Category: Album Reviews

Review – Yes – Mirror To The Sky – by John Wenlock-Smith

It’s May 2023 and the world of Yes has been busy with stuff, namely cancelling the previously, hotly anticipated ‘Relayer’ tour because of insurance issues and also the soon to be released second blast of creativity that began with 2021’s ‘The Quest’ album and short UK tour in the wake of the passing of Alan White! That album, ‘The Quest’, was an interesting one as it firmly established Steve Howe’s ongoing leadership and steerage of the band, of which he is now the sole link to the ground-breaking group he joined in 1970. Steve was also very instrumental in their achieving significant success with their golden age of Atlantic albums in the early to mid 1970’s with the classic releases ‘The Yes Album’, ‘Close To The Edge’ and ‘Fragile’. 

‘Mirror To The Sky’ definitely has more than a touch of those halcyon days with it consisting of six longer tracks and three extra tracks on a second disc. All very promising you may say but is it any good or does it paddle previously visited waters and add very little of merit? Both good questions, I personally think that any new Yes music warrants a listen as, despite many folks dismissal of Yes now as a poorer version of the real thing, I actually see much merit in having the band still active. After all, with both King Crimson and Genesis calling it a day now and Deep Purple and Aerosmith possibly approaching their last days of existence, to still have these stalwarts prepared to go out and tread the boards is both heart warming and very worthy of seeing. The last time I saw Yes in Manchester, they played a strong set with Steve being on especially fine form, yes, notes may have been missed but the intent was still there and the fire still burned for sure. 

This album opens strongly with the vibrant Cut From The Stars, which is about dark skies, light pollution and the beauty of being able to see the stars clearly without the disturbance of excessive urban lights. Many folks won’t have experienced the clarity that is offered when urban lighting hasn’t reduced the amount of stars visible to the naked eye. This song is a good one with strong vocals and Billy Sherwood’s bass lines being very reminiscent of Chris Squire and really grace the track. All Connected continues the trend with some graceful pedal steel guitar lines opening the track. This has definite nods to earlier Yes days, Jon Davidson having definitely grown into his role as lead singer and here he really convinces as his vocals certainly evidence the spirit of Jon Anderson while also retaining his own stamp on proceedings, a difficult task but one he manages with style. Steve Howe’s strong guitar work is very prevalent on this track, playing some great lines and licks throughout. Steve has always been a tasteful player who plays to support the song rather than to overpower it. His restraint is important and that knowledge allows the music to swell and pulsate in a pleasing and satisfying manner. 

Luminosity is another longer song and these longer format tracks really suit the group as they allow the band room to improvise and explore musically, which suits and reaffirms their validity and raison d’etre. It also harkens back to their 1970’s heyday where longer tracks were their normal way of working. I feel this method and manner of working suits them best. It also makes for good listening, well it does for me at least and I think they have really made an important musical statement with this album saying in effect, yes we are still here, making the music we want in a way that you can hopefully want to connect with, appreciate and enjoy. Come and join us, judge for yourself we are not a tribute act and we do still have validity and worth. This album shows that commitment to me, Yes may have had their problems and issues over recent times but here we see a band still hungry for approval and not content to fall back on former glories. They are still keen to make good progressive music for the 21st Century and get out to folk and deliver that same quality of experience as they have previously done.  

This album may not have the same strength and impact as ‘Close To The Edge’ but it certainly tries and plays to their strengths remarkably well, well that’s what this says to me anyway! I also must mention the albums longest track, the epic Mirror To The Sky which, at nearly fourteen minutes in length, is the albums centrepiece. The song opens with some solid guitar lines from Steve and a gentle acoustic guitar before being joined by Billy’s fine bass and strong drumming from Jay Schellen and more solid fluid guitar parts from Steve, all before a word is sung. This three minute instrumental opening section leads into emotive vocals from Jon Davidson, ‘dream of a sky without fire’ being the refrain. This is a moody soundscape that builds slowly and solidly and the song progresses well with its various sections combining to create an epic whole. It is a well crafted track that shows the sum is greater than the whole and that, only together, does the group really make sense. There is a great guitar riff that runs throughout that really elevates the track as it is very impressive and effective sounding. More clipped arpeggios lead to a mellow keyboard section in which atmospherics and harmonic touches add to the overall sound palette. This is all most impressive sounding with great bass playing holding it all together and a superb descending guitar riff with orchestrations from Geoff Downes before Steve Howe takes flight delivering a fiery solo which, along with Geoff’s elegant orchestrations, brings this satisfying track to a mighty fine conclusion. 

The final track of the main album, Circles Of Time, is a gentle, mostly acoustic driven, track with more fine Jon Davison vocals and a gentle tambourine helping to deliver some rhythmic impetus. A suitably subdued Steve Howe solo also graces the track and this one really works for me as it is a gentle close to a really good solid set of tracks.

The bonus disc has three tracks, a longer piece called Unknown Place that is bass heavy and is a rather good, medium-paced, number yet is one that allows good guitar and bass interaction. It is quite punchy number and repeated plays reveal it to be a very strong track. Billy Sherwood really shines and you can see why Chris Squire wanted him to take his place in Yes. Also impressive on this track are Geoff Downes‘ commanding organ parts that sound great, very Wakeman-esque really and, overall, this track is really rather a good one. The other two songs, One Second Is Enough and Magic Potion are good but don’t really generate the same excitement for me, both are pleasant and well delivered but not essential for me, although I really do like that bass!

So there you have it, nine tracks over two discs and the vast majority is really great music. In today’s era, compared to some of the bland music being made, this will do very nicely thank you! It will be interesting to see how this translates to a live environment next year on the UK tour. 

Released 19th May, 2023

Order the album here:

Yes – Cut from the Stars (lnk.to)

Review – Djabe & Steve Hackett – Live in Györ – by John Wenlock-Smith

I guess most musicians have the need for another outlet for their talents, whether that comes via guest appearances, collaborations or side projects. Think of projects like GTR or Squackett ,which both feature Steve Hackett in a role very different to his own solo career. Steve has always looked for such opportunities and, when he guested on an early album by the Hungarian jazz/rock band Djabe, ‘Sheafs Are Dancing’, in 2003, Steve enjoyed the experience so much that he was happy to appear with Djabe in 2004 in London. Their friendship continues to this day with both acts working together to create a whole raft of excellent releases, a lot of which are live sets captured in Djabe’s native Hungary and Sardinia, among others. This meeting of kindred spirits extends to Djabe band members appearing on Steve’s own albums regularly, with their own world jazz stylings helping Steve explore different sounds and textures.

Djabe are all very accomplished musicians in their own right and their work with Steve Hackett is certainly a symbiotic relationship with both parties benefiting. This new 2CD & Blu-Ray set ‘Live In Gyor’ certainly proves the point, containing, as it does, several tracks from the ‘Back To Sardinia’ and ‘The Magic Stag’ albums, alongside selected Genesis songs and Steve Hackett solo tracks. What is very apparent from the start is just how this outside role elevates Steve’s own playing, with some very tasty, expressive and fiery guitar on show, the band are on excellent form and all seem to be relishing the experience.

The album that accompanies the Blu-Ray is a very fine one too with three extra live tracks that round the set out. For me, the one noticeable difference is that, on this show, Steve is playing a Fernandes guitar with a floating bridge/tremolo so he can really hit the whammy bar vigorously, which he does to great effect throughout. Normally Steve uses his Gold Top, so this change is an interesting one, the sound is immaculate and enjoyable to hear and watch, the visuals being equally as strong. If you have ever wondered if Steve can repeat the epic solo on Firth of Fifth on a strategy style guitar the answer is here, you can watch him do it with style, alongside seeing his famous tapping style, a skill that Eddie Van Halen utilised and elevated to an art form.

Also worth of note is the extremely dextrous bass playing of Djabe’s Tamás Barabás, whose playing is the anchor on which everyone can pivot, along with Gabor Olah on drums. Together they hold everyone together and give them a perfect solid platform from which to soar and fly. Seldom have I witnessed such sheer joy like this excellent and skilled performance. It’s such a strong set with  chance for everyone to shine, the music is world jazz music with Hungarian touches and instrumentation. This excellent set offers lots of extra features and extra music and I can’t recommend it enough as it really is an excellent set of performances with songs played by musicians who are at the top of their game and not afraid to let the music do the talking. This music certainly talks loudly and demands your attention.

As with a lot of these Djabe/Hackett sets there is a degree of overlap but, even so, there is enough new stuff to make this an essential and worthy purchase. As always the packaging and attention to detail is very impressive as, of course, is the sound which is exemplary with great separation and clarity. The whole show is beautifully captured and must have been truly magnificent and unique.

No doubt there will be more to come from this union and I personally  am very hopeful for further magic from these hugely talented parties. So, my advice is to get a hold of this great set as soon as possible and appreciate seeing some masters at work. Play and enjoy it in the confines our your own home and let the music tell its own joyful story for you. This really is a most worthwhile album especially if you like world music, jazz/fusion, Steve Hackett or even all three!

Released 28th April, 2023.

Order from Cherry Red here:

Djabe & Steve Hackett: Live In Gyor, 2CD & Blu-Ray Edition – Cherry Red Records

Review – We Came From Space – Overlords – by John Wenlock-Smith

Prog isn’t supposed to be fun is it? Well, if you think that way, you will miss out on this third album from Pittsburgh’s We Came From Space. This quartet are, in effect, also an offshoot or side project of the Neal Morse Band’s keyboard player Bill Hubauer, along with guitarist Dave Buzard, bassist Dave Hawk and drummer Tim Malone who, together, have delivered a really fun and fine release that offers prog stylings, along with a healthy shot of almost fusionesque tones and licks. 

There is so much to enjoy here, strong material and good music, alongside intelligent lyrics with a touch of goofiness that completes the sound. There is symphonic prog in there as well and I also detect touches of bands like Kansas and ELO, among others. Overall the band offer a great sounding set of songs and, like most releases these days, this is primarily available as a download, although physical CD’s can be found online if you look. I also recommend several listens for the music to really sink in. 

The music is generally stirring stuff, especially in the longer tracks like title track Overlords, She’s The Bomb/ Atomic Blues and Seize The Day, all of which benefit from longer running times that give the tracks time to evolve.  

Lets delve a little deeper into what makes this such a great album, beginning with Overlords. This slice of whimsy proposes aliens have previously visited and dominated humanity and that we play music for their amusement and satisfaction. It’s all complete hokum of course, but allows the band to channel their inner ELO, alongside some choppy guitar riffing in which Dave Buzard proves to be a pretty adept player. His descending riffs in the mid section are impressive, atmospherically mixing with the keyboards to deliver something very satisfying, a really strong opening track. On the Radio uses what sounds like early radio broadcasts to set the scene. This track appears to be about how we are manipulated and lied to by the media who want to push their own agendas and products onto us. It is quite a harsh lyrically, although probably well founded and has fantastic Hammond organ throughout. 

Empty Space has a great swing to it and is almost funky at times. The song has a good swagger to its almost LA jazz swing and is a really impressive sounding track, there is also a great guitar solo in the middle section. Again this track certainly impresses highly. This run of quality is continued with the superb She’s The Bomb /Atomic Blues which seems to be about a famous starlet who’s glory days are gone and now she leaves chaos in her wake. There’s an interesting middle section with a plethora of synths playing. Overall it is far more laid back with a funky guitar and synth instrumental part that has lots of atmosphere and some serious chops being played, extremely competent and effectively. It’s all really rather blistering in places and an excellent and engaging track. 

Reputation follows, opening with a very muscular riff. This track has a very radio friendly chorus to it and great vocals. The song details a celebrities fall from grace and his attempts to carry on afterwards. Silent Letters is next and this is a gentler number, possibly about a love never declared. This elegant track is graced with a wistful guitar solo and more strong supporting keyboards with a solid rhythm section, another standout track. 

Facade is another impressive track with a chugging guitar line that reminds me of something that I can’t quite put my finger on. It is a song about projecting an image that may not be true or real, a shorter and yet no less interesting track. Seize The Day sounds like prime Kansas with its strong piano motif really striking home and the vocals capture the sound too. The song is about making the most of what you have around you, time, talents and people. It is a call to make the most of these resources as life can be short. This track is my favourite on the album as it really works for me. I love the lyrics and the performances are certainly impassioned and really work very well. It closes the album on a positive note 

Overall this is a highly accomplished album and is one to return to frequently, I know I shall!

Released 3rd February, 2023.

Order digitally from bandcamp here:

Overlords | We Came From Space (bandcamp.com)

Order physical product here:

We Came From Space – Overlords – Radiant Records (nealmorse.com)

Review – Kinetic Element – Chasing the Lesser Light – by John Wenlock-Smith

‘Chasing The Lesser Light’ was released a few weeks back, at the end of March, in advance of the inaugural UK live performance from Kinetic Element at the highly acclaimed Winter’s End Festival held in Chepstow. Which, by all accounts, was both well attended and also highly rewarding for the band, significantly increasing their level of popularity along with being financially satisfying.

It is not hard too see why the band were so warmly received, especially on the strength of this almost concept album (or at least thematically linked collection of songs) that is based on the theme of space exploration. The record has merely five tracks in lengths of between six and almost twenty minutes duration. The music is definitely Symphonic Prog which has nods to the likes of ELP, Yes, Asia and many others. The band say that their lyrics have a spiritual touch, however, don’t be alarmed by this it is only mild and is really more about being positive as opposed to the possibly more heavy handed preaching of say Neal Morse or similar.

The album begins with its shortest track, First Stage, which is about contemplating space travel and flight without wings, as it were. The song has a slightly eastern sounding riff in it’s initial section which then becomes more straightforward after a synth section. Once John Coleman’s vocals begin, the bass on this song is very good and fair gallops along leaving space for Mike Visaagio’s piano parts and semi-jazz guitar licks form Peter Matuchniak. I find this very interesting as it deals with the anticipation and expectations of space travel.

Title track Chasing The Lesser Light concerns itself with the moon expeditions already completed and the impact they had globally. Ok, it was over 50 years ago now but it was truly a huge step for mankind and, unlike certain theories tell us, we really did go there and also return safely. When you think that the tablet that this very review was written on has more processing power and capabilities then were available to NASA at the time, it makes the fact that it even happened all the more impressive! The song is another impressive and lengthy one at almost 20 minutes long. Again there is excellent bass from Mark Tupko and lots of atmospheric organ and synths, you definitely hear E.L.P in this track with the descending bass runs and the effusive Hammond organ stabs. Not unexpectedly, there is a lot going on in this track, strong vocals, classic organ sounds strong piano and all manner of synths and rhythm section support, especially from Michael Murray’s superb drums. The latter portion of the song talks of seeing the earth from the moon and the powerful effect that has on the astronauts when first witnessed along with the powerful impression actually walking on the moon had globally when those early television broadcasts were transmitted, capturing the moment for posterity. Those images still evoke awe and wonder today, a fact this song manages to convey very well. For me though even better is Radio Silence which deals with the families left behind and their mix of emotions from being proud but also being fearful for their safety, this gentle song is very heartfelt and very well executed .

The next track We Can’t Forget sees us looking beyond the moon to further destinations like Mars to see if life exists or could survive in such a climate. Already folks like Elon Musk are looking at these prospects seriously and planning ways to get there. This song looks at these possibilities and asks are they realistic or just a pipe dream,? Only time will tell I guess but we are right to be asking such questions and musings. Door To Forever closes the album by musing on reopening the door to space travel, and to become the Starman in the sky. A wistful opening on this lengthy track where keys and guitar combine to give an almost Bowie-like feel to the music. John’s emotive vocals grab your attention and lead you on the journey where Peter’s guitar has touches of Steve Howe at his pomp. It’s an enjoyable, fine way to close what has been a brilliant listen.

Overall, this is an exceptional release with lots of great music and musicianship a plenty, a pumping, driving rhythm section alongside solid guitar and excellent keyboard sounds and solos. This will be especially satisfying to fans of acts like ELP or Yes and, indeed, to anyone who likes vintage prog bands as Kinetic Element have that classic sound and bring their own modern take on prog. The results are very fine indeed and most definitely worth a listen, give it a go and help this long standing US band get wider acclaim, they’ll appreciate it I’m sure!

Released 20th March, 2023

Order from bandcamp here:

Chasing The Lesser Light | Kinetic Element (bandcamp.com)

Review – The Drinking Club – …really?!? – by John Wenlock-Smith

This album came up for review and upon listening I could immediately hear elements of early Marillion, I.Q, Pallas and Pendragon to name but four early eighties prog legends that this release harks back to on first and also subsequent listens. This independent release from The Drinking Club was the result of an advert posted over the internet to a Facebook group that celebrated those early 80’s Neo-prog acts mentioned above. In seeking like minded individuals/musicians to join with a project to turn Peter Hewitt’s shelved folder of discarded forgotten ideas into a more concrete and tangible firm reality. This album, ‘…really?!?’, is the result of those labours and efforts. What a labour of love it must have been to see these concepts and ideas taking shape, gaining traction and becoming fully formed.

When you add into that equation that the three members (Peter along with Kevin Borras and Tony Flint)worked on all this remotely, using file sharing and WeTransfer apps to compile the songs with various ideas, it is even more impressive. The results are definitely worthy of investigation by any prog fan as this album has much to savour, appreciate enjoy with some very interesting subject matter along with the guarantee of being wizard, witch and warlock free.

That said though, the element of political comment is clearly present as this album sees the anger and frustration of these 50 year old men venting their collective spleens on the issues of the day, ranging from immigration, the existence of God, tabloid hysteria and a painful divorce, to name but four issues. This is social conscience prog and how different it is to hear music that calls for a response and has strong and informed lyrics. Well this album has that in spades and is so well worth hearing for yourself, along with strong musical passages , solid guitar and keyboards to back everything up. This strong album has shot to the upper reaches of my best of 2023 albums already in a year of some stellar performances and will invariably create big waves come December.

The music is pretty epic at times with a few surprising influences and sounds and possibly some less obvious ones in parts! For example, I can hear traces of 80’s jazzers Working Week, especially when the trumpet kicks in during Light Years. It may not be obvious but I picked up on it for sure. It is a neat touch and one that adds to the gravitas of the subject matter of divorce and a failed relationship, the tangible hurt is sensitively handled without blame but with regret and is a bold exposition of pain and the determination to carry on and continue.

Especially noteworthy is the mock radio broadcast that forms both the introduction and outro of But For The Waves, which poses the question, what has the UK’s immigration process ever done for us? The answers this song offers are intelligent, heartfelt and artfully crafted and well worded and confidently addressed.

The album has a running time of fifty-one minutes and doesn’t drag at all. Each song has merit and the vocals are clear, in addition the guests all add something fresh and different First track Eternity (In An Empire Of Snow)/What We’re Made Of opens with a symphonic overture of synths and a good guitar line that leads into a more urgent section, this in turns leading to a solo guitar and a crash of drums, choral vocals and a subdued chord and a lone piano motif, all this lasts for over five minutes and is an impressive opening statement. I think the song is about the existence of God although I could be wrong on that! Next track is Ticking Clock which appears be about climate change and there are great lyrics in this one. Even better is But For The Waves which addresses the immigration crisis and questions the motives of those in charge and the media’s disinterest in the issue. This song is hard hitting and uncomfortable at times but its questions, while difficult, address our identity as a nation as does how our declining compassion weakens us. The outro is a brilliant and emotive heartfelt rebuttal to the question.

A Song Of Life is about a child growing up and the trials that can bring. Another interesting song in an album full of great tracks. Zero Sum Game is next with great synths and a surging guitar line. The song is about exploitation of artists with the special, often worthless, special edition of an album. This has a voiceover from a faded fictional prog musician who puts things into perspective. Light Years is the albums epic and my favourite with sombre music and lyrics but all wonderfully handled with, I must point out the great trumpet on this track too! The final track is A Song Of Deat. This song is about the cycle of life from birth to death and has a funky bassline that runs through the track and great lyrics as well. The album cover of a lone shoe in the sea is striking and is references in But For The Waves.

I thoroughly enjoyed this album, finding a wealth of great music with lots of nods to early 80’s Neo-prog and the future looks good for this trio, let’s hope there is more to come from The Drinking Club again very soon!

Released 3rd March, 2023

Order from bandcamp here:

…really?!? | The Drinking Club (bandcamp.com)

Review – A.C.T – Falling – by Kevin Thompson

I saw the Swedish band A.C.T. a couple of times when they played for the old Classic Rock Society in Rotherham. Both were great performances and I have a lasting memory of them reminding me musically of one of my favourite bands, Canada’s very own Saga. I also remember lead singer Herman Saming being a very enigmatic and energetic front man, who liked his hats on stage. Unfortunately, I haven’t seen them live since.

‘Trifles and Pandemonium‘ was the last album of theirs I bought, but the prohibitive costs of importing copies from abroad have prevented me from purchasing the current EPs, which is a shame because I really like this band. They never cease to put a smile on my face, from their infectious blend of complex progressive rock mixed with the accessibility of mainstream AOR, so I was pleasantly surprised when they agreed to let me review their latest release, ‘Falling‘, which is the third EP of a planned quartet. I have, much to my chagrin, only heard parts of the previous two. Whilst they apparently have an overarching narrative embedded in the three EPs and upcoming fourth, this third part can stand on its own. With six original tracks, the premise being – just like the dinosaurs – the human race faces extinction in the very near future as something terrible hurtles toward Earth at maximum velocity.

This exposes the traits of human nature and our actions, facing adversity and how we respond. Despite the gloomy plot line, the band’s effervescent personalities and upbeat tempos move this EP along quite nicely. They have a distinctive style and sound, but also like to experiment a little as well. One should never sit on one’s laurels.

Fall In is a short instrumental with the sounds of disturbed animals and the foreboding sound of something approaching swiftly, which explodes into the second song, introducing our first character as they are desperately Digging A Hole and building a survival shelter in the backyard. Are they a conspiracy theorist believing the end of the world is coming, or do they know something as they ignore their partner, who would prefer, if this were the end, to spend what time they have left together enjoying one another’s company. It reminds me of one of my favourite films, Take Shelter, in which Michael Shannon is plagued by apocalyptic visions and tries to stay sane, as his obsessive behaviour causes his marriage to Jessica Chastain’s character, livelihood and health to fall apart. Are the apparitions of the world ending real or is he suffering from a possible hereditary illness?

We then meet Emelie, The Girl Without A Past, who can recall nothing of her life but is bestowed with a special gift that allows her to see into the future and our impending doom. No amount of medical help brings back any memories and no one seems to know of her past. So, can her visions of what’s to come be trusted? Look to the skies for your answer (but try and avoid walking into a lamppost). When relationships have run their course, it is sometimes hard to admit it is no longer working and any feelings you had have faded into the distance. You don’t want to be there, claustrophobic, you can hardly Breathe, yet you carry on living the lie, pretending everything is OK for you. You have tried to say how you feel and leave before, but then something happens that makes you realise you have little time left. You reassess and decide to spend what precious minutes remain together, as your partner professes, they cannot breathe without you.

Is there nothing that can be done to prevent the oncoming threat? The longer we leave it to do something, the less chance we have of survival, it’s A Race Against Time if we are to save ourselves. The bells toll the end, run and hide with your loved ones, say your goodbyes. The immensity of what approaches leaves mankind in awe. Terrifying yet exciting in varying measures, you will witness the greatest spectacle ever seen and be a part of it. Is there any point in running to find a place of solace? The naivety of some fixated on the spectacle, the realisation for you that once done there will be nothing left, no one to remember or tell the tale of what is about to happen. Should you disillusion them? No, hold them, treasure them while you can and say One Last Goodbye to the one you love.

Siren’s wail, people scream at the shuddering impact, the object destroys everything in its path and all fades to silence as the Fall Out begins. Somewhere, the last notes of a piano are heard before being swallowed into the darkness. Incorporating sound clips and effects to enhance the feelings of a torn humanity, the building tension of those involved is portrayed by the music and lyrics, conveying their emotions. From tender keyboard passages and bursts of guitar coupled with the driving force of drum and bass, we hear the stories of those affected, good or bad it doesn’t matter now, as they face judgement day.

Masters of their craft, A.C.T. once again delight with tight playing, crisp vocals and the energy they imbue with their intricate arrangements. I am still amazed they are not more widely known.

In the meantime, I’m off to see how benevolent my bank manager is feeling.

Released 1st March, 2023

Check out the band’s website here:

A C T W O R L D

A version of this review was originally posted on The Progressive Aspect.

Review – Single Helix – Prog Gnosis

In 2021 multi-instrumentalist Rik Loveridge‘s Parkinson’s diagnosis led to him leaving The Kentish Spires. The only proper responses were a little cry and a new album. The album is drenched in the spirit of progressive rock but also explores other genres whilst remaining musically inventive (says Rik)!

He envisaged some stunning guitar and sax elements so enlisted the help of friends Nick Fletcher (John Hackett Band) and Chris Egan (The Kentish Spires and Nuadha). He also saw the need to work with talented audio engineers… cue Paul Cobbold (ex Rockfield) and David Pickering Pick (FFG studio) on mixing and mastering duties. Oh, and granddaughter Willow aged 1!

Something good shall arise from this dark time!

And something good has indeed been delivered with this immersive musical masterpiece. The opening three-part Trilogy suite is languid, relaxed, low key and beautiful and has hints of latter day David Gilmour solo work. Egan’s sax is quite beguiling throughout and Nick Fletcher shows his consummate skill and class with a quite lyrical display of guitar. It’s a testimony to Rik’s songwriting ability that it all blends seamlessly and his vocals add that requisite touch of calm sensibility. Instrumental Dark Matter is a wistful, dreamy piece that adds thoughtful reflection to the album. The wonderful organ that opens Nature’s Eyes imbues a sense of tranquility and harmony to this elegant ballad, a charming touch of nostalgia and this is carried through with spiralling keyboards to the understated grace of Silent Spring.

Death of Major Tom is a more serious feeling track with a melancholy underbelly and one that reinforces a feel of The Tangent to my ears, a theme that runs through the album due to its intelligent writing and sumptuous delivery. You can’t help but smile at the electronica tinged brilliance of West Coast Journeyman that goes perfectly with Nick Fletcher’s virtuoso guitar to deliver a superb instrumental, a highlight of what is proving to be a fantastic album. The inspiration just keeps flowing, With a Glance adds a funky, jazz infused feel to Rik’s Roger Waters edged vocals, Song For Jude with its Tears For Fears intro is an ode to Rik’s beloved wife and is uplifting and engaging and Tully Remembered is as jazzy as they come, Egan’s sax just oozing class and sophistication.

Queen’s Gambit brings us to the closing part of the album and is an outstanding piece of songwriting. An involving and compelling musical journey that entrances and mesmerises the listener throughout and probably my favourite song on the album. Perhaps the two-part Entropy could be called music for the intellectual, it certainly has a feel of 60’s prog from the days of black and white, it’s certainly quirky and idosyncratic but that just gives these two pieces a charm all of their own and one that definitely drew me in. The album closes out with the hypnotising ambient electronica of Teed’s Lullaby, three minutes of trance-inducing calmative music that resets your perceptions.

Sometimes great music just seems to seek me out and I was obviously sent this promo for a reason as the stars have aligned and delivered a wonderful collection of tracks that leave a warm feeling of nostalgia and hope washing over me. With his Single Helix project and this Prog Gnosis album, Rik Loveridge is baring his soul, both musically and personally and, not only is it a superb release, it is very brave of him to do so. I can highly recommend this completely uplifting album, you won’t regret it.

Released 12th February, 2023.

Order the album from bandcamp here:

Prog Gnosis | Rik Loveridge | Single Helix (bandcamp.com)

Review – Ascher – Beginnings

I love discovering new music, especially when it comes out of the blue. I had a review request in with regard to new US progressive rock group Ascher and I respected the opinion of the PR guy who had sent me the album so, as a favour, I listened to their debut release ‘Beginnings’ and the rest, as they say, is history…

The band features Doug Bowers (guitars, bass, keys, vocals), Blake Dickeson (rhythm guitars), Rob Perez (lead guitar) and Kyle Graves (lead vocals). Doug and Rob have been collaborating on one another’s projects for years. Toward the end of 2022, Bowers began collaborating with guitarist, Blake, fleshing out some musical ideas that he had developed over the years, Rob was brought in to add tasty lead guitar to the effort. Rob suggested a singer that he had recently encountered, Kyle was writing lyrics for an upcoming album for Rob and Rob felt he would be a perfect fit for Ascher. Rob was right and the band was complete.

The album contains five instrumental pieces and four songs, clocks in at fifty-seven minutes and will keep fans of melodic progressive rock with hook laden grooves extremely happy. Opening instrumental, catchily titled Beginnings, has a proper Rush feel from the restrained opening to the elegantly powerful guitar lines and thunderous rhythm section. Rob’s guitar guides a perfect path through this funky piece and you are immediately drawn in to Ascher’s intriguing musical world. There’s an almost 80’s pop-prog (think ‘90125’ era Yes or Peter Gabriel material of that time) quality to the opening of In The Clear Distance, an urgent, staccato guitar riff and dynamic vocals keep this energetic track at a high-tempo pace, of particular note are the harmonised chorus, the groovy keys and, once again, the fleeting guitar licks that always bring a smile to my face, this album has definitely grabbed my attention now! Next comes one of the best songs on the album, the brilliant The Great Divide. From it’s slow burning opening with its emotive vocals and stirring piano, this track grabs your attention and doesn’t let go, musically it has a feel of Marillion at their best and I’m a big fan of that band! A powerful ballad with a passionate chorus that just bleeds emotion, it’s a track I have returned to many times and will continue to do so. Hard rock, bluesy grooves abound on the lively, funk laden Ransom For The Righteous with its super stylish vintage keys and sunny, west-coast, outlook. One of the best rock instrumentals you will here in a long time, blending 80’s hard rock with the laid back sound of the 70’s just about perfectly, another stand out track on what is turning out to be the most surprising releases of the year so far. De Profundis (‘out of the depths’ to you and me) takes a dark and solemn turn with its mysterious opening and enigmatic vocals. You find yourself almost holding your breath in expectation as this cryptic track takes you on a journey into the unknown. All seems to be revealed as a flowering guitar opens up the dark into the light and drags you along with it and you truly do come ‘out of the depths’. It’s very clever songwriting as the twilight refuses to be subdued and tries to return, this ying and yang of darkness and light is really clever and makes for an very engrossing piece of music.

I love the instrumental, Nail Soup. A chance for these musicians to let their hair down and just enjoy themselves, it flows perfectly and is just a highly enjoyable five and a half minutes where you just forget your troubles, sit down with a beer, tap your toes and smile. The polished songwriting continues with the captivating brilliance of What The World Can’t Give, another hard rock infused prog masterpiece that really powers along, fuelled by the chugging riff pairing of guitar and keyboards. This track will surely be a monster live, its high energy intensity is addictive and compelling and the guitar playing is just stellar! Wheels Turning Now is wistful, nostalgic and melancholic in equal measure and dances along with a lightness of touch that you just marvel at. You have to say that Ascher are bloody good at writing excellent instrumentals and this is another one that has me humming along and nodding my head in time to the music. The album I have closes with the bonus track The Instrumental Divide (everyone needs the version with this wonderful piece of music on) and closes on an extreme high. Rob is channelling is inner guitar hero (be it Satriani, Schon or Vai or any of the other guitar legends out there) and he is on fire, literally! This glorious instrumental bleeds emotion, passion and many other things to leave you open mouthed in admiration and just begging for more, what a way to sign off this incredible release!

When it comes to music, an unexpected surprise is a rare thing nowadays so when one arrives in your inbox it really must be cherished. With ‘Begginings’, Ascher have really set the bar high for debut releases and set themselves on the path to what should be a successful career, it has certainly got my attention and I have to say that, for me, it is a definite highlight of 2023 so far and I’m sure will still be up there when the year ends.

Released 16th March, 2023.

Order the album from bandcamp here:

Beginnings | Ascher (bandcamp.com)

Review – Cold Flame – A Circus In Paradise

Cold Flame are a respected original blues rock/ folk rock band who are also widely regarded as the premier Jethro Tull tribute band in the UK. They were formed in 1984 by singer songwriter Pat Rowbottom who remains the band’s driving force together with a stable and experienced line up that has been together for well over a decade.

In 2023 Cold Flame celebrate their thirty ninth anniversary as an active band with the release of their sixteenth album entitled ‘A Circus in Paradise’, released worldwide by West Yorkshire based independent record company Starring Records. This new studio album sees the band moving away temporarily from the blues to present the listening public instead with a progressive rock concept album of original music. 

I’m always open to new music so when I got an email from Pat inviting me to check out this new studio release from the band I delved straight in to see what it had in store for me…

Let me say that it is immediate from the first few songs on ‘A Circus In Paradise’ that this band is a very impressive and tight unit and you can tell they have been together for all of their thirty-nine years, honing and improving their musical skills. This is a fine collection of progressive rock with more than little infusion of whiskey soaked blues and hard rock and it is a combination that goes together very, very well!

Passport To Oblivion gets things off to a very auspicious, mysterious start with a superb flute and keyboards accompanied by some fine guitar playing. It reminds me of some of Steve Hackett’s recent solo work and has more than a hint of eastern promise. The premise of this track was to convey a sense of change, however, as the theme and the album concept developed over time, it came to highlight the significance and the dangers of global warming and climate change on mankind. A Brexit related song championing one of the oldest professions in the country, The Deep Blue carries on the mystique before a very Tull-like flute and guitar combo breaks cover and we are led into the world of 70’s progressive rock. There’s a wistful instrumental section of flute, acoustic guitar and piano that holds your attention and you find yourself drawn deeper and deeper into the music. The distinctive vocals then take the lead and we are off on a very fine musical ride that never outlasts its welcome, despite being over fourteen minutes long. For lovers of classic rock and classic prog, this is a very promising opening to the album and I’m totally invested, especially with the elegant guitar that adds even more class. Title track A Circus In Paradise paints a dark picture. Mankind appears intent on destroying itself. The blur between truth and non-truth is almost nonexistent. Greed and self interest hold sway. The level of corruption in all corridors of life is quite staggering. The song opens with classic circus pomp before an edgy riff and urgent vocals take over to give a raw, punk rock vibe to the song. It’s rawness takes a back seat with the funky, ska-like brass-led section, a superb interlude in what is an angry and passionate piece of music. Recent years have seen many examples of the power and devastation caused by severe weather fronts. Eye Of The Storm takes this clear and undeniable connection between such weather fronts and global warming and delivers a soulful, elegant song that opens with some wonderfully stirring sax playing before a calmly dignified flute takes up the story. This tranquil opening is broken by the sound of waves crashing and then the storm arrives with an urgent guitar and impassioned vocals. You can hear the Tull influence running through this song and that’s no bad thing at all, it’s a superb piece of music and one of the highlights of the album, I especially love the expressive guitar that features throughout. Lost Or Found is a short, poignant piece about the the horrors of war escalating in Ukraine. As with all wars, it is always the innocents that suffer most and the images seen and stories reported on a daily basis in Ukraine by the invading Russian Army challenge and question the existence of humanity to the core. The song is pared back and simplistic but that only leads to an even more lasting impression.

Not that long ago most people doubted the possibility of global warming however, year on year, the Earth is heating up and Man is the architect of these changes. Last Flight is a fast paced number, heavy with that 70’s Tull-like sound, the dancing flute and guitar perfect backing to the on point vocals. In fact, there’s a proper 70’s progressive rock vibe running throughout this album which is only emphasised more intently by superb tracks like this. The lyrical content of Manifesto reflects that major increase in daily political input inevitably raising more questions than answers. This incendiary track has a more 80’s harder edged progressive feel, it’s more in your face and reflects the haphazard policy changes and the general mistrust that the public had for our politicians during the COVID and lockdown periods. The 11th Hour is a reflection on the determination that many of our political leaders, financiers and the privileged rich appear to have in ensuring that we ‘hurtle over the cliff’ come what may. Another lengthy track at over twelve minutes, it opens with a Floyd-like ambient section with a nostalgic and wistful feel before an addictive riff kicks in and gets things moving. You get that headlong, heedless journey into oblivion that the band are trying to get over. Once again, the musicianship is exemplary with the drums, bass and whirling keyboards driving this dramatic song along. There’s a superb jazzy piano interlude that just makes me smile before everything gets serious again showcasing the excellent songwriting, another track that really gets you thinking. The lyrics to Tomorrow Was Another Day are observations/thoughts expressed by many in trying to understand and rationalise the Covid pandemic experience endured by all during 2020 in particular and the ongoing nightmare which remains lurking still today. An oriental feeling intro segues into an elegantly strummed guitar and tinkling piano that back the earnest vocals perfectly. Once again, the concise songwriting and superb musicianship stand out on this measured finale to what has been a thoughtful and impressive album and just check out that ardent guitar solo that, along with the vibrant flute, leaves the hairs standing up on the back of your neck!

With subject matter that covers climate change, political upheaval and the Covid pandemic you’d think that ‘A Circus In Paradise’ could be a difficult listen but you’d be wrong. With a rational and contemplative outlook Cold Flame have delivered an intelligent and deliberate collection of songs that leave you wanting more, it’s a very impressive release indeed.

Released 1st February, 2023.

Order from the band here:

Cold Flame

Review – Ebb – Mad & Killing Time

Prog Rock music takes commitment and concentration to create and sometimes even to listen to.  If requested to express spontaneous keywords that describe this style of music, the spectrum encompasses intellectual, unusual, off-beat, story-telling, conceptual, left-field, left-bank, innovative, challenging, technical, proficient, and soundscapes – before a rapid argument then ensues… People begin to reminisce about rhythmic & percussive innovations, weird chord and key changes, poetic & lyrical worlds of wonder wrapped in interesting cover art and spice dusted with the artistic influences of sci-fi, fantasy, and on occasion all veering off into the realms of serious WTF, before settling down to a good, hard bitch about what is or is not true Prog! All good fun and, why not?

Ebb have redefined themselves as ‘Art Rock’…. Writing and playing in their own style; telling their own stories and wrestling with their own concepts seemed the way forward for the five women and one guy.

And about that: they are nearly all women…. Was there a problem with the ‘old guard’ fans of the genre? Well, despite dire warnings from musical friends… No. Not at all. Prog people of all walks, ages, and genders have been warm, inclusive, and receptive to the band. So there! It’s the power of music, people!

This one nearly passed me by, I received an email inviting me to listen to the promo from Scotland-based art/prog/rock band Ebb’s new release, “a concept album about the love and friendship that grew between an old dying ex-army musician and his housekeeper cum part-time sex worker…”. Yes, really, unfortunately I was snowed under at the time and I didn’t follow it up. Which could have been my loss because ‘Mad & Killing Time’ is definitely one of the more intriguing and compelling releases I’ve heard this year so far.

What you get with Ebb is brilliantly constructed songs, incredible musicianship and an odd, quirky attitude that is entirely unique. Imagine King Crimson and Hawkwind rocking up with Magenta in tow and a persistent urge to record something that sounds like bastardised 70’s Canterbury scene progressive rock with a modern harder edge and you won’t be far wrong. There is true musical theatre here but musical theatre from a parallel universe of steampunk infused science fantasy, progressive rock written by Michael Moorcock and Raymond Feist perhaps?

Saxes, trumpets, flutes, clarinets, superb guitars, fluid keyboards and an elegant Hammond organ combine with a dynamic rhythm section to deliver a vibrant, occasionally chaotic soundscape that is utterly addictive at times. All of this vibrant musical wonder is held together perfectly by the sublimely seductive vocals of Erin Bennett, I’ve not heard anything that sounds like Ebb before!

The highlights on this incredible release come fast and thick with the atmospheric, slow burning The Animal Said: ‘I’ and the faster paced, funky Tension leading the charge. Deliciously dark, mysterious and intense, Hecate stands tall and proud and the wistful elegance and melancholy of What Under What is sublime. The thunderous energy of Violet Is Tits gives this enjoyable baroque instrumental a life of its own and Krystal at the Red Light is another brooding and compelling listen with touches of King Crimson giving it a complexity all of its own. Confess adds more of the same and then we are treated to the utterly brilliant Mary Jane, an imposingly majestic piece of music where the glorious vocals hit you hard and this exceptional song closes the album out on a complete high.

When you listen to as much new music as I do, it takes something truly special to stand out and ‘Mad & Killing Time’ is just that, Ebb delivering a musical highlight of the year and one that is totally unique to this incredibly talented bunch of artists. Go seek it out, you will not de disappointed in any way at all.

Released 1st November, 2022.

Order from bandcamp here:

Mad & Killing Time | Ebb (bandcamp.com)