Album Reviews – Page 75

Review – Arcade Messiah – III – by Progradar

“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman

On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.

Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.

My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.

It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…

John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.

All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.

‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;

“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”

I reviewed Arcade Messiah ‘II’ last year and had these words to say;

“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”

John is going to have to go some with ‘III’ to improve on that…

Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.

Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s ‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’

The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.

The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…

Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.

After the forceful intensity and enduring dominance of what has gone before, Sanctuary is exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.

So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.

Released 25th November 2016.

Buy Arcade Messiah ‘III’ from bandcamp

Review – Seven Impale – Contrapasso – by Shawn Dudley

The opening lurching guitar/organ riff sounds like the amplified machinery of a giant steamship; bellowing, relentless, ominous power. Then it morphs into a straight, almost funky propulsive groove with some very tasty organ comping while various synth and vocals effects weave in out of the background like a swirling mist.

The vocals of Stian Okland float in over the groove sounding not unlike a Satanic Jim Morrison, like a dark mirror image of The Soft Parade; simultaneously eerie and darkly comic. Saxophonist Benjamin Mekki Wideroe makes his entrance next with a frenzied atonal break. Underneath the vocal line the linear progression of the piece continues to build in intensity, the groove turning ominous, dissonant snatches of piano and sax riffs stab through creating a frenzied whirlpool.

A melodic organ & sax unison line enters and holds the arrangement together, keeping it from exploding into complete cacophony. Then it stops abruptly, giving the listener a split second to inhale, before a crushing doom riff hammers down…

That describes just the first four minutes of Lemma, the opening track of the joyously insane ‘Contrapasso’, the second full-length release from Seven Impale. This young sextet from Norway has hit upon a really potent recipe, an almost dizzying combination of influences they’ve managed to assimilate and combine in consistently surprising and effective ways.

It’s fiery, intense music, but it’s so much fun that it’s accessible despite the artfully schizophrenic arrangements. From an instrumental standpoint Seven Impale employs a mostly analog approach; Hammond organ, vintage synth and guitar sounds, saxophone, and they occasionally sneak in some more modern touches. But this is not a retro band; this is a young adventurous group that’s unafraid to be daring, to experiment and most importantly to have fun doing it.

A key factor with their sound is how the saxophone is employed. While I’ve heard saxophone featured in a few progressive rock albums this year (Knifeworld, Thank You Scientist, etc) it’s primarily fairly straight-ahead in approach. Seven Impale is one of the few newer bands I’ve heard that gravitate more toward the avant-garde jazz albums of the late 1960s for inspiration.

For the most part it’s not completely outside, but more in line with players like Archie Shepp or Pharoah Sanders. The jazz quotient on ‘Contrapasso’ is intrinsic to the success of these compositions. The majority of these songs aren’t based on traditional verse/chorus structure, but the saxophone is often used in conjunction with the keyboards to carry the melodic thrust of the song, while the vocals provide commentary.

When you combine those elements with the 500 ton weight of the guitar sound (a vicious combination of King Crimson and Anekdoten) it’s a beautiful noise. It hits the sweet spot where the saxophone fuels the experimental portion while the guitars keep it primal and firmly rooted in rock.

The album is not without its catchy moments. Inertia grooves along on a heavy guitar/sax unison riff that would probably sound fantastic in a live setting and the brief chorus is infectious. The mid-section is a fiery jam and guitar solo feature, which tips a hat to Fripp & Co. After a return to the main theme it slides into an effectively trippy psychedelic section that features some lovely keyboard & vocal harmonies before seguing into an appropriately epic, melodic conclusion.

The remainder of the album unfolds along similarly complex and intriguing lines. Like a puzzle that keeps revealing more and more levels of complexity it’s an album that takes some effort. But what I love about albums this dense is that each time you play them some new moment jumps out.

I love the whole record, but there are a couple tracks that really stood out to me.The first is Langour, which brilliantly captures the juxtaposition between the beautiful sax & cello melody and the crushing metallic guitar riff, it’s a perfect demonstration of the power this group can wield. The other is the mind-bending Helix. It’s built off the simplest of structures, a repeated keyboard riff that is methodically augmented with other instrumental voicings and increases in intensity like a storm building before the deluge. If the description sounds dramatic that’s because the music does as well.

It has been awhile since a new band has really hit me with the audacity of their approach and how effortless it seems. Seven Impale is the kind of band that reminds me that experimentation, even if it’s experimentations within existing sonic frameworks is not impossible. There are still fresh avenues to explore within the progressive rock realm, I hope Seven Impale continues the search for a long time to come.

Released 16th September 2016

Buy ‘Contrapasso’ from Bandcamp

Review – Sonata Arctica – The Ninth Hour – by Kevin Thompson

Prog/Symphonic Metal is a crowded market and each band has their devoted following. I have my favourites, fully aware there are many more out there doing well for themselves in this genre that I have never heard. It doesn’t mean they aren’t any good or they do not tickle my earbuds, merely the fact I can only listen to so many in the time I have.

And so it is with Sonata Arctica, a lively bunch of lads from Kemi in Northern Finland. The roots of the band grew from a hard rock band Tricky Beans formed in 1995, changing direction and band name to Sonata Arctica (on the suggestion of a friend) inspired by fellow Fins Stratovarious.

With emphasis on the strong keyboard/keytar melodies of Henrik Klingenberg, bolstered by Pasi Kauppinen’s bass and Elias Viljanen’s guitar rhythm line, Tommy Portimo’s ice shattering drums line up alongside Tony Kakko using both his cool falsetto and tenor voices (fleshed out further with backing vocals from the rest of the band) to bring a heavy snowstorm of sound across the frozen wastes for your pleasure.

‘The Ninth Hour’ is also their ninth album, funnily enough, but it is also a reference to the moment Christ is said to have died on the cross. Whilst not religious Tony Kakko says it echoes some of the lyrical themes and also inspired the idea for the rather fabulous album cover painted by Toxic Angel. It can be seen as a metaphor for a society skirting the edges of war again, in a world where environmental pollution is a daily concern and people ignore the damage we cause to Mother Nature at our peril, a common theme for many bands recently.

It’s a very polished album from a band confident in their sound with the songs never seeming downbeat, whilst the lyrics may illustrate the doom ridden earth we are creating. The quality of music shows why they have been asked previously to tour with their fellow Fins and Nightwish among others.

Closer to an Animal, first track and single is not as heavy as I expected and at times reminds me of Magnum in it’s structure. A lively little number to start and sets the tone for the album with swathes of Henrik’s keys and flourished guitar soloing from Elias as Tony warns we abuse what we have.

There’s a slight Celtic feel in places as Life starts with a Nightwish style introduction on this warm song encouraging you to live your life, blowing away the cold icicles of day to day mundaniety from your mind.

Don’t believe all you are told comes the warning in the chilling Fairytale, blindly following like sheep and allowing ourselves to be manipulated by those corrupted with power. Edited, this catchy number would make a good single with it’s sing along chorus and it is one of my favourites on the album.

Time to seek shelter from the cold and relax in warm comfort to contemplate why We Are What We Are, the destroyers of worlds. Can we turn it around? Is it too late? Can we save what we are losing on this powerful refrain to the Earth.

Thrown from our reveries into the Arctic winds of tumultuous affairs of the heart, Till Death’s Done Us Apart sees us stung by the frozen crystals of emotion as they get buried in the snowy drifts of rampaging instrumentation. As the evening closes in we find ourselves Among The Shooting Stars. Tinkling keys echo in the night on this rock ballad full of streaking lights of emotion and rousing chorus as you wander under the moonlit sky, the warmth of love protects you from the chill.

A Husky sled full of guitars hurtles towards you in Rise a Night, to carry you across the glistening flows of ice and snow. The evening air rushes past with Kauppinen’s bass heightening your senses on a flurry of guitar riffs as the vocals whip around your head, whilst the the thrumming of Portimo’s drums like sled rails bouncing across the ground, quicken the pulse and spray key-notes into the atmosphere. A ride of pure adrenalin before you Fly, Navigate, Communicate and you ease to the steady pace of a fairly generic rock song which then picks up in the latter half. Whilst Tony’s vocal range is displayed extensively on this track it feels like an unused tune from a Europe album and the singing doesn’t quite match Joey Tempest.

Lights flicker in the darkness as Klingenberg’s piano plays on the Candle Lawns, issuing in the lovingly written ballad on this Finnish fairytale of an album, caressed with sweet soloing guitars on a track reminiscent of Darren Wharton’s ‘Dare’.

The lapping waters of an icy sea and cries of sea-birds carry us on to the epic track White Pearl, Black Oceans Part II “By The Grace Of The Ocean”, which I believe is a sequel to a track of the same name on the 2004 album ‘Reckoning Night’ (that’s my homework done). Steadily building orchestration and delicate keys, interwoven with heavy guitars and lit by a fireball of a guitar solo from Viljanen, mid-tune, reflecting on the ocean of sound around him as the song sails away.

Which brings us to the grand finale as we cruise On The Faultline (Closure To An Animal), a crowning glory to a frozen throne. It feels like all the previous tracks were made to lead to this on a song which starts with piano led vocals so dramatic they could have been written for a West End premier musical production. It slowly drifts, so gently you struggle to remember when the the rest of the band join in so seamless is the transition on this delicate, heart-achingly beautiful tune. Then as if snatched by a last chilled gust of wind it fades away the final notes dissipating in the rarefied atmosphere as a distant whistle signals a close.

This has been an adventure for me, guided warmly through this wintry landscape of an album warning of portents we bring upon ourselves, the variations catching my ears and nestling in my head. I shall definitely be giving this a few more spins and if you are a fan of the sub-genre then I can heartily recommend ‘The Ninth Hour’.

Released 7th October 2016

Buy ‘The Ninth Hour’ from Nuclear Blast Records

Review – The Fierce And The Dead – If It Carries On Like This We Are Moving To Morecambe – by Emma Roebuck

Well, this came out of nowhere. I was expecting that The Fierce And The Dead’s next outing would be the third album current being recorded in seclusion with an as yet undisclosed name or release date. Suddenly the Bad Elephant Music promo number 36, ‘If It Carries On Like This We Are Moving To Morecambe’, magically appears in my in box.

I never reviewed the original but had to revisit it to see what they had done to the smartly repackaged remaster. Mark Buckingham’s stunning artwork suits the band perfectly, the intrinsic darkness of the music mirrors the graphic novelist’s style very well.

I often think very little of remastered albums and feel certain artists are just cashing in on or increasing their pension plans (no names no pack drill etc.) I have all the TFATD material and Matt Steven’s solo stuff anyway but always felt it didn’t quite reflect what they did in the live arena, the sonic assault of the back line and the bass smacking you squarely in the chest, letting you know they had arrived and will not be ignored. The live version of Andy Fox, one of the bonus tracks on this release, has a crystal clarity and solid punch to it. The whole package is far more dense but,yet, has a clarity to it, it is not muddy or thin in the least and is a lot closer to what the band does on stage.

For those who have no idea of who The Fierce And The Dead are, they are a project that grew from Matt Stevens playing with some guys rather than doing his looping acoustic stuff and it gelled very quickly into a full blown project and the original version of this album was the first product of that. They grew from being a ‘Krautrock’ ‘electronica’ to something far harder edged with the addition of a second guitarist. They now have a line up of Matt (guitar), Kevin Feazey (bass), Steve Cleaton (guitar) & Stuart Marshall (drums) and with a hugely dedicated following to boot. Instrumental hard edged music that brooks no compromise but has a wicked sense of fun all rolled into one great package.

This is the version that I think, in 2011, they would have actually released if they had been able to. High points for me are Landcrab, 10×10, and Daddy’s Little Helper. They all benefit well from the remastering process and it breathes a new life in to them.

I am completely convinced this it was a very good idea to revisit the original release and make the best of the masters from what is the beginning of a very unique gem of an outfit. RoSfest in 2017 is in for a treat indeed!

Released 18th November 2017

Order ‘If It Carries On Like This We Are Moving To Morecambe’ from the Bad Elephant bandcamp store

http://www.fierceandthedead.com/

Review – TDW – Aphrodisia EP – by Progradar

(Cover picture by Kelly Thans Photography.)

“Can you expect to cure an itch, when you are wired to the core to revolve ’round it?”

A question that symbolizes the way it sometimes feels if you long for something dearly, but society just blatantly says ‘no’ to your face. This sentiment of frustration, disillusionment, anger and sadness forms the foundation for the brand new TDW songs featured on the ‘Aphrodisia E.P.’

Tom de Wit has helmed his TDW project for 13 years now, starting writing his first music at the age of 16. The proper start was made with 2008’s release of ‘The Haunts’, Tom’s first real album. After releasing multiple albums in its wake, 2014’s ‘Music To Stand Around And Feel Awkward To’ was a record that showed the diversity and intent of this musician’s output. Showcasing that the music of TDW could be intense, layered and heavy at one moment and intimate small and fragile at others.

The ‘Aphrodisia E.P.’ is a special release, part of a pre-ordering campaign that started in September of this year. This is a supporting campaign for the upcoming TDW album ‘The Antithetic Affiliation’, slated for an April/May 2017 release.

The four tracks on this E.P. are completely finished but will also change in their final incarnations on the album. More layers will be added and more nuances will be put into the final versions. Therefore, the songs on this E.P. sound genuinely different to what the final album versions will sound like. This E.P. is a gift for those who support TDW and the musical concept it stands for.

TDW are Tom de Wit (vocals, guitars and synths), Lennert Kemper (guiatrs and vocals), Vincent Reuling (synths and vocals), Hanna van Gorcum (violin, vocals), Peter den Bakker (bass) and Rik Bruineman (drums).

Guests on the E.P. are:

Radina Dimcheva – Vocals on Aphrodisia

Cailyn Erlandsson – Vocals on Dirge

Dave Mola – Guitar Solos on Aphrodisia

Sophie Zaaijer – Violins & Viola on Anthem

(picture by John van der Zee)

The opener on the E.P. is the title track Aphrodisia and it has a very calm and collected introduction with laid back music and delightful, hushed vocals of Tom de Wit and Radina Dimcheva overplaying each other with some lovely harmonised sections. The violin adds a particularly classy touch to the song and you feel that you are drawn along upon a lulling wave of emotion. This is the calm before the storm though as the guitars crash and the keyboards roar and the blue touch paper is lit! Bang!!! off we go on a powerful maelstrom that flings you forward through the sheer forceful power of the music. Excellent riffing and the dynamic voices of Tom and Radina give the song a real energy before we break into a keyboard section that Jordan Rudess would have been proud of. The technical instrumental sections have real virtuosity and skill at their core, proper progressive metal at its best. Trun the volume right up and enjoy the frenetically challenging guitar solo from Dave Mola that follows, this track has it all in spades! I love my mellow pastoral prog but every now and again you need music that just blows the cobwebs into next year and this delivers big style! Then a complete turn around and a beautiful closing to the track as Tom’s vocals deliver a wonderfully winsome ending.

This segues nicely into the melancholy and sombre feel to the opening of Dirge, a song that feels like a lament from the get go. Cailyn Erlandsson’s vocals add a wistful loveliness to the track and, yet, you cannot get away from that feeling of sadness that pervades all. The piano and delicately strummed acoustic guitar add a keen sorrowful edge to the fragile beauty at the heart of this song. A pensive, wistful track that leaves you in a nostalgic mood, looking back at what may have been, the fading glory of the past.

Anthem strides out with a bombastic glee, a thunderous riff and powerful drums powering this enigmatic song right into centre stage. Progressive metal tinged with a bit of power metal, forceful, compelling and dominant, with a guitar sound hewn out of graphite and drums that could fell mountains. The compelling, anthemic chorus adds a nice counter-balance to the mightily potent verse and weighty feel to the music. The guitar solo is mad, manic and, ultimately, a hell of a lot of fun and the way the track closes out is just sublime, I must have put this track on repeat about four or five times with the volume turned up to max, sod the neighbours!

The final track on this excellent E.P. is the electronica tinged Lovesong with its sci-fi sounding keyboards that open proceedings. Tom’s vocals are heartfelt and full of a laid back honesty. I really like the feel of the song as it is completely different to the rest of the tracks on the E.P. It just goes to show the diverse skills that this talented musician and his cohorts have. It is a song that puts you in a thoughtful and pensive mood and the use of Hannah’s soulful violin is perfect as it interchanges with the tender notes of the piano. A real change of pace for TDW that shows a graceful subtlety to their music and one that I hope makes an even bigger contribution to the new album.

So you will have to pre-order TDW‘s new album to get your hands on this little gem of an E.P. and I have to really emphasise the fact that you should. On the strength of these four very varied tracks, the new album is going to be something special indeed and, as a stand alone release in its own right, the ‘Aphrodisia E.P.’ is well worthy of being in your collection, the guest vocals of Radina and Cailyn adding another exciting dimension. Tom de Wit continues to impress me with every new turn in his excellent career.

E.P. released 19th September 2016 only with pre-orders of ‘The Antithetic Affiliation’ which will be released April/May 2017.

Pre-order ‘The Antithetic Affiliation from Layered Reality here and get the ‘Aphrodisia E.P.’

Review – Maschine – Naturalis – by Emma Roebuck

Maschine – ‘a progressive rock band without boundaries’ is the bands tagline and ‘Naturalis’, the second album from Luke Machin, Daniel Mash, Marie-Eve De Gaultier, Elliot Fuller and James Stewart, definitely pushes the envelope beyond ‘Rubidium’ which was a cracking album in itself and one that showed much promise for the future.

This album is primarily a vehicle for Luke’s compositions and stretches his writing in variance and styles as well as having a core concept to the album that speaks of mankind and how we sit uncomfortably alongside the earth and nature as a species. ‘Naturalis’ is grand in its aspiration and design and I believe that Maschine achieve those goals very well.

We are introduced to the album with Resistance, a full-on epic of traditional Prog proportions in what can only be called a ‘classical 70s’ style. It begins with analogue keyboard sounds and a tension creating guitar riff reminiscent of Jimmy Page which then goes on a full musical journey reflecting the uncomfortable fit man has with his environment. There is much light and shade here designed to mirror how humanity is trying to come to terms with something he cannot control and, yet, still believes he can have authority over. Coming in at a tad under 12 minutes this epic alone would satisfy any progger but this is just the start.

Night and Day is the story of Robert Cain and his experiences of the Battle of Arnhem. His story is of finding unnatural resources fighting beyond human limits long into the battle. This as close to a ‘sound’ for Maschine as you could get, as you could say it combines all the elements of the band in a perfect balance.

A personal favourite of mine on this album is Make Believe, it istands out as being quite an ethereal song and Marie-Eve comes out into the spotlight with a haunting voice that reflects a cynical back story of the political exploitation of resources. It is a genuinely beautiful track.

The finale and closing epic Megacyma is a modern epic, the other end of the musical time line from Resistance. Production and writing that fits 2016 so well, you can smell the ozone of the electricity used during the recording. This is the tale of one man’s experience in the centre of a huge Tsunami fighting for survival through every second of the 12 minutes of the song. It is a very powerful song that looks at how small one man is in relation to the planet and the forces it has at its disposal.

This album has taken 4 years to write and record and it is interesting to see how Luke has developed as a writer and composer and his desire be a strong writer of songs. Being a virtuoso guitar player in demand in various places (be it The Tangent, Damenek, Kiama, or Karmakanic) or guesting on numerous albums must surely be an asset, giving him a chance to experience a variety of styles and other musicians.

If you like “Rubidium” then get this, it’s a guaranteed winner for you. ‘Naturalis’ has good quality songs with a good level of complexity but not at the expnse of structure. The album as a couple of live tracks as a bonus which are not on my pre-release download. The artwork looks excellent and there are the usual extras with pre order.

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

Review – Marc Atkinson – Homegrown – by Progradar

“Music is moonlight in the gloomy night of life.” – Jean Paul

“Since there is nothing so well worth having as friends, never lose a chance to make them.” – Francesco Guicciardini

There are two things that are the foundations of my life and they are music and friends. I certainly wouldn’t be the person I am today without either. To me music is not just something you listen to, it is an essential part of what makes me tick and what makes me want to get out of bed in a morning. I only became a music writer because I wanted more people to feel the way I did about certain notes, songs and albums that have become essential listening in my life. Music is what fills those unseen gaps in my universe and makes it complete.

We all need friends in our life and I have been blessed to know some wonderful people and call them friends. Since I started getting involved with music my list of friends has grown immensely and I don’t mean just those people who I’ve never met on Facebook. I have had the pleasure of meeting many musicians and supporters in the flesh and am proud to call them true friends now.

One of the first musicians I met through my reviews and interviews was the vocalist Marc Atkinson, also known as the voice of Riversea. I first met Marc in March of 2014 when he was performing his solo acoustic show in Whitby and where I interviewed him for Lady Obscure Music Magazine and have been firm friends ever since.

Therefore it was a no-brainer when Marc asked me if I would write an early review of his new solo release ‘Homegrown’, in fact I consider it an honour that he came to me first.

Marc Atkinson is a solo acoustic singer/songwriter. He is also ‘The Voice’ of Riversea and has previously sung with Nine Stones Close, Gabriel, Frontier and Expressions, as well as lending his vocals to the Mandalaband project. He continues to gig heavily in the North of England playing his one man, ‘human juke box’ acoustic shows.

‘Homegrown’ is Marc’s fifth solo album and, along with the help from his partner Tamsin, daughter Enya, friends Andy ‘Rob’ Swann, Bob Fleming, Jack Burge and Brendan Eyre who all contributed performances on the album, it was finally finished in October 2016 and will be released on the the 21^st of November 2016. Alongside Brendan Eyre and Dave Clements, Marc is currently working on the 2nd Riversea album, entitled ‘The Tide’, which is due for release in spring 2017.

Marc has written an intro for the CD booklet and, so as not to spoil it for those who have ordered the new album, I have just taken the first paragraph from it:

“As you may have guessed from the album title, this is a ‘home made’ album. It’s songwriting in its most ‘basic’ form. It could almost be called a ‘demo album’, I think…And that was the concept for it right from the beginning. In an alternative universe maybe this album exists produced by a ‘top’ producer, in a hi-tech studio with amazing musicians lifting the songs to new heights with their ear for detail and unique talents. This, obviously, is not that album. This as as ‘Home Grown’ as they come… “

“Take all these melodies away, Free them from my soul, They’ve been haunting me for days, It’s good to let them go…”

The opening track A Portrait immediately gets you into the soul of this great singer/songwriter. The music is gentle and whimsical and leaves you feeling touched by a world of calmness and peace. Marc’s voice is full of pathos and emotion and leaves you waiting upon every syllable of every word as it washes over you with a spiritual grace. There is a touch of folk to the song with the delicate strings that hover in the background, a beautiful start to the album that leaves you wanting to hear more.

“Take all of the dreams that you’ve had, Make them come true right before your eyes, take all that sorrow away, It’s a brand new day…”

The beautifully harmonised choral opening to Raise Your Voice gives way to an upbeat track driven on by the acoustic guitar and the uplifting vocals. This is a track full of joie de vivre and has a feel-good factor that just leaves you on a high. The catchy chorus has you singing along with gusto and on a spiritual high. This is definitely a song that will have a live gathering singing and clapping along to every note and left me with a big smile on my face.

‘When days are like shattering glass, They’re so fragile they don’t last, It’s like chasing waterfalls…”

I know Marc is a very spiritual person and Just Between God And Me could be his own personal thoughts on the events that are happening around the world as we speak, the hardships and trials and tribulations of those who aren’t in a position to help themselves. It’s a sober, solemn and thoughtful song that asks some pretty important questions. The vocals are full of heartfelt sentiment and really struck a chord with me, balanced against the sparse instrumentation as they are. The harmonised backing voices give a sense of wisdom to the track and you are left looking up at the stars and wondering whether there is any judgement to be had in the heavens.

“Remember days that used to be, with one big happy family alive, Driving through the countryside, With your Dad by your side tonight…”

Hands Of Time is a very poignant track dedicated to the life of Marc’s long term partner Tamsin’s father and is a beautifully written and touching tribute. It’s about the bitter sweetness of happy memories tinged with the sadness of lost loved ones. The wistful music, piano and violin especially, leave you in a bit of a melancholic mood, the memories will be there forever but you can’t turn back the hands of time. An emotional, moving song where Marc’s vocals really stand out and one that, ultimately, leaves you in a reflective mood thinking of the joy and pain that the past can bring.

“Daddy will you sing for me, Daddy will you sing with me, Riding through the streets with my little girl, Pedals going round as her hair unfurls…”

A lovely song written for Marc and Tammy’s daughter Enya and one that sees her appear on backing vocals, My Little Girl is a touching little ditty that is full of love and devotion and you can hear it in the timbre of Marc’s voice as he delivers this ode to his ‘little girl’. The gentle music has a cathartic feel to it and imbues this track with a simple grace and tenderness. Marc’s voice is what inspires Enya to sing and this song is as much a thankyou to him as it is dedicated to her.

“In or out, What the hell’s it all about?, Black or white, Why do we find the need to fight…”

When The English Rose is, in essence, a protest song about Brexit, racism and everything that is rocking our country at the moment. Because it comes from a singer/songwriter it has none of the angst that a punk band or hardliner like Billy Bragg would give it but it is because of that fact that it perhaps hits home a bit harder. An edgy riff from Marc’s guitar and a touch of anger in his voice give vent to his true feelings and the timeless question to which none of us seem to have the answer, “Surely we are stronger together, Surely it’s ‘Divided We Fall’…”

“Caught inside a landslide, In our topsy-turvy world, somewhere in-between us, We’re screaming to be heard…”

Still In Love With You is just under three minutes of delicate charm and beauty. Marc sings of a love lost and the found again and the pain and then joy that ensues. The exquisite music and ethereal timbre of the vocals just give the whole song a feeling of dignity and finesse with a profound honesty at its heart.

“It was 33 years ago, When I first put the words in a song, My friends said just give it a go, And soon they were singing along..”

A journey through Marc’s career to date with subtle hints in the radio style introduction (River sea’s Out Of An Ancient World anyone?), Whatever Happened… is wistful and nostalgic with the wispy tendrils of the music subtly insinuating themselves into your thoughts and Marc’s voice dictating his move from being in a band to a solo career and back again. It is actually a very moving song and the music has a real haunting capacity to it, plaintive and thoughtful which is only enhanced by the fantastic vocals.

“Caught in the spotlight, The Road always ahead, I drive by moonlight, To the comfort of our bed…”

A song about the endless hours Marc spends on the road touring the North of England to play his acoustic shows and how all he ever looks forward to is going home to his partner, Go is a mesmerising track full of the warmth of the affection that he has for Tammy. The music starts quite laid back, tender and mellow, the bass really coming to the fore and Marc, once again, delivers an impassioned vocal performance full of subtle highs and lows. In duet with the exquisitely fragile piano, you can almost imagine him driving back to Cumbria in the early hours of the morning. The understated guitar solo and poignancy of the piano that close the track are utterly delightful.

“Talking to myself never felt so real before, ‘Cos everything I say you seem to ignore…”

A song about relationships and the difficulty of communicating, Am I Getting Through has a nervous energy to it from the off. Marc’s voice has an urgency and seriousness to it that is matched by the tempo of the music and the guitar riff. When I listen to this song I can envision him sat on his stool singing to the audience at one of his shows, it has that immediacy to it. There is a pressing pace to the song, an imperative insistence and, ultimately, it turns a negative into a positive and changes fractious feelings into hope for the future, a message we could all do with following, whether it was meant to be subliminal or not.

“When each new day greets me, Your the first soul I see, Lying there next to me, In harmony…”

Make no bones about this song, it is a love song from Marc to Tammy and you almost feel churlish for invading into their personal space. A pared back folk-infused piece of music, beauty lies deep in the heart of this captivating track, the graceful guitar and hushed tones of the vocals give it an ethereal grace and you are held transfixed by its sheer grace.

“Lay your head on me, Hold my hand in unity, Rest in me and I’ll rest in you, One love between the two, So lay your head on me…”

Another song written from his heart for the love of his life, Marc really gets my heartstrings going and a tear in my eye with the sheer emotive finesse, charm and power of Lay Your Head On Me. It brings back all the wonderful memories of the times we spend together in a relationship. Love is a powerful emotion when put into music and here it takes your heart and lifts it up, soaring to the heavens on a wave of tender music and the utterly beguiling vocals of Marc Atkinson. The graceful guitar solo is delightfully mesmerising and you are left in a place of utter peace and calm and one from which you never want to leave.

“All that I dreamed of came true, The first time I ever saw you…”

Plucking at those heartstrings again, Eternally bewitches and charms with its heavenly charm and its sublime grace. The guitar and vocals combine to give the song a humble and yet exquisite feel and one which guides though any rough waters to a sheltered bay of calm serenity. There is a well of love, affection and devotion deep inside this talented musician and Marc lets it flood out on these last three tracks leaving you in doubt of where his inspiration comes from.

“Don’t be looking back on yesterdays, They’ve been and gone their separate ways, Keep looking forward with that gaze, It’s gonna be alright, it’s gonna be alright…”

There’s a line in This Is The Future that goes ‘Hear the melody of life, Take it hold it deep inside..’ and that, to me, is what music is all about, it is the melody of life and no more so than in this collection of songs. Another great upbeat song that tells us not to look back but to keep staring forward, we can’t unmake what has gone before but we can decide our own destiny. The uplifting music and Marc’s optimistic and encouraging vocals enforce that mantra and you find yourself agreeing with him wholeheartedly. A song of hope and promise that in a year of disappointments for me, really matches my mood now I, myself, have found that person whose arms I can run into.

“When I need somewhere to go, There’s a little place I know, And best of all it’s homegrown…”

This endearing album closes with the fiercely dignified title track Home Grown. This speaks of Marc’s home studio, a ‘Little box in which we could create sounds to break the silence.” It’s almost a short biopic of the making of the album and is delivered to us in a wonderfully cultured fashion with the acoustic guitar and piano providing the soundtrack over which Marc’s distinctive and refined vocal provides the narrative. There’s no rush to the telling of this musical tale, let the world fly past while the music that can last a lifetime is crafted with loving care, forever to stand testament to the heart and soul of this wonderful musician.

To me, this is what makes writing about music worth every single minute I take. I have been involved in this long musical journey in some small way from start to finish and when you hear the finished article, it is almost like welcoming a newborn into the world. Marc Atkinson will have agonised about every single word and note on this album and to my ears it has been worth every single second he has taken. This is music that takes over your mind and soul and which you can relate to on a very personal level. Fifteen songs that are extremely personal to this gracious man and we should be glad that he has released them for us to enjoy. A great album and one that I have no doubt is the complete pinnacle of Marc’s solo career to date, I am extremely proud to be able call him a friend.

Released 21st November 2016

Buy ‘Homegrown’ direct from Marc here

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

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