Album Reviews – Page 73

Review – Ray Wilson – Makes Me Think Of Home – by Progradar

“My heart, which is so full to overflowing, has often been solaced and refreshed by music when sick and weary.”
― Martin Luther

Music is and always will be a soundtrack to my life. I live and love surrounded by songs that mean a hell of a lot to me at the deepest emotional level. Music can be my solace when I am feeling low and my celebration when I am feeling happy.

Having been through a difficult and emotionally challenging period of my life recently it was music that helped me get over the pain and sorrow and when , happily, I embarked upon an exciting new relationship, it has accompanied me and my new love every step of the way.

One of the albums that spanned both recent periods of my life was the new solo release from former Genesis front man Ray Wilson and ‘Makes Me Think Of Home’ has been a constant companion for the last three months.

‘Makes Me Think Of Home’ is the 6^th solo studio album from former Stiltskin and Genesis frontman, Ray Wilson and comes hot on the heels of ‘Song For A Friend’, an acoustic album released earlier this year and which garnered great reviews.

This new album is a mix of pop, rock and prog which showcases Ray’s remarkable voice. The title track sees Ray looking back to his days living in Scotland, a country he left after finding love with a Polish dancer. He moved to Poznan 8 years ago, and in this ambitious and very moving track he reflects on his years trying to find peace and happiness in Edinburgh.

The album also contains subtle humour; particularly in the first single Amen To That. The track is accompanied by a multi-layered video production in which Ray showcases his acting skills as he takes on multiple characters in a range of unusual professions. The intense 7-day shoot produced what is undoubtedly the best video of Ray’s career and which takes the instantly memorable Amen To That to another level, throwing in some unexpected twists along the way.

The album also touches on complex contemporary Scottish issues such as The Scottish Referendum with They Never Should Have Sent You Roses, exploring how it divided families and a nation. Also, widespread alcoholism, which affected one of Ray’s close family members, is challenged in The Next Life, and having to fight these demons alone in Anyone Out There.

He also has time to pay homage to one of the world’s best-loved cartoon strips with Calvin and Hobbes.

Reflecting on his latest work, Ray says, “Makes Me Think of Home encompasses the joy of freedom we have all come to enjoy and perhaps take for granted as well as the fear of solitude. It highlights the many imperfections that make us special and reminds us not to fear them, but to embrace them. In the words of Leonard Cohen. “There is a crack in everything. That’s how the light gets in”.

Ray Wilson has an incredible voice and that can be heard throughout this new album, opening track They Never Should Have Sent You Roses, written about the Scottish Referendum, is a heartfelt and melancholy song which seems to look back at would could have been. The gentle instrumentation matching Ray’s genuine vocals perfectly. The chorus is one that sticks in your mind and music envelops you in a warm, cordial glow but there is a sombre feeling always there in the background. A wistful and thoughtful opening to the album. The Next Life is a song about changing your life and cleaning up your act before it is too late and was written after Ray’s producer and co-songwriter had a stroke during the recording of the album. A deeply emotional song with Ray’s passionate vocals delivered over a strident acoustic guitar. There is a serious depth of feeling and empathy at the core of this track and it is this excellent singer’s vice that imparts all the pathos and poignance that really gets you deep at your core and the guitar and saxophone solo adds to this to leave you drained and emotionally spent.

There is a more serious side to the lively and animated country music feel that opens Tennessee Mountains. A song about searching and waiting for the one he loves in isolation and solitude of his surroundings and the battle he has with his emotions while he is there. I really like the beautiful guitar note and delicate percussion that add nuances to Ray’s husky vocal delivery and the chorus is just delightful and full of love and longing, add in the rocking solo and it really lifts my mood and puts a smile on my face. The story continues into Worship The Sun, a track with a much more serious face on and another superbly written song. The solemn tone of the vocals and the thoughtful and meditative feel of the music lay a blanket of contemplative determination over everything and this is one of my favourite tracks on the album. A sincerity runs through the chorus and leaves you thinking about your own life and loves, the saxophone adds gravitas and I am just left in a contemplative mood, looking inside at my own weaknesses and strengths.

(Photo Jan Pawlak)

Title track Makes Me Think Of Home is a song that has resonated deeply with everyone I know who has heard it, including me, for whatever reason it seems to connect with you on a deep, subliminal level. The song highlights Ray’s memories of his life back in Scotland and the many fights he had with his own emotions over the years before moving to Poland. The track builds slowly from the haunting piano note with Ray’s hesitant and yet emotive vocal and draws you into its embrace. You are on the edge of your seat, waiting on every single note and word before the drums and guitar add substance and solidity. There is a bare, harsh feeling as he fights with his inner demons and you cannot move, transfixed by the savage beauty of this utterly compelling song as it moves to a break in the middle. Then a gentle acoustic guitar appears out of the darkness, followed by a haunting flute and you feel the hairs on the back of neck rise just as the powerful and irresistible solo breaks out, low and menacing. The sax solo that follows is dynamic, hypnotic and yet chaotic and full of angst, seeming to match the feeling of the song perfectly. A complete antithesis to the dark and sombre feel of the previous song, Amen To That is written about a city guy who decides he needs to get out of the rat race and buys a house in the Scottish Highlands in order to discover his own self. The uplifting acoustic guitar and inspirational vocal delivery really give this song a feelgood factor that is off the scale. You just cannot help yourself from singing along with the totally addictive chorus and tapping your toes to the incredibly catchy, hook infused, music. A song about escaping the ever increasing pressure and drudgery of a 9-5 life and living a life of freedom that most of us can only dream about.

A song about total self-destruction with the positive underlying message, “A life worth living, is worth living…”, Anyone Out There is a track with a harsh message that is delivered with sentiment and poignancy. The vocals drip with intense fervor and yet have a warmth deep in side and the music just seems to want to hold you in its comforting embrace until the world is a much better place to be in. An intense and potent chorus hammers each word home, a song initially dark that opens up to deliver a message of hope, highlighted by the wonderful sax at the end, powerful stuff! Don’t Wait For Me talks about someone who is totally obsessed with you and won’t let go, to the point of madness. A resolute and earnest song with an underlying urgency, the music has a sober feel to it to match the austerity of the vocals. There is an almost dreamlike feel to this track in places, as if you are watching yourself from outside of your own body. To me, it is a good song but one which lacks the utterly compelling and intense nature of most of the rest of the album.

I grew up with the comic strip ‘Calvin and Hobbes’ by Bill Watterson, I bought every anthology and have passed them around my friend’s children so they could enjoy these delightful comic strips that celebrate life through the eyes of a child so I was really happy to see that Ray is a fan too and had recorded Calvin and Hobbes, written by his friend Scott Spence, about these two wonderful characters. The song was written for Scott’s daughter who is a huge fan of the two and is about how imaginative life can be through the eyes of a child where you can be a space explorer, travel through time and where everything is possible and everything is fun. A wonderfully nostalgic song, beautifully written and wonderfully performed. The gentle piano and vocals just invoke images of a life where everything was just better, long summer days filled with fun and adventure. The graceful chorus just leaves a lump in my throat as this powerfully sentimental song brings back memories of my childhood when life was so much simpler and I feel a slight sense of something lost as this enchanting song comes to a close. The final song on the album, The Spirit, is in some ways a homage to ELO’s Wild West Hero and the feeling of escaping on and endless journey that Ray got when listening to it as a child. Another song full of wistful nostalgia and one with a guitar note that does bring back memories of the westerns that I used to watch as a child. There is a definite mood of escapism throughout the song, a feeling of being taken back in time and dropped in the middle of America’s Wild West and I, for one, certainly wish I was a Wild West Hero…

Ray Wilson has taken us on a deeply personal musical journey full of hope, despair, pain and, ultimately, salvation and I was hooked on every word, every note. This is music at its very best, written from the heart and full of the passion and soul of the artist. This is an album that I will return to again and again, no matter how much new music crosses my path and is surely a collection of songs that can, and will, stand the test of time.

Released 7th October 2016

Buy ‘Makes Me Think Of Home’ direct from Ray Wilson

Frontiers Records AOR & Hard Rock Round Up – by Progradar

Yes, I know this website is called ‘Progradar’ but in my last incarnation as a reviewer for Lady Obscure Music Magazine I often wrote about Hard Rock, AOR and Heavy Rock and this is the music I actually grew up with.

Recently, those lovely people at Frontiers Records have released some superb albums that drop neatly into those genres and from some great artists who have been on the scene since the 80’s and before.

So, here is my round up of six new albums released in October and early November that should be on any rock music fan’s wish list….

Hardline – Human Nature

Hardline evolved from being a sunset strip sensation featuring brothers Johnny (vocals) and Joey (guitar) Gioeli to a supergroup of sorts featuring former Bad English members Neal Schon and Deen Castronovo, before finally becoming a band showcasing the incredible talents of the fabulous singer Johnny Gioeli with the production and songwriting skills of Alessandro Del Vecchio (Rated X, Resurrection Kings, Revolution Saints), the shredding talents of guitarist Josh Ramos (The Storm), and the powerful rhythm section made up of bassist Anna Portalupi (Tarja) and drummer Francesco Jovino (Primal Fear, Jorn). All these musicians have an impressive pedigree, but what makes Hardline special is how well their unique and different talents blend together.

The goal for their new album was to have a heavier and updated version of the original Hardline sound. Think debut album, 1992’s ‘Double Eclipse’ updated for the 21st Century, with a grittier and more straight ahead sound. Anthemic, hard rocking songs are what you can expect from this record and hook after hook, riff after riff, you’ll find yourself wowed by this absolute monster of an album!

As an original purchaser of ‘Double Eclipse’ this new release had a lot to live up to and I am happy to report that it does exactly what it says on the tin. A rocking, rollercoaster ride of melodic hard rock from beginning to end, it’s not reinventing the wheel but it does what it sets out to do with aplomb

Rating (out of 5 P’s) – PPP1/2

Glenn Hughes – Resonate

Vocalist/bassist/songwriter Glenn Hughes is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul, and funk. That astonishing voice is Hughes’ calling card. He’s known as a singer’s singer. Stevie Wonder once called Hughes his favorite white singer!

With a career that started in 1970 with the band Trapeze, Glenn left his indelible mark on several musical endeavours and bands, including Deep Purple’s MK III and IV, Hughes/Thrall, his collaborations with Gary Moore, Black Sabbath’s Tony Iommi and most recently with Black Country Communion and California Breed, just to name a few. With eleven original solo albums under his belt and countless collaborations with rock’s greatest names, Glenn Hughes is a musical icon of our times.

From album opener, “Heavy” to the very last chords of the closer, “Long Time Gone”, it is a powerhouse of hard rock that will literally blow you away. It features his live solo band members, Soren Andersen (guitars & co-producer), Pontus Engborg (drums) and newcomer to his band, Lachy Doley (keys), in addition to long-time friend and drummer, Chad Smith (Red Hot Chili Peppers), who joined them in the studio for the opening and closing numbers. It is definitely most heavy sounding of his solo albums, but as is his trademark, musical diversity shines through and as Glenn commented upon completion of the new recording, “this album is the first kind of a complete Glenn album”.

What makes this record stand out thoughout though is the fact that ‘The Voice of Rock’ emphatically still has the magical ‘it’, just check out “My Town” to see what I mean, impressive stuff!

Rating (out of 5 P’s) – PPPP

Graham Bonnet Band – The Book

Legendary rock vocalist Graham Bonnet is back with a new band and an exciting new album titled ‘The Book’.

The ‘Graham Bonnet Band‘, features of course Graham Bonnet on lead vocals, Beth-Ami Heavenstone on bass, South American guitar sensation Conrado Pesinato on lead guitar, ex-Alcatrazz man Jimmy Waldo on keys and Mark Zonder (known for his acclaimed work with Warlord and Fates Warning) on Drums.

The Graham Bonnet Band has spent the last 12 months touring solidly around the world, with performances at several major European festivals including an acclaimed set at Sweden Rock 2016. The debut Graham Bonnet Band album ‘The Book’ sees Graham returning in fine form, with an album that is his best in decades: 11 new tracks that will blow heavy rock fans away!

Also included with the new album is a 16 track cd of re-recorded classic tracks from Graham’s career.

Right, unfortunately this is a record of two halves, the new songs have been written to fit Graham Bonnet‘s vocals and, as such, they are pretty powerful stuff but, the re-recorded tracks really show the limits that he has at this late stage in his career and he struggles to hit the highs he did with Rainbow on classic songs such as ‘All Night Long’ and ‘Since You’ve Been Gone’, to be honest, I’d leave that disc alone.

Rating (out of 5 P’s) – PPP

Roth Brock Project – S/T

John Roth (Winger, Starship, Giant) and Terry Brock (Strangeways, Giant, Leroux) join forces to bring you the Roth Brock Project! John and Terry first met in 2009 while working on Giant‘s “Promise Land” record. They soon developed a unique song writing chemistry and musical bond which all these years later has led to their debut release for Frontiers Music. Powerhouse vocals and thundering guitars are at the forefront of this stellar collaboration from two of rock’s most seasoned and underrated veterans.

John Roth landed his first gig at the age of 19 with Southern boogie rock legends Black Oak Arkansas in 1986, and soon found himself in demand for recording and touring with the likes of Jimi Jamison (R.I.P.) of Survivor, and 80’s rock legends, Winger. Terry Brock’s first job in the music business was as a vocalist on the Kansas album “Drastic Measures” in 1983, which was soon followed by a tour with the Steve Morse Band and two albums with Strangeways (who were signed to BMG/RCA Records). Terry is currently on tour with Louisiana’s Leroux, while John is on tour with Starship featuring Mickey Thomas.

This is an album of hard rock infused with some heavy blues influence, the vocals have that grit and determination that the best rock singers have and the guitars really bring a smile to my face. Again, not an album to break convention but one that you will enjoy listening to again and again. Down and dirty blues rock with style!

Rating (out of 5 P’s) – PPP1/2

FM – Indiscreet 30

30 years on FM announce that they have decided to record a modern-day version of their now classic debut album ‘Indiscreet’. The band was asked many times to consider re-recording some of these tracks using today’s modern technology and recording techniques and giving the songs the sound of FM as it is today.

The band realises what an iconic album this is to so many fans so they have always steered clear of tampering with it too much but whilst in the studio recording the follow-up to ‘Heroes & Villains’ one night at the end of a session FM decided to put down a backing track to “That Girl” to see how it would sound with the huge sounds they were getting at the time. It gave the song a new dynamic and power that it was not possible to achieve in the 80’s.

Whilst playing it again the following morning FM decided it would be great to hear all these classic songs with this new lease of life. “We are not trying to recreate the original but this is our interpretation played by FM as we are today with the sound of FM 2016” says FM’s bass player Merv Goldsworthy.

In addition to the re-recording of the original album, ‘Indiscreet 30′ also features seven bonus tracks including brand new song “Running On Empty” and a new recording of “Let Love Be The Leader”.

For old and new fans of this iconic British hard rock act ‘Indiscreet 30’ is a superb slice of nostalgia and features one of the best voices in rock in Steve Overland, a vocalist who just seems to get better and better. A classy and cultured collection of songs that will take you back to the 80’s on a wave of sepia-tinged memories.

Rating (out of 5 P’s) – PPPP

Tyketto – Reach

After five years of relentless touring that included playing on some of the most prestigious stages on the planet, Tyketto took their revitalized energy in to the studio in the spring of 2016. The sessions took place at the legendary Rockfield Studios in Wales (Queen, Rush, Oasis).

Lead vocalist Danny Vaughn comments, “Although we only had planned on recording ten songs for ‘Reach’, we were so pleased with everything, we decided to keep all twelve songs on the record. We unanimously decided on ‘Reach’ as the title of the album, as it defines who this band is in 2016. We have a new energy, some incredible new members, and a fresh outlook toward the future. All of us have pushed each other beyond our limits to make what we feel is a pinnacle record in our catalog.”

Drummer and founding member Michael Clayton Arbeeny adds, “Many bands who have been out as long as we have feel they need to fit into a preconceived notion of what their fans expect to hear. Following in the footsteps of icons such as Queen, Led Zeppelin, and Prince, we have decided to expand our musical boundaries and introduce our friends around the world to Tyketto 2016. Rest assured that all the songs on ‘Reach’ still carry the trademark melodies and choruses our fans have grown to love over the decades. The band is feeling stronger and performing better than ever and we can’t wait to share this music with the world.”

In addition to Vaughn and Arbeeny, the unstoppable 2016 lineup includes Chris Green (guitars and vocals), Ged Rylands (keyboards and vocals) and Chris Childs (bass).

An album of cracking AOR tracks with a bit of a Hard Rock edge, Tyketto have taken the classic sound of the 80’s and brought it bang up to date. From the title track to the hard rocking ‘The Fastest man Alive’ it is a non stop grin-fest of powerful guitars and superb vocals.

Rating (out of 5 P’s) – PPP1/2

All the above releases can be ordered through the Frontiers Records website here

Review – Riverside – Eye Of The Soundscape – by Kevin Thompson

This was meant originally as a preview, but time and tide, as they say… By now many of you may already have this and be making your own minds up. So here is my review…..

Tragedy when it hits is never expected and the devastation, after initial shock, rushes out like waves and ripples flooding over all it touches. Seeping like damp into everyone’s hearts it leaves you cold and numb. Many bands have faced upsets in their lives, some have survived others not. Many losses are through age and/or self abuse taking it’s toll, but when you lose someone before their expected time, it hits hard. Over the last few years Riverside have become one of my favourite bands and watching them ‘live’ last year we got the feeling they were on the verge of breaking through to the next level and greater things.

But fate is a cruel mistress and I was surprised the sudden passing in February of guitarist Piotr Grudziński affected me so emotionally. Then going online to find the outpouring of sympathy from other fans and the support for the other band members, families and friends was overwhelming. Bassist/vocalist, Mariusz Duda then lost his Father in May and further personal issues have dogged him since. He, along with drummer Piotr Kozieradzki and keyboardist Michał Łapaj, could be forgiven for wanting to take some time away, but it is to their credit and the measure of the men that they have decided to continue as a trio and have started to make future plans as well as continuing solo projects in the wings.

The band have already issued “Love, Fear and the Time Machine” in 5.1 and last Friday (21st October) they released the double disc instrumental “Eye Of The Soundscape”, a fitting homage to their friend Piotr.

To misquote from Star Wars, ‘this may not be the Riverside you are looking for’. It is a collection of ideas the band have composed and accumulated over a number of years, some of which have already appeared as bonus tracks with other albums. There are traces of the Riverside we know and love and the beautiful strains of Piotr’s guitar haunts the melodies, but this extensive work has more in common with the likes of Tangerine Dream mixed with hints of Kraftwerk and Pink Floyd.

You may be accustomed to my reviewing album tracks on an individual basis, but in this case I feel the album works better if listened to as a whole. It will not be for everyone and with the best will in the world, you will find the direction and length of this formidable album (though the tracks on the second disc are generally shorter) tests you and it may be that only the hardcore Riverside fan will persevere and last the distance.

The ambient mood and atmosphere of this album floats you down a dark river of keyboards and effects, the bass and drums causing the eddy and flow, with the guitar propelling “Eye Of The Soundscape” along a dreamy and immersive journey, some of which will engage you whilst other tracks will wash over you like liquid velvet. Jazz infused saxophone passages echo in the night-lit jungle as you drift along, the large bright moon of sound casting fleeting shadows of effects through the dense foliage of music.

Piotr’s fluid (at times Gilmoresque) fretwork is quite sublime if understated in places, on what some may see as an album of pleasant enough background music, soporific or even uninteresting. Before the devout following tear me to pieces, I hasten to point out I do not fall into those categories as I am also a fan of Tangerine Dream and Pink Floyd and own many of their recordings in my collection along with other ambient classics and instrumentals.

Some may only listen to “Eye Of The Soundscape” once and place the album on a shelf, leaving it to collect dust or brushing it off occasionally to attempt further understanding and convince themselves they do like it; you don’t have to. It will split opinion with it’s diversification but I feel it stands as a fitting tribute from the band and on behalf of everyone Piotr’s presence touched, to a sadly missed and greatly loved friend.

There have been better Riverside albums musically, but none more emotionally charged from a band who truly have remained as positive as possible in the face of adversity. Never losing touch with their fans, sharing visions and hopes and updating everyone with every tentative step along this personal journey, they humble us. The quality of the instrumentation from the band is also first class.

I would recommend you listen before buying to ensure it is for you and those with a taste for the more chilled side of music give it a try, even if Riverside’s previous output has not been to your taste. There is light through this dark tunnel which will see this band emerge to you either as a bright new butterfly or a dull coloured moth, I know which I will follow as it flutters over the musical landscape.

On this occasion it seems only fitting to leave the last words in this review to the band as a parting farewell to Piotr:

“This is our last journey together so we dedicate this album to you, Brother. In our hearts you will stay forever.”

Released 21st October 2016

Buy ‘Eye Of The Soundscape’ from InsideOut Music

Review – Fire Garden – Far and Near – by Progradar

“I’ll keep evolving and put that into my songs.”
Alanis Morissette

One of the great pleasures of being a music journalist/reviewer is watching an artist mature from their initial early steps and through their growing career. You see how the raw musical talent becomes focused and more mature to give ever impressive musical releases.

One such artist, for me, is Chicago native Zee Baig and his musical project Fire Garden. From hearing 2012’s debut E.P. ‘The Prelude’ (where I initially became friends with this engaging musician) through 2014’s first full length release ‘Sound Of Majestic Colours’ to this latest album ‘Far and Near’, you can see the increasing skill and artistry, not only in the music but in the songwriting too.

Zee is the mastermind, songwriter, guitarist, lyricist and a founding member of Fire Garden. He is self-taught musician. His main influences are the music of late 60s and early 70s and bands like Dream Theater, Pink Floyd, King Crimson, Opeth, Porcupine Tree, Steven Wilson and classic bands like The Beatles, Led Zeppelin and many more.

Zee has called on the undoubted drumming skills of Jimmy Keegan (Spock’s Beard) on the new release, which also features Jordan Rudess’ keyboard wizardry and is mixed by Bruce Soord. The spectacular artwork is from the feverish mind of the legendary Travis Smith.

Frank Lucas (piano, keyboards, synths), Marc Malitz (bass) and Barry Kleiber (bass) make up the rest of Fire Garden and each adds their own considerable expertise to the melting pot.

The album opens with title track Far and Near which is a haunting two minute instrumental that drips with pathos, feeling and intense emotion. Dominated by a sentimental piano note, it really strikes a chord with me, leaving me feeling slightly melancholy, but in a good way. There’s Something begins with a delightful strummed guitar before the drums become the driving force. Zee’s vocals lull you into a state of grace with their lush tone before the riff gets a little heavier and the song takes on a more serious feel. The chorus has a great hook and you just seem to be carried along on the wave of sentiment that the track engenders. There’s a slight interlude in the middle of the song, an ominous feeling that we are working up to something as everything slows down to a meditative pace. It’s a laconic and laid back, if intricate, build up to a slow burning guitar solo that hits you in the solar plexus and holds you in place while stripping your soul bare. A nicely judged and intelligent song that shows just how far Zee has come as a songwriter. A thunderously powerful riff is the opening to A New Day, a song that has the feeling of U2 but as if it was played by Metallica, the imperative verse drives on with the urgent vocals and dynamic drums. There’s a mesmerising feel to the heavy riffing and eerie organ note that adds to the wall of sound that is being generated. The slow build to the solo really sets you on edge and then Zee’s coruscating guitar really burns bright. A really compelling and forceful track that holds your attention to the explosive end.

Now to my favourite song on an album of great tracks, Life of a Drifter is a whimsical and nostalgic song that brings out feelings of hope and regret deep from your soul. The laid back chorus is gentle and touching breaking into a softly sung but heartfelt chorus. There is a sense of not wanting to look back at a sepia tinged past so that some sort of pain or less can remain hidden. Don’t look back, just focus on tomorrow, it really touched a nerve with me and I am moved every time I listen to it. The serenity is broken by clashing drums, guitar and keyboard, a maelstrom that leaves you breathless with its ferocity before a more focused and powerful rendition of the chorus is sung. This is all leading up to an absolute monster of a keyboard outro by the legendary Jordan Rudess, given free rein to let loose his mind-bending virtuosity. Turst me, you’ll be left slack jawed by the brilliance! The slow brooding A Thousand Lost Souls is a superb instrumental that seems to just be boiling under the surface, leaving the tension readily apparent. I love the way it makes the hairs on your arms stand up with its intensity and focus. Once you’ve heard the first note, you daren’t turn it off, it is like it is talking to you in a mystical musical code. War and Peace is a darkly powerful prog-metal track that feels like it has clawed its way up from the bowels of the earth, elemental and alive. The repeated, singular, words, are delivered in a menacing chant before the industrial riff and deliciously evil guitar threaten to take over your mind, leaving you a slave to the rhythm.

Faint Shadows follows that seriously heavy prog-metal direction with a riff that could topple mountains, primordial and destructive. There’s a feeling of barely controlled chaos that is bubbling under the surface before the ever more potent drumming of Jimmy Keegan breaks free. The vocals begin, almost shamen-like in their delivery, as if they are speaking an incantation and one that draws you in close. You know that something is lurking in the shadows but know not if it is of the darkness or the light, however, you have to follow your instinct and find out. It is a really vivid and dominant song that brooks no argument. Heartfelt, sombre and slightly mournful, the opening notes to Whitelight just leave your heart in your mouth. This is a passionate plea of a song that seems to linger in your subconscious. Zee’s vocals are wistful and dreamlike and you just find yourself left in a trance, able neither to move forwards or back, your attention on every word that you hear. The delicate guitar and keyboards just add to the atmosphere, a song powerful in its contemplation. The mood is broken by a dark-edged riff and frenzied drumbeat before a hypnotic piano brings a feeling of tension and the close of the song. At nearly eleven minutes, Diary Of The Blood Moon is the lengthiest track on the album and hits you straight away as being the most progressive of the songs too with an intricate play off between the drums, guitar and keys. Driven along by Jimmy’s expansive style and Zee’s brooding guitar it is a hectic ride for the uninitiated. Interspersed with interludes of calm and reflection, it is an intense crucible of musical majesty that bestrides this album like a colossal behemoth. The last two minutes raise the bar even higher with a build up of momentum that intensifies with a fiery guitar solo and dominant rhythm section to just leaves you open mouthed in admiration.

So Zee and Fire Garden have raised the bar even higher with this latest release. ‘Far and Near’ is a magnificent album that never loses focus or intensity and, while it is great to see Jordan Rudess and Jimmy Keegan giving their considerable talents to this enterprise, it is very much the product of Zee Baig and Fire Garden’s consummate skill set. Trust me, as an all consuming listen from beginning to end, this is a definite must buy for your music collection.

Released 21st October 2016

Buy ‘Far and Near’ direct from Fire Garden

Review – OPERATION:MINDCRIME – Resurrection – by Kevin Thompson

I came across Queensryche whilst serving alongside the U.S. Forces among others in The Netherlands, where I bought the ‘Operation : Livecrime’ box set from the PX. The video was an excellent concept and I enjoyed it so much that when my video player died I bought it on DVD. I bought their back catalogue and traced the progression in their sound and Geoff Tate’s voice. I then bought ‘Empire’ which for me was the pinnacle of their recordings.

None of the others since have been particularly bad, ‘American Soldier’ being worthy of note but they never seemed to match either ‘Mindcrime’ or ‘Empire’. Then came the acrimonious split and albums from both parties. Traces from both of old successes but again nothing outstanding. I stopped at ‘Kings & Thieves’ and didn’t buy ‘Frequency Unknown’ or ‘The Key’ from Geoff’s new band Operation: Mindcrime , which was part one of a trilogy and quite badly mauled by the press.

So when I was asked to review this, the second of the three part story, I wasn’t sure what to expect. The old logo is cleverly reworked into the cover design which looks like a panel from the page of a graphic novel, a good start, but what is the concept? Who better than the man himself Mr Geoff Tate to explain, “It continues the story that began on the first album ‘The Key’ with the near death experience of the lead character known as ‘H‘ and his subsequent recovery of the missing encryption key. With the Key finally in his possession, ‘H‘ has everything he needs to finally launch his long awaited project called ‘The New Reality’. Or does he…”

Time to see if Mr Tate has everything he needs to resurrect my interest……

Intriguing sound effects, introduce the short, opening instrumental piece and title track ‘Resurrection’, which then slides into track two, ‘When All Fades Away’, a heavier more majestic piece of instrumentation which seems to imply the beginning of, or preparation for, a journey in it’s tone. Seguing into the thirty second track ‘A Moment In Time’, where Geoff Tate’s vocals make a brief introduction before we find ourselves ‘Through The Noize’, on the next track. Whilst Tate’s distorted vocals (similar to those used on previous recordings) are meant to impart a certain atmosphere, for some reason they seem to ‘muddy’ the sound on this recording and I have to really listen to understand the lyrics.

Whilst not classic Geoff Tate he appears to be moving forward has gathered a worthy band of musicians/vocalists to ably assist him so he’s not ‘Left For Dead’ yet, as this fifth track leans toward the ‘Queensryche’ trademark sound with memorable chorus. The lyrics indicate a fighting spirit, knocked down but undeterred he will rise and push on as he leads out with ‘It’s all I know….’

Most of the lyrics seem autobiographical and can be listened to as a continuation of Tate’s dislike for corporate/political improbity and corruption bought from excesses of wealth. Yet at the same time it could be viewed as a personal reflection of the last four years, since the acrimonious split from his former band mates in most unsavoury fashion have at times left him feeling ‘Miles Away’. The tracks seem to grow in stature along with Tate’s confidence and the selected performers are allowed to show their various talents, flourishing guitar solos and the drums in particular standing out here.

‘Do you think he knows?’ a question Tate feels ready to answer as he sings ‘Healing My Wounds’, and brandishes his trusty sax solo on this album for this first time, (an instrument he under-uses in my opinion), which brings a different flavour to the sound and soaring guitar adds to the orchestration creating an epic feel. ‘I think he knows’.

The laid-back retro-‘ryche delivery on the eighth track belie ‘The Fight’ the man has been waging on all fronts. Acoustic finger picking intro and Geoff’s beginning to feel less reason to look backwards and a growing recognition he’s able to not only stand on his own terms but also that he’s free to explore avenues that may not have been possible within the band collective. He seems comfortable with this song, like a familiar snug blanket and let’s hope Tate’s not shy of using the old sound mixed in with new ideas to progress himself.

Tate may have had the impression at times that he’s ‘Taking On The World’, but he seems to be coming out on top with the best track on this album unashamedly channelling his inner ‘ryche, which echoes staple tracks like ‘I Don’t Believe in Love’. Whilst the voice is used a little more economically these days as age does it’s duty on the vocal chords, he is still on fine form and sounds as if he’s really enjoying himself for the first time in a while and finding his path forward. Again the musicianship as on all the tracks is excellent. I particularly like the introductions on each track as they add to the atmosphere.

I’m not sure Tate feels ‘Invincible’, but with his confidence asseveration on each track, number ten sees him facing off against his demons sensing he holds the key to his resurrection and growing stronger with each breath.

The heavier, bluesier ‘Smear Campaign’ wears it’s heart on it’s sleeve and the thin veneer of the concept fails to fully cover the most blatant of all the tracks to raise the bitter taste in the musical throat, on the thorny subject of the last four years. With cries of ‘What’s the point, easy target’ and ‘People will either love you, or hate you’ among the lyrics it’s not a giant leap to see the real pain. Yet with shifting time-scales and changes in tempo it also showcases once again, the excellent musicians he has surrounded himself with and teases us with a brief but delicious slice of Geoff on sax and building into a dramatic finish.

As in any conflict you find at some stage you will be asked ‘Which Side Your On’, (it’s the way it was spelled on the review copy I was sent) as Tate appeals to anyone listening and rallies support for his cause. Unfortunately this seems to lose cohesion, sounding more indistinct. For me this could have been left off the album as it offers nothing and causes the album to stumble a little and lose it’s way.

The penultimate track offers Tate ‘Into The Hands Of The World’, and is probably the riskiest track on the album as it juggles genre, mixing brass with heavy guitar riffs and twiddly keyboards along the way and whilst once again it doesn’t hold a consistent earworm of a tune it is more palatable than it’s predecessor and leads us to the grandiose platform for the last track.

Tate addresses you ‘Live From My Machine’, recovering the album and finishing in majestically, relaxed style. ‘It’s always a challenge, facing the challenge’, he sings in acknowledgement of what he has achieved on this album.

It may not reach the dizzy peaks of past triumphs but ‘Resurrection‘, sees Geoff Tate climbing in the right direction and with conviction to greater heights and building empires.

(I can only hope the sound quality is better on the actual release.)

Released 23rd September 2016

Buy ‘Resurrection’ on CD from Amazon

Review – FVNERALS – Wounds – by Emma Roebuck

Glasgow Based FVNERALS’ Tiffany, Syd and Chris sit in that dark world of Doom, Ambient, post rock, shoe Gazing alternative music. There is nothing, and I mean nothing, upbeat about the music this trio produce. No, that’s not insulting, it’s just a fact about the music they produce. This is their fourth release and they have been around since about 2012.

The name evokes an image and the music reflects that right back in the mirror. If can imagine the Cocteau Twins meeting Trent Reznor and then having a session with the Tangerine Dream (circa Zeit) then you have some idea of what to expect.

The sound is huge but full of space for Tiffany’s voice to swim in the soundscapes, more as a complimentary instrument than a vocalist putting lyrics over a song. This is Goth/industrial in the great tradition, following its predecessors and then leading the way to a different feeling. Their contemporaries, the likes of True Widow, Chelsea Wolfe and, to a lesser degree, Sigur Ros are ploughing the industrial furrow in an interesting way and getting an audience for it.

It is pointless doing a track by track description as this is an album that generates a feeling rather than songs which I would normally avoid except that we must never restrict ourselves to one path for we may miss much that is rewarding.

I will talk about Crown, the slow grinding guitar reminiscent of Tony Iommi on the first Black Sabbath album but without the release of any of the tension that builds from the beginning to the last 2 minutes, when it is replaced by a plaintiff keyboard and acoustic guitar sound. It lets you free long enough for a breather then goes straight into the next track Antlers. This is a lesson in guitar distortion and the use of Tiffany’s voice to provide a theme into an ambient openness drifting along on the current of the music. The closer Where is the most Spartan of all the tracks and it has a deep sense of loss and dread from beginning to end, I would draw a connection to early Anathema here, if anyone needs a link.

To sum up really this is not even close to mainstream and it’s progressive music in that its seeks to find a place of its own that is as far from the 4/4 3 minute pop song of the “X factor” as you could possibly get. It has an atmosphere that is at the same time chilling and terrifying yet has a sense of comfort at the core.

None of the music is fast paced banging or hectic, it has a consistent rhythm to it. If want something that is away from the mainstream and has a sense of ambient darkness then this is the one you want.

Released 14th October 2016.

Buy ‘Wounds’ from bandcamp.

Review – The Far Meadow – Given The Impossible – by Gary Morley

A challenge from the wallet emptier…

I’m to listen to a new release on Naughty Pachyderm’s imprint, write a review and post it off all before David “The Progmeister” Elliot realises I’ve been listening through the keyhole of his prog vault.

So I sneaked into Elephant HQ, snuck under the wallet emptier’s detection wet string and tin can alarm system, negotiated Tom Slatter’s tentacle armour, carelessly strewn about the floor. Through a door located beneath the might piles of CD’s awaiting re-homing, I step into a bright and sunny place, the Far Meadows.

And that folks is where our story really begins.

The press release for The Far Meadow’s ‘Given The Impossible’ helpfully tells me that the members of this band were in other bands before. The band claim to enjoy leek knotting, Icicle archery and banana pushing. I may have snatched a look at the unfinished article as banana pushing? Seems a bit farfetched to this progboy, but I’m here to listen to the noise they make, not comment on what they do when not making noise.

So , The Far Meadow – First impressions are that it’s a refined, gentle place where musicians meet to construct songs with verses and choruses, middles, beginnings and ends. They construct them in the traditional manner, with some lovely keyboard, flute and guitar flourishes between them.

The singer has a very pure soprano voice, all crystal and fine wine, whereas I’m more partial to an earthy red wine in an odd glass voice. But this voice is all pure elven tones, a departure from my preferred dwarvish blues gravel throat singers that have lived a full life . If you play the “sound like” game, then it’s more Juliette Reagan than Marianne Faithfull, more Christina Booth than Beth Hart. But it works.

Marguerita Alexandrou has a nice tone, a clear and unfaltering delivery and an interesting quality to her inflection that gives extra character to the material. The high notes are dealt with in her stride without any of that ghastly X factor wobble that seems to be used to stretch every utterance into a poly syllabic outburst.

Here we have a singer in tune, on the beat and singing that compliments the band behind her. That’s another good thing. The album sounds like the entire band were involved with the final mix.

As the Elephant team were kind enough to supply lyrics, I can finally do a proper grown up review and tell you that on this album, you learn about Wedding day nerves, Cracking the Enigma code, the facile nature of ambition, overcoming fear, a warning that technology cannot replace real engineers and more. OR I’ve misread the whole pile and it is actually a concept album about pan dimensional celestial flying nymphs… again.

So, modern themes for a modern Prog band to sing about. And they do sing. And they play. And they harmonise. And put in excellent little instrumental flourishes.

The songs sound like they are fully formed, not a collection of ideas and clever twiddly bits bolted together. As with all bands, the tipping point for me is would I enjoy them live?

The answer to this is YES.

I want to hear the dynamic shift and synth solo in the middle of Dinosaurs performed through a concert P.A. The Guitar solo after it will be a foot on monitor moment, adulation from the crowd driving the guitarist on through the solo. The keyboard and guitar parts are crying out for dry ice, big lights and a frenzied crowd…

Himalaya Flashmob cracks on , a rocky little ensemble after the Prog work out in Dinosaurs.

Lots of angular guitar riffs and angst filled vocals to start off, this is “The Epic” on the CD, a treatise on the vapid rewards of overachievement, A thoroughly modern disease, the overachiever’s bucket list route to enlightenment.

The track blasts off into It Bites land with some more great keyboard: guitar interplay before breaking through the clouds to a peaceful single guitar then instruments and ethereal voices paint the picture of the climbing of a mountain.

The protagonist seeks fulfilment through overachievement, joins the queue for the top, gets a wake up shot as finally they realise just how small they are, ego or no ego.

Do they learn from this? See the error of their ways and return a better person? The story is left at the point of enlightenment for us to decide. Not a cliff hanger, although, stuck at the top of a mountain struck by a sense of your own insignificance could be said to be the ultimate cliff hanger!

There is some great instrumental prowess here, but no sense of grandstanding. The music flows around you as you drift off in an enlightened cloud of Prog bliss. The final track, The Seamless Shirt starts all rock guitar and thundering drums, with a Zappa / Miles Davis Electric band vibe, the drumming is metallic rather than metal, then suddenly switches to a folk staple, not the first time this particular song has been shoehorned into an alien landscape .

The Stone Roses co-opted it on their debut album. Some pair of American folk singers adopted it too, back in the pre- streaming era.

Scarborough Fair gets dragged into the middle of this song, twisted to fit the narrative, we then flip back to the funky percussive tale of broken trust and dashed hope. a relationship in the making and unmaking of the shirt.

Again we get a guitar solo, this time , as I mentioned Frank, this references Steve Vai, with a lovely lyrical solo, the final instrumental section is a beautiful piano and drum piece, very Herbie Hancock in tone that stretches and bridges to the final verse.

Then, all too soon it’s over. 45 minutes of musical delights that is more progressive, more dextrous and more interesting than I deserved. Another fine wallet emptying collection for the ever expanding Bad Elephant stable. I really need to negotiate a discount as this reviewing is getting expensive.

I know I am lucky to get he pre-release mp3, but nothing beats the delight of owning the actual finished product. Be it vinyl or CD, it’s a thing of solidity in a fluid world.

‘Given The Impossible’ is that too, and like a good curry , it matures with time. I’ve listened constantly now for 4 or 5 plays. There are nuances and passages of beauty that my ears are enjoying navigating along. The more I listen the more it connects in my head to It Bites and Francis Dunnery’s lyrical guitar parts .

The naughty pachyderm has done it again, an excellent release.

Released 4th November 2016

Buy ‘Given The Impossible’ from Bad Elephant Music on bandcamp

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

Review – Blind Ego – Liquid – By Rob Fisher

I first came across Blind Ego courtesy of having originally discovered the delights of ‘World Through My Eyes (2005)’ by German based band RPWL. In the process of discovering more about them it emerged that lead guitarist Kalle Wallner was also running a solo project by the name of Blind Ego who, by pure coincidence, had just released a second album entitled ‘Numb (2007)’.

My interest was piqued by the superb musicians he had assembled to play with him. Paul Wrightson (ex Arena, replacing John Mitchell who sang on the first album), John Jowitt (ex IQ and Arena), Michael Schwager (ex Dreamscape) and Yogi Lang (fellow RPWL band member), with guest appearances by Sebastian Harnack (Sylvan) and Iggor Cavalera (Sepultura, Mix Hell).

Listening to ‘Numb’ was – and whenever I play it, still is – a happy revelation. Honest, fresh, atmospheric, it is full of punch and packed with energy and inventiveness. There is a steely drive and an exciting raw emotional power which resonates at all levels across the album. The intensity and the ever shifting flow of our emotions becomes the elemental force which powers and gives meaning to the music.

Wallner believes ‘Numb’ is all about the intensity of emotions, “snapshots of extreme feelings flooding one’s consciousness for a short time, siegeing the mind and letting nothing else reside next to them.” He emphasises this by using only one word for the title of each track: Lost, Guilt, Numb, Leave, Death, Change, Seek, Risk, Torn, Vow, Change. The music perfectly mirrors and captures this rollercoaster of emotions through solid rock-style drumming, crunching power riffing, all interspersed with acoustic arrangements and melodic solos which captivate and surprise.

It has been a long seven years since then and I’ll confess that news of a third studio album from the Blind Ego stable certainly put me in a state of agitated excitement. Wallner’s choice to lead with another single word title, ‘Liquid’, certainly seems to signal a clear intention to carry on where the previous album left off.

The musicians he has gathered around him this time are equally impressive. Vocals are shared between Arno Menses (Subsignal), Erik Ez Blomkvist (Seven Thorns) and Aaron Brooks (Simeone Soul Charger), whilst the always impressive Sebastian Harnack (Sylvan) returns alongside appearances from Heiko Jung (Panzerballett) and Ralf Schwager (Subsignal) on bass. It is also wonderful to see the inimitable Michael Schwager remaining behind the drum kit for this third instalment.

‘Liquid’ is an album of profoundly stark and unexpected contrasts – lyrically, emotionally and musically. Where ‘Numb’ has a relentless and intensely focused momentum, ‘Liquid’ to some extent takes its foot off the pedal, gives itself some time to breathe, and offers a more varied, versatile and challenging range of music with which to grapple. There is a greater sense of maturity about this release, a more reflective and contemplative approach to the song writing which takes the edge off the direct rawness which characterised ‘Numb’ and in the process, opens wider possibilities for emotive expression in and through the music.

The passion, the intensity and the focus are all still present in abundance. But there is now a more deliberate and even meditative quality coming through. When passion is spent and the rage of emotion has run its course, reason quietly returns and adds its voice once more. Indeed, this is often how the album feels; torrents of sharp, powerful, aggressive passages are followed by calmer, soothing almost heightened moments of tranquility and clarity, the instrumental ferocity dialed right back to leave an airy, almost passive, healing aftermath.

Kallner’s guitar work is blisteringly brilliant. Listening to the sheer precision of his playing, the eagerness and constrained passion he exudes and the forcefulness of his attack when he abandons controlled discipline and lets his virtuosity soar in some jaw dropping solo work belies the impression that this is something deeply personal. You get the feeling that he is working things through, maybe in his own mind, and riding the ebb and flow of shifting, troubled emotions as he goes along. Some people are good at expressing themselves through words; he lets his guitar do his thinking out loud.

To this extent, ‘Liquid’ becomes a fascinating insight into the turbulent thoughts and emotions which are swirling throughout the album, sometimes expressed in symphonic eddy’s churning just below the surface, at others gushing in anthemic, foot-stomping torrents before cascading into serene, harmonic waters. There is a natural momentum which carries you along from track to track and into the seamless, almost intuitive transitions between moods, thoughts and feelings.

Not everything on this album works. Just as you can become lost in your thoughts, so there are times when the music feels as if it has lost a little of its direction and focus. Some of the ideas don’t quite work as I suspect they were intended, upheavals in rhythmic timing perhaps too hasty and maybe one or two of the hooks not quite transiting to where the music wants to lead us. But then, thoughts are never complete, feelings are always on the way to somewhere else and the exuberance, fervour and excitement of the music is more than enough to carry us through the choppy waters to the next part of the river.

Wallner believes that ‘Liquid’ “completes a comprehensive artistic process that saw its beginnings years ago”. This new release certainly brings significant developments and unexpected progressions to the Blind Ego project. My sincere hope, however, is that rather than reaching the end and completing the journey, there are more bends yet to come in this particular musical river.

Released 21st October 2016

Buy ‘Liquid’ on CD or Vinyl from The Gentle Art Of Music

Review – Kyros – Vox Humana – By Emma Roebuck

Kyros (Nee Synaethesia) is Adam Warne (vocals, keyboards), Joey Frevola (guitars), Peter Episcopo (bass, vocals), Robin Johnson (drums, percussion) & Sam Higgins (guitars, vocals). They have been tipped and praised in the media and rock press in their original guise growing out of Adam’s solo project into a fully fledged band. I am not one to patronise when I say this, but, these guys are young and this is a definitive advantage in many respects. They are not shackled to the 70s golden age but they pull influences from the 80s and 90s too. Like genuine artistic magpies they are content to take all that is good from a wide range of sources and put elements of it into their music.

The music is very very full on; the influences of Haken are obvious with drummer Raymond Hearne arranging the brass on various sections. It is a sonically dense album with so much going on that what at first appears to be a simple piece has hidden depths. New Paradigm is one such track. At face value it feels like a crooner from the 40s accompanied by a piano but then evolves into a an atmospheric combination of the harmony and keyboards that becomes almost ethereal in it quality.

To counterbalance this Technology Killed the Kids II is jam packed with intensity reflecting how much technology is filling the younger generation’s lives and leaving no space to breath or be real in a real world. It has a definite ‘Prog’ feel with massive keyboard sounds and it really stands out from the first listen to the last.

The single Cloudburst has overtones of later period Depeche Mode in it combined with post modern values in the writing. It is accessible and has a great hook and instrumental breaks that could easily be played on the mainstream radio. Yet it retains its “Progginess”, I hear IQ in the guitar breaks and keyboard combination but there is no plagiarism here.

Onto CD2 and the vision darkens here, beginning with track one Mind Electric, an ominous overtone of keys and guitar that has an air of a desperate struggle between humanity and technology. The endless struggle between humanity and its own invention is the theme that runs through the album from beginning to end. Monster is another stand out track, the keyboard riff that feels instantly familiar, frenetic musical breaks simulating a struggle between the Frankenstein’s monster of the theme and the inner humanity railing against the metaphorical windmills.

This drops straight into a far less fraught piece called Hounds that lulls you into a false sense of security as you become hunted by the music and the beast itself. The closing track of the album, simply called Dilate, channels everything into a climax of tragedy and despair as we inevitably fall into a trap of our own design.

Overall ‘Vox Humana’ works very well indeed and takes the project to the next level with the song writing and sophistication. It has been carefully crafted and created with much maturity that is rare in any band.

This record is full of clever harmonies but is clever merely for the sake of being clever but, rather, because it fits the need. It really feels like it has been written and created by the band rather than just Adam getting people to play his music. Which to be honest, as good as Synaethesia was, that is what it felt like to me.

If you want something that pulls musically from the 80s and 90s and only really offers a nod to the roots of Prog rock then this is for you. It has more from the likes of IQ, IT Bites, Muse, Radiohead, Depeche Mode and Haken than anything made in 1973. It isn’t a late night chill out but is excellent driving music and it shows that the future of our music is in good hands.

Released 5th November 2016

Buy ‘Vox Humana’ direct from the band.

Review – Kalle Vilpuu – Silver Lining – By Progradar

As most people who have followed my reviewing career will know, I am a big fan of instrumental albums and have reviewed many in the past 3 or 4 years, some excellent, some great and some, well, okay.

I am also a sucker for great album covers so when the chance came to review renowned Estonian guitar god Kalle Vilpuu’s first solo album ‘Silver Lining’, and I saw the minimal but stylish artwork by Hannes Aasamets & Mihkel Maripuu, I was very happy to take it on.

I’ve been really busy this year but I have finally found time to put my words down and deliver my review of this ultimately satisfying collection of songs.

Kalle Vilpuu was born in the Estonian miners’ town of Kohtla-Järve on July 24th, 1963. He started playing drums in a school band at the 1st Kohtla-Järve High School. Kalle soon switched to the guitar, however, due to a lack of serious interest in the drums and the rest, as they say, is history.

He has had a lengthy and interesting career, first playing in one of Estonia’s biggest band’s, Seitsmes Meel, while still studying at the Georg Ots Tallinn Music School. Kalle has played with some of Estonia’s biggest rock acts including Tõnis Mägi’s 777, Ultima Thule, Marju Länik’s Saxappeal Band as well as hard rock act House of Games.

After leaving HoG, Kalle started composing and recording his own music that culminated in 2013 in his first solo album ‘Silver Lining’. Now he continues to play for Ultima Thule and Seitsmes Meel is back together after a 23 year break, busy working on new material and playing gigs.

Joining Kalle on his solo release is a fantastic collection of musicians:

Andrus Lillepea (drums), Henno Kelp (bass guitar), Mari Pokinen (vocal), Tarvi Jaago (flute), Tiit Kikas (violin), Martti Mägi (violin), Imre Eenma (bass, viola da gamba) Eduard Akulin (trombone) and Indrek Kruusimaa (flamenco guitar).

I have listened tot his album many times now and I have to admit it has taken its time to work its way into my affections. At first it seems a disparate collection of songs with no common thread but, give ‘Silver Linings’ time to appreciate its subtle nuances and stylish musicianship and you will realise that this is one of those albums that needs repeated play and will stay in your memory a lot longer for it.

Opening track Anomalies has much of the feel of a Satriani/Vai style track, if a little less in your face and you immediately respect the quality of Kalle’s playing, it has a sci-fi feel to it, like a harder edged Public Service Broadcasting. We move on to Unforgiven with its mystical, laid back opening which then proceeds into a determined, driving track but one which also has a rather nice ethereal flute as accompaniment. Here we get Kalle firing some burning licks and thunderous riffs, once again demonstrating his undoubted proficiency. Next Inferno, a piece of music which belies its title to deliver an otherworldly feel of peace, calm and harmony. A bewitching vocal performance adds some Celtic drama and gives a real ‘World Music’ appeal to the track.

Industrial No.4 does exactly what it says on the tin. A hard rocking industrial metal riff powers this leviathan of a song along. Pensive and solemn, I’m put in mind of hard-edged industrial rockers Ministry as the repetitive riff gets you nodding in appreciation, hitting you like a ten ton heavy thing! Fast paced and fluid, In The Back Of My Head charges into view like an irresistible force and an amalgam of sci-fi films all rolled into one. The solo in the middle of the track is a really powerful piece of playing that just adds to the drama of this juggernaut, a superb monster of a track. An electro-psychedelic homage to Satriani’s ‘Surfing With The Alien’, The Aliens (Have Landed) is quite a fun track that bounces along like it hasn’t got a care in the world. Discordant, left-field and just out there, it adds a real note of fun and mystery to the album.

Trapping is like the X-Files turned into music, quite disturbing and with a real creepy edge to it, it is quite deliciously suspenseful and apprehensive and makes the hairs on the back of your neck stand up. There is a feeling of tension and anticipation running throughout and it doesn’t let up right until the end. Dreamlike and hypnotic, The Touch Of An Angel washes over you with its calming influence and mesmerising vocal backing. You feel yourself becalmed and in an oasis of musical serenity. That feeling continues with the delightfully charming and alluring notes of Rosie. Two and a half minutes of enchanting and sublimely soothing tranquility, just let all your troubles float away to leave you totally unruffled.

Forgiven gives us heavy, persistent riffs and matches them with a mystical feel of eastern promise to deliver a haunting and yet vibrant piece of intrumental music that has an inner vitality urging it along. We end with the title track Silver Lining, a song that has an initial anxious edge to it, treading water with some stylish electronic beats before a deep and dense guitar takes up the tale. It reminds me a bit of Shoot High, Aim Low from Yes’ much maligned 1987 release ‘Big Generator’ but without the vocals, obviously! This track goes off in its own direction with the addition of Kalle’s unforgettable soaring plaintive guitar playing. Quite a moving piece of music to close out the album with.

After the first couple of listens to this album I thought that, despite the obvious musical talent on show, it was a collection of disparate songs that were great in their own right but didn’t quite click together. Well, how wrong was I? Please give this stylish, classy release time to work its undoubted charms on you and you will come to realise, like I did, that is a really rather excellent collection of songs. Another great recommendation from me to you!

Released August 2014

Buy ‘Silver Lining’ on digital or CD from a selection of outlets.

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