Category: Album Reviews

Review – Mice On Stilts – Hope For A Mourning – by Kevin Thompson

I have to say this is the first band I have ever reviewed from New Zealand, with an intriguing name.

I had no preconceptions as I have not heard of Mice On Stilts previously so how would ‘Hope for a Mourning’ fare in my ears, will it stand above the general masses or will it wobble precariously and fall from the heights? What type of music will this six man collective from Auckland who have been together just over 4 years I believe, have to offer, the tags on their site seem to cover a varied scope of genres.

They line up as:

Guy Harrison – Piano/Trumpet
Tim Burrows – Bass/Producer
Rob Sanders – Drums
Sam Loveridge – Violin/Guitar
Charlie Isdale – Violin/Sax
Benjamin Morley – Guitars / Vocal

I have a healthy taste for sweet melancholia when the mood takes, as some of you may have deduced from previous reviews I have written for Progradar. I don’t usually find it depressing, on the contrary I can find it quite melodic, relaxing and sometimes uplifting. A release from the hustle and bustle of the working day as you drift on swathes of laid-back sometimes cheerless vocals partnering sombre echoing tunes, tenaciously resisting any temptation to increase tempo greatly and a master-class in masochistic restraint.

The haunting piano from Guy Harrison, ghost like around our aural receptors as mist across the grass, brushes the blades of our consciousness on first track Khandahlla, which just happens to be the name of a suburb of Wellington, the capital city of New Zealand, located on hills overlooking Wellington Harbour. Its named after Khandela, which is in India and one of it’s meanings is ‘The resting place of God’, among a few other interpretations. Benjamin Morely’s plaintive vocals cling refreshingly to your skin. He has described this as “a happy song about happy things” and the swirling wisps of the other instruments and uplifting choir leave you wistfully cheerful.

Orca drifts through the waves of deviation, lapping at the shores of your mind as the first chorus leads to changes in style and an ambient passage floats out to return to the ripples of the chorus once more, only to lethargically swim away on an instrumental tide.

 Acoustic guitar takes the fore on The Hours to carry the harmonising vocals on a bed of lighter piano keys in one of the less complicated tracks, with an ear-worm chorus.

There’s a darker tone to the jazz style piano on And We Saw His Needs Through The Casket giving this track an eerie feel. The haunting vocals from the choir hang in the misty air as the guitar drifting through the damp avenues of this track unnervingly permeate your ears.

 The spectral feel flows into Yhwh turning more wistful before heavier guitars and instrumentation crash in like a monster from the fog only to disappear just as suddenly, leaving sparse jittery sounds and solo guitar before it dramatically lurches back into view, roaring foetid notes in your face before swamping you and carrying you away into the darkness.

Calm returns in waves of piano and male/female duetting interspersed with Guy’s Trumpet on title track, Hope For A Mourning, seguing into a sober instrumental passage for the second half of the track.

I have to say the rhythm section from Tim and Rob add a gently disturbing current on which the rest of the instruments ride most ably, like a ferryman taking passage across an expanse of murky water, serenaded on parts of the journey by the violins and sax from Sam and Charlie.

Plucked acoustic guitar leads you to the Funeral and Benjamin’s stark, emotionally melancholic lyrics on what is probably the saddest song here, as the rest of the band’s mournful cortège pick up the harrowing procession.

It’s easy to feel the music at times is quite sparse, until you listen intently to discover the complexity of the darkly rapturous arrangements. Both vocals and instruments flit like brief visions at times, in a hall of despondently melodious mirrors, no more so than on the final song, Monarch.  Saxophone slips between violins like serpents as they slither across the bleak body of this track in a chilling rapture of blackened souls.

You have to like this type of music, with scents of Nick Cave, Radiohead and the recently discovered Down The river Dead Men Go brought to mind. But if you do it is a beautiful melancholy in which to wallow and bide a little while, which I feel will stand the test of time.

(Band photo credit Nathan Smith)

Released 15th April 2016

Buy ‘Hope for a Mourning’ on bandcamp

 

 

 

Review – John Bassett – Live From The Byre – by Progradar

“Simple can be harder than complex: You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.”
― Steve Jobs

“The most complicated skill is to be simple.”
― Dejan Stojanovic

Imagine, if you will, a school of excellence for the mixing, mastering and production of music, Progwarts for the progressive music world maybe? (I’ll get my coat eh?), where engineers like the renowned Rob Aubrey, the revered Steven Wilson and the talented Daniel Bowles learned the dark arts and black magic that is stock in trade for such an establishment. I haven’t got a clue how they take the raw elements of music and wondrously turn them into the refined and polished product that us end users get to hear.

However, there is such a thing as an over-engineered piece of music and one where the engineer and/or recording artists just can’t help having that final tinker around to produce something with an almost unnatural sound.

So, taking things a step further, what if former star pupil John Bassett turned his back on the venerated establishment and went on a perilous journey into the deep, dark wilds of Ireland and recorded in a derelict Byre in County Sligo on December 29th 2016? Recorded in one take with three microphones, one for vocals, one for guitar and one for ambient sounds such as the birds nesting in the roof, the wind outside and the door continually creaking.

Well, you’d have ‘Live From The Byre’, the latest solo E.P. from this well respected English multi-instrumentalist and producer. It follows 2014’s full length ‘Unearth’ and the ‘Aperture’ E.P. released last year.

(Picture credit Tamsin Bassett)

The songs featured on this back-to-basics, pared back recording are:

1. Unearth (from John Bassett “Unearth”)
2. Nothing Sacred (from John Bassett “Unearth”)
3. Murder in a Small Town (from KingBathmat “Blue Sea, Black Heart”)
4. Brand New Crucifix (this song is about 20 years old and I don’t think its ever been available anywhere?)

John had this to say his latest recording:

“I hope you enjoy this release, I’ve always wanted to create something that has an intimate atmosphere and was created spontaneously, and this certainly wasn’t what I had planned on doing.”

Unearth opens with a really moody feel, subdued guitar and John’s hesitant, pared back vocal to give a really intimate atmosphere to the song. I can imagine myself in the byre listening to this earnest musician recording this track live. It may be a simple set up but that doesn’t mean you get less from the music. There are plenty of nuances and empty spaces for the sound to fill. It is almost edge-of-seat stuff, quite intense in the way it leaves you nervously apprehensive as the guitar builds up to quite a powerful close to the song. A dynamic track that proves less can always be more…

There is a jaunty repose to the opening of Nothing Sacred as the guitar strums along nicely and the vocals have a halting edge to them. The song builds up to the chorus, the guitar increasing pace and John’s voice becoming more influential. I listened to this song with headphones on for the first time and I really got the impression of being in an intimate acoustic gig in some small basement club somewhere, time and life forgotten in the moment. That is the essence of this E.P., it is music you can lose yourself in and gets right to the basics of why we listen to it in the first place.

Murder In A Small Town takes on a more melancholy note, a wistful sorrow in the vocals and the delicate guitar tone. This is a tale of sorrow and woe and has that almost pensive folk like feel to it. Stories from the backwoods brought to life by the brilliant musician in front of you. To my ears, the most pared back of all four of the songs and yet there is a real substance to it as John gives his heart and soul to the music. It is quite spellbinding in its own way and left me transfixed as it came to its sombre close.

There is a touch of old style 50’s Rock & Roll at the heart of Brand New Crucifix with the subdued guitar playing and its really deep resonance and John’s stylishly restrained vocal delivery. This could have been a Johnny Cash song in his heyday and it really resonates with its restrained and controlled feeling of fury. There is an increase in tempo towards the end, an intense and turbulent finish to the song that leaves you almost breathless.

Now I’ve been a fan of John Bassett through KingBathmat, Arcade Messiah and all his solo work and his incredible ‘Wall Of Sound’ has always blown me away but here he really shows that you can strip things all the way back to basics and deliver music that is true to his heart and soul and has a purity that you just won’t find anywhere else. Everybody should listen to this E.P. at least once and remember what music really is all about, this is a Brexit that actually did work.

Released 15th January 2017

Buy ‘Live From The Byre’ from the John Bassett bandcamp site

 

 

 

Review – Tim Bowness – Lost In The Ghost Light – by Progradar

“Look around you. Everything changes. Everything on this earth is in a continuous state of evolving, refining, improving, adapting, enhancing…changing. You were not put on this earth to remain stagnant.”
― Steve Maraboli, Life, the Truth, and Being Free

Yes, everything changes but, in music, sometimes that change either takes what seems like a lifetime or never happens at all. Some of the more established acts could be said to have congealed into their final selves. To be fair, they can often still produce great music but you always know what to expect and that means no more surprises and I for one like a few surprises in my musical journeys.

Tim Bowness has admitted to me himself that he does have a signature sound and it is one that can be heard as the foundation on his previous three solo releases ‘My Hotel Year’ (2004), ‘Abandoned Dancehall Dreams’ (2014) and  2015’s ‘Stupid Things That Mean The World’. 2017 sees him return with a new album, ‘Lost In The Ghost Light’, and a new approach.

Here’s Tim’s thoughts:

“This new album, in some ways, it is quite a departure. There are lots of flutes on it and due to the nature of ‘the concept’, it’s definitely the most traditionally Progressive album I’ve made. It was very much a labour of love and like you say, it ‘felt’like a Tim Bowness album while taking the music into some uncharted places (for me).”

‘Lost In The Ghost Light’ is a concept album revolving around the onstage and backstage reflections of a fictional ‘classic’ Rock musician in the twilight of his career. It is a grand statement about a grand era of music making and an undoubted highlight of Bowness’s career.

Lyrically, the album addresses how the era of streaming and ageing audiences affects creativity, how a life devoted to music impacts on real / family life, and how idealistic beginnings can become compromised by complacency and the fear of being replaced by younger, more vital artists.

Though firmly focused on Bowness’s distinctive voice and musical approach, the album also draws inspiration from the period the concept covers and contains a notable 1970s Symphonic/Progressive Rock influence.

Mixed and mastered by Bowness’s No-Man partner Steven Wilson, ‘Lost In The Ghost Light’ uses a core band comprising Stephen Bennett, Colin Edwin (Porcupine Tree), Bruce Soord (The Pineapple Thief), Hux Nettermalm (Paatos) and Andrew Booker (Sanguine Hum), as well as guests including Kit Watkins (Happy The Man/Camel), Steve Bingham (No-Man) and the legendary Ian Anderson (Jethro Tull). Andrew Keeling (Robert Fripp/Hilliard Ensemble/Evelyn Glennie) arranges for string quartet and flute on three of the album’s
songs.

Jarrod Gosling (I Monster / Cobalt Chapel) provides the fantastically detailed artwork, which includes a visual history of the career of the concept’s subject. Mixed and mastered by Steven Wilson, the special cd/dvd edition also features a 5.1 mix by Bruce Soord.

Tim certainly knows how to start things off with a bang. Opener Worlds Of Yesterday is hypnotic, immersive and mesmerising from the first note, a song that draws you into its soporific embrace to deliver its undoubted charms. The gentle background music has a plaintive guitar note overlaid before Tim’s distinctive vocals begin. His voice is calming and spell-binding at the same time and the beautiful strings that back the chorus work in perfect harmony. The music is full of refined grace and yet the probing guitar that you can hear throughout gives it a questing edge as well. The sedate, ambling keyboards are a delight and the flute just adds another layer of undoubted class, You just have to listen to the run out of this elegant track, it is a brilliant way to close out a song. One for late nights, lights turned down low and something full bodied and red to drink…

Moonshot Manchild opens with a laconic feel, typical Tim Bowness, all laid back vocals and subdued music that gets under your skin in an addictive fashion. There’s a subtle incisiveness running underneath though as the mellow and unhurried music washer over you. Classic 70’s keyboards give a real feeling of wistful nostalgia and a melancholy undertone to the ongoing tale. Tim’s voice has never sounded so good and he really has one of the most serenely relaxed vocal deliveries around. There’s a great keyboard interlude in the middle of the track, pensive and thoughtful asking you to reflect for a moment before the song blossoms out again with a wonderfully carefree and composed instrumental section. Once again we are treated to another impressive lead out, something that seems to be coming stock in trade for this great musician, it ebbs and flows brilliantly, demanding you follow it right to the end of the musical journey.

Wow! The next track is a real departure for Tim. All full of angst and pent up rage, Kill The Pain That’s Killing You opens with frantic drum beat and a caustic guitar riff. There’s a real nervous energy about this song, a pleading uneasiness that has a real catchy note to it. Tim’s vocal seems more direct and urgent and that acerbic guitar note really does make you sit up and take notice. The staccato chorus only adds to the offbeat tone, this is something very different and enjoyably so and, coming in at under four minutes, this frenetic song never outstays its welcome.

After that unexpected but thoroughly enjoyable onslaught, Nowhere Good To Go sees us return to the refined, simple grace of the first two tracks but there is definitely something evolved about Tim’s sound on this album. Soothing and tranquil, the music seems to lull you into a becalmed state and then open up into something just a little different with the dulcet tones of a Hammond organ combining with the strings to add subtle sophistication to what is already quite an imposing sound. Again the vocals are delivered with silken finesse and the ethereal flute adds a winsome feeling to this lissome song.

There is one of the best openings to any recent progressive song on You’ll Be The Silence. All pastoral with a lovely piano sound and the delicate heavenly flute, it really did impress me on first listen and left me transfixed with its rarefied quality. Tim’s voice has a little catch to it, an almost sentimental regret at the heart of it and it gives the song a dreamlike atmosphere when combined with the simple charms of the wistful music. The longest track on the album at nine minutes long, you are enraptured throughout this unapologetically sentimental and yet slightly rueful piece of music. You have to take the time to listen to this song (and, indeed, the whole album) with a decent pair of headphones on and just become immersed in its spellbinding orchestral reverence. Music as good as this can take you to a place of calm reflection, where the world cannot harm you and everyone needs that now and again, an utterly captivating song that ends every bit as brilliantly as it begins, the guitar and flute leading you on a seductive voyage home…

Lost In The Ghost Light is quite a dark interlude with a menacing undertone. Tim delivers his vocal in a spoken word fashion and that adds even more suspense and uncertainty. The music is atmospheric and bleeds tension directly into your system.

That slight feeling of doubt can be felt at the start of You Wanted To Be Seen and adds to a cautionary tone to deliver a deliberately pensive and sombre tone to the song. Tim’s vocal is thoughtful and sad and the music has a plaintive and pensive edge to it. The violin that can be heard in the background is a fine touch and adds a longing, surreal edge to the track before things change tack with a restless and skittish air that adds tension and a disquieting unease. Another great song that has an imposing end with some great guitar playing.

Onto the final track of the album, Distant Summers, a mournful violin opens this mellow and cultured song and imbues it with a really plaintive plea for days gone by, Sepia tinged nostalgia drips from every wistful note and the exquisite flute playing is tempered by a trite ennui. The vocals have a touch of anguish at the core of them and the whole song has a fragile dignity deep at its core, one that is made up of beauty and remorse in equal quantities. Despite the forlorn mood that runs throughout the song, I still feel that there is hope emanating from Tim’s expressive voice and that is the overriding feeling that I will take away with me.

I’ve always been a fan of Tim Bowness and this new album has only exacerbated that. He has added something different and distinct to his music to evolve and progress it to something that, while recognisable as his work, has seen him mature into one of the best and most involving progressive artists that we have. There are added layers and nuances that just lift this album above similar fare on offer at the moment and I can see this being on my playlist for a long time to come.

Released 17th February 2017

Order ‘Lost In The Ghost Light’ from Burning Shed

 

 

Review – Last Flight To Pluto – See You At The End – By Craig E. Bacon

Last Flight To Pluto makes a grand entrance onto the prog scene with their debut album, ‘See You At The End’. Their energy is brash, raw, and engaging across six tracks and an hour of music—a deft alchemy of late 70’s Rush and late 90’s Massive Attack in roughly 65-35 ratio. Band leaders Alice Freya (lead vocals, guitar) and Daz Joseph (drums, vocals) put in years on the cover band circuit, while young lead guitarist Jack’o McGinty must have studied ‘A Farewell To Kings’ from birth to channel Alex Lifeson’s riffs and solos so naturally. The result is that this band, while young as a unit, are experienced, confident, and very tight.

The opening track, Heavy Situation, features many of the elements to which the band will return throughout the song sequence: doubled lead vocals, moody grooves w/electronic accents, classic-rock-power-trio athleticism, and programming-heavy dance-hall loops, all of it slightly tinged with the blues. The vocals are of immediate interest; a bit alt-rock and a bit bluesy, Gin Wigmore and Janis Joplin may serve as points of reference but even for a female prog vocalist, Alice Freya is a unique and multifarious singer.

While the album holds together well as a piece, House By A Lake is a clear standout and one of those ‘worth the price of admission alone’ kind of songs. Lyrically, the track centers on a carpe diem sort of theme, but the “She” who will “try to find me, to whisper in my mind” remains unidentified. As with Genesis’ The Lady Lies, this gives an otherwise straightforward metaphor a bit of a mysterious-fantasy feel. Musically, Last Flight To Pluto covers a lot of ground here, as they do throughout the album, but the composition is tighter and the transitions between sections more dynamic. If the verses and interludes are intriguing with their mix of bright piano, acoustic guitar, jazzy bass, and percussive accents, the chorus is absolutely arresting—and it just gets more explosive with every return. The song climaxes with a soul-shaking vocal from Freya and a fiery guitar solo from McGinty that goes beyond mere influence to actually rival Lifeson’s power and technique. I’d love to hear this performed live, to see whether an audience can manage to cheer through their dropped jaws. House By A Lake is the kind of song that the Prog Awards ‘Anthem’ category exists to honour.

Another highlight immediately follows; for those who want their progressive music to progress rather than retread, Red Pill demands attention. There are interesting bits of programming, keys, synths, and loops throughout the album, but this one wears its Massive Attack influence (and a bit of The Gathering, perhaps) on both sleeves. Opening with a bit of wah-wah and strange vocal FX that morph into a big, sticky beat and gang vocals, the track takes a bold left-turn into a middle section featuring a heavily effected and distorted rap. The result is more cool energy than cheese, but those who can’t dig it will surely enjoy the next left turn into a 1975’s Pink Floyd groove and guitar solo, or the left turn after that into stabbing synths and a menacing horror film voice-over.

The second half of ‘See You At The End’ continues in the eclectic direction of the first. On Lots of Swords, the level of cribbing from The Police distracts in places, but Freya’s emotive vocals give the verses a lift, and there’s a splendid interlude with frenetic bass and some trading off between a dualled guitar lead and a synth solo. Seven Mothers begins with a more acoustic meditation on humans’ disrespect for our Mother Earth, and centers on a truly beautiful lead vocal. The song builds with some organ and soulful guitar lead, returns to the chorus, then switches gears for some upbeat drums & keys programming and another guitar solo. ‘See You At The End’ signs off with Now Boarding, which features big ‘Hemispheres’ guitars and synths, a killer drum solo early in the track, then a more anthemic groove with some stratospheric vocals from Freya and another extended, David Gilmour-esque guitar solo.

While far from perfect—the production is a point of contention, being rather ‘garagey’ and frequently holding Joseph’s stellar drumming too far back in the mix—‘See You At The End’ is an impressive debut that should have received more attention by now. Given the energy and musical prowess on display here, Last Flight To Pluto is clearly a ‘must-see’ live act, and they show a lot of promise as composers. Thankfully, there’s a follow-up album in the works for Spring 2017, so give the debut a good spin now so you can say you were ‘in the know’ before they break big later this year.

Released 21st September 2016

Download ‘See You At The End’ from Amazon

https://www.youtube.com/watch?v=-GF_MENE7lY

 

 

Review – Hibernal – The Dark Of The City – By Progradar

Those of you who have read my reviews will know that I like to drop in the odd quote or two so it will be of no surprise to you that I have found a couple that really relate to my feelings for the wonderful Mark R Healy‘s Hibernal project’s latest release ‘The Dark Of The City’.

“Storytellers are individuals who enjoy creating a holiday for the mind.”
― Linda Daly 

The above quote really fits Mark perfectly, his utterly mesmerising and perfectly crafted series of musical graphic novels take you on a futuristic journey into his carefully constructed futuristic and sometimes post-apocalyptical worlds. You find yourself completely immersed in these sci-fi stories that combine with instrumental music to tell a compelling storyline that unfolds throughout the course of the album.

“Storytellers are the most powerful people on earth. They might not be the best paid– but they are the most powerful. Storytellers have the power to move the human heart– and there is no greater power on earth.”
― Laurie H. Hutzler 

It goes without saying that stories give you the power to leave the everyday behind and use your own imagination to perceive the author’s intent. I always find myself amazed beguiled and enthralled after listening to any of Mark’s complex and fascinating releases.

Mark R Healy is an author and musician from Brisbane, Australia. From an early age he loved to create, and often assembled his own illustrated books with accompanying stories – and then forced his parents to buy them.

Unfortunately this model was not scalable and Mark now seeks to promote his works to a wider audience.

Mark has also combined his storytelling prowess with music, creating a project called Hibernal through which he interweaves original sci-fi stories with his own music to create an immersive theatrical experience for the listener.  Combined with a professional voice cast and sound effects, these “audio movies” are ‘The Machine’ (2013), ‘Replacements’ (2014), ‘After The Winter’ (2015) and ‘The Dark Of The City’, to be released January 12th 2017.

‘The Dark Of The City’ is based around the story of a cop who undertakes a relentless search for the creature that killed her partner.

Hibernal is:
Mark Healy
Rowan Salt

Script by Mark Healy. Edited by Rowan Salt.

Cast:
Faleena Hopkins – Moreno
Scott Gentle – Trask

The opening title track, The Dark Of The City, has that dark dystopian ambience that we have come to expect from Hibernal and sets the scene perfectly with its understated sci-fi feel. As you’d expect from an ‘audio-movie’ the characters introduce the story within the voice over of the song and Faleena Hopkins is perfect as the heroine of the piece Moreno. The music bubbles under in the background as Moreno tells the tale of the cops hunting the monstrous creatures called ‘Necros’ and, in particular, the one that killed her partner.

You have to listen to this release in one hit, in a dark room with no distractions and preferably with headphones on! The instrumental sections immediately bring to mind the worlds Mark has created previously for ‘Replacements’ and ‘After The Winter’ and are a little different to what he served up on Hibernal‘s debut ‘The Machine’. The brooding guitar playing and pensive rhythm is almost like Nine Inch Nails but without the brutality and gives an apprehensive tone to everything. Atmospheric, it seems to expand to fill the space around your ears and envelops your whole being in an involving wall of sound.

The story continues with Night In Carson Bay as Moreno once again paints a picture of the scene. The music has a real hypnotic quality to it, Mark’s keyboard playing is elusive and yet mesmerising at the same time and then the somnolent guitar note leads you on. Deliberate and narcotic, the track continues to pervade your psyche and you find yourself immersed even more into the mood. The voice-over describes an underworld of any possibilities as our protagonist continues to search. You feel her every emotion as she battles her inner demons and the music takes on an angrier, demanding edge to mirror this.

Target 247 opens with a instrumental section that is as cinematic as they come and, to my ears, almost has a Sci-fi Western feel to it, the bass playing is phenomenal and really steals the show. I’ve always been impressed by Mark’s musicianship but he really seems to have extended himself even further on the new album and become even more accomplished. At this point, headphones on, I have become lost in the music when Moreno’s voice chimes in, introducing her partner Trask (voiced by the excellent Scott Gentle). There is an uneasiness between the two partners and Scott plays Trask as a gravel voiced old pro who you feel has seen it all before. Moreno’s obsession comes to the fore again, there is only one target she is after and the song closes with really edgy industrial guitar riff of immense proportions.

A low undertone opens up into a determined instrumental at the opening of How It Ended as the story continues and Moreno describes their actions. That dystopian feel hits home harder than ever as the partners talk and reveal their past chequered history. There’s a harsher guitar note playing out behind the vibrant drums, keys and bass giving a discordant overtone, perhaps matching the atmosphere between Moreno and Trask. Their quarry seems to be eluding them, intelligently hiding from any of Moreno’s tracking techniques as they move deeper into the dark underbelly of the futuristic society.

The atmosphere is charged even more at the opening of Black Blood, apprehensive and anxious as Moreno and Trask venture even deeper in to the dark underworld where the freaks and criminals hide away and go about their nefarious business. We learn more about the ‘Necros’ and what they could possibly be as the dialogue interplays between the two. The dark and introspective music gives the scene a really melancholy aura and keeps you on edge.

The sounds of waves washing up and a fog horn are the opening to The Pier and a feeling of calm initially pervades everything personified by the music. Lighter and more upbeat and is it washes over everything, the stylish drums a highlight. An edgy, funky riff gives a serious tone before the voice-over continues, have our duo finally found their quarry? A Pink Floyd sounding guitar takes up the narrative itself, full of style and character, is the net finally closing in on the prize?

A hushed tone is heard as Sand sees Moreno beneath the pier as the chase continues.You are totally on edge, wondering what is going to happen next as she talks us through her motions, what’s that in the shadows? The music gets tense, restless and skittish, the riff staccato and ill-at-ease, what is happening? You can’t help but feel excitable and, your nerves on edge, mirroring the guitar and drums. There is a confrontation, is Moreno okay, has she been shot? She fires back, her prey is down but is that the end? The track close with a funky, stylish soundtrack, almost triumphant in tone.

Loose Ends, what has occurred? Trask arrives on the scene amid utter confusion, who has been shot? Who is the monster? Oh my god, the twist in the tale is utterly brilliant and convincing and you sit open-mouthed as the rest of the story unfolds and we segue into Monster. The storytelling brilliance of Mark Healy left you toally open to that unexpected turn in the story. I’m not going to spoil it for you, honestly buy the album and enjoy that heart-in-the-mouth moment yourself. The rest of the track closes the story perfectly with the voice-over underpinned by poignant and reflective music full of emotion, some of the best music Mark has produced yet, mature, intelligent and it hits home perfectly with the unforeseen ending to the scene…

The story finally unfolds with the final track Survival, an astute monologue delivered to the rapt listener, still a little in shock from the outcome that was so unanticipated. You hang on every word, just as you would watching the final scene of a brilliant movie you’ve seen at the cinema. The music then takes over melancholy, mournful and a little disconsolate, I felt it in my own heart, a lament for an unknown future with little hope, wistful and forlorn.

I have never made it a secret that I am a fan of Mark Healy, not just his Hibernal project but also his sci-fi novels. His inventive and innovative mind never fails to surprise me to deliver an utterly immersive and vivid world which he fills with his utterly credible, world-weary characters and delivers deeply engaging and fascinating stories that draw you in completely. With ‘The Dark Of The City’ he has surpassed the previous wonderful ‘audio-movies’ and given us his best work yet, the way the story unfolds is real genius and I can’t wait to see what this ever imaginative and creative artist will come up with next.

Released 12th January 2017

Buy ‘The Dark Of The City’ direct from Hibernal

 

 

Review – The Brackish – Liquid Of Choice – By James R. Turner

(Featured image credit Simon Holliday)

I have no idea at all how Bristol instrumental band, The Brackish have slipped through my radar considering I live in Bristol and have been to a fair few alternative and prog gigs here, considering they’ve been plying their trade since 2013, and I’ve been back since 2014 you’d have thought I’d have found them by now.

Still, I have, and as usual it’s chief Elephant David Elliot who, when not pestering Tom Slatter for an album, is out their finding new bands for us to enjoy.

He puts the miles in so we don’t have too, reward yourself with a curry for this one David, you’ve earned it!

This, ‘Liquid of Choice’ is their 2nd album, their debut for BEM and their follow up to 2014’s ‘Big Guys’.

With a wide spectrum of releases this year, it seems only appropriate that from the home of The Fierce and the Dead comes an all instrumental guitar driven album, powered by the duelling guitar work of Luke Cawthra and Neil Smith and driven by Matt Jones on drums and Jacob Myles Tyghe on bass.

Running the gamut from psychedelic rock to the blues to elements of King Crimson, their sound is fresh, funky and powerful.

From the opening title track with it’s mix of funky riffs and languid guitar work, the intricate wall of sound that is The Brackish calling card is deployed to great effect, the way the duel guitars work in tandem particularly during the quieter passages brings bands like Wishbone Ash to mind, whilst the drum and bass anchor the music, allowing the guitars to fly.

Picture courtesy of Ed Sprake Phtography.

There is a lot of skill and ability here, and whilst it’s very easy to make an instrumental album, it’s also very easy for people to dismiss instrumental music as nothing more than wallpaper (as I’ve said before and will no doubt say again!) but when it’s done well, as it is here then it’s a joy to behold.

Making music is like a sonic jigsaw, if the pieces don’t fit it doesn’t work, here however is sheer musical bliss, the diverse sounds and mood changes in Loggins Breakdown for instance is worth 11 minutes of anyone’s time, and if you disagree you I’ll set Tom Slatter on you!

Their mix of light and dark is sublime, as is their use of funk, particularly on the toe tapping Something Negative on the Dancefloor (maybe they’ve seen me dancing) and here the bass is adding to the sound, making it a third guitar.

Cactus Gulch and the Hellish Walk Home is 12 minutes of sheer brilliance, from the title to the driving riffs and time changes, it feels like a musical journey and one you want to join them on, the interplay between all four of them is amazing and you can tell they know exactly where their sound needs to be at any one time, and it’s wonderful to hear such musical empathy.

Their sound is unique, and this finely crafted and sublimely performed album is another musical string to the Bad Elephant bow, my new Years Resolution is to see The Brackish live in Bristol, and I urge you all to do the same.

Released 14th September 2016

Buy ‘Liquid Of Choice’ from Bad Elephant Music on bandcamp

 

Review – Pain Of Salvation – In The Passing Light Of Day – By Emma Roebuck

Another reason to thank the late great Geoff Banks is for his recommendation of Pain Of Salvation, ‘Remedy Lane‘ was my first introduction to them. When I was given the opportunity to review the new release, I bit Martin’s hands off.

On the first play through I was unsure, to be truthful it felt like Daniel Gildenlow was grasping for something with this album. I was hoping for another ‘Salt Road’ I suppose but then I read the press pack and realised that this is an album of recovery and loss. Looking at it through that prism, the album is deeply personal and reflects what I recognise as Daniel voicing his recent history, one of a near fatal illness and the slow recovery to full strength and vigour.

The album is full of light, shade and some very dark music with all you would expect from PoS, the heavy riffs, thundering drums; the sonic assaults all there in abundance.

There is also a goodly amount of experimentation, subtlety and sensitivity in there too. The album kicks off with “On A Tuesday”, this is a full on classic PoS track coming in at 10 minutes plus with a metallic introduction coming at the listener like a supercharged tank then dropping off into in almost acoustic piano synth combination and, at times, I can hear an Arthur Brown like quality to Daniel’s voice.

“Full Throttle Tribe” Instantly hits you more than any other track. The riff from the keys becomes the refrain that runs through the whole track. Here we have a song relating to the need to belong and have some kind of person or people to call your own. It hammers home only relenting occasionally for breaths of reflective stillness before ripping back into chaotic riffology. Then it vanishes to the electronic pings of hospital machinery and ends in an industrial dark melee.

“Angels Of Broken Things” is as near as this album has to a pop song. Don’t get me wrong, this isn’t Justin Bieber territory but it is accessible and has a tension building bass line that drags you along seeking release when the spring is close to breaking.  If Pink Floyd were young and still around this would their “One Of These Days”. It’s an ode to the angels on the wards and nod of thank you to them.

The Title track “The Passing Light Of Day” is a 15 minute epic that starts with pipe organ keyboards as if from a 60s BBC Children’s Programme then goes into an aching beautiful track describing loss, redemption and recovery.  From the sound of the fingers sliding up and down the guitar strings to the plaintiff voice pleading against the inevitabilities of life you ache throughout the whole track. The band are restrained on this track and it shows their understanding of space and its importance in music.

This is not an album where you will instantly fall in love with whether you have been desperate for a new PoS album or not. It is worthy of the name of a good album. A classic? That is not for me to judge but it definitely is worth listening to if you like Progressive Music on the harder side. I’d say it will stand out in the genre in 2017. If you like Dream Theater or their ilk go here if you already haven’t done so. If you want to dip your toe in the water this may be a good introduction to this aspect of the genre. There is also a vinyl deluxe version for the collector and completists out there.

The album is littered with some great music and is a rebirth of the band as a force to be reckoned with. Worth the wait? I believe so.

Released 13th January 2017

Buy ‘In The Passing Light Of Day’ from InsideOut Music

 

 

Review – The Neal Morse Band – The Similitude Of A Dream – By Gary Morley

Everyone has an opinion. Either carefully constructed after reading up, researching and questioning all and sundry, or shot from the hip in nanoseconds without further thought of the ramifications of the snowball as it grows.

Neal Morse. Opinions on him are as many and verbose as is his output. Unlike his output, they are binary : either the “God” thing does it for you or it doesn’t..

Well I’m not going anywhere with that construct. I’m going to review the music. And there’s a lot of it on this album. ‘The Similitude Of A Dream’ is 2 CDs worth.

I was lucky enough to get a pre release mp3 file and listened with a view to scribbling a couple of pithy one liners about style over substance, myth or mistake etc, but then the hooks in the piece caught me.

Dragged me back into the musical world of Morse and his musical fellow travellers – Mike Portnoy, Eric Gillette ( fab guitar work here) the bass of Randy George, a fine partner in crime for the much maligned Portnoy and Bill Hubauer provides  keyboards to a fine standard.

A world class band of brothers who ooze musical chops at every point, but in an understated manner.

I described the album to a friend as “A Musical symphony without the W****y ELP bits.

It has a theme that runs through and it matters not that this theme is based on a 17th Century fable. It’s as relevant as dragons, small furry creatures or starships when it comes to telling a tale.

If you loved ‘Snow’, a high-water mark in Spock’s Beard back catalogue as far as I was concerned, are familiar with Transatlantic’s epic widescreen albums and like a good melody , then this album will float your boat and tick all the boxes.

It’s epic in sound as well, great instrumentation link the themes as they get expanded and revisited across the 2 discs.

The similarity to ‘Snow’ is that once again, we have a protagonist who feels separated from all around, and sets out on a voyage of exploration.. I think? Or it’s a bad trip brought on by the dodgy narcotics offered to him in” Draw the Line”

Oops, got distracted listening again….

Where was I? Oh yes. In a (wisely) unpublished review of Dream Theater’s ‘The Astonishing’, I made reference to ALW doing prog or DT doing musical theatre, with the results as horrible as expected.

This is the opposite, an album that is a musical   in a direct, song based way, no dodgy narrative clunkers or strange interludes here, just a collection of songs that fit thematically and musically. Oh – apparently it’s referred to as a Concept album.

People like musical hooks to hang things on, for this, dust off the Genesis “Trick of the Tail” hook for the vibe in “The Ways of a Fool”. Add in Queen too for these are the first vocal harmonies to elicit them since Jellyfish popped up in the 90’s.

Then there are some very Beatles approved strings , a flash of Banksian keyboard prowess and some very Queen guitar before those harmonies kick in again. This track is rapidly becoming a firm favourite here.

The first CD builds to the climax of “Breath Of Angels”, which is the most overtly religious track , hardly surprising when you listen to the lyric, but the angel voices in harmony layered behind Neal as he exhorts us to the City Of Light… A New Jerusalem anyone?

CD 2 doesn’t let go either. Unlike my CD player which refused to give up CD 2 3 times… is this a sign?

Anyway, we rock off at full speed with a keyboard flurry that Jon Lord would be proud of in “Slave to Your Mind”, then we have an appearance of a saxophone in “Shortcut To Salvation”, a west coast vibe to this one, a vocal tour de force from Mr M.

Nice piano too.

This album is shaping up to be a contender for best of the year lists…

Then the crash out with their inner Zeppelin with the monster riff of “The Man In The Iron Cage”, it might be a Zeppelin riff ,but the vocals are pure Morse – no pastiche of Percy Plant here, Neal has a very individual voice and it makes him stand out in an army of clone vocalists raised to believe that karaoke is the way to sing.

Big keyboards again: Purple Zeppelin .This is  joy to my old ears. The guitar solo slides in, all flash and stylish restraint, linking to a gentle vocal and acoustic piece about God and faith and breaking out of self inflicted limitations – all very new age, but remember this is based on a 17th century tome, so new age is as fresh today as it ever was… Before the band crash back in with the hook laden choruses. If I was a singer, I’d be singing along… and rocking out with my air guitar, Gibson Les Paul of course.

The Neal Morse Band have a way with a tune, they sprinkle their own stardust on the tunes here. Thematically linked to the story, the songs follow the narration or rather are the narration as there’s no cod theatrical voice over needed. Listening again, it’s the natural flow of the words and harmonies that impress.

Not only have they got me contemplating life’s metaphysical journey and the pitfalls therein, they’ve also got me wanting to read the words to better follow the twists and turns they guide us through.

CD2 builds from the charging stomp of ‘Iron Mask’ to a contemplative piece with fretless bass and strings, a mellow little piece called “Sloth” which leads into one of  those “Oh So Neal” songs – all campfire acoustic guitars and sing along tune a pleasant reminder of “Wind At My Back” from ‘Snow’, here titled “Freedom Song”.

The clever use of the upbeat music to convey the joy of the protagonist unburdening himself of the burdens stopping him is simple and effective.

You get the old time gospel hoe down distilled into a song full of hope and optimism.

Appalachian mountain Prog anyone?

We then get the big finale. The crowd are warmed up by “The Freedom Song” / “I’m Running”, featuring some fabulous bass dexterity and a nod to Phil Collins big band tub thumping full spectrum production with the kitchen sink relegated to 3rd sax…

Another gentle nod to Genesis and Bank’s contribution in the piano intro to “The Mask” which veneers on the pastiche such that I was expecting Romeo to lock up his basement flat and join the journeyman…

This nasty little voice in my head is playing spot the Genesis reference now. “Confrontation” intro had me thinking ‘Eleventh Earl of Mar’, don’t know why as couldn’t hum it to win a pint, so where that popped up is anyone’s guess.

Most Un- Abacabish is the instrumental breakdown which sounds like the you tube cat got not only the Theremin but the rest of the instruments too.

‘Back to the City of Destruction’ qualifies as the most depressing hook line to any song ever, but the Deep Purple Hammond flurry after it erases such piffling triviality to a foot note.

We are into big bold grand piano chords and time changes now, classic “American” Prog where technical flash breaks free from pious restraint and madness ensues as they fight over the direction of the piece, aptly called “The Battle”, the piano and keyboard here are fantastic, a bit ELP in bombast in places, a bit Benny Hill in others (listen – you’ll know what I mean).

Sadly it means rather than the cataclysmic battle of Armageddon, it comes over more Ernie the fastest milkman for me, but it’s a small price to pay for the joy of the piece.

The climax, “Broken Sky / Long day“, delivers everything you want for the finale.

Heartfelt vocals over subdued instruments that builds , you can tell that the end (of the song) is coming, and your heart lifts as the song unfolds  it’s wings, shakes them free and prepares to soar.

And soar it does with a lovely keyboard flurry and full Morse the Evangelist vocals, with a guitar part that didn’t trigger Genesis associations …

No it’s doesn’t sound like comfortably numb….

Sorry, that little cynical voice appeared again. Ignore itt. The most iconic of guitar solos will obviously echo through space and time…

Better that than the Jonas Brother‘s attempt…

The sums of the parts with this piece greatly outweigh a few “borrows” here and there.

I loved it and I’m neither A born again American or An American Born Again.

The production, songs, package and playing on this are all woven together to create a modern classic, for once the praise surrounding this project undersells it, it is that good.

All band pictures courtesy of Robert Smith

Released 11th November 2016

Buy ‘The Similitude Of A Dream’ from Radiant Records

 

 

 

Review – Sills & Smith – Echoes In Time – by Progradar

“Douglas Adams got it wrong, ’42’ is not the meaning of life (the universe and everything), no, the meaning of life is music…” – Martin Hutchinson

You’ve read my reviews before, most of the time I search for an inspirational quote about music. How music affects me on a personal level or how music can just make your life worth living and this world we live in a much better place to be.

Well, this time, I came up with the quote all on my own. I honestly feel that my life would be so much poorer without the impact that the music I listen to has on it. Don’t get me wrong, I really cannot connect with chart music but there are those out there that take their daily fill of it and it makes their world better.

I just feel that music that is written from the heart and because of the artists love of music (and not necessarily for commercial gain) has even more power to affect your life and sooth your soul. It transports you temporarily to a world of your own imagination, where you can go to recharge your batteries and let the tiredness of the daily grind wash away.

Well it happened again, this time it was an email from Frank Smith, of Canadian artists Sills & Smith, asking me if I would like to have a listen to their music with a view to reviewing their last release ‘Echoes In Time’, which came out at the end of 2015.

I duly did and you may have gathered, by the simple fact that I am writing this review now, that I really liked it enough to want to explore more.

Sills & Smith, led by Ottawa singer-songwriters Jeremy Sills and Frank Smith, has independently released five studio albums of music that boldly blend and bend elements of folk, alternative rock, progressive rock, with hints of blues and jazz. The new album ‘Echoes In Time’ features 13 powerful, melodic original songs; the boldest Sills & Smith musical adventure to date.

‘Echoes in Time’ features a stellar cast of players, with the core group: Frank Smith (words/music, vocals); Jeremy Sills (music, vocals, acoustic guitars, piano, trumpet); Phillip Victor Bova (recording engineer/producer, electric and acoustic bass) and T. Bruce Wittet (drums/percussion). Brilliant supporting musicians include: Kevin Breit – electric guitars and mandolin, Blair Michael Hogan – electric guitars, Roddy Ellias – electric guitar, Jim McDowell – organs, Don Wallace – electric guitars, Tara Holloway – vocals and Linsey Wellman – saxophone.

Grace Smith designed the beautiful, four panel digipak CD edition of the album. 

The opening track We Are Receiving is a delicate and winsome beauty. The tender guitar and plaintive trumpet give the song a beautiful fragility, a gossamer thin veil that is pierced by the low down vocal of the verse. The harmonised chorus is a study in refinement and the use of the polished mandolin is genius. It’s almost like an upmarket folk song and really leaves me feeling relaxed and in a state of wonderful reflection, utterly delightful. Altogether more serious and contemplative, Slicing Up The Clouds is sombre and melancholy in feel with mournful vocals and an almost funereal rhythm from the drums and the bass. There’s a darkly delicious undertone to the track, one that drags you into the dreamscape unable to resist. There is an overriding opaqueness to this song, a tenebrous feeling of walking down an unlit path, not knowing what is to come. The guitars have a real abrasiveness to them, insinuating themselves into your psyche and, as the song comes to its menacing close, I can’t help but feel slightly chilled and scared. The Chalice/The Blade is a really laid back song with some tranquil and serene vocals that are matched by the carefree and breezy guitar that runs throughout this enchanting track. This is music that is happy to just tread water, no particular place to go and no rush to get there, Calming and relaxing, you are invited to unwind and let yourself go. Sunny days and warm nights are what come to mind, a nostalgic look to the past when life seemed so easy. The guitar playing is brilliant, almost free-form and jazzy, leaving little notes of sophistication hanging in the air and the repeated chorus accentuates the aura of serene sophistication.

The first thing that grabs you on One Step Behind is the incredibly emotive saxophone, the playing is just superb. There is a barely kept feeling that all is well to the outside world but, underneath, all could come crashing down. The wistful guitar and melancholy vocal have an ageless feel to them, a story long in the telling perhaps, and they keep your attention rapt on this pensive and thoughtful track. As it comes to a close I am left with the loudness of silence. That slightly disconsolate musing is carried over to They Don’t Come Knocking, another incredibly deep track that begs your understanding. The slow pace and deliberate vocal just add incredible amounts of meaning and the achingly elegant guitar speaks of decades of questioning and inquisition. There is no happiness here, just an eternal grace and fortitude. The Cimmerian shade is lifted slightly by the upbeat tempo of Reverberations with its 50’s sounding twanging guitars. The lyrics have a real feeling of Americana to them and I really find myself getting drawn into the stark joy that emanates from this song. There’s almost a feel of a more serious R.E.M (if that is even possible!) to this track, a grown up humour that underpins everything, keeping it in check.

Hillbilly blues with a hint of jazz? Well, that’s about the best way I can describe the oddball delights of I Was Really Something, a song that has a real tongue in cheek irreverent humour running smack down the middle of it. The organ playing really gives it an almost vaudevillian tempo and vibe, it’s like Twin Peaks meets The Rocky Horror Show with a Gothic twist and I really like it, the vocals are great and the guitar just seems to have a mind of its own. The humour seems to take a back seat but that 50’s aura doesn’t leave. Echoes takes the impudence and wit of the B52s and covers it in lashing of black humour, especially that really catchy organ sound. The vocals are serious and monotone, giving gravitas but I can’t help smiling. The ability of Sills & Smith to effortlessly switch between sounds and genres is mightily impressive. Now onto the superb, dark hues of the bluesy The News. Again that slightly unreal ‘Twin Peaks’ feel persists, as if things aren’t quite what you think they are, the edgy, humourless vocal giving nothing away. What really stands out on this track is the outlandishly guitar playing, like blues on steroids and it gives the song a sort of modern western/mariachi soundtrack to it, added to the haunting organ note, it really is something. This is a track that I like to play with the lights right down low and at full volume, it is quite disconcerting but wondrously so and would grace any Tarantino film as it takes you into a world of modern fantasy. Listen right to the end and you will even hear the guitar go all Carlos Santana on you, utterly mesmerising.

Time to go all R&B on us now, After The Smoke Clears is a really nice track with some great guitar playing and a captivating vocal. Clever, insightful lyrics delivered with heartfelt feeling give it some real class and the music has a real 80’s George Benson undertone with the wah-wah pedal working overtime. A lament to things lost but delivered with panache and flair. A folk song at heart, Is The Mirror Reflecting You ? has a really solemn vocal and pared back instrumentals that give it an austere dignity. Time seems to stand still as this refined track carries on its serene journey. The humble vocals and subtle music have an intangible depth to them and this song leaves your heart open and raw with feeling. The Sacred Valley has a noble grace to it, the pure and uncomplicated music and restrained vocal give an overall pastoral tone to the song. There is something to be said for uncomplicated music that wears its heart on its sleeve, what you see is what you get and this elegant track is exactly that. The simple sentiment that is at the heart of everything is one we can all relate to and this lovely piece of music will put everyone in touch with their innermost self. This intense and fascinating musical journey is brought to a close by Pick Me Up With A Song, a country/folk track that has hints of Dylan to it in the vocal and guitar. Simple, dignified and with a message that we can all take to heart, this song just seemed to have a calming effect on me and left me composed, relaxed and in a place I was exceedingly happy to be.

Wherever you look, you will always find music that captivates and intrigues. We now live in a world where superb music is the norm rather than the exception but some music will always stand out from the crowd, even if it is a rather impressive crowd. The musical capabilities of Sills & Smith are such that ‘Echoes In Time’ isn’t just a really good album, it is a great one and one that I must heartily recommend to any lover of great music and excellent songwriting.

Released 10th November 2016

Buy ‘Echoes In Time’ from bandcamp

 

 

 

 

Review – Les Penning – Belerion – by Kevin Thompson

belerion-cover-small

As a boy, for most of us, the way into music at school was by learning the recorder, wooden for the posh lads and plastic for the rest of us, although I did eventually get a wooden one. A class full of fumbling fingers covering various holes on the instrument (keep it clean please), to produce a range of notes that the music teacher desperately tried to knit together into some semblance of a tune. It has to be said that no one I know mastered the recorder whilst at school and took it up professionally. On leaving the establishment, mine was confined to a box along with my slide rule, action man and trigonometry books to eventually find their way to a table at the local jumble sale.

As a teenager listening to the music of Mike Oldfield was a real eye opener and seemed mind blowing that someone could play so many instruments. There were of course guests of renowned proficiency sometimes invited to appear, one of these being Les Penning on recorder for the album ‘Ommadawn’ and hit singles In Dulce Jubilo and Portsmouth. And yet, in my glib tender youth, it was easy to overlook the contributions of those around him and focus purely on Mr Oldfield’s creativity.

And so it has been until recently when multi-instrumentalist and all round nice guy Rob Reed recorded his self penned homage to the music style of Mike Oldfield, ‘Sanctuary’, and follow up ‘Sanctuary II’, with Les guesting on the latter. Now older, and I like to think a little wiser, I am more inclined to investigate music I like in depth and appreciate all the musicians involved. To this end I now find I have the pleasure of reviewing Les’ album ‘Belerion’, who’s gestation during the Oldfield years has only now come to fruition, thanks to the wonderful Mr Reed and contributions of former ELO2 singer/guitarist, Phil Bates.

Here’s the homework bit: Belerion is an ancient name given to Cornwall that has been translated as meaning “Shining Land” as well as “Seat of Storms”, both quite apt descriptions of the area. The photo on the cover, if I’m not mistaken (I’m sure someone will be quick to correct me if I am), is of  Boscawen-un Stone Circle, just west of Penzance and before my head explodes with new found knowledge let us proceed to the album. Ladies and Gentlemen pray take your partners and places for the merry dance that is Belerion.

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Opening with a gentler version than Mike Oldfield’s, of the traditional tune Portsmouth, we are  transported to the glorious English coastal fields on a summers day, overlooking Portsdown Hill to the Solent beyond with birds swooping and soaring to a backdrop of blue waters topped with the froth of white horsetail waves. You’ll find nothing so brash as heavy bass or thundering drums with screaming guitar riffs in this musical world. Instead we are enchanted with the delights of the Bodhran, Crumhorn and Loriman pipe among the instruments used.

St Clement’s Isle is a small rocky islet once the home to an ancient hermit and lies just offshore of the harbour wall to Mousehole (pronounced “Mowzel”) one of Cornwall’s most picturesque hamlets.  It is also the title of the first original tune penned by Les on the album. It’s impossible to separate the tunes from the background stories as they weave such wonderful pictures in your head and whilst they hark back to an earlier, more innocent age they have a timeless air.

All of the tunes on the album are very pleasing, including foot tapper Nobody’s Jig, taken from a dancing manual first published by John Playford in 1651 and containing the music and instructions for English Country Dances.

The gentle refrains of Easter 84 will have you happily strolling along a country lane, with the warmth of the sun on your neck, marveling at mother Natures’ beauty. A fitting contribution in memory of a friend.

It’s impossible not to think of Oldfield’s earlier work and Rob Reed‘s music (hardly surprising as he contributes to this album) but this is to no detriment as Belerion neatly stitches them all together like golden thread weaved into a musical coat of many colours.

Look lively Gents, to your partners for Selinger’s Round, a twisting little folk dance. Spin the Ladies round and watch as their skirts twirl to the music. Also known as The Begining of the World, it’s another foot tapping number.

And yet more brisk fare as we are whisked along to a breezy rendition of the old familiar 17th Century marching song British Grenadiers. A great little interpretation with a rousing climax.

Slow it down to catch your breath as Les leads us through the historical landscape of the renaissance tune Tower Hill, written originally by baroque composer Giles Farnaby.

Dance across The Baskerville Down  with Les to the Baskerville Arms, a hotel where he wrote this little ditty and has sometimes performed.

les-penning-cd-with-score-lo-res

The album oozes happiness and joy, even The Stones Feel Warm in Belerion, you can lay back on the sun kissed grass watching the clouds float slowly by, whilst listening to this peaceful number dedicated to Les’ friends.

But it’s not all about sunshine and balmy summers’ days, there is warmth to be found for all seasons in our hearts. Gather round the Christmas tree, see the flames rise on the fire as the logs spit and spark. Move the coffee table from the centre of the room, roll up the rug and manoeuvre your loved ones round the space to a jaunty celebration of the traditional Sussex Carol. Quite apt for the time of year.

After your exertions, recline with a fine mulled beverage as you take in the sparkling Bach Minuet, I’ll let you figure out who originally wrote this and who it was for, about time you did some of the homework.

A brief self-penned number from our venerable Pied Piper in Quirk, which squeezes in some strange musical patterns given the short running time, before we reach the ‘epic’ of the album.

Running in at 7:09 minutes, the penultimate Lyme (For Louise) is by far the longest track and is another original piece written by Les. He calls it dream music and if the mention of a military style, marching drum backing makes you think otherwise, trust me it is very soothing and relaxing.

The ribbon round this delightfully wrapped package comes courtesy of  His Rest another dusted off tune of Mr Farnaby’s, to see us out and give Les the chance to put his feet up. He can rest easy in the knowledge he breathes a modern air over the traditional songs which fit smoothly in with his own. You don’t have to be a Folk fan to like this album it is lovely music and can be enjoyed by all without having to don your straw hat and bells, revel in the most excellent musicianship. Maybe I should have practised more at school….

Released 1st December 2016

The 14 track CD is accompanied by a DVD that features an interview with Les where he discusses his career and the period in the mid 1970’s when those famous tracks were made. There are also promo videos for two of the pieces.

Buy ‘Belerion’ here