Category: Album Reviews

Review – Human Pyramids – Home – by James R. Turner

As ever our esteemed editor has an uncanny knack of being able to listen to the piles of albums he gets for review and then a few days later you’ll receive a message on Facebook with those immortal words ‘I reckon you’ll like this’ and, as I like a challenge and new music, I will always say ‘ping it over then’ and then usually ask for it to be re-sent as I forget to download it before the deadline runs out.

The latest of Martin’s picks that he thought would reach the parts that other records wouldn’t reach, is ‘Home’, the new album from Human Pyramids.

Brain child of Paul Russell, the Glasgow based composer from instrumental outfit Axes, this see’s him meld a chaotically brilliant fusion of orchestral arrangements, pop and electronic sensibilities, performed by a cross country collaboration 16 piece band.

Now I am a sucker for big ensemble sounds, and having heard the mighty sound that bands like the Polyphonic Spree or Bellowhead can make, that definitely got my spidey senses tingling, and with the band having performed at festivals like the End of the Road, 2000 Trees and Glastonbury, these guys have the chops to back up their ambitions, and ‘Home’ is their second release.

As an inquisitive teenager rifling through my parents record collection, and devouring anything they had that was slightly different (remember I grew up in the Britpop era where everyone sounded the same and there was nothing exciting musically happening) I discovered bands like ELO and Sky, who were using different compositional forms and sounds, and (certainly in the case of ELO) plenty of strings.

Thus I have always had a soft spot for ensembles that push beyond the four-piece sound and look to do something new and exciting.

The fact that Louise starts off with some wonderfully stirring strings and then develops into a fantastic string and brass off (again being from South Yorkshire the stirring sound of the brass band runs through my veins like Henderson’s Relish, and there is nothing more uplifting than the sound of a brass ensemble going some). So to hear the two meeting in a fantastically stirring piece that mixes a great riff and some superb musical duelling/duetting certainly drew me straight in.

Canned Thunder does exactly what it says on the tin, with an absolutely brilliant drumbeat and more of that amazing brass. Paul Russell has an amazing ear for a melody and a knack for putting the right instrumentation in the right place, he makes it sound so easy, which is why this is such a well made album.

Slush mixes piano led riffs, some subtle electronica bubbling under the surface, and slowly the rest of the ensemble seep in, those driving strings, the heart tugging brass, the wonderful countermelodies.

The press blurb describes this as a mix of punk energy fused with electronic elements and orchestral sounds. I would say this is the musical sound of humanity, there is so much depth and power behind each song, that even in the quietest moments there are little riffs and licks, subtle string tones, a small brass part here and there, from the almost dance like infusion that ripples through Crackle Pop (reminiscent of Rob Dougan’s work) and the driving strings and powerful brass.

There is a country tinged sound to Your Flag, with a mellow and relaxed vibe that just builds as song grows and counter melodies weave and intermingle as the sinuous drum beat helps hold it all together until the brass kicks in for the massive elegiac finish that is full of power and emotion, reminiscent of the closing part to one of Mike Oldfield’s opus’.

With the strong use of brass and shorter tunes it reminds me at times of the tunes of The Home Service or Bellowhead, and the intricate musical composition quality reminds me of Mike Oldfield in parts, but that is probably coincidental, as lets face it when you’re pulling music of this nature together with such a powerful ensemble you’re bound to get a touch of the Oldfield in there whether consciously or not.

This is no homage though, this is living breathing music, and the stuff that gets in your veins and into your soul, the driving power of Blast Off for instance is widescreen film music.

Nico is a wonderful uplifting piece of music full of life and light, whilst the closing Home rounds off a highly emotional and enjoyable album with some sublime piano work and another great brass section, bringing the album home.

I’d never heard of this ensemble before, and the description was vague enough to get me interested, and the music is sublime enough to keep me hooked and listening again and again.

This is one of those albums that ebbs and flows like life itself, and is full of emotional highs and lows, and above all the musicality, the sublime performances and the compositional chops on show here, this album is brimming full of heart and soul, and one you can’t help be swept away by as an aural emotional sucker punch.

This is what music is meant to be like, and this album deserves a place in everyone’s Home!

Released 10th November 2017

Order ‘Home’ from bandcamp

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

Review – Misto – Helios – by Progradar

One thing I really like about working with independent musicians is the fact that I get to see how their musical projects develop from start to finish, often being the first to hear the end product or asked for my input as to how I think it is developing.

Last year Italian multi-instrumentalist Mirko Viscuso contacted me to ask if I’d review the debut release from his project Misto, a one man band based in Genoa, Italy. After different experiences with several local bands, Mirko decided to compose, record and produce his first solo album, ‘Infinite Mirrors’, featuring instrumental music inspired by personal experiences.

I was suitably impressed saying that, “…ultimately I feel relaxed and as one with the world as I listen to this beauteous offering. Trust me, you should do yourselves a favour and listen to it too.”

Out of the blue Mirko contacted me again asking me if I would review his second album, ‘Helios’, due to be released in November. I was intrigued to see what musical direction he had taken on this new record so it was a bit of a no-brainer really!

Calling himself a ‘One-man post rock instrumental project’, that’s what you got from the first album, chilled-out, laid back and relaxed but ‘Helios’ sees him blend that original style with something a bit heavier and more aggressive at times.

Opening track Buried Under Remote Lands has a repeated, chilled out guitar line reminiscent of the sound of Sanguine Hum, an addictive melody that runs throughout the song. The dynamic rhythm section adds some stylish drama to everything and you get the feel of floating on a cloud of elegant music that takes you away from the stress and worry of life in the fast lane. That darker edge is first heard on the rather frenetic and energetic tones of Polemic Guy Wants To Fight with its crashing guitar riffs and superb drum and bass rhythms. A surprise from start to finish, Mirko has really extended his musical horizons with this track, I really like it, the spirited close is genius!

Daffodils Crashing Into The Water returns to the wistful and nostalgic tone with its chiming guitars and dreamy atmosphere. A gentle musical journey through a world of calm collection and reflection. It’s one of those pieces of music that really lifts your spirit. The addition of the delightful violin playing of Giulia Ermirio adds an ethereal grace to what is already a graceful and charming piece of music.

(Giulia Ermirio)

A pensive and sombre track, Set Your Firearms Against The Sun builds up from solemn beginnings with its absorbing guitar and keyboard note into something elemental and primeval. The sound turns ominous with the restless riff and the questioning guitar note, like a soundtrack to a sci-fi film about an apocalyptical future. It really gets under your skin with its deliciously dark and uneasy feel, Mirko is really stretching his musical boundaries here!

Mirko says that title track Helios is the most ‘proggy’ song on the album and, to a certain extent, I’d have to agree. It begins as all relaxed and laid-back post rock that draws you into its winsome and captivating world, relaxed, chilled and without a care in the world. Music for hot, hazy summer days that never end, looking back on the good times and forgetting the bad. A vibrant riff opens up, giving a more intense mood and atmosphere but still charismatic and engaging before a more subdued and thoughtful aura falls over the music, a nostalgic feel of looking back at how life used to be. The gossamer-like guitar notes landing randomly on your aural receptors, it’s actually a very cathartic and soul-cleansing piece of music that sees your pulse rate drop and your mind clear. Twelve minutes of music that could make all psychiatrists redundant..

The final track is Time To Destroy My Life Capsule and the opening takes the more ambient route again, harmonious melodies leaving an ambience of soothing tranquility in the air. There’s a short period of reflective silence before a more insistent tone takes over, never dark but questing, more demanding and with a slight touch of that new found aggression. Everything comes full circle once again though as the serenity returns to see this track and the album to a close.

Mirko told me he was worried about the fact that the few who loved ‘Infinite Mirrors’ might be in some way confused about this more aggressive sound. I can happily attest to the fact that this is not the case, that edgier and sometimes darker feel has added another level of innovation to Mirko’s music and produced an album of many sophisticated layers that intrigues and delights with every note. A superb return from Misto indeed!

Release date to be announcedon Misto’s Facebook page in the next few days, keep checking below:

https://www.facebook.com/mistoband/

You can listen to ‘Infinite Mirrors’ at bandcamp here

 

 

Review – Geof Whitely Project – Time – by Progradar

He’s a prolific fellow that Arny Wheatley, the creative mind behind the Geof Whitely releases an astounding amount of new albums, surely the quality will have to dip at some point? Well it hasn’t since I got involved with reviewing the releases and December will see the latest record from this musical project see the light of day.

In a break from the norm ‘Time’ will only be available in CD format and exclusively from the website only in CD format and a limited edition of 300. In a further change to the standard format, this album is shorter and features only 6 tracks.

We start with the dark and atmospheric Deadly Alliance. That signature base sound is present and correct but, carrying on from the slight deviation we heard in ‘The Blessed & The Damned’, Arny adds some subtle nuances. The keyboards and resonating guitar add a real sombre note and serious tone, it’s a great direction to take. A tasteful piano introduces Stay before the yearning vocal joins in. A wistful and slightly melancholy song of hope  and one that sees yet another sonic string added to this talented musicians bow. Within the loose strictures of the recognisable Geof Whitely Project sound are now thrown some really interesting variations and it works very well.

Title track Time has a seasonal, festive feel to it as it begins with its bells and horns and exudes a feelgood aura. Arny’s vocal adds some seriousness and authority along with the powerful guitar and dynamic drums to replace this almost pastoral tone with something a bit more rock influenced. An effective and compelling piece of music, it holds your attention as it takes its measured strides along a vibrant musical journey. Sometimes sees that contemplative and thoughtful feel return, the vocals have a pensive edge and the keyboards give a wintry sheen to everything. A polished and reflective song that certainly left me reflecting on my past, there’s a real maturity to Arny’s songwriting that is pretty evident on tracks like this.

An elegant guitar and reflective keyboard open Runaway Express before a heavier guitar stirs things up. The emotive vocals grab you straight away with their really meaningful delivery and give the song a thoughtful and determined mood. The occasional lighter feel of Geof Whitely Project albums has been replaced by a more serious and sober intent which is highly evident on this cultured and stylish track. All too soon we come to the album closer Out of Touch and Arny throws another little curveball in with its Floyd-esque intro, there’s intelligence and some not inconsiderable subtlety in the songwriting on this album and it manifests itself perfectly on this track. Measured and brooding in delivery, both the music and the vocals have an earnest honesty to them and make for a compelling listening experience.

‘If it ain’t broke, don’t fix it’ but, as Arny keeps showing us, that doesn’t mean you can’t make little improvements to every release to keep on improving your music without losing its original identity. I personally think ‘Time’ sees the Geof Whitely Project at the zenith of their creativity so far and am intrigued to see where Arny will go next!

Released 4th December 2017

‘Time’ will be exclusively available from the Geof Whitely Project website here

Listen to ‘Deadly Alliance’ here

Review – Mother of Millions – Sigma – by Progradar

‘Sigma is the eighteenth letter of the Greek alphabet. It is the initial of the Greek word “Σιωπή”, meaning Silence. Sigma is also used as a symbol for the summation operator. “Silence has the sound of shame.” We are submissive to unspoken rules of obedience, which are sealed with a spiral of silence. Our chains are bound to break by speaking out as a mass, as a musical ensemble willing to sing out liberation.’

So says the PR information that came with the second album from the enigmatic Greek band Mother of Millions. I reviewed their debut release ‘Human’ back in 2004 and was impressed by  the complexity and diversity of their musical influences and the incredible talent on show. I summarised it as “An album that deserves the highest praise and leaves you slack-jawed in appreciation.”

So, unsurprisingly, I was very excited to get the promo of their sophomore album and see where this talented group of musicians had gone to next on their musical journey.

Mother of Millions is a five-piece progressive/alternative metal band from Athens, Greece, formed in 2008. Their sound of can be described as equally massive as cinematic. An intense experimentation involving elaborate rhythms, folk aesthetics and progressive rock tunes.

In 2014 the band released its first, critically acclaimed, concept album ‘Human’, during the spring of 2017, Mother of Millions finished the recording, mixing and mastering of their second concept album ‘Sigma’ which was released on 3rd November 2017.

Mother of Millions is George Prokopiou – Vocals, Kostas Konstantinidis – Guitars, Panos Priftis – Bass, Makis Tsamkosoglou – Keyboards, samples and George Boukaouris – Drums, percussion.

(Photo by  Panagiotis Tsalavrettas)

‘Sigma’ is, by today’s standards, a relatively short album, coming in at just under 42 minutes but at no time do you ever feel short-changed by what these guys have delivered. Mother of Millions jam so much incredible music into this release, there is absolutely no filler from the first note of Emerge until the final strains of Sigma drift away.

The slow burning introduction of Emerge sees the listener drawn into this deeply engaging story as the subdued voice-over grabs your attention. Haunting and full of tension, it is really setting the scene for what is to follow with its towering guitar, dynamic keyboards and dominant percussion. We segue straight into the vibrant and compelling riffs of Shine before everything calms down and Geroge’s passionate vocal makes its first appearance. Not progressive metal, nor alternative rock, these guys have forged their own sound to a certain extent and its one that demands your attention with its staccato riffs, vibrant keyboards, driving bass and edgy percussion. I have to say that this already seems a huge leap on from what was an impressive debut album, I’m not a fan of the so called growling or screaming vocals but the little bits that George delivers really catch my attention. I love the way that the next track flows seamlessly form the last, Silence is a towering edifice of music, eight minutes of sublime listening. The guitars have an elemental feel to them, powerful and compelling and the primordial drums seem add to the huge soundscape. The vocals are forceful and influential and all combine to give a monumental feel to this fine song, definitely one of the best tracks I’ve heard this year.

That funky, edgy riff returns on Rome, I don’t know if it’s really a technical term for music but there’s a density to the sound that these five fantastic musicians produce, almost a sonic viscosity and a feeling of permanency to every note and every word. A deliberate and measured piece of music with a memorable, captivating chorus, George’s voice once again stands out, if there’s a better hard/heavy rock vocalist out there I am yet to hear him this year. Fusing traditional and folk styles with hard rock Their Passage, The Light is a really mesmerising instrumental that intrigues and delights with its tasteful guitars and strings. A track to calm the mind and sooth the soul after the deeply affecting music that has gone before, it refreshes the musical palate ready for the next course. Another track that builds up from quiet beginnings, Collision simmers with intensity keeping you right on the edge before the enigmatic vocals introduce and increase in pace and emotion. This is music that seeps into your entire being and asks questions of you on every level as the vocals break out accompanied by the portentous music delivering quite a dark and potent tone to the end of the song. As the final notes ring out I’m left in an enigmatic silence.

The Rapture is a brooding and cryptic feeling instrumental that has a real dystopian aura that carries on over all its two minute length. Very haunting and quite disturbing. The introduction to Spiral is powerful and commanding before the song takes a step back to allow George’s stirring vocal to take centre stage, once again he delivers an authoritative performance aided and abetted superbly by the gifted musicians that surround him. Technically proficient but playing with heart and soul, the music is as much part of every brilliant track as the vocals and both combine to deliver an incredibly impressive experience. The subdued voice over returns to be followed by wonderful instrumental close out, one that makes the hairs on the back of your neck stand up with its incredible intensity. This exceptional musical spectacle closes out with the title track Sigma and the level of performance does not drop one iota. Another deeply engaging song that slowly draws you into its embrace with great vocals and music that stays just in the background adding a mysterious and esoteric ambience, it’s a track that delivers a perfect conclusion to this fine album.

It’s been three years since the last Mother of Millions album and that time has seen this superb band develop and improve on what was already a very impressive sound. Powerful and dark at times and yet incredibly illuminating at others, it is a piece of music that entraps the listener on an astonishingly immersive musical journey. ‘Sigma’ is one of those releases that stands out immediately and then gets even better with every listen. One of the releases of the year, please do yourselves a favour and get your hands on this incredible piece of music as soon as you can!

Released 3rd November 2017

Buy ‘Sigma’ on CD from Amazon

 

 

 

Review – Charlie Cawood – The Divine Abstract – by Emma Roebuck

This landed in my inbox and I will admit to anticipating this with a huge amount of glee. Knifeworld are a personal favourite (hint new album please), Mediaeval Baebes and the wonderful My Tricksy Spirit album released not long ago appeal to my love of the leftfield of music. The publicity from Pachyderm Central (a hidden cave on the coast of Yorkshire) leads with:

“A veteran of the London music scene for over a decade, Charlie is best known as bassist of critically acclaimed psychedelic octet Knifeworld, and instrumentalist/co-arranger for Emmy-nominated Classical choir Mediaeval Baebes. He also plays stringed instruments in Bad Elephant Music stable mates My Tricksy Spirit”

Charlie must feel great pressure to deliver something very special and on the more eccentric side of the esoteric. In truth I had no idea what to expect as all three of the projects that Charlie is involved in were so different and not really all him but more where he is a contributor or guest of the primary writers. The list of musicians he has on this album is massive and listed at the end of this review. There are instruments that I had no idea what they were let alone what they sounded like.

To the actual music, which is after all what folks really want to know about. Imagine a place in heaven or another world or plane of existence where you have access to living and dead masters of their instruments jamming in a space.  From Ravi Shankar, John Mclaughlin and George Harrison to Vangelis, Mike Oldfield and many others, I think this is what is in Charlie’s head in this album. He has sat and heard all these and has filtered what he has heard and made it The Devine/Divine Abstract ( both spellings are used on my copy).

Shringara, the opening track is a melee of Sitar and guitar instrumental music yet has clarity and lilting tone. I assume it Comes from the Rasa, meaning the love of art and beauty, because it does channel that feeling to me.

The Divine Abstract is next falling into 4 subsets –  Echolalia, an endless repetition of someone’s speech often associated with mental health issues is just that, a refrain shared with instruments with a sonorous cello linking the music.  The Earths Answer picks up the theme and carries it to an acoustic modern quartet classical piece, Fearful Symmetry carries on balancing the sonic journey but lifting the pace with a violin taking the lead and finally Western Lands is carried by a melodic drifting connection of the three previous pieces into a final whole to complete the journey. I don’t know a great deal about Charlie but it feels like he is channeling or commenting on the human condition with music, no words just the honesty of his composition.

Earth Dragon from the Chinese Zodiac is a three part piece using what sounds like a very classical Chinese music approach. There is nothing fiery about this dragon but a meditative repetition of musical themes using instruments true to the form. You are carried on the breeze of the music which is easy on the ears yet far from simple in its form.

The Garden of the Mind, this is a tranquil jazz fusion freeform piece that is the closest to Knifeworld in form but without the manic intensity of the band in free flow. I could drop this into a Weather Report or Miles Davis set and it would not be lost in the melee.

Skip two tracks because I like to leave a little mystery and we finish with Apotheosis. One meaning is to deify and raise to its peak. In this Charlie has drawn together the thematic musical strands of the album to create a piece that stands apart from the rest.

First the gripes, I want more exploration and testing of the limits of the music. Just as I get into a piece it ends and I feel there is more to hear.

This is an album that can be heard on multiple levels. Put it on in the background and let it wash around the room and a tonal pleasance will fill your senses and make whatever you are doing feel easier. Headphones on in a darkened room it is akin to musical meditation with layer upon layer of music to discover, clever sophisticated music that opens doors both spiritually and emotionally. Charlie has opened his musical heart in this album and it shows being very accessible and yet very varied in influence.

It will grow on you as you listen. I struggled looking how to get my feelings about it over but not because it is a hard album but the way it made me feel was complicated.

Released 3rd November 2017

Order ‘The Divine Abstract’ from bandcamp here

Charlie Cawood: acoustic, electric & classical guitars, Fender VI, acoustic & electric bass guitars, sitar, pipa

with

Katharine Blake: treble & sopranino recorders
Lucy Brown: French horn
Flora Curzon: violin
Hannah Davis: vibraphone, glockenspiel
Julie Groves: flute
Chlöe Herington: bassoon
Steve Holmes: piano, celeste, Minimoog, bass synth
James Larcombe: piano, dulcitone
Dennis Kwong Thye Lee: xiao
Nicki Maher: clarinet
Ben Marshall: oboe, cor anglais

Review – Glass Hammer – Untold Tales – by Progradar

There’s are some bands that have been with me since I first started really getting into progressive rock music and have stood the test of time because I like their music and how they have developed over the years. However, because I am what is classed as a relatively ‘late adopter’ to the genre it also means that there is a fair amount of back catalogue stuff and undiscovered gems that I have never heard.

When a band releases an album of ‘Previously unreleased tracks and more..’ it often only appeals to the completists among the fanbase and doesn’t tend to draw in new listeners or fans who have only started to like the artists later in their career. So, what would Glass Hammer’s ‘Untold Tales’ give us, I wonder? Starting with songs from 1993 and concluding with a live recording from 2017, it promised to be something a bit different from the usual archive offerings.

Comprising of 13 tracks in total, including instrumentals and the aforementioned live track, ‘Untold Tales’ offers the listener a sizeable chunk of never heard before Glass Hammer music. It opens with a couple of interesting instrumentals, Shadows Of The Past reworked in 2008, Fred Schendel reworking the opening track off ‘Journey Of The Dunadan’ using techniques unavailable on first release in 1993 and it has a suitable cinematic soundscape to its orchestral magnificence. Infusion is a piece of music originally released on the album ‘Love Changes – Featuring Glass Hammer’ by artist Tracy Cloud. There’s a pared back, ethereal wonder to the three minute instrumental with its haunting piano, flute and keyboards and stylish bass playing.

The heady Identity Principle is one of the standout tracks on the album and is pure Glass Hammer. Steve Babb literally found this song hiding on a backup drive. The band  were never quite satisfied with the mix on the ending. They recorded a new performance of the ending which matches up very well. Thus, this track was recorded in the early 90’s and just a while ago. A wonderfully involving track with great vocals from Walter Moore and an elegant guitar combining really well. It has that great Glass Hammer trait of taking you on a complex and involving musical journey, one that always holds you attention. The melodies entwine and the guitar takes on its own vocal note, to me this is one of THE great tracks from this enduring band and, as Steve himself says, it’s a crying shame it has lain hidden for so long. Glass Hammer appeared at Progscape ‘96 in Baltimore, Maryland and performed the classic Argent track Hold Your Head High. This studio version was certainly recorded around that time, probably in 1997 and is quite a bombastic version for a band noted for their Elfin lyrics and music. Steve’s bass is driving and dynamic and Fred seems to be having ball on the keyboards, add the stylish guitar of David Carter to a powerful vocal from Walter and you’ve got a rather excellent cover version.

I have to be honest, there are a couple of what I’d call ‘throwaway’ tracks on the record and we get both in quick succession. Actually they aren’t bad tracks but, compared to the prog-fest that’s going on around them, they do seem a little lacklustre. Babb’s Bach is Steve’s humble attempt to achieve something similar to tracks from ‘Switched On Bach’ by Walter Carlos and just feels throwaway. It is immediately followed by And Then She Sighed which feels like a pastiche of any medieval tune, admittedly with excellent vocals from Laura Lindstrom Davis and a Girls Choir of Allison Savard, Kaytie Mitchell and Kendra Roden. You are brought out of any stupor by the excellent 80’s synth-rock of Eiger Dreams, a charismatic and compelling track that bears comparison to Giorgio Moroder in my humble opinion. If you have seen the band’s ‘Live At The Tivoli’ DVD then you may recall this is the opening track. Included here is the never-before-released studio version recorded (or at least mixed) in 2008.

Now onto another favourite on the album,the band’s cover of the Beatles track It’s All Too Much is great slice of prog-rock infused AOR music that has you rocking in your seat with its energy, dynamism and hooks. Steve’s funky bass drives the track along, aided by swathes of Fred’s potent keyboards and the familiar vocals of the classy Susie Bogdanowicz. With a nod to a Steve Hillage’s version, the song was recorded during sessions for ‘Three Cheers For The Broken Hearted’ in 2009. It was used as an encore piece for a few live shows, but never released. Here Steve and Fred replaced a pipe organ with a Hammond organ and the bass line with something a little more fitting than Steve had originally done. A track that I can only really describe as ‘Glass Hammer do Sabbath’, Troll is dark and deliciously dangerous. Steve describes it as:

“Partly about recording a track with a super-fuzzed-out bass guitar. It was also partly about letting off some steam regarding the trolls who inhabited certain progressive rock internet forums…”

It features some incredibly angry guitar and keyboard playing and some amazing harmonica from Tim Starnes and is as far away from a typical Glass Hammer track as you could possibly get, I love it! Steve’s final words on the song:

“We have discussed recording more music in this vein, if only we thought our fans would let us get away with it!”

A Grain Of Sand brings you back down to earthy with its airy and laid back simplicity. Three minutes of delicate piano and Kamran Alan Shikoh’s graceful acoustic guitar layered with the minimalist hues of Fred’s keyboards. Recorded in 2010 as a possible track for ‘IF’, you can certainly hear strains of If The Stars if you are paying attention. Jon Davison’s vocal track was lifted straight from that song as a matter of fact. The next song is another powerful and dominant piece of progressive rock. Cool Air is an enigmatic and serious track which seems to have some real tension bubbling underneath. Steve explains:

“Ever the Lovecraft fan, I readily agreed to work on this track for its ultimate inclusion on a Colossus (Finland) Lovecraft-themed album. We chose the tale Cool Air, one of the more gruesome stories and one I thought we might easily set to music and lyric. Recorded in 2012, my son, who was only ten at the time, joined me in the studio for a sound effects session. Fred wrote the music and I wrote the lyrics, with much help from the original text of the story, of course!”

I wasn’t a big fan of the vocals when I first heard it but repeated listens have shown me that they fit this dark and eerie tale perfectly. Disturbing and sinister in parts, it creeps under your skin and becomes quite addictive, like a horror film that you can’t take your eyes off. Doctor Who for the more cerebral of us perhaps?

The Impulsive Type is a more straightforward rock infused track and reminds me of Frost* or even Rush with it’s catchy chorus, edgy, staccato guitars, stylish rhythm section and Carl Groves polished vocal performance. Was that Rush I said? well Steve explains all:

“In 2014 Dave Kerzner of Sonic Reality asked us to perform a track with Neal Peart. What’s that you say? Well, actually it was a request to write a song on top of Neal’s drum tracks that were recorded during the making of Sonic Reality’s “Neal Peart Drums” sample library. The tracks you hear are live drum tracks however, not the samples. Was it possible to write a song over Neal’s tracks without it sounding Rush-influenced? No. Enjoy!”

The album closes with a fantastic live rendition of No Mans Land (from the 2016 album ‘Valkyrie’) recorded at The Camp House in May 2017.  A fan favourite from its first release, it is utterly involving and enthralling as a live track and finishes this stellar collection on quite a high.

Another archive release for those completist fans then? Absolutely not!! ‘Untold Tales’ is an excellent collection of rarities that has lots of appeal, both to the dedicated Glass Hammer fan and those new to this exceptional outfit, a group of musicians who are definitely one of the best progressive rock bands around today.

Released 20th October 2017

Buy ‘Untold Tales’ direct from Glass Hammer’s website here

 

 

Review – starfish64 – An Altered State Of Joy – by James R. Turner

Martin dropped me an email, as is his wont, and asked me to have a listen to these guys and see what I thought. Instead of the massive introduction that I wrote and then deleted, I am going to go straight in, after all, this is about the band and not me, and at the end of the day all you want to know is what this sounds like and did I enjoy it?

Starfish64 is the musical project of German guitarist and vocalist Dieter Hoffman, who has been working with a musical collective since 2006 as Starfish64, and this is the band’s second full-length album. The collaboration has been fleshed out by Henrik Kropp on drums and Dominik Suhl on guitars and keyboards.

It snuck out towards the end of last year, and whilst the name and music is new to me, I will never say no to listening to something different and original.

There’s only 4 tracks on here, and musically this is very much at the melodic end of the music scene, reminiscent of the more chilled out parts of Gilmour era-Floyd, south coast Americana, ‘Summer Teeth’ era Wilco and if you’d like a more contemporary comparison, they occupy the same song focused area that Fractal Mirror sit in.

Here the album is all about the song, and the melodies, so if you’re expecting chaotic time signatures, prog metal, or something that sounded like it was recorded by Yes or Genesis back in 1974 then you’re in the wrong place.

If you’re looking for a more contemplative, chilled out, mellow vibe man, then this is the journey for you.

I have spent the past few days immersing myself in this album on my commute to work through the cold winter mornings, and it feels like a perfect autumnal album, one to be listened to inside the pub, with a roaring fire, a leather armchair and nice glass of something alcoholic and relaxing.

The opener is the longest track on the album, and is nearly the title track, Altered States ebbs and flows with some sublime guitar moments, musical breaks and Dieters impassioned vocals that bring the whole piece together, his warm vocals have a hint of Mike Scott (from the Waterboys) about them, and they match the music perfectly, and even though it’s a 20 minute plus piece with great musical peaks as it pulses and flows, the greatest knack is that it doesn’t feel like you’ve listened to 23 minutes of music, you feel like that no sooner has it started then it’s stopped, and listening on headphones, phone away, really immerses you in the music.

The album continues a pace with the brilliant and beguiling The Black Dot, with some suitably wistful and mournful trumpet from Christian Wahl, and the brass adds so much to the track, (I’m a Yorkshireman, the sound of brass stirs something primeval in our hearts) and the beautifully reflective and ominous lyrics about the mysterious ‘Black Dot’, I think its about one subject, but I’ll let you make up your mind, and it builds and finishes with a superb ending arranged by collaborator Jan Thiede (guitars/flutes).

So Is Life, with it’s wistful feel, pulls a Beautiful South trick of a melodically haunting track, with some fantastic keyboard work, and dark lyrics, that have more of an impact tied to a melodic tune, this is again a sign of the bands fantastic craft.

The closing track Dusk, with it’s melancholic feel, it’s 70’s style synth sounds and laid back guitar vibes is one of those brilliant happy/sad songs, you can feel the mournful regret seeping through the lyrics, whilst the music is uplifting and soars with a sublime beauty. This simple, but potent mix encapsulates the feeling of dusk for me, and is one of those songs that have anthemic quality, another blinding solo, and that touch of late 70’s FM rock, mixed with something more as it builds to it’s haunting climax.

This is one of those deceptive albums, one that feels shorter than it should be, and yet gives you a good 40 plus minutes of music, ideal for one side of a C90 tape to listen to, on your way to work. Yet you don’t feel musically short-changed. There is plenty going on here, and like a well written book or TV drama, it reveals more and more of it’s magic as you listen to it.

This is not a revolutionary album, and it’s not meant to be, instead it’s an evolution of intelligent melodic rock, that gives you songs you can sing along too, melodies you can hum, and a feeling of pleasure and emotion that lasts long after the album has finished, and after all, when it comes to evocative albums, who can ask for more than that?

Released 28th October 2016

Buy ‘An Altered State Of Joy’ from bandcamp

 

 

Review – Blue Rose Code – The Water Of Leith – by Progradar

Music never ceases to amaze me with its capacity to delight and its ability to lift you up when you are down and to perfectly fit your mood when you are happy and on top of the world. I know for a fact that my life is so much richer and rewarding because of my love of music.

There are artists, however, who stand out even more for me, musicians whose songwriting talents elevate the songs to another level, able to move you and alter your life with just one note. I have been very lucky to have had some of these very people come into my life and I am a better person for it.

Once again, I have my great friend Iain Sloan to thank for introducing me to the mercurial talents of Blue Rose Code (aka Ross Wilson). Iain contributes pedal steel to several tracks on the new Blue Rose Code album ‘The Water Of Leith’.

A nomad both geographically and musically, Ross writes from the heart eschewing any specific genre and the twelve new songs on ‘The Water Of Leith’, addressing themes of love, loss, travel, home, accepting the past and embracing the future, are painted with colours of folk, jazz, soul and pop; an eclecticism that has become a hallmark of Blue Rose Code and has seen him compared to John Martyn, Van Morrison and Tom Waits.

Underlining the sense of movement and place in Ross’s work and ‘The Water Of Leith’ is rooted in his return to his Scottish homeland. There, he reconnected with the stellar musicians who were to become an integral part of the new album’s sound: multi award-winning singer Julie Fowlis, celebrated Gaelic singer Kathleen MacInnes, BBC Folk Award Winner, Ross Ainslie, 2017’s Scottish Jazz Awards’ instrumentalist of the year Konrad Wiszniewski, leading violinist Seonaid Aitken and three of Scotland’s finest jazz musicians; John Lowrie, Colin Steele and James Lindsay, to name just some of the contributors. Grammy-winning American singer-songwriter Beth Nielsen Chapman features on the opening track. Ross co-produced the album with Angus Lyon.

(Image by Mark Archibald)

Music at its most simplistic has the power to move you and the twelve tracks on ‘The Water Of Leith’, despite being simple and charming, generate such a wide range of emotions. The incredibly tender Over The Fields (For John) is a touching tribute to Ross’ friend John Wetton (of Asia fame and more) who died earlier this year. Sparse instrumentation and the incredibly emotive vocals have a bleak and yet uplifting feel to them. There’s a sadness that is lifted by fond, nostalgic memories and I challenge you to not be wiping a tear from your eye when it comes to its gentle close. Bluebell has an upbeat, soulful vibe, Ross’s vocal has warmth and compassion at its core and Konrad Wiszniewski’s sax and Iain’s pedal steel add a touch of culture to this sophisticated piece of music. Wistful memories float along with the lilting tone of the music and draw you into its sincere embrace. Toe-tapping, feelgood music is at the heart of the wonderful Ebb & Flow with its great harmonies and superb brass, just under three-minutes of music that leaves you in a much better place than before it arrived. The Gaelic tinged hues of Passing Places is haunting in its brevity and beauty. Kathleen MacInnes mesmerising vocals are accompanied perfectly by the childlike innocence of the violin of Seonaid Aitken and Angus Lyon’s accordion with the mournful tone of Wild Lyle Watt’s acoustic guitar adding the final folk-infused touches.

The music segues straight into Sandaig where the sparseness is fleshed out with Ross’ stirring vocal. A song straight from the heart, this peaceful spot was immortalised as Camusfearna in ‘Ring of Bright Water’ – the famous book by Gavin Maxwell telling of his life with his pet otters at this lonely spot. Ross imbues the song with love and affection and a kind of longing and with Kathleen adding her distinctive vocals, it’s charm and beauty hypnotise you from the first note. A touching song full of jazz imbued soul, Nashville Blue has a real feel of the roaring 20’s about it. Its passionate feel and elegance cut right through you and the vocal performance is stirring and just a little sad. The incredible playing of all the musicians comes through to give a stellar, if slightly sombre, performance. A perfect slice of modern Scottish folk, On The Hill remains A Heart is a serious piece of music that has you enveloped in tte story, imagining yourself on a windswept hill as a certain part of your life’s journey comes to a melancholy close. The vocals have a more hushed and sincere tone to them and end the song with a thoughtful atmosphere, increased by the superb violin and cello. An open letter to the world that getting basics right is where we should start, Love Is… touches you right in your heart with its poignant vocals and bluegrass inspired music with Seonaid Aitken’s wondrous violin leading the way. A tenderly wistful song with a compassionate belief at its core.

Polaris is one of those delightful songs that you just keep returning to again and again and show that Ross is a modern singer/songwriter of huge talent. The tender yet powerful vocals are key here and bring an uplifting emotion to the chorus. A compelling piece of music that you can lose yourself in and forget about the worries of everyday life. Innovative and inventive, like a cross between free from jazz and traditional folk, The Water is nine minutes of utterly captivating music, an involving soundscape on which John Lowrie’s wandering piano and Colin Steele’s original trumpet playing are joined by the adroitness of James Lindsay’s double bass to lead you on a spiritual musical journey into your own psyche and everyone’s journey will be different.  You stop and listen to every note and every nuance and each playing reveals more of this incredible track. There’s no let up to the brilliance as the haunting delta blues and jazz-tinged hues of To The Shore work their way into your mind. A darkly meaningful song that seems to glide effortlessly into the room with a knowing aura, Ross’ vocal has the requisite husky tones to leave you imagining yourself in a dimly lit jazz club in the American depression. The musicianship is staggeringly good, turn the lights down, open a glass of something strong and red and just lose yourself in the wonderfully enigmatic music. The album closes out with the wistfully plaintive Child. Another sublimely simple song that touches the heartstrings with its affection and love. The piano of John Lowrie is the perfect accompaniment to Ross’ heartwarming vocal and the sax adds its stirring tribute and, as the track comes to its uncomplicated close, I just find myself smiling and at one with myself.

In the dark and complicated world that we live in we all need something to escape to, something that makes our lives better and richer and, for me and many others, it is music that has the capacity to do that. ‘The Water Of Leith’ is a poignant, moving collection of songs that have come straight from the heart of one of the best songwriters of this or any generation. Ross Wilson and Blue Rose Code have given us a definitive piece of music that will last the test of time and we would all be happier having it in our lives.

Released 27th October 2017

Buy the CD from Navigator Records

Buy the limited edition vinyl from bandcamp

 

Review – Nordic Giants – Amplify Human Vibration by Kevin Thompson

There have been many claims from people saying they have discovered our sixth sense and what it is.

For me it’s the sense of wonder.

From the moment I was old enough to remember, I have been imbued with this sense, from the warmth of the sun on your face on a hot day, to the light reflecting on rippling water. The power of nature in all it’s structures, climbing high mountains, cloud formations, waterfalls, all drawing amazement in their natural beauty. Whether it’s exploring caves from which creatures never leave or will ever see the light of day, diving beneath the waters of our seas and oceans to find fantastical beasts or simply observing the colours on a butterfly’s wings, I will never cease to wonder.

If it could be given a chemical symbol on the periodic scale it would probably show as ‘Awe’ and a combination of all the elements from Alkali Metals to Noble Gases, with all the others in between.

Age does not wither this sense, in fact as I reach a more mature age I feel an intensification of the sensations, a heightening of the sensory perceptions. Man’s own achievements leaving you breathless at the daring bravery of such as astronauts and those who risk everything for the sake of others.

Perhaps that is why music holds such fascination and plays such a huge part in my life as it tries to encompass all that wonder and project it through instrumentation.

(Picture by Neal Grundy)

Nordic Giants formed in 2010 and are described as an instrumental post-rock duo and despite their misleading names I am led to believe they are from Brighton, and it’s said  they include prominent cinematic aspects into the performances and videos. I find it difficult to come up with an explanation that fully captures the essence that is this duo but will do my best. Dressed in masks and feathers, duo Loki (Keys, Synth,Trumpet & Loops) and Rôka (Cymbals & Skins, Bowed Guitar, Samples) combine award-winning film footage and speeches with piano, bowed guitar, drums and brass alongside smoke/strobe effects and, when playing live, they create engulfing, emotional experiences of wondrous art.

Latest album ‘Amplify Human Vibration’ is a soundtrack, they say, to a documentary that explores the kindness of humanity, aiming to decipher what drives these people as a thought-provoking exploration into the human spirit. Consisting of seven tracks this is an ambitious and audacious attempt to push their music further.

The Taxonomy of Illusions is a speech given by Terence McKenna at UC Berkeley in 1993 and forms the basis around which the Giants build the first track with the similar title. Piano led, featuring some great percussion from Rôka and Trumpet from Loki, this is a powerful track that has the ability to conjure up the images of McKenna giving his speech as they seek to use the music to describe what he is saying. Thoughtful and uplifting it sets us on course for track 2 and informs us of what’s to come.

There is no speech on First Light Of Dawn, it doesn’t need it as once again it paints a picture in the mind’s eye, this one of the sun creeping over the horizon to waken the day. It’s exquisite and I have promised myself, that one day I am going to sit and watch the sunrise listening to this hauntingly beautiful track, the equivalent of watching Turner paint the sunrise.

One of the greatest men to walk this planet as an inspiration was Martin Luther King Jr. His compassion for his fellow men and women and his tireless efforts in trying to seek justice against untruths in a hope that all mankind could live as one knows few equals. ‘Beyond Vietnam’ is a speech delivered by him, on April 4, 1967, at a meeting of Clergy and Laity Concerned at Riverside Church in New York City. It is from this speech that Loki and Rôka draw inspiration for the third track of the album, with with a wave of bowed guitar lifting the Spirit  and joined once again by haunting piano. You can’t really listen to this without feeling a profound effect on yourself, a reviewer’s words sometimes seem insufficient and it is often best with this music to listen as it forms it’s own description in your mind.

Featuring the allure of guest vocals from Frejya floating through your consciousness, Rewake allies itself with “The Mystery of Change” which is a motivational speech by Alan Watts, a renowned British-born philosopher, writer, speaker and theologist. Having for a time been an Episcopal priest he eventually joined the faculty of the American Academy of Asian Studies, in California. Piano chords and percussive structures accentuate angelic singing, as Watts strives to spiritually inspire.

‘We are power’ is a speech given by John Trudell at the Survival Gathering in the Black Hills of South Dakota on July 18th, 1980. The speech talks of ourselves in terms of power, that we are energy and an extension of the Earth and should not abuse it. As Immortal Elements the music poetically illustrates the words and the speech returns the compliment.

Sat in the church of instrumentation, resting on the pews of chords and bars, we can embrace the blissful notes from the organ playing sweetly on Autonomous, the final track that will guide us into the light of understanding on a wave of musical euphoria. With bubbling energy the sound grows to a rousing, magnificent climax leaving us with a palatable silence of contentment.

Some people may find the speeches detract from the music on ‘Amplify Human Vibration’ but for me there is a symbiosis ’twixt the two and I feel neither would be better served without the other. Taken in isolation the album is a wonderful collection of instrumentals which when combined with the newly proposed stage performance for the upcoming tour could create a Force Majeure. But don’t just take my word for it, I am already a convert, listen for yourself and make up your own mind.

Released 20th October 2017

Buy ‘Amplify Human Vibration’ direct from the band

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

 

 

Review – Findlay Napier – Glasgow – by Progradar

Music and singing has been used to tell stories for hundreds, if not thousands, of years. Those ancient troubadours spread the news of mighty deeds and wars won or lost, crossing mighty oceans and huge deserts to spread the word to the far corners of the earth.

Thankfully for today’s balladeers and poets, the digital age and the internet means their tales of escapism or gritty realism can be on anyone’s hard-drive in seconds and they don’t have to use donkeys and ancient ships to reach their audiences.

Folk music has always been at the core of telling the stories of the man on the street, the fisherman, the steelworker and folk singers have never hidden the darker side of these stories, tales that on-one else would tell, leaving audiences hooked on every word.

My good friend, the excellent musician Iain Sloan introduced me to the music of Scottish folk singer Findlay Napier last year and I still thank him for bringing this brilliant artist to my attention. This October sees the release of Findlay’s ode to his home town Glasgow and a collection of cleverly observed and written songs that reveal his love affair with this most gritty of cities.

There’s no need for fanfare or overindulgence on this album, Findlay’s vocals and guitar are joined on this emotional journey by long time collaborator Boo Hewerdine (high strung guitar, piano) and the delicate voice of Donna Maciocia on backing vocals.

‘Glasgow’ is a whimsical collection of songs from a musician with a quick wit and a ready eye. Findlay has lived in Glasgow for twenty-one years, having been born there originally, and his intimate knowledge shines through.

” I remember the people and their patter. I remember it like the first time I watched Blade Runner. I remember it like the first time I saw Billy Connolly.

Mostly I witnessed Glasgow from afar. On the telly it was a place full of humour: Francie & Josie, Naked Video and Rab C. Nesbitt. Taggart, bookended with Maggie Bell’s ‘No Mean City, was Glasgow’s darker side.”

The delicate guitar and subtle vocals that form Young Goths In The Necropolis are used to give Findlay’s view of the Necropolis and its magnificent views to the west and the daily happenings a nostalgic hue. There’s nothing glamorous about life at the bottom in any cities and the dark humour of Wire Burners tells the tale of how the homeless in Glasgow sell scrap metal from building sites just to stay alive. Findlay’s vocals have a way of keeping you concentrated on the story and taking in every word to build a picture up in your mind. Marchtown (written by Emma Pollock) is an area that Findlay walks through every day and this sentimental song takes you along on that daily journey. It’s a wonderfully romantic song that is touched by more than a hint of melancholy as it looks at the changes that have happened to an area that has hundreds of years of history at its heart. The perfectly judged backing vocals are a particular delight.

The wonderful St Anthony’s Digging a hole is a tribute to the gravediggers of the West of Scotland and is based on a Radio 4 documentary about these essential workers called ‘How To Dig A Grave’ by Cathy Fitzgerald. A beautifully wistful piece of music, it shows how Findlay can take a sombre subject and turn it into such an exquisite piece of music. St Anthony is the patron saint of gravediggers. On Julia Doogan’s wonderfully written and evocative track Glasgow Findlay’s elegant vocal paints a colourful picture of the heart of a City that lives its life around two great football teams and always makes him think of the Old Firm games when he hears it and the busy nights around the city’s many drinking establishments. A vivid and intense folk standard Cod Liver Oil And The Orange Juice, Findlay’s voice uses the guttural dialect perfectly to paint a gaudy picture on a wonderfully raucous pared-back track that just leaves me smiling all the way through. I actually laughed out loud at some of the lines,

“Then oot came her mammy – she was goin’ tae the cludgie, Oh-ho, I buggered of sharpish, Ah-ha, glory hallelujah, Cod liver oil and the orange juice..”

Findlay gives his take on the Blue Nile track A Walk Across The Rooftops, a song that always reminds him of days hanging out between the City Centre and the West End, barbecues, carry outs and late night sing songs in tenement flats. His tender vocal and the elegant guitar reminisce about sepia tinged times between receiving his final exam results and graduating.  There’s a hushed atmosphere about the track, a time when you felt on top of the world, unbreakable even. Never quite a protest song, There’s More To Building Ships is a poignant song that Findlay was moved to write after a conversation about reopening Scotland’s shipyards with his Dad. There’s a bitter sentiment tot he vocals, one that’s echoed by the solemn guitar. A wonderfully written piece of music that sees it as an ultimately futile endeavour, without a long term plan, there’ll never be industry like that again in Glasgow. A whimsical and quirky song, The Locarno, Sauchie Hall Street 1928 is a story about the first Scottish Professional Dancing Championships held in 1928 and won by Alex Warren and Cecilia Bristow. An unhurried, sentimental track, Findlay and Donna’s vocals give it a real warmth and affection along with a maudlin nostalgia.

King Kong’s Visit To Glasgow, written by ‘The Bard of Dundee’, Michael Marra, is about a dream that actress Caroline Paterson had. Her many vivid dreams were recounted to Marra when they were working on a show together at Dundee rep. A chilled, jazzy guitar and Findlay’s bright and breezy vocal give an upbeat feeling to this subtle and engaging song, a track with a real playfulness to it. The surreal lyrics about King Kong wanting to mend his ways and visiting Glasgow are quite genius and Findlay gives it a real engaging air. The final track is about unrequited love in a Glasgow chip shop (yes, really…) and The Blue Lagoon has an air of 30’s music hall to it with Findlay’s tender vocal and the haunting piano of Boo Hewerdine. Once again Donna Maciocia’s graceful backing vocals add anther layer of class to a superbly expressive song.

Some of the best folk music is coming out of Scotland right now. ‘Glasgow’ is a fantastic collection of sentimental and evocative songs imbued with a simple but engaging honesty because, after all, music is storytelling and here Findlay is telling the grandest story of his life.

Album cover and Glasgow street scene by Raymond Depardon, Magnum Photography.

All other photos by Richard Crawford, Precious Productions.

Released 13th October 2017

Buy ‘Glasgow’ direct from bandcamp

https://www.youtube.com/watch?v=KQ57RdwrWdk