Category: Reviews

Review – Talitha Rise – Blue EP – by Progradar

“There is beauty in the unspoiled innocence of music, a beauty that cannot be quantified but one that fills the soul with empathy and love.”

I wrote that after my umpteenth listen to the first EP from Talitha Rise – ‘Blue’, I like music that has pomp and circumstance and power and glory but I also love music that has the power to move me with it’s grace and beauty and ‘Blue’ fits perfectly in the latter category.

Talitha Rise is the solo project of Jo Beth Young, Jo Beth has been likened to artists such as Tori Amos, First Aid Kit, Mazzy Star and Stevie Nicks all the while remaining a striking and unique voice that hypnotizes the ear.

Whether recorded or live her music grabs the listener from the first few notes and plunges them into the deep with a combination of diverse and haunting vocals, melodical journeys that makes you wonder where on earth you have been for the last 30 minutes.

Her EP ‘Blue’ (co-written and co-produced by Martyn Barker (Shriekback) introduced a forest of unfurled noise where a plethora of strings and lush unexpected sounds wind themselves around stories and understated guestings from artists such as Juldeh Camara (Robert Plant) and Chris Difford (Squeeze).

Six atmospheric songs of understated grace, ‘Blue’ opens with the dreamlike Magpies, a track with an otherworldly feel to it and one where the ethereal qualities of Jo Beth’s gorgeous vocals just draw you in. It’s Folk music but like nothing you’ve really heard before, the pared back rawness of the music adding a primal gloss to everything. Shadow Navigation carries the theme further with a delicate guitar and strings guiding the haunting vocal along a hidden path. These songs were conceived and inspired by the surrounding nature of East Sussex and you can almost feel the life-force running through them. A plaintive violin adds pathos and humility to the stark beauty at the heart of Jo Beth’s elfin-like voice.

There’s an impish tone to Golden Moon, a track with a more traditional folk edge to the music, Listening to Jo Beth I imagine myself in a mist-shrouded dawn as her elegantly lilting tones bewitch you. This song has a more serious overtone, darker, more intriguing as it segues into progressive-folk with its allegorical connotations, slightly devilish and wild. The most pared back song on the EP, Deadwood is a delicate and sublime piece of music, the fragility barely held back as Jo Beth delivers her halting vocal like an ancient troubadour, backed by the bare essentials of instrumentation. There’s a ghostly, intangible sensation that hangs over the whole track and you find yourself getting lost in its inestimable charm.

Wide-eyed innocence flows from Jo Beth’s voice as she sings the opening words to Morning, another simple and yet delightful piece of music that plucks at your heart strings with its naiveté and guilelessness. Perhaps more Art Pop than folk, it fits in with the rest of the songs perfectly. There’s no complications to music when it is as simple and unpretentious as this and it lifts the heavy weight of life from your soul. Too soon the EP comes to a close with Doves, perhaps the most progressively tinged track with its enigmatic aura. A passionate and ardent song, Jo Beth gives us her most powerful vocal performance and yet she never loses that childlike innocence from her voice. The vibrant music delivers a colourful soundscape that envelops all and closes out the EP in elegant style.

Captivating and bewitching from the first note, the ethereal beauty and childlike grace of Jo Beth Young’s vocals are at the core of ‘Blue’, a wondrously engaging collection of songs that serve notice of a musical talent to watch out for. She is currently finishing the debut Talitha Rise album due for release in late  2017. The Lake is the first single of the album.

Released 14th February 2017

Buy ‘Blue’ from bandcamp

 

 

 

Review – Josh Kay – Absence of Time – by Progradar

As most of you will know, I am a love of instrumental music. Be it jazz, progressive, alt-rock, ambient, math-rock or just plain old rock, I am eager to search it out and bring it to the attention of the masses.

The only problem with this is that there is SO much new music out there that it is sometimes like swimming against the tide and I am sure some great releases must pass me agonisingly by. Which is why I am glad that US instrumental artist Josh Kay actually approached me to review his third instrumental offering ‘Absence of Time’.

Before we get onto the music let me introduce Josh to you;

“Josh is an instrumental rock artists currently living in Los Angelese, CA. He has independently released three solo albums and collaborated with many groups over the last fifteen years. ‘Absence of Time’ represents a melding of his enthusiasm for progressive rock and guitar-centric instrumental music, with an emphasis on melody over calculable technique. To further his endeavors, Josh is currently attending Musician’s Institute in Hollywood.”

Beyond The Astral Reflection opens the album on a reflective note. A complex and emotionally intense listening experience with driving guitars layered over powerful drumming as Josh’s dynamically inventive guitar delivers a musically impassioned performance. The music switches between the dynamism and a smoother laid back style and has me intrigued to hear more. Ravine takes a more jazz biased, world music introduction and builds on it to deliver a stand out instrumental track with multi-layered guitars at the centre of this forcefully profound track. Josh holds your attention with his intricate guitar work but never lets this smother the musicality of the song. I’m reminded more of Neal Schon than the likes of Steve Vai or Joe Satriani on this contemplative piece.

Title track Absence Of Time is a darkly complex track with soul and emotion bleeding from every note. The guitar seems even higher in the mix, taking centre stage and demanding your attention. There’s a feel of a proper hard rock song at the core with dense, rocking riffs and a thunderous rhythm section giving it free reign to knock your socks off. Despite this it is still an immersive listen, the technicality adding impressive layers to the melodies within. The wonderfully restrained acoustic guitar and Josh’s wistful guitar playing bring to mind Neal Schon’s solo release ‘Beyond The Thunder’ as the delightful Solace In Sleep gets into its stride. Some elegantly persuasive guitar flourishes provide a great counterpoint on what is becoming my stand out track on the album. There’s music for the soul and music for the mind blended on this refined and stylish track and it emphasises Josh’s desire to showcase the musical harmony over his not inconsiderable technique.

Sometimes a gifted musician just needs to show off and the blistering guitar riffs, runs and motifs that define The Legato Gestapo show a musician at the top of his game with incredible technique and style. Intensely fast-paced and yet chock full of style and finesse, it is a grin inducing guitar-fest where Josh basically lets his hair down and lets rip! Nostalgic, wistful and winsome the uber chilled and laid back Ocean Reveries is the dynamic antithesis of the previous track. A sepia tinged and thoughtful piece of music, style and sophistication ooze from every jazz-tinged note falling from Josh’s cultured guitar. The final piece of this musical puzzle is The Sixth Extinction and this is the most progressive influenced track on the album. Josh explores different musical themes throughout its intriguing seven plus minutes length, the mood swings from the quiet and introspective to the ebullient and irrepressible making it a thoroughly engaging listen. Josh plays at his brilliant, complex and intricate best and it closes out ‘Absense Of Time’ perfectly.

For anyone who likes guitar-centric instrumental music ‘Absence Of Time’ should be on their must-buy list. Never formulaic, it delivers inventive and technically gifted guitar playing with thought provoking melodies to great effect. Josh Kay is a musician who has flown under the radar for too long, when his music is this good, it deserves to be given wider recognition.

Released 30th August 2016

Buy ‘Absence Of Time’ from bandcamp

 

 

 

 

Review – Abel Ganz – Gratuitous Flash (2016 Remaster) by Progradar

I’m not always sure that you should revisit the past, sometimes it isn’t as you remembered it and quite often not in a good way at all. However, in music, going back and remastering an album using modern technology can often add a lot more to the original production (the opposite can also be true but that’s for another time).

‘Gratuitous Flash’ was the first album released by seminal Scottish proggers Abel Ganz and was originally recorded in 1986. After the passing of thirty years the original line-up got back together to remix/remaster the release at South Park Studios in Glasgow. It has been remastered with some additional instrumentation by Hew Montgomery, co-founder of the band and keyboard player until 2007. He is joined, once again, by Hugh Carter (bass, flute & bass pedals), Alan Reed (vocals and Reedotron), Malcolm McNiven (guitars) and Ken Weir (drums and percussion).

The whole mix has been given a very slight clean up but this was kept to a bare minimum.

“You left school at seventeen, you never were the intellectual…”

A song about never growing up and never quite fitting in with your peers at school.

The opening track, Little By Little, gives a huge dose of nostalgia as the keyboard intro sends you rushing back to the 80’s. It’s a song that has an immediate hold on you with the intricate guitar playing and superb keys, the percussion and bass driving the track on. The extended instrumental opening has a really upbeat vibe to it, blending the original music well with the new remastering. When Alan’s vocals begin they are crystal clear and you become engrossed in his lilting tone, seemingly telling you a tale from his youth. It’s like Marillion but with added doses of humour and humility. I never heard the original but this new version doesn’t have me yearning for the past, I’m just thoroughly enjoying what I’m listening to now, including a fiery guitar solo from Malcolm that takes flight with a mind of its own and Hew’s elaborate keyboard playing.

“Have you ever had a day when someone smiled, suddenly you’re feeling much older than today.”

A song about the frustrations of growing old and realising that love is passing you by.

A nicely strummed guitar opens You and Yours and is rapidly joined by the soaring keyboards and superb rhythm section before Alan’s distinctive voice joins in with not a little passion. There’s wistful, almost regretful tone that runs throughout the song and that 80’s neo-progressive sound is as strong as ever, yet brought up-to-date by the considerate remix. Hugh’s elegant bass is particularly outspoken on this track and works well as the metronome in the background. Another fluid and effortless song that has a wistful edge as the story unfolds before you. The polished instrumental sections work exceedingly well within the rest of the track and showcase just what great musicians these guys were (and still are!).

The Scorpion is an instrumental track that was unashamedly inspired for Hew by the playing of Don Airey in his Collosseum II days. it has a particularly grandiose opening before racing off with Hew’s keys and Malcolm’s guitar trading fiery licks and blows along the way. I’m sure Hew should be wearing the archetypal prog-cape as his fingers fly across the keys. Ken’s powerful and quick fire drumming is at the heart of the mix and the whole song has you feeling like you’re on a helter-skelter as Malcolm’s aggressive guitar takes centre stage for a moment. It’s the keys that are the focus of this dynamic and compelling instrumental to my ears though.

“Gets up every morning, at the crack of dawn, fix your working clothes, put your working smile on…”

A song written for someone that Hew worked with years ago whose name was actually Irene Kean and was always happy and enthusiastic about her job.

An emotive piano opens Kean on the Job with some laid back percussion adding to the atmosphere. There’s a whimsical tone to the music as it builds up the song. Alan’s earnest vocal takes up the tale and I’m pretty much engrossed from the first word. The chorus rapidly becomes an addictive earworm that I find myself humming all the time, in fact the whole track stands out on what is becoming a superb album. The tastefully played guitar and classy keyboards add even more gloss to the delightful narrative, all in all a rather excellent song.

“I wrote the song, for the radio, the words reflect the way I feel.”

A song dedicated to a journalist who, in the early eighties when he was a young lad working for a local newspaper, took great delight in making barbed comments about the music of Abel Ganz.

Another energetic and impellant track, title song Gratuitous Flash opens with a charismatic instrumental section with driving guitar, an ebullient rhythm section and compelling keyboards combining with irresistible effect to give a potent feel to the track. As the pace slows Alan’s characterful vocal recounts the details in a measured and distinctive manner, a strong 80’s neo-progressive overtone at its heart, Hew’s swirling keyboards closing out the track in dramatic fashion.

“He was only a boy of six years old, playing kids’ games on a frozen lake. But he ventured too close to the hockey match; that was his only mistake.”

Sometimes there are just some moments that inspire you to write music… and this is definitely one such moment. Inspired by the wonderful saga of Johnny Smith, it’s one of these songs that Hew always felt really satisfied with (although he also felt that there were a few spaces that needed to be filled just a bit, and the remix gave him the chance to do exactly that!).

A genuine epic, coming it at over 16 minutes, The Dead Zone is one of those tracks that has so many facets that just fit together perfectly. Quite a mournful song at times, especially the opening with its serious and ominous mood, it has a definite gravitas and pathos at its core. The sincerity in Alan’s voice is there to be heard and the exemplary musicianship fits the developing mood perfectly. An all encompassing and absorbing musical experience that seems to fill your whole being with its sentiment and poignancy, a piece of music for late night listening with the lights down low and a glass of your favourite tipple in your hand. Even running into sixteen minutes plus, it is such a gripping song that it never outstays its welcome as the music and lyrics absorb you throughout.

Newly added to this 2016 remaster of ‘Gratuitous Flash’ is Alan Reed’s solo reworking of Kean on the Job. Hew says, ” It’s a beautifully laid back way to end this album…” and he is 100% right in that assessment. A deliciously chilled out and easygoing rendition that flows in an undemanding manner. The capricious instrumentation is jazz influenced and it’s a warming and grin inducing way to close out this musical experience.

For those that have the original in their collection there is absolutely no reason not to upgrade to the 2016 version. A considerate and well thought out remix and remaster has brought out even more layers and given it a well deserved new lease of life. For those who have never heard the original then please purchase this modern take on a classic. Neo-prog doesn’t get any better than this with intelligent and humorous songwriting coupled with excellent musicianship to give a listening experience like no other.

Released 8th May 2017

Buy ‘Gratuitous Flash’ on digital from bandcamp

Buy ‘Gratuitous Flash’ on CD from ProgRock

https://www.youtube.com/watch?v=e_tboC1BRLI

 

 

 

 

Review – Amarok – Hunt – by Kevin Thompson

I have no qualms in pushing bands that are new to my ears. The plethora of talent around at the moment is wonderful to behold. I don’t wish to detract from the older bands of my youth and still love and listen to the music I grew up with, but more and more I find myself checking out the new kids on the block (no, not the boy band) as they truly represent a progression in the genres. Everything can go in the musical blender and come out in the mix and though not all of it works and won’t appeal to everyone, there should be something you will find to your taste in there.

I personally feel this is the best time since the 70’s for new music and like an addict I devour neoteric tunes and the bands that make them, trying to sate my appetite. Whilst I am time poor, the chance to review some of these releases is an opportunity I relish and, with a couple of exceptions, have been lucky to like most of what I’ve heard.

So it came as a surprise to me when I agreed to review Amarok‘s album ‘Hunt’, that it is their fourth release and I have not heard them before. Mr Hutchinson sent me this after suggesting it could be in the running for album of the year, so high expectations. Essentially a project of the very talented Michal Wojtas, from Kielce in south central Poland, who sings on five of the tracks and plays a number of instruments (guitars, harmonium, keyboards, audio samples, percussions, electronic drums, theremin, low whistle), he also has other invited artists contributing on various tracks. Michal credits Jean Michel Jarre and Mike Oldfield as being particular musical influences on him and their inspiration can also be felt throughout.

Now there is something about Polish artists, the beautiful, melancholic melodies they create resonate with me and some people will find obvious comparisons to another very popular Polish act, but that would be to denigrate the talent here. The further into the album the more the music spreads and occupies different genre spaces. At the heart of the album the lyrics deal with trying to retain our individuality against the social media and powers that be, who try to conform us whilst distorting the truth to their own ends.

After giving this a number of listens I don’t think Michal will remain Anonymous for long as the throbbing pulse of the first track ushers us into his musical world. Pawel Kowalski plays drums on this and most of the tracks on the album, adding to the rising rhythm, with Marta Wojtas filling the sound further on wavedrum as she does on a number of tracks on this album. I’m already hooked as the track mounts to a crescendo with driving guitars and relaxes again in Michal’s vocals to the close.

The incomparable Mariusz Duda lends his delicious vocals to second track Idyll, ably backed by Konrad Pajek. I make no apologies for waxing lyrical on the magic Mariusz’s vocals bring to this or any tune, as it builds gently in mouthwatering layers and he gilds it to perfection. Guitars weep with joy and rippling keys sing, growing as a field of colourful blooms, resplendent in their gilding.

The echoing keys of Distorted Souls haunt us gently, with skittering electronic distortion bouncing between the speakers and staccato drum beats jabbering away under the wistful vocals from Michal Wojtas with an earworm of a chorus. We are then caressed by a wonderful theremin passage midway which serves to accentuate the impactful ending of heart torn guitar strings and keys on what is yet another beautiful track.

We are only three tracks into this and I am sold.

The eerily stunning Two Sides, played mostly on the Duduk (an ancient double-reed woodwind flute made of apricot wood, indigenous to Armenia, for you fact lovers) by the gifted Sebastian Wieladek, blows gently through your ears like a warm Scirocco across a moonlit desert as you lay and watch the stars twinkle in an endless sky, the sound echoing away into the distance, leaving you entranced.

The twisting rhythm of  Michal Wojtas’ harmonium breathes in and out on Winding Stairs, with sampled noises and Pawel Kowalski’s percussive beats dancing back and forth. Michal’s gentle voice soothes and muted guitar flurries strain in the distance gently pushing to the fore, contesting the harmonium on it’s last breaths.

An aggressive, distorted riff blasts you out of your reverie and tribal beats kick in, the guitar stuttering and lurching in and out, bouncing between speakers. Delicate swathes of keys wash on the pounding rhythms as they resonate In Closeness with your increased heartbeat whilst Michal Wotja’s whispering vocals hold it all together.

I love emotional guitar solos and Unreal cries to my very soul as Michal Wojtas bends and slides the frets on mournful waves, underpinned by Michal Sciwiarski’s eddying keyboards. Quite simply bliss.

(Picture by Grzegorz Szklarek)

A different voice softly accompanies the keys and synths on Nuke, courtesy of Colin Bass guesting on vocals, harmonising seamlessly with Michal Wojtas. Steadily and subtly building the music expands, widening the sound to arena proportions with another sublime guitar solo slipping in before the end of this, the penultimate track.

The title tune plays us out starting with the lector narration from John England adding a conceptual feel to Hunt. At just under eighteen minutes this could be classed as an epic musical story, with splendid keyboard passages and samples emulating Michal Wojtas’ quoted influences. Once again there are some fine guitar solos that swoop and fly between Michal’s wonderful vocals. John reflects on questions we should be asking and if can we stay true to ourselves avoiding the pitfalls of a virtual world where hidden people covertly hunt out our personal details for their own benefit, before the album is dramatically brought to a close as a crying guitar collides with the sounds of hammered metal.

Those of you who have read any of my past reviews know I often try to string a storyline through an album in an attempt to illustrate the tunes and catch your attention. I can’t with ‘Hunt’ as every time I listen I’m drawn in and have trouble concentrating as I become immersed in the glory of it all.

I apologise for not hearing of Michal Wojta before and I don’t want to gush, but Martin asked the question, ‘could this be a contender for album of the year?’ The answer is probably not. No reflection on the album but like myself, I am sure Amarok have not been heard by the majority of people.

So I feel a desperate need to redress this balance with what little influence I have, please listen to this album because if nothing else it is most definitely one of my contenders for album of the year.

Amarok are tremendous, let’s give Michal Wojta the recognition he deserves.

Released 23rd June 2017

Buy ‘Hunt’ from Rock Serwis here

 

Review – Steven Wilson – To The Bone – by Progradar

“It’s a new challenge to keep changing your music. I like words like transformation, reinvention, and chameleon. Because one word I don’t like is predictable.”

I’m sort of paraphrasing a quote from Naomi Campbell there, I like the way that, to me, it seems to describe how I view Steven Wilson and his music.

There’s lots of words to describe this artist, challenging and pioneering are two but predictable he definitely is not! I was a big fan of Porcupine Tree but it took me a long time to become enamoured with his solo work and I’m still not a big fan of albums such as ‘Insurgentes’ and ‘Grace For Drowning’. While they were no doubt groundbreaking and forging a new way for his music, I didn’t subscribe to the hype at the time.

I’ve grown to love ‘The Raven That Refused To Sing’ and ‘Hand.Cannot Erase.’, although both were uneasy relationships at first. Through every release he has sought to change his style, not any major changes but subtle transitions that have transformed each piece of work.

Now comes possibly his most controversial work and one that seems to have split the music community in two, ‘To The Bone’.

After many years with Kscope Steven has now signed to Caroline International and his new album is described as:

“A gloriously dynamic modernist pop record as imagined by the UK’s biggest underground artist…” 

There’s been a flurry of singles released from the album but I’m going to review it as whole and, with a break from tradition, I’m not going to dissect each track but just give a relatively short synopsis of how they feel to me after a few listens.

Let’s just say that ‘To The Bone’ is a really accessible album but one which also has longevity, the opening and title track To The Bone starts with a voice over before hitting you with something that is rather edgy, full of a funky guitar riff and with some rather tasty harmonica work that adds a driving pop-infused groove to the whole track. Nowhere Now seems like  a homage to the bombastic 80’s stadium rock that was the forte of bands like U2 and can still be heard in the alternative rock of Foo Fighters today. A memorable, catchy chorus and some excellent guitar work are the icing on the cake.

The first single release from the album, Pariah, features the unforgettable tones of Ninet Tayeb and is a lush, cinematic piece of intelligent and emotive pop music. A song with a serious overtone and one which envelops the listener in a cosseting soundscape and fuzzy, dynamic guitars. It’s possibly the best song on this release and is immediately followed by another great track, The Same Asylum As Before. This time we’re treated to power chords and crunching riffs that are mingled with chiming pop sensibilities and a falsetto vocal (an abomination to some but I like them) to give an acute and perceptive discourse on the world we live in today.

Refuge is a slow burning, incredibly immersive piece of music that captures the imagination and draws the listener in to its dark world of sanctuary. Haunting and deeply meaningful, the music plays its part in giving the song an otherworldly, almost alien, edge especially with the squalling guitar and harmonica soliloquy and the slow, gentle ambience that closes out the track.

Now onto the marmite song on the album, Permanating is either a wonderful piece of modern, driving pop music, Mr Wilson’s homage to ABBA and E.L.O or empty, mindless pop. I fall firmly in the first camp and love the pastiche and the good feeling that emanates from every note. To each their own and I can see both viewpoints, make your own mind up on this one. Sepia tinged nostalgia drips from every note of the criminally short Blank Tapes, a song that channels Porcupine Tree to these ears. The heartfelt vocals and hushed, delicate music add a huge dose of pathos, just make it longer!

Post-punk Pop with clashing guitars and edgy vocals, People Who Eat Darkness is another fast-paced and hard living track that has hints of Steven’s earlier solo works. A toe tapping song with undertones of developing anger amid the quieter moments., it fits right in with the current mindset of this troubled world. Song Of I is ‘a story of unrepentant obsession set to a sharp-as-a-tack rhythm track and an orchestral sandstorm’ and is the one track on the album that fails to reach the lofty ambitions of the others. It’s a track I have to be in the mood to listen to other wise it is just a meandering piece of music that seems to have no destination and is in no hurry to get there. Perhaps a victim of it’s own sagacity, it would be no detriment if it wasn’t included.

Detonation is the longest song on the album at just over nine minutes and never outstays its welcome, building layer by layer of hypnotic and haunting music amid vocals that seem slightly disconnected and uneasy, it has a chilling tone. Primeval guitars and a discordant rhythm section add to the tense and agitated aura that pervades. A modern mystery where the answers always seem just out of reach. The album closes with the wistful grace of Song of Unborn with its touching chorus and sepia tinged ambience. A piece of music that almost makes you hold your breath before breaking out into a dynamic, soul-stirring wall  of sound dominated by a solemn guitar solo.

‘To The Bone’ is intelligent,driving modern pop music with vibrant punk and rock roots and sees Steven Wilson cement his position in the music fraternity. Who’s to say his next release won’t be a 70’s disco-funk pastiche? And who’s betting that, even if it is, it won’t be as good as this striking new album.

Released 18th August 2017

Buy ‘To The Bone’ from Universal Music

 

 

Review – Damanek – On Track – by Emma Roebuck

Damanek is DAn Mash, Guy MANing and MarEK Arnold (with Sean Timms coming to the party just a after the band name was decided, Guy tells me.)  A fairly stellar cast is joined by other heavenly bodies to guest on this, the debut album of this project.

Brody Thomas Green (‘Southern Empire’) – drums.
Tim Irrgang (‘UPF’) – percussion.
Antonio Vittozzi (‘Soul Secret’) – guitars.
Luke Machin (‘Maschine’/’Kiama’/’The Tangent’) – guitars.
Stephen Dundon (‘Molly Bloom’) – flute. 
Nick Magnus – keyboards.
Phideaux – vocals.
Ulf Reinhardt (‘Seven Steps to the Green Door’) – drums.

Their live debut at Summers End 2016 caused a stir and a buzz of excitement in the crowd and the Prog community as a whole. It is strong album from beginning to end and it is also, as you would expect from Guy, one with a message. If I am honest it has many messages all in the main told through the allegorical story telling of guys lyrics.

We have 8 tracks that have light and shade along with the complex use of instruments and layers to play parts in the sound. The production is outstanding and reminds of some of the classic albums of the 80’s (but without sounding like an 80’s Prog album.) Sean has done an excellent job in the mix and production of this truly global album.

The opener Nanabohzo and the Rainbow opens with a tribal rhythm and an insistent bass and drum riff throughout give an exotic feel to the track and a rather excellent ear worm quality. Marek has a big part to play with his Sax and, along with Sean on keyboards, is the flesh on the bones of the rhythm. Guy’s voice is on form all the way through the album, it slots so well in the sound as it shifts in form throughout the song.

Long Time, Shadow Falls, this has the most 80’s feel to me, drawing from the best of what Peter Gabriel in style and form did in the mid 80’s. I think it is the keyboard sound but the song is a commentary on poaching and the impact of man that is sung from the view of the victims, the Rhino, the Elephant and the Hippos. It is our gift to stop this but as a species we are doing a poor job.

“Just pictures in a glossy magazine
Long time, a shadow falls and the Earth is lessened”

With the demise of the natural world we are lessened more than we realise.

The Cosmic Score is told on a much larger scale with the keyboards of Nick Magnus adding much to it. Imagine if you will the stars are notes on the score of the universe and the music of the universe is playing forever but how badly are we affecting that score on our little planet? It is massive in scope and symphonic in sound.

Believer – Redeemer could be a jazz-funk soul piece, in fact it is to these ears and a real pleasure to listen to as well. The music is a metaphor to the lyric, challenging the prog fan to step outside and listen to a world beyond the Prog bubble. The lyric does the same to the intolerant and unaccepting people of this world. I could honestly hear George Benson or Stanley Clarke doing a cover of this with little or no changes. Oh, by the way, this is a good thing!

Guy has a pixie like sense of humour and in The Big Parade it comes out in spades. The guys here write an anti-war song to a martial beat. The pomposity of marching music along with the beat of an Umpah band make the idiocy of war look like what it is – a playground for overgrown bullies. Reminiscent of Tom Waits “In the Neighbourhood”, with hints of ragtime and New Orleans jazz, here Marek gets to show off his skills to great effect.

The Finale on the album is Dark Sun, a 14 minute epic and  truly prog of ‘end of days’ proportions, it’s honestly scary and as ominous as its topic. The sun is getting darker and light gets dimmer as we kill the planet. Air gets thicker with pollution. The sight of our cities in the sunlight with unbreathable air and thick smog hanging like a veil over our lives. It utilises an excellent instrumental break and brilliant piece of guitar keyboard jamming with the brass synchronising beautifully.

I paint a picture of an album that is fundamentally depressing and dispiriting but it is actually very uplifting. The music is tight and full with the quality you would expect from the players but no one dominates in this and it feels like a complete piece of work. The malbum feels global with influences from across boundaries and geography. The messages may be a warning but each song offers hope rather than a sense of inevitable doom. It bears playing and playing again.

I sincerely hope that Damanek produce another album and take it out on the road. I won’t reference bands (as I usually do) but this is an album that has melody and song structure by the bucket load and is not frightened to go outside limiting parameters.

Released 15th May 2017

Buy ‘On Track’ from GEP

 

 

Review – Long Earth – The Source – by Progradar

Not sure if you’ve noticed but I like music, I like a whole gamut, a plethora even, of different musical styles and the bands that produce it but, being the man who actually runs this website, it also means I get sent a lot (and I mean A LOT) of new music on a weekly basis and sometimes it’s difficult to keep up with it all.

When I met Neil Mackie (vocals and guitar) of Long Earth at last year’s ‘A Prog Before Christmas’ gig we had a good chat about their forthcoming new album and, don’t ask me why, that seed stuck in my mind and grew when news of the impending release of ‘The Source’ broke.

So, while it may have taken me time to get round to it (due to real life pressures and earning a coin), I always intended to review the album and here is my take on it but, first, a little background…

Long Earth came together by a series of fortunate but unexpected coincidences. Born from an agenda of no agenda, the principal from the outset was to create a musical adventure with no preconceived plan of the final destination.

Mike Baxter (Keyboards) came from an exemplary background of having been at the forefront of the Glasgow music scene. It was during Mike’s tenure with Identity Crisis that, despite moving in converging circles, Mike played with Gordon.

Gordon Mackie (Bass) has a background in music spanning more than 40 years. Moving into the ’90’s, and a move east, saw Gordon hooking up with Mike in Identity Crisis.

Ken Weir (Drums & Percussion) was the foundation not only musical but also in terms of timeline of Abel Ganz. During his time with the mighty Ganzers, Ken was there from the early days of Milgavie Town Hall through to and beyond the Gullible’s Travels days – featuring a line up changed to Paul Kelly, Hew Montgomery, Gordon Mackie and himself.

Neil Mackie (Vocals & Guitar) is, surprisingly enough, Gordon’s brother. Due to Gordon’s influence, Neil learned bass and performed with a number of Central Scotland covers bands from the ’80’s onwards. 

As things progressed, the band agreed we needed an amazing and very particular type of lead guitarist to join the ranks – so the hunt began. Thankfully in September 16 we were joined by the insanely talented Renaldo McKim (ex Suicide Underground).

The final cog in the wheel is Hew Montgomery, Abel Ganz / Comedy Of Errors / Grand Tour who acts as a motivating factor in Long Earth. A semi silent partner almost…

Neo_prog started in the early 80’s and hit its heyday later in that decade with the likes of Marillion, Pendragon, IQ, Pallas et al and it’s influences can still be felt today, just listen to the recent solo releases from Alan Reed (ex Pallas) and Paul Menel (ex IQ) and you’ll know what I mean.

You can hear the way that Neo-Prog has shaped Long Earth’s debut ‘The Source’ but the quality of the songwriting gives it something a little different. It’s made up of two song ‘suites’ and three other tracks and is an engrossing listen throughout. Title track The Source is made up of four constituent parts beginning with i -Through The Void, a stylish instrumental that takes me straight back to the 80’s with it’s simple keyboards and elegant basslines. To these ears it almost combines the era’s other stand out music, New Romantic, with some stylish prog overtones and is a great opening to the album. There’s a segue into ii – The Source which is another nostalgia soaked unpretentious piece of music but one that grows and morphs into something much more up-to-date. There’s a relaxed tone to the music and Neil’s vocals and when the tempo increases, it becomes something more vibrant. Up to now it’s been Mike’s keyboards that have been the overriding contributor to the music, aided and abetted by Gordon and Ken’s stylish rhythm section and there’s a nicely laid back keyboard solo in the centre of the track. To be fair, everything is nicely judged but it’s just missing that little extra, until it arrives in the shape of a classic guitar solo from Renaldo towards the close, powerful and compelling and making the circle complete.

iii – First Steps is a short, slow moving and brooding instrumental with a dreamlike quality to it, the music washing over you and putting you into some kind of relaxed stasis, calm and composed before iv – The Call begins, an intelligent song which gets me in a thoughtful frame of mind straight from the off. Haunting keyboards and jangling guitars give an alternative music vibe, like something out of 1990’s North West England. That dreamlike aura lingers among the smooth vocals and the effortless rhythm section. Below the unhurried surface the guitar adds some edge and body without spoiling the tranquil ambience. It’s a piece of music to lose yourself in and just enjoy the mesmerising music, let another quality guitar solo from Renaldo lift your spirits high and let them soar on the musical updrafts. and enjoy the serene ending to the song.

The second multi-part track is Ghosts and the first piece is i – Invisible, an eerie sounding keyboard precedes the haunting vocals as the track builds slowly with a slightly nervous and tense feel. It has a wistful sound to my ears, it’s almost like a song of longing and regret, of looking to the past with a heavy, melancholy heart. The subdued guitar solo is dignified and seems to be holding back the sea of emotion waiting to spill out. This is a song that is not in a hurry to get anywhere and its presence is felt deep in your soul, the contemplative voice over works very well and the whole track leaves you looking into your own mind in a sobering manner. ii – Above And Beyond is another short and pensive instrumental with an absorbing and reflective atmosphere, there’s an almost otherworldly sound to the keyboards but it is fleeting as it segues straight into the sombre tones of iii – Ghosts. The solemn vocals add to the absorbing music to leave the listener pondering life, the universe and everything. I love the echoing guitar note, it just adds layers and layers of pathos and sentiment and the whole song is a really poignant piece of music with a deep yearning and sentiment. Overall this is a melancholy song about loss and longing that stays with you long after it fades out.

The last part of these two multi-faceted tracks is iv – Her Ghost In The Fog and it opens with an almost euphoric keyboard note, a feeling of hope in the desolation of loss, much more upbeat than what has preceded it and the 80’s feeling repeated guitar motif is really catchy, you will find yourself humming this at the most inopportune moments. There’s almost a nostalgia overload with the keyboards slap bang in the 80’s but the great songwriting once again lifts this song above the ordinary. Neil’s voice has an emotive overtone, quite affective and touching and the keyboards and piano add real gloss. Once again that excellent rhythm section of Ken and Gordon provides the engine room that keeps things ticking over and Renaldo weaves his special brand of magic throughout.

Where Is The Laughter takes a slightly different route with a really engrossing introduction where Gordon’s bass is more front and centre before Neil’s plaintive vocal begins. There’s more of a mainstream feel to the song, although it is still rooted in the neo-progressive arena (dare I mention that well known & tall Scottish singer). I like the elegant music that seems to just glide over your synapses and leave an indelible mark as a layer of sophisticated calm falls over your shoulders. Music for lazy days and long drinks in the garden, a smooth jazz aura seems to emanate from the keyboards in the middle of the song, the bass and drums joining in the impromptu musical jam session. It is one of the best lead outs to a track I have heard this year, just so relaxed and uber cool, just stop what your doing, relax and enjoy it. Children Of War is a superb song that occasionally lets itself down, and that is by the verses being a tad too long. It starts with a feeling of suspense and trepidation, Neil’s moving vocals making the hairs stand up on the back of your neck and all is well. It’s a haunting song about the unknown casualties of war, mainly the children, and it is a moving sentiment but it tends to meander too much for its own good and you get a feeling of treading water with no particular destination in mind. When the brilliant guitar breaks out that spell is broken and you sit, wide eyed, at Renaldo’s virtuosity, it really is quite superb. The verse begins its slow traverse and, once again, things become a bit static, only to be lifted by the rarefied harmonies, it’s a small criticism but a criticism nonetheless. Things come to a close with The Deafening Silence, an organ opening proceedings with Neil’s high pitched vocal adding a bit of theatre. Next, a smile breaks out on my face as a really catchy riff hits you full in the face and the powerful drums and keyboards drive things on. More of a hard rock song that your neo-prog, it works really well with some funky bass and edgy guitar thrown in the mix. It’s a pleasant surprise to have a short and relatively uncomplicated track closing an album out and I’m really enjoying it when Gordon goes all 70’s funk on us with his short but ever so sweet bass solo and, not to be outdone, Renaldo leaves us with another thunderous guitar solo. To me, it’s a great choice of song to close out what has been a thoroughly entertaining listening experience.

Taking what was great about classic 80’s Neo-Prog and adding some modern drama and pathos, Long Earth have given us a debut album that has been years in the making and all the better for it. Yes, it is not without some minor flaws but it certainly is an album that you will return to many a time and will be even more gratifying every time you do, bring on the next one guys!!

Released 9th May 2017

Buy ‘The Source’ from Grand Tour music:

http://grandtourmusic.org/

 

 

 

Review – TDW & Dreamwalkers Inc. – The Antithetic Affiliation – by Progradar

“If you’re waiting until you feel talented enough to make it, you’ll never make it.”
― Criss Jami, Healology

There’s a very old and very wise saying that goes something along the lines of, “If you’re good enough then you’re old enough..”, don’t let other’s perceived conception of your youth hold back your talent. This can be applied in many walks of life and music is definitely one of them.

Tom De Wit may literally have just turned 30 years of age but this man already has a huge array of talents in creating and producing music and I’m always waiting with much anticipation to see what he comes up with next.

So when the CD & press release arrived for his latest project with TDW & Dreamwalkers Inc. I couldn’t wait to immerse myself into it completely…

“After three years of self-discovery and hard musical labour, the next chapter in the musical story of TDW has arrived. ‘The Antithetic Affiliation’ is here and it’s become an album of extremes.

After garnering success in the international (prog) metal scene for his 2014 album “Music To Stand Around And Feel Awkward To”, Tom de Wit (TDW’s main driving force) got back into writing mode. The original idea was to create a new release that would be different from his last album in stylistic sense but also lyrically and theme-wise. This album would become something of a sketchbook of emotional states of being that Tom had been witnessing the last few years.

The very first song that was written and completed was the 20 minute epic Lest We Forget which shows a new darker and more angry side of the TDW music. Combined with shorter songs like Dirge & Lovesong and the epics Monolith and The More We Remember, the album got into its final shape. With all these songs combined, the album had a structure and a flow that makes it one big experience that searches for the outer reaches of emotions and music in general.

The infinity symbol is crucial to the theme that lies in this album as the human life pattern never stops in terms of positive and negative experiences. As long as a person lives and feels, the cycle will continue.

With the ‘Cynic’ and the ‘Idealist’ playing the main roles in this album’s concept, one can see that these discs are both different in style and tone, but they form a unity as a whole. Forging the anithetic affiliation that is noted in the title. ‘The Idealist’ being a more melodic and symphonic orientated disc and ‘The Cynic’ being a more dark, brooding and metallic affair. This showcases both sides of the emotional spectrum within the music of TDW in a new way.

Once again joining Tom in this album, is a wide variety of guest musicians that all bring their flavour to the mix by adding solo’s and specific parts on the already existing music. But the most noticeable change is the inclusion of the brand new live-band Dreamwalkers Inc in the recording process. This band was formed to perform the TDW music live on stages and since their acoustic debut gig taking place at Progpower 2016, this band of people have worked with Tom to finish this TDW album and to put their own stamp on this material as well.”

The first song on The Idealist disc is the powerfully emotive epic The More We Remember which builds up from a low key start with some beautiful oboe from Nienke van der Kamp before a striking riff breaks out and gives the song more impetus in a symphonic metal style. This track ebbs and flows with some pretty impressive guitar playing and incredibly catchy riffs and the drums are pretty dynamic too. Tom’s stentorian voice provides a big vocal backdrop while he also takes things lower and more gentle too, showcasing his wide ranging voice. This is some stylish progressive metal with a fast paced tempo that interchanges with the moderate sections. There’s some virulent, mind bending guitar solos thrown in the mix by Bob Wijtsma that add a shot of musical caffeine among the dreamlike sections. It’s a song of many interesting juxtapositions, none more so than the addition of Radina Dimcheva’s vocals as a stylish counterpoint to Tom’s more aggressive, masculine intonation. I’m a big fan of Tom’s music and he has really crafted something exciting here, like a fantasy novel set to heavy progressive-metal music.

Anthem starts with a thunderous riff and dominant drums with some suitably swirling keyboards driving things along. A dark, gruff vocal precedes the energetic vocals which lead up to a suitably bombastic chorus, yes a true ‘anthem’ indeed. The female vocals that complement Tom’s give a true symphonic metal edge to the track, it’s nothing new but it is done extremely well and I just can’t get enough of that really memorable chorus. There’s a huge wall of sound being created by these impressive musicians using incredible technical skill and melodic brutality, the screaming guitar solos being just one example along with Sophie Zaaijer’s violins and viola, it’s one hell of a ride and a thoroughly enjoyable one at that!

There’s a whole lot more of a relaxed feeling to Lovesong, a stylishly chilled affair of restrained vocals and guitar that just seems to float across your synapses leaving a trail of relaxation as it passes by. A wistful, almost nostalgic song that shows the great variety inherent in Tom’s song writing. He can create huge, powerful soundscapes but also music that touches you in your heart and soul and it’s the subdued and tasteful side of his personality that is on show here.

We close The Idealist with Monolith -The Ascent, a brooding and intelligent track that gets you thinking. I really like the way it builds up the suspense with some really creative music and Tom’s questing vocal. It almost has a magical air to it before it begins to evolve into something much more dominant and compelling. The edgy riffs and precise drumming add structure to the organised chaos of this true progressive metal track that’s awash with a real sci-fi aura, this is what I’ve come to expect from Tom and the impressive group of musicians he always brings together.

So, on to the second disc, The Cynic and we open with Monolith – The Descent. It’s said that this disc is more dark, brooding and metallic and it most certainly is, this track opening with a monstrous riff and choral voices before powering on with a mixture of resounding drums and weighty guitars. The vocals are properly metallic with some gruff style shenanigans thrown in too but they work well with the feel of this forceful song. It’s verging on heavy metal with a progressive twist and could seriously crumble mountains into little bits of gravel with its all-encompassing soundscape. If ever you needed a musical hangover cure then put this track on at a high volume and it will blow any cobwebs away with its relentless sonorous attack. Don’t let the little interjection of a quieter section that closes out the song fool you into a false sense of security, this is monumental metal at its best.

The next track Aphrodisia opens with a thoughtful tone, laid back, heartfelt vocals giving real pathos to the song. A world weary timbre enters Tom’s vocals and Martine Mussies’ cello provides succour. That feeling doesn’t last though as the track blows apart into a thrashing metal monster with energetic speed guitars and tirelessly animated drums. There’s barely controlled chaos erupting among the chord sequences here and it’s utterly enthralling, add in the keyboards that almost have a life of their own and it’s almost as if the song has come to life all on its own. The coruscating guitar solos from Dave Mola add to that almost alien feel with their vehemence and individuality. It’s a peculiar kind of prog thrash metal in places but one that has a keen perception at its heart, evident in the quite haunting close out to what has been a literally breath taking piece of music.

The shortest track on the whole album at just over 5 minutes, Dirge lives up to its name. A slow, almost funereal tempo and Tom’s hushed vocal over a calm guitar note give it a respectful overtone and Cailyn Erlandsson’s beautiful vocal, added to more of Martine Mussies’ cello adds an ethereal overtone of otherworldliness. A sombre and reflective song that leaves you in a melancholy and thoughtful frame of mind.

We finish this immersive musical journey with the riotous prog-metal epic that is Lest We Forget, a track that is on the front foot from the off and never lets up. The staccato, aggressive riff gets right under your skin and is matched by the relentless pugnacity of the drums. Tom’s vocal is demanding and in your face, it’s almost like Metallica on steroids having a jam with Dream Theater turned up to 11, especially on the primeval riffing. Take your pick on the solos, they are all incandescent and rather excellent and provided by Tommy Talamanca, Mendel bij de Leij and Frank Schiphorst and add even more flare to what is already a huge behemoth of a metal song. I’m not a huge fan of demonic vocals but Sascha Blach actually adds something hair raising to the song with his. This song is massive rollercoaster of a musical experience and one which rarely lets you stand still and then not for long. Just when you think you’ve got the hang of it, Tom goes off in a different musical direction but it doesn’t take long to catch up again, just hold on for your life and enjoy the ride as you roll along lifted up by the ferocious riffing. This song is twenty minutes of pure musical theatre as Sacha’s growling character delivers another monologue punctuated by a savagely potent guitar solo and then the riff fest fires off into the distance again only to be held back by a calm and collected acoustic guitar accompanied by Tom’s composed vocal. The music never lets up in its brilliance and diversity, who’d expect Thomas Cochrane’s almost Mariachi like trumpet and trombone to appear in the middle of this rollicking metal beast? Not me but it works and it works really well. Anyway, I’m going kick back and just enjoy the last two minutes of the song as it closes out in a magnificently ebullient fashion.

I’ve always been a fan of Tom’s music and his endless desire to re-invent himself and create something new. ‘The Antithetic Affiliation’ is his most ambitious work to date and he certainly doesn’t hold anything back. Intelligent songwriting and superb musicianship delivered by a talented cast has made this a musical experience that won’t be forgotten anytime soon. To be fair, you need a few listens to really appreciate this lengthy musical work and, no, it’s not perfect but it’s as close to a progressive-metal masterpiece as you are likely to hear anytime soon.

Released 22nd May 2017

Buy ‘The Antithetic Affiliation’ from Layered Reality

 

 

Review – Karibow – From Here To The Impossible – by Rob Fisher

Through a clearing in the foliage a solitary figure is perched on top of a precarious pyramid of abandoned ageing tyres, silhouetted against a sweeping azure bay from which a coastline of derelict, crumbling buildings emerge in various states of skeletal incompleteness, adorned with vegetation as nature reclaims lost ground and framed against a shrouded horizon ill lit by a murky, misty sun.

Oliver Rüsing’s powerfully evocative cover, along with the gorgeous artwork which adorns the 20 page booklet accompanying the ninth Karibow release ‘From Here To The Impossible’, merits closer scrutiny and consideration before the CD even hits the platter. As a stark and almost brutal visual metaphor for what you are about to hear, the message it conveys is as compelling as it is poignant.

Despite the dreams we harbour and the careful plans we make, life rarely goes as we would wish. Everything changes; nothing remains the same. The energy and ambition of our youth crashes against and is washed up on the shorelines of the limitations we face. The burning desire to change the world, our passion, our dreams, our hopes are forged in the burning fires of experience and gradually extinguished by the realities of daily life, the fears which hold us back and the restrictions placed or forced upon us.

The consuming focus from ‘Holophinium’ (2016) carries over to the new album. Being human is a struggle. But Rüsing’s focus has evolved; the story is no longer about the vitality and the vulnerability of being alive but on the ways in which we plot the directions we can take, the plans we make and remake, crumble or are crushed, to be rebuilt again. Life is a glorious journey of vision and re-vision. We continually build and rebuild. Everything is in perpetual flux. And in the midst of it all, passion is regained and hope is reborn. We dare to dream once more: we aspire from here to the impossible.

What strikes you instantly as you listen to the music is the drumming. Imposing, incisive and deliciously complex, its slight elevation in the mix creates the driving, dynamic and fiercely creative momentum which underpins the album. The tone is set by the dramatic and powerful jungle-esque opening of Here (Track 1), a narrative heartbeat and a startling call to wake up, confront our fears and fight for what we want.

The energy and strength of both the music and the message carries over to My Time of Your Life (Track 2). The pensive defiance enshrined in the lyric “my generation has a right to fight”, both whispered and sung, is echoed in a glorious question-and-response passage of keyboard and piano. Time may well wash away what we once held close to our hearts, but there is “still a chance for us to change the world with love and passion” (Passion, Track 3).

Never Last (Track 4) brings us, literally, to the heart of the matter with a gloriously soulful and richly melodic change of pace. The opening sentiment is whispered in our ears: “My heart is not independent, but do you think I am less than the least of all”. A delightfully restless bass line gracefully carries us through to a scintillating sax riff which is a joy to lose yourself in, eventually bringing us to rest in a beautifully hypnotic and calming narration provided by Monique van der Kolk.

Throughout the album, the interplay of the various instruments with each other is captivating. The fluid interactions create lavish walls of sound comprised of elegant shifting textures and complex, innovative arrangements. Rüsing assembles a dazzling cast of superb musicians and perceptively weaves their distinctive contributions into the flow and direction of the story.

Daniel Lopresto’s vocals in System of a Dream (Track 9) provide a grittier edge that speaks of pain, weariness and raw emotion. Sean Timms unleashes an enthralling mosaic of keyboard solos which dance and sparkle with vitality and restrained discipline. Mark Trueack brings a change of texture again on The Impossible (Track 11), creating a wonderfully nuanced call-and-response passage with Rüsing himself, leading to a building crescendo and the glorious cry: “I understand what I know can set me free, set me free!”

‘From Here to the Impossible’ is an impressive, deeply ambitious album which captures the imagination and gracefully enfolds you within layers of melodic complexity and unexpected musical delights. It will not give itself up to easy or casual listening. You will need to spend time with it; you will need to listen, to absorb and even, in places, to wrestle with where the signposts, markers and arrangements are trying to take you. And by the end you will be ready to believe that we still have it within us to change the world. Our dreams and passions make a difference, despite and in spite of the limitations which surround us.

Released 15th July 2017

Buy ‘From Here To The Impossible’ from the band’s webshop

Review – Jet Black Sea – Absorption Lines – by Emma Roebuck

Jet Black Sea: when I got this through my inbox I admit as to being blind to who they were or what to expect, apart from a brief listen to the demos on the band’s Facebook page which was enough to pique my interest.

Adrian Jones’ name popped up and then the penny dropped and the fog cleared with a tinge of familiarity, Nine Stones Close. He is bit of a creative tornado and, like many musicians in the progressive field, prolific in guesting on many other albums. ‘Absorption Lines’ is the second with Michel Simons, the first being ‘The Path Of Least Existence’, released in November of 2013. I did some ferreting around after my first listen through of this one after a very oh my response. Normally the first time I play any album it is to purge out what I have listened to before and get a general feel of what I am listening to musically. I can then flood my mind with the music so all I have is what any musician has created. I never make a snap judgement, I just get a first impression. My first impression here was very much this is special and I immediately flipped back to the start.

“Adrian Jones: talent, Michel Simons: cool dance moves”

To the music which is described as experimental, ambient and dark progressive by the guys themselves and that description ispretty much spot on for me. On paper this is an album of 7 pieces of music or songs with guests:

Pieter van Hoorn: drums on Wrong Turn, The Sixth Wheel & Cathedral
Brendan Eyre: keyboards on The Sixth Wheel & Cathedral
Paul van Zeeland: bass guitar on Cathedral
Adrian ‘Aio’ O’Shaughnessy: vocals on Cathedral
Tony Patterson: vocals on Hours Slip Into Days

I am going to say that this is actually one piece of consciousness flowing into the recording and divided up into digestible chunks. It is fluid and connected and thus really difficult to do any song by song break down. Musically the journey is rich, varied and textured with more influences than you can shake a stick at, from the ambient trance dance of The Wrong Turn flowing into the middle-eastern doom chording of The Sixth Wheel, Brendan providing the tonal variation drawing the ear to the Minarets and deserts of the Arab Peninsula and North Africa.

Suddenly we join the crew of Apollo 13 for Jumping to Conclusions and a short ambient Berlin School piece drifting in the vacuum of space with Absorption Lines, which flows into a classic Floydian jam session drifting of guitar, keyboards and vocals.

It continues pretty much in this vein through Cathedral until we have a “brass” song as such, with Adrian O’Shaughnessy on vocals and some very understated but powerful guitar work from Mr Jones. Without missing a beat we find ourselves in Hours Slip Into Days, Tony’s voice is silky soft and sits in the sweet spot at the centre of the melody, carrying you into the void beyond this world. We lapse to the end of 133 hours, the time the world held its breath while we waited for Apollo 13 to return home safely. This is a musical and thematic soundtrack to Houston and the Crew of Apollo 13 conversations. It is electronic music married with understated guitar that is built on pure atmospherics.

The album is a sonic experience and as a DJ I want people to hear this and hear what I hear. Playing a track won’t cut it for me as it misses the rest of the release. It is an album not a collection of songs, it flows and grows from one end to the other filling the listener and drawing them through and into it. I am a lover of the discipline of the album, maybe it is my love of classical and electronic long form music but this sits in the same place. Adrian and Michel are not frightened to go outside traditional structure and style and they understand their art and want to see how far it can go.

Fans of Cosmograf, Public Service Broadcasting, Autechre, Scanners, Pink Floyd, Tangerine Dream, Robert Fripp and Eno will find succour and pleasure in this album. It is individual in its style and is “Jet Black Sea “rather than a version of someone else. I would say this: when you buy this album switch the connections off to the world and spend 45 minutes just letting the music swallow you up, better still, take 90 minutes and go round twice.

Released 30th June 2017

Buy ‘Absorption Lines’ from FREIA Music UK (UK & Ireland)

Buy ‘Absorption Lines’ from FREIA (Europe):

http://www.fmls.biz/product/jet-black-sea-absorption-lines/