Album Reviews – Page 71

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 2^nd 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 17^th 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 17^th 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 3^rd 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

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.

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 17^th 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.

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

Review – Patchwork Cacophony – Five of Cups – by Progradar

There’s been a lot of discussion recently about a loss of ‘value’ to music, in the sense that people seem to think that they should be able to listen to it for free, either via streaming services such as Spotify and Apple Music or by illegally downloading it from the plethora of music sharing websites that haunt the internet.

What hasn’t helped is the fact that now virtually anybody can make an album in their bedroom with a laptop and, unfortunately, virtually all these so called ‘records’ are of very poor quality. To be fair, I’d be a bit hacked off if I’d spent £10 on a piece of music that sounded like caterwauling cats singing over somebody’s guitar lessons but the majority of music is still made over a lengthy period of time by artists who put their heart and soul (plus a not unreasonable sum of money) into creating these musical gems.

To have that devalued by the marketplace as it is now must be heartbreaking, especially when you are a multi-instrumentalist who actually plays virtually all the instruments on a new release, as well as writing all the songs and producing and engineering their works of art.

A message came into Progradar from Ben Bell, the multi-instrumentalist behind Patchwork Cacophony, asking if I’d take a listen to his latest release ‘Five of Cups’. I duly did and was intrigued to find out more…

Ben first came to prominence as the keyboard player, co-composer and producer on Fusion 2 Orchestra‘s acclaimed 2013 album ‘Casting Shadows’. When I started waxing lyrical about his new release on social media, it also came to light that he is the new keyboard player for my favourite cult prog-rock outfit Gandalf’s Fist and this was pointed out to me by my friend (and Fist’s drummer) Stefan Hepe.

He released his debut solo work, ‘Patchwork Cacophony’, independently (and with little fanfare) in 2014 and it immediately garnered glowing reviews for its distinctive take on classic symphonic prog. The trademark multi-layered vocals, effortless mixing of styles and intricate instrumental passages earned him wide-spread praise as a ‘huge talent’.

The follow up album, which I’m reviewing here, ‘Five of Cups’ sees a further development of Patchwork Cacophony‘s sonic identity and Ben also welcomes guest guitarists in Marcus Taylor and veteran live session musician Tim Hall.

The album opens with the four part Fairytale (Parts 1-4) and part 1 is the wonderfully atmospheric instrumental Are You Sitting Comfortably? and then we segue into the breezy and upbeat keyboard heavy progness of Once Upon A Time. We get to hear Ben’s unique vocals for the first time and they fit the classically progressive music perfectly. The musical interplay is excellent and you really wonder how one guy does it on his own! There’s a real polish to the keyboard playing that makes it hugely infectious and I was hooked the first time I heard it. Ben’s skill on all the instruments is very impressive, the rhythm section of the dynamic drums and the funky bass especially. I think I may stumbled upon something special here…We take the instrumental route again with The Wonder Of It All, a wonderfully quirky track that has its own ideas and agenda. Cheerfully buoyant and optimistic, the instruments seem to bounce of each other with reckless abandon and without a care in the world. It is a really refreshing song that puts a spring in your step and Ben’s fingers fly fluently around the keyboards with enough energy and gusto to put even Rick Wakeman to shame! The last part is called Life Is Not A Fairytale and opens with Ben’s rather sombre piano, all the spark and joy of the previous track replaced with a more serious and morose overtone. It is a beautiful tune though and one that almost brings a lump to your throat when the delicate and fragile vocals begin. There’s an almost melancholy edge to Ben’s voice which is emphasised by the graceful notes that emanate from the elegant piano playing. There’s a serious, if thoughtful, message coming from this song and one that we should take notice of, I am left in a deeply reflective frame of mind as this four-part gem comes to a sober and solemn close.

Choices brings back that busy feeling with the energy and dynamism of the opening keyboards and drums that give it an early Yes feel. Quite frantic and yet structured and deliberate, the track opens up with Ben’s precise vocal delivery and takes on a persona not unlike a hyperactive Billy Joel. There is definitely a feeling that Ben has lifted his ambitions on this release and this stylish track is evidence of that. Just check out the infectious Hammond organ that races through the centre of the track, it’s brilliant. Counting Chickens opens with a piano/keyboard combo that brings to mind Changes from Yes, with its catchy and repetitive tempo. It goes on to become a really inventive song with Ben’s signature keyboard virtuosity stamped large all over it. There’s a calmness that falls over the track, a laid back feel before that piano led mantra begins again, addictive and really enjoyable. A great instrumental that I keep returning to again and again.

Like Pink Floyd’s lesser known (but better looking) brother, Maybe strides confidently into the arena on a wave of elegant drums and edgy, funky guitars. This is where Ben takes a step back and lets one of his stellar guests take over and Marcus Taylor really does the business with some superb guitar playing. Ben’s vocal goes up a notch, full of angst and barely concealed anger and it is a great vocal performance. There’s a nice instrumental section that builds up to a rather tasty guitar solo, full of power and emotion, Marcus really reaches the heights on this one. Overall it is a song brimming with energy and disquiet and one that really shows the direction Ben is heading in with its focus and sophistication. A shortish epic at just over nine minutes, Every Day is an immersive and contemplative listen and one that gets the headphones treatment from me, to better enjoy its subtleties. A low down vocal and jazzy instrumentals give it a polished feel, in fact, it is probably the most jazz oriented track on the album with some interesting time signatures and a hesitant pace. Take your foot of the pedal and step of the incessant treadmill of life and let this calm and collected piece of music just wash over you as if you don’t have a care in the world.The middle part of the song is almost like a sci-fi soundtrack, bringing to mind epics such as 2001:A Space Odyssey and the like with its mysterious and cryptic keyboards leading the way before we are treated to synth heaven and Ben gets to show off a little, a really inventive and satisfying track that stays long in the memory.

Chasing Rainbows is a hectic, agitated and frenzied song that really smacks of Ben Folds Five on acid to my ears most of the time. Ben’s vocal has a harder, almost distraught edge and the music is full of nervous energy as it goes from animated note to animated note. A real uptempo and tumultuous jazz-infused track that you seem to feed off and become fevered yourself. There’s a sudden and sharp change of focus and feel half way through where an elegant piano brings order and calm to the chaos and enables you to get your breath back, not for long though as an insistent piano note precedes the return of the tumult, turmoil and barely concealed anger, what a great ‘in your face piece’ of music.

A haunting piano refrain opens the nostalgic and wistful instrumental of From A Spark. Dignified and ornate as if from a bygone era of cultured gentility, the piano leaves tasteful notes on your mind as it weaves its graceful and cultured path through your psyche and leaves its mark on your very soul. Bewitching and captivating, it brings the whole world to a stop for nearly seven minutes to listen and take in its restrained grandeur.

The final song on the album is the masterful splendour of Brand New Day, over twelve minutes of progressive rock that really knows its chops. The opening is all pomp and circumstance with the energetic rhythm section aiding and abetting the compelling keyboards and Tim Hall‘s potent guitar. It opens up into a classic track full of nods to the great progressive tracks of the past. Ben’s vocal is full of intent and gives the song the grounding that lets the instruments take over the show with no need for restraint. There are time changes galore and Ben plays a bewildering number of different instruments throughout this intricately complicated and lengthy work, just sit back and enjoy what is laid before you. You hear little deft homages to the likes of Camel, Yes, Genesis and even IQ as Ben opens up and runs through his full repertoire of talents. Moments of quiet contemplation mix with elaborate instrumental interplays and yet the undoubted talent of this musician never overshadows the music itself. Tim’s guitar is always there waiting to explode into the burning solos that appear towards the end of this mightily impressive song and I am just left feeling very humble and inadequate at the incredible skill and aptitude to be found in Ben Bell.

There is intelligence and a wry humour than runs throughout this remarkable album. Ben Bell has an immense talent and really knows how to put it to good use. Intelligently crafted songs that make you want to listen to them show him to be a great songwriter and what he delivers proves what a notable musician he is as well. In the world of progressive rock a new star is set to rise.

Released 7th November 2016

Buy Five Of Cups’ direct from the artist.

Listen to ‘Five Of Cups’ at bandcamp

Check out Brinkmanship from the first Patchwork Cacophony release:

Review – Maddison’s Thread – 60 Minutes An Hour – by Progradar

“Some journeys don’t have endings, they lead to new beginnings. These are the journeys that lead to great adventures!”
― Alex Haditaghi

The quote above perfectly sums up the way that music has affected my life. From a young age it has always been a journey with no ending. There have always been new avenues to explore, new adventures to undertake and the more your mind is open to new and differing experiences, the more fulfilling that journey will be.

Starting with the pop-punk of The Police and graduating to the new romantics of Ultravox, Simple Minds, Duran Duran and the like, my formative years were based more on the acts in the charts. As I grew older, my musical tastes changed and I went through the hair metal of the 80’s and early 90’s and even dipped a toe in the water of jazz and blues.

Eventually my heart found its home in the world of progressive rock, alternative rock and the ilk but I always had a penchant for something different, I was never one to pigeon-hole my musical tastes, if I like it, I listened to it. This mantra led to me hearing the first, self-titled, Maddison’s Thread album last year.

I was utterly impressed by the music and musician behind the project, Lee Maddison and it prompted these words from my review:

“Folk is rooted at the core of Maddison’s Thread but this album is all about the music and the way Lee can diversify with aplomb is very impressive. A contender for album of the year for me and one that will stay with me for a very long time.”

I became friends with Lee and that led to me being one of the first to hear the follow up to this little gem and I am proud to present the first review of ’60 Minutes An Hour’.

The span of a human life, the rising and setting of the sun, the changing of the seasons, the rhythm of the ocean’s tide, the ticking of a clock. ’60 Minutes an Hour’ is an album inspired by the passage of time and the different ways we experience it.

Each song deals with a different facet of the swirling prism of time. From the racing heartbeat of contemporary urban life in the title track through to the romantic glimpse of immortality in the dream like A Thomas Hardy Evening the album captures moments on our collective journey towards the Elysian
Fields.

Lee Maddison is Maddison’s Thread. He released his début eponymous recording back in 2015 and this ishis second album. He works full-time as a Mental Health Nurse but has still found time to perform at various folk festivals and gigs, opening for the likes of Michael Chapman and Gren Bartley.

In the past year, Lee was commissioned to write a song for the award winning Terry Abrahams ‘Life of a Mountain: Blencathra’ and performed the song at the premiere. This was the second film in a trilogy about iconic lakeland mountains.

The musicians appearing on the album are:

Lee Maddison (acoustic guitar & vocals), Nigel Spaven (bass), Darren Moore (drums), Stewart Hardy (violin & viola), Brendan Murphy (percussion), Paul Donnelly (electric Guitar & nylon String Guitar on tracks 3 & 12), Sue Ferris (flute), Fiona Beyer (cello), Tony Davies (piano & hammond) and Angus Lyon (accordion).

Edwina Hayes (described by Nanci Griffiths as the prettiest voice in England) duets with me on track 8 and sings backing vocals on tracks 11 & 13.

Produced by Stewart Hardy who also wrote all string arrangements.

The opening title track 60 Minutes An Hour is a salutary lesson in why we should take life at a slower pace before it passes us by and we’ve missed the wonder of what is right in front of our eyes. Lee’s apprehensive vocal admonishes us for taking things for granted, his delivery is as excellent as ever and the wonderful music just adds to the garded atmosphere. The delicate acoustic guitar soulful bass and elegant percussion add sophisticated emphasis while the incredibly expressive violin of Stewart Hardy provides angst among the graceful strings and the talented Angus Lyon’s accordion gives the finishing touches as it does all over the album. It might only be the first track but I’m already hearing an added maturity to Lee’s music and songwriting, the music gently insinuates itself into your conscious as if it has belonged there all your life.

More and more people suffer from anxiety attacks, a feeling that something or someone is chasing you through your life and the jazzy vibe of Chasing The White Dove expresses that perfectly through music. A slightly frenetic tempo and Lee’s insistent vocal only increases the feeling and Stewart once again adds his staccato violin to the heady mix of restlessness and disquiet. There’s an effortless feel to the musical delivery, a wonderful freedom to the way these excellent musicians deliver the message in a profound manner. A highlight has to be the infectious and captivating guitar that leaves its mark all over this high energy urban thrill ride.

I first heard the wonderfully scathing Parasiteful at a cellar gig that Lee did earlier this year (funnily enough at the house of Lee’s long time friend and photographer Howy White and his wife Amanda, who also happen to have done the pictures that litter this review (Howy) and the album art (Amanda), it’s a small world!) and really enjoyed the biting satire that lee injects into his songwriting. His vocal is hard and unforgiving as befits the subject matter of this mild mannered protest song. The laid back music plays second fiddle to the intelligent and acerbic lyrics this time as Lee delivers his most vehement piece of music yet.

A pared back folk tale of ne’er do wrongs, Charlatans & Blaggers puts you in mind of a local’s bar in a small fishing village in the wilds of the north. Tales told through the medium of music about local legends while the weather does everything it can to crash the party. The gentle guitar, easy going rhythm and percussion lay the foundations for Lee’s searching vocal and Stewart’s skill on the strings. An easygoing and unhurried ditty that leaves its mark with the catchy chorus that has me singing along, the bittersweet violin leaving a wistful note as the song comes to a close.

Another stinging rebuke to modern day, small town society, Tumbleweed has a laconic tone to it, enhanced by the slightly acerbic violin. A slightly ironic tune that, to me, seems to be about a younger generation stuck in a society with no opportunities. Lee’s distinctive vocal delivers the tale perfectly, there aren’t many folk singers out there to day who can stand comparison, and the edgy drums really add to the atmosphere while the super smooth bass keeps things ticking along nicely.

The Flycatcher (a cover of a Roy Harper song from his album ‘Unknown Soldier’) takes a winsome turn to sepia tinged nostalgia and the days of the past. The solemn, almost hushed vocals speak of looking back on days long gone, of things lost and yet never forgotten and the dynamic rhythm section and percussion deliver in a determined manner. The guitar almost has a voice of its own and marries with the dignified and reflective strings perfectly to give a really powerfully reflective edge. There is a melancholy feeling running throughout the song, the saddened voice keening for the past, of sorrow and not of hope.

I really feel that Lee has taken on a much more traditional folk direction with this new release and his version of Lines On A Fisherman’s Wife, a 19th century poem that has it’s roots in Hartlepool’s headland and that he wrote the music and chorus for, is a perfect example of this. Somber, downcast and yet sweetly earnest, it wears its heart on its sleeve. Telling the tale of the Fisherman’s wife, the worry and the drudgery of daily life, waiting for her husband to return but not knowing if disaster may have befallen him at sea. There is an ageless grace to the this song, a respect for those that deal with the wild nature of the sea on a daily basis and those who support them. The pared back delivery is sublime and you find yourself listening to it in hushed appreciation and deference as Lee’s reverential tone and the simple elegance of the music combine flawlessly.

There’s a timeless grace to Love Like Autumn where Lee and Edwina Hayes deliver a beautiful vocal performance full of sentimentality and wistfulness. A hint of country seeps into the music and it adds a carefree and untroubled note to the song. Stewart’s delightful violin is the coup de grace, at its most exquisite on this delectable elegant track, lay back with your loved one in your arms and just enjoy the simple wonder of the music.

Weightless feels just like that, ethereal and unsubstantial, the breathless charm of Lee’s vocal and the simple artistry of the piano and violin leave you feeling like your soul has left your body and is flying above you, the whole world in view below. A really short but lovely song that seems to leave a sense of loss behind as it comes to a close.

A heartfelt plea, Don’t Say Goodbye is a love letter to one who you don’t want to lose. Sincere and fervent, there is a mournful tone to Lee’s vocal as he makes his impassioned overture. The music is humble and modest leaving nothing to be misunderstood. The cello and violin are pillars of virtue and the guitar is a refined chaperone giving Lee’s entreaty validation. You are left hanging on a thread, wondering what the answer would be.

Another track rich in its folk heritage, Jessica is a perfect open letter to a loved one, it’s more simplistic lyrics Having even more meaning and power coming straight from the heart as they do. The playful, childlike music has a wide eyed wonder to it, Stewart once again excelling with his captivating violin playing. Lee and Edwina harmonise superbly on the chorus and you just find yourself caught up the overwhelming love and affection that this wonderful father has for his daughter.

A Thomas Hardy Evening is a romantic glimpse of immortality in a dream and is Lee’s take on the pure essence of life – reconnecting with the natural world. As the song fades in, you find yourself totally caught up in its whimsical, dreamlike delivery, every instrument seems to be played in a reverent fashion. The vocals just wash over you with their subtle elegance and I almost find myself rooted to the spot in a trance-like fashion. This song exhorts you to take a step back from the real world, forget the hustle and bustle and give your soul a chance to heal and your body to recharge. The subtle splendour of the strings and the delicate grace of the guitar appear to cleanse the stress and worries from deep within and you come to the end of the song a much happier and more relaxed person than when you started it.

A poignant memoir of family life and a coming of age tale, Fledgling leaves you caught in the last moments of a golden autumn. The fledgling of the title an allegorical creature that must go through the same trial and tribulations as every person who comes into adulthood. The flute taking on the role of the flying bird and giving it life through music. Lee tells us that the innocence of childhood is the same a s a bird flying free in the blue sky, it is a bittersweet tale of the loss of that innocence but then the hope of the future that is yet to come. Listen to the lyrics and let the pure guileless artistry of the music capture the moment for perpetuity, I was left with a lump in my throat as this brilliant song and album came to a close.

My lifelong musical journey has taught me that there will always be something of wonder around the next corner, a musical discovery that will enrich not just my life but many others also. The first time I heard Maddison’s Thread I was hooked and Lee has distilled the essence of everything that made the first album so good and injected it into his latest piece of musical brilliance. ’60 Minutes An Hour’ is an utter musical triumph and should be one of the highlights of 2017 for any lover of great music, I cannot praise it enough.

Released 6th Jan 2017

Pre-orders will be available soon from Maddison’s Thread bandcamp page

All pictures by Howy White

Album art by Amanda White

Review – Damian Wilson – Built For Fighting – by Rob Fisher

I can’t help feeling there is something of an unfortunate disconnect between the expectations encouraged by the forceful and uncompromising visual imagery portrayed by the cover artwork and the reality of the music you find yourself hearing in light of those expectations. Whether this is something to do with a perception of Wilson’s image or persona because of his involvement with the heavier leaning music of Threshold or Headspace I’m not sure, but the overt portrayal of aggression and machismo is thoroughly unhelpful and actually serves to undermine what is an exquisitely compelling and unexpectedly beautiful album.

Wilson explains the rationale underpinning the album as giving voice to the daily experience of trying to carve out a meaningful, secure and even happy existence against all the factors and forces which are ranged against us. “Life is a fight. A never ending brawl and struggle to find a little peace.” The theme is certainly reflected in a lot of the tracks which appear on the album and goes some way to at least partially explaining both the image and the implied attitude which adorns the cover.

Yet you only have to listen to the elegant and graceful lyrics of the sublime Battlelines (Track 12) to understand that Wilson’s heart lies in an all together different direction. “It seems to me that through all this fighting that, mores’ achieved by words and writing than, any bullet fired through war and rage”. Or again: “I understand though I don’t like it that, we were made and built for fighting but, can’t we put those tanks and bullets away”. And then we reach the repeated refrain: “So what if we believe it’s all magical, If it was up to me, watch the mighty fall, we would all stand back and just laugh at war”.

Such an imploring and impassioned cry from the heart, reflected across so many of the songs on this staggeringly poignant album, gives voice to the crisis and the dilemma which shape and form the music and the lyrics. On the one hand the reality is that life is a battle, a fight, brutal, tough and unforgiving; on the other there is the recognition that actually all this is a senseless folly, meaningless posturing, a futile waste. There is a better, kinder, gentler and more human way of living. And it is the tension created from understanding that both these views hold true which lies at the heart of this remarkable and at times heart-breaking release.

Two things quickly and forcibly strike you when you spend time with this album. The first is just how dramatically expansive and passionately expressive Wilson’s voice really is. Superb recording values let you hear with crystal clarity the incredibly diverse range he brings to each song, from the gentle and emotionally nuanced ballads all the way through to the feisty, rugged and good old fashioned heavy rock anthems. The vocal performance elicited by and expressed through the music is simply magnificent, a joyful master class which is a delightful privilege to hear, appreciate and enjoy.

The second is the sheer lyrical brilliance which shines so brightly throughout the album. Initially it is difficult to appreciate the hugely perceptive levels of insight, acumen and plain common sense wisdom which are carefully crafted within each song because your attention is always diverted elsewhere by other things. But the more you listen, the more you begin to pick up phrases and notice sentences which in turn lead you to pay a lot more attention to the skill and care which has gone into the song-writing.

‘Built For Fighting’ is an extraordinary achievement on many levels, not least of which is that it is a gem which hides in plain sight and runs the risk of being ignored precisely because of that. It is fiercely honest, impressively direct yet for all that, expressed in and through music which is delicately sensitive, powerfully moving and strikingly touching. By the end it leaves you in little doubt that it is a labour of love which rightly and quite unapologetically wears its heart on its sleeve.

I will be honest and say that on first listen I was distinctly unmoved, primarily, I suspect, because the combination of the cover in tandem with my existing familiarity with Wilson’s other work means I came in with all sorts of preconceptions which just didn’t gel or match up with the music I was hearing. It was quite an unexpected jolt, that is for sure! Now, however, I find I have fallen for it hook, line and sinker to the extent that it definitely stands as a significant contender for album of the year. Let it charm you, let it lure and entice you; you certainly won’t regret it.

Damian Wilson: vocals

With:
Lee Pomeroy – bass
Bill Shanley – guitars
Adam Wakeman – keyboards
Brian Willoughby – guitars

All photos of Damian by Marleen Den Brock Photography.

Released 9th September 2016.

Buy ‘Built For Fighting’ direct from the artist

Band Website: http://www.damian-wilson.net/
Facebook: http://www.facebook.com/officialdamianwilson
Twitter: http://www.twitter.com/damian_wilson
YouTube: http://www.youtube.com/damianwilsonofficial

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