One of the best things about being a reviewer are the unexpected surprises, the albums you were not expecting or not expecting a lot from. Some of my all time favourite releases have been promos that I have listened to on a whim or because I liked the album cover (take a bow Moron Police).
When the promo email for ‘Norwegian happy campers’ Vestamaran dropped in the inbox I actually don’t know what made me take a listen but, boy I’m glad I did!
“Rising from the ashes of the band Father Of A Thousand Kids the Askøy ( an island just outside the city of Bergen ) the group Vestamaran do release their debut album ” Bungalow Rex” 18/6. Featuring members from Ribosyme, Knekklectric,The Danny Cannon Show amongst others from the infamous Bergen scene. Check them out 🙂“, it exhorted.
Self-classified as ‘low octane rock music from the happy campers…’, it is a wonderfully (and wilfully) eclectic collection of songs that will just make you smile… a lot…
The jangly, care free tone of the guitar that opens the album on Error come save me gives you a little taste of what is to come, music that is chock full of life, love and utter joy. There’s a nostalgic, retro vibe to the music that takes it cue from the indie rock that took over the world in the 90’s.
Risky Pigeon has a funky, strutting guitar riff and superb, distinctive vocals to give it real swagger and this confidence flows throughout an album where the song titles are definitely tongue in cheek in places. Swag is a soaring, anthemic track that would have graced any stadium in the 1990’s and on Cutest offender you hear the first hint of an underlying Kings of Leon homage, it’s a ballsy, edgy piece of music with sharp guitars, stylish drumming and super cool vocals all adding layers of style.
My Finest Eye sees the band go all Americana and Alt-Country on us. An emotive and powerful ballad that pulls at the heartstrings before Leonard Cohen and Johnny Cash make an appearance from beyond the grave (or appear to at least!) on the wonderfully dramatic Solitude. Now, imagine how cool it would be if Joe Jackson did a collaboration with Kings of Leon, a bit far fetched? Well not if you just allow me a bit of latitude and listen to the brilliant and incomparable Grustak.
Country rock and blues combine on the strutting majesty of Salt chair, an idiosyncratic guitar riff struts throughout the track with utter self confidence to give the song well deserved bluster. Follow me has a driving hard rock flourish to it akin to early Foo Fighters, anticipation building with every note and that edgy, insistent riff and vocal giving real presence. For me, the best is saved until last as we are gifted the best song that Kings of Leon never wrote, Only for you is just utterly sublime songwriting at its best. Perfect musicianship and honest, heartfelt vocals combine for five minutes of near musical perfection.
So, get your hands on this album and, when the sun shines, get the barbecue lit, an ice cold beer in your hand, put the stereo on, turn it up to 11 and just enjoy this incredible album for, as the press release says, “Life is not just bungalow all day long, it also includes a lot of rex in the evenings.”
After their lauded 2017 album ‘Atone‘, White Moth Black Butterfly return with their new studio album ‘The Cost Of Dreaming‘.
Created by Daniel Tompkins, the collaborative project features a team of songwriters & producers based worldwide, all at the height of their own scenes. Collaborating with Tompkins are New-Delhi based Skyharbor songwriter and producer Keshav Dhar; US based producer and string arranger Randy Slaugh, drummer Mac Christensen and the line up is completed by ethereal vocals of UK singer & lyricist Jordan Turner.
Daniel Tompkins explains why he sees White Moth Black Butterfly and ‘The Cost Of Dreaming‘ representing the dichotomy between peace and conflict within a life full of chaos. “Our new album ‘The Cost of Dreaming’ is something we feel just about every human being on the planet that’s been affected by life changing disruption will relate strongly to. Our nature is to always be planning, dreaming about an ideal future in which we will have ticked various boxes that define our ideal lives, often at the cost of the present. And when control over that future is seized away from us and all we are left with is the present, we realise just how much we took for granted. Life is surely a gift to us all throughout which we experience moments of soaring bliss and happiness, and then in a heartbeat sink into states of great trouble and suffering. Often our struggles can serve as momentous opportunities for growth, but the balance of life can often hold us back from seizing the day. We believe that this album is our greatest achievement – it’s an outpouring of love and a cry for help.”
The album is a very clever integration of contemporary pop with the stylistic flourishes of progressive rock and ambient, experimental music. Catchy hooks abound along with lush orchestral notes and edgy keyboard infused electronica. All the songs are short, like perfect little gems of musical wonder, never outstaying their welcome.
The ethereal strains of opener Ether blend perfectly into the harder, staccato notes of Prayer For Rain and this is followed by the gorgeous wistfulness of The Dreamer where Turner’s vocals stand out perfectly.
The exquisitely refined tone of Heavy Heart bleeds melancholic nostalgia and the lush Portals would grace any modern club scene. Use You is deliciously dark, almost malevolent in its sinister delivery and segues seamlessly into the powerful, funky edginess of Darker Days, given added sparkle by Kenny Fong’s glorious saxophone.
The album builds superbly with each track, an audio experience that draws you in piece by piece. Sands of Despair mournfully washes over you with its plaintive vocal and contemplative piano note before the thoughtful mood of Under The Stars grabs you in its embrace, Jordan’s dreamy vocals imbuing a sense of calm serenity. Soma is a super smooth slice of jazz/pop that is as classy a piece of music that you will hear this year and Liberate takes the art of writing contemporary pop muisic to another level.
There’s a insistent demanding feel to Unholy, an anticipation building of something enigmatic and ominous before heartfelt vocals and the addition of Eric Guenther’s keyboards introduce an emotive emphasis to the sumptuous sounds of Bloom. The album closes out with Spirits, a wonderfully uplifting piece of music that continues to resonate long after the final note dies away.
In ‘The Cost of Dreaming’, White Moth Black Butterfly have created an utterly captivating and beautiful collection of songs where nothing has been held back. It contains every piece of their heart and soul and, just as Daniel Tompkins says, it is a perfectly conceived outpouring of love and cry for help, one that I hope everyone takes heed of…
What a year this is turning out to be, eh? We have had lockdowns, a new US President, I was so glad to see the back of Donald Trump and his inane ‘Twittering’s’, along with his clan of hangers on and thugs. Thankfully so were most Americans, sick of his lies and arrogance and concern for himself and so voted him out, although the incidents at the Capitol Hill probably sealed his fate, for now at least.
In other news, we have seen mass vaccinations against Covid, the emergence of random variants and possible hope for return to a more normal way of living, although some changes will probably remain in situ for now. In this time of uncertainty there are signs of new life, especially musically, as bands are emerging, once again, with the promise of live shows nearer to reality and new material in the can awaiting release.
Frost* are one such act. After a fine digital EP last year, ‘The Others’, and the ’13 Winters’ box set that brought the first ten years of the band together in one fabulous complete 8 CD set, comes this new release ‘Day and Age’ which opens the next stage of their ongoing history.
Consisting of 8 tracks lasting just over 53 minutes, this is a stroll through the modern world as seen by Frost*. Expect despair, hope, longing, confusion and fear along with strong melodies and inspired music, albeit with an edge of discomfort and unsettlement.
“Welcome to the rest of your life… sit back and remember, enjoy yourselves, you scum”, or so the disturbing child’s voice intones at the beginning of opener Day and Age. Things settle into a mid-paced track with lots happening musically, a powerful back beat and masses of keyboards and chiming guitars and with John Mitchell sounding not unlike a certain Mr Gabriel on this song. Everything passes swiftly with nary a wasted second, indeed, as an opener, it is certainly one of the most effective I’ve heard this year and stands right up there with tracks like Hypersonic from ‘Liquid Tension Experiment 3’ and Out Of This World from Kayak. Yes folks, in a dim world, there is mighty fine new music being conceived and delivered by our prog heroes who are, to a man, refusing to allow Covid restrictions to curtail their ongoing creativity and we are most thankful for that.
The album has a few shorter tracks in amongst the longer ones and, in all of these, you can hear the pop sensibilities that Frost* employ so wonderfully, along with the thunderous drums of Kaz Rodriguez, Darby Todd and Pat Mastelotto, each of whom pound away very satisfyingly indeed with power, strength and finesse..
This is especially so on the awesome The Boy Who Stood Still, which includes a fine voice over from Jason Isaacs. Sound wise, this song reminds me of the mighty Propaganda of ZTT Records fame who, through a blend of hard-edged percussion and angular vocals, married funk and progressive elements so wonderfully. Check out Duel or Dr Mabuse for an example of their sound and then see how this Frost* track compares, I can certainly see the similarities. The track is a decent length too and benefits from the extended running time to realise its ideas fully, it really is an interesting song. Lyrically this is a dark album and, were it not for the imaginative music Frost* create, could be considered very mournful and sad. Yet the music works with the lyrics to create something that is not really that sad somehow, I think it is the imagination they employ that elevates the songs to different heights.
Another Excellent song is Kill The Orchestra, it opens with some rather dreamy piano that is completely in contrast to the darkness of the lyrics. That may, of course, be in part due to the locations involved in the writing of these songs, namely a converted coastguard tower in the south west of England amongst other locations. This possible bleakness contributes to the darkness and stark feelings contained in these songs, which, when you read the lyrics, is clearly apparent as a dark and yet interesting view of the world becomes clear.
All of this makes the album all the better for it does not sugar coat the band’s views and takes such a bold lyrical stance. Kill the Orchestra is particularly dark in tone with its tale of a would-be rock star who is lost in his own self worth to the point of self-obsession. All of this is backed by some epic musical sections to make a seriously good song.
This is an ambitious set of songs performed wonderfully and are very satisfying musically. With the modern edge to its sound, ‘Day and Age’ is an album that is impressive from its disturbing opening voice right to the end some, 53 minutes later. This is one that is best heard loud in the dark I think, you will love it!
Saxophone player Jakob Dinesen and bass player “AC” Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around The Park.
On this recording they are joining up with drummer Laust Sonne. He is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He played drums in the avant jazz rock outfit, Bugpowder, and also made a career for himself with his solo project, his own rock band, Dear. He has even made straight pop music in his own name on two albums, in 2011 and 2016. In 2007 he received the prestigious Danish music award, Ken Gudman Prisen.
The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. It went so well that they made big plans of doing more stuff together. But it never happened.
The corona outbreak in the first half of 2020 finally brought the three musicians together again, as other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.
In the picturesque gardens of Det Kongelige Danske Haveselskab in Frederiksberg in Copenhagen, a series of jazz concerts were held, as a compensation for the cancelled Copenhagen Jazz Festival. Among the concerts were one by this trio. It is the sounds from that concert that we can hear on this album. Peacocks were walking around in the garden when the audience was listening to the trio.
For those of us relatively new to a ‘serious’ jazz album, ‘Blessings’ can seem a bit impenetrable at first with its complex and sinuous musical mosaics and tendency to run off at right angles at any moment but, given time and space and, crucially, the right atmosphere to take in every note and nuance, the album opens up and gives its treasures freely.
Free Eddie, written by Dinesen, in honour of his good friend and fellow music lover, Eddie Michel, is a soul searching track that invites you to join three like-minded musicians on an intensely personal journey.
The jazz standard I’ve Told Every Little Star was composed in 1932 by Jerome Kern and Oscar Hammerstein II. It was introduced in the musical ‘Music in the Air’ and, with their version, the trio are giving an honorary nod to saxophone legend Sonny Rollins who often played it live in the late fifties. Jakob Dinesen has a more leisurely tone in his playing, giving the track breathing space to grow and Laust Sonne has swing down straight and imbues the music with grace, assurance and clarity.
Sonne wrote Anouar as a tribute to the Tunisian oud player Anouar Brahem. There’s a laid back and enigmatic desert atmosphere to the music and a whole boat load of soul to Sonne’s drum playing which, allied with Jakob Dinesen’s deliciously dark tone, gives an exceedingly mysterious aura to proceedings.
Tyk Vals is a tune written by Dinesen, and is dedicated to the late Master Fatman (aka Morten Lindberg), who was very close to Jakob. The track invokes the warm and touching kindness that inspired many musicians and is smooth and sophisticated at heart, allowing a warm glow of contentment to settle on the listener.
The Charlie Haden penned Sandino allows fellow bass player Christensen to demonstrate his perceptive and slick bass playing skills on a lengthy solo that tops off this utterly compelling piece of music.
Eddie Harris’Freedom Jazz Dance was a Miles Davis standard, featured on the album, ‘Miles Smiles’. It allows the three musicians here to just play with an utter freedom of expression, as if they are just jamming for a group of friends and not playing a concert in a prestigious location. You are completely drawn into the minds of the musicians as they intertwine their instruments in a classy musical spectacle.
‘Blessings’ is a recording that allows everyone to join the trio on a wonderful celebration of jazz as an art form but also as one with an utterly relaxed atmosphere. Three musicians playing at the height of their powers and obviously enjoying every moment, it is a party we should feel highly blessed to have been invited to.
The Lineup of Andy Tillison (The Tangent/Po90), Jonas Reingold (The Flower Kings/Steve Hackett Band/Karmakanic) and Roberto Tiranti (New Trolls/Ken Hensley/Labyrinth) is a pan European Progressive Rock Band project and the album was recorded during lockdowns in Italy, Austria and the UK.
The album ‘Allium: Una Storia’ is a concept albumwhich takes as its subject a real band, Allium, that Tillison saw play (and jammed with) in Italy when he was a teenager in the mid 1970s.
“One afternoon spent with this band was enough to decide my career for the rest of my life” says Tillison, who subsequently spent a long time searching for any information about them.
“It was the first time I saw and touched a synthesiser; it was the first time I ever saw an electric band play. It was a golden moment on a holiday camp in Italy that has been an influence on every recording I have ever made in the past 46 years.”
The new band –TRT-‘s album is an imagining of the record Allium might have made. Written in the style of the music that they played, the band were joined by Italian lyricist Antonio De Sarno (Moongarden, Barock Project, Mangala Vallis) who, in keeping with Tillison’s original music, wrote the kind of lyrics that might have been penned by Allium at that time.
All members of the band have contributed to the songwriting since inception. The album, whilst paying homage to this and many other forgotten Rock Progressivo Italiano bands, is all original materialwritten in 2021.
Right, that’s the publicity blurb and the background out of the way, the main question is, is it any good?
The album consists of three tracks and is just over forty minutes long. I’ll give you my initial feelings first, the way I felt when I first listened all the way through and what I told Andy when I discussed it with him…
The feeling I get from the music is one of pure unfettered joy, it takes me back to when the world was a much more simple place. It literally does just take me away to a another place in my head and I just smile every time I listen to it.
Andy told me, “Like you, I find the modern world exhausting, I feel more and more like I’m in a dystopian story every day. So a bit of my own memory of more joyful times has helped!”
It certainly shows on this album, it just feels as if it was created naturally, with love and just a in a really relaxed way, it’s a feeling of freedom and no constraints, the album will be ready when it is done and not before.
“I have always found, at least since the Prog Glory Days that Italian Prog was almost the “real thing”. It’s not that Crimson and Yes and Emerson didn’t develop the style, they certainly did, but it was the Italians who really coalesced the style into the most diverse and free thinking forms. Even bands I love like Camel, Genesis, even ELP themselves were often left standing by The Italians. They hadn’t had much truck with Rock Music.. but when Prog arrived, we were on their turf.”, Andy went on to say.
So it’s that Rock Progressivo Italiano vibe brought right up to date for our modern times but music to give you some relief from the complexity of modern life. The swirling, sweeping keyboards that are are signature of Mr Tillison are present and correct and Jonas’ bass is as smooth and stylish as ever, his excellent electric guitar playing skills are also much evident on the album too but what makes this hugely different from what has gone before are Roberto Tiranti’s mesmerising vocals which, like all the best foreign language singers, make the lyrics less important than the actual way in which they are delivered, his voice is like an additional instrument. They add a bit of innocent naivety to the songs and take you back to the sepia tinged hue of a nostalgic 1970’s and, boy, have I longed to be somewhere like that quite a few times over the last eighteen months!
The three songs are the side long epic Mai Tornare and the two shorter tracks Ordine Nuovo and Nel Nome Di Dio and usually at this point, I would go into further detail about each one but, this time, I’m not. This album is a listening experience that should be consumed in one sitting, in the fashion of the 70’s and not dipping in to one track and going back later to listen to another.
Is ‘Allium: Una Storia’ an antidote to the lockdown and everything associated with it? Well I wouldn’t want to make a claim that huge and I don’t think Andy, Jonas or Roberto would thank me if I did! No, it is a joyous expression of music, as, deep down at its core, it should be. Simple but perfectly formed and harking back to the days when music just put a smile on your face, this is one album that deserves success just because of how it makes you feel and I love it for that.
The album is set for a SUMMER 2021 release and is available on Reingold Records. pre-orders are available at Jonas Reingold | Webshop
Esthesis is a French progressive/alternative rock band, their music is characterised by many different influences (70’s british rock, film score, ambient, metal, pop…) and is primarily based on emotion and ambiences.
Created and led by French multi-instrumentalist Aurélien Goude (music, lyrics, keyboards, vocals, guitars and bass), the current line up is completed by Baptiste Desmares (lead guitar), Marc Anguill (bass) and Florian Rodrigues (drums). They released their first EP ‘Raising Hands’ in January 2019.
The band’s highly anticipated debut album ‘The Awakening’ is a thought provoking, intense musical experience full of ambient, cinematic soundscapes. The band allow the music to grow and expand in your conscious as the melancholic chords and Pink Floydlike electronica lead you on a mysterious musical journey.
Wistfully indulgent guitar tones overlay the elegant brush stokes of the sombre piano and elegantly delivered bass and drums while Goude’s pensive vocal leads the way. Listening to tracks like opener Downstream and the stylish High Tide, you find yourself immersed completely into the album’s concept of the notion of identity (awakening, quest and loss of identity), the intelligent songwriting and excellent musicianship allowing exquisitely refined progress.
No Soul To Sell is deliciously dark in its subtle atmosphere and Chameleon, with its graceful acoustic guitar, is polished and precise. Title track The Awakening is an apprehensive instrumental that has me on the edge of my seat with its repetitive key strokes and random sounds that wash over you as the tempo increases and a harder, strident guitar tone takes over. The album closes with the powerful and dramatic track Still Far To Go, a riveting and mesmeric song full of emotion that stays with you, holding your attention, until the last note fades away.
What with lockdown and real life getting in the way, it has taken me quite a while to write this review and, in a way, I’m glad it did. ‘The Awakening’ is one of those albums that grows on you with more and more listens, you find little nuances after every play that give it more soul and depth. Esthesis have produced a seminal slow-burning debut that, in my opinion, is one of the best in recent memory and you’d be doing yourself a disservice if you didn’t add it to your list of must have albums.
Lockdown has seen an explosion of music created by people with time to explore their creative side, be they experienced musicians with a huge back catalogue behind them or relative novices.
For us reviewers this has also meant a vast increase on music that we receive to review so, on top of the fact that my real world job is increasingly busy, it has to take something pretty special for me to get my fingers dancing across the keyboard.
Some musical genres just don’t hit the spot for me but, if I even have a tiny tingle of anticipation about something, I will at least give it a listen to see if it resonates with me and, hopefully, find the time to put some words down on the MacBook.
Joe Devine is an Independent solo artist from London. Having spent almost 20 years playing a huge range of different genres for numerous different artists and bands, he is now taking the leap into producing his own body of work in the hope of creating and capturing his own personal sound that fuses all aspects of his eclectic influences.
Joe sent me an email to see if I would be interested in reviewing his first solo EP, ‘One Foot Forward’. I was intrigued by the minimalist cover and the information contained in the email and, after a quick listen, the absorbing music.
“The project started out purely as a journey of self discovery throughout Lockdown, however after sharing initial concepts with friends and musicians I’ve been lucky enough to work with over the past 20+ years as a session player, the project team rapidly grew; including Daniel Said on drums as well as Henry Green on bass and Produced/Engineered by Ivo Sotirov at The Friary Studios that houses the iconic 48 channel SSL G4000 desk previously used in Studio 1 of the legendary Olympic Studios by artists such as Prince and The Rolling Stones.” Joe explains,
“After a year of graft and collaboration the sounds and tones we were able to achieve on this recording and the subsequent tracks to follow surpassed anything I could have imagined when I began and I cannot wait to share the end result.”, he goes on to say.
The album contains five tracks of superbly written and delivered instrumental guitar music that contains influences of jazz, prog and straight up rock. Each of the tracks tells a story and takes us on Joe’s musical journey, including the evolution from his early days playing acoustic folk through to more contemporary guitar playing throughout his 20s.
What we get is a gloriously laid back and lush selection of tracks that just ooze class and a polished sophistication. It brings to mind the criminally underrated Neal Schon solo release ‘Beyond The Thunder’ to these ears on One Foot Forward and Baby Steps and I find Joe’s style comparable to Schon’s, a mixture of note precise technique along with lashings of heart and soul.
It is all utterly uplifting from the start to the finish with a gloriously atmospheric and wistful feel throughout. Utterly infectious and catchy riffs trade places with fiery dynamism and a monstrous groove that Joe Satriani would have been proud to call his own on the brilliant Giant Leap and modern Math Rock notable Plini can be heard in the staccato notes of the stylishly edgy A Perfect Contrast.
This way too short EP finishes with Too Far Gone which starts with an intricate guitar that reminds me of legendary guitarist Andy Summers before opening into another snazzy, clever piece of music with a deliciously restless undertone.
Listening to this album for the first time brought a smile to my face and there’s a lot to be said for that in these times we are living through. Technically brilliant but with soul and a sense of humour and just a huge amount of joie de vivre, ‘One Foot Forward’ is a very bright musical light at the end of a dark tunnel and I implore you to seek it out.
John Hackett is the flute wielding, multi-instrumentalist brother of Steve Hackett and the two share a musical, as well as a familial, bond. They have worked together on and off over the years with John popping up on Steve’s albums, alongside this John also is the leader of his own group The John Hackett Band and has released several albums over the years such as 2015’s ‘Another Life’ about a faltering relationship and 2017’s ‘We Are Not Alone’, which was a 2 disc set of the album and a live concert recording of a Classic Rock Society gig in Maltby in 2016 (which included tracks primarily from his ‘Checking Out in London’, ‘Another Life’ and a few pieces from the ‘We Are Not Alone’ album.
This new album is a little different in that a) It was recorded in Lockdown 2020 and b) John plays all the instruments that you hear and produced and mixed it all at home. The result is a rather mellow but seriously tuneful set of songs with progressive overtones and embellishments, which are all seriously fine pieces of music.
The album lasts for around 45 minutes but, within that, you will find some fabulous music, all very well realised and performed. Unsurprisingly, there is a fair amount of flute playing but also some very fine guitar playing, in the style of brother Steve. The drums are all from a program, not that it matters really.
The quality of the songs is high and they all have strong memorable melodies. Any solos are brief but fit the song and are not showboating in any manner. There are even bongos on the album but I will leave it to you to discover exactly where they appear. There are a lot of pop elements on show as John gets in touch with the 80’s vibe on a few tracks like In Love, which has a very jaunty beat to it, others have a more melancholy or subdued air about them.
Crying Shame has a brief but satisfying guitar solo, it’s worth remembering that John was originally a blues guitarist in his teens before seeing King Crimson and taking up the flute after being inspired by Ian MacDonald’s playing.
Another pleasing aspect to this album is the sparseness of the arrangements and how John uses that spaciousness to work for him, this also allows his bass playing to really make its mark, anchoring each song solidly. You especially notice this on Broken Glass which is a phenomenal song, slow paced but full of melodic touches and great harmonies. It’s probably my favourite track here along with Julia and Too Late For Dreamers, which has a lovely summery feel to it with some fine sweeping guitar chords and rhythm driving it along. John is very proficient on each instrument, creating layers of sound to achieve a full sound on the album.
Julia is a song John wrote many years ago that now gets its first outing on this album. This is a great little song, very evocative, with a driving guitar riff and has great lyrics to it. Another song that works well for me is the closer, There You Go Again, with its jolly guitar lines and sympathetic keyboards. The track is a bit of a love song really and the chorus is upbeat and memorable and will stay with you long after the album has ended. It also has some jolly flute and acoustic guitar interchanges and a penny whistle solo, all very merry and fine sounding. This closes the album out in strong style and you are left with the option to simply press play and enjoy it all again. I know I certainly want to, this album is brim-full of strong songs, energetic playing and good lyrics.
For an album recorded under some difficult conditions, John has really crafted a fine low-key release here and one that is most certainly worthy of your time and listening. I really enjoyed it and it gets even better the more that you play it. Please buy it from John direct as, like all other musicians now, they need all the help they can get and every album counts. So why not splash the cash and support John at this time, you will get a great sounding album and John will appreciate your support. As Hot Chocolate once sang Everyone’s A Winner!
I first came across the music of Kansas on an old episode of The Old Grey Whistle Test where a track from their then new album, ‘Kansas’, was played. The song in question was Journey From Mariabronn, this was played against the backdrop of a black and white cartoon and I was very taken with it.
It was not until a few years later that I managed to acquire a copy of that album and enjoy the fine music that its grooves contained. Quite a few years later I came across their new album via a promotional vinyl version of ‘Point of Know Return’ with its fabulous sleeve of a ship falling over the edge of the world.
Kansas have been one of my favourite American bands since those early days, I even used to have the ‘Point of Know Return’ album cover on an etched mirror that sadly is no more. Along with Styx and Journey these were the holy trinity of American Rock for me, I still relish any new material that Kansas make and I am eager to see them live again having first seen them at Walt Disney World in the early 1990’s when Steve Morse was in the band, as was Steve Walsh, both of whom are no longer involved. Nowadays the band is fronted by Ronnie Platt (ex-Shooting Star, another class US band in a similar style to Kansas). This live album brings the whole of the ‘Point of Know Return’ album together with some other deep cuts from the extensive catalogue that the band have developed in the last 47 years. Many of the songs have been staples in their live shows since the album was first released in 1977, but here you get the whole album live in one show played in the original order.
If you like Kansas then this album will not disappoint for it shows very clearly how excellent the calibre of material the ‘Point of Know Return’ album contained then and how well that it still stands up today, over 40 years after it was originally recorded. Ronnie Platt is in very fine voice throughout, okay there may be a few missed or muffled notes but, overall, this stands good comparison to the version on earlier live Kansas releases and can stand proudly next to all those albums.
The album has a good selection of some lesser performed Kansas material including songs from the ‘Freak of Nature’ album from the 1990s and a rare outing for Two Cents Worth from the ‘Masque’ album of 1975 and a couple of more recent tracks from ‘The Prelude Implicit’ and ‘The Absence of Presence’, cramming 22 slices of distilled Kansas magic onto 2 CDs.
The album falls into 3 sections, Tracks 1-8 on CD 1 are the deep cuts, CD 2 Tracks 1-10 are the whole of the ‘Point of Know Return – Live & Beyond’ in order, Track 11 is Carry on My Wayward Son, 12 and 13 are acoustic versions of People of The South Wind and Refugee and the album concludes with an acoustic version of Lonely Wind from the first Kansas album from 1974.
Throughout you get fabulous and meticulous musicianship and exemplary performances and songs that are both meaningful and memorable and with fabulous melodies running through their veins. Kansas are not getting any younger so any chance to hear this band firing on all cylinders is an opportunity that should be embraced, music of this calibre deserves to be heard by all that will listen.
I especially like the reverence with which these classic songs are treated and respected, it is very fitting, and you can tell how much the band appreciate and value this momentous period of their history. This album reflects that with the care and diligence with which they perform these songs once again.
The artwork is as good as that which accompanied the release of the ‘Leftoverture – Live and Beyond’ and fans are in for a real treat. It is a pity that the show was not recorded for posterity on film as that would be something special and much sought after by many fans like me. My shelf is awaiting the arrival of this CD Set in the very near future where it will join the other masterpieces of this truly legendary US Band.
Nick Fletcher is not a well known name like Steve Hackett or Steve Morse, yet he carves out his own mark on the guitar world and has done consistently over the years, enjoying a period of solo classical guitar playing, time as a session player and, in the past decade, as part of a duo with John Hackett (Steve’s younger flute playing brother). More recently he has been found wielding the six string in the John Hackett Band with whom he recorded the excellent ‘We Are Not Alone’ album in 2014 and, more recently, the 2018 release ‘Beyond The Stars’, all of which have led Nick to this point, the release of ‘Cycles of Behaviour’ earlier in March this year.
On this album Nick gets a palette on which he can draw his guitar tones as expressively and openly as he has long wished to do, the record giving him a perfect platform. Nick has wisely chosen friends and colleagues to help in this musical crusade and we find the likes of John Hackett contributing flute, piano and vocals along with Dave Bainbridge who contributes Hammond Organ and Mellotron. Tim Harries provides bass guitar, Russ Wilson occupies the drum stool and Caroline Bonnet adds keyboards and backing vocals.
The album consists of 8 tracks of varying lengths with everything written by Nick, apart from Interconnected and Philosopher King which were written with John Hackett. Four of the tracks are Instrumentals with the other four being vocal pieces. The album opens with the instrumental tour-de-force (and title track) Cycles of Behaviour, which is a very jazz fusionist piece complete with a superb organ underpinning from Dave Bainbridge and a steady beat from Russ Wilson.
Nick then begins to shred a la Al Di Moela, the shred is brief and very effective before the piece returns to the strong central melody. A prominent Hammond organ and guitar interplay follows, all highly effective, topped off by some more guitar flourishes before moving into a more subdued section to bring this fine track to a subdued conclusion.
Heat is Rising is the first vocal track with John Hackett’s subtle voice. This song is a love song really, using the heat as a metaphor for a burgeoning relationship and all the joy that situation brings to two people who are in the midst of it all, Nick delivers a quite lengthy and lyrical solo in which he shows some of the tools in his guitar bag with rapid playing and note flurries. This is all supported by Hammond from Dave again the song reconvenes again with a strong chorus being repeated to the close.
This is followed by the more sedate and tranquil tones of Hope In Your Eyes which opens moodily before fabulous keyboards lead us into the gentle melodies being played arpeggio style by Nick, the delicate vocal is then introduced. This song is gentle, like waves on a seashore, and there is a lot of openness in the sound, it is all very laid back and gentle and the tempo is steady and measured and it works with the song as it unfolds. An acoustic interlude with delicate flute from John leads onto a repeat of the chorus and thereafter to a guitar solo from nick that really shines. His use of melody is fabulous and, although busy, the solo is still highly memorable and very lyrical and returns the song to the chorus once again. We are led into a final verse and a further flute passage that is very gentle and Genesis sounding in parts, this brings the song to a gentle and effective finish. A beautiful song, elegantly played by all.
Tyrant and Knave is quite a hard hitting track with a crunchy rock beat to it.The song has a powerful guitar riff that propels it along and a great fiery solo where Nick unloads with both barrels before returning to a more spacious sound, although with an incendiary guitar in tow as well. It is really a full on guitar exercise with lots (and I mean lots!) of ultra-fast and impressive fretwork on display. For a short while, Nick takes his foot off the accelerator turning it into a much slower, but still expressive, section where a growling synth gives way to a far more languid and bluesy solo passage. It is all very atmospheric and ethereal sounding with strong playing making this a most enjoyable segment of the track, the piece then returns to the opening melody to close.
Desolation Sound is another brief instrumental and one on which John Hackett gets free range to play his flute most ethereally with subtle keyboard backing and bass pedals. Nick plays guitar synth, adding extra textures to the track. Then we are on to Interconnected, another vocal track, which has a very pop type feel. The song is very upbeat and light in sound supported by some lovely guitar playing. There is a driving beat which makes it very commercial in sound, all in all a really enjoyable track.
The penultimate track is Annexation which is the final instrumental piece of the album. This piece opens with gentle flute and acoustic classical guitar before Nick takes things electric and plays a strong riff enhanced with excellent keyboards and drums. Nick then delivers a solo that with a lot of style and swagger to it before the song returns to a riffing section followed by another solo, this guy can really play some very fine guitar parts, as this track clearly shows!
The final track on the album, Philosopher King, opens with Nick playing slide guitar over a Pink Floyd sounding backing. It’s all very Dave Gilmour sounding and reminds me of Shine On You Crazy Diamond, it is different but just has that vibe to it. There are great dynamics with a good use of contrasts between light and shade. There is a superb solo section before John’s vocal recommence and you can hear Dave’s organ supporting the song with the fretless Bass of Tim Harries prominent too. A faster rhythmic section follows with stabbing organ sounds driving the track along, there are lots of nods to the prog of the 1970’s too, mainly Genesis and Yes. Everything then slows down and becomes more languid and subdued before more of that evocative slide guitar leads into the next verse of the track.
We return to flutes and classical guitar for about sixty seconds before a bell sounds and another epic guitar solo is delivered, Nick, clearly playing this passage with relish, style and skill. It is quite a lengthy solo here and one that really has room to grow, stretch impresses as it continues until the song finishes.
This song is a masterful example of guitar playing and ensemble playing, and this is the standout track on what is a strong and impressive collection of tracks delivered in various styles but all of which show that Nick Fletcher deserves the accolades from the likes of Steve Hackett, amongst others. He is one to watch to see what he does next. It is an excellent album and one that I recommend that you seek out to listen and enjoy for yourself.
