Category: Reviews

Review – Acqua Fragile – A New Chant – by James R. Turner

They may be a new name to you, they certainly were to me, but Italy’s Acqua Fragile were originally active between 1971 & 1975, and vocalist Bernardo Lanzetti joined PFM for their ‘Chocolate Kings’ and ‘Jet Lag’ albums, leaving in 1977.

The catalyst for this reunion record came when Bernardo celebrated his career with his Vox 40 concert, and the revived band consists of Bernardo Lanzetti (vocals, animoog, guitars) Pierro Canavera (drums/percussion/backing vocals) and Franz Dodi (electric bass), as well as guest musicians like Jonathon Mover (on opener My Forte) drummer Alexander Mori (son of original keyboard player Maurizio Mori) as well as members of the Acqua Fragile Project, a collaboration put together by Franz Dodi of younger musicians playing the original music of Acqua Fragile.

You wait a while for some bands to get on with the ‘difficult’ third album, but it’s taken these guys over 40 years!

Joking aside, the musicians have worked hard in Italy, and Bernardo is a well known name on the progressive scene, having worked with Mangala Vallis amongst others, and with new blood in the group like collaborator Alex Giallombardo, who provides guitars, vocals and keyboards this blends the best of traditional Acqua Fragile with new sounds and contemporary production values.

This blending of old and new is probably exemplified by the track Wear Your Car Proudly, which was a track the band used to perform in the 70’s, which had never been recorded. The music was intact, with some driving guitar and bass, and wonderfully squelchy mid 70’s synth sounds, (it’s also reminiscent of the neo-prog sound of the early 80’s) yet the lyrics had gone, no trace, so Bernardo’s friend came up with some new lyrics, and hey presto, a wonderfully eclectic song all about motor racing. It’s in the Italian blood, and the passion comes across in this song.

They have even recorded a track in Italian, Tu Per Lei (You for Her) with some wonderfully emotive vocals from Bernardo, and a great electric guitar solo, and it’s true that Italian is a beautiful and emotive language, I don’t know exactly what’s being sung about, but it sounds fantastic.

In fact that’s a good word to use to describe this album, fantastic, I always admire musicians who can write in their second language, and their English is probably better than mine (I am also probably a little jealous as I am no linguist, cunning or otherwise) and to flit between their native tongue and English, is wonderful.

The Drowning meanwhile utilises the lyric skills of Nick Clabburn, who paints a wonderful picture, for Bernardo to fill with his rich vocals.

Meanwhile Rain Drops is a poem, by the legendary Pete Sinfield, that Bernardo loved so much he wanted to adapt, he even explained how he got permission from the elusive Mr Sinfield to include this on the album (in the interview elsewhere on Progradar that I did with him) and the orchestral, almost Oldfieldesque accompaniment works perfectly in drawing the nuances out of the lyrics, and Sinfield’s imagery is both wonderful and very emotive, again showing Bernardo’s voice off to the full.

The core band here sound relaxed and enjoying each others company, whilst the self-explanatory All Rise is a fab rockier number, showing the band kicking up a storm, in a nod to the live arena, a self confessed first encore track, utilising the traditional courtroom phrase to great effect, and providing the energy and power that every good encore needs.

The mood slows a little, with the lovely acoustic How Come, where Bernardo’s vocals continue to shine, and his personal and moving lyrics work in this stripped back environment, providing a brief period of reflection prior to the closing power of the albums title track.

A New Chant see’s Bernardo projecting his voice in an operatic finale, the music and lyrics working together, a beautiful merging of sound, topping off what is, to these ears an excellent record.

It’s great to see that bands can reform after a long period of time, pull together in the studio and rediscover the old magic, this is Acqua Fragile reborn for the 21st century, and is worth a listen. I really enjoyed it.

Released 13th October 2017

Order ‘A New Chant’ from Cherry Red Records here:

https://www.cherryred.co.uk/product/a-new-chant/

https://www.youtube.com/watch?v=GCR582Q96FU

Review – Tonochrome – A Map In Fragments – by Emma Roebuck

“Tonochrome are a London based art rock quintet whose grunge aesthetic is peppered with jazz harmony, contemporary classical influences, Andean sounds and pop hooks. A coming together of opposites, of texture and colour, of the acoustic and the synthetic, Tonochrome are a joyful reminder of what music can be when you just don’t give a damn about convention.”

Their own publicity from the website speaks volumes and Tonochrome have been making noises in the capital for a short time now with some very positive press. They have an interesting take on music and draw from any muse that feels right, plundering from across the board from world music to blatant pop and seem to believe nothing is off the table. The music draws from the melancholy end with melody at its core and Andres Razzini’s voice has a definite quality to it that slots into that downbeat shoegaze, indie feel.

12 tracks, no epics just solid song writing but definitely not verse, chorus, verse, chorus, middle-eight, verse, chorus, fade …

Border Crossing is just what it sounds like – a narrative of refugees and the loss of life and human rights. The use of understated percussion and violin sounds along with an open guitar where space is left in abundance until the build up of tension drops into a driving riff adds to a measured pace that reflects the cold way the politicians have used the refugee crisis to their own ends. Disputed Area definitely channels Sigur Ros with its use of melody and space. This again has a current affairs storyline with an awareness of what is happening in the world. What stands out here on this track for me is the use of percussion and rhythm or actually a lack of a driving beat, Jack Painting playing an open game, layering textures of sound.

Humbled & Broken is faster paced and up beat and, for me, connects Charlie Cawood’s influence and Knifeworld into the band. The keyboards play a big role with a Latin American rhythm and phased electric piano. The Three “interludes” that are spread through the album act as punctuation and have the feel of a jam session that helps the flow of the album from one space to the next. They highlight the talent on display and are so understated with it.

Conformity comes under examination with Just Like Us, the use of the string section and wah wah guitar sound has harmonic overtones that can be heard through much of Knifeworld’s material. Kilometre Zero reflects the power a solo voice and piano can carry with a string section adding an eerie back drop in the final third. Truly spine tingling in its tone and feeling, this is a hidden gem in the album.

I don’t do track by track reviews, I normally just want to give the music fan an idea of what they are buying and then let them decide but I cannot finish without mentioning The Gates. This stands out head and shoulders for me personally, the structure, the composition and the sheer quality show a maturity and restraint that others should take note of and learn from. It is melancholy concentrated into one piece of music.

I refuse to brand this outfit as Prog, but it is truly progressive in its nature. The Delinquent Pachyderm has a real stand out album here. If you are going to start a new year with a bang this is it! Tonochrome sit on the fringes of shoegaze/ alternative/indie in a very real way. I reckon with some luck and a little mainstream coverage (Radio 6 are you listening), they could shatter the glass ceiling that is blocking much of the good music around right now.

Released 2nd February 2018

Order ‘A Map In Fragments’ from bandcamp here:

 

Review – Perfect Beings – Vier – by James R Turner

Now, I like listening to bands I have never heard of before, because I like discovering new music, new sounds, and if you review something from a band you have never heard of, I find you are coming to the music from a fresh perspective, not being clouded by opinions of previous records or previous sounds.

I’ve been listening to ‘Vier’ for the past few weeks on my commute to work, headphones on; the sights of Bristol (Clifton Suspension Bridge, Ashton Gate, The Floating Harbour) have all been sound tracked by this, the 3rd album by Perfect Beings.

Based in Los Angeles, the bands consists of Johannes Luley on guitar and bass, Ryan Hurtgen on vocal and piano, Jesse Nason on keyboards and Sean Reinart on drums the band have had a few personnel changes since their last album ‘II’ in 2015.

This latest album is epic in both its scope and it’s performance, being split into 4 symphonic musical parts.

Guedra (18:23) The Golden Arc (16:47) Vibrational (18:17) and Anunnaki (18:42) makes this album their ‘Topographic Oceans’ a rather expansive symphonic CD or, in old money, a double vinyl set (with each side being a song suite, just how the traditionalists like it!)

After losing their original bassist Luley stepped up to the mark contributing both bass and guitar to this album, which will make it interesting if they ever do tour it, as, whilst he is one of the most interesting guitarists working currently (comparable to a Luke Machin or a Matt Stevens), he’ll need to be an octopus to recreate the intricate guitar and bass sounds on here.

There is a lot for music fans to admire on this record from the lush multilayered harmonies that open the record with A New Pyramid, to the sort of instrumental prowess that runs throughout the record.

Luley’s sound has grown and matured, with elements from his two solo albums finding their way into the compositional melting pot here, which stretches and pushes the Perfect Beings’ sound out of bog standard prog territory and into something that bounces gleefully through time signatures, across genres, through the past 50 years of prog and even through the different movements of the record as themes from previous songs appear in the closing suite of Annuki.

The rest of the band seem just as energised as they diffuse the spirit of classical prog sounds through their own musical filter as the sounds of Guedra lead you into The Golden Arc, which is a more symphonic piece of work, with the piano, keyboards and guitar building up, this is not something that is in your face and immediate, these 4 differing musical facets of the band are like a musical game of pass the parcel.

Every time the music stops and you press play to resume the album, another layer is revealed until slowly you get the musical present that is ‘Vier’.

Hurtgen has a unique vocal sound, and use of multilayering and certain effects again remind in places of the style of Jon Anderson and early Yes, whilst some of the song titles have dropped straight out of the I-spy book of prog, things like A New Pyramid or The Blue Lake of Understanding are much better songs than their titles would suggest, whilst The Persimmon Tree on title alone brings to mind a local newspaper headline about house builders and a protected woodland, and yet it’s a rather good song on the album. In fact the shorter songs on here work just as well (if not better) than some of the longer ones, and in the way of song cycles I like the fact that snippets of riffs and musical themes echo across the album, creating a coherent whole. The closing Everything’s Falling Apart is a superbly crisp almost pop song, with some sublime lyrics and musical performances.

Hurtgen’s work on keyboards mixes perfectly with the sound of Luley’s guitar and Nason’s keyboards swathe the album with superb sonic textures and beautiful musical moments, more Rick Wright than Wakeman, his musical skills add to the sound and are a part of the bigger picture.

In fact that’s one thing that stands out about this album, when you have a band like Yes or Emerson, Lake and Palmer, for instance, filled with egos bigger than their talents, you do end up with songs that are nothing more than a glorified solo to pacify and massage those egos. This is one of those albums that are the total opposite, there are some amazing musical sections but on this album the magic happens because the entire band are there pulling together, on the same page, and whilst these are mighty musical talents all the egos are left at the studio door.

There is a lot to like about this album, and there is also a lot of album here for you to like, and the band suggest you turn off and immerse yourself in this record, which is a great thing to do with headphones and a long commute.

A lot of other people have been raving about this record and already proclaiming it album of the year. Now that’s a bold statement to make in January, and yes, there is so much to like and admire about this record, from it’s immersive production to the astounding musical ability on display here, but calling it album of the year is as premature as calling January the best month of 2018. It’s a fascinating and interesting listen with plenty going on musically, and lots of themes that prog fans will love. However to me this is not an album to love, more one to admire. For it’s musical ambition, it’s scope and it’s depth.

Released 19th January 2018

Order ‘Vier’ direct from the band:

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Review – Sills & Smith – Maps-Burned or Lost – by Progradar

“Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.”
― Frank Zappa, Real Frank Zappa Book

I think Mr Zappa hits the nail very much on the head with that quote, life can become very monotonous without something to lift it and that something, for a lot of people, is music.

Now it’s well known that I’m not a fan of the repetitive modern music that makes up the charts nowadays but, if that is what people listen to to make the drudgery of modern life better then who am I to tell them what to listen to?

For me, and many others, it is the well crafted song, the collection of perfect notes that resonate with me and put a smile on my face or help me get through difficult times in my life.

I was introduced to Canadian band Sills & Smith, a project of singer/songwriters Jeremy Sills and Frank Smith, a couple of years ago by their previous release ‘Echoes in Time’ and was immediately hooked. Since thenFrank has kept me updated on the progress of their sixth album ‘Maps – Burned or Lost’ which was released on the first day of the new year.

Recorded by famed producer Phillip Victor Bova, it is described as ‘an epic musical journey, with 14 songs and close to 70 minutes of music that careens between pastoral folk, to trippy rock to progressive rock.’

‘Maps – Burned or Lost’ sees Jeremy and Frank take the next step in their musical evolution and this new collection of 14 delightfully involving songs takes you on a wonderfully engaging musical journey. There’s the slow burning quality of album opener On The Edge, quite an indictment of  the world we live in with its scathing, pithy lyrics and edgy guitar work, the solo just drips scorn and disdain. Frank’s deep and distinctive vocal is as good as ever on this clever track, a superb start to proceedings. There’s a melancholy grace to Kings with its deliberate opening and Frank’s sombre vocal delivery. A song with perhaps a lofty self-important tone, a nostalgic take on days gone by, Jeremy’s lighter vocal is a well judged contrast and the music is just sublime. Frank and Jeremy have surrounded themselves with a stellar cast of musicians that lend the whole album an air of class and sophistication. A Freight Train is a mournful bluesy feeling piece of music, slow burning, calculated and thoughtful with a moody hammond organ providing a layer of gravitas and solemnity. There’s a soulful core to the music and the vocals that seem to bleed a touch of despair and despondency, a properly moving song.

A wonderful song from start to finish, the wistful folk feel to Maps gives it a timeless grace from the humble vocals to the superb unpretentious chorus. This is music written so that every note, every word has its place and is as important as any other, it is storytelling of the highest calibre and it moves me on a most personal level. That carefree, easygoing atmosphere seeps into Waves, a song where the introduction just seems to take you to a place of warmth and love. The chorus is as light as a feather, the music has a charm and grace that leaves you spellbound. Frank’s contemplative vocal opens No Measuring, a thoughtful song with a plaintive, slightly sad feel to it. There’s almost a hushed aura to the music with the elegant piano and the toned down drums. Contemplative and pensive with a flighty flute playing, it leaves me in an introspective frame of mind.

The elegant mandolin that opens Take Care joins with Jeremy’s vocal to give a feel of fragility and beauty and the harmony with Frank adds even more intangible charm. A pared back and willfully sparse song that implores you to take care of yourself with a rarefied dignity. A proper country feel pervades the opening of The Offer and Frank even has a touch of Johnny Cash to his voice, deep and meaningful, it’s a great counterpoint tot he lightness and elegance of the chorus and the slow steady pace of the track lulls you into a place of calm and reflection. Now onto possibly the most upbeat and funky song on the album, there’s a feelgood atmosphere to Grave Fascination with its edgy guitar and offbeat drums that really gives you a lift. Nothing flashy or garish, just a great song that is delivered with confidence and bravado and has you tapping your feet and nodding your head in unison with the beat.

The excellent singer/songwriter vibe returns on Wash Away, Frank’s voice leading the contrite, almost regretful song with the music underpinning the song in a respectful manner. Again, the pared back quality adds to the track, especially on the great guitar work. Alternative and indie in its delivery, Miss Us is a song with an acerbic edge, especially on the biting lyrics. I love the tightly performed guitar solo and the rhythm section that runs throughout the track. This song is a real release of pent up energy with its almost punky, staccato emphasis and it works brilliantly. Mercy begins with a dreamlike atmosphere touched with a feel of melancholy, especially when Frank’s vocal begins. There’s a forlorn mood that settles on the song, a pensive and sombre mood that never breaks right to the close.

Window Through Her Mind is another example of the songwriting skills of Frank and Jeremy. The wonderfully ethereal music is paired with superb vocals again telling a story of nostalgia and remorse, one that demands your attention and draws you in to sit enthralled as it plays out before you. All good things must come to an end and ‘Maps – Burned or Lost’ closes with At The End of The Day an allegorical tale of life as it is today. The graceful and harmonious music and telling lyrics seep into your very soul, I can imagine myself listening to this song with a glass of red wine in my hand, contemplating life, the universe and everything. It’s not a demanding listen but it is one that does require your attention.

Frank Smith and Jeremy Sills have delivered their most profound musical work yet, ‘Maps – Burned or Lost’ is a wonderfully involving collection of songs about love, life and loss that is very relevant in this turbulent world we live in today. You can lose yourself in the well wrought words and the excellent music and come out of the other side in a much better place than you started and that’s what I want from my music.

Released 1st January 2018

Order ‘Maps – Burned or Lost’ from bandcamp here

Review – Galahad – Seas of Change – by Kevin Thompson

A columnist from an upmarket daily mentioned recently, that this time of year isn’t good for new music. How do these people get employed?

Two weeks into the new year and the quality of releases out and arriving are breathtaking, in scope and variation. Anticipation is at fever pitch at the expectation of numerous releases from new artists and old hands and I for one am looking forward to what the year brings.

Galahad’s ‘Seas Of Change’ is one of my most eagerly awaited. Having been a fan of Stu and the band from the earliest days I have always admired that, whilst they have their trademark sound, they have never been afraid to experiment and push the boundaries. Having followed a heavier path of late (last year’s release, ‘Quiet Storms’, being an exception) ‘Seas Of Change‘ sees the band mixing their various musical guises to give us a veritable melting pot of all that was, is and now will be Galahad.

Though I was sad to hear of long term guitarist Roy Keyworth departing the fold, the return of the wonderfully talented Lee Abraham riding on the crest of his excellent solo album ‘Colours’ and formidably wielding the guitars here, adds a refreshing impetus to the band demographic.

Talking of sound, keyboardist Dean Baker should give himself a huge slap on the back for writing all the music and compositional arrangements on ‘Seas Of Change’. He has done a impressive job in creating an ‘epic feel’ of an album, a feast for the aural senses. A sweeping panorama of sound that crashes like a tidal wave through your sound system, drenching you in it’s thrall. That’s before we get to mention just how good he actually is as a keyboardist and conjurer of effects.

As for Mr Stu Nicholson’s vocals, they have to my ears never sounded or fitted the material better. Let us also not forget the valued contributions from the formidable engine room, Spencer Luckman on drums & percussion, combined with the return of Tim Ashton on bass guitar. The album also features long term Galahad honorarian, the lovely Sarah Bolter, sprinkling the album with fragrant flute, clarinet and soprano sax.

It takes someone of a certain quality to harness all this energy and polish it into a glistening diamond. No problem there as ‘Seas Of Change’ was mixed and mastered, most ably, at Thin Ice Studios in Surrey by the magician that is Karl Groom, producing a sound as clear and fresh as a crystal lake, all nicely wrapped in a wonderful album cover by the ever talented Paul Tippett.

“So what of the album itself?” I hear you cry,  “the subject, content and the tracks?”

There is dear reader, only one ‘Cecil B. DeMille’ size track that comprises the whole album.

According to Stu it was intended to be all of seven minutes but grew into the force formidable to which it now stands. Galahad have never shied from difficult, thorny subjects and if you are looking for English, pastoral poetry, with hearts and flowers, look elsewhere.

Stabbing at the heart of the government, this merry band of men (and lady) take politics and politicians skilfully and tactfully to task over Brexit, the public debates surrounding and following it, as the politicians have circled like sharks with the British public as bait, causing much confusion.

With a wry nod and a wink Galahad deliberate through the music as it rises and falls, majestic one moment, reflective the next. The quality of the material, musicianship and sound is faultless. This album cannot be dipped in and out of, but must be consumed as a whole which if you do, you should find most satisfying, whether your palate be to a fine glass of merlot or a huge feast.

If you have sampled the band before and found them not to your taste I will not force feed you, but merely ask you try this album or you could miss out on one of the tastiest releases of 2018. Me? I’m off back for seconds…

Released 22nd January 2018

Order ‘Seas of Change’ direct from the band here…

 

 

 

Review – Arcaeon – Balance – by Emma Roebuck

A band so new they have not reached their first birthday release their first EP and stamp a clear identity on the music they create. Based in Reading, self defined Prog Metalcore band Arcaeon give us 4 songs and try to show the variation and style they are writing and performing.

The album opens with Endeavour and a deceptive ethereal guitar riff and what I assume is guitar synthesised melodic line that begins to intensify and then drops into a power chord and heavy bass line as William Alex Young begins his vocals. Like a shock trooper in a musical war he hits hard and strong with deep and rasping tones for the first verses and to reinforce the Prog credentials the Metalcore shifts, the manic becoming calm and the storm fades. A voice not entirely dissimilar from James Hetfield comes from the speakers but, like the eye of a hurricane, that passes and the storm returns.

Fade has a similar mix of vocal styles and rhythm variances with harmonies and screaming and pounding bass lines. It is intricate and technical along with a high level of skill involved, the discipline and control involved is impressive. The contrasting use of clean vocal harmonies and the intense growling gives an interesting and additional element to the music. The guitar lines shift from frenetic then calm soloing eases the mind lulling it into a false sense of security.

Mind’s Eye opens up and immediately I am reminded of Maschine’s last album and Kyros, tight and melodic before they shift into the powered vocals for the verse and an out of nowhere a guitar solo that comes straight out of the classic rock playbook. There are moments when the intensity relaxes and shows that these guys are capable and talented musicians and can deliver more than just one style.

Dysaxis opens with a dial up modem connecting and drops into a similar pattern of mixed rhythmic and bass driven sound with the guitar and effects dancing round it! Eifion and Joe are in tune with each other totally.

Arcaeon are one of the increasingly large number of band that are coming from influences such as Muse, Animals As Leaders, Opeth and TesseracT rather than the route of bands from 40 years or more ago. They are young, keen and ambitious and appear at first glance to have no real connection to Progressive Rock in the traditional way. It was inevitable that the “golden age bands” would lose their grip as an influence as time distanced them from young musicians. BUT they draw from bands that had those bands as influences, so the experiences are second hand and so less precious to them. The metalcore aspect will not be for everyone but it does have merit and skill and is progressive. They are learning their art and will grow and that will be an interesting journey to follow. I can see this being a great and powerful live experience as well.

This is not music for the faint-hearted neither do I think that the fans of the pastoral and symphonic silo of the Prog genre will enjoy this EP. Fans of Opeth, Dream Theater, Ne Obliviscaris and Animals As Leaders will find something to love here. This is one area of the Progressive Rock movement that is getting young and talented bands coming through more and more. They have a young audience too, I think if any band will break through the wall into mass acceptance it will be Arcaeon or of their ilk.

Released 26th January 2018

Order ‘Balance’ from bandcamp

 

Single Review – Sleeperman – Bleach Blonde Pharmacist – by Progradar

“Nostalgia isn’t what it used to be…”

Forgive the terrible pun but I’ve been listening to a song that has just brought back wonderfully wistful memories of the sepia tinged days of my youth. Hey, lets’s be honest, they weren’t always great times but I can now look at them with a kind of indulgent fondness.

So, what has me yearning for the days when vinyl was the only format and I used to wear my brother’s hand-me-downs and my Mum was West Hill’s most eminent knitter? The new single (single? remember them?) from East Yorkshire’s Sleeperman, that is the catalyst. Bleach Blonde Pharmacist comes in a superb cardboard 45rpm single style cover and the CD even looks like a 7″ single, replete with ‘B’ side!

The band will release a new single on the fourth of each month throughout 2018 culminating in theirChristmas single in December.

Bass player Steve Skinner, guitarist Neil Scott and singer/poet John Hilton, joined by new drummer Phil Sharp are from a generation brought up to pick the bones from a confusing diet of Clint Eastwood and Germaine Greer. They have a collective soft spot for a well-made sandwich and Nordic Noir and though sandals are not a compulsory item of their dress code they are fond of and cling to the notion of everyone getting along.

Their unique blend of pithy, witty and often irreverent lyrics and excellent roots/folk/alternative music comes to the fore on the new track. Bleach Blonde Pharmacist opens with a driving bass and guitar riff, giving a sardonic, even laconic feel to the song. John delivers each line as if he he is biting off the words and it works brilliantly. It’s a song of real people in real situations, delivered with a tongue-in-cheek, off the wall wit. Imagine Northern humour mixed with an Americana vibe and you are on the right track,

“In the end you’ll have to pump up the tyres, pack tuna for a fortnight, take your Swiss Army knife and a whistle and head for the hills… You’ve got your family and your friends, your Transit and your bluetooth…”

And that’s just a smidgeon of the lyrical genius that Sleeperman impart, the wry observations come thick and fast, at all times backed by the stylish music.

The ‘B’ side (if we call it that) is a totally different beast, the flippancy is nowhere to be seen on as the opening notes to Sleep play out. Hilton’s vocal takes on a wistful tone and the music takes on a laid back sentiment. Laid back, relaxed and carefree, the nostalgia and humour have a much gentler air.

“And the ice cream van plays Greensleeves, when the sun goes down they’ll all leave…”

A bittersweet feeling piece of music that seems to yearn for times gone by, I nod my head in quiet appreciation as it comes to a close.

Following on from last year’s E.P. ‘Late Onset Optimism’, Sleeperman have once again delivered a wonderful eight minutes of music that delivers on a personal and honest level. You feel yourself sympathising with the characters in the songs because you know, if not for the grace of God, it could have been you. Surely that is what great songs are all about!

Released 4th January 2018

Download ‘Bleach Blonde Pharmacist on iTunes here

https://www.youtube.com/watch?v=bhPGJG8tOGU

 

Review – Marco De Angelis – Next Station – by Progradar

“If, like myself, you are a child of the 80’s and loved the great classic and prog rock bands of that era or, if you just want to hear some fantastic songwriting and music, then you could, and should, listen to ‘The River – Both Sides of the Story’.”

I wrote these words about Italian virtuoso multi-instrumentalist and producer Marco De Angelis’ first album ‘The River – Both Sides of the Story’. Released in 2013, it was one of my favourite releases of that year. When I heard that he was writing new songs for the follow up I eagerly followed any updates.

Well, fast-forward to December 2017 and that sophomore album was upon us. ‘Next Station’ consists of six songs all written, arranged and performed by Marco and is enriched by the collaboration of vocal heavyweights such as Nad Sylvan ( steve Hackett Band, solo), Robbie Wyckoff (Roger Waters Band) and Göran Edman (Yngwie Malmsteen, Karmakanic), percussion is courtesy of Cristiano Micalizzi, one of the most sought after drummers in Italy.

“Crazy dreamer, that’s the way they’re used to call you, ’cause your free will fills their life with fear..

Marco cites himself as being ‘Art Rock and Progressive Rock’ but I’d have to say there’s a huge dose of Classic Rock thrown in there as well, much like his debut release. Freewill has an involving introduction, all intricately ‘proggy’ before the velvet tones of Nad Sylvan give it a definitive authority. I love the elaborate instrumental fills, guitars, drums, bass and keys all making their presence felt but it is the cultured vocal that brings this song together. It’s catchy, edgy and quite jazzy in feel, as if Marco has been widening his musical horizons in a very good way. “Believing in them would make life easier, Though far more boring, Wouldn’t it Mr Captain.” 

“Change alone is eternal, Perpetual, Immortal, Taking nothing for granted, It’s the only way to live…”

It’s a pretty impressive start to the album and things just get better with the blinding and bluesy Keep Going where Marco really lets rip with his elegant guitar technique on the slow burning opening to the song, the fiery solo is dynamic and soulful. This track has the most in common with that Floyd classic/hard rock vibe but has added layers of intensity and class thanks to Nad’s superb vocal delivery. Simona Rizzi and Cristiana Polegri give added shine with their ritzy backing vocals, especially on the great chorus. This track is six minutes of classy rock music, best listened to late at night with the lights down low and a glass of vintage red wine in your hand (other alcoholic and non-alcoholic beverages are available), it oozes sophistication, the cultured close a fine accompaniment to the blues-filled intro.

“Sitting on a bus, here I am, Old memories in my ears, They saw me growing up, It looks like I’m home to me, here I am, Redolent streets my mind has already walked through, I almost recognize them…”

It may have a bit of an unwieldy, cliche filled title but A Proggy Night In London certainly delivers. By a country mile, the most progressive song on the album, split into five sections, it is a totally engrossing listen with Nad’s voice almost narrating events as the music meanders across your mind, an involving and ever changing soundscape. I have to say that Nad Sylvan gives one of the best (if not THE best) vocal performances I have ever heard by this great frontman, he really seems to be performing right at the top of his game and leads this track along its lengthy, nostalgic feeling journey. Marco performs all the other instrumental duties (Bar the drums) and seems to be everywhere at once, delivering guitar, chapman stick, bass and keyboards wherever they are needed.  It is a musical tour-de-force as each section ends and segues perfectly into the next and it is one that you must listen to while still enjoying that glass of wine, this is music that tells engrossing stories and ones that you absolutely have to hear.

“Dream on, /dream on/, worn out heart of mine, Don’t let the darkness hide away our sun again, Wait for that glimmer of light on the horizon, Sometimes the light can be so hard to find…”

Laid back, bluesy and soulful, Back Again introduces Robbie Wyckoff to the vocal duties and his touching delivery matches the music perfectly. There’s an intimate atmosphere to this song, as if you’re sat in a small downtown bar, one of a handful of lucky people to hear such a personal performance. Marco fires off yet another incredibly impassioned guitar solo, all too brief to my ears and the soothing backing vocals from Simona and Cristiana just emphasise the intimate feel that this track engenders. The emphatic and electrifying guitar playing that helps to close out the song just makes the hairs on the back of your neck rise in utter appreciation.

“We all search for happiness, It’s what we always do, From the first breath that we take, ’till the last tear we’ll cry…”

Funky and edgy with cool, hard rock inspired riff, title track Next Station explodes onto the scene ready to take on all comers before realising it has no competition and taking a metaphorical step back to chill out with the rest of us in a funky progressive style. Robbie delivers a subtly powerful vocal performance, stylish on the verse and then forceful on the chorus, aided and abetted, once more, by Simona and Cristiana, “New day, New Life, New Pain, Next station on my road…”

Marco delves deep into his musical box of tricks to deliver a sublime instrumental section in the middle of the track and Cristiana lends her beautifully impassioned saxophone to the melting pot to add some real spirit and fervor. A wonderfully evocative smorgasbord of influences and themes is laid before you on this inventive nostalgic musical pilgrimage through Marco’s musical life to date.

“Some red wispy clouds, slipping over a light blue sky, a blazing sunset is about to be staged, A new night, a new day, A face on the wall to fly me away from here…”

Moments of near perfection like the utterly addictive and captivating guitar motif that opens  Last Train are what makes music so incredibly appealing to me and why I still listen to hundreds of new albums a year to seek them out. I’m a huge fan of Göran Edman, his expansive vocal performances with Karmakanic are amazing but we hear a much more chilled and relaxed version here and it is magical, his link up with the backing vocals is sublime. The music transfixes you from one note to the next, a song that is calm, classy elegance personified, the vocals hypnotise and mesmerise and Marco’s guitar seems to have a wistful, almost intangible life of its own. What a way to close out the album!

I’l cut straight to the chase here, you’d best open that bottle of red you were saving for a special occasion as ‘Next Station’ is it. A collection of songs that are more than that, it’s a captivating and involving musical journey led by a musician at the absolute zenith of his career. I think Marco De Angelis, joined by a stellar cast of musical guests, has just delivered the performance of his life!

Released 15th December 2017

Order ‘Next Station’ direct from Marco’s website here

 

 

Review – The Strawbs – The Ferryman’s Curse – by James R. Turner

If, like me in the early 90’s, all you knew about the Strawbs was the Hudson-Ford penned hit Part of the Union, upon discovering the album ‘Hero & Heroine’ in my parents record collector, it was hard to believe it was the same band, my love for the Strawbs grew as their albums were finally remastered and reissued (with some gems like ‘Deadlines’ being picked up at a Record Fair around 1994 on the original vinyl) and their transition from folk to rock (being placed in the prog bracket) a far more dramatic metamorphosis than that of Fairport Convention (who ironically went the other way, from psychedelic proto prog to the folk rock pioneers we know and love) with David Cousins unique vocals and lyrics, and Dave Lambert on electric guitar, and band members like Rick Wakeman, John Hawken, Blue Weaver, Chas Cronk and Tony Fernandez passing through the ranks in the 1970’s, they were a who’s who of top quality players. Through their reunions throughout the 80’s, their acoustic Strawbs and return of the full Electric band, and resurgence with albums like ‘Deja Fou’,  ‘The Broken Hearted Bride’, as well as classic live albums and archive releases, the bands legacy is assured. If you ever catch them live both the full electric, and acoustic trio are musicians at the top of their game, putting together some fantastic shows.

Now 8 years after their last studio album ‘Dancing to the Devils Beat’, the Strawbs return with what is probably their finest record since their golden period of the 1970’s. Produced by the legendary Chris Tsangarides (who sadly died in January) and with the core line up of David Cousins, Dave Lambert, Chas Cronk (three of the five members who recorded the classic albums ‘Hero and Heroine’ and ‘Ghosts’) and long term drummer Tony Fernandez are joined by  ‘new boy’ multi-instrumentalist Dave Bainbridge (currently touring in Lifesigns with former Strawbs keyboard player John Young – it’s such a small world isn’t it?), and whose work with Iona nicely dovetails with the original folk rock orientated sound of the Strawbs, and he fits perfectly in here, contributing considerably to the sound (on both guitar and keyboards) and songwriting with a writing credit on 5 of the 10 tracks on here.

Opening with the hauntingly wonderful symphonic In the Beginning, which segues nicely into The Nails from the Hands of Christ, where David Cousins is a lyrically sharp as ever and a subtle nod to older songs like the Man Who Called Himself Jesus.

In fact the band references themselves even more on the epic title track, a sequel to the equally magnificent The Vision of the Lady of the Lake from 1970’s ‘Dragonfly’ album.

It is of course one of the finest songs the Strawbs have done for many a year, echoing the original and rounding off the story superbly.

However that doesn’t mean that the band are merely relying on old glories and lazily retreading the past, that is absolutely not the case, as the classic Strawbs sound is there, along with the unmistakable vocals of David Cousins, but this is a contemporary Strawbs album. Musically the band are as tight as they have ever been, and Dave Bainbridge sounds like he’s been in the band forever, his keyboard work opening up the beautiful When the Spirit Moves has to be heard to be believed, whilst Dave Lambert’s caustically brilliantly bluesy The Ten Commandments shows he’s lost none of his edge either.

In fact the guitar work throughout this album is stunning, from the beautiful solos on The Familiarity of Old Lovers (with it’s lyrical twist being a contemporary classic piece of Cousins wordsmithery) to the closing We Have The Power, this is a band on top form.

With superb instrumentals like The Reckoning that leads into The Ferryman’s Curse, there is so much to love about this record. From the vocal contrasts between Cousins, whose voice is nicely maturing, Cronk and Lambert, a Strawbs trademark if ever there was one, to the sharpness of Cousins lyrics, showing the wit, the bite and the observation of human nature is still there, right through to the fact that this is a band who, despite being around in one form or another for over 50 years, are not going down the easy route of playing the nostalgia circuit.

The material on this album will more than fit into a set that showcases the best of the Strawbs, and proves that they still have plenty to say, plenty to play and on this album show bands that are much younger than them, how it is done.

Released 3rd November 2017

Order from Cherry Red:

https://www.cherryred.co.uk/product/the-ferrymans-curse/

https://www.youtube.com/watch?v=U8djP47LWPQ

Review – Lunatic Soul – Fractured – by Kevin Thompson

Life, like glass, is a fragile thing. Blows to both cause them to crack and fracture, delicately hanging the shards together as fissures creep across the surface, threatening to shatter at any moment.

Sharp edges and words cut deep red like blood and run with the dark crimson of passion. The reflections distort and twist our outlook on life.

Glittering and glistening in the light like fond memories slipping between the cracks into darkness, as we try to grasp what we had but see it slipping away and out of reach, things will never be the same.

We pick up the pieces to try and fit them back how they were, but there will always be a difference. How we deal with the changes makes us who we are, the person we evolve to be in the aftermath.

Travis Smith’s album design for ‘Fractured’ captures the essence of this album perfectly, a good start.

Pain can weigh heavy as we seek ways to lighten the load, allowing us to move forward. Not to dwell on Mariusz Duda’s own dramas that have befallen him of late, but the theme of this album under the Lunatic Soul guise, by his own admission is about coming back to life after personal tragedy. It’s inspired by what happened in his life in 2016 and by everything that’s happening around us and what’s making us turn away from one another and divide into groups, for better or for worse.

This catharsis involves him spreading his talents further from the paths run by his previous albums and taking a leaf out of the musical parchments of such luminaries as 80’s electronic masters Depeche Mode and others.

Mixing synth and programmed beats with loops of Duda’s voice, and adding his distinctive complex bass grooves, he creates what is probably his most commercially accessible and varied solo output to date.

From the throbbing beats and looped voice samples, almost aboriginal in tone, with synths and piano building in layers on the first track, Blood on the Tightrope marks a route through the jagged edges of doubt and indecisiveness, a fine balance without falling and edging forward to end on a determined note.

Baring his soul so honestly on this album, the music sometimes reflects a little uncomfortably. As in second track Anymore where sounds and notes flit in and out over the rhythms, jerking as if to remove some of the painful crystals buried in the exposed heart. There are also traces of Peter Gabriel buried in there somewhere.

Crumbling Teeth And The Owl Eyes may be the closest in sound to his Riverside roots on this album and is the first of two tracks on which the Sinfonietta Consonus Orchestra weave their magic nurturing the mood of the song. Mariusz’s struggles with his pain and the way he yearns for the age of childlike innocence to relieve him of this heartache, are hauntingly beautiful.

A darker feel as Red Light Escape scratches at anguish on track four. He explores the way people try to come to terms with tragedy. How some search for an emotional crutch to cling to rather than face their fears and slip back into dependency on things they find comforting, even if it is not necessarily a good thing and prevents them from dealing with the problem, so they can move on.

Title track Fractured has a sparser feel, with Mariusz’s signature bass pulsing as synth and other sounds inject like dark drugs into the grooves of unnerving beat pattern, that leaves you on edge and unsettled.

A hopeful ballad, A Thousand Shards Of Heaven is delicately ushered in with acoustic guitar and the emotional vocals from Mariusz then joined by the wonderful  Sinfonietta Consonus Orchestra once more. It offers glimmers of hope amongst the sadness, as the silky saxophone of Marcin Odyniec floats into the mix and gentle ripples, torn into submission by Wawrzyniec Dramowicz’s syncopatic percussion, a feeling of calm bringing it to a close.

Synth bubbles on Battlefield awash with digital waves and electronica, in this slow burner that builds with rolling, rhythmic percussion. A cautionary warning of the dangers of holding things inside and letting them destroy you and a reflection of the inner fight he has faced and stood strong echoed in the assertive ending.

Moving On with it’s Depeche Mode influences worn on it’s musical sleeve, could easily have been a single. Melodic and catchy, Mariusz bares himself one last time for the listener, to let us know he is not going to let what has hurt him stop him moving forward, climaxing with a few positive notes from the saxophone.

It’s an awkward review, as this is so personal to Mariusz. As you look deeper into it you can feel a little voyeuristic and that you may be prying. But the attitude and bravery he shows in releasing this material is a testament to the man and those around him. He has put a positive spin on everything that has happened and fully embraces the adage ‘What doesn’t kill you makes you stronger’.

Clearly his best solo output to date, ‘Fractured’ is in some ways a huge departure from previous works, a progression and isn’t that what this album is all about. A tremendous album that I believe everyone should have a copy of, certainly one of the best releases of 2017. Fans may have been concerned for his welfare after what befell him, but Mariusz has reassured us all that he is stepping into the light and the future looks bright.

Released 6th October 2017

Order ‘Fractured’ in all formats from the Kscope store:

Lunatic Soul