam’s drums give a fine counterpoint to the elegance of the vocals. Mature and reflective, OAK have moved there sound on from the previous album and truly progressed. There’s almost a menace to the keyboards and the bass of Øystein Sootholtet just sits in the back ground directing proceedings. A hauntingly memorable piano line opens Run Into the Sun and the shimmering swathe of keyboards adds a polished sheen to this stunning track. Simen is on top form here, his vocals are just beautiful, especially on the fine chorus and we are treated to one of OAK’s best songs yet, it certainly one of my favourites from their impressive catalogue. What really impresses me on ‘The Third Sleep’ is how the band have brought the guitars more to the fore and it really adds another dimension to their already impressive music. First single Shimmer opens with a halting, moody tone and the vocals come in a bit deeper and hushed. It all gives a pensive and wistful feeling but that changes when the powerful chorus opens up and the vocals soar, driven on by the compelling rhythm section and demonstrative guitar. this track actually does shimmer with a fragile confidence that you can feel and then the plaintive woodwind comes in again to add another level of finesse.
Shapeshifter is another piece that is rather pensive and thoughtful in feel and tone but it has Simen’s rather gorgeous vocals to lift it above the norm. I just can’t get enough of his epic voice. These three musicians seem to gel perfectly have produced their own unique sound and that is no more evident than on this superb song. the guitar, drums and piano all blend together in an imposing soundscape that just grans your attention and won’t let go. The faster paced, demonstrative ethos of Borders gets you on edge immediately and I like it’s almost random, off-kilter feel. The drums lead and the vocals follow willingly, aided by a fine, skittering piano note. you feel that this piece is building up to something as the tension raise before being let loose on an uplifting and arresting chorus. It’s an elegantly emotive song that lives long in the memory after it closes. The album closes with the epic and profound Sensory Overload, a complex and thought provoking musical journey that feels like you’re in the labyrinthine mind of a tortured musical genius. You get thrown from left to right and all over on this memorable and suitably dramatic odyssey. I mean, there’s even some growling vocals thrown in and I’m not usually a fan of them but, here, they work perfectly! What a rather magnificent way to close the album.
With ‘The Third Sleep’, OAK have returned with a dramatic, exciting and rather imposing collection of songs that shows a young band full of creativity and vitality. It is their best album yet and one of the best things you will hear this year, sublime, grandiose and, to put it simply, brilliant!
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 Hereopens 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 discussing Never Land, 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.
Clockwork Tulpa is CIRCU5’s first album release as a full band, with Tin Spirits frontman Mark Kilminster and drummer Lee Moulding joining founder SteveTilling. “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.
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.
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 BrianHulse 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.
