Category: Album Reviews

Review – Long Distance Calling – Boundless – by Kevin Thompson

There’s always the clamour to decide what has been album of the year every annum and the good and great are voted for. In conversation the other day it arose that what is voted best, may not always turn out to be the most played.

Some albums push their way into your play-list and you find yourself returning to them regularly to get your fix. Long Distance Calling’s “Trips” is one of those albums for me. I can’t count the number of journeys in the car, where it has been played, you just have to be careful one doesn’t drive too quickly to some of the tracks. It is a real energiser of an album and always picks me up.

I have all their albums and the addition of vocals on “Trips” seemed to give it an added edge. So I was surprised to find the latest Long Distance Calling (LDC) release “Boundless” sees them returning with an all instrumental album and no Petter Carlson on vocals, a brave or foolish move?

The suitably brooding cover and promotional photos accompanying the music would suggest the promise of something a little darker with plenty of atmosphere and strength in their musical belief.

A crash of cymbals and the heft of drums from Janosch Rathmer feed into a drone, building with a lashing of feedback from guitar duo Florian Juntmann and Dave Jordan to see them Out There. The growling guitars are suppressed to repetitive gentle chords, Jan Offman’s bass blowing across the brown grass and moss covered moors as LDC bend into the stiff breeze and push forward, the mud of sceptics sucking at their boots. Drums drift back into the mix and the music rises to a crescendo as they reach the foot of the mountain and assess the route.

The heavy climb is echoed in the pumping guitars as LDC begin Ascending the second track of the mountainous album, riffs jabbing at them like the bitter wind, scrabbling for hand and footholds, the escalating guitars puncturing the cloud-base as the band strive for the peak and throbbing percussion pushes upwards as looping chords announce the summit.

They are In The Clouds, disorientated with limited visibility as strange sounds and percussion echo around. Strummed chords bend like sirens’ cries and aggressive guitars pull at the fabric of the tune as LDC seek to gain purchase and not lose their way among the rocks and crevices of the atmospheric synths and loops. The instrumentation fluctuates, with the menace of the bass warning of one lost footfall and the subtle percussion tries to wrong foot across undulating, tuneful ground.

Through plucked strings and behind jangling guitars, a sound is heard Like A River, as this accomplished German quartet confidently navigate their way. At one point the sound morphs into something narrowly close to the theme from a spaghetti western, whilst violin and brass make brief dalliances. Pulled back by the whistling winds, the clouds of music are parted revealing unparalleled views of the cruelly beautiful landscapes around them,. LDC admire the aural view as the guitars float down the mountainside and away.

Pushing their way through the heavy waves of riffs that strike them, the band forge their way to The Far Side of the mountain top, drums eddying as bass rolls of thunder meet overhead and the darkening, heavy clouds of guitar speed their way across the sky with determination.

Abruptly finding themselves On The Verge, piano calms the storm as harmonic guitar notes are picked to drift in the air. Looping guitars build and the band members attend to the backpacks they have been carrying and prepare for the descent. The music creates a determined urgency, to take advantage of the break in the weather, as the clouds drift away and pale watery skies are revealed.

Buddy checking they are ready, the band take a few steps back then all instruments rush forward together and leap from the edge………

The cold air moans around them as LDC dive from the precipice, sharpening the senses at the wonder of it all as they feel Weightless, drifting like birds on the thermals of the music as the building bass and drum rhythms quicken the heart. The pace of the descent increases, arms and legs splayed as the music spreads and the guitars fly with complete freedom. A tug of chords, the brief jerk upward as the ‘chutes open safely and they are nearly there.

The ground rushes towards them with all the energy the instruments can muster and percussive blood pumps in the ears. Knees bend as contact is made with terra firma and they roll before standing proud as the music swells their chests and hearts. Rising, the Skydivers acknowledge they have arrived unscathed and begin to draw in the ‘chutes as they congratulate each other in conquering the dramatic mountain of music; they have made it their own.

All gathered in, the band turn and with fading notes in the cooling breeze, LDC head back homeward with tales of their achievement bolstering their distinctive success.

So have Long Distance Calling pulled off the challenge of reinvention? For me it’s another resounding yes, to be shouted from the highest mountain and to echo in every valley. Their bravery has been rewarded and so shall yours if you have belief and buy the album.

Bands are criticised for drifting from their comfort zones at times or relying on tried and tested methods, this is no throwback but yet another push forward for Long Distance Calling whilst holding on to their distinctive sound, well done lads, keep up the good work.

Released 2nd February 2018

Order ‘Boundless’ direct from Inside Out in Europe

Order ‘Boundless’ from Burning Shed (UK)

Photos by Michael Winkler.

Review – Sacred Ape – Electric Mountain – by Progradar

You know when you hear the first few notes of a new song from a new album and you know it is just going to be very, very good? It doesn’t happen all the time but, when it does, a smile begins to grow on your face.

Well, when I heard the first notes from Meet Your Maker, the opening track from Sacred Ape’s sophomore release ‘Electric Mountain’ that familiar feeling started to tingle across my body.

I was a big fan of prolific musician John Bassett’s new synth and dark wave project when I heard the first, self-titled, album last year but he has really moved the game on with this second album and in a big way.

John said, “I think, its kind of like a progressive 80’s electronic horror soundtrack, sort of? but that just might be me? I feel this is the closest I’ve got to the sound and style I was hoping to achieve when I first started this project.” he went on to say, ”  I was pleased with the first Sacred Ape release but it ended up too poppy, mainly due to the vocals and pop melodies. Nothing wrong with that, but it wasn’t what I had planned, this Electric Mountain album is much more in alignment with my original idea. I’m also very happy with the production, making this type of music has pushed me into learning some new mixing and production techniques which I can bring to the next project which will be more rock orientated.”

Coming in at a brief thirty six minutes and composed of seven tracks, the album opens with the darkly dangerous Meet Your Maker where John really has got the John Carpenter soundtrack vibe down to a tee. Bass heavy and with the sonics of the synths making your hair stand on end, this is not music for the faint hearted with its unrelenting tempo and 80’s industrial electronica sound. I found myself instantly immersed in the finely crafted ambience. If you’re a child of the 80’s then title track Electric Mountain will take you right back to those times with its catchy hooks and Exorcist like back ground synths. Vibrant and utterly dynamic in range and impact, it could be from a soundtrack to a world dominating alien invasion film or just some thoroughly entertaining industrial synthesiser music. All I know is that it is near nine minutes of sheer nostalgic brilliance for this music fan and it has been on repeat on my iPhone since I first heard it.

What must be a contender for song title of the year, Grandma Doom And The Happiness Trap is an altogether darker foray into electronica. Compelling and incessant, the music drives you on mercilessly and you are quite happy to let it lead you mindlessly on like a modern day Invasion Of The Body Snatchers theme. It might even have a touch of Dr WHO to it as well, but that may just be me! There are little gems at every turn as the rhythm and cadence ebb and flow and I feel John is reaching back to his younger days to touch on the many influences that have moulded his music. A wonderfully atmospheric eight minutes of 80’s reminiscing. Janie’s Theme almost sounds like a synth wave Mike Oldfield track, with electronic glockenspiels and dulcimers echoing around you. Engrossing from beginning to end it’s only flaw is that it is too short, in my opinion!

There’s just something about Sunblock that makes me smile every time I hear the opening strains. It’s languid, laid back style echoes glorious summers of the decade that taste forgot and every note seems perfectly placed, mirroring that Giorgio Moroder sound that was everywhere in the 1980’s. There’s an addictive and catchy refrain that runs throughout and it is just a real feel-good piece of music that anyone around my age will really appreciate. Mono Grande is a delightful, if criminally short, return to the refrain from Electric Mountain but delivered in such an incredibly relaxed and laid back manner that it makes the hairs on the back of your neck stand up.

The final track on this release is Headlights and with its harsh and in your face opening  you really feel that you are a rabbit caught in them! Compelling and dynamic, it powers along at first, dominating proceedings before the keyboards take a softer edge for a short while. It isn’t long before that domineering sound crushes all before it though. The track then continues as a juxtapose of those two quite different styles, a real nod to that atmospheric feel that John was hoping to attain and, to be fair, does with consummate ease. A potent statement to close out the album.

I get the feeling that Sacred Ape is a project that John really enjoys doing and is one that is close to his musical heart. If ‘Electric Mountain’ is its zenith before this incredibly versatile musicians voracious appetite takes him down another route then he is leaving on a fantastic high. Right, I’m off back for another listen, you lot can get your own copy at the link below!

Released 26th January 2018

Order ‘Electric Mountain’ from bandcamp here

https://www.youtube.com/watch?v=j8nzS-BEpno

 

Review – Gleb Kolyadin – s/t – by Progradar

I suppose, like me, the music you listen to depends on the mood you are in? Uptempo, fast-paced music for workouts or when you are in a really energetic mood or perhaps the chilled out, more relaxing music for a quiet night in and then there is that album that sits a bit on the fence, it has the higher cadence but also the easygoing, even emotive tracks that make it a great listen.

I was lucky enough to receive the promo for Gleb Kolyadin’s (pianist and co-songwriter of Iamthemorning) self-titled solo release and was intrigued to find out whether it would be more of his day job or a change from the norm that would head in other directions. Along that journey I have had the pleasure to become engrossed in what is a wonderful musical adventure…

The record features a staggering who’s-who of performers, including: Gavin Harrison (King Crimson / Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.

The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records.

There’s a wonderful freshness and freedom to the music that Gleb delivers, whether it is the instrumental tracks where his piano playing is key or the vocal tracks where intimate stories are weaved by the collaborative voices of Mick Moss and Steve Hogarth. The near-frantic tempo of opener Insight is a case in point with Gleb’s dextrous digits flying over the ivories to give a breathtaking demonstration of his skill. The accompanying musicians add a veneer of sheer class, Theo’s sax really stands out and you could imagine yourself standing to applaud as it comes to a close. There’s a humble feel to the opening of Astral Architecture, the gentle piano is hushed in comparison giving an ethereal grace to the song. Mick Moss adds a subtle authority as his vocals begin, full of feeling yet with an undercurrent of melancholy, they draw you into there intimate embrace and you willingly follow. A fantastical aura settles over the song as the vocals take on a more passionate note and the classical strings add gravitas, a powerfully emotive track. The elegant notes of White Dawn wouldn’t be out of place in a piano recital, oozing class and panache, it’s a short interlude that could be termed a musical amuse-bouche and it leaves a lovely feeling on the aural palate.

The theme continues but at a much faster tempo as we segue into Kaleidoscope, a track that lives up to its name as you are taken through a huge spectrum of musical wonder by Gleb’s incredible skill and artistry. Tatiana Dubovaya’s haunting vocals give an air of mystery and intrigue but it is a piece of music that fairly skips along without a care in the world and you gladly join the ride as Theo Travis’ flute takes up the reins to take us to a breathtaking close. The momentum slows a little for the captivating charm of Eidolon to beguile and enchant before the slightly discordant notes of Into the Void carry on the recurring musical theme, quite insistent and incessant in their delivery. Again, this is classical music given over to a mass audience with the added skill and expertise of modern day, real world musicians added into the mix to create something quite unique. The unrelenting timbre is carried over to The Room but you always feel the performers are totally in control of proceedings. A note of seriousness has entered the music in places, the happy-go-lucky quality taking a step into the shadows without leaving altogether, Theo’s sax playing adding a gritty feeling of ‘out there’ jazz playing to the furious piano that closes out the track.

There’s a wistful, darker aura that descends around Confluence, a dreamlike and wistful opening seems to be meandering to nowhere in particular with is deliberately slow tempo and Steve Hogarth’s hushed spoken word vocal barely heard in the background. It’s a wistful, contemplative tapestry on which a beautifully mournful soundscape is created. The music has a thoughtful and reflective ambience as it dances gently across your aural synapses and belies its ten minute plus length. This song is a testament to Gleb’s creativity as it twists and turns to gather pace before applying the brakes, always demanding your attention, an introspective piece of music that leaves a lasting impression on your mind. Constellation The Bell is a moving song that has a barely hidden fragility behind the impressive piano playing, an eloquent and expressive three minutes that leaves a hollow feeling behind. There’s a grandiose and ebullient impression to the short lived Echo Sigh Strand, a track where Gleb’s piano playing seems to emanate from his very being to come alive and it crackles with electricity, powerful and exciting.

Penrose Stairs carries on the pomp and circumstance with added theatrics, a vibrant and imposing track aided and abetted by Gleb’s stellar accompanying cast of musicians. However, it is the intricacies of his skillful piano playing that is always at the core of these songs. The involving complexities of the elaborate Storyteller take on a slightly menacing tone as Jordan Rudess’ instantly recognisable keyboard skills take over, it’s quite a thrilling joyride from beginning to end. All good things must come to an end and the dulcet tones of Steve Hogarth herald the closing track on the album The Best of Days. A fantastically nostalgic song where Gleb and Steve work together perfectly to deliver a sentimental track that tugs at the heartstrings. It’s hard for me to put my finger on it but there’s just something about this song that really works and, to my ears, it is near musical perfection.

I met Gleb at this year’s Summer’s End festival and he is a quiet, polite and very unassuming man, perhaps it is through his creative side and his music that he can really express himself. This self-titled solo debut is pretty much a work of art where the undoubted piano playing skills of this virtuoso musician are complemented by some of the most prominent musicians around to give us something quite wonderful and ultimately rewarding and something which I cannot recommend highly enough.

Released 23rd February 2018

Order ‘Gleb Kolyadin’ from Burning Shed here

 

Review – Blank Manuskript – The Waiting Soldier – by Gary Morley

The wallet emptier’s influence reached through time and space to deliver a veiled threat.

“I’ll send you a CD if you review it within a week.”

As I’ve been away from the typewriter for a while, I accepted the challenge and tonight the CD was sat waiting for me to take my first lesson. The CD itself offers no clue as to the contents.

Remember the fun Led Zeppelin had with their 4th album – no name, no catalogue number, no clue as to the wonders inside the sleeve? Well, as I listened to the opening track, a veritable funky mix of Ozric Tentacles and Gong, I examined the sleeve for clues.

The band may or may not be called Blank Manuskript.

The Cd may or may not be called ‘The Waiting Soldier’.

The band may or may not be German (they are Austrian – Ed.)

The first track, as I said is wittily called The Introduction and it does just that. It opens to an unfurling synth sound that put me in mind of Leftfield before a crisp drum sound and a very Gilmour guitar tone – the track then throws a flute in the mix and proceeds power this along at a cracking pace. The guitar, flute and drums with the synth burbling behind it all hones my comparative glands – Ozric Tentacles! Then the vocalist forces his way in, and the track dynamic changes to a menacing almost punk feeling, with some great synth playing to further blur the genre comparisons.

The slide guitar playing is beautiful and the vocals are another layer on top – Punk Floyd?

Public Enemy is next, starting with picked electric guitar, and mellotron , all good Prog styling , with powerful riffs and drumming alternating with the plucked guitar, almost classical in places. Remember Nirvana and that grunge cliché of quiet, loud, quiet that was prevalent? Well this is the sonic equivalent, as we are taken off into several rooms at speed during the first 3 minutes of this track, finishing in a funky clavinet sound on top of all the guitar and drums.

But as I’m learning with this album, the tracks twist and turn, reshaping themselves as they progress. The vocalist appears, sounding quite cross about something or other, not at all happy about having his dreams take away.

Kites To Sky is a slower, more thoughtful piece with some fine guitar blasting over a brass section. A certain south coast Rock ensemble have got a lot to answer regarding filling the soundscape with Brass! The child like vocals ad a nice juxtaposition and fit the slightly dark dreaming vibe.

Dreamlike is not a description that would apply to Doubts with its forceful angular guitar and honking saxophone. This calliope of sound is best described as Madness playing Hawkwind at a Gilbert and Sullivan convention! The wide choice of instrumentation the band employ adds a slightly menacing surreal feel to this track, as glockenspiel and flute carry the tune ever onwards, before falling over the cliff edge of the end of the track.

Next up, haunting strings and a bell slowly ringing introduce The Night , the sparse musical poem slips around the ears as the strings give way to a sustained keyboard sound, very atmospheric and serves as a perfect table for the guitar to build the framework that the spoken words of the narration are spread out for the trombone to examine. This is my favourite track so far. Pink Floyd meet Nightmares on Wax with Groove Armada providing the bridge into a hauntingly beautiful synth solo, again very Rick Wright in terms of the amount of emotion in the playing. The vocals appear, and the Floyd comparisons are justified as the track continues, the keyboards swelling and dominating the climax

The vocals are almost another layer of instrumentation as they are lost deep in the mix as the track concludes.

Conclusion seems to have too many words for the tune and some frantic guitar strumming. The opening rant gives way to a fine walking bass, with guitar and drums that appears, then disappears just as rapidly. More words tumbling out but at a more regular speed now. This album has a very retro feel to the instrumentation, with a Hammond swirling away here, driving the song onwards to the saxophone and Hammond duet middle part. Almost jazz blues here, a late night jam session at Ronnie Scott’s between Dick Parry and Jon Lord with some fine drumming, more Cozy Powell than Bill Bruford , but the drummer knows his way around the kit, with some nice flourishes in the background as the sax and organ battle it out.

The track then segues into Cloud via a sustained organ chord, creating an eerie, almost Hammer House of horror mood. The Saxophone now swoops and pecks menacingly at the layers of keyboards, and they film soundtrack seems to be indicating a threat to the hero / heroine whose voice is buried beneath these layers. So now we get disembodied voices, a choir of demons and those long-sustained chords are menacing enough without them. The scene fades to black, no climatic ending here, but a hiatus before a piano and snare drum return as a coda, almost disconnected from the rest of the piece. This is a short album, just shy of 40 minutes, but it is full of big sounds, ideas by the bucket and some fine musicianship.

I am going to invent a genre for it as peopled like to know which box to put things in, so sit down, pour a lass of a dark red liquid (wine preferably) and immerse yourself in the strange and slightly disturbing world here. Cinematic Post Gothic Prog. That sums it up.

Right, I’m going to listen again. It’s worth it.

I described this as “Punk Floyd” and that sums up this album nicely. Check it out. Because you’re worth it too.

Released 27th July 2015

Contact the band on Facebook to order the CD

https://www.youtube.com/watch?v=1mQAojgNV-I

Featured image by Paul Sprinz.

 

Review – Acqua Fragile – A New Chant – by James R. Turner

They may be a new name to you, they certainly were to me, but Italy’s Acqua Fragile were originally active between 1971 & 1975, and vocalist Bernardo Lanzetti joined PFM for their ‘Chocolate Kings’ and ‘Jet Lag’ albums, leaving in 1977.

The catalyst for this reunion record came when Bernardo celebrated his career with his Vox 40 concert, and the revived band consists of Bernardo Lanzetti (vocals, animoog, guitars) Pierro Canavera (drums/percussion/backing vocals) and Franz Dodi (electric bass), as well as guest musicians like Jonathon Mover (on opener My Forte) drummer Alexander Mori (son of original keyboard player Maurizio Mori) as well as members of the Acqua Fragile Project, a collaboration put together by Franz Dodi of younger musicians playing the original music of Acqua Fragile.

You wait a while for some bands to get on with the ‘difficult’ third album, but it’s taken these guys over 40 years!

Joking aside, the musicians have worked hard in Italy, and Bernardo is a well known name on the progressive scene, having worked with Mangala Vallis amongst others, and with new blood in the group like collaborator Alex Giallombardo, who provides guitars, vocals and keyboards this blends the best of traditional Acqua Fragile with new sounds and contemporary production values.

This blending of old and new is probably exemplified by the track Wear Your Car Proudly, which was a track the band used to perform in the 70’s, which had never been recorded. The music was intact, with some driving guitar and bass, and wonderfully squelchy mid 70’s synth sounds, (it’s also reminiscent of the neo-prog sound of the early 80’s) yet the lyrics had gone, no trace, so Bernardo’s friend came up with some new lyrics, and hey presto, a wonderfully eclectic song all about motor racing. It’s in the Italian blood, and the passion comes across in this song.

They have even recorded a track in Italian, Tu Per Lei (You for Her) with some wonderfully emotive vocals from Bernardo, and a great electric guitar solo, and it’s true that Italian is a beautiful and emotive language, I don’t know exactly what’s being sung about, but it sounds fantastic.

In fact that’s a good word to use to describe this album, fantastic, I always admire musicians who can write in their second language, and their English is probably better than mine (I am also probably a little jealous as I am no linguist, cunning or otherwise) and to flit between their native tongue and English, is wonderful.

The Drowning meanwhile utilises the lyric skills of Nick Clabburn, who paints a wonderful picture, for Bernardo to fill with his rich vocals.

Meanwhile Rain Drops is a poem, by the legendary Pete Sinfield, that Bernardo loved so much he wanted to adapt, he even explained how he got permission from the elusive Mr Sinfield to include this on the album (in the interview elsewhere on Progradar that I did with him) and the orchestral, almost Oldfieldesque accompaniment works perfectly in drawing the nuances out of the lyrics, and Sinfield’s imagery is both wonderful and very emotive, again showing Bernardo’s voice off to the full.

The core band here sound relaxed and enjoying each others company, whilst the self-explanatory All Rise is a fab rockier number, showing the band kicking up a storm, in a nod to the live arena, a self confessed first encore track, utilising the traditional courtroom phrase to great effect, and providing the energy and power that every good encore needs.

The mood slows a little, with the lovely acoustic How Come, where Bernardo’s vocals continue to shine, and his personal and moving lyrics work in this stripped back environment, providing a brief period of reflection prior to the closing power of the albums title track.

A New Chant see’s Bernardo projecting his voice in an operatic finale, the music and lyrics working together, a beautiful merging of sound, topping off what is, to these ears an excellent record.

It’s great to see that bands can reform after a long period of time, pull together in the studio and rediscover the old magic, this is Acqua Fragile reborn for the 21st century, and is worth a listen. I really enjoyed it.

Released 13th October 2017

Order ‘A New Chant’ from Cherry Red Records here:

https://www.cherryred.co.uk/product/a-new-chant/

https://www.youtube.com/watch?v=GCR582Q96FU

Review – Tonochrome – A Map In Fragments – by Emma Roebuck

“Tonochrome are a London based art rock quintet whose grunge aesthetic is peppered with jazz harmony, contemporary classical influences, Andean sounds and pop hooks. A coming together of opposites, of texture and colour, of the acoustic and the synthetic, Tonochrome are a joyful reminder of what music can be when you just don’t give a damn about convention.”

Their own publicity from the website speaks volumes and Tonochrome have been making noises in the capital for a short time now with some very positive press. They have an interesting take on music and draw from any muse that feels right, plundering from across the board from world music to blatant pop and seem to believe nothing is off the table. The music draws from the melancholy end with melody at its core and Andres Razzini’s voice has a definite quality to it that slots into that downbeat shoegaze, indie feel.

12 tracks, no epics just solid song writing but definitely not verse, chorus, verse, chorus, middle-eight, verse, chorus, fade …

Border Crossing is just what it sounds like – a narrative of refugees and the loss of life and human rights. The use of understated percussion and violin sounds along with an open guitar where space is left in abundance until the build up of tension drops into a driving riff adds to a measured pace that reflects the cold way the politicians have used the refugee crisis to their own ends. Disputed Area definitely channels Sigur Ros with its use of melody and space. This again has a current affairs storyline with an awareness of what is happening in the world. What stands out here on this track for me is the use of percussion and rhythm or actually a lack of a driving beat, Jack Painting playing an open game, layering textures of sound.

Humbled & Broken is faster paced and up beat and, for me, connects Charlie Cawood’s influence and Knifeworld into the band. The keyboards play a big role with a Latin American rhythm and phased electric piano. The Three “interludes” that are spread through the album act as punctuation and have the feel of a jam session that helps the flow of the album from one space to the next. They highlight the talent on display and are so understated with it.

Conformity comes under examination with Just Like Us, the use of the string section and wah wah guitar sound has harmonic overtones that can be heard through much of Knifeworld’s material. Kilometre Zero reflects the power a solo voice and piano can carry with a string section adding an eerie back drop in the final third. Truly spine tingling in its tone and feeling, this is a hidden gem in the album.

I don’t do track by track reviews, I normally just want to give the music fan an idea of what they are buying and then let them decide but I cannot finish without mentioning The Gates. This stands out head and shoulders for me personally, the structure, the composition and the sheer quality show a maturity and restraint that others should take note of and learn from. It is melancholy concentrated into one piece of music.

I refuse to brand this outfit as Prog, but it is truly progressive in its nature. The Delinquent Pachyderm has a real stand out album here. If you are going to start a new year with a bang this is it! Tonochrome sit on the fringes of shoegaze/ alternative/indie in a very real way. I reckon with some luck and a little mainstream coverage (Radio 6 are you listening), they could shatter the glass ceiling that is blocking much of the good music around right now.

Released 2nd February 2018

Order ‘A Map In Fragments’ from bandcamp here:

 

Review – Perfect Beings – Vier – by James R Turner

Now, I like listening to bands I have never heard of before, because I like discovering new music, new sounds, and if you review something from a band you have never heard of, I find you are coming to the music from a fresh perspective, not being clouded by opinions of previous records or previous sounds.

I’ve been listening to ‘Vier’ for the past few weeks on my commute to work, headphones on; the sights of Bristol (Clifton Suspension Bridge, Ashton Gate, The Floating Harbour) have all been sound tracked by this, the 3rd album by Perfect Beings.

Based in Los Angeles, the bands consists of Johannes Luley on guitar and bass, Ryan Hurtgen on vocal and piano, Jesse Nason on keyboards and Sean Reinart on drums the band have had a few personnel changes since their last album ‘II’ in 2015.

This latest album is epic in both its scope and it’s performance, being split into 4 symphonic musical parts.

Guedra (18:23) The Golden Arc (16:47) Vibrational (18:17) and Anunnaki (18:42) makes this album their ‘Topographic Oceans’ a rather expansive symphonic CD or, in old money, a double vinyl set (with each side being a song suite, just how the traditionalists like it!)

After losing their original bassist Luley stepped up to the mark contributing both bass and guitar to this album, which will make it interesting if they ever do tour it, as, whilst he is one of the most interesting guitarists working currently (comparable to a Luke Machin or a Matt Stevens), he’ll need to be an octopus to recreate the intricate guitar and bass sounds on here.

There is a lot for music fans to admire on this record from the lush multilayered harmonies that open the record with A New Pyramid, to the sort of instrumental prowess that runs throughout the record.

Luley’s sound has grown and matured, with elements from his two solo albums finding their way into the compositional melting pot here, which stretches and pushes the Perfect Beings’ sound out of bog standard prog territory and into something that bounces gleefully through time signatures, across genres, through the past 50 years of prog and even through the different movements of the record as themes from previous songs appear in the closing suite of Annuki.

The rest of the band seem just as energised as they diffuse the spirit of classical prog sounds through their own musical filter as the sounds of Guedra lead you into The Golden Arc, which is a more symphonic piece of work, with the piano, keyboards and guitar building up, this is not something that is in your face and immediate, these 4 differing musical facets of the band are like a musical game of pass the parcel.

Every time the music stops and you press play to resume the album, another layer is revealed until slowly you get the musical present that is ‘Vier’.

Hurtgen has a unique vocal sound, and use of multilayering and certain effects again remind in places of the style of Jon Anderson and early Yes, whilst some of the song titles have dropped straight out of the I-spy book of prog, things like A New Pyramid or The Blue Lake of Understanding are much better songs than their titles would suggest, whilst The Persimmon Tree on title alone brings to mind a local newspaper headline about house builders and a protected woodland, and yet it’s a rather good song on the album. In fact the shorter songs on here work just as well (if not better) than some of the longer ones, and in the way of song cycles I like the fact that snippets of riffs and musical themes echo across the album, creating a coherent whole. The closing Everything’s Falling Apart is a superbly crisp almost pop song, with some sublime lyrics and musical performances.

Hurtgen’s work on keyboards mixes perfectly with the sound of Luley’s guitar and Nason’s keyboards swathe the album with superb sonic textures and beautiful musical moments, more Rick Wright than Wakeman, his musical skills add to the sound and are a part of the bigger picture.

In fact that’s one thing that stands out about this album, when you have a band like Yes or Emerson, Lake and Palmer, for instance, filled with egos bigger than their talents, you do end up with songs that are nothing more than a glorified solo to pacify and massage those egos. This is one of those albums that are the total opposite, there are some amazing musical sections but on this album the magic happens because the entire band are there pulling together, on the same page, and whilst these are mighty musical talents all the egos are left at the studio door.

There is a lot to like about this album, and there is also a lot of album here for you to like, and the band suggest you turn off and immerse yourself in this record, which is a great thing to do with headphones and a long commute.

A lot of other people have been raving about this record and already proclaiming it album of the year. Now that’s a bold statement to make in January, and yes, there is so much to like and admire about this record, from it’s immersive production to the astounding musical ability on display here, but calling it album of the year is as premature as calling January the best month of 2018. It’s a fascinating and interesting listen with plenty going on musically, and lots of themes that prog fans will love. However to me this is not an album to love, more one to admire. For it’s musical ambition, it’s scope and it’s depth.

Released 19th January 2018

Order ‘Vier’ direct from the band:

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Review – Sills & Smith – Maps-Burned or Lost – by Progradar

“Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.”
― Frank Zappa, Real Frank Zappa Book

I think Mr Zappa hits the nail very much on the head with that quote, life can become very monotonous without something to lift it and that something, for a lot of people, is music.

Now it’s well known that I’m not a fan of the repetitive modern music that makes up the charts nowadays but, if that is what people listen to to make the drudgery of modern life better then who am I to tell them what to listen to?

For me, and many others, it is the well crafted song, the collection of perfect notes that resonate with me and put a smile on my face or help me get through difficult times in my life.

I was introduced to Canadian band Sills & Smith, a project of singer/songwriters Jeremy Sills and Frank Smith, a couple of years ago by their previous release ‘Echoes in Time’ and was immediately hooked. Since thenFrank has kept me updated on the progress of their sixth album ‘Maps – Burned or Lost’ which was released on the first day of the new year.

Recorded by famed producer Phillip Victor Bova, it is described as ‘an epic musical journey, with 14 songs and close to 70 minutes of music that careens between pastoral folk, to trippy rock to progressive rock.’

‘Maps – Burned or Lost’ sees Jeremy and Frank take the next step in their musical evolution and this new collection of 14 delightfully involving songs takes you on a wonderfully engaging musical journey. There’s the slow burning quality of album opener On The Edge, quite an indictment of  the world we live in with its scathing, pithy lyrics and edgy guitar work, the solo just drips scorn and disdain. Frank’s deep and distinctive vocal is as good as ever on this clever track, a superb start to proceedings. There’s a melancholy grace to Kings with its deliberate opening and Frank’s sombre vocal delivery. A song with perhaps a lofty self-important tone, a nostalgic take on days gone by, Jeremy’s lighter vocal is a well judged contrast and the music is just sublime. Frank and Jeremy have surrounded themselves with a stellar cast of musicians that lend the whole album an air of class and sophistication. A Freight Train is a mournful bluesy feeling piece of music, slow burning, calculated and thoughtful with a moody hammond organ providing a layer of gravitas and solemnity. There’s a soulful core to the music and the vocals that seem to bleed a touch of despair and despondency, a properly moving song.

A wonderful song from start to finish, the wistful folk feel to Maps gives it a timeless grace from the humble vocals to the superb unpretentious chorus. This is music written so that every note, every word has its place and is as important as any other, it is storytelling of the highest calibre and it moves me on a most personal level. That carefree, easygoing atmosphere seeps into Waves, a song where the introduction just seems to take you to a place of warmth and love. The chorus is as light as a feather, the music has a charm and grace that leaves you spellbound. Frank’s contemplative vocal opens No Measuring, a thoughtful song with a plaintive, slightly sad feel to it. There’s almost a hushed aura to the music with the elegant piano and the toned down drums. Contemplative and pensive with a flighty flute playing, it leaves me in an introspective frame of mind.

The elegant mandolin that opens Take Care joins with Jeremy’s vocal to give a feel of fragility and beauty and the harmony with Frank adds even more intangible charm. A pared back and willfully sparse song that implores you to take care of yourself with a rarefied dignity. A proper country feel pervades the opening of The Offer and Frank even has a touch of Johnny Cash to his voice, deep and meaningful, it’s a great counterpoint tot he lightness and elegance of the chorus and the slow steady pace of the track lulls you into a place of calm and reflection. Now onto possibly the most upbeat and funky song on the album, there’s a feelgood atmosphere to Grave Fascination with its edgy guitar and offbeat drums that really gives you a lift. Nothing flashy or garish, just a great song that is delivered with confidence and bravado and has you tapping your feet and nodding your head in unison with the beat.

The excellent singer/songwriter vibe returns on Wash Away, Frank’s voice leading the contrite, almost regretful song with the music underpinning the song in a respectful manner. Again, the pared back quality adds to the track, especially on the great guitar work. Alternative and indie in its delivery, Miss Us is a song with an acerbic edge, especially on the biting lyrics. I love the tightly performed guitar solo and the rhythm section that runs throughout the track. This song is a real release of pent up energy with its almost punky, staccato emphasis and it works brilliantly. Mercy begins with a dreamlike atmosphere touched with a feel of melancholy, especially when Frank’s vocal begins. There’s a forlorn mood that settles on the song, a pensive and sombre mood that never breaks right to the close.

Window Through Her Mind is another example of the songwriting skills of Frank and Jeremy. The wonderfully ethereal music is paired with superb vocals again telling a story of nostalgia and remorse, one that demands your attention and draws you in to sit enthralled as it plays out before you. All good things must come to an end and ‘Maps – Burned or Lost’ closes with At The End of The Day an allegorical tale of life as it is today. The graceful and harmonious music and telling lyrics seep into your very soul, I can imagine myself listening to this song with a glass of red wine in my hand, contemplating life, the universe and everything. It’s not a demanding listen but it is one that does require your attention.

Frank Smith and Jeremy Sills have delivered their most profound musical work yet, ‘Maps – Burned or Lost’ is a wonderfully involving collection of songs about love, life and loss that is very relevant in this turbulent world we live in today. You can lose yourself in the well wrought words and the excellent music and come out of the other side in a much better place than you started and that’s what I want from my music.

Released 1st January 2018

Order ‘Maps – Burned or Lost’ from bandcamp here

Review – Galahad – Seas of Change – by Kevin Thompson

A columnist from an upmarket daily mentioned recently, that this time of year isn’t good for new music. How do these people get employed?

Two weeks into the new year and the quality of releases out and arriving are breathtaking, in scope and variation. Anticipation is at fever pitch at the expectation of numerous releases from new artists and old hands and I for one am looking forward to what the year brings.

Galahad’s ‘Seas Of Change’ is one of my most eagerly awaited. Having been a fan of Stu and the band from the earliest days I have always admired that, whilst they have their trademark sound, they have never been afraid to experiment and push the boundaries. Having followed a heavier path of late (last year’s release, ‘Quiet Storms’, being an exception) ‘Seas Of Change‘ sees the band mixing their various musical guises to give us a veritable melting pot of all that was, is and now will be Galahad.

Though I was sad to hear of long term guitarist Roy Keyworth departing the fold, the return of the wonderfully talented Lee Abraham riding on the crest of his excellent solo album ‘Colours’ and formidably wielding the guitars here, adds a refreshing impetus to the band demographic.

Talking of sound, keyboardist Dean Baker should give himself a huge slap on the back for writing all the music and compositional arrangements on ‘Seas Of Change’. He has done a impressive job in creating an ‘epic feel’ of an album, a feast for the aural senses. A sweeping panorama of sound that crashes like a tidal wave through your sound system, drenching you in it’s thrall. That’s before we get to mention just how good he actually is as a keyboardist and conjurer of effects.

As for Mr Stu Nicholson’s vocals, they have to my ears never sounded or fitted the material better. Let us also not forget the valued contributions from the formidable engine room, Spencer Luckman on drums & percussion, combined with the return of Tim Ashton on bass guitar. The album also features long term Galahad honorarian, the lovely Sarah Bolter, sprinkling the album with fragrant flute, clarinet and soprano sax.

It takes someone of a certain quality to harness all this energy and polish it into a glistening diamond. No problem there as ‘Seas Of Change’ was mixed and mastered, most ably, at Thin Ice Studios in Surrey by the magician that is Karl Groom, producing a sound as clear and fresh as a crystal lake, all nicely wrapped in a wonderful album cover by the ever talented Paul Tippett.

“So what of the album itself?” I hear you cry,  “the subject, content and the tracks?”

There is dear reader, only one ‘Cecil B. DeMille’ size track that comprises the whole album.

According to Stu it was intended to be all of seven minutes but grew into the force formidable to which it now stands. Galahad have never shied from difficult, thorny subjects and if you are looking for English, pastoral poetry, with hearts and flowers, look elsewhere.

Stabbing at the heart of the government, this merry band of men (and lady) take politics and politicians skilfully and tactfully to task over Brexit, the public debates surrounding and following it, as the politicians have circled like sharks with the British public as bait, causing much confusion.

With a wry nod and a wink Galahad deliberate through the music as it rises and falls, majestic one moment, reflective the next. The quality of the material, musicianship and sound is faultless. This album cannot be dipped in and out of, but must be consumed as a whole which if you do, you should find most satisfying, whether your palate be to a fine glass of merlot or a huge feast.

If you have sampled the band before and found them not to your taste I will not force feed you, but merely ask you try this album or you could miss out on one of the tastiest releases of 2018. Me? I’m off back for seconds…

Released 22nd January 2018

Order ‘Seas of Change’ direct from the band here…

 

 

 

Review – Arcaeon – Balance – by Emma Roebuck

A band so new they have not reached their first birthday release their first EP and stamp a clear identity on the music they create. Based in Reading, self defined Prog Metalcore band Arcaeon give us 4 songs and try to show the variation and style they are writing and performing.

The album opens with Endeavour and a deceptive ethereal guitar riff and what I assume is guitar synthesised melodic line that begins to intensify and then drops into a power chord and heavy bass line as William Alex Young begins his vocals. Like a shock trooper in a musical war he hits hard and strong with deep and rasping tones for the first verses and to reinforce the Prog credentials the Metalcore shifts, the manic becoming calm and the storm fades. A voice not entirely dissimilar from James Hetfield comes from the speakers but, like the eye of a hurricane, that passes and the storm returns.

Fade has a similar mix of vocal styles and rhythm variances with harmonies and screaming and pounding bass lines. It is intricate and technical along with a high level of skill involved, the discipline and control involved is impressive. The contrasting use of clean vocal harmonies and the intense growling gives an interesting and additional element to the music. The guitar lines shift from frenetic then calm soloing eases the mind lulling it into a false sense of security.

Mind’s Eye opens up and immediately I am reminded of Maschine’s last album and Kyros, tight and melodic before they shift into the powered vocals for the verse and an out of nowhere a guitar solo that comes straight out of the classic rock playbook. There are moments when the intensity relaxes and shows that these guys are capable and talented musicians and can deliver more than just one style.

Dysaxis opens with a dial up modem connecting and drops into a similar pattern of mixed rhythmic and bass driven sound with the guitar and effects dancing round it! Eifion and Joe are in tune with each other totally.

Arcaeon are one of the increasingly large number of band that are coming from influences such as Muse, Animals As Leaders, Opeth and TesseracT rather than the route of bands from 40 years or more ago. They are young, keen and ambitious and appear at first glance to have no real connection to Progressive Rock in the traditional way. It was inevitable that the “golden age bands” would lose their grip as an influence as time distanced them from young musicians. BUT they draw from bands that had those bands as influences, so the experiences are second hand and so less precious to them. The metalcore aspect will not be for everyone but it does have merit and skill and is progressive. They are learning their art and will grow and that will be an interesting journey to follow. I can see this being a great and powerful live experience as well.

This is not music for the faint-hearted neither do I think that the fans of the pastoral and symphonic silo of the Prog genre will enjoy this EP. Fans of Opeth, Dream Theater, Ne Obliviscaris and Animals As Leaders will find something to love here. This is one area of the Progressive Rock movement that is getting young and talented bands coming through more and more. They have a young audience too, I think if any band will break through the wall into mass acceptance it will be Arcaeon or of their ilk.

Released 26th January 2018

Order ‘Balance’ from bandcamp