Category: Album Reviews

Review – Jonas Lindberg & The Other Side – Miles From Nowhere

Originally feted for release in November 2021, the second full length release from the Swedish Prog Rock project Jonas Lindbergh & The Other Side is now being released by InsideOut on February 18th.

This album has been in my possession for a very long time now so I have time to really get into it at every level and I feel I have really got to know it like a friend so feel eminently qualified to write this review. First, however, some history…

This Progressive rock project from Stockholm, Sweden was founded in 2012 by bass player, songwriter and producer Jonas Lindberg.

It all originates back to 2008 when the EP ‘In Secret Pace’ was recorded as an exam-project at the Music Academy in Piteå, Sweden. But, as term, ended Jonas moved to Stockholm to pursue a career as a freelance musician and the idea got put on hold. In 2012 ‘In Secret Pace’ was finally released on digital platforms as Jonas started to work on new material.

This time the lineup featured a 5 piece band and the second EP ‘The Other Side’ was finished and released in 2013. The project was named Jonas Lindberg & The Other Side from the title track of the album after its release. Jonas contributes bass, backing vocals, keyboards and guitars, Jonas Sundqvist (lead vocals), Jonathan Lundberg (drums), Calle Stålenbring (guitars) and Michael Ottosson (keyboards). Two more musicians, Nicklas Thelin (guitar) and Jenny Storm (vocal) later joined for the live shows.

In 2015 the band began working on their first full length album and released “Pathfinder” in 2016 to great reviews. Jonas immediately began writing new material in the following months. But due to heavy touring with lots of other commitments the project got put on hold until 2019, when the band finally started recording a follow-up album.

The new album features the same lineup as on previous albums along with a few more guest musicians. Returning on a few tracks is Simon Wilhelmsson (drums) who some may remember from the first EP, as well as Jonas’s brother Joel and Roine Stolt on lead guitars. Missing is the band’s keyboard player Michael Ottosson who sadly passed away in the summer of 2020, leading up to Jonas taking on full keyboard duties for the album.

So now you know the history of the band, let me tell you why you just have to buy this album…

‘Miles From Nowhere’ is one of those albums that just puts a huge smile on your face, there’s symphonic prog in the vein of Spock’s Beard, Transatlantic and The Flower Kings in absolute spades but it is all grounded on some seriously good hard rock foundations with guitars that Richie Sambora would be proud of and keyboards that just ooze quality like John Lord at his absolute best. It is a triumph of pomp and circumstance, overblown and bloody brilliant!

Staccato guitars open the seriously catchy Secret Motive Man and you first hear the elegant vocals of Jonas Sundqvist. A funky, folky song about a man who’s intentions aren’t entirely clear, odd time signatures combine with some seriously good drumming and harmonised vocals to die for. As opening album tracks go, this one is of the highest quality and the keyboards and guitars work beautifully in tandem. Short (in prog rock terms) but very sweet, Little Man is a refined slice of music with a rarefied air as it begins but it soon opens up with Jonas’ soaring vocal (harmonised to perfection, naturally) on the chorus and the tastefully strummed guitar just adds to the feel. There’s a brief lull punctuated by keyboards before the guitar rises up in a stunning 80’s hair metal solo that just blows you away, a fantastic track.

The second longest piece on the album, Summer Queen is an epic based on the four seasons, originally written in 2003 by classmates Jonas Lindberg and Joakim Wiklund. This song is an exciting thrill ride of peaks and troughs that never lets up and is graced by the wonderful lead vocals of Jenny Storm. A slow burning opening never hints at the headlong rush to come as Jenny’s ethereal voice is first heard, it’s jaunty and wistful but the energy is building up, bursting to get out and the fantastic keys finally let loose with vibrancy and intensity. What follows is pure brilliance, a song that leads you on a mysterious, primeval journey through nature with ardent guitars and mesmerising keyboards leading the dance. Oceans Of Time has an almost medieval feel to the opening keyboard strains before the music bursts out in a torrent of keyboards, drums and thunderous guitars. This compelling and potent track is highlighted by stunning guitar solos from Calle Stålenbring, which punctuate it with moments of pure intensity, and keyboards that just seem to have a life of their own. It’s a track about an ending of a relationship in the form of a ship on a stormy ocean and you feel drawn into the story as if you’re really there.

The simple, rarefied opening notes of Astral Journey lend a polished aura to the song, a relatively concise instrumental which is almost like a moment in calm after the marvellous maelstrom of the previous tracks. Restless, skittish keyboards then take over, aided and abetted by an edgy, restive guitar before the two blend together seamlessly to bring things to a close. Why I’m Here is the closest we get to mainstream track on the album and is a short progressive song in 7/8 time about stalking, sung by Lindberg. This song features lead guitar from Jonas’s brother Joel and its jaunty feel belies the subject nature. Fast paced and sprightly, it passes by in no time at all, leaving a wry smile on your face and has another blinding guitar solo that leaves you slack jawed in admiration.

While the first six tracks are exceptional in their own right, they lead us up to the utterly amazing final, title track. A twenty-five minute epic of such utter majesty, full of intricate instrumental progressive pieces in odd time signatures, intense rock in the style of Deep Purple, fusion inspired choruses, insane guitar solos and vocals that just have to be heard to be believed. The first near-seven minutes is an instrumental section where it seems everyone has just been told to go and enjoy themselves and just deliver some exceptional and impassioned music and, boy, do they ever! Part two sees Jonas Sundqvist’s voice centre stage and is more melodic, almost Beatles-esque section, more subtle, with some elegant guitar playing from Nicklas Thelin which adds to the more cultured mood. Not had enough harder edged rock for your money? Well hold on to your hats, part three sees us off and running with John Lord smiling over us as the keys provide the backdrop to some ridiculously good guitar playing (Calle Stålenbring take a bow please) and amazingly harmonised choruses. Lindberg himself steps forward to deliver an emotionally strung ballad, A sort of reflection upon what has happened lately in life, in part four and plays all the instruments, supported by Maria Olsson on percussion. The final course is to come and you are not left wanting, overtures, majestic anthems, memorable melodies and hooks abound everywhere. The build up to the finale leaves you bursting with anticipation, it’s done so well and then Jonas’ delivers his final coup de grace and probably the vocal performance of his life, the hairs stand up on the back of your neck, it is really that good! Then, just when you think things surely can’t get any better, you are treated to an epic guitar solo from the ‘Flower King’ himself, Mr. Roine Stolt and the song just goes orbital. Holy cow! what a bloody fantastic and amazing finish, I’m left mentally exhausted and spent as what has been one of the best musical experiences I’ve ever had comes to a satisfying close.

I have listened to this album so many times that I have actually lost count, it is the best example of symphonic progressive rock you are likely to hear in a very long time. I like it that much I have ordered the vinyl and the best compliment I can give is to say that, while I am not a musician and never will be, if I could have only ever made one album, I really wish it could have been this!

Released 18th February, 2022

Order from Burning Shed here:

https://burningshed.com/jonas-lindberg-and-the-other-side_miles-from-nowhere_cd?filter_name=Jonas&filter_sub_category=true


Review – Retreat From Moscow – The World As We Knew It

Retreat from Moscow originally hail from Cardiff, Wales, UK and gigged extensively from 1979- 1981. Fast forward 40 years and the band of core members, Andrew Raymond (keyboards and more), Greg Haver (drums and more), Tony Lewis (bass and more) and John Harris (vocals and more) reformed in 2019 to start recording old and new material for a new album, ‘The World As We Knew It‘.

The roots of their music is influenced by the progressive giants of the 70s but their sound nods more to the 80s new wave of progressive music with strong melody, big keyboards and choruses, and soaring vocals.

“It is somewhat ironic that after releasing our first single in 1980, Retreat From Moscow have waited forty years to produce an album only to have the proposed launch postponed by a worldwide pandemic.” says guitarist, John ‘Harpo’ Harris. “Yet from those early, heady days at school listening to bands like Genesis, Tull, King Crimson, Camel and Caravan, even though the journey has been a long one, it has been worth the wait.”

2022 has started with some very good album releases and Retreat From Moscow have joined that heady mix with what must be considered as one of the best recent debut albums. There are nods to the progressive greats and to the heights of Neo-Prog in the late 80’s and early 90’s but, throughout this impressive release, the band resolutely follow their own direction.

There’s power, poise, precision and subtlety throughout. ‘The World As We Knew It’ may be forty years in the making but it impresses at every turn. Opening track The One You Left Behind prowls along with a menacing atmosphere, the dynamic rhythm section and hard edged guitars driving the song along and John Harris’ dynamic vocal providing the focal point. Radiation is fleet of foot and a genuinely feel good hard rock romp with a proper feel of nostalgia, the guitar work from Harris is just sublime. The wick is turned down a bit on the delightful neo-prog infused Henrietta, invoking Fish era Marillion but with the band’s own signature sound front and centre. Andrew Raymond’s silky keyboards are all over this elegant song and just add to the good natured mood that this record engenders.

Raymond’s skill is central to the opening of the vibrantly upbeat I’m Alive that screams 70’s prog at you at full volume. I honestly feel that anyone who has great progressive rock in their blood will absolutely love this album, the songwriting and musicianship are just top notch! Constantinople brings an oasis of calm and sophistication to the album. The vocals are restrained and the music, especially the beautiful flute and passionate guitar, sophisticated. The longest track on the album, coming in at over eleven minutes, Home, tells you all you need to know about this accomplished band. Their songwriting is excellent and their skill even better, a sublime listening experience that envelops the listener and draws them in to their expertly crafted musical world. Not a note is wasted and every song is an utterly absorbing experience. That hard rock edge returns to Armed Combat, moving away from the more progressive arena to deliver a track that wouldn’t be out of place on any 80’s rock album. It may just be me but the bass, drums and keys just shout Level 42 and I just love it! anyone else?

A gently meandering piece of music, Moving Down is wistfully serene and a pure gem. One of the best songs on the album, the thoughtful vocals and reflective music are just wonderful and just check out that guitar solo, it’s just heavenly. Perception is another fast moving track with a definitive hard rock edge that this outstanding band do so very well. Guitar, drums, bass and keys all work in perfect harmony to give John’s vocal a perfect backdrop to work on. Have 70’s Genesis arrived in the building as the first notes of Mandragora echo in your speakers? You’d be excused for thinking so as this exceptional track ebbs and flows, yet another song where Retreat From Moscow give their own unique slant on what has gone before. All good things must unfortunately come to an end and the album comes to a close with the elegant composure of Don’t Look Back. A slow burning opening with more of that exquisite flute and impassioned vocals gives a restrained tone to the song, everything tranquil and peaceful. The tempo increases though and the song opens up into something impressively fluid and mercurial, Andrew Raymond’s keyboard solo adding another layer of class before the guitar joins in to add fervour and passion, it’s a glorious ending to the album.

Robin Armstrong’s Gravity Dream Label has accrued a pretty impressive roster in a short period of time and the outstanding Retreat From Moscow are another high calibre artist to join him. In ‘The World As We Knew It’ they have crafted an album that is creative, inventive and inspirational, it is a breathtaking debut that will grace many end of the year ‘best of’ lists and one that the band should be rightfully very proud of.

Released 21st January, 2022

Order from bandcamp here:

The World As We Knew It | Retreat From Moscow (bandcamp.com)

Review – TDW – Fountains

An album made by the fans, for the fans. That’s how you could describe this new TDW album in a simple way, but that wouldn’t tell the whole story, as the eighth TDW album entitled ‘Fountains’ has become something unexpected indeed.

Spurred on by an all too familiar worldwide pandemic and an urge to keep moving forward after releasing the well-received album ‘The Days The Clock Stopped’ in December of 2020, main songwriter Tom De Wit took the possibility to quickly write new material that would become this very record. Written, recorded and produced in a record tempo for Tom’s standards, but also fuelled by a very special ingredient… Song input from the fans who preordered the last album and helped to make it all possible!

Multiple songs on this new offering are based on suggestions given by TDW fans in 2020 when they preordered ‘The days…’. Tom told the fans that if they gave him a subject and basic idea, he would write a song based on those ideas and 6 songs on this album came to be based on these very concepts. Added to this were 4 songs written by Tom that all formed a loose theme tying everything together.

When asked about the theme of the album, Tom described it as follows:

“This album has a few themes that form its framework. We have been through the wringer as creators & mankind in general, so I made songs about staying hopeful even when life beats you down, understanding the human value of real art over just blindly staring at sales numbers and marketing and more. My life has been a constant, crusade against hollow art made for profit only.

The highest goal for me is to make something that invokes a real response. I think this represents that to the fullest. People often get sidetracked by the business side of things, but at the end of the day it’s our creative fountain that keeps us going. Yes, you have to take your career seriously, yes you have to think of these things, but for me the music and the creative adventure ALWAYS comes first.”

‘Fountains’ is something of a departure for Tom, while still most definitely a progressive metal record. It has a lighter touch and more left-field influences that give it a real upbeat and fresh feel but, as you will always find with musicians like Tom, the songwriting comes first and this album is chock full of what the youth call ‘bangers’!

From the powerful opening notes of title track Fountains the intent is obvious but every aggressive guitar line is wrapped in the talented songwriting skills of Tom De Wit who brings a subtlety not often seen on albums of this genre. The staccato electronics and fast paced speed metal infused rhythm of Inner Enemy contrasts perfectly with the subtlety of the much more dulcet tones of Hope Song I and its feel-good factor. The potency of Gratitude Song is tempered by the fine vocals and excellent chorus and I am a big fan of Hunter’s Eyes, one of Tom’s best compositions, the inclusion of the flute paying in tandem with the hard edged guitar as the song opens is just genius! This is progressive metal for the thinking man and I really get the feel that Tom and his fellow musicians had a blast recording this album.

The brooding Anthracite has an aura of latent power and barely hidden menace about it. A calm exterior that hides something much more primeval and is another highlight of this ever impressive release. We return to the progressive metal arena again with the driving intensity of Another Choice, Another Universe and it suddenly hits me that we have got over halfway through the album and there’s barely a hint of the growling vocal that this genre is so well known for and, for this reviewer, its absence is a boon and not a hindrance. Thing go completely out of the door with the insane shenanigans of Graveyard Boogie, a track that wouldn’t be amiss on something like ‘The Rocky Horror Show’, it is ghoulishly brilliant! Traveller is imbued with potency, a hard edged offering that ventures into heavy metal territory without ever forgetting its roots in the progressive side of things. Things come to close with the epic Hope Song II which is a thunderous romp that barely pauses for breath, taking you on a spirited and potent journey through all that is good about this band.

‘Fountains’ delivers on every level, a brilliant collection of songs that engages the listener and immerses them in TDW’s rather intriguing world. As a creative force in the progressive metal arena, there aren’t many who exist at the same level as Tom De Wit and that is evident in every note of this captivating and absorbing release.

Released 26th November, 2021

Order from bandcamp here:

Fountains | TDW (bandcamp.com)

Review – Nordic Giants – Symbiosis

“Following on from the success of their debut album – ‘A Sèance of Dark Delusions’ and their documentary / soundtrack project – ‘Amplify Human Vibration’, the mysterious Nordic Giants emerge from hiding with their second studio album simply entitled – ‘Symbiosis’ set for release on 4th February 2022.

Symbiosis represents the interdependent relationship of all life. The union and blending of polar opposites, the harmony created when two different elements combine, not just in nature or in a philosophical sense, but at the root creative level.“

Rôka and Löki state, 

“We start with a pure idea, we take all the emotions that live inside us,  that are buried deep within the sub-consciousness mind and give them the opportunity to shine through in musical form. Much like our first album – Symbiosis is a multi-layered album, It’s going to be hard to understand the depth of emotion, or spirit of the album on the first listen or even the second. But hopefully even on the 100th listen there may still be new layers revealing themselves to you.”

I do like it when the PR information about a new album really whets your appetite and builds the anticipation of its release. I am a huge fan of Nordic Giants so, after first reading the above, I really couldn’t wait to get my hands on ‘Symbiosis’ and to hear what the mysterious duo had in store for us.

I needn’t have worried, this new release is an absolute stunner, the band’s signature journey into the light and dark, the ambient and the powerful and the ethereal and the earthly is present and correct but subtly different. There is beauty and and almost extraneous feel to the album and it takes this enigmatic duo to another level of brilliance. The music flows around you, taking on a life of its own as it infuses your very being with an otherworldly touch and delivers an almost ‘out of body’ experience.

There is nothing quite like Nordic Giants, their unique take on music encompassing a broad tapestry of weird and wonderful sounds, from vintage analogue synths, Tibetan bowls and even a Carnyx horn. The haunting vocals of Freyja and Alex Hedley adding a haunting grace and ghostly refinement to the tracks Spheres and Faceless respectively, ‘Symbiosis’ is, however, a predominantly multi-layered instrumental album.

The stand out tracks are the exquisitely divine Hjem and gloriously resplendent calm of Spires of Ascendancy, two pieces of music that will take your breath away with their simple brilliance. Opener Philosophy of Mind harks back to the power of ‘Amplify Human Vibration’, Anamorphia has a strident and headstrong confidence at its core, Convergence is a confident trip into a subtle and refined electronica and Infinity closes the album perfectly, opening with moments of languid, laid back grace and ending with a powerful and compelling dignity .

There are hidden depths to this album and it is one that requires multiple listens to discover all of its passion and emotion, its spirit and its essence. 2022 is going to be a vintage year for excellent music and ‘Symbiosis’ will be right there at the top of the list come the end of the year. Nordic Giants plough their own determined furrow and just get better and better with every release.

Released 4th February, 2022.

Order the album from here:

STORE | Nordic Giants

https://www.youtube.com/watch?v=0sq14wotCDw

Review – Big Big Train – Welcome To The Planet

From tragedy can often come triumph…

I truly did not know if I could write these words and review this album without the huge shadow of David Longdon and his tragic, untimely death hanging over me and influencing the words that this critique would be comprised of. Music, however, had different ideas and the overwhelming feeling of joy that emanated from my first listen to the last album that the wonderful Mr Longdon would ever record with one of my all time favourite bands, Big Big Train, just seemed to salve my soul and relieve me of the feeling of loss that had hung over me since it happened.

Featuring the band’s new line up of David Longdon on vocals; Gregory Spawton on bass; Rikard Sjöblom on guitars, keyboards, and vocals; Nick D’Virgilio on drums and vocals; Carly Bryant on keyboards and vocals; Dave Foster on guitars; and Clare Lindley on violin and vocals, ‘Welcome To The Planet’ carries on the resurgence of the band first heard on last year’s brilliant ‘Common Ground’.

I know I won’t be the only reviewer (and fan) of the band who feels that Big Big Train had been treading water a little bit since the release of ‘Folklore’ back in 2016 but ‘Common Ground’ had hinted at a reinvention of the band and the best music they had created since the groundbreaking ‘Underfall Yard’ from 2009. ‘Welcome To The Planet’ has continued that return to the heady heights that the band reached and could well be one of their best releases ever.

The wonderfully upbeat opening track Made From Sunshine, complete with elegant vocals, a chorus to die for and an incredible guitar solo, shows where the band are heading. The brass is simply sublime and the song left me with a nostalgic tear in my eye. The energy that flows throughout the brilliant Connection Plan, all driven along by the dynamic violin, infuses the track with a high tempo, feel-good rhythm and had me singing along at the top of my voice.

The fact that the album only has one song over seven minutes in length does not detract from the enjoyment in any way, there’s a feeling of musicians being let off the leash to just go and enjoy themselves and, boy, do they ever! making us, the listeners, the eager beneficiaries of this expansive approach.

My enjoyment of the music is tinged by melancholy as the shadow of the larger than life Longdon is always just there, out of reach. Listening to the gorgeous Lanterna seems to banish those feelings of sadness, almost as if David is willing you to just enjoy the music, like his final gift to us all. The songs starts in an ethereal and whimsical vein before opening up into a jubilant and heartwarming musical journey, simply delightful. The graceful, elegant (and criminally short) strains of Capitoline Venus give David’s voice the stage to work his magic on us once again and I have to admit that, on first listen, I did shed a tear or two.

A Room With No Ceiling, penned by Rikard, is a proggy instrumental that fuses all that’s best of the band with a touch of psychedelia at the start before it launches into an accordion infused, merry romp. Proper Jack Froster is the band’s Christmas track from 2021 and takes their pastoral progressive rock and transplants right in the middle of a medieval festive ode. To my ears it is one of the better Christmas songs of recents years and deserves its place on the album, if being a nod to BBT’s past, rather than a glance in the direction they are now heading. The second instrumental on the album is Nick’s engaging Bats In The Belfry, a very impressive take on the drum and bass solo that is oozing character and personality from every note.

There’s always moment of calm, poise and pause on a Big Big Train release and the enchantingly refined Oak and Stone fills that brief for this album. Achingly stylish vocals and a wonderfully laid back piano give the song a sumptuous feel. It really is seven minutes of pure class from these masters of the genre. Now, onto the intriguing final track on the album and a song that could be the most polarising that the band have ever released. Title track Welcome To the Planet is totally different from anything that has gone before and, to my ears anyway, is utterly brilliant! Exuding atmosphere and ambience, it is a theatrically inspired piece of music that takes the band in a totally different direction. With an almost ensemble vibe, the song relies mainly on Carly’s powerful and charismatic vocal performance to drive it along but the wistful and nostalgic music gives a 70’s prog feel to everything, reminding me of Pink Floyd at their height of fame, and there’s surely nothing wrong with that, is there? This track closes the album on a triumphant note and maybe hints on a the future direction than Big Big Train could take, I love it!

The tragedy of David’s death has hit the BBT community very hard and this new album should be the catalyst for the healing process to start. It is a fitting tribute to wonderful man but, and this is the important bit, it is also a sublime collection of songs from a group of talented musicians who are, once again, right at the top of their game. Whatever the band decide to do, they have given us one of the best albums of recent years and a totally memorable start to 2022.

Released 28th January, 2022.

Order from Burning Shed here:

Welcome To The Planet (burningshed.com)

Progradar’s Review of 2021

I’ve had a little time to digest what was a rather wonderful year of music in 2021. Here is my review of the year with my favourite albums, in no particular order barring my number one!

Transatlantic – The Absolute Universe – Forevermore

A true return to form for the prog supergroup with melodies, tunes and overtures galore. Transatlantic gave us their best album since ‘Bridge Across Forever’.

Lifesigns – Altitude

I really think that Lifesigns have taken a massive step forward with this album, good as ‘Cardington’ was, this release is so very much better in my opinion.

Echoes & Signals – Mercurial

‘Mercurial’ trades some of Echoes & Signals’ signature post-rock sensibilities for a darker journey into the kind of prog-metal embraced by the likes of Tool and this new direction is one that I feel suits them perfectly. 

Cosmograf – Rattrapante

At the time, I said, “At this moment in time there is nothing I would rather listen to than this incredible new album from Cosmograf, will Robin’s latest pièce de résistance still be up there at the end of the year? Most probably but, here and now, it just does not get any better than this!” And here it is!

League of Lights – Dreamers Don’t Come Down

Not only a nod to the past but also a completely relevant piece of music in these present times, ‘Dreamers Don’t Come Down’ is a perfectly crafted collection of pop and electronica infused songs that really hit home.

Ana Patan – Spice, Gold and Tales Untold

Wearing her many influences proudly on her sleeve Ana Patan has just allowed the music and her excellent vocals to tell her many intriguing and involving stories and this has allowed them to breathe and come to life quite spectacularly. An album that has surprised me in its simple brilliance and one that, if you let it, will enrich your life in a myriad of ways.

The Vicious Head Society – Extinction Level Event

‘Extinction Level Event’ is shaping up to possibly be the best prog metal album of the last few years at least, I honestly don’t think I’ve had a prog metal album hit me so hard since Haken’s ‘The Mountain’. 

Catalyst*R – self-titled

When everything that is happening around you is making your life jaded, just press play on this bewitching collection of songs, light the spark and let the music start to take your cares away…

Michael Woodman – Psithurism

A hugely impressive and admirably different collection of songs that shows Woodman’s impish creativity at its best. A musical breath of fresh air that will leave a smile on your face and wonderment in your soul.

Vestamaran – Bungalow Rex

Get your hands on this album and, when the sun shines, get the barbecue lit, an ice cold beer in your hand, put the stereo on, turn it up to 11 and just enjoy this incredible album for, as the press release says, “Life is not just bungalow all day long, it also includes a lot of rex in the evenings.”

Tillison, Reingold, Tiranti – Allium – Una Storia

Simple but perfectly formed and harking back to the days when music just put a smile on your face, this is one album that deserves success just because of how it makes you feel and I love it for that.

Big Big Train – Common Ground

Vibrant and upbeat, thoughtful, wistful and even melancholy at times, it is a collection of amazing songs that will touch you on a basic level and move you on many others. ‘Common Ground’ is the album that will make you fall in love with the band all over again and I can’t give it any higher praise than that!

smalltape – The Hungry Heart

I’m a massive fan of music that makes me think, music that doesn’t give up its deepest delights easily and ‘The Hungry Heart’ has that in spades. Hunger, Burning House, Dissolution, the list goes on, cuts of pure musical brilliance that showcase this young German musician as a seriously precocious talent and one to follow closely.

Giancarlo Erra – Departure Tapes

If music could tell a story of a life lived, lost and, deep at its core, loved then ‘Departure Tapes’ is it. I am along term fan of this intelligent musician’s brilliant work and this new release is another entry into his very impressive discography.

Great North Star – self-titled

Step out of this confusing and hectic world that we live in, if only for the thirty nine minutes running time, and allow your mind and your soul to recharge. A wonderful and insightful masterpiece that will stay with you for a very long time.

Three Colours Dark – Love’s Lost Property

‘Love’s Lost Property’ is an exquisite creation, nine tracks of wondrously charming music with Rachel’s honeyed vocals lifting this release well above what you may have heard already this year. I suggest you get your hands on it as soon as you can, it is definitely worth seeking out.

The Holy Road – An Unshakeable Demon

Never be afraid to challenge yourself and listen to something different, I found the eclectic and evocative wonder of ‘An Unshakable Demon’ really hit home with me.

CYAN – For King And Country

A masterpiece of intricate melodies, mellifluous vocals and intelligent songwriting, ‘For King And Country’ delights on every level and makes you smile. You can’t really ask for much more than that, can you?

Glass Hammer – Skallagrim – Into The Breach

Epic in scope, majestic in scale and blurring the lines between progressive rock and progressive metal, Glass Hammer have given us their best album of recent years and possibly their best release ever and it should be another monster success for this evergreen band.

Findlay Napier – It Is What It Is

‘It Is What It Is’ sees this fine musician and songwriter on a higher plane and is a must buy for anyone who appreciates and treasures original music with heart and soul.

And the top gong for album of the year goes to….

HFMC – We Are The Truth

This superlative gem of release is worthy of all the praise that is being heaped upon it and finishes 2021 on an utter high for this reviewer, the finest of a wonderful crop of albums released this year!

So, there you have it, my selection of some of the great albums that graced 2021 and I am sure that 2022 is going to be just as good!

Review – HFMC – We Are The Truth

There’s just something you have to love about Scandinavian progressive rock, there’s a warmth and organic joy about the music that stems from those lands and the latest from Sweden’s excellent HFMC (Hasse Fröberg & Musical Companion) is no exception.

The band’s fifth studio album is an absolute gem and follows up 2019’s fan favourite ‘Parallel Life’, Hasse says of the new release:

“We Are The Truth is our most adventurous album to date. The music is positive, warm, organic, soulful and thoughtful. The lyrics are a cry for compassion, respect and love. We Are The Truth is both musically and lyrically very much about the world today”.

In a world that has become a place of darkness, fear and jealousy, ‘We Are The Truth’ shines like a beacon of light with its uplifting songs, wonderful music and Hasse’s distinctive vocals imbuing everything with a sepia tinged feeling of good will.

Music is something that can fill your soul with comfort, delight and elation and, from the first note of To Those Who Rule The World, there’s a heady feeling of good natured fun. This album is chock full of memorable chorus’s, chunky riff’s and amazing melodies that will last long in the memory. Bluesy, funky and full of Scandinavian soul, HFMC have that feel of seasoned professionals who just love what they do and want to share that affection with the rest of the world.

Other Eyes and Rise Up have an almost anthemic feel to them with a soaring chorus that just begs to be sung along to and a jaunty rhythm that just puts a smile on your face. There’s the longer, more intricate and utterly magnificent Constant Search For Bravery, the dreamy, childlike delight of Yoko, the sublime brilliance of title track We Are The Truth and the emotion and warmth of Every Second Counts, the hits of pure joy and elation just keep coming.

As in a lot of cases, the best is kept till last. Coming in at just under eleven minutes, A Spiritual Change showcases all that’s best about HFMC. Musically complex yet at the same time eminently accessible and listenable there’s an incredibly catchy motif running throughout and Hasse’s vocals are, once again, superb. Just let this song wash over you and enjoy the sense of joy, fun, bonhomie, warmth and charm that takes you to a higher plane, simply wonderful!

This superlative gem of release is worthy of all the praise that is being heaped upon it and finishes 2021 on an utter high for this reviewer, the finest of a wonderful crop of albums released this year? You’ll have to wait and see but it is most definitely right up there with the very, very best.

Released November 26th, 2021

Order the album from bandcamp here:

We Are The Truth | Hasse Fröberg & Musical Companion (bandcamp.com)

Review – Azure – Of Brine And Angel’s Beaks – by John Wenlock-Smith

‘Of Brine And Angels Beaks’ is the second album from UK proggers Azure, who hail from Brighton and the South East of England. The album was Released in June 2021 after a period of lockdown and is the follow up to their debut ‘Wish For Spring’ that followed a few EP’s and singles like Redtail, a twenty minute progressive love song, and the shorter single Mistress that garnered wide acclaim for the band.

This album continues to mix hard edged progressive metal with fantasy elements (especially in the lyrics) and, over the course of its twelve songs and its sixty-three minute running time, many tales are told and worked upon. The music also includes lots of synthesizers, a modern clean production and lots of staggering guitar work from Galen Stapley, who can shred with the best of them, as eviced on his highly fluid and furious solo on the track Self-Crucifixion. The vocals of Christopher Sampson are very different and tend to verge wonderfully on the side of operatic, think Freddie Mercury on helium and you’d be in the right area. Thankfully they are highly listenable, no death metal growling here!

A Night Of Superlunary Gazing opens the album with one minute of almost psychedelic, fantastical music before Ameotoko 1 – The Curse drives in with some delicate arpeggio guitar lines and soft vocals, after about four minutes the song gains some traction and some pace, there are some strident keyboards runs in this section too. This is followed by the upbeat and excellent sounding The Jester Who Cheated Death and the fantastical Lustre – Siphon of Umbra, the former opening with what sounds like a marimba but isn’t. The song has great lyrics and lots happening musically, including some great guitar from Galen, along with some great dual harmonies. The song is a sorter one by Azure standards but certainly packs a punch. Lustre is a mellow, but hard edged, classic and one of the best songs on the album with great vocal harmonies and crunching, soaring guitars, it grabs your attention and holds on, a powerful piece of music.

Outrun God is next and, again, this starts gently but soon gains momentum. The song also has a highly impressive refrain that will stay with you long after it has finished, highly impressive Stuff. Mercy follows with very some very heavy guitar and epic synth work, along with driving beat that really gets under your skin in a positive way. 

Of Brine and Angels Beaks opens with strong keyboard textures and a low bass from Bella Lee and some kick from Sam Calder on the drums. The song is slower paced but very dramatic, with some excellent vocals from Chris in among the strident riffing from Galen. The middle section really rocks with lots of effects being used to process the sound effectively. Again, a very strong chorus and, indeed, song which strong metallic elements to the fore. The song is quite dark in nature, especially in the lyrics. It talks a lot about death and the passing of time, the bass is prominent here and sounds impressive too.

A Sailor Will Learn is next and starts softly, although the vocals are certainly impassioned, after which we enter a heavy section with Galen’s furious guitar riffs adding great dynamics to this song. There is yet another memorable chorus and some more dual guitars tracked that give the melody a lift, after the chorus there’s a furious section with some frantic guitar parts and great solo before thunderous drums lead to more riffing guitars. The keyboards take over before leading back into vocals, although taken at pace. This is one of the strongest and most imaginative tracks on the album, simply fabulous and with a great solo towards the end. The subject matter is dark again but what a song! Fabulously inventive and invigorating.

Cup Of Poison is another lengthy and epic piece, opening with some graceful guitar lines as the song builds its momentum. The track is epic in nature and tone, with lovely graceful, fluid guitar lines. It’s all highly impressive, musically diverse and bravely bold. Not afraid to be different, not for show but because the songs merit it. This song also contains elements of Celtic music touches which add to its magic and dynamics. In fact, the whole album is full of dynamic touches, you’re listening and then it all changes abruptly but in a positive direction. The Jellyfish is a shorter track with excellent keyboard programming and a definite 80’s touch to it. Lyrically, the song is simply weird, talking about living on a self-made raft and longing for a different life.

The album closes with Ameotoko II – Cloudburst, which is ferocious and hard hitting and, once again, has disturbingly dark lyrics about killing and death but fabulous music. There’s lots going on here and it’s never a dull moment, before you know it you’ve reached the end and are left wondering what the hell you’ve just listened to? Before you know it, you’ll be playing the album again, just to try and grasp it all a new. Such an impressive album that will stay with you long after it’s finished.

I’ve added a link to the lyrics as I feel following them will aid in understanding and appreciating this fine album, I know it certainly helped me get the gist of it all.

Released 11th June, 2021

Order the album here:

Of Brine And Angel’s Beaks | Azure (bandcamp.com)

Find the lyrics here:

Azure (prog rock) – Of Brine And Angel’s Beaks Lyrics and Tracklist | Genius

Review – Phenomena: Phenomena / Dream Runner / Innervision / Anthology – 4CD Box Set – by John Wenlock-Smith

Nostalgia is a thing of the past, or so one witty person once said. Although, reading progressive music websites could we have you thinking that prog fans are Living In The Past, as Jethro Tull once sang on their unorthodox album of the same name, released in 1972. A certain sector of prog fans tends to view with suspicion any album released after 1976 and, heaven forbid, anything from the eighties or beyond!

This is unfair and is not completely true, much as I love those classic albums from prog’s so called ‘golden era’, I am also open to newer music, as I am to reissues of classic, long lost, or under-appreciated albums, of which I have reviewed several on this very site.

Many of these lost gems come from the good people at Esoteric/Cherry Red, although some have come from the Rock Candy label whose remit is usually hard rock or AOR type offerings from US Bands who got lost in the mix of all that has happened in the last four decades.

This review features one of those lost gems, namely the Phenomena album from 1985. Phenomena was a project created and  by Tom Galley, the Cannock, Staffordshire younger brother of Mel Galley (the guitarist in the Midlands based band Trapeze). Mel was also heavily involved in the music behind this “concept” album, being able to call up, and recruit, his old band mate Glenn Hughes, who had been with Trapeze for their first three albums before jumping ship and taking over from Roger Glover in Deep Purple. In addition, both Cozy Powell and Neil Murray (who were both members of Mel’s then band Whitesnake) were recruited to the project, as was original Magnum keyboard player Richard Bailey and John Thomas of Budgie.

On paper, the project had the stamp of pedigree with some very well known and established musicians to carry the project forward. The album had interesting packaging with a deluxe booklet with the lyrics and the artwork of Ian Lowe’s interpretation of the songs (along with the lyrics and album credits). All this occurred on the then Bronze label home of Uriah Heep and another local hero Robin George, who also had Magnum connections. However, Bronze were in trouble financially, their golden days of Uriah Heep selling millions of albums were long past and they were struggling to make ends meet, As such, despite the huge promotional push for Phenomena, it sadly failed to make the sales expected, Robin George’s then album, ‘Dangerous Music’, suffering a similar fate.

Listening to the album again now ,nearly 40 years on, is fascinating and, yes, the music certainly stands up well and is rightly due for re-evaluation, This set comprises all three Phenomena albums, along with the ‘Anthology’ album that includes three tracks from the original album, three from the second album, ‘Dream Runner’, and four from the third, and final, Phenomena album, ‘Innervision’. In addition, there are three non-album tracks and two 12″ single mixes of Did It All For Love and Still The Night. Also, there is a booklet for each album that gives the lowdown, who plays what and the full lyrics to each album, all well presented in a sturdy clamshell box.

The music itself is prominently British heavy rock of the mid 1980’s so think Whitesnake, Thin Lizzy or Gary Moore and you’re in the right territory. What really lifts the album into something special though are the tremendous vocals of Glenn Hughes who is absolutely fabulous throughout and sings his lungs out on tracks like Still the Night and Phoenix Rising. Also very noteworthy is the demonic violin playing of Ric Sanders (latterly of Fairport Convention) on the track Dance With The Devil. It is utterly mesmerising and backed up with some muscular musical accompaniment. The last track on the album is a little different in that it is performed by a boys’ choir who wordlessly intone Latin, which gives a certain gothic nature to the track.

On listening to the album, I think I can spot where they went wrong in that the concept was not clear enough for listeners to fully grasp and so this was a factor in not really reaching the heights they had wanted to achieve. Also, there were a myriad of confusing releases from the album which, over time, diluted the album’s appeal and could be viewed as hype that was not fully realised. This was a pity as the original album had good material and performances throughout and really deserved far better than it received.

The next Phenomena album was released, again to much fanfare, in 1987, some two years after the original album. This time around they took a more Sci-Fi based storyline and plot, although, again, the concept got lost in the mix a little. This time they had, in addition to Glenn Hughes, John Wetton of Asia, Ray Gillen of Black Sabbath and members of Japanese band Bow Wow, whose guitarist and drummer came on board, as did Max Bacon of Bronz, another group whose success was limited by the collapse of the Bronze label.

The music was, again, very mid eighty’s hard rock, although John Wetton’s vocal on Did It All for Love gave the album a big boost in certain markets like Europe and South America, where it was a big hit, making the album even more successful than the first. It still stands as a fine piece of hard rock from that era, stand out tracks being Did It All For Love, Hearts On Fire, Jukebox  and No Retreat, No Surrender, on which Ray Gillen turns in a memorable performance. Again, the artwork is very suited to the album and the booklet details the saga of getting the album out. It was quite a struggle and the fact they managed it speaks volumes to the faith they had in the project, which was thankfully repaid upon release.

The third album in this set is the ‘Innervision’ album from 1993, this time the concept was far less ethereal or supernatural and was more like a gangster story. The music is more up to date, in that it sounded like a British Bon Jovi with big riffs and choruses and with a great, little known, vocalist, Keith Murrell (who had sung with Cliff Richard and Airrace, amongst others). The big star on this album was Brian May, who Scott Gorham knew and asked to play on two songs, What About Love? and A Whole Lot Of Love. The lineup may have been slimmed down but, even so, the music has fire and guts and still sounds good today, some 28 years on. I never bought this instalment as it was always expensive, so it’s good to have it in this set now. Again, the booklet tells the story behind the album and the difficulties they had in getting it released, 7 years after the second and 10 years after the first album.

Banzai sounds like a Foreigner song with some crunchy guitar riffs amidst the keyboards, the big song is What About Love, featuring the aforementioned Brian May on guitar, and this sounds truly epic with masses of backing vocals. They were trying to get Freddie Mercury to sing but, sadly, it never happened, imagine how that would have sounded! Yet again, the concept gets lost in the mix somehow but, the songs and music are exceptionally fine indeed and Keith Murrell is a fine singer who brings fire and passion to these songs, making this third instalment a real treat and an undiscovered classic album.

Having said all this, I do feel that these albums are worthy of far more appreciation than they received at the time and the additional tracks and excellent booklets provide information that makes this set very worthy of investigation. Of its time and era for certain but both marvellous and bold, in the face of many difficulties and with definite progressive moments and wonderful performances by all. In addition, the set features three previously unreleased tracks, Assassins Of The Night and Running With The Pack with Glenn Hughes and Stealing Heaven with Keith Murrell, and 12″ mixes of Did It All For Love and Still the Night.

Order the box set from Cherry Red here:

Phenomena: Phenomena / Dream Runner / Innervision / Anthology, 4CD – Cherry Red Records

Review – Drifting Sun – Forsaken Innocence

Drifting Sun are a UK-based Progressive Rock studio project. Their music has been described as dramatic, theatrical, and atmospheric, in the true style of Progressive Rock giants such as Dream Theater, Queensryche, Genesis and Jethro Tull, to name but a few of the bands that influenced their sound.

Or so says the PR material, well, with the addition of renowned greek solo artist and lead vocalist of Verbal Delirium, Jargon, I personally think you can add rock royalty Queen to that list!

I’ve long been a fan of this unique musical project, their amazing musicianship has touched areas of symphonic prog, progressive metal, hard rock and many others but this new album is truly the pinnacle of their work so far. It is pompous, ebullient and in your face at times but with a nod and a wink, and not a little humour, at times. Powerful vocals, soaring guitar lines and a monstrous rhythm section all contribute to a magical melting pot of musical brilliance.

There are no weak tracks on the album, opener King of the Country flies along at a breakneck pace with Pat Sander’s excellent keyboards leading the way. It’s when Jargon’s fine, distinctive vocals begin that I begin to feel we are being treated to something special here. In association with Pat’s keys, he gives me an impression of that great Queen track, Don’t Stop Me Now, but done with Drifting Sun’s own inimitable style and it gets me smiling immediately!.

Insidious is a more introspective track with a melancholy vibe engendered by the brooding vocals and dynamic keyboards, a dramatic and powerful piece of music. That melancholy feeling carries over into the melodramatic, theatrical inventiveness of Dementium, a pair of songs that take symphonic prog and elevate it to another level. New Dawn is a heartfelt, emotive track with a sincere vocal and Pat’s elegant piano giving an almost forlorn feel to the song, the emotion and passion are bared for all to hear, especially on the superb guitar solo.

Now things get really interesting with the two part title track. At over twenty five minutes in total, Forsaken Innocence Parts I & II is epic in every way and is some of the best music I have heard this year. A group of musicians at the height of their game and playing in perfect harmony, when that happens then music simply becomes a joy to listen to, every note resonating with you on a personal level. I suggest just sitting back and letting these impressive pieces of music just wash over you and marvel at the brilliance on show.

Time to Go is the final track on the album (not including the bonus track*) and brings things to a close with a clarity and calmness that just leaves you in a better place.

(*Bonus track Hand on Heart is a brief, but compelling, footnote to the album, authoritative vocals and energetic music delivering a short, sharp and effectual hit of Drifting Sun’s addictive music.)

‘Forsaken Innocence’ sees Drifting Sun step out of the shadows and cement their place at the top table of progressive acts in the UK. It’s an engaging, captivating and sensational listen every time you press play and is deservedly up there fighting for the honours of album of the year.

Released 27th October, 2021.

Order from bandcamp here:

Forsaken Innocence | Drifting Sun (bandcamp.com)