Reviews – Page 75

Review – Patchwork Cacophony – Five of Cups – by Progradar

There’s been a lot of discussion recently about a loss of ‘value’ to music, in the sense that people seem to think that they should be able to listen to it for free, either via streaming services such as Spotify and Apple Music or by illegally downloading it from the plethora of music sharing websites that haunt the internet.

What hasn’t helped is the fact that now virtually anybody can make an album in their bedroom with a laptop and, unfortunately, virtually all these so called ‘records’ are of very poor quality. To be fair, I’d be a bit hacked off if I’d spent £10 on a piece of music that sounded like caterwauling cats singing over somebody’s guitar lessons but the majority of music is still made over a lengthy period of time by artists who put their heart and soul (plus a not unreasonable sum of money) into creating these musical gems.

To have that devalued by the marketplace as it is now must be heartbreaking, especially when you are a multi-instrumentalist who actually plays virtually all the instruments on a new release, as well as writing all the songs and producing and engineering their works of art.

A message came into Progradar from Ben Bell, the multi-instrumentalist behind Patchwork Cacophony, asking if I’d take a listen to his latest release ‘Five of Cups’. I duly did and was intrigued to find out more…

Ben first came to prominence as the keyboard player, co-composer and producer on Fusion 2 Orchestra‘s acclaimed 2013 album ‘Casting Shadows’. When I started waxing lyrical about his new release on social media, it also came to light that he is the new keyboard player for my favourite cult prog-rock outfit Gandalf’s Fist and this was pointed out to me by my friend (and Fist’s drummer) Stefan Hepe.

He released his debut solo work, ‘Patchwork Cacophony’, independently (and with little fanfare) in 2014 and it immediately garnered glowing reviews for its distinctive take on classic symphonic prog. The trademark multi-layered vocals, effortless mixing of styles and intricate instrumental passages earned him wide-spread praise as a ‘huge talent’.

The follow up album, which I’m reviewing here, ‘Five of Cups’ sees a further development of Patchwork Cacophony‘s sonic identity and Ben also welcomes guest guitarists in Marcus Taylor and veteran live session musician Tim Hall.

The album opens with the four part Fairytale (Parts 1-4) and part 1 is the wonderfully atmospheric instrumental Are You Sitting Comfortably? and then we segue into the breezy and upbeat keyboard heavy progness of Once Upon A Time. We get to hear Ben’s unique vocals for the first time and they fit the classically progressive music perfectly. The musical interplay is excellent and you really wonder how one guy does it on his own! There’s a real polish to the keyboard playing that makes it hugely infectious and I was hooked the first time I heard it. Ben’s skill on all the instruments is very impressive, the rhythm section of the dynamic drums and the funky bass especially. I think I may stumbled upon something special here…We take the instrumental route again with The Wonder Of It All, a wonderfully quirky track that has its own ideas and agenda. Cheerfully buoyant and optimistic, the instruments seem to bounce of each other with reckless abandon and without a care in the world. It is a really refreshing song that puts a spring in your step and Ben’s fingers fly fluently around the keyboards with enough energy and gusto to put even Rick Wakeman to shame! The last part is called Life Is Not A Fairytale and opens with Ben’s rather sombre piano, all the spark and joy of the previous track replaced with a more serious and morose overtone. It is a beautiful tune though and one that almost brings a lump to your throat when the delicate and fragile vocals begin. There’s an almost melancholy edge to Ben’s voice which is emphasised by the graceful notes that emanate from the elegant piano playing. There’s a serious, if thoughtful, message coming from this song and one that we should take notice of, I am left in a deeply reflective frame of mind as this four-part gem comes to a sober and solemn close.

Choices brings back that busy feeling with the energy and dynamism of the opening keyboards and drums that give it an early Yes feel. Quite frantic and yet structured and deliberate, the track opens up with Ben’s precise vocal delivery and takes on a persona not unlike a hyperactive Billy Joel. There is definitely a feeling that Ben has lifted his ambitions on this release and this stylish track is evidence of that. Just check out the infectious Hammond organ that races through the centre of the track, it’s brilliant. Counting Chickens opens with a piano/keyboard combo that brings to mind Changes from Yes, with its catchy and repetitive tempo. It goes on to become a really inventive song with Ben’s signature keyboard virtuosity stamped large all over it. There’s a calmness that falls over the track, a laid back feel before that piano led mantra begins again, addictive and really enjoyable. A great instrumental that I keep returning to again and again.

Like Pink Floyd’s lesser known (but better looking) brother, Maybe strides confidently into the arena on a wave of elegant drums and edgy, funky guitars. This is where Ben takes a step back and lets one of his stellar guests take over and Marcus Taylor really does the business with some superb guitar playing. Ben’s vocal goes up a notch, full of angst and barely concealed anger and it is a great vocal performance. There’s a nice instrumental section that builds up to a rather tasty guitar solo, full of power and emotion, Marcus really reaches the heights on this one. Overall it is a song brimming with energy and disquiet and one that really shows the direction Ben is heading in with its focus and sophistication. A shortish epic at just over nine minutes, Every Day is an immersive and contemplative listen and one that gets the headphones treatment from me, to better enjoy its subtleties. A low down vocal and jazzy instrumentals give it a polished feel, in fact, it is probably the most jazz oriented track on the album with some interesting time signatures and a hesitant pace. Take your foot of the pedal and step of the incessant treadmill of life and let this calm and collected piece of music just wash over you as if you don’t have a care in the world.The middle part of the song is almost like a sci-fi soundtrack, bringing to mind epics such as 2001:A Space Odyssey and the like with its mysterious and cryptic keyboards leading the way before we are treated to synth heaven and Ben gets to show off a little, a really inventive and satisfying track that stays long in the memory.

Chasing Rainbows is a hectic, agitated and frenzied song that really smacks of Ben Folds Five on acid to my ears most of the time. Ben’s vocal has a harder, almost distraught edge and the music is full of nervous energy as it goes from animated note to animated note. A real uptempo and tumultuous jazz-infused track that you seem to feed off and become fevered yourself. There’s a sudden and sharp change of focus and feel half way through where an elegant piano brings order and calm to the chaos and enables you to get your breath back, not for long though as an insistent piano note precedes the return of the tumult, turmoil and barely concealed anger, what a great ‘in your face piece’ of music.

A haunting piano refrain opens the nostalgic and wistful instrumental of From A Spark. Dignified and ornate as if from a bygone era of cultured gentility, the piano leaves tasteful notes on your mind as it weaves its graceful and cultured path through your psyche and leaves its mark on your very soul. Bewitching and captivating, it brings the whole world to a stop for nearly seven minutes to listen and take in its restrained grandeur.

The final song on the album is the masterful splendour of Brand New Day, over twelve minutes of progressive rock that really knows its chops. The opening is all pomp and circumstance with the energetic rhythm section aiding and abetting the compelling keyboards and Tim Hall‘s potent guitar. It opens up into a classic track full of nods to the great progressive tracks of the past. Ben’s vocal is full of intent and gives the song the grounding that lets the instruments take over the show with no need for restraint. There are time changes galore and Ben plays a bewildering number of different instruments throughout this intricately complicated and lengthy work, just sit back and enjoy what is laid before you. You hear little deft homages to the likes of Camel, Yes, Genesis and even IQ as Ben opens up and runs through his full repertoire of talents. Moments of quiet contemplation mix with elaborate instrumental interplays and yet the undoubted talent of this musician never overshadows the music itself. Tim’s guitar is always there waiting to explode into the burning solos that appear towards the end of this mightily impressive song and I am just left feeling very humble and inadequate at the incredible skill and aptitude to be found in Ben Bell.

There is intelligence and a wry humour than runs throughout this remarkable album. Ben Bell has an immense talent and really knows how to put it to good use. Intelligently crafted songs that make you want to listen to them show him to be a great songwriter and what he delivers proves what a notable musician he is as well. In the world of progressive rock a new star is set to rise.

Released 7th November 2016

Buy Five Of Cups’ direct from the artist.

Listen to ‘Five Of Cups’ at bandcamp

Check out Brinkmanship from the first Patchwork Cacophony release:

Review – Maddison’s Thread – 60 Minutes An Hour – by Progradar

“Some journeys don’t have endings, they lead to new beginnings. These are the journeys that lead to great adventures!”
― Alex Haditaghi

The quote above perfectly sums up the way that music has affected my life. From a young age it has always been a journey with no ending. There have always been new avenues to explore, new adventures to undertake and the more your mind is open to new and differing experiences, the more fulfilling that journey will be.

Starting with the pop-punk of The Police and graduating to the new romantics of Ultravox, Simple Minds, Duran Duran and the like, my formative years were based more on the acts in the charts. As I grew older, my musical tastes changed and I went through the hair metal of the 80’s and early 90’s and even dipped a toe in the water of jazz and blues.

Eventually my heart found its home in the world of progressive rock, alternative rock and the ilk but I always had a penchant for something different, I was never one to pigeon-hole my musical tastes, if I like it, I listened to it. This mantra led to me hearing the first, self-titled, Maddison’s Thread album last year.

I was utterly impressed by the music and musician behind the project, Lee Maddison and it prompted these words from my review:

“Folk is rooted at the core of Maddison’s Thread but this album is all about the music and the way Lee can diversify with aplomb is very impressive. A contender for album of the year for me and one that will stay with me for a very long time.”

I became friends with Lee and that led to me being one of the first to hear the follow up to this little gem and I am proud to present the first review of ’60 Minutes An Hour’.

The span of a human life, the rising and setting of the sun, the changing of the seasons, the rhythm of the ocean’s tide, the ticking of a clock. ’60 Minutes an Hour’ is an album inspired by the passage of time and the different ways we experience it.

Each song deals with a different facet of the swirling prism of time. From the racing heartbeat of contemporary urban life in the title track through to the romantic glimpse of immortality in the dream like A Thomas Hardy Evening the album captures moments on our collective journey towards the Elysian
Fields.

Lee Maddison is Maddison’s Thread. He released his début eponymous recording back in 2015 and this ishis second album. He works full-time as a Mental Health Nurse but has still found time to perform at various folk festivals and gigs, opening for the likes of Michael Chapman and Gren Bartley.

In the past year, Lee was commissioned to write a song for the award winning Terry Abrahams ‘Life of a Mountain: Blencathra’ and performed the song at the premiere. This was the second film in a trilogy about iconic lakeland mountains.

The musicians appearing on the album are:

Lee Maddison (acoustic guitar & vocals), Nigel Spaven (bass), Darren Moore (drums), Stewart Hardy (violin & viola), Brendan Murphy (percussion), Paul Donnelly (electric Guitar & nylon String Guitar on tracks 3 & 12), Sue Ferris (flute), Fiona Beyer (cello), Tony Davies (piano & hammond) and Angus Lyon (accordion).

Edwina Hayes (described by Nanci Griffiths as the prettiest voice in England) duets with me on track 8 and sings backing vocals on tracks 11 & 13.

Produced by Stewart Hardy who also wrote all string arrangements.

The opening title track 60 Minutes An Hour is a salutary lesson in why we should take life at a slower pace before it passes us by and we’ve missed the wonder of what is right in front of our eyes. Lee’s apprehensive vocal admonishes us for taking things for granted, his delivery is as excellent as ever and the wonderful music just adds to the garded atmosphere. The delicate acoustic guitar soulful bass and elegant percussion add sophisticated emphasis while the incredibly expressive violin of Stewart Hardy provides angst among the graceful strings and the talented Angus Lyon’s accordion gives the finishing touches as it does all over the album. It might only be the first track but I’m already hearing an added maturity to Lee’s music and songwriting, the music gently insinuates itself into your conscious as if it has belonged there all your life.

More and more people suffer from anxiety attacks, a feeling that something or someone is chasing you through your life and the jazzy vibe of Chasing The White Dove expresses that perfectly through music. A slightly frenetic tempo and Lee’s insistent vocal only increases the feeling and Stewart once again adds his staccato violin to the heady mix of restlessness and disquiet. There’s an effortless feel to the musical delivery, a wonderful freedom to the way these excellent musicians deliver the message in a profound manner. A highlight has to be the infectious and captivating guitar that leaves its mark all over this high energy urban thrill ride.

I first heard the wonderfully scathing Parasiteful at a cellar gig that Lee did earlier this year (funnily enough at the house of Lee’s long time friend and photographer Howy White and his wife Amanda, who also happen to have done the pictures that litter this review (Howy) and the album art (Amanda), it’s a small world!) and really enjoyed the biting satire that lee injects into his songwriting. His vocal is hard and unforgiving as befits the subject matter of this mild mannered protest song. The laid back music plays second fiddle to the intelligent and acerbic lyrics this time as Lee delivers his most vehement piece of music yet.

A pared back folk tale of ne’er do wrongs, Charlatans & Blaggers puts you in mind of a local’s bar in a small fishing village in the wilds of the north. Tales told through the medium of music about local legends while the weather does everything it can to crash the party. The gentle guitar, easy going rhythm and percussion lay the foundations for Lee’s searching vocal and Stewart’s skill on the strings. An easygoing and unhurried ditty that leaves its mark with the catchy chorus that has me singing along, the bittersweet violin leaving a wistful note as the song comes to a close.

Another stinging rebuke to modern day, small town society, Tumbleweed has a laconic tone to it, enhanced by the slightly acerbic violin. A slightly ironic tune that, to me, seems to be about a younger generation stuck in a society with no opportunities. Lee’s distinctive vocal delivers the tale perfectly, there aren’t many folk singers out there to day who can stand comparison, and the edgy drums really add to the atmosphere while the super smooth bass keeps things ticking along nicely.

The Flycatcher (a cover of a Roy Harper song from his album ‘Unknown Soldier’) takes a winsome turn to sepia tinged nostalgia and the days of the past. The solemn, almost hushed vocals speak of looking back on days long gone, of things lost and yet never forgotten and the dynamic rhythm section and percussion deliver in a determined manner. The guitar almost has a voice of its own and marries with the dignified and reflective strings perfectly to give a really powerfully reflective edge. There is a melancholy feeling running throughout the song, the saddened voice keening for the past, of sorrow and not of hope.

I really feel that Lee has taken on a much more traditional folk direction with this new release and his version of Lines On A Fisherman’s Wife, a 19th century poem that has it’s roots in Hartlepool’s headland and that he wrote the music and chorus for, is a perfect example of this. Somber, downcast and yet sweetly earnest, it wears its heart on its sleeve. Telling the tale of the Fisherman’s wife, the worry and the drudgery of daily life, waiting for her husband to return but not knowing if disaster may have befallen him at sea. There is an ageless grace to the this song, a respect for those that deal with the wild nature of the sea on a daily basis and those who support them. The pared back delivery is sublime and you find yourself listening to it in hushed appreciation and deference as Lee’s reverential tone and the simple elegance of the music combine flawlessly.

There’s a timeless grace to Love Like Autumn where Lee and Edwina Hayes deliver a beautiful vocal performance full of sentimentality and wistfulness. A hint of country seeps into the music and it adds a carefree and untroubled note to the song. Stewart’s delightful violin is the coup de grace, at its most exquisite on this delectable elegant track, lay back with your loved one in your arms and just enjoy the simple wonder of the music.

Weightless feels just like that, ethereal and unsubstantial, the breathless charm of Lee’s vocal and the simple artistry of the piano and violin leave you feeling like your soul has left your body and is flying above you, the whole world in view below. A really short but lovely song that seems to leave a sense of loss behind as it comes to a close.

A heartfelt plea, Don’t Say Goodbye is a love letter to one who you don’t want to lose. Sincere and fervent, there is a mournful tone to Lee’s vocal as he makes his impassioned overture. The music is humble and modest leaving nothing to be misunderstood. The cello and violin are pillars of virtue and the guitar is a refined chaperone giving Lee’s entreaty validation. You are left hanging on a thread, wondering what the answer would be.

Another track rich in its folk heritage, Jessica is a perfect open letter to a loved one, it’s more simplistic lyrics Having even more meaning and power coming straight from the heart as they do. The playful, childlike music has a wide eyed wonder to it, Stewart once again excelling with his captivating violin playing. Lee and Edwina harmonise superbly on the chorus and you just find yourself caught up the overwhelming love and affection that this wonderful father has for his daughter.

A Thomas Hardy Evening is a romantic glimpse of immortality in a dream and is Lee’s take on the pure essence of life – reconnecting with the natural world. As the song fades in, you find yourself totally caught up in its whimsical, dreamlike delivery, every instrument seems to be played in a reverent fashion. The vocals just wash over you with their subtle elegance and I almost find myself rooted to the spot in a trance-like fashion. This song exhorts you to take a step back from the real world, forget the hustle and bustle and give your soul a chance to heal and your body to recharge. The subtle splendour of the strings and the delicate grace of the guitar appear to cleanse the stress and worries from deep within and you come to the end of the song a much happier and more relaxed person than when you started it.

A poignant memoir of family life and a coming of age tale, Fledgling leaves you caught in the last moments of a golden autumn. The fledgling of the title an allegorical creature that must go through the same trial and tribulations as every person who comes into adulthood. The flute taking on the role of the flying bird and giving it life through music. Lee tells us that the innocence of childhood is the same a s a bird flying free in the blue sky, it is a bittersweet tale of the loss of that innocence but then the hope of the future that is yet to come. Listen to the lyrics and let the pure guileless artistry of the music capture the moment for perpetuity, I was left with a lump in my throat as this brilliant song and album came to a close.

My lifelong musical journey has taught me that there will always be something of wonder around the next corner, a musical discovery that will enrich not just my life but many others also. The first time I heard Maddison’s Thread I was hooked and Lee has distilled the essence of everything that made the first album so good and injected it into his latest piece of musical brilliance. ’60 Minutes An Hour’ is an utter musical triumph and should be one of the highlights of 2017 for any lover of great music, I cannot praise it enough.

Released 6th Jan 2017

Pre-orders will be available soon from Maddison’s Thread bandcamp page

All pictures by Howy White

Album art by Amanda White

Review – Damian Wilson – Built For Fighting – by Rob Fisher

I can’t help feeling there is something of an unfortunate disconnect between the expectations encouraged by the forceful and uncompromising visual imagery portrayed by the cover artwork and the reality of the music you find yourself hearing in light of those expectations. Whether this is something to do with a perception of Wilson’s image or persona because of his involvement with the heavier leaning music of Threshold or Headspace I’m not sure, but the overt portrayal of aggression and machismo is thoroughly unhelpful and actually serves to undermine what is an exquisitely compelling and unexpectedly beautiful album.

Wilson explains the rationale underpinning the album as giving voice to the daily experience of trying to carve out a meaningful, secure and even happy existence against all the factors and forces which are ranged against us. “Life is a fight. A never ending brawl and struggle to find a little peace.” The theme is certainly reflected in a lot of the tracks which appear on the album and goes some way to at least partially explaining both the image and the implied attitude which adorns the cover.

Yet you only have to listen to the elegant and graceful lyrics of the sublime Battlelines (Track 12) to understand that Wilson’s heart lies in an all together different direction. “It seems to me that through all this fighting that, mores’ achieved by words and writing than, any bullet fired through war and rage”. Or again: “I understand though I don’t like it that, we were made and built for fighting but, can’t we put those tanks and bullets away”. And then we reach the repeated refrain: “So what if we believe it’s all magical, If it was up to me, watch the mighty fall, we would all stand back and just laugh at war”.

Such an imploring and impassioned cry from the heart, reflected across so many of the songs on this staggeringly poignant album, gives voice to the crisis and the dilemma which shape and form the music and the lyrics. On the one hand the reality is that life is a battle, a fight, brutal, tough and unforgiving; on the other there is the recognition that actually all this is a senseless folly, meaningless posturing, a futile waste. There is a better, kinder, gentler and more human way of living. And it is the tension created from understanding that both these views hold true which lies at the heart of this remarkable and at times heart-breaking release.

Two things quickly and forcibly strike you when you spend time with this album. The first is just how dramatically expansive and passionately expressive Wilson’s voice really is. Superb recording values let you hear with crystal clarity the incredibly diverse range he brings to each song, from the gentle and emotionally nuanced ballads all the way through to the feisty, rugged and good old fashioned heavy rock anthems. The vocal performance elicited by and expressed through the music is simply magnificent, a joyful master class which is a delightful privilege to hear, appreciate and enjoy.

The second is the sheer lyrical brilliance which shines so brightly throughout the album. Initially it is difficult to appreciate the hugely perceptive levels of insight, acumen and plain common sense wisdom which are carefully crafted within each song because your attention is always diverted elsewhere by other things. But the more you listen, the more you begin to pick up phrases and notice sentences which in turn lead you to pay a lot more attention to the skill and care which has gone into the song-writing.

‘Built For Fighting’ is an extraordinary achievement on many levels, not least of which is that it is a gem which hides in plain sight and runs the risk of being ignored precisely because of that. It is fiercely honest, impressively direct yet for all that, expressed in and through music which is delicately sensitive, powerfully moving and strikingly touching. By the end it leaves you in little doubt that it is a labour of love which rightly and quite unapologetically wears its heart on its sleeve.

I will be honest and say that on first listen I was distinctly unmoved, primarily, I suspect, because the combination of the cover in tandem with my existing familiarity with Wilson’s other work means I came in with all sorts of preconceptions which just didn’t gel or match up with the music I was hearing. It was quite an unexpected jolt, that is for sure! Now, however, I find I have fallen for it hook, line and sinker to the extent that it definitely stands as a significant contender for album of the year. Let it charm you, let it lure and entice you; you certainly won’t regret it.

Damian Wilson: vocals

With:
Lee Pomeroy – bass
Bill Shanley – guitars
Adam Wakeman – keyboards
Brian Willoughby – guitars

All photos of Damian by Marleen Den Brock Photography.

Released 9th September 2016.

Buy ‘Built For Fighting’ direct from the artist

Band Website: http://www.damian-wilson.net/
Facebook: http://www.facebook.com/officialdamianwilson
Twitter: http://www.twitter.com/damian_wilson
YouTube: http://www.youtube.com/damianwilsonofficial

Review – Encircled – The Monkey Jamboree – by Kevin Thompson

It’s always nice to be appreciated for things you do, to be recognised for contributions you make. So I felt quite chuffed when Scott Evans of the band Encircled contacted me direct and asked would I consider doing a lead review of their new upcoming album ‘The Monkey Jamboree’. The initial elation then moved to trepidation as I realised the band had entrusted their blood, sweat and tears to my hands (I’ll wash them afterwards) and what if I didn’t like it or thought it couldn’t match their previous output? Ah, the heavy weight of responsibility.

Scott sent me the files including the cover (from the talented fingers of Freya Evans) which immediately struck me that it could have been a cave painting featured in Planet of the Apes, with See no Evil, Speak no Evil and Hear no Evil adorning the front. I mentioned this to Scott and he explained “It’s a little nod to us being deliberately ignorant in our music to all that is going on in the world, like the anti ‘FEAR‘, (Marillion‘s latest delicious release and castigation of the human race), which on listening to the CD bears similarities at times in the style of music.

For those that don’t know the band are:

Mark Busby Burrows – Vocals and Guitar

Gareth Evans – Lead Guitars

Scott Evans – Bass/Keyboards/Programming

Stuart Picken – Drums

With Backing Vocals and Flute from Kym Hart.

This is not an album to rock out to and you will not get whiplash from throwing shapes with your waist length hair (ignoring the balding patch on top), in fact it’s the perfect antidote to this time of year as the weather worsens, the nights close in and the temperature drops. Grab yourself a large glass of red or in my case a good couple of fingers of single malt from the bottle on the table and close the shutters on the windows. Stoke the open fire in the hearth, dim the lighting and curl up on the sofa with a blanket. Slip the CD in the Hi-Fi and press play……

The short, understated title track soothes you in with Mark’s warm vocals as you take a large sip of the amber nectar and feel the glow as it slides down your throat. The gentle vocal harmonising between Mark and Kym relaxes you further into the cushions, the song trailing away on a lingering note.

Echoing notes intro and the guitar and vocals convince you this is ‘Alphabetically Possible’, in the second track that has more than a whiff of the lighter side of John Dexter Jones and Jump. Your toes will tap under the blanket to the beat of Stuart’s drums, as the shadows formed by the fire flutter on the ceiling above your swaying head. Listen to Gareth’s first solo, joined with Scott’s keys whilst you refill the emptied glass.

Close your eyes and ponder on the ‘Complexity’ and pace of life as you sink another shot. Decisions to make, he (or she) who hesitates…overrun, overlooked, forgotten, lost. The highs and lows, make the most of the good times as there’s always someone to take your place, on this really smooth track with some great laid back guitar work from Gareth.

Grab yourself another snifter, a glance at the fire sees the flames dance as the foot tapping starts again to ‘Stereochrome’s‘ funky little rhythm. Ruminate on the fact some people thrive on the modern pressures of life to the extent they can’t live without them, but not you at the moment. Recline and revel in the OMD like keyboard solo from Scott sliding into a Dr Who soundscape and ending on another fine guitar solo.

You begin to find the warmth of the whisky and heat from the fire quite soporific, lulled by the piano keys, make the most of this moment, this ‘Magic Hour’. Enjoy the soothing sounds of Rothery type fretwork, the gentle pulse of Stuart’s drums and Scott’s bass. Make the most of what you have now as everything must end, but maybe not until……

‘Tomorrow’ on the penultimate track which, after a few brief strummed chords, raises you from the reverie with a little more upbeat musing on the delicacy of relationships. Should we cling on or hold too close to be singed by the spluttering flames of a needy relationship? Treading on eggshells, will it fall apart acrimoniously and can we not stay friends? Just a little sip.

You wake to find the room dark, only faint embers glow in the hearth and the temperature has cooled. Your head is filled with cotton wool as you survey the empty tumbler alongside the discharged bottle and try to piece together your thoughts on ‘A Life Shy of Perfection’. You rise, stretch then quell the remains of last night’s fire. Fold the blanket as you ponder what you have lost and how direction-less you have become. Make your way across the room and open the shutters on the grey streaked clouds of the winter morning as the last chords of acoustic guitar prod you to face the day ahead.

You pick up the glass and bottle then make your way from the room switching off the dimmed lighting and try ‘Chasing the Ghost’ in your fogged brain as you make your way along the hall. Pale, milky light drifts in through the glass panes of the front door casting a faint shadow ahead of you as you retreat toward the kitchen and the tune builds. Your bare feet drop the step into the kitchen, slapping on the chilled tiles. The shock makes you shake yourself in an attempt to disengage the monkey swinging from the branches of your brain. The bottle is discarded in the recycling bin and the glass shunted next to the pile of dishes by the sink from the day before. You’ll wash them later, no time now. You pause briefly to look out at the sodden leaf smothered garden before turning to retrace your steps down the hall and up the stairs for a shower as the last song nears the end in a duet of piano complemented by Kym’s flute. You close the bathroom door as the album ends on a single tintinnabulation. Time to get going.

This is not an album to break new ground nor will it have you dancing round the room. Tempo rarely breaking above a sway, it’s a slice of sublime relaxation, to kick off your shoes and relax to. It will keep me company on many a dark winter’s night and should it take your fancy as the tipple of choice, drink well of it’s smoothly distilled texture and feel the glow inside.

I’d like to thank Scott and the band for entrusting me with their latest blend and raise a glass to toast them, on an album well refined and produced by Shaun Lowe.

If you want to know more you can check out:

Twitter@encircledtheband

https://m.facebook.com/Encircletheband

https://encircled.bandcamp.com

Review – Maschine – Naturalis – by James R Turner

Formed around the nucleus of insanely talented guitarist Luke Machin, and bassist Dan Mash (both of whom have played with artists like The Tangent) their debut album ‘Rubidium’ was released in 2013, and in an unrelated interview with Andy Tillison; he told me that I needed to listen to that album. Now when Andy Tillison recommends something you listen to it, and you know what, it didn’t quite grab me initially where it should have done. Don’t get me wrong, it’s a great debut album and Maschine are an insanely talented group of young musicians, but, for whatever reason whilst I enjoyed it, I never ‘got’ it.

However, this, only their 2^nd album (and by some of the music on here, and the intricate blends of sound, would make you think they have been playing together forever) got me from the start, (so much so that, time permitting, I will be revisiting ‘Rubidium‘).

This 5 piece, formed at the Brighton Institute of Music in 2008 feature, as mentioned earlier, the talents of Luke Machin on guitar & vocal, Dan Mash on bass, James Stewart on drums, Elliott Fuller on guitar and Marie-Eve De Gaultier on vocals, flute and keyboard.

With a diverse range of influences across the board, and playing styles throughout the band, their real skill is pouring all these un-distilled musical ingredients into their crucible and creating a striking and original sound.

The 6 tracks on here, (the shortest clocking in at over 5 minutes!) all relate to natural events and the interaction between nature and all it can throw at us. This isn’t a concept album as such, but more connected events around which the songs are allowed room to breath and develop.

Boy do they develop, the opening 11 minutes of Resistance, mixes in the beautiful guitar work that both Luke and Elliott bring to the branch, the whole gamut of musical styles and influences creatively held together, with more ideas to spare in these 11 minutes than a lot of bands have in 11 years. The most effective weapon Maschine have is the contrasting vocals of Luke and Marie-Eve, which works together in creating some beautiful harmonies and interesting, counterpoints. And that’s just in the first 11 minutes!!

One of my favourite songs on the album, Make Believe features some amazing vocals from Marie-Eve, with a wonderfully slow build up, whilst the keyboard textures and powerful drum and bass combo of Mash and Stewart hold the piece together allowing an astonishing solo from Machin to burst forward.

The other epic on the album, the closing 11-minute Megacyma recounts the story of the Japanese Tsunami of 2011 through one mans eyes. What a mighty storm of sound they create as the song builds to its climax. They pull out all the stops here, with hints of 70’s classic prog keyboards, heavy riffing and some intense electronic walls of sound, whilst the two voices combine to create a fantastic sound, and the symphonic edge to this mighty finale is absolute perfection.

Of the other tracks on the album, Night & Day with it’s aural soundscapes and WWII story is contemporary prog storytelling at it’s finest. Hidden in Plain sight combines many disparate influences into the nearest they get to a pop song, with some fantastically funky drumming from Stewart and more of those wonderful vocals and Whilst A New Reality is Maschine’s sound in microcosm, featuring some wonderfully fluid guitar, fantastic symphonic keyboard work, and the sound of a band firing on all cylinders.

It’s absolutely fantastic that nearly 50 years into the genre we call prog that there are immensely talented creative musicians of this calibre who are prepared to take risks and imprint their musical vision on the genre instead of being held back by the genres self imposed limitations and sounds.

Maschine truly are the future, and this album will firmly cement their reputation as one of the finest bands in this (or any) genre.

A last minute ball over the line for album of the year? Got to be a contender…

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

Review – John Wesley – a way you’ll never be – By James R Turner

Those familiar with the work of Steven Wilson or Fish will know the name John Wesley, a prolific and talented American guitarist and songwriter whose been on the road supporting artists like Marillion and Steven Wilson, whilst also touring as part of Porcupine Tree, and has built up a solid reputation as a go to guitarist.

This latest album, his 8^th and first since 2014’s ‘Disconnect’ see’s him successfully bringing together both sides of his musical personality into a song cycle that echoes the short stories of Ernest Hemingway, the title track, a way you’ll never be is named after one of Hemingway’s more famous short stories and focuses, with it’s driving guitar and pounding choruses, on the current fascination for being an online expert on everything, without ever having actually done anything.

The album is far heavier than it’s predecessor and features some strident and aggressive guitar work from John, with the metronomic and Floydian guitar work on to outrun the light being one of the stand out tracks on the album.

Never one to stand still, or indeed make the second record twice, John is as interesting a lyricist as a guitarist, and his lyrics particularly on the silence in coffee and the revolutionist stand out, the latter having some astonishing staccato call and effect guitar work with the drums pounding out a King Crimson esque beat, before some smoothly fluid guitar work shines out.

This album is all about John Wesley the guitarist, and fits more in line with some of the more intelligent stadium rock, and that is by no means lazy labelling or a criticism, this is an album full of mighty mighty sounds, and big ideas and concepts, some heartfelt, some scathing. The brilliant sole instrumental unsafe space is Johns take on the ‘pampered millenials’ or ‘snowflakes’ as they call them stateside, banning things from campus because they disagree with them and shutting down free speech. It is also a jarring thing of beauty, where John lets his guitar do all the talking for him.

This is an album that is as progressive as it gets in the truest sense of the word, an artist moving forwards, making records the way he wants to make them and taking the audience a long for the journey, it is also a success in the way it marries Johns well observed songwriting with his sublime guitar work.

Released 7th October 2016

Buy ‘a way you’ll never be’ direct from John Wesley

Review – Arcade Messiah – III – by Progradar

“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman

On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.

Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.

My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.

It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…

John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.

All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.

‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;

“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”

I reviewed Arcade Messiah ‘II’ last year and had these words to say;

“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”

John is going to have to go some with ‘III’ to improve on that…

Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.

Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s ‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’

The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.

The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…

Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.

After the forceful intensity and enduring dominance of what has gone before, Sanctuary is exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.

So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.

Released 25th November 2016.

Buy Arcade Messiah ‘III’ from bandcamp

Review – Seven Impale – Contrapasso – by Shawn Dudley

The opening lurching guitar/organ riff sounds like the amplified machinery of a giant steamship; bellowing, relentless, ominous power. Then it morphs into a straight, almost funky propulsive groove with some very tasty organ comping while various synth and vocals effects weave in out of the background like a swirling mist.

The vocals of Stian Okland float in over the groove sounding not unlike a Satanic Jim Morrison, like a dark mirror image of The Soft Parade; simultaneously eerie and darkly comic. Saxophonist Benjamin Mekki Wideroe makes his entrance next with a frenzied atonal break. Underneath the vocal line the linear progression of the piece continues to build in intensity, the groove turning ominous, dissonant snatches of piano and sax riffs stab through creating a frenzied whirlpool.

A melodic organ & sax unison line enters and holds the arrangement together, keeping it from exploding into complete cacophony. Then it stops abruptly, giving the listener a split second to inhale, before a crushing doom riff hammers down…

That describes just the first four minutes of Lemma, the opening track of the joyously insane ‘Contrapasso’, the second full-length release from Seven Impale. This young sextet from Norway has hit upon a really potent recipe, an almost dizzying combination of influences they’ve managed to assimilate and combine in consistently surprising and effective ways.

It’s fiery, intense music, but it’s so much fun that it’s accessible despite the artfully schizophrenic arrangements. From an instrumental standpoint Seven Impale employs a mostly analog approach; Hammond organ, vintage synth and guitar sounds, saxophone, and they occasionally sneak in some more modern touches. But this is not a retro band; this is a young adventurous group that’s unafraid to be daring, to experiment and most importantly to have fun doing it.

A key factor with their sound is how the saxophone is employed. While I’ve heard saxophone featured in a few progressive rock albums this year (Knifeworld, Thank You Scientist, etc) it’s primarily fairly straight-ahead in approach. Seven Impale is one of the few newer bands I’ve heard that gravitate more toward the avant-garde jazz albums of the late 1960s for inspiration.

For the most part it’s not completely outside, but more in line with players like Archie Shepp or Pharoah Sanders. The jazz quotient on ‘Contrapasso’ is intrinsic to the success of these compositions. The majority of these songs aren’t based on traditional verse/chorus structure, but the saxophone is often used in conjunction with the keyboards to carry the melodic thrust of the song, while the vocals provide commentary.

When you combine those elements with the 500 ton weight of the guitar sound (a vicious combination of King Crimson and Anekdoten) it’s a beautiful noise. It hits the sweet spot where the saxophone fuels the experimental portion while the guitars keep it primal and firmly rooted in rock.

The album is not without its catchy moments. Inertia grooves along on a heavy guitar/sax unison riff that would probably sound fantastic in a live setting and the brief chorus is infectious. The mid-section is a fiery jam and guitar solo feature, which tips a hat to Fripp & Co. After a return to the main theme it slides into an effectively trippy psychedelic section that features some lovely keyboard & vocal harmonies before seguing into an appropriately epic, melodic conclusion.

The remainder of the album unfolds along similarly complex and intriguing lines. Like a puzzle that keeps revealing more and more levels of complexity it’s an album that takes some effort. But what I love about albums this dense is that each time you play them some new moment jumps out.

I love the whole record, but there are a couple tracks that really stood out to me.The first is Langour, which brilliantly captures the juxtaposition between the beautiful sax & cello melody and the crushing metallic guitar riff, it’s a perfect demonstration of the power this group can wield. The other is the mind-bending Helix. It’s built off the simplest of structures, a repeated keyboard riff that is methodically augmented with other instrumental voicings and increases in intensity like a storm building before the deluge. If the description sounds dramatic that’s because the music does as well.

It has been awhile since a new band has really hit me with the audacity of their approach and how effortless it seems. Seven Impale is the kind of band that reminds me that experimentation, even if it’s experimentations within existing sonic frameworks is not impossible. There are still fresh avenues to explore within the progressive rock realm, I hope Seven Impale continues the search for a long time to come.

Released 16th September 2016

Buy ‘Contrapasso’ from Bandcamp

Review – Sonata Arctica – The Ninth Hour – by Kevin Thompson

Prog/Symphonic Metal is a crowded market and each band has their devoted following. I have my favourites, fully aware there are many more out there doing well for themselves in this genre that I have never heard. It doesn’t mean they aren’t any good or they do not tickle my earbuds, merely the fact I can only listen to so many in the time I have.

And so it is with Sonata Arctica, a lively bunch of lads from Kemi in Northern Finland. The roots of the band grew from a hard rock band Tricky Beans formed in 1995, changing direction and band name to Sonata Arctica (on the suggestion of a friend) inspired by fellow Fins Stratovarious.

With emphasis on the strong keyboard/keytar melodies of Henrik Klingenberg, bolstered by Pasi Kauppinen’s bass and Elias Viljanen’s guitar rhythm line, Tommy Portimo’s ice shattering drums line up alongside Tony Kakko using both his cool falsetto and tenor voices (fleshed out further with backing vocals from the rest of the band) to bring a heavy snowstorm of sound across the frozen wastes for your pleasure.

‘The Ninth Hour’ is also their ninth album, funnily enough, but it is also a reference to the moment Christ is said to have died on the cross. Whilst not religious Tony Kakko says it echoes some of the lyrical themes and also inspired the idea for the rather fabulous album cover painted by Toxic Angel. It can be seen as a metaphor for a society skirting the edges of war again, in a world where environmental pollution is a daily concern and people ignore the damage we cause to Mother Nature at our peril, a common theme for many bands recently.

It’s a very polished album from a band confident in their sound with the songs never seeming downbeat, whilst the lyrics may illustrate the doom ridden earth we are creating. The quality of music shows why they have been asked previously to tour with their fellow Fins and Nightwish among others.

Closer to an Animal, first track and single is not as heavy as I expected and at times reminds me of Magnum in it’s structure. A lively little number to start and sets the tone for the album with swathes of Henrik’s keys and flourished guitar soloing from Elias as Tony warns we abuse what we have.

There’s a slight Celtic feel in places as Life starts with a Nightwish style introduction on this warm song encouraging you to live your life, blowing away the cold icicles of day to day mundaniety from your mind.

Don’t believe all you are told comes the warning in the chilling Fairytale, blindly following like sheep and allowing ourselves to be manipulated by those corrupted with power. Edited, this catchy number would make a good single with it’s sing along chorus and it is one of my favourites on the album.

Time to seek shelter from the cold and relax in warm comfort to contemplate why We Are What We Are, the destroyers of worlds. Can we turn it around? Is it too late? Can we save what we are losing on this powerful refrain to the Earth.

Thrown from our reveries into the Arctic winds of tumultuous affairs of the heart, Till Death’s Done Us Apart sees us stung by the frozen crystals of emotion as they get buried in the snowy drifts of rampaging instrumentation. As the evening closes in we find ourselves Among The Shooting Stars. Tinkling keys echo in the night on this rock ballad full of streaking lights of emotion and rousing chorus as you wander under the moonlit sky, the warmth of love protects you from the chill.

A Husky sled full of guitars hurtles towards you in Rise a Night, to carry you across the glistening flows of ice and snow. The evening air rushes past with Kauppinen’s bass heightening your senses on a flurry of guitar riffs as the vocals whip around your head, whilst the the thrumming of Portimo’s drums like sled rails bouncing across the ground, quicken the pulse and spray key-notes into the atmosphere. A ride of pure adrenalin before you Fly, Navigate, Communicate and you ease to the steady pace of a fairly generic rock song which then picks up in the latter half. Whilst Tony’s vocal range is displayed extensively on this track it feels like an unused tune from a Europe album and the singing doesn’t quite match Joey Tempest.

Lights flicker in the darkness as Klingenberg’s piano plays on the Candle Lawns, issuing in the lovingly written ballad on this Finnish fairytale of an album, caressed with sweet soloing guitars on a track reminiscent of Darren Wharton’s ‘Dare’.

The lapping waters of an icy sea and cries of sea-birds carry us on to the epic track White Pearl, Black Oceans Part II “By The Grace Of The Ocean”, which I believe is a sequel to a track of the same name on the 2004 album ‘Reckoning Night’ (that’s my homework done). Steadily building orchestration and delicate keys, interwoven with heavy guitars and lit by a fireball of a guitar solo from Viljanen, mid-tune, reflecting on the ocean of sound around him as the song sails away.

Which brings us to the grand finale as we cruise On The Faultline (Closure To An Animal), a crowning glory to a frozen throne. It feels like all the previous tracks were made to lead to this on a song which starts with piano led vocals so dramatic they could have been written for a West End premier musical production. It slowly drifts, so gently you struggle to remember when the the rest of the band join in so seamless is the transition on this delicate, heart-achingly beautiful tune. Then as if snatched by a last chilled gust of wind it fades away the final notes dissipating in the rarefied atmosphere as a distant whistle signals a close.

This has been an adventure for me, guided warmly through this wintry landscape of an album warning of portents we bring upon ourselves, the variations catching my ears and nestling in my head. I shall definitely be giving this a few more spins and if you are a fan of the sub-genre then I can heartily recommend ‘The Ninth Hour’.

Released 7th October 2016

Buy ‘The Ninth Hour’ from Nuclear Blast Records

Review – Bad Dreams – Déjà vu – by Progradar

“When life gets too much and you just want to get off the ride, remember, there will always be music…”

Indulge me if you will, this morning I was pounding away on the cross trainer at the gym, watching Saturday Kitchen. Glynn Purnell was talking to the great Suggs from Madness and Big Big Train’s ‘The Underfall Yard’ was playing on the iPod.

Those who have heard the song Victorian Brickwork will know where I am coming from when I say that, as the scintillating and very moving brass section begins towards the end, time literally stood still and a warm feeling of contentment washed over me. I forgot about US elections and Brexit and all the other ills that seem to blight this world at the moment, all that existed for me at that very moment in time was the music and the music was everything.

Music has the power to make our lives better and almost become tangible, a physical and substantive force for good and I thank whatever high power may be up there that it has become part of my life in a very concrete and irrefutable way.

Today I am writing a review of the forthcoming new album from Argentinian progressive rock band Bad Dreams and ‘Déjà vu’ is a release that evokes similar emotions in this aging wordsmith.

Bad Dreams consists of Gabriel Agudo (Lead vocals and guitars), Jorge Tenesini (keyboards, synthesizers and programming), Alex Calvera (Bass and Moog bass pedals), Ariel Trifunoff (Lead guitars and backing vocals), Fernando Cornejo, (Drums and backing vocals).

Now for an edited history lesson taken straight from the band’s website…

Bad Dreams is the first Latin American classic and prog-rock band to triumph outside the continent. Hailing from Argentina, and comprising five accomplished musicians, they began their prolific career performing Genesis‘ music for a period of more than 10 years, a venture in which they attained worldwide recognition by fans and Genesis members alike; being mentioned in the official website of Genesis and Steve Hackett.

Wanting to spread their wings even further, they took a big undertaking out of their comfort zone in 2014, and released their first album with their own original music entitled “Apocalypse of the Mercy”. The album garnered worldwide recognition among classic and progressive rock fans, and Bad Dreams opened for Steve Hackett and played alongside Steve Rothery and his band during the South American leg of their world tour.

2015 marked a milestone in Bad Dreams’ history, when they became the first Latin American band to take part of the prestigious Cruise to the Edge celebration. After Cruise to the Edge the band played a single show in Miami, and later embarked in tremendously fruitful Central America tour, visiting Panamá, Guatemala, Honduras and El Salvador, before locking themselves up to start working in their sophomore album, entitled “Deja Vú”. The new album will feature Steve Rothery as a special guest, playing an otherworldly guitar solo on the album title track.

https://www.youtube.com/watch?v=f9wGTsErPuA&feature=youtu.be

Bad Dreams have been once again invited to the next iteration of Cruise to the Edge to take place in February 2017, this time around again including the cream of the crop in the prog-rock scene.

Opening track Samurai of the Rising Sun has a slow burning opening, all mysterious and enigmatic, setting the scene for what is to come with it’s strange, almost sci-fi feeling sound effects. The brooding guitar and keyboards ramp up the tensions even more before a staccato riff trades off against some rather nice swirling keyboards. Gabriel’s vocals begin and he has a really passionate vocal style that works brilliantly with the music, holding you in its sway. There’s a feeling of treading water, as if you are awaiting something but it is a very pleasant wait. The music just seems to flow along delightfully, it is immediately obvious that these musicians are technically very efficient and yet their playing also has huge amounts of soul. The song opens up with some gusto with fiery guitars and intricate keyboards and Gabriel’s vocals go up another level, this is classic progressive rock done with a large amount of flair.

So, onto the title track Déjà vu and it is immediate from the first notes that you realise that this is something very special. Ariel’s guitar and Jorge’s keyboards are full of an intense passion and the music really invokes some heartfelt feelings in you. I was hooked from the first time I listened to this song, Gabriel’s voice is almost a lament, full of fervor and a melancholy intensity. This song should be listened to in a dimly lit room, headphones on and a glass of your favourite tipple, it would suit a dark and cold winter’s evening, keeping you warm against the chill outside. Fernando and Alex lead the rhythm section with aplomb before the track builds up with even more added fervor, the keys really driving things along and the vocals taking on more magnitude and severity. To me, it has touches of Fish era Marillion and when Steve Rothery starts to play his utterly mesmerising solo, that comparison is fully realised. His guitar seems to take on a life of its own and I just sat there completely astounded by its brilliance. That’s not to take anything away from Bad Dreams, this is just the cream on the top of a completely enthralling song.

Fallen has a very intricate opening that blossoms into a really powerful track. The guitars, keyboards and rhythm section hit you with a forceful blast before things settle down in to a cryptically esoteric verse. The power returns on the compellingly dominant chorus. Think IQ meets Gabriel era Genesis and you wont be far wrong, I really like the way the song flows and Gabriel’s vocal takes on a a darkly authoritarian tone, as if he is reading from a dark book of secrets. Things move on in a tide of Delphian abstruseness, there’s a perplexing conundrum at play here and you feel that Gabriel is the main antagonist in a play that has a veil of secrecy around it. Ariel’s solo is thing of wistful delight, adding to the riddle posed, and insinuates itself into your psyche before the song bleeds out to a subtle close.

Another serpentine opening introduces Song For Augusto, another brilliant nod to the classic progressive tracks of the 70’s, with a touch of Yes (Soon, if I’m being precise). It meanders around your mind before the winsome keyboards begin and give some direction with their captivating feel. The next part of the song has Pink Floyd writ large above it, the drums and keyboards are absolutely spot on and I can’t help but nod the skill on show. The vocals are emotive and impassioned and add another level of polish to this already impressive track. There’s an urgent feel to the next section, the guitar almost feels sentient as it prescribes every note and then the keys open up into a great organ sound before Ariel gives us a seriously poignant and powerful guitar solo that stays long in the mind after this track comes to an imperious ending.

Moonlight is just over 3 minutes of Ariel Trifunoff’s enchanting acoustic guitar, a whimsical instrumental that has bucket loads of charm under its captivating exterior. A really engaging track that leaves a calmness in your very soul as it passes through your life.

The upbeat feeling carries on with the cheerily satisfying A Trick Of The Wind, a song that is, to my ears, Bad Dreams’ homage to early Genesis. Gabriel even sounds a bit like Peter Gabriel and the guitars have a real Steve Hackett tone at their core. Underneath that charming exterior is a more serious side though and it shows its face now and again. The keyboards really come to the fore in the second half of the track and the interplay with the guitars is sparkling and gives a real polish and refinement to this cultivated song, Tony Banks would be proud.

And so to the last track on the album. Frida is a graceful and tender love song full of sparkle and wit as it dances across your aural receptors. The vocals have a lightness and freshness to them and yet are still full of love and affection and the music just seems to dance lightly and leave gossamer like footprints wherever the notes land. This is a song that can lift any gloomy mood and replace it with a a feeling of contentment joy and hope, the sun is out, the sky is blue and the birds are singing, life is very good indeed.

‘Déjà vu’ is an album that will stand the test of time and is a great achievement for Bad Dreams. I was impressed from the first note by the accomplished musicianship and the superb vocals, add in the exemplary songwriting and it was sure to be a winner in my book. What makes it stand out even more is the way the music becomes almost part of you and can make you stop what you are doing and just listen for the sake of it and that, my friends, is what truly great music can do to you.

Released 18th November 2016

Buy ‘Déjà vu’ direct from the band here

https://www.youtube.com/watch?v=b0e1zfMBS6o

All music composed by Gabriel Agudo and Jorge Tenesini except Frida by Alex Calvera and Moonlight by Ariel Trifunoff.

All lyrics by Gabriel Agudo except Frida written by Alex Calvera & Gabriel Agudo.

Music arrangements by Bad Dreams.

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