Category: Album Reviews

Review – Gandalf’s Fist – Widdershins

English speakers today are most likely to encounter widdershins as a synonym of counterclockwise. But in earliest known uses, found in texts from the early 1500s, widdershins was used more broadly in the sense of “in the wrong way or opposite direction.” To say that one’s hair “stood widdershins” was, in essence, to say that one was having a bad hair day. By the mid-1500s, English speakers had adopted widdershins to specifically describe movement opposite to the apparent clockwise direction (as seen from the northern hemisphere) of the sun traveling across the sky, which, at the time, could be considered evil or unlucky. The word originates from the Old High German widar, meaning “back” or “against,” and sinnen, meaning “to travel.”

So that’s covered the origin of the album’s title but how does it relate to this, Gandalf’s Fist’s eighth full length release, their first new album of original material since the 5-Disc-Epic ‘Clockwork Saga’?

“Originally formed in 2005 by Multi-Instrumentalist Dean Marsh and lyricist Luke Severn, the band are now hitting their creative peak in their current 6-piece incarnation. Gandalf’s Fist draw on their mutual love for the ‘Golden Era’ of Progressive Rock, the New Wave of British Heavy Metal and even Renaissance Folk to create unique concept albums, with their latest, ‘Widdershins’, offering up 8 individual songs exploring the nature of superstition.

Superstition and the human experience have gone hand-in-hand for thousands of years. In this respect, ‘Widdershins‘ is not just an album of the times, but an album of all times. In this digital age with, literally millions of voices whispering from our devices, what we hold to be true, and how the truths of others shape our daily lives could not be more salient. This theme of the album is bolstered by some of Gandalf’s Fist’s own truths: Some of the greatest riffs they’ve ever recorded, rollicking folk sections, soaring orchestral passages and the longest song they’ve ever written.”

So, there you have it, from the band’s own press release, a new album that has certainly whetted my appetite…

I’ve been a long time fan of Gandalf’s Fist, their unique brand of ‘Medieval Space-Rock’ just seemed to resonate with me and I still think ‘Clockwork Saga’ is one of the most ambitious, overblown and bloody brilliant ideas that any band have ever come up with. There’s a huge boat load of drama, spectacle and theatre in their music and ‘Widdershins’ is no exception. Keri Farish’s amazing vocals could grace the stage of any musical theatre and give real passion and emotion to every note and Dean Marsh’s thunderous riffing gives a monumental feel to the music. To my ears. on this album, Ben Bell and his stellar keyboard skills really come to the fore and add another layer of class and sophistication to band’s intense and vibrant music. Intricate melodies are woven into immense, epoch spanning, sagas and the Fist really know how to deliver a powerful refrain and when subtlety is the better option.

This is a well crafted collection of songs and, while there are no duff tracks, there are some real highlights too. Title track Widdershins is the first of two epic tracks and is a cleverly woven musical story that ebbs and flows delightfully from the elegant piano led opening to the vibrant close, there’s even a hint of a Bond theme in there (about two and half minutes in it goes all Live And Let Die, honest!). Dreamcatcher is all dramatic and sombre to start with before opening into a wonderful symphonic metal yarn and Wisp is an utterly compelling, rollicking, piece of folk that will have you jigging the night away.

Man of Signs is an enigmatic song from incredibly gifted and creative musicians. Subdued and mysterious at first, the vocals have an almost wistful and ethereal note to them, like a will-o’-the-wisp dancing on your synapses. The magic continues as a dancing acoustic guitar heralds some fantastic interplay between Dean’s guitar and Ben’s brilliant, ever-so-70’s, keyboards. Holding everything together, as he does on the rest of the album, is drummer extraordinaire Stefan Hepe, a rather excellent piece of music. Gandalf’s Fist may just have reached their musical zenith with the brilliant Cave, a proper epic of a track coming in at just under twenty minutes and one that fascinates with its scintillating musical narrative. Keri’s striking vocal performance is just the start as the thunderous riffs, dynamic drums and coruscating keyboards stride across the landscape in a dominant fashion. This a potent nod to the ‘Golden Era’ of progressive rock with complex time signatures and elaborate instrumental sections and it’s just scintillating. Pompous and overblown maybe but that’s what the best progressive rock was always about and the Fist do it with plenty of style and not a little aplomb!

The ‘Clockwork Saga’ will always be seen as a monumental piece of work but, as a stand-alone release, ‘Widdershins’ sees Gandalf’s Fist at their absolute vibrant and dynamic best, every musician giving 100% and, while I’ve always been a fan of this very distinctive band, this new release sees them hitting an entirely new level.

Released 21st November , 2022.

Order direct from the band here:

Gandalf’s Fist – Widdershins (gandalfsfist.com)

Review – Avandra – Prodigal

Progressive-metal stars AVANDRA return with their new album, ‘Prodigal‘. With a passion for non-standard time signatures, electronics and technical elements, the band have produced a concept album that explores the meaning of ‘home’ and the freedom to attain your own destiny. ‘Prodigal’ follows the protagonist through a difficult journey of loss and betrayal; from joining the military only to discover they were responsible for the bombing and destruction of his home, to returning and rebuilding.

A towering behemoth of thunderous guitars, violent drumming and monolithic bass playing all backed by the wonderful and melodic soaring vocals, ‘Prodigal’ is quite a powerful statement. An elegant journey into the intensity that progressive-metal can create, highlights abound throughout this impressive collection. There’s the clever, restrained feel in opener Codename: Pharoah that continues with the excellent The Downpour with its every so memorable and haunting chorus. Occasional harsh vocals along with soaring cleans produce a dynamic contrast that really lingers in the memory throughout the album. The rueful, sombre and wistful notes of New Beginnings and the dignified piano and atmospheric synths of In Träumen showcase a softer, more reflective side to the band which is highlighted fully with the exceptional Facing an Armoured Dreadnaught. In Memoriam is just a fast paced destroyer of polished progressive metal and the superbly chaotic and dissonant Dissembling the Artifice will literally blow your mind with its fevered intensity. All of this energy and dynamism comes to a frenetic close with Daybreak, a dramatic conclusion to the events that have gone before.

AVANDRA have created a thrilling and compelling take on the progressive-metal genre and one that is delivered with not a little expertise and finesse. ‘Prodigal’ is one of those intricate and influential albums that takes some understanding at first but when you peel back the final layer of this epic behemoth, it is a wonder to behold.

Released 18th November, 2022.

Buy from Layered Reality here:

Avandra – Prodigal (Pre-order) (layered-reality.com)

Review – Threshold – Dividing Lines

In a time when the world is in uproar and chaos we need something familiar, something grounded that we can keep hold of to steady ourselves and music is one of those things that can provide that stability. When one of your favourite bands releases a new album, like a familiar friend, it is something you really look forward to and cherish.

There is no other band that sounds like prog-metal stalwarts Threshold, their style of music, punchy, hard hitting and yet very melodic, sounds like nothing else and is instantly recognisable, but never mundane or monotonous. Their 12th full length album ‘Dividing Lines’, is set to be released on 18th November via Nuclear Blast Records.

‘Dividing Lines’ marks the second album since the return of former vocalist Glynn Morgan, who reunited with the band on their previous effort ‘Legends Of The Shires’ (2017). A darker album than ‘Legends Of The Shires’, the band have described it as “Legends’ darker, moodier older brother”.

There’s no band that can fuse the hard hitting punch and power of top level prog-metal with a classy melody quite like Threshold. The thunderous riffs of Karl Groom’s guitar combine perfectly with the granite-like rhythm session of Steve Anderson and Johanne James, deliciously monstrous and monolithic. Add in the compelling, almost lyrical keyboards, of Richard West and Glynn Morgan’s definitive and potent vocals and you have a the perfect combination.

A new album from Threshold is always an event worth waiting for and ‘Dividing Lines’ is no exception, the thunderous power of opener Haunted literally takes your breath away and opens the album on a very high note. Hall of Echoes takes that dynamism and adds a layer of sophistication, Karl’s guitar and Richard’s keyboards working in perfect unison on a track that is pure Threshold and Glynn’s vocals full of an emotive intensity, a brilliant song. Let It Burn and Silenced continue the run of superbly written and performed tracks, the former full of a brooding authority thanks to Glynn’s fine vocal performance and the the latter (the first single released from the album) a pure cut of perfect Threshold, short, sharp and in your face but with a melodic resonance running deep to its core. You can feel a sense of real unity throughout this album, the musicians in perfect sync and seemingly having a total blast and you can’t help but get caught up in that feeling. I found that, at first, ‘Dividing Lines’ lacked the immediacy of ‘Legends Of The Shires’ but repeated listens have shown that patience is key with this new release and there is real depth, particularly on tracks like The Domino Effect, a ten minute prog-metal masterpiece that showcases all that is best about Threshold. A song that ebbs and flows with real elegance that combines perfectly with superbly judged dynamism and has a wicked chorus to boot! The album really clicked for me after a few listens to this musical gem and, in my opinion, it is one of the band’s best tracks of recent years.

Edgy, punchy and in your face, Complex is hard hitting and high-powered. A staccato riff giving the song a compelling potency and Glynn’s vocals once again on top form. King of Nothing opens in a wistful manner but that soon changes into a stylish vitality and forceful dignity to bring us another excellent track with another memorable chorus. Then we come to a song that just defines everything Threshold have become, Lost Along The Way is a perfect slice of prog-metal magnificence and defines just what the band are all about. Flawlessly judged riffs with potency and intimacy and an impeccable melodic backbone from the super smooth synthesisers, Glynn’s wonderful vocals and a haunting chorus all combine with the excellent backing of one of the best rhythm sections around to deliver a masterclass. Run is a more hard rock oriented track but one that fits seamlessly into this ever impressive album and then we come to the album closer Defence Condition, another ten minute plus song full of spark and energy, a fast paced rollercoaster ride showcasing a band full of confidence, self-belief and a certainty in their ability.

For fans of the band it’s been a long five years since ‘Legends Of The Shires’ but when they return with an album as strong as ‘Dividing Lines’, you could say it has been worth the wait. Threshold are one of the pre-eminent proponents of prog-metal performing today and this fantastic new release has cemented their position right at the top of this particular musical tree.

Released 18th November, 2022.

Order the album here:

Threshold – Dividing Lines (bfan.link)

Review – 25 Yard Screamer – Nemesis

‘Nemesis’ is the eighth studio album from Welsh Progressive Rock band 25 Yard Screamer. Released three years after their ‘Natural Satellite’ album, and twenty years after their inception, this new release takes key elements of the band’s past and combines them with a fresh modernity to produce a new musical voice to take them into their future.

25 Yard Screamer was formed in 2002 following Matt Clarke (bass) and Donal Owen (drums) assisting Nick James with a showcase gig for a music management company. The experience through rehearsals for that show, gave an indication to all three that there was a future in their collaboration. 2003 saw their first album ‘The Pictures Within’, 2011 brought the fourth album ‘Until All Are One’, a band favourite. This marked the bands first association with WhiteKnight Records, the label owned and run by Will Mackie and Rob Reed.

With their backing the international market opened up and the band started distributing and selling in the UK and around the world. Since then the band have released three more albums through WhiteKnight, 2013’s concept album ‘Something That Serves To Warn Or Remind’, 2016’s partial retrospective ‘Keep Sending Signals’, and 2019’s ‘Natural Satellite’.

‘Nemesis’ is my first experience of the band and it has made quite a big impression on me. Intelligent, insightful and thoughtful progressive rock with, at times, a distinctly harder edge. The band quote a variety of influences combining on this album, from Steven Wilson to King Crimson and The Mars Volta but also things such as the Conceptual and Performance Art of Marina Abramovic, the attitudes and relationships of people towards life and technology and how, as a society, we are choosing to exist today.

25 Yard Screamer deliver nine tracks of brooding, sparse music imbued with a dark melodic feel. I’m a particular fan of Incident, The Vibrations Of Speech and the haunting power of Giving Away My Last Secret with it’s harsh but brilliant guitar solo but the whole album is a mature and assured journey into a band who are confident of where they stand in the world and where they are heading. Dynamic, often crushing, riffs combine with thunderous drums, soaring keyboards and charismatic vocals to deliver a sound that, while familiar, has nuances all of its own. The final track on the album, Fragility Of Angels is exquisite, thoughtful vocals combine with sublime and wistful music to give us a hypnotic and mesmerising masterpiece resplendent with one of the best solos you will hear this year.

‘Nemesis’ may be my first step into the world of 25 Yard Screamer but it will definitely not be my last. This latest album from the Welshmen is a rather sublime slice of modern progressive rock complimented by hard rock sensibilities and deserves all the success it can garner.

Released October 7th, 2022.

Order from White Knight Records here:

25 Yard Screamer – Nemesis CD (whiteknightshop2.co.uk)

Review – Grant Ferguson – Windswept Isle

It’s electric…the way Grant Ferguson goes off on some new musical foray at the mere touch of a string. He doesn’t disappoint the demanding fan with his tricky licks, and never pushes away a newcomer with his harder edge, but rather pulls all listeners together on a common musical journey unlike any other in contemporary rock.

Propulsive, melodic rock guitar in the hands of Grant Ferguson is a powerful reminder of the instrument’s glory days. Influenced by some of the great axe masters: Jeff Beck, Gary Moore, David Gilmour and others, Ferguson is pushing his all-instrumental sound toward a new rock vision.

Born in Scotland, now based in Montana and Arizona, Grant is a breakout independent recording and touring artist who has released 3 albums, multiple singles and composed award-winning music for film and dance. 

‘Windswept Isle’ is Grant Ferguson’s sixth album. Over the years he’s matured as an artist, and grown more retrospective, even sentimental. While a good chunk of his writing has been about time (April Song, November, While the Sun Goes Down, December Sky, etc..) ‘Windswept Isle’ finds Grant focused afresh on the idea of place. Born in Scotland and an immigrant to the USA, Grant’s ties to his homeland are undeniable, both emotionally and musically. Perhaps as you listen to this collection of music you too will get a sense of the deep longing Grant carries in his soul – a yearning to connect with heritage, roots and place – the hauntingly beautiful windswept isles from whence he came.

I was introduced to Grant Ferguson and his sixth, and latest, release by his record company, Guitar One Records and, as is often the case with me, I was drawn in by the intriguing album cover. I’m also a big fan of instrumental melodic guitar albums so I was definitely going to have a listen, wasn’t I? And I certainly wasn’t let down, while ‘Windswept Isle’ can’t be called ground breaking, when the music and guitar playing are as good as they are on this superb release you really can’t go wrong!

There is a definite Celtic feel to the opening, and title, song Windswept Isle and it’s the only track with any vocals, a sweeping breathy Celtic harmony that imbues the track with an ethereal, otherworldly grace. To be fair, on this piece, Grant’s guitar is very much part of the storytelling and not hard-edged and in your face and it works perfectly. The next four songs see Grant come front and centre and certainly major on his highly impressive guitar playing and technique. Force Of Nature reminds me a bit of Gary Moore in his ‘Wild Frontier’ hard rock phase, a pounding, fast paced stomp across Grant’s windswept landscape with occasional pauses for breath, it’s excellent! Big Sky Road has that expansive feel to it, bringing to mind open spaces that stretch on forever, empty apart from the local wildlife and it really hits home in your heart, a properly emotive track.

Sunday Promenade takes a bluesy attitude to the music and a feel of Neal Schon’s superb ‘Beyond The Thunder’ in every relaxed and uber-cool note. There’s more of an urgency to Beyond The Veil, a Celtic undertone that wouldn’t be amiss on a Runrig release adding a huge amount of polish to Grant’s intricate guitar playing. An ultimately uplifting, powerful track that really resonated with me. Grant’s yearning for the land of his birth ultimately manifests itself in the endearing charms of album closer My Heart Is Not Here, the heartfelt fiddle playing that opens the track bleeds emotion and sincerity. It’s a wistful, nostalgic piece of music that sees this impressive musician laying his heart on his sleeve and ends the album on a heartfelt, passionate note.

‘Windswept Isle’ is an exquisite ode to the land of Grant Ferguson’s birth and a highly appealing collection of tracks full of charm and charisma and is an album that I feel I will be revisiting quite often.

Released August 25th, 2022.

Order the album here:

Grant Ferguson | Home | Guitar One Records

Review – Saro Cosentino – The Road To Now

Music has an uncanny ability to change your perception, let me explain what I mean by that. It’s a well known fact that I struggle with VDGG frontman Peter Hammill’s vocals, his voice has always seemed to grate on me, whether with the venerable progressive rock legends or singing with Isulders Bane, etc. I just haven’t been able to appreciate a voice that is, to some, one of the best out there. So, when I got sent a promo for the long awaited third solo album from Italian composer and producer Saro Cosentino, ‘The Road To Now’, with a tag line that said, “Featuring Peter Hammill.”, It didn’t immediately draw me in.

I will, however, always listen to any new music that is sent to me as how can you judge anything if you have not experienced it? To my surprise, I was completely seduced by the album and Peter Hammill’s contributions so let me tell you more about the album and why I found it to be one of the surprises of this musical year.

First, some background…

The third solo album by Italian composer and producer Saro Cosentino, ‘The Road To Now’ features singers Peter Hammill (on four songs), Tim Bowness (of No-Man) and Karen Eden, plus instrumental contributions from the likes of Gavin Harrison, David Rhodes, John Giblin and Trey Gunn. Available on heavyweight colour vinyl, CD and digital formats, it is the long-awaited follow-up to 1997’s acclaimed ‘Ones And Zeros’.

‘The Road To Now’ was recorded in the UK and US as well as at Cosentino’s own studio in Prague, with final mixing taking place at Real World in Bath. The opening ‘You’re The Story’ is followed by ‘The Joke’, the first of four songs featuring the unmistakable tones of legendary prog singer Peter Hammill. ‘November’ (on which Bowness provides a backing vocal) is a tale of long lost love, the outstanding ‘Time To Go’ contemplates the very end of the road (hopefully a long time from now), while the closing ‘When Your Parents Danced’ considers the first central figures in one’s life in their younger days, ‘before life’s stories made them what they’ve become’.

Having contributed to ‘Ones and Zeros’, as well as records by the likes of William Orbit and Chris Rea, the versatile Australian singer Karen Eden returns to perform on two contrasting tracks; the portentous sounding ‘Pray’ and (by way of contrast to everything else on the record), the pop song ‘Us (Scars on Skin)’. The album also contains the instrumental ‘Howl’, which switches from strident to atmospheric midway through and showcases the skills of the musicians involved.

Saro Cosentino creates music imbued with a timeless grace and elegance, whether it’s jazz infused progressive rock, mature, well crafted pop/rock or elegantly constructed instrumentals. You can tell from the way the music opens out in front of you that it is not just ‘written’ but also ‘composed’, like a soundtrack for an arty, perceptive film. There’s a precise nature to the composition of the tracks where every note and every word is placed carefully to create an attractive and creative whole.

Wistful, dreamy opener You’re The Story has a wonderfully nostalgic feel to it, given a contemplative purity by Tim Bowness’ restrained and sophisticated vocals. It’s a stunning, if low key, opening to the album but I’ve long been a fan of Tim’s voice anyway. The big surprise is the dark magnificence of The Joke where Peter Hammill’s voice is the main component of the track and is what makes it stand out so much. This is a moody, malevolent song and a thing of sombre magnificence, consider me hooked. This album also marks the first time I have ever heard Karen Eden’s voice and, on Pray, it has a theatrical drama and dynamism that bleeds through into the whole track. The coruscating saxophone of Nicola Alesini and cello of Dorota Barova are pure genius and add a whole extra dimension to what is a rather impressive piece of music.

This unanticipated wonder of an album showcases Saro’s brilliance as both composer and musician and continues with the melancholy grandeur of November where Hammill’s heartfelt, sorrowful vocal leaves an aura of remorse and regret that is only emphasised by the strident trumpet of Radim Knapp, a truly emotive song that hits you hard. At first US (Scars on Skin) seemed a bit out of place, an uptempo pop song among a collection of much more serious pieces but, taken in isolation, it is a fine showcase for the exquisite vocals of Karen Eden. A delightfully impish four minutes plus of uplifting music that just cleanses your template. The gravitas returns with the sparse, melancholy tones of Time To Go, Peter Hammill imbuing the track with sincere honesty and languid grace.

The one instrumental on the album, Howl, gives the talented musicians involved in the creation of this record a platform on which to demonstrate their accomplished talents. A dramatic piece of music that ebbs and flows and allows you to lose yourself momentarily in its notable wonders. The album closes with the measured and restrained spectacle of When Your Parents Danced, a sublime and criminally short song where myself and Peter Hammill finally click for good.

Saro Cosentino is nothing short of a musical genius, he has collected a hugely talented group of musicians together and created the biggest musical surprise of the year for me. A composer of not inconsiderable talent and a gifted songwriter, his choice of guest vocalists makes this an album that really should be on your wish list.

Released 7th October, 2022.

Order from bandcamp here:

The Road To Now | Saro Cosentino (bandcamp.com)

Review – Oak – The Quiet Rebellion Of Compromise

Oak is a Norwegian progressive pop/rock band that originally emerged from a folk-rock duo. The four members have a diverse background spanning from classical piano to electronica, prog- and hard-rock, with references to the alternative scene as well as progressive rock – something that has combined to make a distinguished and unique sound.

OAK originated as a folk-rock duo, which expanded into today’s lineup of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars, Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars, and Stephan Hvinden on lead, rhythm and slide guitars. 
 

Musically, ‘The Quiet Rebellion of Compromise’ is the most dynamic Oak album so far, with a wide range of influences showing through. We’re still in very familiar Oak territory, but with some sharper edges and some surprising twists and turns. After their previous album ‘False Memory Archive’, the band set out to write some shorter songs for a change – and ended up with their longest songs yet. As on their other albums, there are subtle hints to both past and future songs in the Oak universe.
 
For this album, the band decided to write about an important and touchy subject – Suicide and psychic health in general. Music as an art form can be very open for interpretation, so to be sure that the message comes across, they’ve asked for advice from experienced scholars on the subject. The font used on the album cover is partially made of handwriting from two real suicide notes, to underline the concept.

There’s a deep underlying wistfulness and melancholy to this third album from the band and that’s entirely understandable considering the subject matter. Thoughtful and engrossing, the music is meaningful and contemplative and the lyrics are insightful and hard hitting.

When music is used as a relayer of a serious and often unsettling subject, it can add even more meaning, observation and perception and when that music is as brilliant as it is on a piece of work as exceptional as this, it really does bring home what the band are trying to get across. At times wide screen and cinematic and at others, minimalistic and sparse, ‘The Quiet Rebellion of Compromise’ is a musical masterpiece in inception and delivery.

This is a near perfect collection of songs where every track is a a complete work of art, from the hard-hitting opening trio of the dynamic Highest Tower, Deepest Well, the sparse, plaintive and melancholic Quiet Rebellion and the grandiose, compelling and potent Dreamless Sleep to the epic splendour and pomp of my personal favourite Paperwings, this is an intense and profound emotional journey.

Add in Sunday 8 AM, a beautifully judged near six minutes of music that sees vocalist Simen Valldal Johannessen at his most touching and emotive and the harder edged rock of the charismatic Demagogue Communion and this is a thoughtful, often melancholy, delight of an album and, when you come to the wishful and reflective whimsy of album closer Guest of Honour, it is almost like saying goodbye to a close friend with whom you have had a life changing experience.

Oak have a unique, innovative sound and you can hear it mature and transform on every album they release. Their approach to music is refreshing and sees them deliver meaningful music that has heart and soul and, with ‘The Quiet Rebellion of Compromise’, these talented musicians have created their most accomplished and consummate work yet.

Released 11th November, 2022.

Order the album here:

The Quiet Rebellion of Compromise | Oak (bandcamp.com)


Review – Galahad – The Last Great Adventurer

“A great song should lift your heart, warm the soul and make you feel good.” Colbie Caillat.

A simple caveat to an art form that transforms our daily lives into something utterly different. If you’re like me than music can take you to a much better place, my life would not be what it is without the joy and enrichment of music and, every now and again, an album arrives that completely blows me away, there is only music that can have this effect on the human race.

Before I tell you why I think Galahad’s eleventh studio album is just so good, let us delve into the background of the band and the album with some of the PR blurb:

‘The Last Great Adventurer’ has been several years in the making and many of the songs on the album actually pre-date the previous ‘Seas of Change’ album from 2018! Plus, due the constraints of the recent Covid emergency, the album was recorded at several locations over the last couple of years by the various band members and finally edited, mixed and mastered, as usual, by engineer/producer extraordinaire Karl Groom (Threshold/Dragonforce/Pendragon/Arena/Yes etc.).

As well as the long established nucleus of Stu Nicholson (vocals), Dean Baker (keyboards) and Spencer Luckman (drums) ‘The Last Great Adventurer’ is also the first Galahad studio album to feature Mark Spencer (Twelfth Night/Alan Reed) on bass guitar throughout as well as making some great contributions on backing vocals and triangle!  

Lee Abraham, now very much established as the band’s guitarist, also adds his own inimitable stamp to the album with some great guitar playing and a few blinding trademark guitar solos.

The main album consists of five tracks plus two bonus tracks on the CD including, at long last, a new version of  Another Life Not Lived originally written by the late and much missed Neil Pepper and Stu back in 2009.

Alive opens the album in fine, dynamic and powerful style with Dean’s pulsating keyboards and Spencer’s pounding drumbeat before Lee’s crushing guitar riff precedes Stu’s elegant vocals. This towering, fast paced track is charismatic and compelling as it flies along and the catchy chorus will have you singing along in harmony. It really is a fantastic, eye opening start that sees the band hit the ground running, Karl Groom’s influence as producer adding a fine polish to proceedings and new boy Mark Spencer showing he knows his stuff with his superb bass playing, add in a potent, pulsating solo from guitarist extraordinaire Lee Abraham and you just about have the perfect mix. Omega Lights sees the band leaning on their lengthy progressive heritage and the opening has a strong feel of 80’s nostalgia to it with its pared back, calming synth sounds and their wistful note. There’s an almost sombre feel to the song, an anticipation of what is to come, the music feeling as if wrapped in the mists of time as a low bass note enters proceedings followed by Lee’s purposeful guitar. Stu’s dignified vocals see the tempo rise before the song flowers into a glorious chorus. This contrast of refined verse and uplifting chorus continues and delivers a rather fine track full of determination and confidence. There follows an intricate section where the band put their prog chops on show for everyone to see and do so in fine fashion, just a brilliant piece of music. There’s a middle-eastern influence to the opening of Blood, Skin and Bone, like an Islam call to prayer and it works exceedingly well. Lee’s strident guitar combines with the forceful rhythm section to add some polished aggression and Stu’s slightly menacing vocal adds some mystery to the song. I really like the way this track flows with subtle intensity and Dean’s keyboards give a real mystical undertone and make it into an unstoppable force. Lee contributes a deliciously potent solo that just leaves me smiling in admiration, what a stunning song!

Enclosure 1764 has a theatrical, almost operatic quality to it, Stu’s vocal delivery wouldn’t be out of place in the cast of Les Miserables if you ask me and the tension created by the keyboards is hair raising. It is the shortest track on the album but is no less important and I find it bewitching and spellbinding as the drums and guitar add to the intense atmosphere, Lee is absolutely on fire again on this scintillating song. The magnificent title track, The Last Great Adventurer, is a very personal tribute to Stu’s father, Bob and is a highlight among a collection of very high quality songs. There’s emotion, passion and sympathy entwined throughout its ten minute plus running time and Stu’s vocals are at their best. This is a band at the height of their powers, one that is working in perfect harmony and you can hear it in every word and every note, add this to the epic songwriting and you just cannot go wrong. Full of sentiment and warmth, this song will leave a lump in your throat and a tear in your eye, spellbinding and enthralling.

The two bonus tracks are no mere throwaways, included just to flesh out the album, they add to already engaging experience, Normality of Distance is wistful and endearing, a calming influence running throughout, Stu’s vocals heartfelt and harmonious, a beautifully nostalgic and contemplative feeling song, I loved it. There’s obviously a lot of history behind this new version of Another Life Not Lived and you can almost feel it in the atmosphere as the hairs on the back of your neck start to rise. The slow paced opening and the melancholy guitar note make way for Stu’s soulful vocal that touches your very soul. The beautiful chorus is full of a sorrowful passion, there’s a story spanning many years being told here and being told perfectly, I’m not crying, you’re crying!

When music is as good as this and touches you in a very personal manner, it can’t really get any better. In my opinion Galahad have returned with what can only be described as a modern progressive masterpiece and one that will stand the test of time and should be remembered as being one of the best albums of recent years. It’s my album of the year and I really can’t give it any higher praise than that.

Released 24th October, 2022.

Order from bandcamp here:

The Last Great Adventurer | GALAHAD (bandcamp.com)

Review – Grace and Fire – Elysium – by John Wenlock-Smith

Grace and Fire are a newish, harder sounding, progressive rock band who hail from the East Midlands and who are attracting a fair degree of attention in prog circles and quite rightly so. ‘Elysium’, their debut album, is an accomplished and stimulating set of modern rock with many progressive elements very much in evidence. The album is based around the themes of the world experienced through Dante’s Inferno and especially the seven visions of hell encountered in his work.

The album begins with the instrumental Overture which sets the tone for what is to follow. The sound on the album is far more rock oriented, although there are plenty of keyboards included in the mix. Guitars crunch but not unpleasantly so and the vocals of André Saint are clear and sound fine to these ears. the next track is title cut Elysium, which is a strong song with a crunchy guitar sound and soaring synths before the vocals begin, Elysium being the land of the Gods in Greek mythology. I really like how this album sounds, it is heavy but not overly so and its progressive elements are in clear view. Breathing Murder features Derek Sherinian who delivers guest keyboard solos and he is a good fit for this track, adding fine touches and fills to the overall sound. His synths really make this song a strong one and his interplay with the guitar of Aaron Gidney is wonderful to hear. Everyone is working together to make the song sound the best it can be and they certainly succeed here, this is a most excellent number. The sound is excellent throughout with space for all to be heard, the mix is by Karl Groom of Threshold, a man who clearly knows a good sound when he hears one and is efforts in this area pay clear dividends in how great the album sounds.

Paradise Lost follows and is a more restrained piece, being more of a slow burn of a track, one that creeps up and then impresses the hell out of you. This is especially so when it breaks out into a wide-screen sound during the chorus. It is highly effective and the song works well because of it. There is a spoken passage from Goran Edman in which the devil is renounced after his part in the downfall of man and banishment from the Garden of Eden, another fine track. Chains of Sanity is a rather more brutal song with hard hitting guitars and deeply personal lyrics about mental health and the struggle for freedom for a mind that wants to soar but is imprisoned within. The track has fabulous guitar work and a superb solo and is another strong song. Sea of Dreams continues in a slower mood and tone, with low whistles from Zachariah Gidney that add depth and colour to the sound. This mellow number is enlivened by another great solo from Aaron Gidney and also with an epic chorus that really sticks in the memory, highly impressive stuff.

A Warrior’s Tale features Mark Boals on vocals (best known for his work with Yngwie Malmsteem). This is another harder track with excellent parts from all, quite how the band managed to recruit such quality collaborators is a very good question but these guests definitely help raise the quality bar very high and, in doing so, help make this debut album really something special. It is very impressive and confident in a year which has seen several  similarly impressive debuts from the likes of Ghost of the Machine and others. This is great news for rock music fans and this album deserves to be high up in the end of the year lists. Eyes of the Seer is another highly impressive track with great guitar work again and some complementary bass parts from Tim Ashton that really adds emphasis to proceedings. The Great Divide Pt. 1 continues this with a dignified bass line for Aaron Gidney to play off to fine effect, this instrumental leads into The Great Divide Pt. 2, the albums longest track. This piece has eastern sounding influences and sounds most impressive with yet more fabulous guitar tones, sounds and effects. It brings to mind Rainbow’s Gates Of Babylon in places, although in reality this sounds very different to that but I can hear the influence. The song is about how friends grow apart to result in a great divide that comes between them.

That concludes the album and it is one that leaves more questions than answers, but in a good way, as it encourages one to play and listen again until its themes make sense. In all ‘Elysium’ is a very good and different album with strong and inspired music. Some fantastic passages and parts, along with the guest contributors, make this a most worthwhile release and one most definitely worth your investigation.

Released 15th November, 2021.

Order from bandcamp here:

ELYSIUM | Grace and Fire (bandcamp.com)

Review – Dave Brons – Return to Arda – by John Wenlock-Smith

Opening with a spoken word introduction heard over sea noises and wordless vocals, Dave Bron’s new release continues his musical exploration of Middle Earth and the realm of worlds made known through the writing of J.R.R. Tolkien. The album is titled ‘Return to Arda’, ‘Arda’ being the name Tolkien gave to Earth. The album has three parts, Sea, Soil and Sky, and each part is comprised of several tracks Sea has four tracks, Soil has six and Sky the remaining five tracks. The album is best heard in its entirety for maximum impact and effect. Knowledge of ‘The Lord of the Rings’ is not essential but might help, the excellent booklet notes most certainly will as they are highly informative.

The album is mostly instrumental although there a few vocals pieces which help the album flow. There is some truly inspired guitar playing throughout with Dave really playing to his strengths and using his bevy of effects and techniques to fine effect. Dave is a huge fan of Steve Vai and this shows in his use of guitar orchestrations and style. Dave certainly can shred with the best yet, above all, he is a master of melody and uses his skills to enhance rather than to stun, the melody for Beyond where the Waves Break, for example, is simply gorgeous and is well matched with the emotion of the track. A similar feeling is evoked with Dave’s acoustic guitar refrain to match the piano track, another winner to these ears.

The track that opens the Soil sequence is also really impressive with a great vocal from Sally Minnear, her voice fits extremely well with Dave’s guitar where he plays a blinder of a solo, reaching for new heights as he goes, all with the complementary background of all the other players making a full sounding, Celtic infused, track and it sounds really impressive. The music is epic in scope and sound with acoustic guitar used sparingly, but most effectively, to craft a really great sounding album of almost hummable tunes, this is all a big step forward from his previous release ‘Not All Who Wander Are Lost’, and that was impressive enough. This new release is even more so with better tunes, seemingly even more inspired and better realised, Dave has certainly raised his bar here.

I really adore this album it has really grown on me as I have heard it. I join other reviewers in singing its praise and raving about its contents and being very special, effective and superior to all that has gone before . It is quite frankly a stunningly inspired release and one of the best instrumental guitar albums that I have ever had the pleasure of listening to, yes, it really is that good! The album’s cover and booklet are similarly outstanding, you can feels the passion contained with the grooves and some truly inspired playing is on offer here.

The Soil section gives way to Sky in which we see Dave soaring in his playing along with some fabulous vocals from Sally. This is especially so on The Tears Of Nienna where Dave uses harmonics to great effect. The spoken voice that opens On Eagles Wings also captures the emotion of the song as the guitar line  lifts it upwards. Even better for me is the magnificent Beauty and Starlight which begins with delicate acoustic guitar and a hauntingly wonderful Sally Minnear vocal line. This is a stunning and captivating track and also features an achingly gorgeous guitar solo from Dave who wrings out every possible drop of emotion. It really is fantastic, my favourite thus far.

The penultimate song is Gathering in the Clouds which begins with pipes. It’s a very Celtic sounding piece, really emotive and full of feeling. It may only be short but it’s wonderfully evocative and close with a spoken ending to conclude a highly emotional, yet very rewarding, aural journey in the hands of Dave Brons and friends, all of whom add beautiful parts to a possible album of the year. It is simply beautiful music that is masterfully made and I urge you to find room in your life for this most spiritually rewarding release.

Released 4th November, 2022.

Order the album here:

Return to Arda | Dave Brons (bandcamp.com)