With their new album, ‘Hawaii,” Aisles have released their version of the obligatory conceptual prog double album. As such, it hits many of the prog checklist items: longer tracks, extended instrumental sections, some experimental choices, a loose concept that can be a little hard to follow at times, and gorgeous cover art that tells a story in its own right. However, ‘Hawaii’ never comes across as perfunctory, and the band’s eclectic mix of musical styles–leaning more heavily on jazz-fusion and world rhythms than on ‘classic prog’ or hard rock–brings some fresh air to the project.
The first LP opens with a two part reflection on The Poet whose art and message had gone largely unheard. This pair of tracks serve well as an opener, expressing both the lyrical themes (a warning about the destruction of the earth/loss of uniquely human experiences) and the musical pallette (big band drums and jazzy lead guitar that moves into Welcome to the Machine-esque sinister moodiness, then continues through several stylistic changes). The rest of this first disc continues with premonitions of coming tragedy. Upside Down is a highlight of the album, and one of the more condensed musical and thematic statements here. There are two opposing forces at work in the world–destruction and creation–both with their power to to turn the world upside down in their own ways. “Some only take and some just destroy, and others they create/Some give their hearts and some are so bold/That they can turn any world upside down.”
The second LP focuses more on lament and longing for the good things that have passed away. The album’s many references to sun, rivers, walks, etc. develop the thought that the greatest loss in the earth’s destruction was not cultural or technological–these human inventions seem to have carried on in the settlement of the solar system–but in the destruction of the non-human beauty of the natural world that provides the conditions for fully a human experience. This is expressed in the mournful Terra and on the title track, Club Hawaii, which features a spoken intro explaining that the club’s five floors each contain wonders to tantalize all five senses, every floor more intense than the last. The patron’s question, “what’s on the top floor?” reveals the album’s theme of longing for the deepest, most thorough experience of human sensuality, especially in relation to the beauty of the natural world and humanity’s own natural, physical existence. Thus, we hear the club’s visitor implore “Turn my soul into flesh and soil/And blood, and waves and sand and rocks/And cliffs and sex and dogs/And apes and frogs and dirt and rust/And screams and lava, lava, lava, lava, lava.”
Throughout the album, there are nods to classic progressive music: some of the keys/synths are reminiscent of late 70’s Rush or mid-70’s Pink Floyd, while the jazzier leanings share some commonality with Caravan, but Aisles are clearly not interested in the more nostalgic-leaning approach to prog. The influences are there, but they remain influences rather than templates.
‘Hawaii’ is a cohesive, moody incorporation of emotional rock vocals, jazz fusion instrumental sections, and jazzy world-music accents, especially in the rhythm section. There are a few shorter songs that act as segues (Nostalgia) or postludes to the preceding track (Year Zero, Falling, which is a nice hint at the kind of mournful ballad that Freddie Mercury sang so masterfully), but the narrative tends to be moved forward by longer, sprawling tracks. These avoid the prog-rock epic approach to composition, instead opening with quieter guitars and slowly unfolding. The album is, on the whole, much more about the ‘progressive’ rather than the ‘rock’ as it is usually practiced in the contemporary milieu. That’s not to say the album doesn’t get loud or intense, but the mood suits contemplation more than consternation. This is an album for a late night, sitting alone in low lighting, with a favourite and suitably complex beverage in hand. And have some refills at the ready, because ‘Hawaii’ rewards repeated listens. The composition is too sprawling and the theme too subtle (as a nice counterpoint to some overbearing narrative albums) to be grasped immediately. It requires some commitment from the listener up front, before it will reveal the intricacies of its emotional core. With some careful attention, however, its beauty will shine through.
Much is being said about the fact that music isn’t progressing or progressive anymore, with a few notable exceptions. The audiences that buy the music are more likely to buy a 5.1 remix of a 1974 re-release over a new and unknown band. It makes me sad when I can come across so much new and exciting stuff to be discovered and that leads me on to this jewel.
‘Tanta Furia’ is the fourth album by Birdeatsbaby, a band new to me, and, to be honest, after hearing this I shall be visiting the back catalogue post haste. The music is dark, chaotic, manically varied and caustic but, most of all, it’s brilliant fun. Its genre busting, you won’t box this in anywhere. I was sent this by the band’s PR Company and I should really thank them. Mishkin Fitzgerald (Lead Vocal, Piano) ForbesColeman (Drums), Gary Mitchell (Guitar, Bass Double Bass) & Hana Maria (Violin) are the four fine components that make up this excellent band.
The album bounces from some very solid pop/rock, Scars (in the mould of Kate Bush gone Goth), to the insane sounds of In Spite of You that is anthemic and maniacal, reflecting the post-abusive-relationship ‘screw you’ message. The beauty and poetry of Bones of God is aching plaintive and emotionally striking… Its sleazy dirty and pure all rolled into one delightful album.
This record is not for everyone, it’s marmite in the same way that Knifeworld are but also a musical universe away, it would make for an amazing double header though. The band are obviously an eclectic bunch with no fear of writing music that they enjoy, drawing influences from as far afield as Lana Del Rey to Evanescence and from Muse to EllaFitzgerald. Birdeatsbaby are creating something that stands out head and shoulders above much of what is being recorded in the mainstream today. I am reminded in many ways of We Are Kin and their last album ‘…and i know…’
This quartet tell stories in music and words and they plunder a style to suit the song theme rather than make the theme fit one style. I think it may be too late for the Prog scene to claim these but they are definitely Progressive with a capital P and their fans, or “The Flock”, are in for a treat when they get their hands on this gem!
Light, airy piano chords gradually emerge from the silence and gently come to a slow halt; moments later a barely perceptible layer of tingling keyboards fills the air, bass and drum announce a pointed yet restrained arrival and a light, breezy acoustic guitar plays a Mediterranean air. Husky, breathless vocals overlay the soundstage with a bewitching melody, building to an echoing vocal, offset against a muted single piano interlude before launching into a punchy, power rock driven chorus.
Scarlet Walking, the opening track to ‘Paralyzed’, the second album by German based band Cyril, casts a mesmerising spell which softly, almost imperceptibly seeps into your soul and weaves an enchanting magic that both thoroughly enthrals and completely captivates. As the doorway through which you pass on your journey to the rest of the album, it effortlessly exerts a wonderfully alluring and seductive welcome.
‘Paralyzed’ is a heart-warming, elegant and thoroughly endearing album of graceful vignettes and beautifully reflective compositions which mesmerise and enchant in equal measure. Unlike ‘Gone Through Years’, released in 2013 as a concept album based around themes drawn from ‘The Time Machine’ by H. G. Wells, this follow up album places greater focus on the progression of the band’s music by crafting imaginative compositions that are bathed in a fertile and embracing atmosphere of creativity, in turn forming the cradle for the most wonderful melodic expressions.
Indeed, I think much of the beguiling charm of this album comes in no small measure from the careful and perceptive attention lavished on the layers within the songs, along with the context in which they stand and relate to each other. The tracks, individually and collectively, exude a permeating, enveloping atmosphere which significantly heightens and elevates the quality of the writing well above the ordinary. The soundstage is deep, expansive, full of resonance and an almost chilling clarity, capturing a moody, immersive mellowness and a refined, pervading, almost tender spirit and presence.
Within this are built a series of forced contrasts which either vigorously penetrate and stand out against the spacious openness of such an atmosphere or else gently fall back and dissipate into it time and time again. On some tracks, the growling, crunching animosity of the Hammond forms a solid bedrock and undercurrent but gives way to delicate pairings of piano and acoustic guitar, or a floating vocal like a wispy mist overlaying an isolated piano. On other tracks a smoky saxophone riff builds to an orchestral crescendo but then melts to an isolated single instrument enshrining an echoed vocal. The result is beautiful in both simplicity and finesse.
These energetic brushstrokes are in turn the vistas which give birth to soaring, melodic narratives which drive the music, giving life and voice to the plot of each song. Gravelly vocals are carried along on the back of waves of harmonic euphoria; reflective and introspective wistfulness muses over hushed symphonic arrangements. But these do not stand alone; the tone and structure is adorned, supplemented and enhanced by instrumental work designed to mirror, copy and reflect the central vocal stage. In particular, Rainbow (Track 4) is a curious delight, acoustic guitar and sprightly chord work supporting joyful, harmonies, with the occasional burst of Jamaican style reggae drums.
(Picture by Heiko Schoneberg)
The narratives themselves are testament, if any are needed, to the desire to craft and construct songs which can embody the spirit, the passion and the experiences of the story being told. Guy Manning’s lyrical inventiveness is the perfect match for the musical innovation of the compositions. He brings a sober, thoughtful and reflective tone to the stories being told, filled with a mixture of wistful bemusement, puzzled wonderment, weary resignation but also a powerful sense of surprised contentedness despite or even in spite of the circumstances in which we find ourselves.
The framework within which these sentiments are shared are the outstanding feature of this release. Marek Arnold is, simply put, a phenomenon, a musical dynamo of breathtaking vision and originality. Band member of Toxic Smile, Seven Steps to the Green Door, Flaming Row, Manning, United Progressive Fraternity and Damanek, his resourceful construction and astute arrangements build songs that are delightfully intricate, constantly evolving and packed with unexpected, complex and satisfying transitions. In a nod to what is hopefully the promise of a third Cyril album, the final track, Secret Place (Part 1) is an 18 minute mosaic of absorbing segues, shifting rhythms and changing landscapes.
The combination of all these elements fashion an album which is riveting in scope, gripping in detail and an absolute pleasure to spend time with. There is an exciting sense of character and emotion from a band who are themselves evolving and transitioning and exploring a whole range of progressive avenues and pathways as they do so.
When 2016 draws to a close and I begin compiling my “best of the year list” one album that is definitely going to be near the top is ‘The Fall Of Hearts’, the quietly brilliant 10th album from Katatonia. It’s the “sleeper hit” of the year in my opinion. It’s not the most flamboyant release; it’s not aggressively pushing boundaries or showing off how technically proficient the band members are at every opportunity. Instead it’s an album of subtle nuance and variation, the sound of a band perfectly comfortable in their own skin continuing to evolve and improve along their already distinctive path.
‘The Fall Of Hearts’ is the first album of new studio material in 4 years and also marks the debut of a couple new members to the fold; guitarist Roger Ojersson and drummer Daniel Moilanen (who really makes his presence felt in the arrangements). In the intervening years since 2012’s ‘Dead End Kings’ the band has been focusing on stripping down their sound, first via the remix album ‘Dethroned & Uncrowned’ and secondly their live acoustic concert recording ‘Sanctitude’. The lessons learned from this approach have carried over to the new album, adding subtlety and space to the arrangements and allowing the new compositions to really breathe and flow. Katatonia’s compositions in the past were often more straight-ahead than others within the Prog Metal field, being primarily based off a standard verse-chorus-verse structure. ‘The Fall Of Hearts’ offers a much more impressionistic approach, the more fluid nature of the arrangements really showing off Jonas Renkse’s gorgeous melodies to greater and more dramatic effect.
(Photo by Alessandra Tolc)
Opening track Takeover is an excellent demonstration of how this new approach has been applied. The song starts abruptly without an intro, immediately dropping you into its melancholic setting. The rhythmic thrust of the song is understated, dreamlike; it creates the subtle impression of floating. This feeling remains even once the heavier guitars come into play around the 1-minute mark. There is something very “painterly” about the feel of this piece; it’s elusive, ethereal, like watercolors in varying shades of gray. It’s simultaneously lovely and haunting, the metallic elements used effectively to create a subdued feeling of menace lurking just below the surface. It’s a stunning beginning to the album and invites the listener to abandon their preconceived ideas and just let go, just experience it.
The unique feeling also presents itself on the more direct, mainstream songs on the album. The singles Serein and Old Hearts Fall are deceptively accessible, the melodies so inviting that the listener might not even notice that the underlying arrangement is still quite complex and unexpected. That is not an easy balance to strike for any band, especially in the Prog Metal genre, which is not exactly well renowned for subtlety. Yet even the heavier compositions on the album never lapse into the expected clichés, they never get as militaristic or bombastic as you expect them to. The heavy riffs are applied with the same level of care and precision as the more melodic sections.
(Photo by Sebastian Dominguez)
Katatonia is often mentioned along with Opeth when the discussion of Swedish Prog Metal comes up. JonasRenkse and Mikael Akerfeldt were roommates in the late 90s and remain best friends to this day. Mikael also contributed the harsh vocals to their classic early death-doom album ‘Brave Murder Day’. While there are similarities (especially in the approach to ballads) overall Opeth is a lot more extroverted in their approach and cover a lot more stylistic ground. There is an undeniable kinship between them however, which presents itself in a few occasions on ‘The Fall Of Hearts’. The beautiful acoustic-driven ballads Decima and Pale Flag show an affinity with Opeth’s ‘Damnation’ album and one of the albums heaviest tracks is Serac, which wouldn’t sound out of place on ‘Watershed’. But in reality the main thing these bands have in common is they both have very distinct, identifiable personalities and they are both led by very gifted singer/songwriters.
‘The Fall Of Hearts’ is a long album (67 minutes not counting bonus tracks) and thus takes a little while to fully reveal itself, but it’s such a rewarding experience that the effort is more than repaid. I’m partial to the second half of the album, which gets a little darker, heavier and more complex yet never loses the melody and accessibility. The light/heavy dynamic is used to great effect on tracks like Last Song Before The Fade (my personal favorite), The Night Subscriber and the uncharacteristically extroverted Passer, which allows new guitarist Roger Ojersson a turn in the spotlight. It also features Shifts, one of the most hauntingly beautiful songs I’ve heard this year in any genre.
While there are many albums from 2016 that have gotten more hype and publicity than ‘The Fall Of Hearts’, I’m not sure if many of them attain the artistic cohesiveness that Katatonia has achieved here. This album took me completely by surprise, slowly worked its magic on me over the course of several months until it became indispensible. Now hardly a day goes by where it doesn’t end up in my stereo at some point, still methodically revealing its charms, becoming ever more rewarding with each listen. The very definition of a “sleeper hit”.
What separates the bands that have longevity from those that are just a flash in the pan is the ability to evolve and progress while never losing sight of what endeared them to their fans in the first place.
They take the basic ingredients of what makes them unique and then add new ideas and sounds to build on that original idea and, in the case of current classic prog maestros Glass Hammer, end up releasing 18 studio albums, yes, read it again, 18 studio releases and every one an evolution of what has gone before.
I’ve been a huge fan of Glass Hammer since the days of ‘If’ and am privileged to be close to them enough to be able to get an insight into what makes them tick and how the new album, ‘Valkyrie’, came to be.
The follow up to last year’s ‘The Breaking of the World’ is a concept album in the vein of ‘Lex Rex’ and ‘The Inconsolable Secret’ and will see vocalist Susie Bogdanowicz take a bigger role than on previous releases she has appeared on. The concept behind the album is the struggle of a soldier’s return home from the horrors of war, to the girl that loves and who must ultimately find her way to him.
I asked original founder member Steve Babb where the idea for the new album came from,
“We hadn’t done a full blown concept album since Perilous and we all knew it was high time we did one. We were ready. The subject matter was trauma. How to get past it? Sometimes you can’t. Sometimes it takes a hero to rescue the hero from the aftermath! The world is so torn up at present, and there are a million tales of trauma. It’s a violent time we live in. Most people’s own experiences pale in comparison to what some are living through – so it’s to them I dedicated the lyrics and to those who are standing by their sides to help.”
With a more pared back line-up, Steve explained why Susie had been brought to the fore,
“Fred and I both contribute lead vocals on the album. The lyrics of ‘Valkyrie’ were, for the most part, intentionally written so that the female lead would gradually come to the fore. To my ears the whole thing has more impact that way. The male vocals tend to convey the darker parts of the story while Susie really had to bring out the more emotional moments and the hopefulness that our albums tend to convey.”
The writing of the album was a taken on by Steve and fellow co-founder Fred Schendel, with such a sensitive subject being dealt with extremely well I asked how he and Fred go about the writing process,
“Fred assuredly changes some things in his sound. I added some vintage gear to my own rig to achieve “the bass that ate the world” sound – which is what we call it. (Intro to No Man’s Land). The overall sound changed too. It’s very live. That was what we set out to do. Not make a sterile, pure, overproduced sounding album. We wanted it to be on the edge. Hope it works!”
Steve went on to say,
“Alan (Shikoh) has co-written in the past, but he insisted Fred and I write the entire thing in the same way we did some of our best known albums. We’ll write separately, then run the ideas by each other. In some cases we combine our ideas (Dead And Gone). Being a concept album and I have the entire thing playing in my head – its up to me to fill in the gaps or to let Fred know what kind of song we need to keep the story moving. “Rapturo” was the very first thing that he wrote – the album’s ending. “Valkyrie” was the first I wrote – the title track. We spend several weeks writing, then months rehearsing and rewriting. That’s how it happened this time.”
“Long years ago I travelled, Upon a road that led me, To fields of battle far from home, And that is where you’ll find me…”
The Fields We Know begins with an eerie note, a haunting tone before Steve’s instantly recognisable bass opens up, lively but intent. A fast paced song definitely from the Glass Hammer stable, it has lulls and highs and a dreamlike feel in places, emphasised by Susie’s delightful vocal. Some wonderful hammond playing by Fred and Alan’s signature guitar sound deliver something fresh and yet still the sound we have become accustomed to. This album is as much about the intelligent lyrics as it is the excellent music and it is worth having the lyric booklet with you as you listen. A strong opening that has already drawn you in to this intense story. The powerful drums of Aaron Raulston come to the fore as the track comes to a satisfying close.
“He debated one idea the morning through, Were his memories of childhood even so, He believed that good resides in every heart, Now it seems man’s been rotten from the start…”
A drum and bass heavy start begins Golden Days, another fast paced track with insistent vocals and staccato soundtrack where Susie’s vocals come to the very fore. A song that demands your attention and gives a reality check to our young soldier. Some of the keyboard playing leaves you in a trance and the excellent musicianship we have come to expect is present and correct. Alan Shikoh gives another guitar masterclass in the middle of the track aided and abetted by Fred’s magical fingers across the keys. There’s a darker core that opens up, smoldering and heightened, the real horrors of war becoming reality. This is progressive rock at its most profound, telling a story in an intensive and vivid manner, technically superb but still with deep emotion right at the heart of the song.
“The orders came at two a.m., At dawn the first wave would advance, As prayers were said the notions fled, Of honor, glory and romance…”
If the opening two tracks could be called ‘classic’ Glass Hammer then No Man’s Land is the first big evolution in sound, the intro is deep, dark, meaningful and, actually, quite scary and it reminds Steve Babb of some pre-Glass Hammer stuff he and Fred used to do years ago. To quote Steve,
“If we ever play that one live it will peal the plaster off the walls. It’s scary HUGE when we’re doing it together!”
The instrumental opening to the song is actually spine chilling and has your mind imagining all sorts of different scenarios on the field of battle, if you are of a certain age then you will have heard stories, even seen them in films, of the desperate charges into no man’s land that killed so many soldiers, young and old and left thousands severely injured and there is a serious tone to the music that befits those memories. It is a stop you in your tracks moment in the album, a moment of reflection and thought. A jarring guitar, keys, drums and bass section brings you back from your reverie, interspersed by some delicate playing from Alan and Fred, before the vocals begin, fervent and impassioned, as I’ve said before, read the lyrics as you listen to the song and you will be almost transported back in time to that dreadful day of carnage and horror. A powerful song imparting a dark story but one that has flashes of light, hope and heroism throughout. Steve’s bass anchors another insistent and passionate instrumental section where these musicians seem to just bounce of each other to deliver an intricate and concentrated piece of music that takes you on a diverse musical journey, as if you are flying over the battlefield witnessing all below. The end of the song is quite mournful and sad, the intensity of the music begins to dig deep into your soul and leaves you wondering what will happen to our lonely soldier next.
What comes next is a real surprise, Nexus Girl is a beacon of light in the darkness and could be called electro-pop. It’s upbeat vibe and tone is highly addictive and just seems to lift your soul and mood after the dark vibes of the previous track. Aaron’s drumming is tight and precise and the rhythm of Steve’s bass lays the foundation for Fred to work his electronic wonders with the intricacies and free-thinking of the keyboards, quite delightful.
“I lay down my head and I dreamed of you, I’ve fought to remember the whole day through, The dream that smiles today and then, tomorrow dies, Sets me to longing and then away it flies…”
Another stand out moment on an excellent album, title track Valkyrie is just brilliant. The band wanted to get a sound like The Beatles playing in a very big Church and I think they nailed it. A slow burning opening with a low key vocal as the story becomes less about the soldier and more about the girl. Eventually he tells her he can never make it back. That’s when she comes to him – and then promises to help him home. Which is why the song was named Valkyrie. A mythical angel of the battlefield who swoops in to take the fallen warrior to Heaven (or Valhalla). A really deliberately paced track that has an utterly uplifting feel to it. The vocals are fervid and heightened and full of an emotive force and the organ sound raises the hairs on the back of your neck. It sounds nothing like Glass Hammer but you intrinsically know it is them and it is a profound, almost spiritual musical experience, cinematic progressive rock at its very best.
“His mind is shaken, He tries to waken but it’s all in vain, always in vain, So he tends his wounds as best he can, Here within the lingering fog of war, Which hides his weary heart…”
Another deep and weighty introduction starts Fog Of War, the stylish bass and edgy drums joined by the keys to give an illusion of perplexity and puzzlement before there is a chink of light in the fog afforded by the lilting keyboards and the angularity of Alan’s guitar note. A complex mosaic before Susie’s vocal tells the story of a man lost in his war and the fog of uncertainty. There’s a dynamic, compelling lift to the chorus but this track has many facets, like a human brain unsure of what is actually happening. The music takes you on a circuitous journey of 70’s influences and modern themes as the band evolve their sound into a more aggressive style but never lose sight of their roots, Alan’s solo is a case in point with an Alex Lifeson feel to it, yet with a rarefied edge. A byzantine, Daedalean song that asks more questions than it answers, very deep.
“Time’s come now at last, let all that’s passed be past, You’ve been wandering, lost in a dream, only a dream…”
Dead And Gone is a heartfelt song, the soldier’s love trying to bring him back from the brink and convince him there is light where all he sees is darkness. A lament, the vocals delivered in a beautifully poignant fashion by Susie with just a delicate piano as accompaniment. A wistful, ethereal song and one that brings a lump to your throat and tears to your eyes. There is beauty and good among the ugliness, horrors and evil of war, just bring yourself to the light. A thoughtful and contemplative song brought to life by the nostalgic longing that is its foundation. A fight between the darkness and trauma that war imposes on those who have to fight and the love and devotion of those who want to help. There’s a darkly fervent instrumental section that spars with its uplifting, vocal lead alter ego and yet the song has a melancholy, sombre feel as it comes to a close, she seems unable to bring her love back from beyond the darkness.
“I see the shadow in your heart, The chains upon your spirit, And all that’s kept you far away from me, yet I have come at last my love…”
The heroine has finally come to her love in the winsome Eucatastrophe, love is a light that can pierce the darkness that engulfs his heart and the refined feel to the song has love and light written large all over it. The heavenly note of Susie’s vocals leaves a gossamer like feeling of joy on your soul before the song opens up with an inspirational Hammond organ note that builds to a wholly positive and hopeful crescendo.
“Don’t turn away, hold onto me my love, Just open your eyes, The Long night has passed, The dark on has fled…”
The final track on the album and the most intensely poignant, Rapturo is a delicate, soulful and beautiful piece of music that brings the conclusion of our epic story. A wonderfully warm and charming opening full of peace and love opens up to a rapturous vocal and a widescreen sound that seems to pervade every part of your being and fill you full of hope and emotion. There is a powerful feel to the music, the force of good will always strive to overcome the force of evil and, as long as we can see the goodness inside of us, we will prevail. The music just fills you will a feeling of fervent emotion, passion and goodwill, like the huge ensemble numbers that close out all the inspirational musical shows, quite superb.
After suitable pause for reflection on the amazing musical experience that I have just enjoyed, this is my conclusion:
“With its insightful, thoughtful lyrics every bit as important as the mightily impressive music, ‘Valkrie’ is a concept album in the true sense of the word. With some delightful departures from what some would call their signature sound (The Beatles anyone?) Glass Hammer continue to evolve into one of the world’s foremost Progressive Rock bands. This iconic group of musicians lead you on a journey through the horrors of war with a totally immersive sixty-five minutes of music and you will come out the other side changed forever. I can’t recommend this album enough, one of the best albums of 2016? One of the best albums of recent years more like…”
Despite my ever widening musical interests and the list of artists I listen to growing at a rapid rate, there are always bands that have defined historical points in my life, regardless of genre. Opening new chapters in my musical dictionary has always excited me, that rush you feel on hearing a band for the first time that resonates and elates, making the hairs raise on your arms and the delicious tingle stroke the back of the neck is exquisite. Suddenly you feel immortal and could do anything.
The band invest, you invest and you feel part of the journey they take, the ups and downs the highs and lows and the progression. A much needed progression so as not to stay static, waste away, fade and disappear. The progression will lose some investors along the way from band and fans and gain new ones. There will always be naysayers, those who don’t want change, refuse to understand and will always bemoan the perceptive loss of what they enjoyed through any deviation. But I feel a band has a duty to themselves to follow their hearts and at times that will mean blocking out the negativity to allow the creativity. We owe it to them to try and understand and listen with open minds and hearts, if we do not like the new direction then by all means leave the flock but attempts to desecrate should be left at the door as you exit.
And so it is with Evergrey who, along with Sylvan, introduced me to the heavier side of Prog. ‘Recreation Day’ blew me away, especially the title track, and I invested, like a coke fueled trader, in their stock. They have always excited me, and I have awaited new releases with relish. Then something happened. Had I become used to the sound, taken the music for granted without realising after all these years? ‘Hymns for the Broken’ hit me like a musical tsunami, refreshing, vital and passionate making me feel like the the first time I’d heard them. It hammered into my Top Ten of last year and was never dethroned, beating off any pretenders.
And so to the new album ‘The Storm Within’, could it match or surpass it’s predecessor?
(Picture credit Josefin Wahlstedt)
Opener, Distance, wrong foots me initially with slow echoing piano but then it kicks in, heavy and with intent guitars burning, drums roll, bass thunders and keyboards majestically swirl as Tom S Englund emphatically reminds us ‘it’s not over, we’ll soon be closer than before’. I don’t think I’ve ever felt closer as an eerie escalation pumps the blood vessels and the pulse increases. The sound is swelled with a children’s choir fading out to the haunting piano keys. Like a tornado it has picked you up, spun you round and landed you back where you started, static electricity crackling into…
Rikard Zander’s keyboard charge with the musical hounds of hell in pursuit and the heartbeat increases, the energy Passing Throughyour body. Tom’s vocals urgent and beseeching, soaring solos from Henrik Danhage tearingmusical veins apart like a practised surgeon, tendons strained by the pounding bass of Johan Niemann, twitching the muscles driven by the drums of Jonas Ekdahl as the keyboards race out into the distance leaving fading notes in it’s wake popping like blood vessels.
A haunting call and the chopping guitars like a savage axeman swing into play as an explosive burst from Jonas hits you in the cranium. The vocals seek to reassure as you regain your bearings, Somedayyou will shed your vulnerability and we will all be welcomed with open arms together, carried into the symbiotic bloodstream of the musical body.
Heavy pulsating bass and guitars exhale with force, cloying at the icy air as the drums drive freezing winds and Tom entreats you not to be lead Astrayinto the cold winter of sorrows, stay strong against adversity, don’t give in, don’t let go. The guitar cries with the vocals and you feel a chill as the onslaught reaches a juddering halt. Breathe.
Piano and strings softly lament a relationship that can never be, to expect it would to be asking The Impossible. A forlorn hope that can only break hearts and torment souls. Is there no end to this?
Ripped from futile reverie by the sheer aggression of music, racing across the aural planes like a savage hoard. Anger bursts fromMy Allied Oceanof torment. Destroy, burn it all, leave no stone unturned as the instrumental blows lay all to waste. Keys fan the flames of guitars and bass as the black smoke drums bring darkness and leave nowhere to hide, no safe haven.
Grandiose keys and guitars put us In Orbitin this wonderful duet with Floor Jansen (Nightwish), adding cream to the bitter coffee of Tom’s hurt as he runs from the pursuant staccato guitar riffs and dreams that haunt.
No respite or let up in intensity as keyboards berate and the crestfallen The Lonely Monarchseeks to understand why he keeps trying to keep a crumbling relationship from falling apart. Dueling guitars torture the air, thoughts screeching through his head and thundering to a finish.
A few moments of respite in beautiful melancholy as Evergrey produce their best kept secret, Tom’s better half, Carina Englund. Having sung on all their previous albums she steps rightfully to the fore on this heart-aching duet The Paradox of the Flame. Caressed with Rikard’s sublime piano playing and accompanied by lush violin serenading the bitter-sweet realisation that the relationship is lost. Guitars join the heartbreak as the violin soars and all fades as a memory and I feel a shiver run down my spine and the hairs prickle on my arms.
The fierce torment as youDisconnect from the entreating and you are almost overwhelmed by the shuddering barrage that snaps you away with a full on musical onslaught. Tom’s emotionally wrenching pleas torturing himself, his guitar sparring with the lightening dancing fingers of Mr Danhage, as he rends the strings across his fretboard urged on by the pulsing throb of Johan’s bass and the flying sticks of Mr Ekdahl. The pace slows with variation and an angelic like voice cries us out to the dying instrumentation.
Majestically, the band take us into the last and title track The Storm Within, all the pieces have been building to this classic piece of Evergrey bombast. All they are and have is thrown into this and elating as only a song can when it emotionally connects. Happiness and sadness ride hand in hand as the album reaches it’s fervent climax and leaves me emotionally drained.
So there you are, another year and another definite inclusion in my Top Ten of the year. Whilst this is not the same Evergrey I first heard, to me this is the new and improved model. They have progressed and I feel myself privileged and honoured to be able to listen to albums like ‘The Storm Within’. Long may they continue.
THIS is why I love music and always will, it touches you and can carry you though what ever storms you face, lifting you above it all. I will invest in this until my dying day as it’s dividends will outweigh any losses and repay you with an Emperor sized fortune.
This solo album is, as Andy told me, a diary of his healing process following his serious illness last year. The literal translation of (machte es) Durch is “Made it Through” and this album is music that he considers to be “the extra material in the CD that is life”.
The album consists of 5 tracks, each different from the other, all of which thematically cover his musical influences and loves. From the electronic territory of Tangerine Dream journeying through Funk/jazz/trance through a tribute to Camel and an exploration of Borodin’s Classical influences. This all sounds highly pretentious and self indulgent doesn’t it? The reality is that it isn’t even vaguely pretentious, mainly because Andy is one of the most grounded people I know who has a passion for life and living it artistically through his music.
After his heart attack just over a year ago, enforced inactivity, especially after a particularly hectic and productive previous two years, cannot have sat well with him. The product of this sits on a CD for all to see and be laid bare.
The Pursuit of Oil opens the album and it comes straight from the Tangerine Dream ‘Ed Froese’ play book. Coming in at just under 22 minutes, this song shows an insight into what TD stood for in the early 70s. It starts and builds through the piece with a tension and atmosphere which makes you want to burst, until you get to the last 5 minutes when it explodes into a guitar (sound) and keyboard celebration of the ecstasy of being alive. Theo Travis adds a beautiful Flute refrain on this track that is the icing on a very impressive cake.
The album then flows directly into the title track Machte Es Durchcontinuing the thematic survival, almost “Phew”, feeling. It has a Jazz rock/prog style with a foundation that only a “Hammond organ” can provide. Intrinsically, it is a musical version of a journey with all the metaphors of improvisations and returns to the common core.
The idea for the title of The Hood Of A Dodge comes from the Bruce Springsteen song Jungleland but the music comes from the Trip hop Acid jazz of the 90s and, to be honest, feels like my experiences in the 90s at festivals and surviving that time somehow intact, Massive Attack and Portishead, eat your hearts out. It was recorded, apparently, in Ward 17 of Leeds General Infirmary last August, how I would have loved to have been on the ward that day!
Yuri Gagarin – From the Steppes of Central Asia is an interpretation of the classical composition by Alexander Borodin“In the Steppes of Central Asia”, the site of the Soviet Union space program and as far from the west as you can actually get geographically without being back in the west, so to speak. The power and passion in this track is worthy of the likes of Emerson, Lake and Palmer’s ‘Pictures At an Exhibition’ and I think that, performed live especially, it would definitely be of that level.
Music Inspired by ‘Music inspired by the Snow Goose’has been around for a while and Andy posted a version of this on youtube around Christmas 2013. It’s a fun homage to Camel and explores the classic Camel album “inspired” as they say in the book. Here is a full album in 9 minutes given the Tillison touch. His love and affection of the original ring true throughout the track and it is a mischievous fun trip full of nostalgia.
This is a healing album that I have taken to heart and passes the listening in the dark test as well as driving up the A1 from Scotch Corner to Newcastle and back several times over. As coping strategies go, this is a very good for the creator and the listener.
Another day, another new treat via cyber mail from the wallet emptier.
This time, I chose the album on the basis of the beautiful artwork.
See what I mean?
So, as per standard operating procedure, I magically converted the ones and zeros Mr WE sent me and stuck them to shiny metallic disc, inserted said disc into a receptacle in a black box with a single glowing eye, pressed the arrow and…
It unfolded into a musical tapestry that beguiled and enchanted in equal measures.
What Children In Paradise sound like – All about Eve meet Panic Room. Bjork and Lisa Gerrard guesting with Opeth. Iona, Dead can Dance with guitars… Nightwish, Panic Room, that whole Symphonic Rock , female fronted Prog metal thing that’s a staple of the European Rock diet, but with a Celtic twist.
This is a recent area of Prog / Rock/ Metal that I’ve been dipping the metaphorical toe in.
There are the angelic voices and big guitar parts as seems to be the recipe for all of the above. But whereas Nightwish go operatic and Wagnerian on you, The Children take the folk / Celtic route. That’s where the charm of this album captured me. It’s haunting, mellow yet has bursts of Death metal growls and big guitar riffs. But it also has delicate keyboards, melody and a wide soundscape to get lost in
If I labelled albums by feel and vibe, then this would fit in with Arjen Luccasson’s “Ambeon” Devin Townsend’s “Ghost” album, Luna Rossa’s “Secret & Lies”, White Willow’s “Ignis Fatuus”, or the Nordic Giants albums.
It mixes elements of Prog ( lots of understated guitar , very Pink Floyd in places) , elements of folk , straight forward head shaking boogie ( Part 2 Cu Chulainn Is Mine has a middle passage that cries out for air guitar and good ol’ Headbangin’ !) added to the mix are a smatter of Metal guitar and crashing drums. Live, this would sound magnificent, the orchestral parts sweeping you away.
So, for the 5th listen I put on my nice shiny new headphones, and was transported into the land of the Children.
Alone opens with a big drum sound and a pulsing bass, choppy piano and possibly a harpsichord? The singer intones words pure of tone .As with most mp3 files, the sound is compressed to the disservice of the words, but the feel of the track is cinematic and the strings swirl, leading to a guitar layered piece with acoustic and electric parts jousting and combining to build the epic soundscape.
Lyrically, it sounds like a song of unrequited love, her waiting for him, offering to help him, telling him she waits for him, all she has to give is her love… She’s waiting for him to acknowledge and reciprocate…
I wait opens with voice and acoustic guitar, a plaintive song of longing, the protagonist’s lonely view echoed by the music with flutes or Celtic pipes making an appearance.
I’m Falling opens with the sound of either a tuba underwater or a very very angry wraith playing saxophone. Intriguing sample! Here we have a “cookie monster” growl, but it doesn’t intrude, on the contrary, it adds a sense of narrative to the piece, whether this voice is a force for good or evil in the story I’m not sure, but we seem to be at a tipping point with the middle section taking on a much heavier sound, big big riffs, thundering bass and a great flanged guitar solo.
The atmosphere invoked in the next track I Will Follow You is one of menace, the promise of following you more of a threat than a promise if you’ll forgive the pun.
Battle is looming at least it feels that way with the snare drum echoing as the guitar crash through the mix. Far from being a song of devotion, the declaration of “I will Follow “slipping through the music and into the next piece.
Here it’s all about waiting, a sunny feel with the pure voice and melody slowly being enveloped by darker chords, the menace builds as the track grows, This is the core of the album, a trilogy with the Metal side coming through with a huge guitar sound, lush strings and orchestration conveying the power and majesty of a full throttle rock band.
The voice is deep in the mix, centre stage but overwhelmed by the thundering battle all around it. The narrator still waits for them to come back to her through the battle and in part 3 it appears that even dying won’t stop the reunion, with her now pleading to come find you, never leave you, and that his is your nightmare – not sure if it’s being lost, being found or something worse, but the music drives on, a big big sound very nice it is too.
As you may have guessed, I like what is here.
I liked it so much that in the middle of writing this, I stopped, logged onto the Band’s website and ordered a bundle of both albums for 30 Euros…
Yea, the curse of Martin strikes again!
I also then discovered the nationality of the band, and thought C’est La Vie, a second Gallic Prog band, C’est Tres Bon!
I digress, tracks 9 & 10 , In My Mind and He’s Dying are where the Celtic vibe comes to the front – For those of a certain age, think Davy Spillane goes metal, or for those of you younger than the Century, the sound is very much in the feel of Troy Donockley (Iona & Nightwish) . Uilleann Pipes mixed with guitars and a full throttle rock band. A Glorious noise indeed.
And then it stops, a cliff hanger ending. the song drives towards the cliff, the music fades and the haunting final phrase of I see the Light echoes and fades.
It’s not Prog in the pastoral Genesis lineage, this is darker, a twisted hybrid of Celtic roots, Hard Rock and Prog that takes you on a journey through the landscape that’s more EM Escher or Tim Burton.
If “Game Of Thrones” was a concept album, these would be the people to make it.
“The power of music, whether joyous or cathartic must steal on one unawares, come spontaneously as a blessing or a grace–”
― Oliver Sacks, Musicophilia: Tales of Music and the Brain
I write reviews and run this website purely for the love of music. I don’t get paid for anything I write or publish and this bothers me not one iota. I am a music lover and I feel it is my mission to expose as many people out there as I can to some of the wonderful, awe inspiring, life affirming songs that are created mostly to be heard and to enrich people’s worlds.
Hopefully this will mean that they will then support the artists by buying the music or sharing it with even more people which will enable those musicians to carry on their creative endeavours. A musical Circle of Life if you like.
This could be upbeat music that just puts you in a really great mood or music written specifically for the love of life. When I’ve had a major upheaval in my life I like to listen to music that soothes my soul and calms me down, cathartic songs that can take the worries and strains of real life and just smooth them away to ease me into a place of calmness. I’m not bothered about genre, it is the music that speaks to me the loudest that I want to hear and, more often than not, it’s one band who my radar zeroes in on….
Italian alternative band Nosound started as a one man studio project in 2005 by Giancarlo Erra, but has since grown into a five piece band, evolving into something unique, focused and powerful. The music is evocative and intense, with personal songwriting. Influences range from Pink Floyd to Brian Eno, from Porcupine Tree to Sigur Ros, passing through rock and electronic/ambient.
As well as Giancarlo (vocals, guitars, keyboards), Nosound is Marco Berni (keyboards, vocals) Alessandro Luci (bass, upright bass, keyboards) PaoloVigliarolo (acoustic & electric guitars) and Giulio Caneponi (drums, percussions, vocals).
I discovered the band upon the release of their 2013 album ‘Afterthoughts’ and I was immediately bowled over by their particular type of widescreen melancholia and wistful imagery which really struck a chord with me. This led to the discovery of their back catalogue including such gems as 2013’s reissue of the wondrous ‘Lightdark’, a remaster of the album originally released in 2008.
Their trademark symphonic lushness and winsome ennui really suited many of my moods and I almost felt reborn and pulling free of the trappings of a painful life after listening to the music.
So, you can imagine that news of a new album by this expressive band is going to make me a happy boy and you’d be 100% correct. Earlier this year an email arrived from the PR company stating:
‘NOSOUND ANNOUNCE NEW STUDIO ALBUM – SCINTILLA & RELEASE FIRST VIDEO FOR “SHORT STORY”’
After barely containing my excitement, I ploughed on to see what we had coming in store for us.
Featuring guest appearances from Anathema’sVincent Cavanagh and acclaimed Italian singer Andrea Chimenti, ‘Scintilla’ is inspired by personal upheaval and a desire for change and is a wholly new musical and visual approach for Giancarlo Erra’s ever-evolving band. Cellist Marianne De Chastelaine returns tot he fold but, this time, in a more free-flowing and improvisational capacity.
He goes on to say:
“The intention with ‘Scintilla’ was to do something a bit more different than previously and illustrating more vigorously what Nosound is today.
During a decade of activity, my listening tastes have shifted gradually towards a more simpler, more direct music with an intimate character that still retains a certain richness and detail in sound.
Northern folk and alt singer-songwriter music are possibly the stronger influences, but generally speaking, everything that is simple, direct and minimal but with rich sound is what I like, and what I hope this album is.”
This latest work marks the beginning of the second phase of Nosound’s fascinating career.
Low key and almost under the radar Short Story makes a very unassuming entrance. Delicate piano, lush soundscapes and an almost ethereal vocal immediately set the tone and calm any rushing heartbeats. With an almost organic creativity to the music, it seems to have a life of its own as it wistfully drifts across your psyche with its gentle sonic palette. Last Lunch immediately takes on a more melancholic and dreamlike note, the music being the tapestry upon which the vocals paint their temperate scene. Initially a paragon of self-control and emotional depth, it really touches you deeply, the wondrous Cello is particularly emotive and touching. 7 minutes of laid back, low key and yet deeply stirring music has an ultimately cathartic outcome and I find myself afloat upon a sea of my own dreams and aspirations. I saw Nosound play live at The Resonance Festival two years ago and can still remember how much of himself Giancarlo puts into the songs as he sings them. They are part of him and come from the depths of his very soul. As the song comes to a close you feel you have been through quite an emotional journey and are all the better for it.
There is a whimsical feel to the opening of Little Man, nostalgic and playful, as the chiming keyboards resonate. It soon opens up into a much more mature track as the soothing strings and heartfelt vocals stir up emotions deep in your psyche. The way the drums are delivered is relaxed and composed and the Cello, once again, provides moments of pure indulgence. A sinuous soundscape is created that leaves tendrils of thoughtful contemplation floating around in your mind, the meandering guitar playing is another highlight of this reflective song. In Celebration of Life sees the first contribution from Vincent Cavanagh and the introduction is as sonically intimate as they come, small pearls of musical delight surround you and leave you in a tranquil state, musing what is to come next. More verdant strings continue the meditative mood. The whole musical vista that is laid before you is celestially sublime and, when the vocals begin, all breathy and gossamer like, the spell is set and you are caught right in the middle of a thing of utmost beauty. The exquisitely heart-breaking solo is absolutely amazing and strikes you right in your heart, a song of pure delight and wonder.
Sogno e Incendio was co-written, and is sung by, renowned Italian singer Andrea Chimenti, it is serenely intense and full of a deeply felt passion. The vocals are delivered in such a fashion as to leave you hanging on every word, whether you understand them or not. The musical accompaniment is classically superb and compliments Andrea’s voice perfectly, it is like a melancholy lament but is oh so beautiful, painfully so in places. The Italian language, especially when sung, is a thing of charm and grace and I am left with a feeling of utter bliss as the elegant guitar floats around your mind. The trancelike Emily is like wisps of cloudlike delights that fleetingly leave an impression on you before moving on, transient and ephemeral notes of music that leave you in a dreamlike reverie. It is surreal but in an exquisite fashion and tugs at your heartstrings all too briefly before departing to who knows where.
Cavanagh returns for The Perfect Wife, a mournful and somber track which wears its heart on its sleeve. There’s a deep lying and potent passion at the core of this powerfully compelling song, the ardent sentiment is clear in the fervor of the vocals. The somber and forlorn music is incredibly emotive and fills you with a sorrowful empathy, the Cello seems to become animate and alive with its own character and draws you even further into this dark and plaintive story. These musicians leave nothing behind and exhaust you with their intensity and ardor, as impassioned a track as you will hear this year. What appears to be an alluring love song at first with its tender piano and fragile vocals, Love is Forever soon reveals its unexpected sarcasm in the cynical lyrics yet you can never get away from the fact that this song has style and artistry at its heart, quite a conumdrum. I just let the winsome music wash over me and enjoy its cathartic powers.
Evil Smile is an elegantly charismatic track that takes you on a meandering journey through a wonderful acoustic soundscape, the organic feel is increasingly evident in the flow and texture of the vocals and the hypnotic music, especially the strings. The trance-like instrumental sections leave you mesmerised, only recovering when the introspective voice of Giancarlo wakes you from your musing state. The final title track Scintilla takes all that has come before and amalgamates it into something even more divine. A fantastical musical journey where you are the only passenger and there is a musical universe of a myriad opportunities in front of you. Hesitant and slightly unsure, it takes small steps before the halting vocals draw you in and the journey commences for real. A song (and, indeed an album) worth listening to with headphones on and silence around you to pick up every tiny nuance and subtlety. Enjoy a fine wine and just relax as this seraphic track cleanses your heart and soul and encourages the deepest parts of your very being with its almost heavenly grace and charm.
Not so much a leap into the unknown as a slight re-imagining of who they were before, ‘Scintilla’ is more than just a piece of music or an album of new songs. It alters your state of mind and your very essence and you come out of the other side feeling a better and more complete person. That Giancarlo Erra and Nosound can achieve that is testament to their amazing songwriting skills and musical ability. I implore you to buy this album and, as soon as you can, see them perform it live, I promise you will not be disappointed!
“What do you get when you take two theatrical lead vocalists, a keyboard player from Juilliard, a jazz-rock genius on guitar, a bass player from Monster Island and a drummer with progressive rock in his DNA? The modern cinematic ProgRock band Circuline.”
That’s a pretty impressive opening gambit from the press blurb for Circuline’s latest release ‘Counterpoint’ and the next line nearly made me crack-up!
“Circuline’s newest release, ‘Counterpoint’ (May 2016), features an all star line-up of SEVEN guest guitarists…”
No, you didn’t misread that, it said SEVEN guest guitarists!! Well, to me that could just turn out to be overkill or the musical equivalent of herding cats but, you never know!
So, for the sake of completion, here are those guests…..
Randy McStine (The Fringe, Lo-Fi Resistance), Doug Ott (Enchant), Alek Darson (Fright Pig), Ryche Chlanda (Fire Ballet, Renaissance), Alan Shikoh (Glass Hammer), Matt Dorsey (Sound of Contact, Dave Kerzner) and Stanley Whitaker (Happy the Man, Oblivion Sun).
So, would these additional musicians add to the depth of talent the band already has or would they prove that too many cooks can actually spoil the broth? Read on and find out……
The album opens with a a powerful statement in New Day, a track that builds on a rolling drum beat and off-kilter keyboards to almost drive you crazy. Coruscating guitars blaze across the landscape, it is like some crazy sci-fi soundtrack or diabolical mind weapon that seems to be forcing you into submission. Dynamic guitars dominate the soundscape, interspersing with the keyboards like some ELP-esque monster. It’s forceful and influential Prog with a vivid outlook and a highly impressive beginning to what is awaiting us.
Like a one-two knockout, Who I Am explodes into the ring on the back of staccato piano opening, insistent and demanding, before a huge crunching riff literally knocks you over. Man, I’m getting hooked on this already! A huge wave of sound engulfs you with its magnificence and you just hang on for the ride. A break in the squall sees that piano note return, gentler and questing, along with the benign waves of the cymbals, calming your heartbeat. The vocals begin and they are theatrical to the max, superb interplay between Billy Spillane and Natalie Brown giving the music an extra nuance. That monstrous riff is what drives this catchy song on though, brooking no resistance. I love the laid back, chilled sections that occasionally grace your aural sensors, they give you a sweet respite from the upsurging music that hits you square on the jaw but always leaves you smiling. To be honest, it’s one of the best tracks I’ve heard this year and I could almost recommend the album just on the strength of this one song.
Did you expect a pause for breath? Well you should have known better. Another drama laden introduction building to something profound leads in the mysteriously named Forbidden Planet, keyboards swirling all around , apprehensive and almost sinister, are setting the scene. The vocals begin, quite emotive and descriptive, adding more shine to the proceedings. I’m almost reminded of the latest Dream Theater album, but in a good way. The thumping chorus will have you singing your lungs out, it is pure musical theatre of the best variety. Artful and dramatic, the guitar solo that fires out is superb and just adds to the feel that you are in an actual theatre, enjoying a musical show. The excellent bass-lead, guitar heavy, run out of the song adds even more of that drama and leaves you with a knowing smile on your face.
Hollow is a more circumspect song, the introduction washes over you before a passionate vocal and guitar fire up and lead the way. Heartfelt and moving, even a bit darker in places, there is a more progressive than cinematic feel to the track as it gets into its stride. To my ears there a definite hints of Glass Hammer and even Dream Theater in the intricate keyboard playing and the way the song seems to be built in layers, the instrumental sections are really convoluted and complex. It’s almost as if the musicians decided that they just wanted to have a prog-infused jam session, and a mightily enjoyable one at that! Once normality is restored we get more of the dominating vocals, leaving an ominous overtone in places. There is something for everyone in the song, baroque progressive moments, touches of Prog-Metal and, well, just excellent songwriting and musicianship.
One of the shorter tracks on offer, Erosion is an instrumental that opens full of suspense, the cinematic overtones are there in spades, this could be the soundtrack to a sci-fi film with its haunting atmosphere and heavy doses of tension. It is quite disturbing in fact and I found myself on edge all the way through.
I love the bassline that opens Nautilus with its jazz-funk feel, there’s a really upbeat atmosphere to the song, the distinct guitar note and vigorous drumbeat adding to that high energy aura. The vocals, once again, hit the spot and give the song its own identity. At first, you aren’t sure whether there are too many influences running through the music but, by the time you’re really involved in the album, it is a distinctive sound unique to Circuline. I feel the keyboards generally take the lead and the rest of instruments follow and it works very well indeed. Another clever integration of the complexities of progressive rock infused with some powerful rock elements to give that cinematic feel, the guitar solo is another sterling effort.
The mood quietens for the delightful Stay which has more akin to a piano lounge track than your usual progressive fare but I really like it. Laid back, funky and with chunks of jazz dripping all over it, Natalie’s vocals are the centre-point of this sepia tinged song. Thoughtful and contemplative, it really does give you a complete feeling of chilled out security. The guitar playing is fluid, serene and composed, it is a song for a wonderful, warm summers day when you haven’t got a care in the world.
S.O.Ais just over one minute of quite unsettling mind warfare if you ask me, it is really quite sinister……
That mood carries on into the opening of Inception with its 80’s synth overtones that seem to want to invade your mind. Again, another impressive cinematic soundscape that draws pictures deep in your psyche, music that challenges the mind as well as satiating the soul. It is almost transfixing in the way it draws you into its embrace to leave you feeling oddly at home. Then the vocals start and your attention changes, the voices, lilting in their delivery, have a hypnotic edge and work in concert with the inventive music to give a superlative listening experience, a musical journey that, once traveled, you are happy to return to time after time. The closing out of the song is particularly brilliant.
So, onto the final instalment in this cinematic treasure, Summit has all the clever subtleties of what has gone before, a quite enigmatic opening before the song begins its final traverse of your musical landscape. Sultry bass lines and drumming add a great backdrop to the exemplary harmonised vocals, like the perfect recipe from some masterchefs of the musical world. Nothing is ever too simple with these guys though, we have some involving musical sections to add substance to the lush vocals laid before us. Grin inducing guitar solos and keyboard runs abound and you are just left floating in a world of musical well-being. The potent chorus adds strength to the beauty of the rest of the song, you are left wanting for nothing with this band’s repertoire and it is shown to the full on this finishing track, some more prog wizardry to add to the dramatic and cinematic feel. I have to admit, by the end of this song and album, I am left feeling that I have been spoiled by the music and talent on offer.
So, do too many guitarists leave you herding cats or give extra shine to an already impressive collection of musicians? Well, if you’ve read what goes before this conclusion you’ll know that they enhance things immensely. A deep well of musical wonderment is laid before you to drink from at will, take a small sip and come back for more (as you will) or take it all in one gulp to be completely indulged. Whichever way, you’re going to love it!
