Category: Album Reviews

Review – Materialeyes – Inside Out – by John Wenlock-Smith

I spend a fair amount of my free time trawling the internet, now that I am retired, streaming music and checking favourite websites, mainly prog related ones, taking a note of the general chatter and recommendations folks make there. All of which helps keep me informed of what’s happening in the world of prog, I hardly ever post my own recommendations though, quite why, I’m not really sure, but, as my listening tastes vary daily from 70’s classic rock to as yet unreleased music, I would find recommending music hard and possibly biased.

Whilst trawling recently I came across Wakefield based prog act Materialeyes and decided to check them out via bandcamp. I listened to their earlier album, ‘Three of a Kind’, which piqued my interest enough to contact Martyn Hawes and ask about the upcoming album release, ‘Inside Out’. Martin kindly sent me the album with a view to me reviewing it for Progradar and its my pleasure to be able to do this. I am always impressed by the quality of the releases you can find on bandcamp, I also like that funds go mostly to the artists directly, especially on bandcamp Fridays, which is even better for all concerned.

Well I’m glad to report that this a most interesting and rewarding release, whilst it may only has five tracks, it is an album of quality material starting with the solid opening track This World, that is about how we are hurting the world with our actions. The song begins with a chunky guitar chord and is followed by some glorious swathes of keyboards and a flute solo from Dave Westmoreland. It oozes pastoral progressive rock in the vein of Barclay James Harvest, that is a very worthy band to be compared to and Materialeyes do not disappoint either. There is a lot of layers to this track, Woody Wolstenholme would be proud hearing this strong song with it’s excellent style and good dynamics. Second track, Eric Upon Tweed, is a tale of a lad called Eric who finds himself removed from his family for attacking his drunken father, after seeing how he mistreat his mother. She arranges safe exit for Eric to his aunt’s in Berwick-upon-Tweed. This has distinct traces of Genesis’ style of storytelling, especially those with a social conscience to them. The story ends with Eric’s first sexual encounter in Berwick-upon-Tweed and latterly some words of praise from his dying father with whom there is a degree of reconciliation at the end. The tale is musically very rich with a great guitar line playing throughout and a great vocal from Martyn.

Longship is a maudlin and atmospheric track about Vikings returning to their homeland, the haunting sound being made by Will using his Ebow to create the haunting melodies. This melancholic piece has another great vocal from Dave, it is short but very moving and memorable indeed, a great track. Horsemen is inspired by the 1921 silent film The Four Horsemen Of The Apocalypse and starts with an acoustic guitar before prominent bass and keyboards join in. This is another longer track with room for expansive soundscapes, flute and synths, there are also western films referenced throughout. The track has echoes of the softer moments of Wishbone Ash’s Argus initially but soon becomes more strident, I really like this track and the panoramic soundscape it uses, it is a very well written, conceived and delivered piece of progressive music. The added length gives space for the music to unfold in the piece, additionally, the use of good dynamics really make a good impression, as does the fine bass playing from Martyn Howe, especially in the middle section. It makes this all the more rewarding to listen to, as does the fine guitar work from Dave Westmoreland and you can definitely hear the ‘Argus’ influence here.

Clay Man is the last and longest track of the album and was inspired by a heavy Wensleydale cheese eating session! The song is interesting, it’s subject matter a bit weird and dark in tone. It is mostly instrumental but with a few words, more music than words in fact and has more prominent bass alongside acoustic guitar and keyboards. It also has handclaps and what sounds like foot stomping and other syncopation, the song is one that builds in its intensity, which makes for interesting listening. A slower section with ethereal voices follows before the vocal of Will Lawery, who also provides excellent guitar on the whole album. The words seem to be about a man who has seen much pain and horror in the world and is traumatised by it all, hence the sad nature of the track.

Well that’s it, you are left wanting more of this fine music and I’d recommend checking out their back catalogue as it has some great music available there. Hopefully they have a bright future, if they continue to make music of such an excellent calibre. ‘Inside Out’ is a most rewarding release and more than worthy of investigation if you can. I think you will like it a lot, there is much to enjoy, especially if you like more pastoral prog like BJH.

Released 18th August, 2023.

Order the album from Bandcamp here:

Inside Out | Materialeyes (bandcamp.com)

Review – Retreat From Moscow – Dreams, Myths and Machines

Retreat from Moscow return in 2023 with their second album ‘Dreams, Myths and Machines’, the album follows on from the January 2021 release of their superb debut album ‘The World As We Knew It’, a record that was 40 years in the making.

‘Dreams, Myths and Machines‘ was forged over the past three years by original band members John Harris (guitar, vocals, keyboards and flute), Andrew Raymond (keyboards), Tony Lewis (bass) and Greg Haver (drums and percussion) with special guests Robin Armstrong of Cosmograf, Andy Tillison of The Tangent, Pete Kirby of Skylines and American vocalist Jillian Slade.

The album draws on themes of Welsh and Greek mythology, dystopian futures, social anxiety and colonial whitewashing and had a complex gestation during 2021 and 2022, with Haver recording behind the closed borders of New Zealand. With co-producer Clint Murphy (Enter Shikari, Thunder, Two Year Break) at the helm, the album was created in a variety of recording environments, including the legendary Rockfield studios in Wales. The band and team have taken their time and embraced varying themes, while pushing the boundaries of their extended compositions, adding to their musical lexicon.

“Retreat From Moscow’s first album ‘The World As We Knew It’ was the band looking back to our early days at the turn of the 1980’s, retracing our youth and memories through the songs. ‘Dreams, Myths and Machines’ is the band embracing our present and the lives we’ve led”, says New Zealand based drummer Greg Haver. “The new album is an exciting blend of stories past and present framed within the RFM prog rock soundscape” explains the band’s vocalist and guitarist, John Harris.

There’s a definite feel of 80’s Marillion about this release along with hints of the classy, educated pop/rock of It Bites, a superb coalition of sounds that delivers the band’s own inimitable sound, if you’ve heard the band’s debut release then you will recognise this immediately. In John Harris they have a very distinctive vocalist, his voice is all soul and gravelly, whisky soaked vowels at times and I, for one, really like it.

When writing long songs, you really have to be skilled to make sure there are no lulls or pointless sections just to extend the length of the track and Retreat From Moscow are real masters of this. From the upbeat, lush tones of opener Saving California with its driving guitar and rhythm section and the swirling keyboards and high energy feel of Flowerbride, there’s an instant connection with this release. It harks back to the time when music was heard in analogue and you waited for the Top 40 on the radio (or Top Of The Pops if you were lucky enough to won a TV!) to hear the best music and, if you were old enough (or not, if the case may be!), you would actually venture out and hear music live! This album is the sound of nostalgia to me, maybe I’m showing my age but I love it.

As most of you know, I’m an avid runner so a song with the title of Running Man is going to appeal, even before I’ve heard it! This short and punchy song is dynamic and melodic in equal measure with superb keyboards and elegant guitar and the bass and rums of rhythm section Tony Lewis and Greg Haver are rock solid. Things get more intricate with the sombre I Can Hear You Calling, an emotive track where Jillian Slade shines as the foil to John’s ever impressive voice. It’s a song full of sentiment and barely held back sorrow but there’s beauty in even the darkest of subjects and this piece of music delivers like watching the rain fall while sat in front of a warming fire. Windchill sees the appearance of Robin Armstrong whose wonderfully fluid and intensely passionate guitar adds layers of warmth and sentiment to a gorgeously wistful and poignant song. As I get further into this superb release I am ever more impressed by the skill on show and the eloquent songwriting and it is completely evident on this exquisite track.

Time is really flying and yet we’re only half way into this immersive album, the laid back intro to Time Traveller almost leaving you in a musical vacuum as the soundscape touches your synapses before John’s edgy guitar kicks in along with harmonised vocals. It’s all very 80’s and done incredibly well. I’ve mentioned nostalgia before and the wistful feeling that this thoughtful music engenders really does take me back to a time where everything felt much simpler to deal with. It’s easy to just lose yourself in the music, especially the very Floyd-esque section half way through the song. The Machine Stops is, perhaps, my favourite track on the album (although I do keep changing my mind as they are all so good!), it’s soulful and inventive and features one of the most innovative keyboard players alive today in Andy Tillison and he delivers one of his trademark solos here, as well as organ embellishments. The song itself builds gradually, layer by layer, inviting you in to the creative process and enveloping you in its warm musical embrace. This insightful musical journey ebbs and flows and is never less than engaging, especially when it reaches a crescendo and goes firing off on all its metaphorical (keyboard infused) cylinders. When progressive music is as good as this, it really doesn’t get any better and I could listen to tracks like this all day.

Oh yes, we are going right back to the heyday of 80’s neo-prog with the highly enjoyable Assassin’s Cloak, a track that would have graced any album from the prog luminaries of that age but, more importantly, one that’s bang up to date in production qualities and delivery. To me, it’s one of the highlights of what is already a highly impressive release. With superb vocals, potent musicianship and energetic enthusiasm to spare, it really is a magnificent romp. The album closes with the electronic edge of DNA, a thoughtful, penetrating and astute homage to the discovery of the chains of human existence. With its measured, metronomic rhythm laid down perfectly by Tony and Greg, Andrew’s delightful keys and John’s stylish guitar and vocals, this is progressive rock at its most penetrating, add in the voice over from Drew Berry and we really have something very special here.

What was that saying about difficult second albums? Well, with ‘Dreams, Myths and Machines’, Retreat From Moscow have totally debunked that myth. Intelligent, insightful and thoughtful and sprinkled with progressive rock stardust, it is a wonderfully immersive listen. There you go, in this case, nostalgia definitely IS what it used to be!

Released 18th August, 2023.

Order the CD from Gravity Dream here:

Retreat From Moscow – Dreams, Myths and Machines CD Pre-Order – Gravity Dream Music

Review – John Greenwood – DARK BLUE

Following a life training as a Plastic Surgeon and practicing as a Burn Surgeon and Director of the Adult Burn Centre of the Royal Adelaide Hospital. retirement has finally allowed John Greenwood to pursue some musical dreams.

Just prior to retiring, he met Mark Trueack who had been pointed his way by Jimmy Keegan (not that one), a very long-time friend of John’s and the guitarist in Trueack’s fledgling UPF Acoustic. Following a hand-injury, and unable to play, Keegan suggested that John might be interested. After a few rehearsals with UPF Acoustic, Trueack introduced John to Sean Timms, suggesting a rekindling of Unitopia and a studio album based on ailments suffered by the band’s members. At this stage, Sean helped John establish his own home studio.

John began to record a series of solo tracks (some with themes he composed as a teenager, and some completely new). The songs quickly divided into two camps; those about man’s inhumanity to man, governmental choosing of economy over citizens and even the health of the planet (DARK). The others focussed on sadness due to various forms of loss (physical, experiential, personal – BLUE). He added into that group his cover of what he considers the ultimate song of loss, Tony Banks’ Afterglow.

His ‘Dark Blue’ album features several family members (Wife, Helen, provided the inspiration and lyrics for A Proper Song; Daughter, Emma, sings on Rosco and The Ocean as well as playing the introductory ‘cello on the latter; Son, Sam, plays the Grand piano piece in The Ocean, whilst Sam’s wife Sarah plays violins on Too Late!, Too Late! Reprise and The Ocean whilst her sister Nicola plays flute on the same tracks). John’s brother-in-law, Andrew Fanning, helped with lyrics for Too Late! and The Ocean, whilst the daughter of a work colleague of John’s, Kirstin Damkat, spoke the child’s soliloquy.

A school friend of John’s (Andrew Rowland) provided all the artwork. Sean Timms added additional keyboards and some great sound effects, and a number of drummers were involved (international artist Craig Blundell and local drummers, Ben Todd and Mike Giuffreda). Sean drafted in Nick Sinclair to replace John’s bass on Rosco and Julian Ferraretto to play gypsy violin on Packin’ my Suitcase. Other than that, it’s all John on vocals, all guitars, most of the bass guitars, keyboards and orchestration.

So there is a really extensive introduction to John Greenwood’s solo album and, do you know what?, ‘Dark Blue’ has to be one of the most truly progressive albums I’ve heard this year. At times it is like musical theatre, bombastic, orchestral overtures and idiosyncratic, over the top, vocals and, at others, it is just utterly sublime, wistful and beautiful music with ethereal vocals (check out John’s daughter, Emma, on the epic The Ocean) but it never fails to captivate and engross you in it’s lengthy sixty-nine minute running time.

You’ve read about the supporting cast that helped to make this wonderful release, I mean Craig Blundell for god’s sake!, but this is John’s creation, 100% and his sureness of touch and songwriting genius can be felt in every word and note. If you’re a fan of Unitopia and UPF then you can feel the slight influences on the album and that is a good thing, the expansive music and thought provoking subject matter are cleverly integrated into this amazing creation.

The epic A Little Piece of Rosco Vidal is progressive rock at its finest, a build up of musical intensity, intricate melodies, fine vocals and music that is both cerebral and emotive, superb! The trio of Too Late!, Too Late! Reprise and The Ocean stray boldly into the territory of musical theatre where the elegant vocals of both John and Emma could grace any West End stage but it’s blended perfectly with fine progressive sensibilities to almost create its own identity and check out the wondrous violin and flute, just beautiful.

The passionate, powerful duo of Requiem and Heartless add some meat to the bones (John’s vocal on the latter is dynamic and vibrant) and the almost singer/songwriter vibe of Inside is powerfully moving. The whimsical, bluesy humour of Packin’ My Suitcase shows John’s humorous side with the gypsy violin of Julian Ferraretto the archetypal twinkle in the eye and there’s a simple splendour to The Kiss with Nick Magnus’ impressive orchestration.

John’s version of Afterglow, the moving track originally By Tony Banks, is just sublime and won’t leave a dry eye in the house and this sublime album closes with the fantastic A Proper Song, reminiscent of Wish You Were Here. Pared back acoustic guitar and elegant vocals along with Hammond Organ ( you’ve got to have a Hammond!) deliver a consummate listening experience and when the electric guitar solo kicks in, it’s just heaven!

It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!

Released 1st July, 2023.

Order from bandcamp here:

DARK BLUE | John Greenwood (bandcamp.com)

Review – Sherinian/Phillips – Live – by John Wenlock-Smith

Derek Sherinian is a fine creative and accomplished keyboard player who’s CV includes stints with Kiss, Alice Cooper and Billy Idol, to name but three. He was also a member of Dream Theater and has made eight solo albums, which are usually made in tandem with Simon Phillips, who has an even more impressive CV, with the likes of Judas Piest, Jeff Beck and, latterly, Toto. Simon also had his own group, Protocol, who have released five albums thus far in a similar fusion type style.

Derek and Simon both share a love of fusion, which mixes jazz and rock elements together in a shimmering stew of musical chops. Normally Derek uses a whole slew of well know guitarists, which is definitely interesting, especially as he tends to play a more supportive role rather than be keyboard heavy and laden. He is very much a team player, whose aim is for the music to be the star rather than his own chops. Simon is of a similar persuasion and he is content to be a solid rock from which others can soar!

Well that is certainly the case here, this album features four good musicians who have played together previously and enjoy each others company and playing. The band is Derek Sherinian (keyboards), Simon Phillips (drums), Ron “Bumblefoot” Thal (two necked guitar) and Ric Fierabracci (bass). These four can definitely play up a veritable storm, this album was recorded at The Grape in Ventura, California on August 29th, 2022 and this live album is the result of that rather unique show.

The album has eleven tracks, three taken from ‘The Vortex’, three from ‘The Phoenix’, one from ‘Inertia’ and one from ‘Mythology’ . Of the two additional tracks, Barnacus is a drum solo from Simon Phillips.

Most of these tracks replicate their studio incarnations without really adding very much or varying from what was originally created. Which kind of begs the question ‘Why?’, what is the point of all this? Ye, its all very listenable, technically accomplished and exciting but it is ultimately one that falls short by offering nothing very new or different to what is already known and already available. Also, I think they missed an opportunity to include the filming that took place that evening, as that would be a good addition and offer some added value to this album.

The music that is here is excellent extremely well recorded and delivered but, for the reasons stated, probably won’t get heavy rotation with me because, much as I like Derek’s music, on this occasion I wanted something more. What is different, I suppose, is that these four musicians are replicating parts played by others, like The Vortex, which ŵas recorded with Steve Stevens on guitar and Tony Franklin on bass. Here those parts are played to perfection by Ron “Bumblefoot” Thal and Ric Fierabracci respectively. This makes it interesting to compare the versions also, live, it is very slightly longer in length, although what the additional sixteen seconds are is not easily ascertainable, I guess it could be at the start of the track with the crowd noise?

Empyrean Sky gives opportunities for Derek to really lay down some strong Hammond Organ tones, which he does remarkably well, and his interplay with Bumblefoot is exciting, if a tad brief. In fact several of these tracks would have benefitted from a more expansive time to allow further improvisation and room to explore the material more fully. Temple of Helios is another example of where extension would have greatly improved the track. This truncation is frustrating when a band as talented as the guys are are held back and unnecessarily restrained from really letting fly.

Whether there were time constraints or something else is not clear and I guess we’ll never know but, aside from that, this album deserves more than it delivers, it’s good, whereas it could have been so much more, it is a real missed opportunity by Inside Out.

Still, what is here is very good, I just wish it was either a double CD or had a DVD of the events with rehearsals and interviews and other extras added for completeness. So, again, my question is Why?

Released 25th August, 2023.

Order the album here:

Derek Sherinian, Simon Phillips – Inertia (Live 2022) (lnk.to)

Review – Beatrix Players – Living And Alive

After a 5 year hiatus, the award-winning Beatrix Players are back with a brand new eight piece line up and an intriguing new concept album.

The band’s sophomore album ‘Living & Alive’ will be available digitally from 22nd Sep 2023 and, for fans of vinyl and cd, it can be pre-ordered now from Burning Shed with a limited edition of just 500 copies pressed on coloured vinyl.

Founding member, writer and vocalist, Amy Birks is joined on the album by her co-writers from the original Beatrix Players line-up, Helena Dove, and guitarist Tom Manning. Also joining this expanded group are doyen of progressive music, flautist John Hackett, guitarist Oliver Day (That Joe Payne, Yes Please), drummer Andrew Booker (Tim Bowness) and storied cellist Jane Fenton (LSO, LCO, RPO, Britten Ensemble etc). Pianist Matthew Lumb and bassist Kyle Welch complete the on-stage octet.

A trio incarnation of the band released the band’s debut album, ‘Magnified’ in March 2017 and they went on to appear as special guests on UK dates with artists such as Steve Harley, Carl Palmer and Big Big Train. In October 2017 they performed two songs at Prog Magazine’s star-studded annual awards event at London’s Globe Theatre and walked away with the best newcomer prize.

With that line-up on permanent hiatus Amy subsequently released two well received solo albums in 2020 and 2022 and picked up Best Female Vocalist award at the 2018 Prog Awards before recruiting a third iteration of Beatrix Players leading to the recording of this brand new album. 

So that’s the story behind the creation of the album, let’s dig a bit deeper, shall we…

“Take time it’s your life, What a beautiful life it could be…”

Great music has the ability to stir emotions and create small oasis of calm and beautiful solitude and ever since I heard ‘Magnified’, I have been hooked on what Amy Birks (on her solo releases) and Beatrix Players can create. Beautiful, wistful and ethereal music that is passionate and emotive in equal measure and that is just intensified on this new release.

Birks says, “Living & Alive is an honest album, that explores how life isn’t just about living, but that it’s about having the courage to really be alive and own it. Simply put; you are your best you, and will only ever be second best if you’re trying to be something other than you…“

And Amy is right, there is a raw honesty to the music, a sparsity that is delicate and graceful to songs like Snowflakes, the charming track that opens the album much in the chamber-prog style of the debut album but this group of musicians, and Amy Birks in particular, have matured and have additional facets to their music and songwriting.

“There’s no such thing as an ordinary moment, There’s never nothing going on, There’s never such a day as clear as the day that’s too late, Too late and lacking of any conviction…”

Somebody Else’s Eyes is dominated by the haunting cello of Jane Fenton, painfully melancholy and alluring in its delivery. Oliver Day’s gorgeous playing adds a layer of sophistication to the music and Amy’s vocals are touching and plaintive. This is music that just bleeds emotion in every word and every note. There’s an insistent, almost off-kilter feel to This Is Your Life, implicit in the vocals that hit home with every word. A song with sharp edges among the charm and wonder.

“This is your life and there’s no one to blame, No matter how hard it gets…”

The music has a real bluesy feel to it, John Hackett’s flute flowing jauntily and Oliver’s pin sharp guitar really hitting home along with the superb cello, a rather pleasing track indeed.

Starts Again arrives with a jaunty atmosphere, created by the fantastic musicianship and Oliver’s laid back guitar. Another thoughtful track about how a relationship that’s going astray may work if only we could start again. The delightful chorus and relaxed mood give a feel of a sophisticated folk song with added layers of inventiveness, especially with that impish flute…

“And I doubted many a night, With your eyes poised to strike, And your tongue cut like a knife, It’s just no way to live life…”

Amy co-wrote A Beautiful Lie with John Hackett, a song about a relationship that’s run its course but we’re still living ‘A Beautiful Lie’. Gorgeously simple and shimmering with restrained intensity, there’s an uncomplicated honesty to the song and Jane’s pensive cello adds a touch of elegant sorrow to proceedings. A wonderful, if sad song that will really touch you.

“Dam your love and dam the water, Hold it back to keep control, Dam your love and dam the water, Until the day you overflow…”

Another somber track, Overflow carries on the pared back and less-is-more feel where the vocals add to the tension and pent up emotion. The music works in tandem with the vocals to add a wall of delicious sound, adding to the suspense and apprehension. Purgatory has a really serious tone, dealing with the mental abuse of a child but done in a very sympathetic manner. Amy is not afraid with dealing with contentious subjects and the beauty of the song even adds to the gravitas of the situation.

“Why can’ t you just smile, And wish me well, But you can’t hit a nail, Where it won’t go…”

Painful and yet hauntingly beautiful, there’s a solemn tale at the core of You Can’t Hit A Nail. A melancholy song that bleeds wistful sorrow from the flute and cello and where the vocal performance could have come straight from the stage of a West End musical. Sorrowful and even bitter, why do sad songs say so much? Fragile, poignant and yet, ultimately uplifting, Free has a feeling of emotional release in its heartfelt lyrics and superbly pared back music, just listen to the brilliant guitar playing and the inspiring close to this elegant song.

“There’s a clock ticking inside of me, And it won’t leave me alone, And it’s joined by a friend, my conscience, And it owns my body and soul, And it keeps on beating along to the sound of Me, I Am Me…”

This insightful, charismatic musical journey is brought to a close with the superb Me, I Am Me, bringing the story around full circle. An assertive vocal mirrors the lyrical content and the music has an almost classical feel to it. Powerful, affectional and heartwarming, this song is making a personal statement and one that is delivered with confidence. It is the perfect close to the album.

Beatrix Players return triumphant with the mesmerising ‘Living & Alive’, a collection of songs that are bewitching and compelling and leave you in no doubt of their stature in the music industry of today. The sublime voice of Amy Birks and outstanding musicianship on show have created one of the most outstanding releases of 2023 and one that should be on your list of must buy albums, it really is that good!

Released 22nd September, 2023.

Pre-order digital here:

Living & Alive | Beatrix Players (bandcamp.com)

Pre-order CD at Burning Shed:

Living & Alive (burningshed.com)

Review – The Anchoret – It All began With Loneliness

The Anchoret is a Progressive Metal project that combines prog rock sensibilities with modern metal energy. Mixing fusion sax, flute solos, mellotron vibes and heavy riffs. ‘It All Began With Loneliness‘ offers a unique soundscape that is sure to please any fan of heavy music.

Featuring Andy Tillison (The Tangent), James Christopher Knoerl (Aviations, Gargoyl) and Sylvain Auclair (Heaven’s Cry, Karcius), ‘It All Began With Loneliness‘ was recorded all over the world between August 2020 and March 2022. 

With all the music composed and produced by bassist Eduard Levitsky and lyrics by Sylvain Auclair, this album is an absolute beast and one of the most stand out and innovative releases of 2023 so far. Fair warning though, it does get very, very loud and, to my ears at least, is all the better for it. Like a force of nature, a neolithic musical tour-de-force, ‘It All Began With Loneliness‘ is an utter powerhouse of progressive-metal invention.

The irresistible force of fine prog-metal melody meets the immovable object that is thunderous guitars, monumental drumming and in your face vocals and, surprisingly, it is a marriage made in heaven. And just to take it to another, almost unimaginable level, we get alto-sax, flutes, clarinet and even gospel vocals!! Jesus, it shouldn’t work in any way, shape or form but it just does and it works remarkably well!

The album bursts into life from the first note of opener An Office For…, this opening track lulls you into a somewhat melodic false sense of security before it segues perfectly into the violent wonder of A Dead Man. This piece of music has everything I mentioned above, melody, power, progressive leanings, majestic vocals, monumental musicianship and flutes! Add in one of Andy Tillison’s more extrovert keyboards solos (and that’s saying something!) and you could say that everything including the kitchen sink has been thrown at it and it is utterly magnificent. Of special note must be the utterly stunning and grandiose guitar work of Leo Estalles, statuesque in delivery and intent. You’ve hardly got your breath back from that uber-enjoyable onslaught before you have to strap in again for the thunderous Until The Sun Illuminates, a prog-metal masterpiece of magical musical malevolence. An almighty wall of sound rushes at you with deliberate intent, the occasional lull only giving brief respite from the mayhem around you. This is musical violence that is utterly wonderful, Andy’s keyboards used to great effect to give you temporary shelter from the storm created by the energetic rhythm section. Someone Listening carries on with a maniacal gleam in its metaphorical eye, the musical rollercoaster ride sweeping you up and carrying you in its wake. Sylvain Auclair has a commanding voice perfectly suited to the high energy, pulsating music, it is passionate and forceful but always melodic. The brilliant alto-sax of Juan Ignacio Varela Espinoza provides a clever counterpoint on the opening to Forsaken before the prog-metal takes on a much darker and heavier note and the vocals go all thrash metal on you. I’m not normally a fan but it’s done so well that I have to admit that I love it! The ebb and flow between the elegant sax and the maelstrom of metal is perfectly executed and makes for one hell of an exhilarating listening experience and Leo’s fine guitar playing is always going to add something vital to the mix.

The enigmatic opening to Buried adds an almost middle-eastern feel to the music before the staccato guitar and forceful vocals give primeval force to the song. There’s a building of tension, a clever anticipation being created before bursts of audio stimulus push through, a shorter but exceedingly sharp piece of music. All Turns To Clay is an anarchic helter-skelter of a song, a pulsating and compelling song that mesmerises and fascinates at the same time. The potent guitar riff has you trapped in its spell and the dark, haunting vocals seem to focus directly on you, another fine piece of songwriting. Unafraid has a less manic tempo yet builds menacingly with intimidating, ominous certainty, like a storm gathering in the distance, one you know is going to hit you eventually. Barely restrained like a wild stallion, there’s a violent energy building that strains to be let loose. This incredibly powerful album closes with the most wistful of songs in Stay. Emotive, passionate and heartrending, the musicianship is superb, where before it was all controlled power and dynamism, now it’s about precision, calm and grace, there’s even a Mellotron for god’s sake! It doesn’t get more prog than a Mellotron! Leo shows his class with a heartbreakingly elegant solo, full of fire and passion which, along with another magnificent keyboard solo from Andy, closes the album in rather fine style.

One of the things I love about music is when it surprises you and this debut release from The Anchoret has been a revelation. ‘It All Began With Loneliness’ is an astonishingly good album, in fact jaw-droppingly so, and is already up there as one of my favourites of the year. As prog-metal albums go, it doesn’t get much better than this!

Released 23rd June, 2023.

Order from bandcamp here:

It All Began With Loneliness | The Anchoret (bandcamp.com)

Review – I Am The Manic Whale – Bumper Book Of Mystery Stories – by John Wenlock-Smith.

These are my thoughts on, ‘Bumper Book of Mystery Stories’, the new album from Reading based outfit I Am The Manic Whale. Following on from 2020’s ‘Things Unseen’, this new collection of eight themed and linked tracks is a strong return to form as ‘Things Unseen’ was a little to unfocused really. Despite having several great tracks, a few others fell a bit short quality wise in parts. This album has redressed that particular issue clearly and the post-lockdown era has enabled the band to strengthen their musicianship to even higher levels. This is especially noticeable in the more focused bass playing of Michael Whiteman and the ever improving fluidity of guitarist David Addis. The keyboards of John Murphy, and Ben Hartley’s drums, add consistently sympathetic and worthy support to the proceedings.

The album is themed as a set of songs inspired by a book Michael found in an old and strange antique shop that was full of stories for boys. He decided to revisit these tales in song, adding mystery and suspense, to make something rather unique and different. The band even created their own tales that are available in a book as a companion piece to the album (not that I’ve read it, but the concept is a great one!). The music is everything that you have come to expect from this massively underrated band, strong melodies, dynamic pieces, class musicianship and interesting and intelligent songs. There is a lot going on here, there is also a marked improvement in confidence, possibly as a result of a higher standing after the collaboration with Ryo Okumoto’s recent solo album that Michael was heavily involved with, and which no doubt improved his own personal belief in his and his band’s abilities and worthiness.

The album has a mixture of styles and song lengths, from short tracks like Ghost Train (part 1) that opens the album, through to the two epics; Nautilus and We Interrupt This Broadcast…

So let’s delve a little deeper shall we?

Ghost Train (part 1) has echoes of John Finnemore’ s Souvenir Programme’s story elements. I know that Michael is a fan of this fine radio programme and went to some special recordings last year, which possibly were part of the inspiration for this track. The song has a suitably sombre tone as we are told that we are going to embark on an unusual and different type of journey, there’s also has some lively guitar work throughout, David Addis proving just what an inventive and tasteful player he truly is. In fact his playing on the whole album is excellent and inspired as he reaches new heights on several songs, enlivening with some truly melodic, flowing and fluidly inventive playing that significantly enhances the tracks with his combination of skill, technique and intelligence. He adds much icing to an already delicious musical cake. Second track, Patient AB, is based on a true story about a lady who was able to self diagnose a brain tumour that was subsequently found and dealt with successfully. Dream Fortune is based on the old folk tale The Pedlar of Swaffham, who travels to London where he believes he will meet a man who would make him rich. Instead, he is mocked by another dreamer who reveals a story of treasure buried under a tree in Swaffam. The dreamer discovering the treasure in his own garden and using it to fund the repair of the local church A great organ and choir are used to create great atmosphere in this track.

Secret Passage is a thrilling track with a strident bass at the forefront. This track blends images of Narnia and the Famous Five, amongst others, it is quite a robust number with another lovely guitar line in the middle section. It’s this level of skill and lightness of touch that really highlights the strength of this material written by the various band members. This song has an extended keyboard solo from John Murphy that is real delight, it’s great to hear him stretching out here, he is a great player and his contributions are invaluable. The Incredible David follows and is inspired by a story in a book John owned as a child, that told the tale of a boy who had insight into ancient history, with knowledge of things he could never have seen or known. The band have updated the tale by telling it from the father’s point of view and it’s an approach that works well, the song is multi layered with great piano and soaring Steve Vai type guitar in places. This is an album that requires time to allow its treasures to emerge slowly, in their own satisfying manner and that will capture your imagination, as they very much deserve to. Nautilus is influenced by Jules Verne’s 20,000 Leagues Under The Sea and Captain Nemo. This watery tale has some great guitar in its thirteen-plus minute running time, along with keyboard contributions from Ryo Okumoto, who delivers a great synth section. The song is in five sections and is a very interesting track indeed, Michael’s love of science fiction comes across strongly here.

Penultimate song, Ern​ő​’s Magic Cube, is a sort of continuation of a song from ‘Things Unseen’ that extolled the virtues of Lego, this track being about the Rubik’s Cube and is a direct relation to that earlier song, Build It Up. It is a very 80’s sounding song, again this one makes a good impression. We Interrupt This Broadcast… details the strange incident of a spoof radio transmission which detailed Alien activity and interest. This is the longest track of the album and, again, David sizzles on his guitar, playing a great solo. It concludes an album that really delivers, upping the ante considerably from previous releases.

With stronger material and inspired performances that offer a deeply rewarding listen, this is an album that will draw you back repeatedly and one that is a highly recommended release indeed.

Released 7th July, 2023.

Order from bandcamp here:

Bumper Book of Mystery Stories | I Am The Manic Whale (bandcamp.com)

Review – Kurt Michaels – Stones From The Garden – by John Wenlock-Smith

This is the new latest album from Chicago born musician Kurt Michaels whose own career started in 1975. Since then, he has either worked with, or shared a stage with, a veritable cast of luminaries and classic musicians ranging from Chris Squire and Alan White of Yes, Carl Palmer, members of Supertramp and many others.

This album features contributions from Billy Sherwood, Michael Sherwood,  Amanda Lehmann, John Abbey (John Cale) and Dennis Johnson (Survivor and Dennis De Young). The album is generally AOR with a few touches of progressive rock (especially in the epic track The Road Beyond). The whole album consists of eight songs, mainly of around five minutes duration, although there are a few longer tracks.

On opener Trouble, Kurt sets out his stall pretty well with a bass heavy riff that runs in parallel with his own meaty guitar. There are some great keyboard fills in the mix here too, the song is slightly menacing sound wise and is all the better for it too. The vocals are clear and strong and backing vocals are good too. There is a lot happening throughout, I really like this track as it is both imaginative and clever. There is a tidy guitar break at the five minute mark that plays the song out, it’s a most impressive sounding track. Why Must Life Be Such A Fight follows and this one impresses greatly with its pop sensibilities. Again, good atmosphere is created in this track alongside some interesting musical passages and with some excellent harmony vocals from Kathie Mills. There is also another excellent solo from Kurt, whose guitar work is really fine and focused though out the entire album, this is another excellent track. I’m In Love With That Dream is the first longer track to appear on the album. On this song Kurt’s voice sounds highly reminiscent of the Flower Kings‘ Roine Stolt, which is certainly different but this style works for this song. Good backing vocals from Annie Carlson also impress as does Kurt’s excellent guitar break. This track has a wistful feel to it, with excellent interplay between Karl and Annie’s voices that definitely deepen this feeling. It is another splendid song on what is emerging as a really good album.

Next up is the rather poppy and bouncy Relax…Nothing ‘s Under Control, which has vocals from Amanda Lehmann, who also adds some atmospheric voice tones to this track. This also has quite a funky feel to it, another good track and well performed by all. Forever (So Completely) opens with some neat slide guitar riffs, again the Flower Kings’ type vocals work really well. The song is quite an urgent number with another fluidly impressive solo leading the song along well. Happiness has a sense of yearning somehow. It’s almost like an unattainable target that is being sought and he is striving to reach. It is another wistful song really, with interesting musical backing. More great backing vocals from Kathie Mills make this another winner.

Will I Ever Pass This Way Again? is another searching track where Kurt is thinking about a loved one and how it all went wrong and how he would love to be able to fix and repair the relationship to a better one. This album seems to have a fair few wistful songs of hope and yearning. The final track, and longest and possibly the most progressive of the lot, is The Road Beyond, which runs for just over seventeen minutes The song begins with some guitar harmonics and tones which help create a sense of atmosphere alongside the keyboards of Jim Gully, which allow room for Kurt’s effect laden guitar tones to shimmer and shine. This track is basically a long guitar instrumental that is bookended by brief spoken word passages in which we are encouraged to dwell on how we live and how that affects how we act. The music is moving and yet, somehow, it is also very hypnotic almost like a dream sequence in parts and with excellent dynamics. I feel this would appeal especially to lovers of electronic music as I hear elements of Tangerine Dream here, amongst others It is a most interesting and impressive track as Kurt’s improvisations are really strong and fine. Furthermore, the song keeps the listener engaged and interested throughout its duration. I also hear the shimmering harmonies of Tom Verlaine here in this track, which is also a really interesting and revealing insight, it closes the album on a beautiful note.

This fantastic album will unfortunately pass most folks by, which is sad, as there is much great music to be found within this album. I implore you to check it out and support this fine musician.

Released 7th July, 2023.

Order from bandcamp here:

Stones from the Garden | Kurt Michaels (bandcamp.com)

Review – Comedy Of Errors – Threnody For A Dead Queen

Hot on the heels of the wonderful ‘Time Machine’, Scottish prog mainstays Comedy Of Errors return with ‘Threnody For A Dead Queen’. I was intrigued as to whether the band had most of these songs already in the bag as it’s less than a year since the release of the aforementioned ‘Time Machine’.

I asked main songwriter and keyboard guru Jim Johnstone and this was his reply;

“Usually the songs appear at least a year after being written( often more). I have a reservoir of themes, motifs and scraps built up over many years as well as more recent new material. Sometimes in the moment the planets align and the idea comes. I use everything most relevant and appropriate and reject others and feverishly develop these ideas.

In this album musical ideas appear and recur in different forms across the album as is appropriate to the concept as a whole. The band members all contribute to the arrangement and individuality of the parts in the creation of something hopefully unique.”

The album immediately grabs you with it’s superb artwork and Jim explained more about that too:

“Up to the previous album I worked with Steve Moffit who did the graphics for the ideas I had for the cover. After Steve passed away, Hew Montgomery took over half way through the last album and for all of this album. Both were extremely patient in translating the ideas for the cover and all the subsequent tweaks ! The cover is important as far as meaning and relevance to the songs/concept. It is never something arbitrary.”

The album is made up of three extended tracks, ‘epics’ if you like and then some shorter linking pieces and opens with the first two of the longer pieces. The wonderfully evocative Summer Lies Beyond opens with an ethereal, languid instrumental session of shimmering music before Jim’s harpsichord like keyboard blends in with some hushed vocals. Comedy Of Errors have always had a unique sound and you this album is nothing different, although this song seems to be more wistful and nostalgic in feel. It builds in a genuinely fascinating fashion as Mark Spalding’s gorgeous guitar and Joe Cairney’s distinctive vocal join the proceedings. A classic Comedy Of Errors epic is always a musical journey of reflection and this track is no different. There is a more laid back feel running throughout which makes for a very reflective listening experience as this beautiful track meanders through your psyche like a stream descending from the mountains and through the wooded vales.

The Seventh Seal is another lengthy musical odyssey but this is more in keeping with the fast paced, up beat music that many Comedy of Errors fans will be accustomed to. Bruce Levick’s dynamic drums, John (the Funk) Fitzgerald’s vibrant bass bass and Jim’s spiralling keyboards combine with the elegant guitar to give an effusive, energetic vibe to the music and , again, a track that could only come from Comedy Of Error’s extensive canon. Joe’s vocal is very precise and descriptive and adds the required authoritarian tone to this rather excellent piece of music. You can’t pigeonhole this unique band but if you imagine Scottish neo-prog combined with a bit of folk and an almost medieval edge then you’d be on the right track, I think! And another shout out to Mark Spalding whose guitar playing on this track is just incredible!

I also asked Jim about the concept/ story behind the album and this is what he said;

“The reasons behind the story are very personal. In the detail they will remain so. However generally speaking there were certainly other influences which were significant. The 14th century anonymous poem ‘Pearl’ ( although not quoted on the album), and fifties film ‘The Seventh Seal’ were major influences for the ideas I wanted to convey.

As the concept for the whole album grew it seemed that ‘Death’ would be the underlying factor. Not just the pain and grief of it but how we can triumph over it, not just in life, but beyond.”

So, there you go, very mysterious and intriguing and also, very good indeed, this album is begin to look like it could be one of the band’s very best.

We then come to a section of three of the very short (well, when you’re talking prog they are!) pieces that are almost like an interlude. We Are Such As Dreams Are Made Of is a contemplative and thoughtful instrumental that is soothing for the soul and rather upbeat and optimistic in its outlook. Jane (Came Out Of The Blue) is like a Mike Oldfield track (think Moonlight Shadow) delivered with the band’s typical Caledonian burr. A graceful track that has warmth and spirit deep in its soul. Another exquisite instrumental, Through The Veil has a more melancholy feel, a delicate sparseness and gossamer like fragility that bleeds emotion and empathy.

Title track Threnody For A Dead Queen is another long piece where the band show, once again, they are masters of the intricacies of progressive rock. Anyone can write a twelve minute prog track but not everyone can write a song of that length that can hold your attention throughout as it plays through its varying stages, ebbing and flowing from the delicate and entwined through to the emotive and passionate. This absorbing track blends elements of the Canterbury scene with 70’s Genesis and early Krautrock to give a mind-expanding soundscape that is hypnotic, mesmerising and very soothing. As we near the end of this cosmic song Mark’s stirring guitar heralds the entrance of Joe’s powerful and uplifting vocal to take us to a rather ardent and poignant close underpinned by a rather impressive guitar solo.

The album finishes with another two shorter pieces, And Our Little Life Is Rounded With A Sleep has a somber and pensive feeling throughout, a yearning and feeling of loss deep at its core and Funeral Dance closes out the album on a more upbeat note with its 80’s neo-prog underpinnings and heraldic feel to the keyboards, like a Scottish jig updated for the modern age and a rather good one at that!

‘Threnody For A Dead Queen’ is Comedy Of Errors at their very, very best, the music builds, almost as if alive, it has moods and emotions and captivates from the very first note. This band just get better and better with each wonderful album they create and, without exception, this release is up there with the very best of the year so far. Hell, in my opinion, it is Comedy Of Errors’ best yet, their Magnum Opus if you like and you should just go out and buy it!

Released 2nd June, 2023.

Order the CD direct from the band here:

Comedy of Errors : Shop

Order the mp3 from bandcamp here:

Threnody For A Dead Queen | Comedy Of Errors (bandcamp.com)

Review – Orion – The End Of Suffering – by John Wenlock-Smith

I seldom fail to be impressed with folks who take the huge step into the unknown and are prepared to present to the world the music they have created from thoughts or dreams they have held sometimes for many years. I know several who have done this to a great reception and widespread acclaim.

Obviously everyone would like that, which is why reviews can matter through helping to raise awareness and, hopefully, allow an artist to gain traction and, in their profile being raised, generate both interest and push sales forward. I certainly hope this is the case for this Orion album, ‘The End Of Suffering’, as it is most definitely worthy of attention.

A little background might help here, Orion is the name chosen for Ben Jones’s concept album that came about after he read Eckhart Tolle’s book The Power Of Now, which deals with how we address our own internal dialogue between the past and the present. It talks about a personal awakening and enlightenment which incorporates the Buddhist concept that enlightenment is the beginning of the end of suffering. Quite a lofty concept but one rooted in the aspect of how time controls us and makes us slaves to its demands as we struggle to get done what we need to in the time allotted to us. It’s a never ending game of cat and mouse and one that drains, frustrates and depresses on a daily basis. As we are forever chasing our own tails, all for the Mammon at the end of the day/month/year, it’s soul destroying really and this album addresses that cycle in its lyrics.

This album was 20 years in the making, with the book being a pivotal moment towards personal enlightenment and  acceptance. Furthermore, the album was entirely self financed, performed and recorded by Ben Jones, with no intent other than to get the album completed and out to a world and see what happened as a result. Ben also made the CD available on bandcamp at a most reasonable price to encourage folks to listen for themselves. All of which is very laudable but is it any good?

Well this reviewer finds it is a really good listen and, once you understand it’s concepts and ideas, it’s both satisfying and musically very rewarding indeed.

The album begins with a gentle piano motif that is recurrent at times throughout the whole record before a huge riff commences that really opens the sound vista wide. It’s a very impressive riff that really works well and fades to some frenzied fretwork before resuming and then quietening down a little, more power chords then play the track out. As an instrumental opener Now  is a very strong and gripping track, this fades to fast strummed acoustic guitar that opens the second track, In The Beginning. This is a pretty epic song with that great recurring acoustic guitar and a great bass part to it. There is a blistering middle section with lots of frantic bass and crunchy riffing guitar parts and a tidy but brief solo, it sounds double tracked and all the better for that too,

Tomorrow is about how what we do leaves its mark in time and that we should do all we can to make that impression a good one. Again, this has a lot going on throughout and also has a fine solo. It’s a very strong track taken at a pace that doesn’t let up and, with great vocals, it’s one of my favourites thus far. The Hurricane is about the the battles of middle life and keeping control during it. There is another monstrous riff running through it all, making it quite a hard number but a powerful one that leads into Yesterday and its melancholy for the middle years and the opportunities that now seem squandered, again this is a rather epic song of regrets and missed chances.

Out Of Time is about the realisation that it’s too late and time has gone for you, a rather sobering  song really as it faces that difficult reality. Myself and I is about the enlightenment and that time is an illusion of the mind and Out Of Time pt. 2 is the reality that time is a concept and how he is not constrained or beholden to it any longer. The End Of Suffering is the last track of the album and brings us back full circle as it has a similar opening as the beginning of the album and is an excellent closer to a most unusual and somewhat different album. This track has a wall of sound effect at times, similar to Devin Townsend’s dense sound. This track has everything happening at once it is manic and urgent despite being a mid tempo piece. It really is most impressive I really like it.

There is great musicianship and intelligence to this album, okay, it might help to have read the book to fully understand the concept, something I will do for myself in the coming weeks. All in all ‘The End of Suffering’ is a most wonderful release, I highly commend it to all, especially those who like their prog harder and less symphonic.

More info at:

Orion Music – Home (orion-music.co.uk)

Released 5th June, 2023.

Order from bandcamp here:

The End of Suffering | Orion (bandcamp.com)