Category: Reviews

Review – Glass Hammer – ‘Rogue’

Glass Hammer’s ‘Rogue’ spins the tale of one man’s fateful, final journey. “He leaves everything he knows behind,” explains composer Steve Babb. “And thinks he’s returning to a place where he once knew happiness, but in reality, his odyssey will sweep him away to somewhere completely unexpected.” 

Babb explains that the ten-song album explores themes of regret, heartache, and the mortal salience that comes with age. “Life is fleeting,” he continues. “It’s a heavy topic for an album, but the music isn’t as heavy as our last few releases. Rogue is much more like the Glass Hammer albums our fans refer to as “classic.”   

That’s the PR synopsis of ‘Rogue’, the twenty-second studio release from the seminal US prog band Glass Hammer, now more of a solo project for founder Steve Babb who has collected a rather impressive band of brothers and sisters to assist him on this new release.

‘Rogue’ features performances by frequent collaborators Fred Schendel, Reese Boyd, and David Wallimann (GH guitarist 2006-2010). Vocalists Thomas Jakob (Netherlands) and Olivia Tharpe (USA) are new to the band. They’re joined by guitarist Oliver Day (UK), keyboardist Ariel Perchuk (Argentina), drummer Evgeni Obruchkov (Poland), and others.

Steve is right, after the recent powerhouse albums from Glass Hammer, ‘Rogue’ is a much more thoughtful and measured affair and a bit of a return to classic albums from the much loved band. I say a bit of a return because I think Steve continues to reinvent Glass Hammer and they are never quite the same in each iteration.

“I have had enough of winter with its gray hills and gray skies, the gray buildings and gray, downcast faces. Nothing can cheer me in this place. Even the sun has hidden its face from me, but who can blame it? Why should it waste its light upon such a dismal scene? I do not wish to sound melodramatic, but I feel I shall die a slow and meaningless death should I remain in this limbo land of drizzling rain and chill wind! I should have left years ago, but I am determined now to do just that. So southward I will flee! Back to sunshine and clean air! Back to that happy realm where I spent my youth playing in the sand and splashing in the waves. And, maybe, back to her…”

So another concept album then? Not really, ‘Rogue’ is more an album of themes and it actually works brilliantly, let’s delve a bit further…

What If opens the album in fine style with an early Glass Hammer vibe entwined around some definite Mike Oldfield vibes. It is tripping the musical light fantastic and is airy and uplifting with a soothing vocal. I’m getting an 80’s prog vibe from this luscious track and it leaves a great early impression of what is to come, especially impressive is the guitar from David Wallimann. That 80’s electronica vibe continues with The Road South, a gorgeous keyboard note leading us into another soaring piece of music with some rather fine guitar from Oliver Day before there’s a metamorphosis into something a bit more dramatic. The powerful vocals add definite gravitas to the song and make it another excellent piece of music. I have to say, so far, so bloody good for this new album! A strident keyboard heralds Tomorrow, Steve Babb getting his quality bass head on here, sometimes it’s easy to forget what a fantastic musician he is but the bass playing on this track is top level. Fred Schendel joins Oliver on guitar and what you get is just a joyous expression of intricate musicianship enhanced by the superb vocals of Thomas Jakob and Olivia Tharpe.

I love the opening to Pretty Ghost, fine guitar, thumping bass and swathes of glorious keyboards creating a fantastic widescreen 1980’s cinematic feel to the track. Olivia’s lush vocal carries the song on with class and lustre, possibly the finest four minutes of Babb’s career so far. Talking of 80’s, Sunshine is soaked in the nostalgia of that decade with it’s almost 8-bit keyboard intro, the wonderful lap-steel guitar from Schendel and Olivia’s solemn vocal. The measured rhythm and thoughtful, pensive tone adds a real depth of emotion to the song. I Will Follow takes me back to earlier Glass Hammer with its catchy beat and dancing melody. It’s a captivating musical journey that flies along at a serious pace and is led by the wonderful vocals. That’s always been a highlight of all that’s good about the band and they get it absolutely spot on here, not forgetting Oliver Day’s fiery guitar solo too! It’s a breezy five minutes of accomplished progressive rock that shows Steve Babb has lost none of his songwriting credentials.

Now we get to the business end of the album with one of my personal favourites, The Wonder Of It All. An intro that could have come straight from an 80’s sci-fi movie leads into some rather fine guitar from Atillio Calabrese before the elegant vocals begin, accompanied by excellent, polished keyboards. It is a really sumptuous and astute piece of music that draws you in to its dignified grasp. When I was talking to Steve about the track he said that, the more he worked on it, the more it reminded him of a Genesis song. I like the fact that it almost leans away from being ‘prog’ and does feel like it’s right on the edge of Genesis’ ‘Invisible Touch’ era while still retaining the intricate sensibilities of progressive rock. It’s just a brilliant song no matter how you dissect it! One Last Sunrise is a charming respite from the rest of the album. It still has an 80’s electronica vibe with its layers of chiming keyboards but there’s also a lightness of being to its charismatic and engaging soul.

Steve tells me he was going for an Ozric Tentacles vibe with the utterly brilliant Terminal Lucidity. It was also an attempt to do something like the last song on ‘Arise’, just not quite as long. Well, to my ears, he got it spot on, this piece of music is just fabulous and has a real 80’s electronica vibe before bursting out into something more dynamic, maybe even Krautrock and definitely heading up the Tangerine Dream alley with its expansive, intricate melodies and distorted keyboard notes. It’s almost like Steve was composing a theme for an epic sci-fi film and got lost in his own thoughts, just magnificent. The guitar and synth solos from Reese Boyd and Ariel Perchuk just add to the majesty. Steve comes out of his reverie, the track becoming almost symphonic in nature and ending with a feel not dissimilar to an overture, theatrical and gloriously pompous like the best overtures always are. I have a funny feeling that Steve really had some fun when writing this grandiose ending and it just made me smile.

All good things must come to an end and, as if in perfect synergy, this outstanding album closes with the track All Good Things. A confident musical procession and a testament to our character and his epic life’s journey of ultimate highs and deep lows. It is a powerful piece of music that leaves questions in your mind, all correlated by Ariel Perchuk’s questing synth solos and Oliver Day’s mastery on the guitar. As this imposing and dynamic song and album come to an end, you are left with a feeling of fulfilment and of a cycle completed.

With an opening worthy of a Mike Oldfield classic, hints of the legendary Kansas & Genesis and a wonderful overlying 80’s electronica vibe, Steve Babb goes all ‘Rogue’ with us on this new and surprising release from Glass Hammer. Following a more mellow progression, one of the most creative minds in modern music returns with a measured, considerate and ultimately rewarding journey and shows what it truly means to be progressive.

Released 11th April, 2025.

Order now from Glass Hammer’s website:

https://glasshammer.com

Review – Sharks: Car Crash Supergroup – The Island Years 1973-1974, 3CD Box Set – by John Wenlock-Smith

It almost seems that in the 1970’s you couldn’t move for supergroups, that strange scenario where bands split, only to re-emerge in a new combination of musicians. Some of these were very successful, like Emerson, Lake & Palmer, others less so, where the combination was just to volatile to exist peacefully enough to make their mark, like Beck, Bogart & Appice or Rough Diamond, for example. Punk might have brought the demise of many such groups but it didn’t kill them off completely, as bands like Asia can attest.

Sharks were one of those groups that should have been far bigger than they were, somehow they never quite made the grade despite having a very strong line up of Steve ‘Snips’ Parsons on vocals, Andy Fraser of Free on bass and Chris Spedding on guitar, along with Marty Simon on drums. Their debut album ‘First Water’ was released in 1973 on the Island label to much hype that unfortunately did not translate into many real sales.For the second album, ‘Jab It In Yore Eye’, Andy Fraser was replaced with Buster Cherry Jones. It was released in 1974 to a world that wasn’t very bothered. The band toured the USA to good audiences but, again, without more sales. Upon their return, they recorded a third album, ‘Car Crash Tapes’, produced by John Entwistle of the Who, but Island weren’t satisfied with the results and opted not to release it, this caused the band to split up and go their own ways. Spedding did some solo and Guitar Graffiti albums and he was also one of The Wombles, the one with the flying V guitar. Snip joined the Baker Gurvitz Army and Buster Cherry Jones returned to the US and started a new band with Donald and Ralph Kinsey called White Lightning, who released an album for Island records in 1975.

This set comprises of the first two releases, along with that third, unreleased, album ‘Car Crash Tapes’. It also includes live tracks recorded in Providence, Rhode Island in 1974, one of which features Leslie West of Mountain on Guitar. So that’s the back story but what’s the music like? Well, if like me, you were too young to remember them (I was 14 at the time), let’s have a listen through and I’ll tell you what I think.

The debut ‘Fresh Water’ emerged in 1973 after Fraser had left Free after their ‘Free At Last’ album of 1972, wasting little time in joining forces with Chris Spedding to form Sharks, who were signed to Island Records, with whom Fraser’s previous band Free had resided. Steve ‘Snips’ Parsons was spotted by Chris Blackwell and, after a successful audition, was offered the role of singer in Sharks, who Blackwell was managing at the time, having cut his teeth in the North East around the Hull and Humberside area.

The band travelled around in a customised PontiacLle Mans that they affectionately called The Shark Mobile, due to a fin on the roof and teeth on the grill which made an impact. A lot of their interesting history is detailed and recounted in the album booklet along with some great historical photographs of the band. They crashed the car into a tree in the north of England whilst on tour, with Andy Fraser injuring his arm. After this he though heavily about his options and decided to leave whilst he had the chance as he saw the crash as being a bad omen.

‘First Water’ is not a bad album in many respects, with a mixture of classic sounding rock and some sweet guitar work from Spedding. A lot of the tracks are slow burners, meaning that it takes time to really get into them fully, Follow Me being a prime example of this, with a strident piano from Fraser holding the song together and an ascending riff from Spedding that is fairly dramatic. I really like this track, it’s somewhat understated but could have been great live with its decent guitar break and fill section. Ol’ Jelly Roll has more piano and a initially delicate vocal from Snips which channels his inner Joe Cocker in the gritty vocals. This one has a touch of Free about it, especially in how it builds in intensity. Brown Eyed Boy is a Rolling Stones like romp with great dynamics to its swagger and Snakes And Swallowtails is another slow builder with Fraser’s bass at the forefront to good effect. I like this track with its understated playing that suggests the song is going to explode into something special, and it finally does, sounding tremendous, if not a bit short, when it could have been allowed to run on a lot more.

Drivin’ Sideways is more standard rock fare that doesn’t really go anywhere, despite good performances from Snips and Fraser and some almost countrified guitar fills from Spedding. But, despite its initial opening, I actually do like this track and it definitely grows on you. Steal Away sounds like a more mellow Free song, very subdued but actually rather good. Doctor Love is certainly of its time, especially in the lyrics. The track has a sinewy guitar line running through that sounds not unlike Paul Kossoff, which is a nice touch. The final song of the debut is Broke A Feeling, which is a fairly muscular sounding track with some good guitar fills which, along with the bass and the piano of Nick Judd, make a good sound. It’s all a little loose and all the better for that really. The mid section where Spedding lets rip is especially strong making for a strong finish to an album that had much promise that somehow the band were unable to capitalise on fully.

Sophomore album ‘Jab It In Yore Eye’ continues in a similar style and tone to the debut, although it seems a bit more focused somehow. The playing is more concise and impactful, it would seem that the departure of Fraser and the addition of Buster Cherry Jones was good for the band, allowing Snips’ songwriting abilities to be more widely seen, he writes or co writes seven of the album’s ten tracks. Baby Shine A Light is a great song with some excellent guitar work from Spedding, whose playing is subtle and yet exciting on this track. Sun Beat Down has a muscular sound to it, being quite a strident song yet somewhat understated and never actually exploding into life. It’s a bit of promise unfulfilled here despite some good guitar fills. Rain Or Shine is an acoustic song that lacks something, whereas Kung Fu is far better with its chopsticks type piano and some sweet guitar lines from Spedding which enliven proceedings. The Japanese words don’t really add much but Speeding’s playing in the mix does add some excitement to this track. Sophistication is next, a track in which The Clash were instrumental with their Should I Stay Or Should I Go track, you can see that in its stop start riff. Cocaine Blues follows and is a more restrained track. Revolution Of The Heart opens gently with acoustic guitar and then settles into  a more rock like groove. This is another slow burning track that gradually increases in its intensity to become something really fine over its six minute duration. With Chris Speeding’s understated guitar lines really hitting the mark, this track never explodes as such but the intensity and build both make a real impact.

The third album, ‘Car Crash Tapes’, is not as good as the first two and you can see why Island rejected it. The live tracks are taken from a  bootleg recording that have been cleaned up for this set. Again, these are of their time but are a nice addition to what is another fine set from the ever-reliable Cherry Red /Esoteric label and the booklet is of the usual very high standard.

In conclusion, this won’t be to everyone’s taste but it shows that some quality music was being made in the days before punk. How this band failed to achieve major success is one of Rock’s more tragic tales.

Released 24th January, 2025.

Order from Cherry Red here:

https://www.cherryred.co.uk/sharks-car-crash-supergroup-the-island-years-1973-1974-3cd-box-set

Review – Tribe3 – Life Amongst Strangers – by Jane Lee

Rising stars Tribe3 released their self-titled debut album in October 2023, and since then the Bridgend-based three-piece have been raising their profile, storming the concert and festival circuits with their superb musicianship and immersive and impactful style of prog. Guitarist Chris Jones (guitars) and Steve Hughes (bass, bass pedals and keyboards) had previously collaborated as the instrumental fusion band EleKtriK, and with the addition of Jonathan Kinsey on drums – and subsequently vocals and keys – they rebranded as the more prog-centric Tribe3.

Their debut album revealed the band to be mature and experienced musicians. Despite nods to established Prog bands such as Yes, Genesis, Rush and Marillion, along with elements from their fusion experience, Tribe3 was already evolving its own distinctive voice. How does the new album, ‘Life Amongst Strangers‘, measure up to its predecessor?

Although each song stands alone, there is a loosely overarching theme of communication, and what can happen when it breaks down. Throughout the album we hear an increased confidence and cohesion in the songs and performances, and a quality of musicianship that triumphantly surpasses the promise of their debut.

The impressive four-part opening track, Voyager, is epic in both style and scope, paying homage to the Voyager interplanetary space programme. Voyager 1 and 2 were launched in 1977 to observe Jupiter, Saturn and the outer planets and have now passed out of the solar system into the vastness of interstellar space. Voyager 1 is currently the furthest manmade object from Earth.

Atmospheric electronica and an impetuous flurry of synths evoke the mystery and excitement of space travel. Solo piano introduces a 5-note pattern of rising fourths that underpins this first section, and Jonathan’s vocals radiate a sense of awe and wonder. An instrumental interlude, The Depth and the Wonder, opens with ambient synths portraying the unnerving calm of vast, empty distances, followed by a heroic fanfare from drums, cymbals and brass suggesting the grandeur of space and the pioneering spirit of space exploration, real and fictional. In Surfing the Maelstrom, distorted choral vocals and agitated drums lead to the brave but desperate cry of Alea Jacta Est as the probe crosses the border of the solar system to explore uncharted territories. In a moving conclusion that recalls H era Marillion, Jon’s exquisite high register vocals float above bleak piano and a shimmering cloud of synths as Voyager proceeds on its lonely odyssey.

Falls Like Rain is a chillingly powerful indictment of the relentless advance of the powerful, mercilessly crushing all who stand in their way. The track is dominated by the grandiose five-chord motif that opens proceedings and a choral refrain ‘Healthy, wealthy, makes a man wise’ that sounds like a malignant parody of an advertising jingle or the hysterical slogan from a political rally. The instrumental soundscape contrasts bright, metallic guitar and synths with the deep rumbling of bass pedals, while Jonathan’s mighty drums relentlessly pound out a brutal military march. By contrast the chorus, Should we let it go, poignantly embodies the anguished despair and powerlessness of the individual fighting to stand up to the forces of oppression. The track delivers its message with unnerving eloquence but its earworm melodies make for an addictively exciting and enjoyable listen.

In perfect contrast, The Last Encore is a rose-tinted retelling of the final scene of Shakespeare’s Romeo and Juliet.  Wistful flute and a carillon of synths establish a nostalgic atmosphere in a lilting waltz rhythm, suggesting that we are witnessing the tragedy at one remove, sat comfortably among the audience as the tragedy unfolds onstage. The track overflows with gloriously memorable melodies, and Jonathan’s vocals are sweet, lyrical and caressingly warm. The orchestration is ravishing, alternating rich symphonic swathes of sound with rippling arpeggios on keyboards and a tender flute solo. Moments of tension are provided by dissonant stabs from guitar and keyboards and Steve’s restlessly prowling bass line, but the rapturous chorus breaks through like sunshine after a storm. The soaring finale resounds with bittersweet “happy ever after” vibes as Jonathan sings ecstatically:

            Wondrous times we can relive through moments

            Holding hands we move onward.

Proceedings close with a yearningly emotional guitar solo from Chris which tugs at the heartstrings and finally fades into a wistful farewell from solo piano. After this, surely there cannot be a dry eye in the house!

Requiem for a Friend is a brief but moving keyboard solo written in memory of music journalist Jez Rowden. Jez was one of the first to promote and encourage Tribe3 when they first started out and remained a staunch supporter until tragically he passed away suddenly in March 2024. The music has an ethereal, timeless quality and a sense of vast, reverberant spaces. It segues into Life Amongst Strangers,coming to rest on a joyously serene chord before the full band bursts in with the song proper. The sound is bright, extrovert and upbeat, with a nod towards Moving Pictures-era Rush while also recalling Andy Foster’s Kite Parade.  Spirited performances from each band member create a vibrantly animated texture, suggesting the myriad lives that stream past our eyes every day. The verses, with their jazzy rhythms, jaunty backing chorus and delightfully funky bass line, testify to Chris and Steve’s fusion background. The wistful harmonies of the chorus create a more pensive mood, reflecting the sense of alienation in the lyrics:

Living life amongst strangers

            Too many places that I can’t reach

            All unknown to me, how do they live their lives?

The darker lyrics of the second versemake the upbeat perkiness of the music feel hollow and sinister.  At 7:30 the smooth synth-dominated texture is rudely interrupted by Chris’s strident and bluesy guitar but the introspective mood returns with Jon’s spine-tingling vocals supported only by a hazy wash of keyboards. The final chorus restores the upbeat mood, now overlaid with a poignant sense of longing. In the magical coda, ethereal falsetto vocals float over instrumentals that twinkle and shimmer like the countless stars that we see every night but can never reach.

The lyrics to The Front Line invoke the hopelessness of war, and the tragic waste of life it brings. While the images of trench warfare suggest World War I, the horror is universal. The track is unified by recurring patterns in the instrumentals, such as the haunting guitar motif which bookends the track, ringing out like distantly tolling bells, and a cool instrumental groove with a trippy keyboard loop, jazzy guitar and prominent bass line. To my ear this light, jazzy music feels quite disconnected to the dark lyrics, perhaps depicting the ‘numb and quiet’ minds of the soldiers awaiting the call to go over the top. After the doomed soldier asks ‘Will I escape?’ the dreamlike atmosphere becomes darker and more urgent. Chris’s guitar soars and spirals in anguished agitation, then over a stark background of gunfire from the drums Jon makes dramatic use of spoken vocals. The thrilling instrumental section that follows stunningly showcases the musicians’ tight rapport as they navigate rhythmic and textural complexities with assurance and panache. The dramatic conclusion is truly masterful. Jon’s impassioned vocals perfectly express the bitter desperation of the lyrics, the ‘blood red garden’ suggesting not only the blood of the dying soldier but also the iconic image of the poppy fields on the Somme:

            I see my dreams before my helpless sight

            Flashing by so quickly, film underscored

            Where I lie will others see?

            Someone yelling out and floundering – overwrought

            Those misguided never grieve

            For in my blood red garden, silent I will leave

With its moving journey from mysteriously atmosphericopening to triumphantly soaring conclusion, Evening Tidecloses the album on a grandiose blaze of proggy glory. It is a poignant love song from the Earth to the Moon, with the bittersweet twist that the Moon is gradually drifting away from the Earth. The track has an epically cinematic sweep, with Steve and Jon’s keyboards transporting us effortlessly from one lush, symphonic soundscape to the next. Jon’s warm, thoughtfully nuanced vocals and Chris’s eloquently emotive guitar perfectly convey the sense of devotion and yearning expressed in the lyrics, while drums and bass intensify the atmosphere and bind the whole sonic canvas together. I’m reminded of Dawn Treader, the heart-warming final track from the band’s debut album, but the overwhelming musical and emotional impact of this song shows just how much further still Tribe3 have travelled.

Tribe3 are a force to be reckoned with, a fresh and exciting voice in the world of prog. Rich in expressive melodies, intricate rhythmic subtleties and sweeping, evocative soundscapes, ‘Life Amongst Strangers’ promises to be one of this year’s most significant and enjoyable releases. Listen to it. Immerse yourself in it. Introduce it to your friends. Music like this makes the world a better place.

Released March 14th, 2025

Order the album here:

https://tribe3.bandcamp.com/album/life-amongst-strangers-2

Review – The Weever Sands – ‘Moonfish. Songs Of Love And Water’

“On their fourth album, The Weever Sands take their listeners to the gentle, soothing, and peaceful side of the ocean. The magnificent title track follows the beautiful Moonfish on a day’s journey from the sunlit surface to the deep waters and back again, starting by daybreak until the soft whale song lays him to sleep. The main track is framed by two tracks that act like siblings, drawing their inspiration from literature and flowing like crystal-clear rivers to the sea. Combining elements of Folk, Prog, Minimal, Ambient, and classical music and dealing with the issue of inner peace and self-love, The Weever Sands provide a listening experience full of elegant tunes, delicate and fragile acoustic fabrics, friendly and sometimes dreamy moods, a grain of humour, and high-class virtuosity.”

There is nothing quite like Jens-Peter Gaul and The Weever Sands, a complex and highly imaginative musical collective that deliver music similar to Mike Oldfield but Oldfield on a day when his mind is a bit skew whiff and not quite in touch with reality. It is utterly joyous and occasionally chaotic stuff with amazing musical guests like Les Penning, Terry Oldfield, Armin Rave, Geo Schaller, Jan Christiana and Dyanne Potter collaborating on this imaginative and completely left-field release.

Oh, I Said, And Turned Vanilla (River I) is a mind-bending musical trip of acid folk and rap that just draws you in and refuses to let go, captivating and downright barmy, I loved every minute of it!

Moonfish (Opah) is supposed to be following the magnificent eponymous fish on a meandering journey from the surface of the sea to depths and back again. Well, if this piece of music is anything to go on, he has a pretty good day! It’s uplifting and joyous and mad as a box of frogs. The great thing about music like this is that it is addictive and you literally cannot stop yourself listening to it. My commute to work is about thirty minutes and I spent a few days replaying this enchanting and madcap piece of musical joy on my drive to and from work and, do you know what, it made those journeys fly by. It’s music to lose yourself in and music that makes your life a better place and I applaud Jens and all his fellow musicians for having the foresight and bravery to create it.

Oh, I Said, And Blushed Like An Idiot (River II), like its bookend companion, compliments the title track with some fine, mainly instrumental music. It’s like someone set Morse Code to a soundtrack and it really, really shouldn’t work but, thankfully, in this crazy world that we live in, it does and it works brilliantly. It’s running time is just under nine minutes but it just flies by like a flash and then, almost unbelievably, all I want to do is go back and listen again!

The Weever Sands return with another journey through the looking glass. Music created as art and not easily accessible but, if you get it, you are privy to a most enlightening experience and one like no other. If it doesn’t resonate with you then I feel truly sorry for you as you are missing out on a most magical musical masterpiece.

Released 31st October, 2024.

Order from bandcamp here:

https://theweeversands.bandcamp.com/album/moonfish-songs-of-love-and-water

Review – Karmakanic – ‘Transmutation’

The acclaimed Swedish progressive rock band Karmakanic is back with their highly anticipated sixth studio album, ‘Transmutation’. Produced by the band’s founder and visionary leader Jonas Reingold, The album has been mixed by five-time Grammy Award winner Chris Lord-Alge, renowned for his work with legends such as Muse, Tina Turner, and Bruce Springsteen.

For this album, Jonas Reingold has assembled a Dream Team of internationally renowned musicians, including Simon Phillips, Steve Hackett, Nick D’Virgilio, John Mitchell, Andy Tillison, Craig Blundell, Randy McStine, Amanda Lehmann, Rob Townsend, Roger King and Luke Machin, to name just a few!

Jonas Reingold comments:


“With ‘Transmutation’, I wanted to create not just music but an experience – the best progressive rock album in modern time, a place where the listener can dream, reflect, and be carried away by the sound. Listen to all these wonderful musicians in a high fidelity environment.  Working with these extraordinary musicians has made this album truly special to me.”

Lofty ambitions from the renowned bass player and all round stellar musician, can this new release from one of my favourite modern day progressive units live up to them, let’s see shall we?

It’s been a long time since the release of Karmakanic’s previous album, the rather excellent ‘Dot’, back in 2016 and Jonas has been a very busy man in that time, being the ‘go-to’ bass player for not just progressive rock acts. Thankfully for us, Jonas has found the time to create another profound collection of songs under the Karmakanic banner and I consider myself to be a lucky soul bringing you the fruits of his labours here in this review.

I have always been huge fan of Karmakanic, their wonderful joie de vivre and the hope and joy in their uplifting songs is just amazing to hear and always lifts my mood. Send A Message From The Heart from 2008’s ‘Who’s The Boss In The Factory’ and Higher Ground & Steer By The Stars from the aforementioned ‘Dot’ are just a few examples of the inspiring music that Jonas and the band can create and gives him a lot to live up to.

Album opener Brace For Impact is a powerful instrumental introduction to the new release with some fiery, edgy guitar from Jonas, thunderous drums from Simon Phillips and Andy Tillison’s distinctive keyboards all combining to deliver a profound statement of intent. I braced myself for the next track, the utterly captivating End Of The Road, possible the best Karmakanic track yet delivered to an expectant audience, it really is that good! A spellbinding introduction leads to one of John Mitchell’s finest vocal performances, ably assisted by the lush tones of Randy McStine. Gorgeous musical themes abound, Luke Machin delivers some elegant guitar lines and solos along with exquisite acoustic guitar from Jan-Olof Jonsson and you are welcomed into a wide ranging vista of bewitching charm. Don’t be surprised if the repeat button on your remote gets a lot of work with this track, it is just brilliant. Cosmic Love has more than a feel of the 80’s about it with the fine keyboards of Jonas and John’s urgent voice driving things along. Some excellent slap bass straight out of that decade will put a smile on your face as, in tandem with more dynamic drumming from Craig Blundell, he ups the ante. Randy adds great backing to John and the requisite guitar lines to create another great track.

I don’t know if it is just me but John Mitchell’s vocals seem to be at their finest at the moment and he goes on to showcase his excellent voice on the stunning We Got The World In Our Hands, a song that shouts Karmakanic more than any other on the album. The music literally has you walking on air and feeling the world is a happy place and if you can go through the eight minutes of this track without singing the chorus, you have a lot more restraint than me! A four strong guitar line up of John, Jonas, Randy and Krister Jonsson imbue the song with sophisticated layers and Simon Phillips is once again on top form with the drum kit. It’s another superb track but it’s the vocals that really stand out for me, just dazzlingly sublime. An edgy atmosphere arrives with the opening to All That Glitters Is Not Gold, an almost folky feel brought on by flute and accordion to this cautionary tale. Jonas’ songwriting seems to just get better and better and is brought to life by this supreme collection of highly talented musicians. John’s vocal has a catch to it, a sombre feel if you like and the music a little haunting edge, along with some fine lead guitar, all strident and dominating, from Kristen again. If it could be said that Karmakanic have a dark side, it is let loose on this deliciously dark feeling piece. A big nod must go to Rob Townsend and his ever impressive saxophone playing.

A measured guitar and keyboards add to John’s precise vocal delivery to give a cautionary feel to Gotta Lose This Ball And Chain, a harder edged piece of music that shows a more measured and considered side to the band. Sven Cirnski layers his sophisticated guitar over Tomas Bodin’s keys and the fabulous rhythm section of Jonas and Simon and Krister gets to fire off a suitably impressive guitar solo. A catchy chorus and the fine musicianship give subtle polish to the track and it is wonderful to hear Göran Edman’s stylishly theatrical vocals at the end. And so to the final, and title, track, Transmutation, Jonas and Karmakanic have always been known for delivering superb and engrossing epic tracks on their albums (Dot and Send A Message From The Heart being prime examples) and Jonas does not let us down here with a twenty-three minute musical tour-de-force. The song ebbs and flows perfectly with some utterly mesmerising musicianship from the assembled cast of legendary progressive musicians, Steve Hackett, Andy Tillison, Krister Johnson, Roger King, Rob Townsend, Jan-Olof Jonsson, Nick D’Virgilio, the list goes on and every single one of them seems just happy to be there and be involved in this amazing musical project. Thunderous guitar and drums, elegant keyboards and Hammond organ, brilliant saxophone and John Mitchell and Amanda Lehmann laying down exquisitely graceful vocals, this track literally has it all and showcases the musician’s ability to blend complex musical arrangements with superb musicianship and emotional depth. I couldn’t think of a finer way to close an album.

‘Transmutation’ takes all the best elements of ‘Who’s The Boss In The Factory’ and ‘Dot’ to create an utterly engaging listen with all the hallmarks of what makes Karmakanic such a celebrated outfit. Consistently brilliant from the first note to the last, Jonas Reingold and his FC Barcelona of progressive all stars have delivered a musical experience to transcend most others.

Released 7th March, 2025.

Order from the artist here:

https://www.jonasreingold.se/shop

Review – Infringement – Black Science and White Lies – by John Wenlock-Smith

‘Black Science and White Lies’ is the third album from Infringement after ‘Alienism’ (2019) and ‘Transition’ (2017) The album follows a man’s journey through faith, his identity and, eventually, his redemption.

Infringement are Stig André Clason (guitar), Kristoffer Utby (drums), and Hans Andreas Brandal (vocals). Keyboardist Bård Thorstensen joined the band for their live performances and soon became a permanent member. Their latest addition, to complete the permanent line-up, is Emil Olsen on bass. Brandal has a somewhat theatrical style of singing that works well on this fine two track (in multiple parts) album of two pieces, White Lies and Black Science.

Together these two tracks comprise the entire 43-minute duration of the album, an unusual and somewhat intense sounding album that mixes narrative and some fiercely strident and hard-hitting music. I recommend that you have the CD booklet at hand so you can follow the narrative more easily, as it is can be a bit obscure otherwise. Even so, it’s not easy to follow what’s going on. I found it better to just go with the flow and listen to it as a complete piece of a journey. On White Lies, the acoustic guitar, keyboards and piano work very well ,acting as a counterpoint to the despair of the vocals, as does the guitar break at the end of the track that gives such great dynamics to the piece.

I actually find strong connections in this piece to the parable of the prodigal son, where a son leaves home and eventually realises he was better off at home. This theme is especially apparent White Lies pt. 3 – Apostasy which is backed with a very muscular beat and a thrust of energy and power. There is great use of the Hammond organ throughout this section with some sinewy snaking guitar lines and power chords giving the track its impetus and drive. The following section sees the return to the fold as it were as he seeks reconnection to his family. Again this is all very much theatrical in tone and actually works well like that.

After this we move to the second, five piece, suite of Black Science, which is slightly longer in length. This piece opens with good interplay between the organ and the rhythm section with powerful drums from Kristoffer Utby and strong parts from bassist Emil Olsen alongside Stig André Clason‘s subtle guitar playing. The sound is complex and constantly changing in both style and tempo, there is more than a whiff of both Gentle Giant and King Crimson in this track as it evolves steadily, the piano from Bård Thorstensen is really fine and offers a good balance to the intensity of the other sections of the track.

I will admit to not having a clue as to what this track is about, although it seems to be about a state of evolution. The organ is very prevalent during the Crimson Skies segment of the track as are the epic tones of Redemption, along with more fine guitar work from Stig André Clason, whose playing is never less than stellar, his last solo concluding the track and album in style.

‘Black Science and White Lies’ is a very interesting and somewhat intense listen, as it will demand much concentration in order to fully grasp the concepts it contains. It is worth the effort though as Infringement reward you with some excellent musical passages and performances with some great sections and playing. I really wouldn’t mind delving further into previous albums from the band to get a grip of what they are  all about.

The booklet for the album gives a lot more information and is a recommended aid to getting the best from the music of the album.

Released 19th September, 2024.

Order from bandcamp here:

https://infringement.bandcamp.com/album/black-science-and-white-lies

Review – Stackridge – Lost And Found – The Reunion Years 1999-2015 – by John Wenlock-Smith

I can’t believe that in all my years, although being aware of them, I had never actually listened to any music from Stackridge, the Bristol based unit whose merging together of folk, prog, music hall and vaudeville stylings had somehow completely passed me by. Unbelievable and definitely my loss. So. now I find myself rapidly playing catch up, trying to rectify that oversight, which is rewarding, if not a little futile, as Stackridge have ceased to be, well for the moment at least.

Stackridge’s history is well documented online and in the rather marvellous ‘On Track’ book by Alan Draper, which details that history album by album. It’s possibly a book that many would enjoy reading, digesting and learning all about this seldom mentioned and largely overlooked band.

This fine 4 CD set comprises the reunion albums, ‘Something For The Weekend’, the ‘Lemon’ mini album and the 2008 release ‘A Victory For Common Sense’. The set is completed by a reissue of ‘The Final Bow’, a double album recording of their final show from their home city of Bristol recorded in 2015. It also features additional bonus tracks such as the 2006 re-recording of Purple Spaceships Over Yatton, Seek and You Will Find and both songs from the rare ‘Dummies’ CD single.

Stackridge have a near 50-year history, although it is a broken, disjointed timeline with periods of several years’ inactivity between the late 1970’s and the 1990’s, after which they returned to an increased level of activity once again. This means that ‘The Final Bow’ element of this release is able to draw material from their earliest and also their latter day releases and this makes the set different to the earlier live set of ‘The Forbidden City’ from 2007, with which it shares at least 10 tracks. The addition of track from 2008’s ‘A Victory For Common Sense’ helps as several of those tracks really make an impression here. As do long term fan favourites like Syracuse the Elephant and Slark, along with Purple Spaceships Over Yatton and Do the Stanley Stanley Aviator Brass, that draws the show to a fitting, if not a little understated, finale.

What I do like, and I think will appeal to Big Big Train Passengers, is the presence of Claire Lindley who adds her violin, guitar, ukulele and voice to these recordings. They all sound wonderful and pastoral even, at various points within the albums, especially on the live tracks where her presence is keenly felt. I also like that they delve back deep into their history for versions of The Road To Venezuela and God Speed The Plough. Something About the Beatles really appeals, with its somewhat whimsical lyrics. It does remind me at times of a less manic incarnation of the Bonzo Dog Doo-Dah Band without the whirlwind of mischief that was Vivian Stanshall, Stackridge seem to share a similar musical DNA, which makes their eccentricity all the more rewarding. I really am enjoying discovering all this wonderful music many years later on.

Whilst casual listeners may not find this the best introduction to Stackridge, it does have the advantage of offering a handy bite-size introduction to the band through its latter-day recordings and the great ‘The Final Bow’ set. This is all encased in a great clamshell box with individual sleeves for the albums, although ‘A Victory For Common Sense’ gets a gatefold sleeve and ‘The Final Bow’ gets a different picture for each disc, along with picture labels of each cover. The booklet is perfunctory and actually is a little light on details, giving more of an overview of the band’s history, the pictures are good though, it must be said, I certainly found it to be a fine set one that I will definitely return to again I’m sure.

I recommend it highly and I can only comment on how much I’ve missed out on over the years of this band’s existence. Don’t be like me, investigate Stackridge for yourself, you may be as pleasantly surprised as I have been with their excellent musicianship and witty and interesting songs.

Released 27th September, 2024.

Order from Cherry Red here:

https://www.cherryred.co.uk/stackridge-lost-and-found-the-reunion-years-1999-2015-4cd-box-set

Review Round Up – Ghost Of The Machine, Dominic Sanderson, Human Pyramids, Michael Woodman & Dim Gray

Life has been a bit up and down recently and I have really struggled to keep Progradar up and running but we are still here, a not inconsiderable thanks has to go to John Wenlock-Smith for keeping the reviews running while I’ve been on a bit of a hiatus!

Anyway, 2025 started with some fantastic promos being sent so here are just a few of them, you’ll see why I think 2025 is going to be another stellar year for the music we all love!

Ghost Of The Machine – ‘Empires Must Fall’

‘Empires Must Fall’ is the hotly anticipated second album from Yorkshire-based progressive rock band Ghost Of The Machine, releasing on 7 March 2025 through ProgRock.com’s Essentials label.

Empires Must Fall maintains Ghost Of The Machine’s trademark anthemic hooks and beefy melodic rock production (once again courtesy of Leeds producer Bob Cooper) and it also explores “denser and darker arrangements that”—singer Bramald promises—will “scratch that ‘prog’ itch while striking a careful balance between shorter, more accessible songs and those epic-length pieces that we’re known for.”

The new album tells a continuation of the story that started with the ‘Scissors’ suite on the previous album. Bramald adds, “Our first record concluded with the tyrannical Puppet King being vanquished by his final victim… she slew him with a pair of scissors! So, we wondered what the consequences of that violent but liberating final act would be. We started with a simple question: what is true justice? Is the newly crowned Empress of the Light succeeding at being a benevolent ruler, or is she becoming a tyrant herself? Can she right all the wrongs that she herself had suffered? And what will it take to finally break the cycle of violence and coercion?”

God, these guys just keep getting better! There’s a confidence about Ghost Of The Machine that oozes from every track on this complete monster of an album. You’d be forgiven for thinking that the band had been together for decades, not just a handful of years. Powerful guitars and a wonderfully fluid rhythm section add to the elegant keyboards and Charlie Bramald’s superb, distinctive vocals to deliver a real tour de force of hard rock tinged progressive rock.

Keepers Of The Light opens the album with an energetic bravado that enthuses the listener and then The Days That Never Were adds some classic hard rock vibes to the album. The two epics, Panopticon and Fall Through Time, take this impressive band to yet another level. The former is a brooding monster of a track that ebbs and flows with a quiet assurance and maturity and speaks of a group of musicians on an ever upwards trajectory and working in an almost symbiotic relationship. The latter is a true progressive masterpiece that wouldn’t be amiss on a Genesis album. The haunting brilliance of The One is a highlight and the album closes with After The War, a modern progressive take on Dire Straits‘ Brothers In Arms to my ears.

‘Empires Must Fall’ is Ghost Of The Machine oozing class, skill and confidence to deliver a truly majestic musical experience that lingers long after the last note has ended.

Released 7th March, 2025.

Order the album here:

https://ghostofthemachineofficial.com/store

Dominic Sanderson – ‘Blazing Revelations‘

Dominic Sanderson is a 25-year-old Liverpool-based solo artist from Wakefield. He places his foot firmly in the progressive rock field, with current influences being Van der Graaf, King Crimson, Gentle Giant and Caravan. Having made his debut in 2020 with the ‘Discarded Memories’ EP (featured on the sampler CD of Prog Magazine #116), Sanderson released his first full-length album, ‘Impermanence’, in 2022.

‘Blazing Revelations’ was completed between January and November 2024. The album was recorded and mixed independently by Joshua Joyner in an abandoned radio station. With the snatches of time available to Sanderson and the band members, what with commitments to careers, families and social activities, ‘Blazing Revelations’ was a labour of love, slowly chipped at when time allowed. The mastering was completed by Jon Astley (The Who) at Close To The Edge Studios.

Once again, Dominic Sanderson has created something truly progressive. I was a big fan of ‘Impermanence’ and I think he has taken his skill set to another level. A masterful collection of songs that inspire and surprise at every turn. There’s touches of Canterbury, swathes of symphonic and, over all, a supreme confidence in the composition and delivery on every track of this superb release.

Dominic is obviously not one to rest on his laurels and ‘Blazing Revelations’ continues his quest to expand the progressive genre with thoughtful, intelligent and complex creations like the acid edged majesty of From The Weeping Cradle with it’s complex rhythms and the wistful, Canterbury stylings of Faithless Folly, a convoluted, labyrinthine piece of music that takes you on an other worldly adventure. Add in the acid folk leanings of A Rite Of Wrongs and we see Sanderson take an enjoyable trip into the wider sonic world.

The stand out track is the near seventeen minute journey into the unknown that is Lullaby For Broken Dream. There’s something utterly compelling about this song as it opens up like an Edgar Allan Poe story set to music with discordant jazz sections that really test his fellow musicians and edgy, contemporary prog that makes for an complex and intriguing listening experience. An utterly worthwhile expedition into the creative mind of one of British progressive rock’s rising stars. Crimson-esque guitars and swathes of 70’s keyboards abound on this stunning piece of music that will leave you breathless in admiration.

With ‘Blazing Revelations’, Sanderson has redefined what it is to be truly progressive in the modern musical world and I for one am eminently thankful that there are musicians out there who are still creating works of art like this.

Released 28th February, 2025.

Order from bandcamp here:

https://dominicsanderson.bandcamp.com/album/blazing-revelations

Human Pyramids – ‘Thank You’

Human Pyramids is a Cinematic, Orchestral Supergroup from Glasgow, Scotland.

Led by Composer/Producer Paul Russell, the new album features musicians from Axes, Suicide Bid, Scottish Ballet and Modern Studies.

Their 4th album ‘Thank You’ was recorded all over the UK and Europe. Luscious strings, rousing horns, shimmering guitars and bubbling synths. The album expands upon their trademark euphoric sound from the first 3 records which have soundtracked countless TV Shows, Documentaries and Films. The album was mastered by Alan Douches (Sufjan Stevens / Animal Collective) in New York State.

I’m a huge fan of Paul and Human Pyramids, the uplifting music is wonderful to listen to and transcends all the crap in modern life. With ‘Thank You’ Paul has carried on with his fantastic formula, delivering an experience that is sonically beautiful and joyously mesmerising.

Take strings, brass, amazing percussion and funky guitar and add in a touch of utter joy and you get something that will leave a permanent smile on your face. Listen to the audaciously wonderful Full Bloom, the staccato feather like innocence of Scattering Sunlight and the wholesome delight of Glow and tell me that I’m wrong!

This world that we live in can be a daunting and scary place so take some time out of your busy schedule and let Human Pyramids whisk you away to a world of musical wonder and delight!

Released 17th January, 2025.

Order from Banquet records here:

https://www.banquetrecords.com/human-pyramids/thank-you/TMT004

Michael Woodman – ‘Hiss Of Today’

Thumpermonkey’s guitarist/vocalist Michael Woodman returns with his first full-length solo album, slated for release on 26/04/2025.  ‘Hiss of Today’ entangles restless analogue-synth entities with lo-fi motorik percussion; part 60s baroque chamber pop, part Vangelis, part Thelemic ritual viewed through a broken kaleidoscope. Label owner and Gong frontman Kavus Torabi (whom Woodman toured with after the release of his debut EP, ‘Psithurism’) also gifts his unmistakable spectral psychedelia to the single, Lychgate. The album’s inspiration comes from an uncanny discovery: William Robert Woodman, one of the founding members of the Hermetic Order of the Golden Dawn, not only shared Michael’s surname but also died on the same date as Michael’s birthday. ‘Hiss of Today’ is equal parts nostalgic hauntology, tales of cursed ZX Spectrum tapes, and hallucinated 8-bit lore – expanded upon through a pre-release text adventure that fans can access from February 2025.

Photo credit Ashley Jones.

I was one of the first to hear ‘Psithurism‘ and was intrigued by Michael’s complex and intriguing music and he has returned with a full length release that improves on the promise of that EP to deliver a thought provoking and beguiling collection of songs that captivates the listener with its compelling stories impressive musicianship. Haunting and moody on tracks like The Wandering Nerve, the musical equivalent of scratching your finger nails down a blackboard and bombastic and theatrical on my personal favourite, The Button, a track that harks back to 90’s hard rock band Incubus to my ears. It is a journey through a feverish but calculating mind and one that produces something daringly different.

There’s nothing else quite like ‘Hiss Of Today’, with touches of Gong and Cardiacs in places, mingling with the cerebral style prog of Van der Graaf Generator and King Crimson, Michael Woodman has created a kaleidoscope of musical magnificence.

Released April 26th, 2025.

Order from bandcamp here:

https://michaelwoodman.bandcamp.com/album/hiss-of-today

Dim Gray – ‘Shards’

Dim Gray are a Norwegian band known for their cinematic, atmospheric sound that fuses rock, folk, and chamber pop. Following acclaimed debut, ‘Flown’, and the expansive, evocative soundscapes of second album, ‘Firmament’, Dim Gray are set to release their third studio album, Shards, on February 28th, 2025 on Grim Day Records. 

Formed by Håkon Høiberg (guitars, vocals), Tom Ian Klungland (drums), Oskar Holldorff (vocals, keys) and former member Robin Kirknes (bass), the band added new members Kristian Kvaksrud (bass) and Milad Amouzegar (guitar, keys) in 2023. The band have established a strong live presence, as per their recent live EP, and have captivated audiences while supporting renowned acts like Marillion and Big Big Train.
 
Oskar adds, “Seven of the songs on Shards are about change, upheaval, severance; something shattering to pieces. Although most of these songs are sad or dramatic, some have a tinge of hopefulness to them, as sometimes the pieces of something shattered can be rearranged in different and better ways. These seven songs are bookended by two songs that deal with the opposite; a constant stasis, an unending struggle of two opposing kinds that are reflections of our personalities.”
 
With the breadth and ambition of the Shards album, Dim Gray are making good on not only what has come before but also setting their sights on, despite their name, a very bright future.

I’ve been on the Dim Gray journey since the start and this Norwegian band just get better and better with every album they release.

They have a very distinctive sound and this has coalesced into a more easily accessible and open set of songs on ‘Shards’. From the very first note of Defiance you are drawn into a musical cornucopia of wonder and delight. Jingling guitars, haunting piano and the distinctive, fluent vocals are hallmarks of this wonderful band’s very unique sound. The soaring choruses and dynamic strings add yet another dimension to the music and this can be heard to fantastic effect on the delightful Myopia.

Dim Gray are described as ‘evoking a blend of Radiohead’s experimental edge and Fleet Foxes’ pastoral warmth’ but, to my ears anyway, their sound has evolved to be very like the much loved Danish band, Mew, who are sadly playing their last two shows this year before disbanding. With driving, energetic songs like Murals with its superb folk style guitar, Dim Gray can forge a new path for themselves and create their own niche. The warmth and heartfelt passion of Feathers and Mooneater create a stylish juxtaposition with the wonderful Scandi pop/prog of the vibrant first single from the album, Peril, like A-ha brought bang up to date for present times, it’s uplifting, energetic and just brilliant!

Mesmerising and ethereal, Little One and Shards From a Broken Crown are perfect musical gems like atmospheric, euphonic ripples in a sonic lake but the best is saved until last with the ten minute odyssey that is Attakulla. A brooding opening gives way to Dim Gray at their magical best. Gorgeous harmonies and simply superb musicianship create an atmosphere of utter wonder that transcends mere mortality and finishes this musical creation on an incredible high.

‘Shards’ is a band operating on a higher plain. Widescreen cinematic music full of heart and soul, Dim Gray have given us the highlight of 2025 so far and it will take something quite remarkable to top it.

Released 28th February, 2025.

Order the album here:

https://linktr.ee/dimgraymusic

Review – The Round Window – Fram – by John Wenlock-Smith

One of the best things about last year for me was getting out to go to more gigs than usual, several of these being in quite distant places for me. These included a couple of Sunday afternoon shows in Camden, another was in Reading and yet another was in Colchester, where I was fortunate enough to witness the first ever live performance from Essex based The Round Window, who were supporting the ever impressive EBB in a show at the Three Wise Monkeys public house.

This was a very interesting trip for me as Colchester is nearly 200 miles and several trains from Cheshire! Nonetheless, it was a trip I felt compelled to make as I had been utterly smitten by their second album ‘Everywhere And Nowhere’ which editor Martin Hutchinson had reviewed and raved about on this very site.

Which bring us in a very meandering manner to this latest release from The Round Window, the EP ‘Fram’, which is not long enough for an album but certainly strong enough to be a stand alone release. It contains a mere three tracks, however, when the tracks are as imaginative and varied as these then you are getting some real quality music that works well as both an introduction to the band and also marks a moment in their development as the band move forward to being more active and present in the current progressive rock scene.

The three songs, The Silence, Fram and the epic sounding Hourglass are performed by the three Lock’s, Richard on vocals, Thomas on Keyboards and Jack on drums. They are very ably assisted by Robin Armstrong of Cosmagraf who adds some impressive guitar to Fram and bass on The Silence, along with Gareth Cole who adds his multi-faceted guitar tones to Hourglass. In Addition, Per Malmberg adds his guitar to The Silence. The EP is also produced by Robin Armstrong via his Gravity Dreams label.

This EP works extremely well in offering a concise snapshot of a band who have upped their game significantly with new material that draws on what they have done previously and yet have somehow managed to move several steps further on in terms of their overall confidence and also in their visibility in the current scene. What has helped in this is their constant self-examination of who they are and this EP distils their hopes and dreams into just three songs that offer another side to the band with thoughtful and intelligent themes delivered with style and grace.

First (and longest track) The Silence is a song written from the viewpoint of a soldier in the First World War who is remembering past seasonal festivities at home with his family, something he is hoping can happen once more when the madness is over. The song begins with a somewhat sombre and atmospheric soundscape  which is very cinematic in tone before a beat is picked up with bass and drums. A strong vocal from Richard commences with the soldier’s memories and his strong wish to be home. The song paints a wonderful picture of family life that has been interrupted by events, at which point the song changes into a darker mood. A guitar break follows before more sombre words are voiced and we can tell that things have altered somewhat for the soldier as he tells his sister that all is not as he had previously communicated. He did it to keep his hopes alive but now they have been dashed. The song ends with sounds of a family gathering and it is a very moving track all told.

Fram tells the story of Fridtjof Nansen, a Norwegian Explorer who sailed in the ship Fram on an unsuccessful expedition to the North Pole in 1894. Despite his failure, he was hailed as a hero on his return. The song explores his thoughts and feelings on his failure and the subsequent success of Roald Amundsen in 1911 in the very same vessel, Fram. This track is very introspective and resigned in tone, not victorious in any way and has some great and very fluid guitar lines woven throughout.

Hourglass is another somewhat introspective and inward-looking piece, although it concerns itself with looking into the future at the end of another year and hoping it will be a better one that lies ahead. It is a reflection on the passage of time as well and is another superbly composed and delivered piece of cinematic progressive music.

This is a very satisfying, impressive release from The Round Window and bodes well for their next album. I consider myself lucky enough to have caught their first show and hope to see them again soon.

Released 29th November, 2024.

Order from bandcamp here:

https://theroundwindow.bandcamp.com/album/fram

Review – Kite Parade – Disparity – by John Wenlock-Smith

I’ve had ‘Disparity’ for a while now and have only just begun to fully appreciate its subtle elegance and beauty. Andy Foster and Kite Parade have created a very modern progressive rock album of strong songs and observations of modern life.

The album begins with the track Fraternal Angels, which is very upbeat, starting out with synth soundscapes and piano before the vocals kick in with a surging drive. The song is very wide open in sound and is an excellent opener to all that is to follow afterwards. The mid section of the track is very interesting as it details the state of the world and it’s inequalities, 20% of the world having 80% of its wealth and resources. The brief Open Your Heart calls for a fair redistribution of the world’s food supplies and wealth and to be fairer to everyone. Is This All There Is ? features Christina Booth of Magenta who challenges us to do and to be more as there is more to life than what we see and experienceT he delivery of this great song is excellent. The World Is Mine is from the view of one who is in the top tier of wealth and is still not satisfied with everything,

Lynsey Ward of Exploring Birdsong is the vocalist for Broken, which has a delicate piano and some great synth sounds among its shuffling melody. The introduction of Andy Foster’s excellent saxophone solo really adds to the dynamics along with some great slide type guitar sounds towards the end. There are great dynamics between the rhythm section of Jimmy Pellagrosi (drums) and Marcin Palider (bass) with Andy laying down a great guitar line on top. This segues into Forgotten Youth, which has a chunky riff and sound to it. This is another up-tempo song with very interesting lyrics. Also worth mentioning is the terrific sound that the album possesses and that comes courtesy of Rob Aubrey, the sound being excellent and clear with great dynamics. It sounds really good to these ears, modern with a great drive and urgency when required. I also like how the songs flow into each other, creating a continuous sound cycle which captures the attention. The song has an excellent outro that is very impressive and imaginative. The use of textures and colouring make this song very grand sounding and my favourite thus far on what is a very majestic album.

Is There Hope? is a prelude to the epic Make It Beautiful which begins with thunderous bass from Marcin which sets a strident tone for the song. The track has a great refrain that is very memorable indeed. This is a great piece of music, very hopeful and optimistic in nature, which is no bad thing! It is a plea to restore beauty to an increasingly ugly world. Yes, it might be a bit hippyish and unrealistic but one can hope that beautiful actions can happen and bring the beauty back for everyone to appreciate. All this leads into the final track, Listen To The Angels, another optimistic and hopeful song. Andy Foster might be a dreamer but he wants a better world and hopes that it will happen and, in these troubled times in which we currently live, surely that’s not a bad way to be. I for one applaud his efforts and share his hopes for a fairer future.

‘Disparity’ is a really strong album with much to commend and has some brilliant performances. It bodes very well for the future of Kite Parade, let’s us hope that it’s not too long before we see them in action once again, as they are at the vanguard of a growing wave of melodic and worthy progressive rock music.

I highly recommend this tremendous album to you all. As for me, I am going back to check out their earlier albums, ‘The Way Home’ and ‘Retro’ as they passed me by, so the time is right for me to get acquainted with them.

Released 4th October, 2024.

Order from bandcamp here:

https://kiteparade.bandcamp.com/album/disparity