Category: Reviews

Review – That Joe Payne – By Name, By Nature

“Flair is what makes the difference between artistry and mere competence. Cmdr. William Riker”
― Star Trek The Next Generation

Well, I never thought I’d start a review with a quote from Star Trek but these are strange times we are living in!

Ex- The Enid frontman Joe Payne reinvented himself and launched his solo career as That Joe Payne and has just released his first full album, ‘By Name, By Nature’, on 7th August.

I always like a bit of background to my reviews so here is what Joe’s website says about him:

“Born 1989, Payne is a classically trained vocalist with backgrounds in theatre, pop and rock music, remembered by audiences for his impressive 5 octave range and strong countertenor.

He is best known for his work within progressive rock as frontman of The Enid (2011-2016). During their time together, the band released 6 albums and 3 live videos. They received 3 Progressive Music Award nominations in 2013 and 2015, including Best Band, Best Album, and Best Event.

More recently, Payne has released collaborative work with Zio and John Holden, as well as producing solo material. 

His personal achievements include being voted Best Male Vocalist for two years running (2014 & 2015) in the Prog Magazine Readers’ Poll.

In 2019, Payne was invited to support Marillion at their fan-weekend at Port Zelande, NL.”

Now we’ve got that out of the way, here is what I think about the new album…

‘By Name, By Nature’ is fifty three minutes of pure artistry from a man who will be the first to admit that he certainly has a flair for the theatrical. It is a delight from the first note until the last and shows what an absolutely consummate performer Joe is, he is, honestly, a true entertainer.

After the dramatic instrumental opening of The Thing About Me Is the next two songs are pure driving pop music with a definitive diva edge to them. Title track By Name. By Nature and Nice Boy play to Joe’s talents and panache, imagine Andy Bell at the height of his fame with Erasure and, in my opinion anyway, you’ll be bang on the money. I am a particular fan of Nice Boy, you will not hear a more fun and jaunty track this year, I’m sure!

“He’s a Payne by name and a pain by nature…”

To be fair, I’ve met Joe and he does himself a great disservice with that line as he is a really nice guy, anyway, we then start to move into proper musical theatre territory with In My Head and What Is The World Coming To. The former song has a chorus that hails from Joe’s time in The Enid and is powerful and emotive and the latter is just pure theatre where Joe’s distinctive vocal is the focus.

Love (Not The Same) shows the soulful side of Mr Payne, a slow burning and sensual song followed by the soaring I Need A Change, which was previously released as Joe’s debut single and is still as powerful now.

The pared back, graceful feeling End Of The Tunnel is wistful and nostalgic and Music For A While takes the music of Henry Purcell and gives it an 80’s electronica backbeat. The album comes to a close with the stunning Moonlit Love where Joe’s skills as a songwriter meet his penchant for the theatrical, never has Beethoven’s music been put to a better use!

That Joe Payne has given us a highlight of the year, something entirely different to the majority of the rest of the music I have been listening to and all the fresher and inspiring for it. If you want to listen to an album that will take your mind off the world for a while and take you to a place of wonder and not a little wry humour then ‘By Name, By Nature’ might just be the one to take you there.

Released 7th August 2020

Order the album direct from the artists here:

https://www.thatjoepayne.com/shop

Artist picture by Martin Reijman.

Review – The Tangent – Auto Reconnaissance

Welcome to the post-Covid-19 world. My day job has got ridiculously busy and I have not been able to write any reviews so I’m going to alter my usual in-depth method and just give things to you straight.

The Tangent, the progressive rock group led by Andy Tillison, are set to release their 11th studio album ‘Auto Reconnaissance’ on August 21st, 2020.

The follow-up to 2018’s ‘Proxy’, sees them taking the band philosophy of celebrating the golden age of prog, whilst bringing it to the present and exploring new paths for the music to take in the future. On ‘Auto Reconnaissance’, they bend that philosophy to their will, taking in prog rock foot Stomping, sublime Jazz, humour, narrative, a modern R&B love song, funk/soul and a 28 minute long emotional epic about the band’s home country of England.

Andy comments: “I utterly refuse to accept that Progressive Rock Music is some kind of museum piece. It is actually a living and breathing movement that has a past, a present and above all, a future. It once had an album-chart-topping golden age, but the genre was never about that. It has subtly and virally kept itself alive for decades where many new musical genres have risen to glory and faded away.”

For this release, Andy is once again joined by long-time collaborator Luke Machin (who also helped produce the album), Jonas Reingold, Theo Travis, and Steve Roberts. Together they bring to life an album that has been influenced by the likes of ELP, The Isley Brothers, Steely Dan, Aphex Twin, National Health, Rose Royce, Squarepusher and Return To Forever amongst others.

Right, that’s the record label PR out of the way, what do I think of the album…

Simply put, Andy is at his acerbic and witty best when it comes to the lyrics, especially on the travelogue-esque track 2, Jinxed In Jersey where he regales us with his journey around New York and it is a brillaint, amusing and tongue in cheek clash of cultures between the largesse of the good ol’ U.S of A and your basic, down to earth Yorkshireman.

The wonderful, laid back jazz-infused soundtrack to Andy’s spoken word is superbly judged and takes you back to the 70’s. To be fair, the whole album has that sepia tinged edge of halcyon days gone by but given that ‘turd polishing’ skill that only Andy Tillison can do.

You want funky, you’ve got it, the five and a half minutes of opening track Life On Hold is as good as anything released recently with even a passing resemblance to the decade that gave us disco and corduroy flares! It’s a song that makes you smile and we all need some of that at the moment.

Dare I say that Under Your Spell has the feel of a 70’s love song? Almost as if Andy is channelling his inner Barry White (now there’s an image!). Whether you agree with me or not, what it is is a wonderful, classy and velvet smooth piece of music and there’s no arguing with that, just listen to the way Luke’s solo just oozes empathy.

There’s a sea change and a move to the 80’s with the edgy keyboard note of Tower Of Babel and it’s direct and in-your-face chorus. Think Huey Lewis And The News get down with Talking Heads and you won’t be far from the mark.

Lie Back And Think Of England could well be seen as Andy’s Magnum Opus and, in my humble opinion, it is the best piece of music he has ever written. Twenty-eight minute progressive rock epics are everywhere nowadays but this never fails to engage the listener and keep them under its captivating spell. The highs and lows and dynamic crescendos are utterly brilliant, taking you on an engrossing musical journey through all that is good about prog rock and one where every word and every note have their place.

Back to the 70’s and the funky, disco edge of soundtracks like Shaft and Starsky and Hutch, the bedrock on which The Midas Touch could have been built. There’s wah-wah pedal and tinkling of ivories galore in a song awash with the feel of lazy, hazy summers. The album closes with the bonus track Proxima, a twelve minute instrumental that could have come straight from a Tangerine Dream record.

The Tangent are a British progressive rock institution and every new album is eagerly awaited by the fans and, while every fan will have their own opinion, ‘Auto Reconnaissance’ is my favourite album from the band yet. Andy is on top form, his song writing is as sharp and clever as ever and he has gathered around him a group of musicians who seriously have no peers. A superb release and one which cements The Tangent’s already exalted reputation.

Released 21st August 2020

Order from Burning Shed here:

https://burningshed.com/the-tangent_auto-reconnaissance_cd

Review – Lonely Robot – Feelings Are Good – by John Wenlock-Smith

Lonely Robot is the name that John Mitchell (It Bites, Frost*, Kino and Arena) uses for his solo projects, and this really is a solo album as it all performed, composed and produced by John himself with Percussive duties being handled by his Frost* colleague and drummer extraordinaire Craig Blundell. This is the fourth release to bear the Lonely Robot name, the previous three were his ‘Astronaut’ project (‘Please Come Home’, ‘The Big Dream’ and last year’s ‘Under Stars’). This time around the fare is far more Terra Firma focused and deals specifically with the events and memories that John says have made him who he is today. 

It’s been a few years since I last listened to John Mitchell’s music and I don’t know why that is really as he offers a decent brand of prog/pop crossover material that is really fine to listen to, so it’s me who has missed out really. This album will hopefully rebalance that scenario. 

‘Feelings Are Good’ is an emotionally revealing album that is not afraid to face some difficult times that John has been through and lessons he has learnt from these experiences. John refers to these moments as being the cornerstones, both good and bad, that he is back on planet Earth and has a personal lyrical axe to grind

The albums cover features closed eyes and a taped over mouth that represent how people are very guarded about their emotions. This album, however, is less guarded, far rawer and much more open about the emotions it addresses  You really must listen carefully to the songs to get the measure of what John is on about but, certainly, there are songs about broken relationships, night-time fears (spiders), small town life and grief and loss.

The album is generally Prog lite although it has touches of progressive metal in certain parts. It has excellent musical accompaniment and the sound is crisp and clear with good separation between instruments and, at all points, John’s guitar playing is very elegant and soars when the song calls for it. He has worked hard here to convey his emotions and backed it all up with powerful songs that will elicit a response from his listeners

Whether that response be anger, sadness, despair or hope is up to each person who hears this album and how this music makes them feel. No matter what your reaction may be, this is most certainly a well crafted and well written and recorded set of songs.

The songs them selves are very varied, all pretty much even tempo and most feature a guitar solo within them. John is very good at using his playing to accentuate the emotions within the songs. He also uses keyboards in a highly effective manner to further enhance these pieces and to add colours to the emotions and feelings that are so openly displayed.

His voice is strong and clear and he sings with real conviction and feeling, sometimes with force and anger, but always for the song and not just for effect. I commend John for being so open to all listeners. Doing so takes real courage and bravery, as some of these songs deal with painful moments for John, and yet he handles his emotions positively and without bitterness.

There are several key songs on this album, Crystalline (which uses the words of winter to reflect emotional coldness as a metaphor for emotional feelings), Life Is A Sine Wave, Keeping People As Pets and the brief Grief Is The Price Of Love, which tells us that there is no there is no rainbow without there first being some rain. This track is a remarkably simple but emotional song, played on acoustic guitar with a single heartfelt vocal from John. This is a stunning short piece but one that has real gravitas to it. Armour for My Heart, which is about protecting your heart and how one must do this at times, is also another emotionally bruising song.

In summary this album is a marked departure from the science fiction that occupied his last three albums and takes on a far more down to earth, closer to home theme and all that that entails. This is an excellent album that is well worthy of being heard I recommend it highly.

Released 17th July 2020

Order the CD from Burning Shed here:

https://burningshed.com/lonely-robot_feelings-are-good_cd?filter_name=Lonely%20ROBOT&filter_sub_category=true

Review – Steve Howe – Love Is – by John Wenlock-Smith

‘Love Is’, is the latest solo album from Yes guitarist Steve Howe. Steve has been the guitarist in Yes since the ‘Close To The Edge’ album in 1972 and in that time his guitar mastery has entranced millions of fans with his unique style and skill on both electric and acoustic guitars, his harmony vocals also playing a supporting role to the vocals that made Yes so famous. His incisive guitar work was also heard on the original brace of albums by Asia, especially on the huge radio hit Heat of The Moment, among many others

Asia were the group he revisited on several occasions over the years but this new solo album is a little different in that it features current Yes vocalist Jon Davison on the vocal tracks which comprise five of the albums ten tracks. Jon also provides bass guitar on these same five tracks. In reality  the album is all fairly laid back with only a few songs raising the pace but, somehow, this doesn’t really matter for what we have here is a master craftsman at work, still striving to push himself forward and make new music that is worthy and has merit.

This is certainly the case here, especially on the vocal tracks as these have a real edge to them delivered by Jon Davison. These songs also have a feel of Yes to them, even without the rest of the band onboard. Certainly one can see It Ain’t Easy finding a place on a Yes album and it being a highpoint of that, just as it is here. Also worth a mention is the delicate steel guitar on the instrumental Pause For Thought, which shows Steve’s nimble finger work off to great effect, its complex playing proving quite strident, making it one of the better tracks. This playing is quite lyrical really making this a song without words and sounding very good too!

Imagination also has that same strident feel to it, being the better for it too. The song has some fine playing from Steve. While his playing here is song cantered and is not focused on showing off on fiery solo’s, the solo’s that he does deliver are brief and fleeting, aimed to fit in with the tone of the songs or the moods of the pieces. In all honesty, this plays to the strength of the songs as an overall album and it is probably best appreciated as such.

This is a good album by a great musician and, while there is nothing here that makes you go wow!, if you let the music do the talking and you are prepared to listen to it, you will find snatches of real skill and moments of beauty. Like those found in The Headlands where Steve finally lets rip  with some sublime guitar lines backed by some fine acoustic guitar. This song is possibly my favourite on the album, although I also like See Me Through and Fulcrum, both of which are really satisfying to hear. The title track Love Is A River is also a stand out moment that shouldn’t be missed.

I do feel that it would have been good to hear more of Steve really cutting loose and tearing up his fretboard but, hey, at seventy odd he probably isn’t interested in doing that any more. Instead we’ll just have to be happy to settle for the amazing craft he brings to these pieces.   

The final track, On The Balcony, has the most rock orientated feel to it, with its chugging riff and rhythm moving it along nicely. This has a good use of dynamics to it really but, overall, I feel that many fans will simply not bother to listen to this album wanting the next Yes album instead, and that is very is sad as this disc has many moods to it and a hell of a lot to commend it.

Personally, I am very glad to have heard this and wish Steve all the best for this album’s success. He has created an album that rewards the diligent listener and, on that basis, I can highly recommend it to you. If your knowledge of Steve Howe is limited to key Yes albums and the Asia material then you really should give this album a try. Steve has released a lot of albums over the years, from his first ‘Beginnings’ and ‘The Steve Howe Album’, both in the mid 1970’s, to the more recent ‘Nexus’ (with son Virgil) and the Steve Howe Trio albums and, in my honest opinion, ‘Love Is’ stands comparison with the best of those.     

Released 31st July, 2020

Pre-order the album from Burning Shed here:

https://burningshed.com/store/stevehowe

Review – Frost* – Others E.P. – by John-Wenlock Smith

The ‘Others’ E.P. is basically a collection of left-over tracks from their last album (‘Falling Satellites’) released in 2016 and with a running time of 32 odd minutes.

Acting as a taster for their next album, that is due to surface in September, this 6 track EP is most welcome treat one that, once again, proves that the creative force found in the mind of Jem Godfrey never rests and that, even now, his mind is still crafting and creating aural treasure for our delectation.

The EP opens in style and with a real presence in Fathers which utilises lots of vocal tricks to enhance the sound alongside some pretty ferocious drums and guitar work. There’s an almost thrash tempo to it that is softened by some prominent synths before an altered vocal is brought in. This is a very powerful song with some serious drive to it, thanks to Craig Blundell’s hearty drum patterns.

This is the suddenly interrupted by a brief xylophone break, which is very different, and then the main riff crashes back in again before a child’s voice says ‘goodnight’, leading into Clouda, which opens with gentle keyboard effects and a sole vocal. The song then morphs into an electronic dance sounding track interspersed with more keyboard effects among pounding drum patterns, keyboard effects and samples. An acoustic guitar lightens the tone, rendering some gentleness to the song before reverting to the harder format again.

This song is very atmospheric,the middle section is dreamy in tone with lots of effects surrounding the music, although I must confess that I don’t know what he is singing about! It is certainly effective though as, once again, this sound hurtles along with barely a breath. The music is very interesting and effective before another gentle dreamlike section towards the end, sounding like something out of a fairy tale, brings it to a close.

Exhibit A opens with a guitar and some chant type vocals that fade to sampled keyboard sounds. Again, it is very dance driven and sounds almost like an African rhythm before a huge guitar riff and drums crash in. More treated vocals are employed before the choral chant is introduced with more keyboards and programming, “We won, we own you…” is repeated to great effect before a brief keyboard riff and then onto verse 2! Telling us again that we are owned and will do as we are told. There is a middle section of some spaciness and then the guitar solo and drums play their parts along with a wild synth solo. It is all very effective asthe chorus plays out, with a female vocal this time, and more keyboards/samples bring the song to a fine conclusion as a strong spoken male voice riffs over then end of the song. The track is all about the downside of fame and how it’s not always what you thought it would be and how it can be a prison of your own making.

Fathom is a song about a wife who goes to war with her husband rather than him leaving her on her own. The piece has a military feel and beat to it and it certainly tells a different story. This is a very emotional song talking, as it does ,about the reality of war and the lengths this wife went to be with the one she loves. There’s sounds that are reminiscent of ELO in the Synths and there is also much tenderness to it too, in the emotions it expresses. Next up is Eat, which is very vocally effected and manipulated to good effect, the clever effects really adding emphasis and emotion to the song again, most impressive. The song is actually about a blood sucking insect and its view of a victim!!

The final song is called Drown. Again a very languid and dreamy piece with lots of chiming keyboards and samples. Craig’s drumbeat keeps it all in time and holds it together. Quite a simple piece but it is an effective and reflective one to round off a very different style of progressive rock music, the sort that makes you think WTF initially but that gradually grows on you the more your hear it and become acquainted with it.

I have to confess that I know very little about Frost* overall, never having heard their previous albums. That is something I will have to rectify now, I think, as this has certainly impressed me and whetted my appetite for more!

Released 5th June, 2020.

Review – Abel Ganz – The Life of the Honey Bee and Other Moments of Clarity

“Friendship is unnecessary, like philosophy, like art…. It has no survival value; rather it is one of those things which give value to survival.”
― C.S. Lewis

I have made so many friends through music and not short lasting friendships either, friendships that I hold dear and will last the test of time and for all time. You all know how much I love music but it is the stories behind a lot of those friendships that have made the music much more meaningful and enduring.

I have to thank my good friend and colleague at Bad Elephant Music, David Elliott for introducing me to the fantastic legendary Scottish proggers Abel Ganz through their incredible 2014 self-titled release which was a kind of rebirth for this seminal band.

The conclusion to my review of that album went like this,

“This is music that will stand the test of time and could become a legacy for this superb band. Abel Ganz has delivered what is bound to become a highlight of this already impressive musical year, I implore you to go henceforth and purchase this musical marvel!”

And those words led me on a fantastic musical and life affirming journey to seeing the band live quite a few times including four trips to Glasgow to see them at their own mini ‘Prog B4 Christmas’ festival.

Through those trips and the wonder of social media, I have come to know the band on a very emotive and personal level and I am very proud to call them all friends. Perhaps that close friendship added fuel to the foreboding worry of how they would follow up that wondrous collection of songs that made up 2014’s well loved release? All I know is that, when band leader, drummer and all round good guy Denis Smith sent me the music files in March of this year, I was both excited and slightly apprehensive about what I was going to hear…

So, first to the Press Release:

“A concept album comprising of six thematically linked pieces exploring our relationship with memory and loss. The liminal space between a fading ‘what was’ and an anticipated ‘what is to come’.

The album recalls the hazy technicolour of long remembered summers and the sepia of a love forgotten. A place where we blur the boundaries of returning and renewal. The lyrics chart the course through recollection to premonition. These words are both deeply personal and universal, hope for what is next and a lament for what we have lost.”

Denis told me that the band had deliberately set out to NOT make the same album as before and after dozens of listens I can honestly say that they have delivered something totally different but equally as wonderful as before, to be honest, it is better, in my opinion!

There is something utterly bewitching about this collection of seven perfectly crafted songs. Actually, I’d go further than calling them songs, they are stories, stories that bare their soul, stories of love and loss that can be at times amazingly uplifting and, at others, totally heart-wrenching but they are always beautiful.

This enchanting and captivating musical journey opens with the title track, The Life of the Honey Bee and Other Moments of Clarity, which opens the album with nearly thirteen minutes of enthralling, beguiling brilliance and the album never looks back from there. The song writing is thought provoking and the musicianship second to none with Dave King’s elegant guitar playing providing the ethereal stepping stones for Mick Macfarlane’s soft, Caledonian brogue to draw you in to this mesmerising song and the genius Chromatic Harmonica of Alex Partlin has to be heard to be believed. The masters of Scottish progressive rock are back and it has taken just one song to ease my worries, this is going to be one wondrous experience, I just know it!

As if that wasn’t superb enough then the incredibly moving exquisite grace of One Small Soul (can you tell I like this song?!) takes the bar and lifts it even higher. There are simply not enough superlatives for this ridiculously good piece of music. I always said that Thank You from the previous release was my favourite Abel Ganz track and I still love it but this consummate song has just stolen my heart completely. From the sublime guitar through to the delightful piano, it just touches my soul. The vocals are heartfelt and earnest and Mick’s interplay with acclaimed solo artist Emily Smith is a highlight of the whole album, add in the dazzling guitar solo and you have just about the perfect song.

Dave King took over from long time Ganz guitarist Davie Mitchell and has immediately become one of the family and his self-penned instrumental Arran Shores superbly evokes the image of a wind swept and scenic Scottish shoreline. Just under three minutes of instrumental music that you can just lose yourself in and forget all your worries.

Get the tissues out, trust me, there will not be a dry eye in the house after listening to the celestial strings and evocative vocals of Summerlong. A song with a depth of personal meaning that soars high with a melancholy, wistful grace. On Denis’ recommendation, the first time I heard this track I wore headphones and just stopped dead and listened to every word and every note intricately and I would advise you all to do the same. A thoughtful, yet plaintive song that leaves its mark on your heart and in your mind.

After the contemplative and reflective nobility of the previous track, the first ninety seconds of Sepia and White (written by stylish bass player Stephen Donnelly) has more funk than a New York disco in the height of the 70’s. It is utterly brilliant and put a huge smile on my face before the song segues into a thirteen and a half minute epic with elements of progressive rock, elements of jazz and an added touch of Americana just to mix things up. The guitar motif that runs throughout is a great piece of ingenuity, vocalist extraordinaire Mick Macfarlane really is on top form and Jack Webb’s keys are as accomplished as ever. Sit down with a wee dram or a glass of your favourite red and just enjoy a group of musicians on a creative high as this exceptional song gets under your skin and almost becomes part of your actual being, it really doesn’t get much better than this my friends!

What a wonderful surprise as the first notes of The Light Shines Out fade and the vocals begin, this refined and nostalgic song sees Denis Smith on the microphone and his slightly catching voice is just perfect for the gossamer like feel that the music engenders. Like the sepia tinged early morning dew of a spring day, there is a feel of awakening and rebirth about the whole song and it really stirs your emotions and is a fitting end to the album and I love the way the fading guitar ends the track.

Well I say end, we are actually treated to a radio edit of One Small Soul as things come to a proper close which, let’s face it, is no bad thing…

How to sum up my feelings? I have a very close connection with Abel Ganz but that has not made any difference to how I have reviewed this album. Put simply, it is not just the best album I have heard this year, it is one of the best albums I have ever heard in my 52 years. More than just a collection of songs or even stories, it is part of the band member’s very souls and when they put all of that into making a record, you are going to get something very special indeed.

Released 6th July 2020

Order the album direct from the band’s website here:

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Review – Martyn Barker – Water & Stone

Martyn Barker is an English drummer, percussionist, multi-instrumentalist, composer and producer, best known as the drummer for Shriekback. He has also been a member of King Swamp and worked with many of the world’s best known and loved musicians. He currently has co-written and co-produced two records with songwriter, vocalist and multi-instrumentalist Talitha Rise, as well as producing and drumming for acts worldwide.

‘Water & Stone‘ celebrates the miracle of water; its rhythm, its music, its journey, its myths, poetry & its beauty. The album contains wondrously spiritual folk-scapes created for television by Martyn in collaboration with Emily Burridge (cello), Nick Pynn (violin) and Astrid Williamson (vocals). 

I first got to know of Martyn through Jo Beth Young who recorded as Talitha Rise and he really is a consummate and extremely creative musician so, when he asked me if I’d be interested in a new collection of music he had written for television my answer was always going to be a resounding yes.

Despite the premise that the album was written specifically for TV, it can be taken as a singular recording in itself. There is a wonderful flow and spiritual feel to the music as it permeates your whole being one track after another.

To my ears this ethereal, wistful and contemplative release should be listened to in one sitting as each track tends to segue into the next and draws you in to its quite delightful web of beautiful music.

Oft plaintive and mournful and oft playful and nostalgic, it caused a welling of emotions in this weary listener and calmed my soul at a time when the world is a very strange place indeed.

Particular highlights for me are the wonderfully emotive The Selkie featuring Nick Pynn’s expressive violin playing, the sublime and divine Time and the Sea with Astrid Williamson’s dreamy vocals, the reflective splendour of the compelling Ocean of Prayers and the elegant charm of Calandra’s Dance where you first hear the rarefied brilliance of Emily Burridge’s cello.

Emily is an excellent foil for Martyn, collaborating on eight of the album’s thirteen tracks but it is the haunting grandeur of the music that stands out across the entirety of the recording.

You are unlikely to hear a release as graceful and spiritual as this at any point in 2020, it will move and delight you in equal measure.

Released 16/2/20

‘Water & Stone’ is available at Apple Music and from 7digital here:

https://uk.7digital.com/artist/martyn-barker/release/water-and-stone-10792882

Review – Kansas – The Absence of Presence – by John Wenlock-Smith

It’s now the third month of the Coronavirus shutdown. In efforts to conquer the virus and to stop its devastation of both our economy and, more so, of the peoples of the world, certain politicians, who should know better before talking, have suggested some strange solutions, bleach anyone, for instance!

There is some light at the end of this dark tunnel, however and, for me, this has been the fine music that has made each day a little better. So it was great news to hear that American legends Kansas had a new album nearing completion for release at the end of June 2020. That album is called ‘The Absence of Presence’ and it is certainly very welcome in these strange times.

Everyone should have a little Kansas in their collection (and their lives) as their impressive history and collection of fine progressive rock deserves a place in every home. Well, I am glad to report that the album does not disappoint, in fact it bristles with real vigour and presence. This is the second record the band have released in three years and is a worthy follow up to ‘The Prelude Implicit’, which was the first album with new vocalist Ronnie Platts (who has replaced Steve Walsh after the latter’s 41 year tenure with the band). We are also introduced to Tom Breslin (formerly of Yes and Camel) who joins on keyboards.

The album begins with title track The Absence of Presence which opens with a few of Tom Breslin’s piano notes before a violin sweep from David Ragsdale plays a main theme before returning to a gentle piano backed melody as Ronnie Platts’ vocal is introduced. The song appears to be speaking about one who has left but whose presence is still very much felt, maybe in memories but is still tangibly missed.

The song is somewhat of an epic song from Kansas with a running time of 8 Minutes and 22 seconds and that time is wisely used to show the not inconsiderable talents of the current band with some lush symphonic sounds and some hard edged guitars and drums and that graceful violin. This is an extraordinarily strong and dynamic opener, you certainly know it’s Kansas as there are none that sound like they do and that makes a new album a welcome event indeed.

Throwing Mountains follows which has an awesome video (you can watch it at the end of the review) that you really need to see as it captures the excitement of a live Kansas performance wonderfully.

The third single from the album is next, called Jets Overhead. This track opens with some graceful piano before a hard guitar riff and violin lines are introduced, all sounding very strong and appealing. The song has some fabulous drum patters from Phil Ehart and a soaring violin part at the 2:58 point that really adds to the power. It shows Kansas are not prepared to simply rehash old ideas but carry on striving to bring us more worthy music as they head towards their 50th anniversary.

The brief track Propulsion 1 swiftly follows, an instrumental song propelled by some sturdy drumming and some fine keyboards. This segues nicely into the rather excellent Memories Down The Line which is the second single from the album again with another powerfully emotive video.

I know Kerry Livgren is no longer involved with the band yet, somehow, his presence still remains in these emotionally formed songs that could so easily have flowed from his hands. That is one of the great strengths about Kansas, the emotional connection between the words and the music and in this song they certainly have caught that connection beautifully and it is one of the standouts on this sublime album.

Circus of Illusion is next, and this features a more muscular variant of the band firing on all cylinders with some strong surging basslines from Billy Greer anchoring the song to its rhythm section and letting it fly loose.

This is followed by Animals On The Roof, which has another fine Platts’ vocal and yet more strong propulsive drums sat among some fiery guitarwork from Richard Williams and Zak Rivki. This mid paced rocker plays to all of the strengths of the current band and is another excellent excursion for all with a great violin part at the 2:42 point before reverting back to the vocal again. There is top-class stuff on offer here, hopefully we will be able to see these guys in London next year and, if so, you can definitely count me in for that!  

The penultimate track is Never which again opens with Tom Breslin’s fantastic piano before a violin line from Ragsdale begins. This is a far more gentle and softer offering than what has gone before but that gives room for the vocals to soar across the song, meaning you can really feel the warmth in this lovely song.

The album closes with The Song The River Sang which gives the whole band a window to show us their wares brilliantly and, with a fine vocal from Ronnie Platts to support everyone’s efforts superbly, this track works as a fine conclusion to what is an album of classy songs, expert musicianship, strong melodies and fine performances. As Geoff Barton of Sounds said in 1977, “Pomp Rock Lives Run For The Hills…”, he was right then and he’s still right now, I urge you all to listen to this masterful album for yourselves.

There is a common theme to many of these songs of time passing and the change that brings to us all, maybe as we are all getting older Kansas are beginning to both realise and appreciate the value of the time that we have available to us. However, whatever the thinking behind these songs, they certainly never fail to impress. The band have delivered an album that is a wonderful representation of modern day Kansas and I, for one, am very glad of that. Having been a fan for over 40 years, I am glad to still have the band in existence.

Released 26th June 2020

Buy ‘The Absence of Presence’  from Burning Shed here:   

https://burningshed.com/kansas_the-absence-of-presence_cd?filter_name=Kansa&filter_sub_category=true

    

Review – Pattern Seeking Animals – Prehensile Tales – by John Wenlock-Smith

When the first Pattern Seeking Animals album was released last year, such was its beauty that it easily made my albums of the year list. Its mix of style and deep lyrics made it a very worthy album indeed and, when I spoke to John Boegehold he’d remarked that they had already started work on this sophomore release.

Well that was last year and now, just about a year later, comes ‘Prehensile Tales’, the continuation of the Pattern Seeking Animals story, or sub tale really as the folk involved are predominantly the core nucleus of legendary US group Spock’s Beard, with PSA treading a slightly different path musically. It is still prog but PSA exist as a vehicle for material that John has written, but that he feels in not quite within the remit of Spock’s Beard.

At time of writing this does not mean the end of The Beard, it just means a further outlet is available to John, which I am sure you will agree is a good thing for listeners as, when that material is as fine as this, then there is really no issue, let’s just be grateful for this music.

We find a range of subjects tackled in these songs from finding a second chance in your life, vampires, shipwrecks and facing mortality. Another difference this time around is the wider musical palette that is employed to add more colours and timbre to the tones, these include violin, flutes, piccolo, trumpet, flugelhorn and cello along with saxophone and pedal steel guitars. This makes for an interesting and richly rewarding listen, although, as always, you will have to listen carefully for the magic to unfold around you.

The production by fellow bearder Rich Mouser is crisp and clear with clear separation of instrumentation across all the tracks, likewise the cover art is also highly arresting and intriguing,

The album starts with the Dave Meros rumbling bass on Raining Hard In Heaven this is interspersed with snatches of guitar from Ted Leonard, all ably supported by the keyboard work of John Boegehold and Jimmy Keegan’s solid drumming. The bass work from Meros is sublime and carries the melody wonderfully before a synth solo takes the song forward into a more upbeat section and then reverting to a quitter more measured pace with classic organ sounds and that bass moving the song forwards once again as it heads towards its satisfying conclusion. A great opener by any standard

This is followed by Here In My Autumn which features a sublime violin from Rini in the latter sections, giving this song a Kansas feel, and I mean that in a good way as this additional colour really adds to the dynamics of the song greatly, as indeed does the excellent piccolo and flute which are also very noticeable. Again, the bass work is of the highest standard and his support and playing is subtle and effective. The guitar break by Leonard yields another elegant and emotional track that really hits the mark. Ted’s vocals on this track are also extraordinarily strong, he really can take these songs and stamp his own identity on them. A second guitar solo takes this song to an epic conclusion in tandem with John’s keyboards.

Another stunning song, and were only at the start really! The next piece is Elegant Vampires which features some terrific drum patters from Jimmy alongside more solid bass from Dave and atmospheric keyboards from John, who plays a recurring motif that runs throughout the song. Another fabulous vocal from Ted carries this short song about the inevitability of death using the metaphor of vampires as symbolism. Again, an interesting song which leads us to one of the more unusual tracks of this set,

Namely, Why Don’t We Run? which features, believe it or not, a mariachi band! The track opens with what sounds like Chinese or oriental brass before an acoustic guitar ushers in the mariachi type sound and it gallops along most effectively. The instrumentation on this song is tremendous, highly evocative, and realistic, an acoustic guitar carrying the melody forwards till at the 3.35 mark the horn returns with its wail and Ted’s guitar takes brief flight. This may all sound very weird yet somehow it works and it all sounds magnificent, possibly my favourite song thus far.

We are then led into the albums longest and most epic song at 17:20 called Lifeboat. It is comprised of 5 parts, the first the first of which is an instrumental section, called Nearer Now To Heaven. It then switches to Ted emotive vocal telling the tale of the people on the lifeboat as the ship is going down, leading to another excellent bass part from Dave who really anchors the track together so that you can feel the despair that the hero is facing in an ocean of uncertainty. A plaintive trumpet voluntary takes the song forwards into Ted’s guitar solo after which the protagonist is pondering his mortality whilst crying out for someone to save him. Finally we are led into the closing section which deals with what happens when you die, in this instance we are left with an open ending to that particular question as the song ends with storms and the noise of oars, a brilliant track by any standards.

The album’s final track Soon But Not Today then follows with a musical mystery tour taking in reggae, surf and the Beatles in the tale of a man who gets chance to reassess his life and hopefully make changes to how he leaves the world. Again this song is concerned with one’s mortality and in this song we see just how solidly this band work as one to deliver stunning song after stunning song.

I loved the debut album and, guess what? I love this one too! ‘Prehensile Tales’ is very accomplished and engaging and a great piece of work that will make you glad that you heard it, I really recommend this to you all, it is really really fine piece of music.

Released 15th May 2020

Order the album here:

https://patternseekinganimals.lnk.to/PrehensileTalesID

Review – I Am The Manic Whale – Things Unseen – by John Wenlock-Smith

I Am The Manic Whale deliver their third studio album with ‘Things Unseen’. The project is the brainchild of bassist and singer Michael Whiteman who hails from Woodley, Reading.

The band’s name actually being an anagram of his own name, Michael is joined in this endeavour by Ben Hartley on drums, David Addis on guitars and John Murphy on keyboards, all of whom have been on each previous Manic Whale album and this lends a continuity to the group’s overall cohesion and sound.

The album is a mixture of styles and sounds but, to these ears, there seems to be substantially more guitar this time around, the music is vibrant and lively, sprightly even, in parts covering various topics including urban myths, fantasy literature, ecology, celebrity and fame, a child’s smile, lego modelling, carefree days and finally the power ,brilliance and longevity of the Intercity 125 Train!

This music will take you on a journey that is very rewarding indeed, this group have skill and talent aplenty. Their music is positive and hopeful, along with being thought provoking and at times challenging. The musicianship is exemplary and fluid, this is an album that really grows on you, especially if you allow it time to percolate in your brain. I have found myself singing the chorus to The Deplorable Word to myself whilst boiling the kettle in recent days, so it definitely gets into your mind if you allow it to!

This time around both John and David have contributed songs for the album, Billionaire and Into The Blue respectively, with the remainder by Michael and, on the epic lengthy track Celebrity, his wife Esther.

Let’s investigate his fine album and see what treasures it contains shall we?

The album kicks off with John’s song Billionaire which opens with a gentle sounding piano melody and with Michael singing in a style that is very reminiscent of 10CC, no less. Around 1’17”, John switches up to what sounds like a sampled organ sound and the song shifts gear a bit with the introduction of drums and a graceful, fluid guitar line from David. The song is a good and interesting one to open proceedings with.

Next track, The Deplorable Word, has more than just a whiff of early 80’s Rush to it, especially in the guitar work from David Addis. The song is based on a chapter in the book The Magician’s Nephew by CS Lewis (he of Narnia fame), the song speaking of the evil queen Jadis and how she once ruled the land of Chand, killing its inhabitants so that she would not be beaten in battle.

This song is highly attractive as it has a lot of pace to it with especially fine guitar and keyboards throughout, although we are not told what the word was, just its effects. It is very strong with a terrific chorus that is effective and memorable. It also has some great bass runs, shimmering keyboards and some funky guitar from David, all wrapped in some highly effective drum patterns from Ben. This one is definitely a highlight of the album, hugely impressive, and will be brilliant in a live situation.

The David Addis penned Into The Blue is an ecological protest song that concerns itself with how we are abusing the earth (or were until Covid 19 came along, during which we have seen some major changes and a balance returning?). The track opens in a style that is reminiscent of Scarborough Fair with its flutes and gentle acoustic elements. David fires off a staggering guitar riff before reverting to a more acoustic trend again. The song has an important message and has great interplay between David’s guitar and John’s keyboards all with strong support from Michael and Ben.       

The next song is the album’s lengthy epic Celebrity. Split into five sections beginning with Identity Crisis, this tells the tale of a wannabe who seeks fame and fortune despite his sheer lack of talent, sound familiar? Obviously this whole song is a critical swipe at the notion of fame for fame’s sake or being famous but not for any particular talent or ability. Yes, it’s taking a shot at reality TV and the “stars” that the genre throws up regularly. Think X-Factor, Love Island and The Only Way is Essex etc, car crash TV at its finest but TV that people actually watch regardless.

This is followed by Cultural Vampire (Who Am I) which deals with how one looks and the steps someone will take to be noticed. Part 3 is called Freak Show and is about getting onto those type of TV shows, the next part is called Heart and Soul and is where our hero (I use the term loosely) fails spectacularly to make any real impression and has his hopes dashed on the rocks of reality.

This leads him to part 5 in which he has an Epiphany where he realises that there are few shortcuts to success and that he has to go the hard way and actually become good and competent at something and be able to offer something that people actually want and value. The song has some very subtle piano lines and, at the sixteen minute mark, has a superb guitar solo from David, merging in to the melody that John is playing with a melodic synth line, before a further guitar line leads to song to a fine conclusion. This whole song is a very sharp and well observed critique of the fame game.

Smile is a sweet and simple song that is about a child’s smile and the effect and satisfaction that it brings. Simple but ultimately very profound, this is a song born out of the love of a parent for their child and is a very real and emotionally moving song. The next piece, Build It Up, is a joyous track that concerns itself with a certain Danish toy that is used to build things with and that allows free creative imagination to conjure up all kinds of edifices. Michael is obviously well versed in the world of Lego constructions and the subsequent destruction and rebuilding that such play entails. Well, if not him, his children certainly are and somehow this song really captures those emotions fully.

The penultimate song is the sweet and wistful number Halcyon Days, this song encapsulates so much of both days that have gone by and also of a long hot summer all seen through the eyes of a child. With terrific wordplay and imagery that evokes the setting richly, this song is another triumph for the band and leads us nicely into the last and most impressive song from I Am TheManic Whale…

The final track, Valenta Scream, is all about with the technological wonder that was the original Intercity 125 Diesel train that powered through the English countryside for nearly 40 years and was an icon of the rails. These trains were highly recognisable and well known for the scream of the Valenta engines that powered it through the decades.

As a rail enthusiast Michael sings of this innovative train with great fondness and was very familiar with its history. The song is a real stormer and it is a fitting close to the album, ending the record on a high note making this new release simply magnificent.

‘Things Unseen’ is chock full of superb songs with impressive attention to detail and fabulous music, all beautifully played, recorded and performed. This is a release to treasure, absorb and appreciate, Michael and the team really delivering something incredibly special and I urge you to check out this fantastic album for yourself.   

Released 24th April 2020

Order the album from bandcamp here:

https://iamthemanicwhale.bandcamp.com/album/things-unseen