Album Reviews – Page 76

Review – Tiras Buck – Stationed Here – by Progradar

“His voice was cloves and nightingales, it took us to spice markets in the Celebs, we drifted with him on a houseboat beyond the Coral Sea. We were like cobras following a reed flute.”
― Janet Fitch, White Oleander

I don’t hide the fact that I love progressive rock and its offshoots but, in reality, I just love good music. Be it blues, rock or just one man and his guitar, if it resonates with meaning, I’ll like it.

I do like a good voice and US singer/songwriter Tiras Buck has a really good one. It is full of emotion and has a little catch which makes it instantly recognisable.

Tiras hails from Pennsylvania, USA and has a musical style that takes chunks from the progressive genre but adds in symphonic tendencies and lush harmonies and strings to deliver a powerful emotional kick. On ‘Songs for Parked Cars’, his first full release, he enlisted the help of Echolyn’s Brett Kull and Paul Ramsay. Described as, “solitude and derisive introspection as soundtrack”, it is “emphatic pseudo-progressive anthems bonded with recurring themes.”

Brett (bass, guitars) and Paul (drums, percussion) join Tiras on his second album, ‘Stationed Here’, and after saying, of his first album,

“If you love well written music of any genre, if you appreciate music that mirrors the mind, heart and soul of the musician then, you will love this album.”

I was intrigued to hear what this accomplished musician had come up with next.

Opener All Over You Again is a plaintive ballad-like track that begins with a delicate acoustic guitar and Tiras’ haunting vocal plucking at your heart strings. He has a touch of Adam Duritz to his voice but with a catch that makes it unmistakably Tiras Buck. This song seems to gently touch your soul as it meanders like a summer stream across your psyche. As the drums join in, subdued, and the vocals harmonise, there is a feeling of something building up, a slight tension to the atmosphere. The song opens up fully with the percussion giving it substance and the guitar breaking out and backing Tiras’ vocal perfectly. A delightfully whimsical opening to the album.

What We Were (including Mountains) has another waif like acoustic guitar intro and Tiras’ vocal begins like a lament. More ardent and piercing, it bleeds emotion. The simple contrast between guitar and vocal is striking and shows what an instrument Tiras’ vocals can be. There is an upswelling of guitar and drums and then a delightful harmonised vocal that just intensifies the impassioned feeling of the song. When they string-like keys appear, they back the heightened delivery of the vocals and give an additional gloss to this already impressive track. The intertwined harmonies of the vocals demand your attention and you focus on the engaging delivery almost at the expense of the rest of the music. The guitar and keyboards bring the passion down a few notches before we segue into the second part of the song, Mountains, which has a harder, more straghtforward rocking feel to it. Brett Krull’s fuzzy riffing and Paul Ramsay’s dynamic drums give it a feel of some of the more in-your-face R.E.M tracks and the vocals have a slight warbling quality to them, a quiver that gives Tiras’ voice a real honesty. You can even feel the influence of Brett Krull’s production skills that give a little soupçon of Echolyn to the mix.

The Title track to the album, Stationed Here, is my favourite song on this release, it has a real wistful sincerity to it, starting with the graceful acoustic guitar that has an almost ethereal quality. The vocals are delivered with a nostalgic, almost rarefied feel and this gives the song a radiant aura. You seem to float along on an insubstantial cloud of musical delight as the chorus gives substance to the refined music. Drums and keys join in, most dignified, adding to the atmosphere and this most sublime song plays with your emotions as the voices intertwine around each other. This is Tiras Buck at his absolute best as his powerfully emotive voice pleads to the attentive audience.

A mellow piano note introduces I’ll Follow You Down which, along with the moving vocals, gives a touching note to the song. There’s a dreamlike quality to this track that leaves you feeling calm and collected, just keyboards and poignant vocals before the percussion adds in another layer of longing and wistfulness. To be fair, you could, and should, just lay there with your headphones on and let this feel-good track wash over you, there is natural warmth to the song, like late afternoon sunshine on a hazy summer day. When the guitar joins, there is a welling up of emotion inside you, yearning for a simpler life that feels forever out of reach, this song touches you deep into your heart.

Me And Denis Leigh is a stripped back track that brings to mind Paul Simon. A hushed vocal and fragile acoustic guitar give the song a purity of heart and soul and the wonderful vocal inter-plays really stand out. I sat transfixed, listening to this piece of music that takes Tiras’ soul and strips it bare for all to see and hear. This wonderful musician has a sincerity that shines through all the commercial bullshit that is thrown at us on a day to day basis. The song builds up momentum with the stylish percussive talents of Paul Ramsay and the expressive guitar work of Brett Krull backing the impeccable vocals of Tiras Buck and his backing singers. It is uplifting to the core and leaves you in a better place than when you heard the first note.

Tiras Buck is one of those musicians who writes music because he wants to, there’s little thought of commercial gain. He has this deep vein of incredible music talent running through his very soul and, thankfully for us, he feels the need to let it out in song. A superlative songwriter with a voice that transfixes you, he deserves greater recognition and , hopefully, albums like ‘Stationed Here’ will give him it!

Released 10th June 2016.

‘Stationed Here’ is available to download from CDBaby

Review – Big Big Train – Folklore – by Progradar

“And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it’s enough. I really do because they’ve made me happy. And I’m only one person.” – Steven Chbosky – The Perks Of Being A Wallflower

If you’ve been a follower of my reviews then you’ll know that I like to open with a pertinent quote so, when it came to reviewing the latest release from one of my all time favourite bands, I searched long and hard for one that I thought captured my feelings the best.

In the last five or six years I have been through some exceedingly tough times, some of the lowest of my life and yet, throughout, I have been kept sane by my love of music and, especially, by the emotionally uplifting songs of Big Big Train so, when I first saw the quote above, it resonated with me immediately and on a very intimate level.

The new album is called ‘Folklore’ and yet the press release states that,

“Despite the album title, ‘Folklore’ is by no means a collection of traditional-sounding folk music pieces. On ‘Folklore’, Big Big Train are reimagining and breathing new life into traditional themes, and also creating a few new ones along the way. The crafts of songwriting and storytelling beat strongly at the heart of the Big Big Train and inform every track on the new album.”

Well, this got me thinking about how folk and, in particular, how storytelling through song actually began? Are you sitting comfortably? then we’ll begin…..

Older than civilization, storytelling has always played a central role in in our lives and societies. Tales were told to replay and celebrate historic events. They were salutary and cautionary tales, lessons.

Some of the oldest, greatest tales, myths, and legends are written in verse– the Iliad and the Odyssey, the old testament, and some of the traditional Irish epics. Even Tolkien used song in the Hobbit and LOTR as back story. Just as in our world, the people of Middle Earth told the tales of the great heroes through verse.

Think of Orpheus, arguably one of the most famous musicians. Gifted by the gods, he was a man who, armed with only his lyre, was able to charm beasts, defeat the Sirens, and brave the Underworld to win back Eurydice. He used music to fight his battles.What a concept! Now, if everyone did that, the world would be a much better place.

Throughout history, people have used song to convey their messages. Troubadours would travel the countryside, telling their tales and singing their songs to kings and noblemen. These songs were silly, they were tragic, they were entertaining.

Slaves in the American South would create and sing songs while they toiled away in the hot fields, they were a distraction from the horrors of their everyday lives. During the Depression, folksingers used song to fight back against the government, to raise awareness, and again, to give hope.

Songs are a powerful way to get your message across. They are our fears, our desires, our hopes, our dreams, our losses, our celebrations, our sorrows, our joys, our memories, our experiences. They are, each and every one of them, a story.

(adapted from Caitlin Nicholl’s Storytelling Through Music)

And, in Big Big Train, we have the modern troubadours and storytellers of our generation. They keep history alive by reimagining it to music and verse.

‘Folklore’ features the same line-up (eight piece band and brass quintet) that performed three sell out shows at Kings Place in London in August 2015, with the addition of a string quartet. The album was mixed and mastered by the redoubtable Rob Aubrey.

“Folklore – Ancient stories told by our ancestors around the campfire, being passed from generation to generation. The passage of time sees the coming of a written language and electronic communication, but we still tell our stories and pass them on.”

The opening to Folklore is quite inspiring with the strings and then the brass building your anticipation before a short lull. And off we go….. The intricate drumming of Nick D’Virgilio backs the instantly recognisable vocal of David Longdon on what definitely feels like a folk inspired opening to the track. A song about the history of folk songs and storytelling, the guitar riff, though intentionally low in the mix, is really addictive and then the vocals build up towards the memorable chorus that has you singing along immediately. This song is anthemic in style and delivery, intended to fill the listener with a passion and pride and the powerful voice of Longdon, aided and abetted by some impressive backing vocals, really delivers in that aspect.

“For it is said, so it lives on
we pass it down, it carries on
Oh down we go into folklore….”

When I first heard the song I must admit that I thought it was very much in the vein of Wassail with its intricate instrumental sections and rather upbeat tempo. The guitar solo is absolutely wonderful and quite inspiring. To be honest, although I liked it, it was not one of the tracks that resonated with me immediately but, after a few listens, I was singing along to the chorus with the best of them. It is motivating, uplifting and inspirational and the way the song runs out is just brilliant.

“London Plane – Once upon a time, a great tree took root on a river bank and watched through the years as a city grew around it…”

Across their burgeoning discography, Big Big Train have given us many poignant, emotional and moving songs and London Plane falls immediately into that category. The second longest track on the album, it opens with a gentle guitar and flute that immediately pluck the heartstrings before David’s lush voice sings a tale of a mighty tree that sees the birth of London and it’s growth and aggrandizement across the centuries. The heavenly backing vocals give a wistful and whimsical feel. It is contemplative and reflective and leaves me with a lump in my throat, especially when the quite wonderful chorus breaks out with its delicately harmonised vocals and that ethereal flute playing in the background.

“Time and tide wait for no man
and now the ship has sailed
and the crowds fade away.
But by the water’s edge
at the end of the road
I still reach for the day’s last light.”

A song that draws you into its warm embrace to a place where time stands still and the weight of hundreds of years of history just washes off your shoulders. The humbling guitar solo in the middle of the song just seems so perfect and well, right and leaves me on the edge of joyful tears. No one writes music about the history of our Island like this band and it connects on so many levels. There’s a nice intricate instrumental section where the strings get to come to the fore, backed by that fantastic flute, and there is some rather excellent guitar work, all adding a progressive gravitas to the warmth and emotion of the pastoral feel to the music. As the song comes to a memorable close, the emotive guitar solo (and, oh, what a solo!) and the music filling your heart with joy, I find myself thinking we have another Big Big Train classic on our hands.

“Along The Ridgeway – A journey along an ancient pathway, where legends are reborn…”

A dolent sound signals the introduction to Along The Ridgeway, another tale rooted deep in the history of this magical land. Graceful piano and plaintive brass usher in David’s vocal, this time with the merest mournful hint to them. David Longdon was born to be a storyteller, his emotive, stirring voice draws you in and leads you on a journey that becomes more life affirming the further this amazing album goes on. You ride along a mystical pathway buoyed by the music, the brass adding a further depth and the brilliant violin of Rachel Hall counter-playing with Rikard Sjöblom’s lively keyboards.

“And by the light of the moon
Alfred sounds his stone
and legends are reborn.”

The soaring chorus, backed by the wonderful brass playing just takes you on a high before the voices sing the repeated mantra of the Salisbury Giant and we segue straight into the instrumental of the same name…..

“Salisbury Giant – Big Big Train tell the true story of a medieval giant.”

An instrumental telling the tale of the Salisbury Giant, a pageant figure of the Salisbury guild of Merchant Tailors who would be led, by the hand, through the streets, first recorded in 1496 when led by the Mayor and Corporation, they went in procession to meet King Henry VII and his Queen, who were staying at nearby Clarendon Palace.

“Here comes the Salisbury Giant
here comes a lonely man
a crowd of people lead him by the hand.”

It has an urgency to it, the staccato strings, deep in tone, are almost apprehensive. The Hammond organ adds a feel of Hob-Nob, the giant’s companion, who was the mischievous character who cavorted in front in the procession clearing the way for the Giant. There’s a definite capricious feel to the music as it leads you on a merry dance, occasionally opening up to soar high with the sparkling strings and then that repeated mantra runs this delightful little track out to a close.

The Transit Of Venus Across The Sun – When the astronomer lost the love of his life, he set a course for the stars. Inspired by the much-loved astronomer and educationalist, Patrick Moore.”

Damn, I’ve got something in my eye again, a love song and a song of love, The Transit Of Venus Across The Sun opens with some signature Big Big Train brass that makes the hairs stand up on the back of your neck and the violin just adds that extra bit of poignancy and emotional blackmail. A better opening to a song you will not hear this year, I’m already transfixed and we’ve only just got started. As the brass fades away the song expands with some delicate guitar and piano before David Longdon takes on the role of Bard and takes us on a magical mystery tour of the celestial heavens. Take a minute and just let the music and lyrics wash over you and absorb them into your very being, this is music that soothes the soul and calms any fevered brow. The soulful chorus is a thing of wonder and beauty that leaves you becalmed and in a place where nothing can hurt you.

“So many words left unsaid
so many deeds left undone
so many tales without an end
the transit of Venus across the Sun.”

Take some more spine tingling brass and add it to the mix and you are, literally, in a musical heaven. When I first got the album, I played it back to back five times and was impressed more and more with each listen and it is songs like Transit that touch you to the core, the guitar solo elegantly played at the end is just fantastic.

Wassail – The old ways get a 21st century reboot in this pagan inspired progressive-folk groove.”

The title track from Big Big Train‘s ‘Wassail’ E.P. that was released last year, it gets a fine reworking here. The guitar and flute opening brings the memories of the live Kings Place gigs flooding back and David’s frontman antics with his Wassail mask. Perhaps, on first listening, it has less of an impact because it isn’t a ‘new’ track, so to speak. However, after you’ve sung the catchy chorus at the top of your voice a few times, it certainly comes flooding back. Definitely a more folk-direction for the band, this song had some thinking that the whole album would be like this but, paired with the title track, they just add another string to this celebrated band’s already imposing bow.

“We sing our song
Stand fast, stand strong
Bough and leaf bear fruit aplenty.”

A more direct and powerful track, compared to the delicate nuances of some on this album, it is still cleverly written and, as expected with musicians of this calibre, superbly performed. I always find myself gravitating to the more emotionally complex tracks that Big Big Train produce but, when the moment takes you, this rollicking, roller coaster of a folk-fest really hits the spot.

(Me, Tobbe Janson & Greg Spawton at the Real World launch)

“Winkie – A ripping adventure story about a true life war heroine, the first to receive the Dickin medal in honour of her achievement. To the best of our knowledge, this is the first prog epic about a pigeon…”

Well, where do I start, a Boy’s Own prog epic in 7 parts about a famous pigeon, the Winkie of the title, that saved the crew of a bomber lost in 1942. It’ll never work will it? Well, on first listen, I wasn’t convinced but, once again, give this song time to work its way into your affections and you will be hooked…..

The opening does nothing to prepare you for what is to come, flute and the cooing of pigeons before a folkish rhythm takes up the mantle, foot tapping commences and off we go. David takes on a more literal storytelling role on this track and relates the story verbatim as almost a chant with parts of this ripping yarn given like radio messages. The whole tale is gripping and involving and the music rushes you along all the way on the edge of your seat. Intricate keyboards, powerful guitars and clever drumming all add to the authenticity of the account of the loss of the crew and their subsequent rescue.

“You flew safely home Winkie
Hey, the inaugural recipient
You flew straight, flew true,
Winkie….”

The use of the keyboards and flute to denote Winkie’s flight is really clever and has you rooting for our heroine all the way through. It’s a hopeless task, with only an S.O.S from the radio, can Winkie save the day? Come on, you didn’t think it was going to end in heroic failure did you?

“But thank God, fifteen minutes in
the crew are found, safe and sound
Thanks to their winged saviour…”

A true prog epic about an heroic pigeon, who’d have thought it? Well, thankfully for all of us, Big Big Train did…..

“Brooklands – John Cobb, racing driver, lived life at high speed on the racing line. Time passes, but the ageing driver yearns for one more adrenaline filled lap of the track…. Cobb died in 1952 while attempting the world water speed record at Loch Ness.”

Great songwriters are inspired by their surroundings and experiences and a visit to the historic racing circuit at Brooklands is what gave Greg Spawton the idea for this almost biographical tale.

The longest track on the album, Brooklands opens with an almost melancholy feel engendered by the violin, guitar and drums before opening up with sepia tinged hues of nostalgia and a much more upbeat note. David sings about the car travelling around the track and the experiences that the driver remembers from his youth. Intensely visceral, you almost feel like you are there in a time before the track became weed infested and broken and life was much more carefree. The driver recounts how he was lucky to be able to have lived such a life.

“I was a lucky man, a lucky man.
I did the things I can,
the things I can’t explain.”

Things are brought sharply back into focus and up to the present day, the racer, now in the twilight of his years, wants to feel the wind in his hair and experience the excitement one more time. The brilliance of the songwriting leaves you completely involved in the narrative, these are songs that all share a story with the listener, one that is involving and intimate and affectionate. The intelligently crafted music is almost lyrical in the way that invokes the wind in the hair feel of the car flying round the race track, dangerously exhilarating and bracing.

“On the racing line
lived life at high speed
too fast too far.”

To use music to evoke feelings and emotions and to do it well is a seriously impressive skill and is, for me, what separates proper songwriters and musicians from the run of the mill artists that churn out insipid chart fodder and Big Big Train are true masters of that art. The rolling piano, flowing guitar and powerful drums all paint pictures in your mind that are finished off by the exquisite flute playing, add in the engrossing and captivating vocals and the musical tapestry is complete.

Telling The Bees – Traditionally, bees were told of births, deaths and marriages within the bee-keeper’s family, as it was believed that otherwise they would leave the hive.

Once again, taking a traditional piece of ‘folklore‘ and reimagining it, Telling The Bees is a moving story of how, when his father dies in the First World War, a young boy takes on the responsibility of the bees, grows up to become a man, finds love and starts his own family.

“The bees are told…..and we carry on….”

Written by David Longdon, the guitar introduction gives it a feel of his ‘Wild River’ solo project. Imagine yourselves sat around in a circle, rapt in concentration, as this modern day troubadour relates another nostalgia soaked tale rooted deep in the history of England. Telling The Bees is a wonderful piece of music that has the ability to whisk you away to the sun drenched summer fields and to a time when life was much more simple and easy going.

“The joy is in the telling
The sorrow in the soul
Tears of happiness and sadness..”

David’s vocals are honey sweet and velvet covered as they seem to lift any worries or cares from your shoulders and the music is just beatific and awe-inspiring. The musicians produce something akin to delicate reverence, a guitar solo that drips honesty and love and the vocals are nigh on perfect. As this charming and graceful track brings a close to what can only be described as a stunning album, I honestly do wipe a glad tear of joy from my eye…..

It was always going to be hard to follow ‘The Underfall Yard’ and the ‘English Electric’ albums but the acknowledged masters of pastoral progressive rock and intelligent and incisive storytelling have returned with a fresh collection of stories and tales gleaned from our heritage and history. With their penchant for heartfelt lyrics and beautiful music it is an involving and mesmerising journey that everyone should take at least once in their life……..

Released 27th May 2016.

Buy ‘Folklore’ on CD direct from Big Big Train

Buy ‘Folklore’ on vinyl from Burning Shed

Buy the ‘Folklore’ download from bandcamp

Review – Paradigm Shift – Becoming Aware – by Leo Trimming

‘When did Absurdity and Nonsense take control?

The Moment that they all Lost Sight of Common Goals…’

For some strange reason those words from A Revolutionary Cure, the opening epic song from ‘Becoming Aware’, resonate quite significantly at present. Formed in 2007 by Ben Revens (vocals and keyboards) and Reuben Krendel (guitars), as a result of a college project which ultimately resulted in ‘A Revolutionary Cure’, Paradigm Shift have gradually developed with the addition of drummer, Bryson Demath and very recently Leon Itzler on bass for the recording of this album. It is refreshing to see a new, younger band on the progressive rock scene, also willing to inject a political but not overwhelming edge to their songs on this very promising debut album from London based band.

In such tumultuous times it is perhaps appropriate for Paradigm Shift to release such an album based on the ideas of freedom and control. However, the generally optimistic theme of ‘Becoming Aware’ is that attempts to control people, whether through politics, religion, media, dictatorships or medication are ultimately futile and people will find a way to be free. I sincerely hope this young band’s optimism is well-placed in the recent context of the pervading influence of the media and the manipulative powers of politicians to distort and misrepresent to gain popular support. Lest we forget, Hitler was elected into power.

A Revolutionary Cure commences with an intro of sampled speeches about slavery and freedom before an awesomely heavy guitar riff provides a dramatic opening in to the song proper before the rest of the band joins the melee. What strikes you early on with this band are the strength of the piano led keyboards, which adds more texture and colour to their heavy progressive style. Ben Revens has stated that Rush and Dream Theater are influences, which you can hear with this powerhouse number but this is no carbon copy as there are other elements in this particularly powerful rock concoction, with dashes of jazz, metal and electronica. Reuben Krendel’s guitars certainly take centre stage half way through this number with an impressive array of styles and sounds emanating from his guitar with Revens’ keyboards swirling around them.

When one considers that this number started out as a project for a college course one has to be impressed at the musical skills, imagination and influences injected into this epic opener – no half hearted subtle opening for this band. Straight in – BLAM! Unashamedly retro in style, but oh so many styles and so well played. One could choose to possibly think as a younger band perhaps they could have been a little more ‘contemporary’ (whatever the hell that means?) or one can choose to just get on board and hang on during this enjoyable rock journey. Let’s face it these days we need a little distraction from the mess the older generation may have inflicted upon this nation.

However, before we relax too much in to the music recent events are seemingly brought into very sharp relief as the album seamlessly segues into An Easy Lie, amidst more sampled speech. Revens turns up his synthesiser ‘swirly’ button to eleven (I believe that is the technical term!) before Bryson Demath and Leon Itzler lock in to a great drum and bass groove. Krendel’s guitar rhythmically plays powerfully and then a staccato vocal (with a hint of rap style) from Revens tries to keep pace with the juggernaut backing. One cannot help feel a resonance with current times with prescient lines like:

“We fell in Love too quickly with a Tempting Word

Slotted in our own Beliefs around what we Thought we heard

And jumped to clutch at Flags like fish biting at a Hook….”

Needless to say this album was written some time before the recent political mess that has plagued the UK but depending on one’s viewpoint it is hard not to invest such lyrics with more meaning and feeling. Revens has stated:

“It is uncanny just how relevant it’s become actually. I’d love to say we foresaw the UK’s unravelling, but I think it was more a case of writing the right lyrics at the right time!”

This is an outstanding song musically and lyrically, fusing elements of heavy rock, psychedelia, rap, politics and progressive rock tropes in an intoxicating mix – much like the lying demagogue at the centre of the song and seemingly holding sway in recent political debate. It remains to be seen what happens in the near future nationally, but the figure at the centre of the song falls from grace.

‘And Chained by Sweet mystifying words half understood

We let you get us Victory, just as you said you would

But nothing changed at the end of our Crusade

Tell me, just what happened to the Promises you made?’

(For some strange reason I can’t help think it could be useful for that last line to be emblazoned on the side of a Big Bus?)

After the drama and impact of the first two tracks Paradigm Shift calm things down somewhat with an eerie synth soaked instrumental The Void. This segues into The Shift which starts with piano playing reminiscent of Keith Emerson before the band crashes in powerfully as the track rolls along, with Demath particularly impressive on drums. Revens is a real driving force behind much of the music, and it is his preference and skills with pianos rather than organs that sets him apart from many progressive rock bands who sometimes overly rely upon the overwhelming generic wash of mellotron sounds. The Shift merges seamlessly into Masquerade and we are back in epic progressive rock territory.

Revens has shared the song writing process of the band:

‘Our writing process for the album was very collaborative. Reuben or I would bring ideas for sections or the skeleton of a song, and then we would work together to flesh things out. Once we were happy we’d bring it to the full band and play with certain passages to add things in or strip things out etc. I think it was through this process that we really found our sound as a band.’

This approach appears very evident on this multi-layered track which shows the band all contributing to this varied piece. It is also clear that this is a band that has not rushed out with their first inexperienced efforts as they have developed and honed their songs over a few years before attempting to gain a release, eventually wisely choosing Bad Elephant Music to back them.

Sampled dialogue in Masquerade about ‘Democracy’ from Charlie Chaplin’s 1930’s classic film ‘The Great Dictator’ underlines the theme of the album and presages an exciting instrumental section with a scintillating synth – guitar soloing battle with Itzler and Demath on bass and drums keeping the song anchored powerfully. This is the best vocal performance of Revens on the whole album as on some other songs he perhaps shows a little inexperience vocally. That will come with more performance and recordings but for a first album it is certainly a competent showing.

The album takes an optimistic view that lies and fear will be overcome in time:

‘Your Fears only Blemish the View,

A New Perception of Truth is ours for the taking

We’re coming Awake and Becoming Aware’

It is to be hoped that recent events may act as a catalyst for more engagement with the political process and citizenship amongst the electorate, especially amongst the young, whatever the future holds. ‘Becoming Aware’ is vital for a healthy democracy… but back to the music!

Like the rest of the album, Masquerade segues smoothly into final track Reunification. There are distinctive songs that stand alone in this album, but they are presented as one flowing musical and lyrical narrative. A melodic opening vocal section, (with perhaps a rather too densely packed lyric?), ends with words that seem so apt for our times;

‘Pulled apart by the desire of fools, All so Misguided

Now our History’s divided in two’

Inspiring sampled dialogue about ‘democracy’ and ‘common interest’ resonate in the background as the band play out a stirring rock manifesto of keyboard and guitar duos and leads, before gently drifting away in an acoustic guitar and piano coda.

‘Becoming Aware’ was mixed by Rob Aubrey, who has an impressive pedigree in modern progressive rock having worked with IQ, Big Big Train and Cosmograf, amongst many others. He brings his experienced ear to bear on this young band and ensures a perfectly balanced sound in tune with the style of those great artists. Acle Kahney of the more prog metal band TesseracT mastered the album, which helps give it a harder edge. The choice of those two professionals may indicate where this band lie in their aspirations – modern progressive rock with a heavier edge.

I googled the phrase ‘Paradigm Shift’ and discovered a couple of things:

Firstly, there are at least two other bands with that name – a fusion band from Mumbai and soul Jazz trio from America – so beware when searching for this band on google!

Secondly, I discovered the definition from Thomas Kuhn in 1962 that a Paradigm Shift is ‘a fundamental change in approach or underlying assumptions’.

There is some irony that this is not really a phrase that could be applied to the music of Paradigm Shift, who create finely played music based on well known influences but with a largely retro feel. They are not changing the face of progressive rock, but in all fairness there have been so few bands in history to whom such a description could be applied! Their interesting political edge is not particularly revolutionary or earth shattering in their insights, but it is definitely refreshing to hear such a band addressing such issues with vigour and passion.

Timing is everything and the lyrics for this album would not have had the same resonance a few months ago, and may not in a few years time… but right now they seem so appropriate and resonant. Listening to this album won’t solve the current political mess this country faces right now, but for some it may it help to listen and hear reflected what one may feel and think at times. What remains to be seen is whether Paradigm Shift can sustain this very impressive early showing, and how they develop and absorb other influences in the modern progressive music scene. However, with this album I think many progressive rock fans will definitely be ‘Becoming Aware’ of this promising young band.

Released 10th June 2016 via Bad Elephant Music.

Order ‘Becoming Aware’ from bandcamp

Review – Mike Kershaw – What Lies Beneath – by Gary Morley

Mike Kershaw is a “Passenger”, or fan of Big Big Train, and we’ve met (in cyberspace) and our lives have been connected through their Facebook page.

I was invited to review this, Mike’s latest solo recording, by Martin Hutchinson, another Passenger whose life is a little more connected to mine in that we have had conversations: Exchanges of ideas and the like, in between him sending me albums to review and me handing in my homework.

So I transferred the files onto CD, placed it in the player and after sharpening my reviewer’s pencil, pressed play.

The following are the notes written as I listen, a running commentary if you will.

The first impression is that the drum sound is warm, jazzy and gentler than other recent Prog albums. There are none of the extraneous fills and beat s that detracted from Dream Theater’s recent excursion into Lloyd Webber land here.

I will research later, but the instrumentation on this is warm, organic and very “English”.

Mike’s voice is not a musical weapon of mass destruction, not chilling roars or over enunciated shouting here. The nearest comparable voice I can think of is Marianne Faithfull. His voice falters and cracks as hers does on “Broken English”, both frail and resilient at the same time. It adds to the charm of the piece as the voice makes the words even more personal and the deliver almost intimate, a rough take charm that grows as the album progresses.

(Picture by Scott Smith Photography)

The album hints at the great journey we are all on, unfolding and layered with detail that adds to the repeated listening pleasure. Track 2 starts off with a drum track that brought Dire Straits to mind, that simple shuffle beat underpinning the mix. Keyboards float above it, Mike’s voice is higher, almost childlike here. It’s always tricky to write about lyrics without the aid of a “cheat sheet” album cover present, so I tend to leave that to the end user (and the writing on CD inserts is not “People of a certain age friendly at all! That’s why we collect vinyl – to read the notes!)

There are chiming guitars; beautiful bass playing that had me thinking of the Cure at their most pastoral on track 3. The melodic force is strong in this one, the song growing, tide like before the chorus crashes on the shore, then fades and ebbs with lovely electric piano . We have a military drum beat and a ghostly choral backing that fades to voice and rhythm section.

Mr Kershaw, you are a very talented man. Songs that unfurl gently and reveal secrets, your folk singer delivery brings another point of reference here, The spirit of Roy Harper seeps through the 4^th track, with it’s guitar textures and space between the component parts allowing the voice centre stage.

“Another disguise” is full of lovely slide guitar and swooping keyboards, this track is very Pink Floyd in it’s sound, warm guitar and icy keyboards over a solid drum part , again no pyrotechnics from the players, the ebb and flow is complimentary to the lyric.

Or does it bring back memories of The Enid circa 1981 that ? That period when RJG discovered vocals? There are hints of that too, along with a smatter of Dylan, Track 5 being a bouncy charmer, full of gruff guitar charm and a timeless vocal performance.

(Picture by Scott Smith Photography)

Track 6 starts with a gentle keyboard piece then we hear of the protagonist, who seems beaten by life, a frustrated individual trapped in some private hell. Kershaw’s words of rallying around a flag, joining a cause, whether wrong or right spookily poignant after recent events in Yorkshire that shocked one and all, here we have the plight of the loner , the isolated man captured in a 3 minute song.

I’ve played the CD 4 times now, each time it releases another little Easter Egg …

This time, Mike’s Voice on track 1 reminds me of Tim Blake (Hawkwind and solo artist) performing “Lighthouse” – half spoken, half intoned lyrics set to a jaunty, almost funky soundscape with keyboards coming at you from all directions. Lyrically it’s not a million miles from the anti war rhetoric of Hawkwind / Tim Blake /The Enid from the 80’s ( we were all going to die in a mushroom cloud caused by Reagan and Russia goes to war over Europe with tactical Nukes proliferating on both sides. Scary times, but produced some great music – “Who’s Gonna Win The War” & “ And Then there were none” being the two that this shares a common bond with.

This is the “Proggiest” track here, with some great synth lines at the conclusion sliding over your ears into your brain.

The more I listen, the less convinced that it’s Prog. Not in a derogatory way, but this album is full of songs, some great musicians playing to complement each other, most tracks are around the 5 minute mark, there are no dragons, anthropomorphic creatures, aliens or starships. No warriors on the edge or any vast inhuman machines keeping people in ignorance and servitude.

There are some glorious tunes, great instrumental pieces and a sense of warmth, almost organic well being generated through the listening experience.

It’s just good music, no matter which box you think it should be put in.

Mike has produced a fine album, a personal statement of where he sits in the musical pantheon and the world is a better place for his efforts.

Released 27th May 2016 by Bad Elephant Music.

Buy ‘What Lies Beneath’ from bandcamp

Progradar – 2016 – Best of the First Six Months

(Yours truly and Prog Guru™ himself)

Welcome ladies and gentlemen to the first official Progradar Reviewers and Friends ‘Best Of…’ feature.

I asked those who wished to contribute to cogitate over what great music they had heard, released 1st January to 30th June, in the first half of 2016 and come up with a list of their definitive five favourites.

Not an easy task, let me tell you but, here are the selections of nine (including me) erstwhile wordsmiths and friends, including a few words as to why these particular releases made the cut.

Emma Roebuck (Progradar reviewer)

Cosmograf – The Unreasonable Silence

This is Robin Armstrong on some amazing form. I loved ‘Capacitor’ and I thought ‘Man Left in Space’ was a hard one to beat. I was clearly wrong and happy about it too. Robin is at his best when looking at the human condition when viewed through a less than regular lens. The mythology of Sisyphus and alien abduction combine to make such a lens. I will treasure seeing his one and only live performance so far at Celebr8.3 fondly. The album is dark and melancholy which is the way I like my music to be honest.

This film might change your life and Relativity being high points in an album that is a mountain range of achievement.

Preacher – Aftermath

Their second album, and independently released like the Cosmograf album (and another 2 in my, selection if I remember rightly.) Preacher craft both songs and albums exceedingly well. ‘Signals’, the previous album, shows signs (poor, but unintentional, pun) of a band with tons to offer. They draw their roots from 70s Floyd and the melodic side of the genre. It could be said that this is the album that Floyd should have released instead of ‘The Endless River’, I could easily agree but this is not that Floyd this is a band that use melody, harmony and song in a way that could go beyond the genre.

Stand out Tracks

War/ War reprise and Vinyl show how we look to emotions and actions and make things or deeds of them as people.

Drifting Sun – Safe Asylum

I was too young to be really aware of the genuine impact of the classic period of Prog rock. I caught the periphery in my early teens but felt no ownership of Yes, Genesis, VDGG, Floyd, Gentle Giant, etc only a serious attraction to the music as a 14 year old in 1975. In the early 80s, having ridden the horror that was punk, I remember seeing Marillion, IQ and Pallas in small pubs and clubs in 82 and it was a pure emotional and intellectual epiphany. It felt like I was hit in the heart and the brain with a piece of 2 by 4. I found home and ownership of music. I liked ‘Trip the Light Fantastic’ immensely and when I heard this album I felt all those emotions again. I was in the Sheffield Limit club again hearing something of very high quality and I connected immediately to this music. It is Neo Prog of a very high standard. They sound like themselves with echoes of the last 40 years resounding through the music.

Standout Tracks Intruder and Desolation– Retribution.

Jump – Over The Top

I have been a fan of Jump for the best part of 21 years. It is the Classic rock society that I owe big style, not just for these but many others, in times of musical desolation. I found my first sample of these by old school recognition and recommendation by word of mouth. Fast forward to many Jump gigs later, the new album ‘Over the Top’ comes out and it was ‘yes, get in!’. Some of the current live set had been used to fine tune some of the songs over the last 18 months or so and it shows. John Dexter Jones is a storyteller par excellence and the band are an excellent vehicle for those stories. The words are heartfelt and the music comes from the same place. If they lived in medieval times they would be the bards of old. The use of the past to illustrate the way of the world we live in now is the stock in trade here.

Stand out tracks, I want to say all of them but if I was to choose The Beach and the Wreck of the St Marie are those choices.

Kiama – Sign of IV

Just when you think you have Rob Reed figured out, Sanctuary, Magenta and so on, he does something out of the blue and blows the socks of you. Take good old rock sensibilities from the 60s and 70s, put them in the hands of some very talented individuals and they become a band which sounds like they have been a unit for years. I recently saw them support Frost* and wow, just wow.

This is a hybrid, musically drawn from the past in a very real sense, and is a homage to how they used to work but it does not feel like a tribute band in anyway. It results in a multifaceted album of light and shade with some fantastic songs and heartfelt lyrics. It is some of Luke Machin’s best work outside of Maschine & Rubidium. Rob Reed has a blast playing with sound and tone to create things like ‘Muzzled’, which is a tribute to the Floyd Album ‘Animals’, using the tones from the period to reflect the music and the time it came out. Dylans voice is amazing, we need more Kiama …

Stand Out Tracks Muzzled and Slip away.

Leo Trimming – (Progradar and TPA reviewer)

Red Bazar – Tales From The Bookcase

This was my TPA’s review’s conclusion early in the year for this surprise package, and I’ve had no reason to change it since…

This is an excellent collaboration: Red Bazar have helped Peter Jones express more of his serious, darker side and also allowed him to display more vocal dexterity. In return Red Bazar have gained a talented and very fine rock vocalist who has added great lyrical skill and vocal feeling to their own fine emotional musical palette…

This may be a bit of a dark horse, but Red Bazar may just have released one of the Prog albums of the year.

Matthew Parmenter – All Our Yesterdays

A favourite on two levels – it’s a great album of subtle artistry and fine music, and on another level the artist & his music touched me personally. My Progradar review concluded:

‘Matthew Parmenter has stepped aside from the magnificent, gothic group dynamic of Discipline to create a solo work of art suffused with dramatic shades and emotional lyricism, conveying tragedy and hope. This is an album that is likely to captivate and beguile with subtlety and delicate emotion. It certainly gave me unexpected comfort – Inside.’

Nine Stones Close – Leaves

A darkly trippy and psychedelic album. Part dream, part nightmare – this is an album for which repeated listens gradually unpeal the layers, like all the best progressive releases. My Progradar review observed:

‘Nine Stones Close create rich musical landscapes suffused with a sense of the dramatic and psychedelic… They do not stick to their old formula and want to progress. My advice is stick with these guys because you are never quite sure in which direction their songs or this albums may turn, but it sure is an imaginative and fascinating ride!’

Big Big Train – Folklore

A much anticipated release does not disappoint as the album describes modern folklore, ancient legend, elegies for lost love and epic stories of heroism and loss … plus bees (!) in a rich tapestry of folk tinged progressive rock. Lyrically intelligent and insightful, conveyed with integrity and emotion, and played with consummate skill and passion. Impossible to ignore – we all sort of knew it would be great. Of course it’s great!

Cosmograf – The Unreasonable Silence

Simply stunning. Robin Armstrong has imagined a rich narrative of alien incursion (or paranoid breakdown?!) with sonic brilliance. The imaginative story is unnerving, whilst the music is captivating on a human level but cinematic in scope – ranging from crunching Purple riffs, through atmospheric acoustic passages to sweeping Floydian soundscapes. Undoubtedly, major contender for Album of the Year already from one of the best Progressive Rock artists of this generation.

Gary Morley – (Progradar reviewer)

Hawkwind – The Machine Stops

Everything that Hawkwind evoke distilled into one disc. Great musicianship, tunes and tons of atmosphere make this the top of the pops for me. It’s been a long time since a Hawkwind album had such a buzz about it. Biggest regret – that I missed the live shows. Biggest hope – a proper live blu-ray & CD set is coming.

Preacher – Aftermath

Prog at it’s best for me needs a driver. Preacher use guitars. Proper guitars like your dad waffles on about when he talks about Pink Floyd, Steve Hillage, Jimmy Page and that time he watched Rory Gallagher play for 3 hours at the Hexagon Theatre and your mum was drinking pints and ended up paralytic, singing along to “Wayward Child” sat on his boss’s shoulders…

I Am The Manic Whale – Everything Beautiful In Time

Local boy’s debut embraces everything that is good about music. It has great tunes, off the wall lyrics and subjects that place it head and shoulders above most of what passes for modern music from the under 30’s. I’m looking forward to their next offering, be it a live gig in Reading or more music.

Gandalf’s Fist – The Clockwork Fable

‘The Clockwork Fable’ is a Steam punk opera, like a space opera or a soap opera but without the bad romance and dodgy backdrops.

I loved the variety of musical genres used to tell a totally bonkers tale of clockwork suns and steam powered boys looking for missing cogs in a giant machine all played out in a cavernous underground city. There are rock tracks, some great drumming, some “epic” prog , some plaintive melodies and a host of guest vocalists and musicians, all of which add to the mix without overegging the lily.

The first time you listen you get sucked into the world presented here. It’s a Post apocalyptic, dark dystopian world but there are flashes of humour and the absurdity does not detract from the sheer brilliance of the effort here.

Steven Wilson – 4 1/2

“left over’s” from ‘Hand .Cannot .Erase’ these track might have been, but as a snapshot of Mr Chuckletrousers ( © Angus Prune I Think) and his Zeus like stature in the modern Prog pantheon this is sublime in its perfection. Hints of Zappa referencing impossible “stun guitar”, epic soundscape that demonstrate his skill as an arranger and bleak yet beautiful lyrics are all wrapped in a package that sticks 2 fingers up at the download and go generation. This is a quality production in every detail, lovingly constructed and presented for your pleasure.

Shawn Dudley – (Progradar reviewer)

Messenger – Threnodies

It took several spins for this album to truly work its magic on me, but once hooked it just won’t let me go. A beautifully organic record, informed and powered by vintage sounds but not a slave to them. The tastefully arranged guitar work on this album is a particular highlight. Favorite tracks: Balearic Blue, Celestial Spheres.

Haken – Affinity

Haken leaves the 1970s sounds of ‘The Mountain’ behind, makes a brief stop in the 1980s for the song 1985 and then ventures forward into the future on Affinity. An endlessly inventive collection of intricately designed and passionately performed pieces it’s one of the most thrillingly forward-looking albums of 2016. It’s time to drop the “Prog Metal” genre tag, these guys have transcended it. Favorite tracks: The Architect, Red Giant

Purson – Desire’s Magic Theatre

Purson’s follow-up to ‘The Circle And The Blue Door’ is essentially a solo album from Rosalie Cunningham who wrote, arranged, produced and performed the majority of D.M.T. herself. A conceptual psychedelic journey influenced by her Father’s record collection and her own experimentation with mind-expanding substances. Another case of an artist using the canvas of vintage instrumentation and production techniques to create very personal and unique modern music. Favorite tracks: The Sky Parade, The Bitter Suite.

Big Big Train Folklore

Another beautiful collection of immaculately arranged and produced “pastoral prog” from this master collective of musicians. I recommend going for the extended track-list available on the LP and High-Res download editions, I believe an even stronger collection than the shorter CD version. Favorite tracks: Salisbury Giant, London Plane

Knifeworld – Bottled Out OF Eden

A wonderfully quirky concoction of pop sensibility, progressive experimentation and the harmonic sophistication of jazz all mixed together into a thoroughly accessible brew. And it’s fun! Favorite tracks: I Am Lost, I Must Set Fire To Your Portrait.

Roger Trenwith – (TPA reviewer and Astounded by Sound blog)

Bent Knee – Say So

An unparalleled triumph of invention, melody, and strangeitude, it will take some beating for album of the year.

David Bowie – Blackstar

Hardly seems right relegating this poignant artistic statement and full stop on a career of a true visionary to No.2, but from a purely musical point of view, them’s the breaks.

Knifeworld – Bottled Out OF Eden

A chronicle of loss leavened by hope, Knifeworld get better with each release. Criminally underrated.

Body English – Stories of Earth

Is there a sub-genre called “prog-pop”? If not, this is it. A truly joyous record shining a light in this dark Year of Stupid.

King Crimson – Live In Toronto – Queen Elizabeth Theatre, Toronto, Canada, 20th November 2015

Whatever I put here means leaving out at least half a dozen albums equally as good, so this came out on top after a complicated mathematical randomisation process involving dice, incantations, dead frogs, toads, and copious amounts of single malt. The mighty Crim remake, remodel like no-one else. The version of Epitaph will make you shiver, unless you have no soul. Superb!

Kevin Thompson (LHS) – (Progradar reviewer)

Big Big Train – Folklore

Does this really need a reason?, best of the Band’s excellent output so far and an album that will always be on my desert island disc list. As near to perfect as it gets…

Long Distance Calling – Trips

There are so many bands in this area of music it’s hard to stand out, but, on this release, Long Distance Calling have…..

Gandalf’s Fist – The Clockwork Fable

A tremendous 3 disc concept package of such quality. Never been better value for money and shames the bigger bands!!

Iamthemorning – Lighthouse

A delicately beautiful album from this Russian duo added further poignancy with the heartfelt vocals from Mariusz Duda on the title track.

Downriver Dead Men Go – Tides

Another band who came recommended and I’d not heard before buying. Slow, dark and emotional, this Dutch band surpassed my expectations.

David Elliott – (Prog Guru™, TEP, Bad Elephant)

Lazuli – Nos Âmes Saoules

There is nothing else quite like them, and they keep on going from strength to strength….

Bent Knee – Say So

My first exposure to this amazing American band…genuine innovators, and hairs-on-the-back-of-the-neck exciting!!

The Dowling Poole – One, Hyde Park

Unashamedly unoriginal, but huge fun, and immaculately crafted. Big smiley music.

Knifeworld – Bottled Out Of Eden

Banging tunes, a great groove, and more bassoon!!

Frost* – Falling Satellites

A great return to the arena from the masters of modern progressive. Progressive rock with pop sensibilities – what’s not to like?

John Simms – (Progradar reviewer, Rev Sky Pilot blog)

Big Big train – Folklore

Consistently turning out excellent pastoral English progressive music, BBT have hit the motherlode again with this suite of songs celebrating the British folkloric tradition. From the sublime beauty of ‘Transit’ to the quirky tale of ‘Winkie’ the Pigeon, this is music of the highest calibre.

Anderson/Stolt – Invention of Knowledge

This, for me, is simply the best music anyone connected with Yes has produced since ‘Awaken’. It draws on the bestaspects of Yes and Flower Kings and produces something sublime and beautiful. It was a very close call between my Top 2.

Southern Empire – Southern Empire

One of the up sides to Unitopia folding a few years ago is that we now have both UPF and Southern Empire to carry on the legacy. This is a fine collection of melodic progressive rock music, exhibiting high levels of virtuosity and songmanship.

Knifeworld – Bottled Out of Eden

Another band with a unique style and approach to music making. This is a wonderful follow-up to ‘The Unravelling’ and Kavus and his band of minstrels continue to delight.

Mothertongue – Unsongs

The best music is that which stands out from the crowd, and Mothertongue certainly do that. Ecclectic, bizarre, unexpected and bonkers, this is a wonderful collection of (un)songs.

And finally my thoughts, this selection of five albums was incredibly difficult to pick but I’m pretty certain that, at this moment in time, it is my definitive top five!!!

Mothertongue – Unsongs

With its incisive, intelligent lyrics and first-class musicianship, Unsongs is unlike anything you will have heard in recent years. The music will lead you on a roller-coaster journey of acid jazz inventiveness that’s a big heap of noisy and light and also includes a lot of brass because everyone likes brass, right? A musical breath of fresh air that you will return to again and again, it’s just brilliant!

Big Big Train – Folklore

The acknowledged masters of pastoral progressive rock and intelligent and incisive storytelling return with a fresh collection of tales gleaned from our heritage and history. With their penchant for heartfelt lyrics and beautiful music it is an involving and mesmerising journey that everyone should take at least once in their life.

Cosmograf – The Unreasonable Silence

Thought provoking, questioning and inventive, ‘The Unreasonable Silence’ has all that I ask for in my music. A well constructed and intelligent concept brought to reality by a gifted musician with incomparable support from some incredible guests. It makes you really think about what you have heard and, above all, is a peerless, outstanding and incomparable listening experience that you will not forget any time soon.

Iamthemorning – Lighthouse

‘Lighthouse’ is an amazing musical journey from the first note to the last. It is bewitching and beguiling and removes you from your everyday life to a place of wonder. Darkly captivating, it is not all sweetness and light but is a musical legacy that iamthemorning can build on and the ‘Lighthouse’ can light the way. These two exceptional artists have now moved into the major leagues and it is well deserved, album of the year? why not!

Tilt – Hinterland

A superb album by a cast of very accomplished musicians. Brilliant vocals, burning guitar solos, a thunderous rhythm section and songwriting of the highest quality combine to deliver one kick ass release that I keep returning to again and again. By the way, three of these guys are better known as Fish’s backing band but, oh my god, have they risen well above that soubriquet now….

So, there you have it, a small selection of our own, very subjective, opinions on what has been the best music of a highly impressive first six months of 2016. You may agree, you may not but, one thing that everything agrees on is that the music just keeps getting better, and long may it continue!!

Review – Matt Stevens – Archive – by Leo Trimming

A few years ago an unlikely hero entered the rock music scene. Like some sort of Rock ‘El Mariachi’ Matt Stevens rode into town armed only with a guitar, a few effects pedals and most importantly a prodigious talent and imagination. ‘Have guitar, will travel’ was his trademark, travelling right across the country willing to play any club, pub and venue, supporting any and everyone. Unbounded by any labels and by any notions of conforming to musical norms Matt Stevens’ music crossed many boundaries, but did not seem to fit any – just the way he liked it.

Roaming the musical hinterlands he was free to take his own path. Occassionally, venue’s saloon doors would swing open and in would step the silhouette of a musical man mountain maestro with a guitar slung around his neck, here to take on all challengers with fast fingers, exciting music and engaging charm. Venue after venue and crowd after crowd succumbed to his talent, won over by his talent, enthusiasm and his unquenchable thirst just to perform.

Well now, Matt ‘Mariachi’ Stevens is stepping back from his solo guitar days, having formed his own posse called ‘The Fierce and the Dead’ within which to express his impressive musical skills and imagination. ‘The Fierce and the Dead’ have been burning their own distinctive and unconventional path through modern music, turning up at contrasting music festivals such as ‘Summers End’ and ‘Arc Tangent’ and uncompromisingly blasting and riffing their way through the crowds, a few scattering to the bar but burning in to the hearts of many other unsuspecting punters.

(Photo copyright the Chaos Engineers)

To mark his current ‘retirement’ from solo performing Matt Stevens is releasing ‘Archive’ on Bad Elephant Music. (Of course, it’s on Bad Elephant Music – a remarkably diverse label which specialises in an increasingly diverse range of unusual, quirky, uncompromising and high quality recordings.)

This set is NOT a retrospective drawn from Matt Stevens’ already released albums, ‘Echo’, ‘Ghost’ and ‘Relic’… that would have been too easy for this artist, who wanted to share a document of his live solo recordings. It is comprised of a live guitar and loop set recorded in a church for the Farncombe Music Club in 2014. (What a different experience in church that must have been!) Alongside those pieces Matt has included two ambient pieces (Intermission 1 & Intermission 2) and two ‘lost songs’. The marvellously named ‘Pecadillo’ was produced for a compilation released on the Believers Roast label of Kavius Torabi (Knifeworld) in 2012. ‘Blue Filter’ is an out-take from the recordings of Matt’s 2010 album, ‘Ghost’.

What can someone unfamiliar expect from this album?

Well, one can expect to hear a bewildering array of sounds and textures somehow conjured up from just a guitar and some looper technology.

What may be harder to imagine is the kaleidoscope of sounds and feels that splash sonically out of his guitar, cascades of riffs and melodies interweaving and echoing in a captivating tapestry of noise. This reviewer is not usually taken with purely instrumental albums – it’s just usually not my cup of tea (or glass of tequila). However, Matt Stevens is not your usual purely instrumental artist and I am glad I imbibed in this intriguing offering.

Opening track ‘Rusty’ (where does he get these names from?) immediately hits you with a torrent of riffs and echoes with intricate playing and sounds it does not seem possible to extract from just a guitar. As a manifesto for the album it certainly lets you know this is no ordinary musical ride. In contrast, later track ‘ A Boy’ is a much gentler acoustic glide which beguiles and shows that there is a range of musical colours described here. Amongst other highlights ‘Big Sky’ takes you right out there on the ‘Looper Plains’ as coruscating clouds of echoing lines scud across the musical firmament, before being gently brought down to earth and then once again in a psychedelic coda launched in to a reverb filled sky – at least that’s what I imagined… and all done by one guy and his guitar live!

Reviews are peculiar things – one never knows quite in what direction it will go. Before I even started on this review, knowing a little about Matt and his music, I decided to use the ‘El Mariachi’ theme as it conveyed his singular and somewhat heroic musical path, and captured the idea of ‘a loner with his guitar’. What I had not expected to find was a song on the album that perfectly captures that imagery – the aforementioned ‘Blue Filter’ is pure spaghetti western, even with effects sounding uncannily like a horse trotting.

It is a perfect way to effectively finish the album as our Mariachi guitar maestro decides to hang up his solo guitar for the time being and strides off to continue exploring other musical horizons (and upsetting a few along the way!) with his posse. Maybe one day he will return to a venue or saloon near you with his guitar slung around his neck but for now listen to this and imagine his legendary live solo days.

Released 22nd July 2016 by Bad Elephant Music.

Pre-order ‘Archive’ from Bad Elephant Music on bandcamp

Pre-order ‘Archive’ from Burning Shed

Review – Tilt – Hinterland – by Emma Roebuck

Bob Dylan had The Band, Fish (he of many great albums with and without Marillion) has TILT. Like The Band, they have broken free from the cover of the piscatory one and now have their own well formed sense of identity.

TILT are Robin Boult, David Stewart, Steve Vantsis, the core of Fish’s touring band right now, with Paul Humphreys on guitars and PJ Dourley on vocals, featuring guest appearances from It Bites’ John Beck and John Mitchell (of band and Projects too many to mention) to back this solid product. Mitchell also mixed the album.

Vantsis and Dourley are the main songwriters here, with Humphreys credited on two tracks. One thing is certain, this is NOT a Fish album minus a piscatorial element (no more Fish puns I promise).

It is going to be argued that this is not Prog by some but I will disagree in the strongest terms. 3 of the 8 tracks come in at over 8 minutes and none under 4 minutes. Sonically this is a very dense album typified by’ No Superman’ which reminds me of something that Soundgarden would be proud of but with far more layers and texture to separate them from a ‘grunge-like’ song to something far more up to date and of the present

P J Dourley’s voice is a dream throughout the album, at times it is sullen and yet can soar, expressing the lyrics and meaning of the songs to use his voice as an additional musical instrument as well as a singer. On ‘Growing Colder’ he shares the music with just the voice and a piano without loss of emotional content and delivery. the social and emotional isolation of the song is reflected in his voice extremely well indeed.

‘Bloodline’, the current single, has an astounding guitar solo in it from John Mitchell that feels like a vampire suffering depression and with rage issues in a good way. It’s a straight ahead rocker and one I intend using next Hallowe’en but far more subtle and textured than any regular rock track.

‘Hinterland’, the title track of the album, is a thorough, out and out, stab at prog metal with a great degree of success. It’s accessible and has all the elements you would expect without sounding contrived.

Although not a declared concept album by the band it appears to be an album of loss, grief and cynicism of the human condition. ‘_Assembly’ and ‘Disassembly_’ bookend the album and they seem to be a treatise on the futility of war, a rage against the seekers of power through religion. It shows how prog this album is by relying on keyboards and soundscapes to illustrate the setting and the tone.

Musically this is very tight indeed and I imagine it would transfer to the live stage very well. The album overall is very accessible and good on the ear but there is nothing of the traditional “Pastoral Prog” to this album but if you like your music in the Dream Theater, Anubis style, or Spocks Beard, Transatlantic in their heavier moments, then you have a new item for your shopping list.

If you want Prog for a brave new world then this is for you and, in a year of standout albums, so far this is one that I believe will stand the test of repeats. It will be in my top 10 of 2016 and its only June.

Released 30th June 2016

Buy ‘Hinterland’ on CD from Burning Shed

Buy ‘Hinterland on CD from The Merch Desk

Buy ‘Hinterland’ on CD from Just For Kicks (Mainland Europe)

Buy ‘Hinterland’ on download from bandcamp

Review – Lee Abraham – The Seasons Turn – By Leo Trimming

The Seasons Turn, the latest impressive album by Lee Abraham, has the theme of the passing of time interweaved through the songs.

“There’s never such certainty in life, but that’s the game

Just watch the Seasons Turn, never with a sense of shame

Watch the Seasons Turn as another year goes by

Feel the winter chill as we long for summer’s high..”

These lines from the conclusion of the opening 24 minute epic title track led me to thinking about my own personal journey over the last few years following Lee Abraham’s music. It does not seem that long ago when I distinctly recall first hearing Lee’s music on the now sadly defunct ‘Rogues Gallery’ Podcast with Frans Keylard on The Dividing Line Broadcast Network in about 2009. Frans played the whole of the new album at that time ‘Black and White’ by the recently departed bass player with Galahad, a band I had heard of but had not yet explored.

I was absolutely blown away by the excellence of that album, particularly the closing suite of songs – Black (with ex-Big Big Train vocalist Sean Filkins on vocals) and White (with Steve Thorne on vocals.) I still think that music is some of the finest to come out of the resurgence of Progressive rock music since the turn of the new century, with the sparkling and emotional song White simply being one of my most favourite Prog rock tracks ever. It was remarkable to me that I had never heard of this artist and yet here he was releasing a stunningly good album.

‘Black and White’ received very positive reactions and certainly raised Lee Abraham’s profile above the level attained by his previous album ‘View from the Bridge’. I went back to that album and whilst it showed a lot of promise it had to be acknowledged that ‘Black and White’ was a considerable step up and put Abraham on a whole different level. He also involved a variety of renowned Prog musicians, including Jem Godfrey (Frost*), Gary Chandler (Jadis), Simon Godfrey (ex-Tinyfish, Shineback, Valdez) and John Mitchell (It Bites, Frost*, Arena, Lonely Robot… etc, etc!),

‘Black and White’ really touched me deeply. I remember having one of those ‘perfect moments’ with this album we sometimes get in life associated with a piece of music. It was later in 2010 and I had just spent a fantastic weekend with a group of great friends, whom all shared an interest in music. We had travelled to Liverpool to visit The Beatles sites around the city and have a few drinks at The Cavern Club… and elsewhere! We shared in great camaraderie and then all went our separate ways.

I was on the train home to Devon and was listening to the track White as the train travelled along right next to the sea between Exeter and Teignmouth. The sun was going down, shimmering beautifully on the sea and as I looked out of the train window I had a feeling of reverie. I felt such a sense of peace and contentment that I was returning home after a great time with my friends, back to my lovely family in the beauty of a place like Devon. I felt so fortunate. The beautiful closing words sung so delicately by Steve Thorne really stirred great emotion in me:

“My Memory has returned, I’m seeing Clear again,

I’ve got to go back to the start, I’m going to end it now and take control again

Black is dying out, it feels so good again, So now I close my eyes, to all the hate and lies

A World now open wide, where once a dream had died, No more in Black and White…”

I guess ‘you just had to be there’ as it’s hard to explain that personal moment, but that’s what Lee Abraham’s music meant to me at that specific ‘perfect moment’, and it’s a much cherished memory which comes back to me every time I hear that brilliant song.

I was fortunate enough to see the Lee Abraham Band, including Sean Filkins on vocals, perform most of that album at the one-off ‘Winter’s End Festival’ in Stroud in 2010 – he was one of the main reasons I attended that event. This may well be the only ever live performance of Lee’s solo progressive rock material so far, and Lee and his band certainly put on an accomplished show.

Sadly, the economics of such shows and fitting such activities in to ‘real life’ make such performances difficult to arrange and sustain. It is to be hoped that as Lee Abraham’s profile continues to rise with the continuing quality of his albums this may make it easier to countenance a return to the stage for the Lee Abraham Band in future, which Lee recently hinted at in a recent interview may be a possibility.

Lee Abraham next came to my notice on ‘War and Peace and other Short stories’, the 2011 album by Sean Filkins. Yet again this was a real surprise to me as I had yet to really delve in to the world of Big Big Train at that point so Sean was not known to me. Once again Frans Keylard’s Rogue’s Gallery podcast can be thanked for introducing that previously unknown album and artist to me. (Prior to ‘Progzilla Radio’ these days, finding new Prog was reliant on such podcasts, including The Amazing Wilf’s ‘The European Perspective’ by ‘Prog Guru’, David Elliott).

Sean Filkins’ debut release was an utterly outstanding album of consummate musical skill and epic Progresssive rock song writing, which Lee Abraham produced excellently and contributed to musically. This again is another very special album for me personally, and it’s sonic brilliance owes much to Lee’s skills as a producer in the studio. It is to be hoped that Sean will one day feel able to follow up that modern Prog masterpiece, maybe with Lee’s help again? Who knows what will happen as the seasons turn and time passes?

Despite the positive reactions to ‘Black and White’ it would be another 5 years until Lee Abraham released his own follow up album ‘Distant Days’ in 2014. A lot can happen in 5 years and this was an angrier album, partly borne out of the turmoil of the economic problems in the intervening years. It was also an album in which the passing of time featured as a theme in the songs, particularly the epic closing song ‘Tomorrow will be Yesterday’ with Steve Thorne on great vocals yet again:

“The rest of time is on our side, I hope deep down you know,

Let’s make tomorrow yesterday, and never let it go….”

Life for me had also changed, including the loss of a parent and all that entails emotionally as one adapts to loss and a growing realisation that time stands still for no-one. Excellent though it is as an album, ‘Distant Days’ did not have quite the same impact for me as ‘Black and White’.

Sometimes such preferences are simply down to where we are personally and emotionally when we hear an album, and how attuned we may be to the message or feel the artist is trying to convey. However, it is interesting to note that Lee Abraham in an interview recently rated ‘Black and White’ alongside his new album as his favourites, which may indicate that he recognizes there was something special about that particular album.

The title track on Lee Abraham‘s new release, The Seasons Turn, continues in the vein of the epic grandeur of Black and White , opening with a delicate piano motif from Rob Arnold leading to rising keyboards and then the rest of the band powerfully joining in like some sort of Prog overture before returning to the piano. The mellotron like keyboards drench the piece in atmosphere again before the band launch in to the heart of the song, driven along by Gerald Mulligan’s skilful drumming. Mulligan has been a stalwart band member with Lee Abraham for years, alongside the other talented core band members Christopher Harrison (guitars), Alistair Begg (Bass) and the aforementioned Rob Arnold, assembled for the previous album ‘Distant Days’.

They drive this epic song along with a balance of power and beautiful melody, but the master stroke by Lee Abraham for this epic piece was in asking Marc Atkinson (Riversea / ex-Nine Stones Close) to put his fantastic voice on this piece. Atkinson has probably one of the finest and most engaging voices in recent Progressive rock, as evidenced on the debut Riversea album ‘Out of an Ancient World’ (2012) and the two Nine Stones Close albuma upon which he sang, especially the classic ‘Traces’ (2010). His voice perfectly evokes the contrasting senses of wistful elegy and heroic defiance. Martin Orford (ex-IQ & Jadis), a mentor figure for Lee Abraham from his early days, comes out of his musical retirement briefly to add a lovely but all too short flute interlude in the middle section.

This is a piece marked by soaring and stirring stellar guitar solos (presumably by Simon Nixon and Christopher Harrison), particularly in the closing section. This is quite an opening piece, which Lee stated did not start out as an epic piece but evolved over time. Lee Abraham has admitted that lyric writing is ‘the hardest bit’ and it perhaps shows in this lengthy piece, which may have needed rather more substance lyrically in my view. Nevertheless, that quibble is easy to forgive as you are seduced by the excellent, stirring music and overall epic sweep of this piece.

In contrast to the opening track, Live for Today is a much more straightforward rock number, featuring Dec Burke on powerful vocals and distinctive guitar work, and continues the theme of time passing and living for the moment. Marc Atkinson returns on vocals for the hauntingly beautiful Harbour Lights, which once again is perfect for his marvellous voice. Rob Arnold shines on piano again in this evocative piece. Lee Abraham lives by the sea on the South coast of England, and is perhaps inspired by the ocean in this shimmering piece, filled with hope:

“The Night is growing weaker, I see the Sun ahead

The Harbour Lights are dying, they’ve shown the Road ahead for me..”

The shortest and lightest song on the album, Say Your Name Aloud, surprisingly finds Mark Colton of Prog Rock band Credo very engagingly singing what can only be described as a pop song, showing his versatility as a vocalist. It’s a nice contrast to the more portentous songs on the album.

The eerie, Floydian sound effects in the opening of the album closer The Unknown returns us to epic prog rock territory with Simon Godfrey singing with great feeling. This is a much darker piece with echoes of Porcupine Tree in places. David Vear adds in a surprising saxophone later in the song, which helps give this song a different atmosphere, but once again, it is Lee Abraham and Christopher Harrison’s guitars that take centre stage. A rather curious and seemingly almost endless 3 minute fade out tone closes the album. Perhaps it symbolizes the imagery in the closing lyrics of journeying endlessly into the Unknown :

“The Road to Freedom is all that keeps us Sane, The Miles go on and all we need is a Home

Will this never end the Path to the Unknown..”

I am not entirely sure what the song means, but having recently experienced great personal loss as a listener I draw some comfort from these words and this music. The beautiful artwork on this album by Paul Tippett shows a landscape experiencing all four seasons in one scene. Over the last few years I have also experienced the bloom of summer in a ‘perfect moment’, the autumnal decline of loved ones and the cold death of winter. For me it feels like it’s time for Spring again as reflected in Lee Abraham’s words:

“The Promise of Hope, the Promise of Freedom will be shown…”

Music is subjective and is filtered through all our own feelings and circumstances. Do I like this as much as ‘Black and White’ ? – probably not, but that may have more to do with my internal feelings rather than musical quality. ‘The Seasons Turn’ is undoubtedly another very fine album for Lee Abraham. We all read what we will into music, but it takes evocative and beautifully played music upon which to cast our thoughts and feelings. Lee’s music has provided some meaningful moments for me in recent years, and this excellent album continues that journey. Thanks.

Released 25th April 2016

Buy ‘The Seasons Turn’ from Lee’s Online Store

Review – Robert Reed – Sanctuary II – by Kevin Thompson

So let’s get this out of the way, this is not Mike Oldfield!

What we have here is the very talented multi-instrumentalist, producer and composer Robert Reed, (of Magenta fame) with his follow up to the excellent ‘Sanctuary’ from 2014, on Tigermoth Records. Produced, mixed and engineered by Rob, and once again joined by the legendary original “Tubular Bells” production team of Tom Newman (who also plays a mean Bohdran) and Simon Heyworth, who have once again made important contributions to the sound of the album.

Rob was inspired to become a musician and composer at the age of seven after discovering Mike Oldfield‘s ‘Tubular Bells’. So inspired was he by the album, that he learned to play not just one, but all the instruments featured on the album. ‘Sanctuary II’ is a further opportunity to utilise his abilities as a multi-instrumentalist and create another album in this vein, available in various formats this is only a review of the main album.

So, how to review a follow up of the successful homage to an inspirational musician without mentioning him, let’s see…..

The weather may be dubious at the moment and varies in light, shade and temperature, there is promise of sunnier climes and thoughts of holidays as PART I drifts into the mind. Birds swoop across the sky as you look out across the sea the sun breaks the clouds, then you are transported to to some far flung land where natives of that country go about their daily tasks singing in harmonious tongue. Fishing nets are cleaned and hung out to dry in the warmth of the midday sun.

You lay back listening to the music your body warming like the nets, shaded by the nearby palms, eyes closed as the guitar drifts fluidly through your ears, caressing your senses.

The Synergy harmony changes to a more European flavour and you are swept away once more to a clearing in the English woods. The recorders of Les Penning and the twang of the banjo sparkle as the temperature of Simon Phillips’ percussion rises, guitars speeding round the trees, echoing keyboards and all dance in pagan celebration. Flowers are scattered in wild abandon as the frenzy reaches it’s peak and the harmonising gently brings it down again only to burst in quick flourishes, the dancers flushed with expounded energy and happiness, twirl and gyrate.

The solo angelic voice of siren Angharad Brinn leads to muted guitars and a respite from the festivities. Waterfalls of tinkling keys ripple along a brook which runs through the woods and the native tongues stir the guitar again as you run without care through the trees. A gentle summer breeze and trailing foliage brush your skin as you trip through the greenery. The marimba and vocals join as flowers sway and turn their open faces to the sun’s rays, catching the light. You burst into the clearing again and fall to rest along with everyone else as the first half draws to a celebratory close.

A gentle guitar and timpani refrain float in the introduction to PART II, the small sail boat that carries you across the lake buffets against the rippling water as the breeze of guitars and accompaniment of numerous instruments fill the sails and it picks up speed. The lure of Spanish style guitar and castanets draw you back to the isle in the centre of the watery expanse but as you near it is replaced with the warbling recorders and others as they raise a dance again.

Approaching the shore you can hear as all join in traditional steps, your fingers tapping on the boat side, ’tis a merry tune. The boat hits sand and you leap out to secure the mooring. Treading along the shore feet sinking in soft warm sand, you make your way toward the music as it wafts through the lush vegetation the siren briefly calling you before the instruments take up the rejoicing given direction by a synthesised voice.

The terrain rises gently as you follow the trail, winding it’s way upward as the music fades in the density of the plant life. Gentle keys and guitars plucked to guide you gently on your way and the voices seem momentarily distant now in the lush vegetation. You forge your path with the guitars determined to see what lies ahead, attain the rise and can see the clearing nestled among the trees below, the singers move from side to side in rhythmic motion and the glockenspiel signals your descent.

Throbbing bass, strummed strings and air breathed through drilled wooden pipes, guide your feet over the uneven path and running keys of water skip over stones and through crevices as it flows in the stream falling alongside. The dipping track quickens your step as the music keeps pace. Your pulse races to the beat and you burst through into the clearing once more, elated and surrounded by smiling faces, all is well with the World.

And there you have it.

Someone once asked what ‘Sanctuary’ sounded like and I advised along the lines of, it’s like Mike Oldfield but takes it further making it even more cheerful and uplifting. ‘II’ takes us on a magical, musical mystery tour and lifts the spirits higher.

I have only covered the main album, but if you can, buy the 3 disc deluxe digipak version, as not only do you get an extras disc packed with other wonderful tunes edits and remixes which did not make the main disc, but the whole album on DVD in 5.1 surround sound and 24/96 stereo mix (don’t ask), along with promo videos.

There will also be a chance to to see Rob record a performance of the album ‘Live’ at Real World Studios later in the year with a ten piece orchestra, if you are lucky enough to purchase a ‘golden’ ticket and be one of the privileged audience.

This may not be Mike Oldfield, but he may wish it was……..

Released 10th June 2016

Buy ‘Sanctuary II’ from Bandcamp

Review – Downriver Dead Men Go – Tides – by Kevin Thompson

A Turneresque cover painting gives vague hint to the type of music and the details on the cover give minimum information. A quick bit of research and these Dutch lads describe their music as deeper, mesmerising, atmospheric and melancholy. If you know of David Lynch, director of ‘Blue Velvet’, ‘Mulholland Drive’ and ‘Twin Peaks’, this album could have sound tracked any of these.

A dark evening, you enter the foyer of a private club greeted by a smiling girl all curls, curves and red lip gloss, she parts red velvet curtains and leads you into a dimly lit room furnished in deep red velour seating with tables. Smoke from cigars and slim cigarette holders hangs in the air. Whispered conversations, furtive glances across the hazy room and a small stage on which a band appears, the instrumental first track The Dying of the Light plays muted keys with the sound of crows and other birds echoing round the room. The conversations die and all eyes focus momentarily on the stage as you take your seat in a booth.

Dressed in a dinner jacket with open necked white shirt, the lead singer pulls up a stool to a small dim spotlight at the front of the stage as the band plug in. The singer rests on the edge of the stool with his guitar and with one foot on the floor for balance he grasps the vintage Shure microphone like a lover and pulls it towards his lips until they brush lightly together as the first track fades.

Acoustic guitar strums, and he begins to pour his heart out in a languid, sleepy voice. A well groomed woman gives a large man sat next to her at the table a determined look, shakes her head negatively and rises, pulling her hand from the sweaty grasp of his chubby, gold sovereign laden digits. Her silk dress slides between the tables as the music rises she’s Walking Away, and won’t be returning to him. The vocals and instruments echoing as she fades into the smoke and away through the curtains, into the foyer, where Miss Red Lip Gloss sits on a stool, distractedly filing her crimson co-ordinated nails .

She doesn’t notice the woman leave as she’s in a world of her own from which she wished she wouldn’t have to Wake Up. Drums are brushed and electric guitar flows with keyboards in sombre reflection as the third song drifts in to her consciousness with haunting brass sounds. This isn’t the direction in which she had seen her life going but at least she was safe here for now as no one knew her real identity and had food and lodging.

Back at the table the large man waves a weighty hand to a waitress. She teeters toward him on slim black stilettos, in short-skirted uniform, with a small pillbox hat held on her tightly fastened peroxide hair, a single spiral hangs to one side. She deposits a bottle of champagne on the ring stained table top and he waves her away without a glance.

He draws on a large cigar, exhaling the cloud toward the stage as he ponders the,beautiful intro and melancholy lyrics of the fourth song reflecting on his life, things would Never Change. There was a time he had loved the girl who had just left and he’d not been a bad man, but money, avarice and jealousy were now his only companions. She’d begged him to take her away from it all and they could live like the carefree young lovers they had once been but he craved other things and she had become merely a distraction.

The singer steps away from the microphone to briefly slake his burning throat with cool beer between strummed chords, washing away the smoke as the band play an instrumental piece. The gangster man feels a momentary twinge of grief as the memories and the Ghost of Caitlin are all he now has left of the relationship and the music swirls and eddies. Then regret is gone in the fleeting twinkle of a blonde’s eye as the waitress now catches his sight-line, maybe she’ll do for tonight. Just another desperate wanting to improve her situation lured easily by a fur coat and a few sparkly gems, which he can easily afford. No commitment, though he’ll promise the world and take what he wants, then have his driver discard her at the roadside the following morning amid the tumble-weed, futilely hoping it will eradicate the memory of his lost love.

Returning to the microphone and surveying the punters robed in fetid air, the band observe the roles played out, it’s just another night in the joint. As the singer stretches out the stiffness in his neck the band behind him bring in the title track Tides. The bass throbs, as it has throughout, a dulled pulsating heart pumping vibrations into the room, the drums the beating life. The subdued rhythms of the guitars with drawn out chords mourn to the lamenting keys and soundscapes created. The singer stares at the rotund man in the booth with red veined jowls and as the lyrics come to him he starts to sing again, a cautionary tale.

Following on the sweetly sombre instrumental Undertow mimics the roles in the room as clients indicate more drinks and nibbles, whilst waitresses scurry to accommodate, emptying ashtrays unobtrusively, hoping for generous tips to bolster their meagre wages. Business is good tonight. Ushered in by the choral accompaniment at the end of the track, a man in a wool suit and slim black tie parts the foyer curtains, two uniformed policemen accompany him. He steps forward with them, the broad brimmed trilby on his head pointing the way as they move toward the sovereign fingered gentleman. Everyone watches cautiously as they pass by, turning faces to shadow.

The band continue with a dark, atmospheric backing track to the performance unfolding as the words echo The Stone In My Heart to the retreating officers, as they lead the handcuffed sweating man. As they negotiate his sizeable bulk between the tables of the booths watched by their shady occupants, there but for the grace of…. She may not think so but the blonde waitress has escaped a humiliating experience and will have to wait for her real Prince Charming to save her from the monotony.

Her position however has not gone unnoticed by another. She has a delicate frail naïvety about her that begs to be taken away from this tainted existence and the singer smiles at the waitress as she passes. Her baby blue eyes widen and she blushes as she moves to task, glancing over as she flits between tables. Carpe Diem, seize the day, lift her misery. Nothing gained nothing lost, the singer turns to the band as the purported final track of the evening fades out on beautiful keys and looping chords and they nod in sage agreement.

A few light chords introduce bonus track, River, to a complete contrast as the band raise the tempo and the singer grins like a schoolboy at his fancy. A rocking drum beat picks up the bass and Coral like steel guitar cuts in western style with slide and jaunty organ. He holds her gaze as he plays and sings a promise of better things. The waitress sways to the up tempo as he moves off the stage across the dance-floor toward her in time to the driving keyboard and announcing his intentions, she smiles agreement, nods and he returns to the stage. Guitar swaggering in his hands with pause for effect the band slide out on a single distorted note and people make their way to the exit.

The band begin packing their instruments and as he bends to lock his guitar case a shadow falls by the singer. He looks round and there stands the waitress, hat discarded and coat in hands her smile as wide as her eyes. Picking up his guitar in his left hand he takes her left in his right and they make their way to the rear exit. They push open the back door and make for the band bus. It swings shut revealing a poster for this evenings entertainment, from the band, Downriver Dead Men Go and lists the members:

Andy de Zeeuw – drums/percussion
Gerrit Koekebakker – guitar/vocals
Fernandez Burton – bass
Peter van Dijk – keys/soundscapes

With airs of the Editors and Nosound for reference, the band may not be to everyone’s taste, but it has seeped into my brain and become one of my favourite albums of the year so far. If like me you are partial to a bout of emotionally dark, slow rock when the fancy takes, then I urge you to buy this. They could be an interesting prospect live.

Released 1st April 2016.

Buy ‘Tides’ from FREIA Music UK

Photoshoot images courtesy of Marc Van Beelen

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