Reviews – Page 84

Review – Sunpocrisy – Eyegasm, Hallelujah! – by Kevin Thompson

I was told many years ago, to never volunteer for anything. This thought crossed my mind again tonight when I took up the challenge from the wise sage, Mr Hutchinson, to review this without having heard it previously.

He sent it to me with a knowing grin, so apprehensively I downloaded and opened the files expecting many horrors, maybe I’d find chamber music played on nasal hairs, or naked devil worshipping men, slapping each other with fish to create many versions of the Birdies Song. Don’t be afraid Kevin, move toward the light……

Sunpocrisy, not a band I had heard of prior to this. Formed by Jonathan Panada (Guitars/Vocals), and Carlo Giulini (Drums) in 2005 in Brescia, Italy and joined by Matteo Bonera (Guitar) in 2006, they then became a quartet in 2007 when Gabriele Zampieri (Bass/Vocals) joined. The band recorded and produced their limited edition debut EP named “Atman EP”. There then followed tours with bands such as The Secret and Amia Venera Landscape in 2009 and in 2010 they gained further recognition, coming 4^th in an unsigned band contest.

Sunpocrisy then changed direction and re-emerged as a six piece, with Stefano Gritti (Synth) and Marco Tabacchini (Guitars & Noise) adding themselves to the line up. 2011 saw the band entering the studio to record their debut concept album ”Samaroid Dioramas”. With influences such as ISIS and Between the Buried and Me, they create a sound wall of post rock experimentalism, at times reminiscent of a fusion between Explosions in the Sky and Tool.

So the album, and all the secrets it may hide, commences with Eyegasm. The throbbing synth sounds from the fluttering fingers of Mr Gritti are followed by heartbeat drums, building with looping guitar hooks as harmonious vocals drift over them. Interludes of instrumentation, interspersed with vocal lines from Jonathan and Gabriele. This is sounding rather good and the track reaches a third of the way through and I discover why Martin smiled. I am not a lover of ‘Growling’ on songs, it generally does nothing for me and very few bands to my mind actually use it successfully and effectively. So this is probably where Martin expects me to baulk, turn off and send the files back to him post haste, asking for him to find another mug, sorry ‘reviewer’, to cover this. But, what I can only assume is Marco’s ‘noise’, does not overpower the song mix when it enters the fray and merges like a neatly fitted brick in the wall, helping to carry the tune into a fury of guitar riffs. In fact the growls seem to be trapped like a vocal prisoner within the music, which in a sadistic kind of way appeals to me.

The growling fades and this segues neatly into Mausoleum of the Almost, the echoing grumbles protesting as they are dragged away into the distance and melodious vocals come into play again. I have to say I am very impressed with Matteo’s percussive chops, the drumming is excellent. Washes of synth see us out of the track.

Transmogrification rumbles in on huge clouds of thunder with vibrating synth swathes on one of only two instrumentals and the only two tracks under seven minutes, bridging the gap to track four….

Eternitarian: guitar licks start the wall building again as vocals, mortared with Gabriele’s bass and hammered into place with pneumatic drumsticks, rise slowly to some heavier guitar and yet more background grunting which, again, sits far enough back to not detract from the music. The guitars come to the fore and reach a climactic cacophony before the synthesiser ushers us out once more.

Musical box notes with gentle vocals innocently introduce Of Barbs and Barbules, drifting into a piano solo, on this the second brief instrumental, soothing your ears, stopping suddenly as if a switch has been thrown.

Tortured, weary distant growling, dragged like a reluctant slave across a wasteland of plodding beats and quietly ominous guitars, replaced with vocals and a building wall of music, then the growls return on Kairos Through Aion. He’s not a happy chappy our growler, continuing to rage at the music and calm vocals which strangely harmonise with him for a short while before leaving him behind and rising into an increasing instrumental passage with female narration, the intensity increases and growler thrashes in the background, battered by percussion, halting abruptly.

However, there is no respite as it’s straight into the heavy guitars and drums as they pound growler once more and he screams his discontent at the savage beating he takes on Gravis Vociferatur. Like a caged animal chained securely, he can only stand helplessly, berating the instruments taking him to task, the growls turning to cries of pain and one can begin to feel some empathy for the beast. The beating stops and the growler is quiet, keyboards and acoustic guitar mourn his silence and a guitar solo warbles rays of death across the track, disintegrating into noise.

Glockenspiel and Gregorian chants give praise to Festive Garments, until growler appears in front of them. Has he escaped his chains? It would appear not as, whilst he hurls a tirade of insensible abuse at the passing pontificators, he stays, held back, and can only watch bereft as they proceed unhindered on their passage, the guitars and drums arriving to lay loud assault again. Growler’s pain continues in the background, his abuse at odds with the gentle vocals in the fore. The attack halts the growls and spins dizzily, disorientated, twisting their grip on the the unfortunate creature. The musical blows slow but become heavier as the assailants appear to weary with the effort and take a break whilst growler almost coherently tries to plead his case and call foul injustice. A human voice, plaintive, takes up the case but the guitars and drums object and drown out the voice, leaving the swirling guitar to delay judgement as the track ends.

‘Jean Michelle Jarre’ like chords echo from speaker to speaker, quickly fading as rolls of drums and piano switch at the beginning of final track, Hallelujah, bookending the album into an Alan Parsons instrumental style passage reminiscent of The Fall of the House of Usher, but is then diverted into calm vocals over guitar riffs. There is a sense of an impending end in the wind. Growler’s pleas appear to have fallen on deaf ears as he once more berates the wall of sound he resents. The music reigns and carries in a gravelly human response to drift dreamily along, (not sure I haven’t heard this bloke singing ‘Finchley Central’ in the past), eventually replaced with harmonious singing and the band rise to give their verdict, ascending higher, ever higher, crashing together and exploding at the albums summit, notes floating away in the air.

We are left to wonder at the fate befallen Growler and we may never know. Yet, despite my reservations at some of his species on other bands’ albums, I find his voice is an integral part of the musical story, Eyegasm/Hallelujah!, and I will return to listen again and wonder at this forlorn creature’s wrong doings, misgivings and final sentence or reprieve.

I promised I would approach this with an open mind and have had my mind opened, I like this.

Released 1st November 2015

Buy ‘Eyegasm, Hallelujah!’ from bandcamp

Review – Jump – Over The Top – by Emma Roebuck

Music has long been a mechanism for storytelling and the broad church of the Prog scene has it’s fair share of these tellers of tales. Some tell tales of ancient mythology, others speak of tales from the nursery; some speak of dystopian futures while Jump speak of a real world of toil, strife and pain but still retain a joy of living. They are truly progressive but not by creating some ‘new’ sound or feel but by drawing together a whole cadre of musical styles and yet. make it sound like themselves and not a mash up or a messy sound.

Certain musical journalists have gone on record as saying that this is nothing new or ground breaking, I disagree with them in that prog music is not always about being ground breaking and shattering barriers. I would say that it is about evolving as musicians and travelling on your own journey, bringing people along with you on that journey and giving pleasure.

The 15^th album from the band that is Jump is the end of a long line of product developed over 26 years. This album has been anticipated by fans of the band for some time now. Many of the songs have been in the live set for a while and, as such, will be instantly familiar to those fans. The worry that the translation from live performance to studio recording could take some of the gloss off the songs is quickly destroyed after one listen of the album.

‘Black Pilgrim’, the last studio album, was rooted in folk tradition. It suited John Dexter Jones’ vocal style like a glove. ‘Over The Top’ brings them to a more rock based feel but it does not feel like a backward step. The overall feel of the album is one of a wide variety of musical styles gathered together from a long period of writing. The benefit of this is that the quality is consistently high across the album yet it does not feel like a disparate collection of music that has been cobbled together.

First, the familiar tracks that have been promised. The Wreck of the St Marie has been a live track in the set for over a year, a tale of wreckers off the coast of Anglesey based on a true story of the Royal Charter. The drama of storms and the deliberate wrecking of a cargo of gold treasure and pillage. This is a masterpiece of storytelling that Jump are so good at you can feel the time the place and event happening as song unfolds.

Fast forward to Johnny V. We all had a Johnny V in our lives, the one guy that seemed to have an almost telepathic connection to what was the great music of the time. The prophet who you knew would keep you right with music. The story of his passing and the celebration of Twisted Sister in the cathedral as he shifts off this mortal coil is strangely fitting in a time when more of our heroes have crossed the veil recently.

The album crosses the centuries like a time lord ‘Jumping’ from one historical event to another with ease. The title track Over The Top personalises the story of a father and his son in WW1 and the sacrificial lambs that generation became in the 1914-18 ‘war to end all wars’.

50 is a real rock out and feels to me like a railing against the aging process and a demand to not give in to the ravages of aging.

Overall this is an accessible album full songs that Jump fans will enjoy but, I think, if you have never heard of Jump as a band then this is a great introduction to find out what they are about. You won’t get a revolutionary new sound or style but, I believe there are no new styles to found anyway, just reconfigured old ones. If you like music that has melody and some sing-along choruses along with the great story telling tradition of the Bard this is for you.

Released 12th March 2016.

Buy ‘Over The Top’ direct from bandcamp

Review – I Am The Manic Whale – Everything Beautiful In Time – by Gary Morley

The school of Prog has a new swot or 4.

This collective of cetaceans are young & hungry and have absorbed the last 40 years of music , digested it and produced this nugget of ambergris.

Like that semi mythical product, this is rare and smells a bit in places, but that’s part of the charm.

As you listen to the opening shot across the bow, Open Your Eyes, the years roll away. I think back to first hearing It Bites floating across the ether, then there’s a blast of Moon Safari vocal harmony, some Queen influenced guitar harmonics, all are mere constituents, base ingredients that the perfumer uses to weave a complex and pleasing fragrances that mature as they are exposed to warmth and skin.

I’m not suggesting that this CD be listened to naked, but the warmth and sheer joy it contains would have saved Baron F a fortune in electricity bills.

It starts with the most “Prog” intro – Piano, treated guitar and a drum beat underneath it, a time change sneaks in before the first words. The voice is young, kicks with a mighty tune, chorus and a thundering gallop through verse, chorus, instrumental flourishes falling by the wayside as it speeds up , before leaping up and into the night.

When ( rather than if) they decide to dip their collective appendages into the water of live performances, this is the show opener, a statement of intent topped off with a guitar solo and piano counterpoint that many bands twice their collective age would sell relatives for.

It’s not breaking new ground, has a warm familiar feel, but that’s a positive , a hook to hang the rest of the album on. It’s Prog Jim, but enthused with harmony, a tune with a great melody and a sense of a great journey just starting.

In short, a perfect debut album opener.

Pages next, an epic story that starts with Monks studiously hand writing the words , we then get the industrialisation of printing, the typesetter as revolutionary, the advent of mechanical printing, words freed up to spread by typing , all under pinned by the loftier concept of information freedom and intellectual emancipation ringing through the ages. The story flows as the years go by, then a gentle pause illustrated by an acoustic foray into BBT /Jethro Tull land, with a gentle melody that then repeats with electric amplification, underlining the journey that we have been taken on.

The piano here is gentle and refined; acting as a bridge to modern ideas of machines writing the word, the “big idea” that information being transmitted freely could change the world for the better.

As if to then reinforce that idea, the next track relates a thoroughly modern situation, addressing cyber bullying and the effect of words on children as they gro.

I find the viewpoint disturbing, as it’s neither the protagonist nor the victim, but a (not so innocent ) bystander telling the story.

Simple , effective and with instrumentation that just reeks of class, the track builds to a climatic shoot out between guitar and keyboard that deserves to be played loud .

As you can probably infer, I like this CD.

The Cetacean collective are based in my home town, and I found them via Facebook, the snippets posted there hooked my interest and I was a small part of the crowd funding for the physical CD.

A thing of beauty it is too, illustrated with haunting photographs of a deserted swimming pool, the subject of the final epic on the CD, Derelict, an ode to the forgotten glory of a neglected municipal pool.

Before that, there are 3 more classy tracks, Circle(Show Love) which pays homage to Jon Anderson’s tenure with “That Band” in terms of musical concept and lyrical theme with more great keyboard and guitar for the air instrumentalists out there , this time the Queen vibe is running under the harmony guitars as they build to the thunderous conclusion with extra keyboards and drums taking us home on our starship.

Listening again as I type this, the achievements of this band in bringing 10 years of ideas to us are many.

If you like music that has melody, choruses and space for the musicians to demonstrate their harmonic intention, then this is for you.

As I mentioned earlier, there are countless memory triggers and hooks in here, echoes of previous musical pioneers flash by, a hint Of ELP there, a bit of Yes there, a big chunk of Queen , a smatter of 10cc , a nod to the Flower Kings , something of the choral beauty of Moon Safari all add to the mix.

Clock of the Long Now is a prime example. a song about a clock , not one that’s ticking away the days or counting down to zero, but this one is a proper “Prog” clock – counting out time in centuries rather than minutes. The chorus here is a real ear worm, you too will sing along to “10 thousand years”, invoking your internal Gabriel, Collins, Lee and Anderson whilst the music crashes around you on your trip through time. The track triggers a memory of that other great Canadian rock trio, Triumph, with the harmonies and vocals on their “Thunder Seven” album’s centrepiece – Time Canon /Killing time.

Next up, a lovely piece to a son or daughter- The Mess. All finger picking and acoustic steel strings with a sentimental piece about how our children grow up too fast.

It’s at odds to the epics bookending it, but it is not out of place, it’s a very human piece about simple pleasures fitting between time and space and the big questions that we all tend to leave out of our daily lives.

This was supposed to be a short sharp shock of a review. But listening to the CD as I type, I realise that I can wax lyrically for as long as it plays and still not describe the warm , sunny morning in the warmth feeling that it generates every time.

If you want to hear a band proudly displaying their influences whilst performing melodic and memorable tunes, expertly recorded by Mr Rob Aubrey (that name might be familiar to some of you, passengers on a Big Big Train where he rides the mixing desk) then go and invest in a little slice of the future that is being written here in Reading.

My Lords, Ladies and Gentlemen, I am The Manic Whale are well worth your valuable time and a little bit of your money.

Excitingly, the whole band has now met, rehearsed and are contemplating live shows.

I for one will be there, supporting a local band, not because they’re local but because they are good. Very good indeed.

Released 6th December 2015

Buy ‘Everything Beautiful In Time’ from bandcamp

https://www.youtube.com/watch?v=20sIURP-X6w

Review – John Bassett – Aperture – by Progradar

I continue to be drawn to clarity and simplicity. ‘Less is more’ remains my mantra – Stephane Rolland

My mate John Bassett is like a one man music factory. If he’s not making prog-tinged psychedelic albums with the brilliantly named KingBathmat or the seriously heavy and melodic instrumental colossus that is Arcade Messiah, he’s laying down some more personal and intimate tracks as a solo performer.

John’s last solo outing under his own name was the sophisticated restraint of the uncomplicated ‘Unearth’, released in March 2014 and I had this to say about it:

It is a shining beacon of simplicity in an over-complicated world and an antidote to the ponderous, heavy and dull music that can clog up our airwaves in this industrial age.

With no fanfare or previous promotion, John announced he was releasing a four track E.P. called ‘Aperture’ and, in his typical humble style, he had this to say about the recording process:

It only took me 10 days to make it from nothing, which is some difference to 6 months to putting together the last arcade messiah….

Now, if another artists has told me it had taken them less than two weeks to make a record, I’d be either worried or very sceptical, but not John Bassett. I was pretty certain that he would have produced something quite brilliant as usual….

The E.P. opens with Break The Wall, the intro to which is a bewitching brew of jangling guitars, all immediately recognisable as being John Bassett. The drums and bass join in what is quite a whimsical and wistful melody and then the vocals begin. Yes, vocals, I’d been so used to the power and pomposity of the instrumental only Arcade Messiah that I forgot that John has quite a delicate, yearning voice that works perfectly with the clarity and purity of the music. The whole song has an openness at its core and I find it emotionally cleansing as it carries my worries away, yep, I was right, John doesn’t do ordinary or mundane, this is sheer class.

There is a haunting feel to the opening of Joy In Despair, an all pervasive feel of hushed restraint to the pared back music and John’s guileless vocal. The fog of uncertainty begins to lift as the rhythm section opens up, there is a chink of light appearing in the misty gloom. There is an undercurrent of nostalgic melancholy running throughout the song, a feeling of whatever will be , will be that manifests itself as stoic fortitude and the track closes out with a very stylish guitar run, near perfect.

Awaiting has a slow burning opening, a low down guitar and vocals full of longing are accompanied by an expressive bass, just lulling you into a state of dignified solemnity. The chorus is all breathy vocals and a stand out guitar note that lifts the tempo slightly. A thoughtful guitar solo is laced with feeling and sentiment and you well up with emotion, a superb thought provoking track that left me in a reflective state of mind.

The final track on the EP is the delightfully eclectic instrumental Jenna. Sepia tinged memories flood your mind as the plaintive and longing guitar leaves wishful notes on your mind. A meditative and unhurried track of musical rapture that cleanses your mind and soul to leave you in a calm state of well being.

There is a beauty and grace to ‘Aperture’, John can do immense walls of sound in his sleep but, this time, he shows he has a gentle and rarefied touch to deliver a small and perfectly formed musical gem. Any negatives? yes, just one, it’s not long enough…..

Released 3rd April 2016

Buy ‘Aperture’ from bandcamp

Listen to ‘Break The Wall’

Review – Mothertongue – Unsongs – by David Rickinson

What on earth is this album?

You just think you’re getting the hang of Bad Elephant’s eclecticism when they spring this on you…

…A POP ALBUM.

Yes, a pop album.

A really rather wonderful progressive pop album, full of surprises and quirky little tunes.

Now, I grew up with proper pop music back in the 1960s and we all know that pop music nowadays is, to put it mildly, rubbish. But this album isn’t like that – in its inventiveness it really does hark back to the giddy heights of the 1960s: if not in style (which is more reminiscent of the 1980s) but certainly in intent.

For example, the opening track King of the Tyrant Lizards is 3 and a half minutes of clever wordplay, not one, but two, hooks, a lovely little guitar solo and horns like some mad Mariachi band. One of the hooks is such an earworm that I couldn’t shake it for a couple of days…

Track 5 Nautilus starts off like some lounge jazz bastard son of Swing Out Sister before switching after 40 seconds into yet another catchy chorus which has been cross-bred with post-punk angst. Oh and it ends up as some weird oriental singalong with optional headbanging.

And then it suddenly makes sense – this band and this album fit perfectly into the Bad Elephant stable. Eclectic Music for Eclectic People.

I know comparisons are odious and it’s a good job they are because I can’t really think of anything to compare with this wonderful, wacky, weird album. There are a couple of times when I think to myself “Oh! That’s a bit like XTC’s Drums and Wires”, but I’m also reminded of Haircut 100, The Jam, The Piranhas and Ooberman, Blur, Suede, early Pink Floyd, The Kinks, The Small Faces. I can really imagine David “Kid” Jensen introducing Mothertongue on Top of The Pops in about 1981 and a much younger me sitting up and taking notice.

So who are this Mothertongue? According to their Bandcamp page they are “A random collection of musicians from Manchester who fell in love on a Tuesday night. They like terrible jokes and dinosaurs, and make odd progressive pop music.” I don’t think there is any more to be said.

Buy this album. It might just make you smile.

Released 15th April 2016

Get a copy of ‘Unsongs’ from bandcamp

Review – Fractal Mirror – Slow Burn 1- by Progradar

“For fast acting relief, try slowing down.” – Lily Tomlin.

Modern life can be likened to being on an express train that only runs between two stations, the one where you board and the one where you alight. The common complaints of ‘not enough hours in the day and too much to do to fill them’ arriving on a regular basis.

We really need to get off this never-ending stressful ride more often, for our own health and sanity, if nothing else. I know it’s easy enough for me to say it but, it certainly helps my well-being to be able to take a step back now and again.

My way of forgetting the intimidating rat race is just to listen to some calm and relaxing music, music that I can unwind to and that soothes my furrowed brow. One of the artists that have delivered this gentle, sedating relief to my busy life in the fast lane has always been Fractal Mirror and they have just released a new album, ‘Slow Burn 1’ so, when the promo arrived, I pressed play to see what wondrous, whimsical world they had conjured up for us this time…

Fractal Mirror is an international recording band. Leo Koperdraat (keys/guitars/vocals) and Ed van Haagen (bass/keys) have made music together since the 80’s in the Netherlands. They met Frank Urbaniak (drums/lyrics) online and compose and record their music via transatlantic data exchanges. While Ed has visited the US during mixing sessions, Leo and Frank have never formally met. The band’s name and compositions are a reflection of their passion for the wide variety of music that has influenced them and has provided the soundtracks for their personal lives.

The themes in ‘Slow Burn 1’ are a reflection of the disruption that technology is triggering in all phases of life, and the platform it provides for consent and dissension about the direction in which our world is heading.

There is a wide selection of guest artists helping the band on this release including Patric Farrell, Kenny Bissett Sr., Don Fast, Leopold Blue-Sky and Brett Kull (Echolyn) who, once again, mixed and produced the album. Brian Watson of Plan A Art provided the stunning artwork.

Prelude is a calming opening, lowering the heart rate and getting you ready for what is to come. The signature Fractal Mirror keyboard sound and Leo Koperdraat’s dulcet tones all present and correct. There is a real light and airy feel to Miracle as it opens up. The jangling guitar and Frank’s drums giving a dreamy feel, a deliberate note is in the vocal though, all serious for a moment. The guitar gravitates in earnest and the catchy chorus is really good. Some stylish bass playing adds a touch of class to proceedings. Immediately you feel that the band have matured and progressed in their songwriting, there are layers of complexity on show here, shown in the late 60’s psychedelic feel to the opening of Numbers. The swirling organ note and deliberate drumming add a thoughtful note to the song and Leo’s vocals have an earnest note. It is all cleverly whimsical and wistful, lulling you into a serene state of calm. I see a new found depth to the musicians and one that I am liking a lot so far.

Patric Farrell provides bass on V838 and lead guitar duties are taken on by Peter Swart. On the verse, the song has an upbeat feel, uplifting and light, the rhythm section bringing their ‘A’ game along. Leo delivers another reflective vocal performance. There’s a note of regret, even warning, on the meditative chorus. This track showcases the new, polished sound that is crystal clear and lush. A contemplative and plaintive note pervades Floods. This song has an almost melancholy and ethereal beauty to it, I listened to it with my headphones on and was lost in its sublime, calming grace. Charlotte Koperdraat and Kitty Diepstraten add serene backing vocals, there’s some heartfelt guitar playing and you are left with a blissful lightness of being.

That sanguine, optimistic note returns on Mist, positive drumming, quick-stepping keyboards and Leo’s buoyant vocal all come together to give the song a really upbeat note. Stopping just sort of becoming annoyingly twee, with Don Fast’s elegant 12-string, it left me feeling like I could take on the world, the sun was shining and everything was right with the world. Both Enemies and Embers have a determined and businesslike note to them. While at first resonating a little less with me, they are both still clever, involving pieces of music that did, at first, seem a tad one paced. Charlotte returns on backing vocals for the former, this time joined by Jason Himmelberger. Both songs initially seemed to lack the instant involvement of the rest of the songs on the album but, after repeated listens, they both proved to be slow burning diamonds. It is true that all comes to he who waits, apparently….

A delightful guitar note opens Fading before a tidy drum roll introduces the rest of this feel-good track. A jangling guitar riff and Leo’s expressive vocal add another layer of benevolence. A proper ‘foot-tapper’ it seems to fly along slightly out of grasp with its more AOR friendly feel. Throw in a Peter Gunn style riff and you have another song that lifts its head above the parapet of normality on this increasingly impressive release. Artifacts is another smoothly polished song that just drips panache and style and yet seems to suffer slightly against the inspiration of some of the other tracks on the album. It is a rather nice piece of music anyway, great vocals from Leo and Jason again, combine them with the superlative musicianship and you will never fall below rather good but, to me anyway, there just seems to be something lacking. However, the final track on this expressive musical world of wonder is every bit as good as, if not better than, the rest. Universal is Fractal Mirror doing what they do best, sumptuous music, intelligent songwriting and delightful vocals combine to give over eight minutes of intriguing and involving musical enchantment and it really does leave you on a high. On this final song, the majority of the musical guests make a final appearance with Patric Farrell, Kenny Bissett Sr., Leopold Blue-Sky, and Dan Fast all joining the exuberant gathering. The harmonised vocals are just one of the joys on show and the song runs out with a serious feel of the Beatles circa Sgt. Pepper.

A band that constantly strives to improve and progress, Fractal Mirror’s new album is testament to their devotion to this ethos. ‘Slow Burn 1’ is a multi-faceted delight and a joy to behold. I doff my cap to you gentlemen, after ‘Garden of Ghosts’ I expected something special from you and, boy, have you delivered!

Released 18th March 2016

Buy ‘Slow Burn 1’ direct from the band

Review – Matthew Parmenter – All Our Yesterdays – by Leo Trimming

This review is dedicated to Jean Trimming R.I.P

Matthew Parmenter, the charismatic front man of Discipline, has released his impressive third solo album, imbued with emotion and narrative skill. This album marks his first release with Bad Elephant Music, following on from their ‘fire alarm meeting’ outside the Summer’s End Festival in 2015. The dramatic impact of Parmenter’s stunning show with Discipline at that event led to a great social media comment that the most memorable sound of the whole weekend was the sound of so many jaws hitting the floor in amazement at his performance. However, this solo album shows a very different side of Matthew Parmenter.

Scheherazade was the wife in ‘One Thousand and One Night’s’ who had to tell stories that would keep her husband on tenterhooks until the next night instead of executing her. It is appropriate that Parmenter opens the album with a fascinating song about this story teller, ‘weaving stories into stories’, grabbing one’s attention immediately with a high alto voice intro, akin to Antony Heggarty. Parmenter is filled with stories and poetry which he pours into this work. For the title track he uses probably one of the most famous soliloquies from the greatest story teller of them all, Shakespeare, drawn from Macbeth Act 5, scene 5:

‘… And all our Yesterdays have lighted fools the way to dusty death, out, out brief candle’

Some may question the wisdom of tackling the Bard in this way but Parmenter has the poise and skill to capture the despair of this speech without overpowering it, and his voice is perfectly suited to conveying the presence of a Shakespearean tragic hero. Much of this work is pervaded with a sense of melancholy, particularly in the finale Hey for the Dance and, particularly, I am a Shadow, which perfectly frames Parmenter’s voice as a finely crafted instrument in itself, conveying Bowie-esque delicate agony. Favourable comparisons with Peter Hammill of Van Der Graaf Generator are inevitable, and this seems most clear in the vocal stylings and lyrical approach taken on Hey for the Dance and All for Nothing, accompanied with an appropriately bleak violin and organ. It is no coincidence that All Our Yesterdays with it’s the Shakespearean themes follows – we are clearly walking in the ominous presence of tragic heroes.

However, Parmenter shows he has a lighter almost jaunty side as Stuff in the Bag rolls along in fine style, ‘taking a holiday from consciousness’, reminiscent of the jaunty asides from King Lear’s Fool. This is not an album full of all pervading darkness as Parmenter’s punctuates the album with moments of relief, such as the short delightful instrumental Danse du Ventre, moving in to the fine song of conflict feelings evoked in Digital.

Previously in reviews I have tried to be ‘objective’, but that is all an illusion as ALL reviews are subjective, filtered through all of our individual thoughts, feelings and experiences. Some records will mean more for different reasons, and the feelings conveyed may affect us in unexpected ways. Similarly, the actions of the artist may impact upon us. With that in mind, the song, Inside, really connected with me, and I know that one small unheralded action by this artist had a positive effect upon me at a difficult time, which I think says a lot about him as a person as well as an artist. Please forgive the personal angle at this point but this is essential for me to convey the meaning of this song and album to me.

After seeing Discipline in October at Summers End 2015 I bought 2 Discipline albums at the festival. Later I found that a CD booklet was missing, and unfortunately the vendor could not help as they had sold out. I forgot about this for a while as other things of more importance were happening in my life. In December sadly my Mother passed away quite suddenly, which devastated me. In my grief I looked for slight distractions and recalled the missing CD booklet. I decided to e-mail the record company in America to explain the omission, and to my surprise I got a very swift reply back directly from Matthew Parmenter, promising to send the missing booklet. I replied that I was impressed with his speedy and helpful reply, remarking in passing that it was nice to have such a positive response as my mother had just died. Just after New Year’s Day a package arrived from America and not only was there the missing CD booklet, but also a complimentary copy of a Discipline album! There was no note but so much had been said by that thoughtful and compassionate action. I am also pretty certain Matthew would have had no idea I do occasional reviews – this was a simple moment of generosity, reaching out to someone in sadness.

Fast forward a few weeks to my first listening of Matthew’s new album and I get to hear the wonderful song Inside with the powerful refrain:

“You May Be Lonesome and Uncertain, I may be Feeling I’m Alone, We May Find Comfort in this Moment here – Inside…”

I probably do not need to tell you how that song hit me as I drove along listening to it for the first time. It’s a wonderfully understated song with sensitive vocals and atmospheric organ as the song builds in restrained power and emotion.

Matthew Parmenter has stepped aside from the magnificent, gothic group dynamic of Discipline to create a solo work of art suffused with dramatic shades and emotional lyricism, conveying tragedy and hope. This is an album that is likely to captivate and beguile with subtlety and delicate emotion. It certainly gave me unexpected comfort – Inside.

Released 11th March 2016

Buy ‘All Our Yesterdays’, on digital and CD, from Bad Elephant Music

All live photography thanks to Sam Holt.

All other photography, much thanks go to Graham Stead.

This review is dedicated to Jean Trimming R.I.P.

Review – Halo Tora – Omni/One – by Kevin Thompson

I have had this CD floating in and out of various players around the house for a few months seducing me, whilst the glorious cover artwork from Sandy Wilson calls to me like the outstretched siren in the picture, waiting to drag me into it’s depths and hold me in her cold, watery embrace.

Coming together in 2011, with influences ranging from such luminaries as Oceansize and fellow Scots, Mogwai and hailing from Auld Reekie, these Glaswegians made 2015 a very busy year in their drive to push themselves, tirelessly, with support slots for the likes of My Vitriol and a UK tour of their own as well as recording ‘OMNI\ONE’. There is no chance of finding heather growing under these lad’s feet as they strive to feed the demand of a rapidly growing fan-base.

Ian McCall and Chris Alexander share the deliciously melding vocals and substantially atmospheric, densely rich, guitar interplay. These are underpinned with eerily haunting piano refrains from the adept fingers of Ryan Connery and Chris McKeown’s thunderous drumbeats and rhythms matched by Mark Young’s vigorous bass work, cementing a solid band structure, built to last, with eyes fixed firmly on the course they take toward greater things.

They also have a little help on the album from additional musicians: Kene Wraight – Bass, Neil Slorance – Double Bass, and Sara Ann Dawodu – Violin.

OMNI\ONE

Tranz/Zero – the instrumental introduction with desolate echoing guitar notes hammered from the fretboard, sets the scene of a gloomy mist drifting through the Glaswegian streets, the wind echoing through the dark alleys dispersing suddenly as it turns the corner… Leading seamlessly into..

Permanent Revolution – a tick-tock rhythm issues in the interlaced vocals from Ian and Chris for the first time, playing off each other, sailing together and drifting apart, with the sense of urgency growing, the guitar solo begging as the boys sing ‘take me away’. The beating drums from Chris and Mark’s bass builds a wall of sound as the guitars scream to a halt.

Echoing guitar push in the next track Ruins, drum and bass marching together as the desolation all around collides with the bitter vocals, slowing into a solo with a glimmer of hope. Could there be a chance of escape? The vocals rise and the instruments overrun into a dramatic finish, the mist floats in again, obscuring the bid for freedom and, when it clears….

A guitar warily ventures out into The Bones that Rock the Cradle, fearful of the piano striding forward. As the vocals search for a way out they are blocked by a wall of menacing six strings, reinforced by the bass, as the drums try to push their way through. Will there be a getaway down the shady back street, the guitars give chase as a defiant promise to return is thrown back at the pursuing six strings.

Catching a breath as the dreamy keyboards give respite on Tonight. The pursued appear to have given those tracking the slip for now. Simon and Garfunkel style harmonising eases troubled minds as emotions rise, whilst the guitars search in the distance and the drums berate them. The net closes in and suddenly the guitars emerge in front of the fugitive voices.

Acoustic, whispered regret and decisions not made. The guitars’ Hangman looms menacingly over the voices. Muttering, was it just that they did not get out when the piano afforded them chance or was it that they prevented themselves leaving?, cymbals ring dizzily around their heads and the fret drifts in again.

The vocal realisation that the chance may have passed as the guitars and drums cry triumph. Will the words sink Under the Surface with the weight of the music? Still refusing to do the guitars angry bidding, causes them to stop abruptly and tinkling keys ripple against the voices, before waves of guitar and drums hit and raise cries for a way out. A lull in the tide as the vocals drift, the acoustic guitar keeping them afloat until the waves come crashing in again and the voices rage against them. They fall away again and drums swim through the waters as the the guitars circle before plunging in, smashing against the metaphoric rocks, to silence.

Regaining consciousness, vocals sail lazily on a current of drums and low piano, the conscience is pricked with Needles of remorse as echoing, re-verb guitar notes suggest that something holds the songs there. On calm reflection another may be to blame, allowing a turmoil of guitars to enter the head, but drowned out and pushed aside by the verbal insistence that the fault lies elsewhere.

The guitars hunt with renewed vigour in this Age of Terror, charging forward, drums announcing the vocals as they do battle and stand their ground against the heavy chords and bass, harmonies. Forcing the instruments to retreat, before they attack with dark rhythms. Keyboards rise and replace the vocals against the guitars who, with a whine, fall from the edge.

The vocal,s accompanied by faithful acoustic guitar notes, warn they will be The Executioner to come as strings soothe the unsuspecting into slumber. “Run”, they warn, as ripples of piano and bended, distorted guitar strings toss and turn restlessly in dark dreams.

X is Mandatory, as the whistling wind and cold mist shrouds haunting piano, in this short instrumental, finding the acoustic beginning of the end, the last and title track….

Omni\One. Melancholy is relieved by the gentle vocals with promise of a change to better things. Hopeful acoustic guitar and piano take the lead as the guitars, vocals and all other instruments rise to a more peaceful resolution in release and then silence.

There is a Gothic type melodrama to the music on this album, a yearning and longing which may on the surface appear gloomy but, just as Anathema have accomplished, Halo Tora create beauty from these elements and carve them into something wondrous, that clings to you, won’t let go and you are happy it is there.

Look out for these boys crossing Hadrian’s Wall, they intend and deserve to be greater. Mark them as ‘one to watch’.

Released 3rd September 2015

Buy ‘Omni/One’ on digital from bandcamp

Buy ‘Omni/One’ on CD direct from Halo Tora

Review – Section IV – Superhuman – by Progradar

“With the aim to make progressive music accessible to the masses and not content to follow any musical trends, Section IV fuse melodic hooks, rich soundscapes and musical dexterity to create music that defies genres.”

So says the band’s bandcamp page anyway…..

To be honest, I’d never heard of Norwich based Section IV until a message arrived at Progradar from the band’s manager Dean Shepherd:

“Hi,
Section IV have released their début album “Superhuman” Should you want a physical copy of Superhuman I would be happy to send you one, if you could furnish me with an address to send it to.”

Dean also furnished a link to the band’s website which, while being sparsely populated with information, intrigued me enough, especially the striking artwork, to reply in the affirmative.

Section IV website

It was difficult to glean anything much from the band’s online presence but I figured out they’re from Norwich (yes, well done to me, I know!) and Section IV consist of Robben Harrop (guitar), Sam Linay (vocals), Stuart Robertson (drums), Richard Lockett (keyboards) and Nicko J Ruddock (bass).

Listening to the music is a whole different proposition, there’s a whole bundle of influences fighting for attention over the ever present rock base. Like most good albums, it takes two or three listens to unveil the inner delights so, after quite a few more plays, I’m ready to give you my considered opinion…

This album is book-ended by two longer tracks, the first being the title track Superhuman and this is one with full-on neo-prog tendencies. Like a leap back in time to the 80’s and early 90’s, all the pointers are present and correct. Sepia tinged keyboards and jangly guitars are the mainstay and everything is kept cohesive by the slightly metallic drum sound. Sam’s vocal is strong and powerful and, while everything is stylish and professional, it doesn’t quite put its head above the parapet as being something better than what you’ve heard before.

The next two tracks, Out Of The Dark and In Danger has a more definitive AOR feel to them and I get the feeling that this melodic and catchy style is where the band truly sit, they are masters at it. Wistful and endearing, the music is classy, polished and, basically, really good. The vocals fit perfectly with the sound and I find myself being drawn in, lulled by the quality on offer, Robben Harrop’s impressive guitar work really starting to shine as well. Inside is one of the stand out tracks with some polished acoustic guitar work and superbly harmonised vocals. It is a pared back little gem.

The bombast returns with the opening to So Far Away, all pounding drums and staccato guitar. A feeling of apprehension is created by the voices running underneath the music. This track actually sticks one toe firmly in the progressive pool and does it exceedingly well to give an almost post apocalyptic feel but doesn’t quite go the whole hog. The rather catchy chorus has its roots firmly in hard rock and AOR. Idwtstwt is an enjoyable anomaly in that it even treads the boards as a heavy metal track with its punishing opening riff before turning the flame down a bit to hover on the edge of hard rock heaven and heavy metal hell in quite an innovative manner, the interplay between the guitar and keyboards just manages to avoid being cheesy. That hard rock/AOR vibe returns with Guiding Light, another track that, while being entirely palatable, is also a bit generic. I even feel a hint of 80’s metal joining the fray on tracks such as Take You Down, if brought up to date for the twenty-first century. The keyboards are nicely done, the riffing is smart and perceptive and Sam has one of those unique and memorable voices that stays with you, especially on the uplifting chorus.

So, to the final track on the album and a return to the neo-prog feel of the equally extensive opener. Exile, however, does seem to take its progressiveness just that much further and, as such, makes itself the stand out track on the album. To me, it feels like the band have, basically, decided to forget any formulas and just lay down what they’re good at. The sweeping opening is full of grandeur before a lone piano takes over, quite heartfelt, to lead into the rest of this sixteen minute epic musical journey. Uplifting and dynamic, it is worth the entrance fee alone. It is quite cinematic in scale and stops you in your tracks, a heavyweight slice of pomp and circumstance.

So, to my ears, Section IV has delivered a highly competent and eminently likeable album in ‘Superhuman’. However, with tracks like Inside and, especially, Exile, they show they have the capability to produce something exciting and different to the norm and, to me, they should be exploring that side of their music further.

Released 31st March 2015

buy ‘Superhuman’ from bandcamp

Review – Sebas Honing – The Big Shift – by Progradar

There are lots of small, independent music labels around this great big planet we live on, I even work with one. It was a pleasure to meet Peter from Freia Records at the recent Bad Elephant evening. This Dutch imprint have been going for quite a long time and have built up a nice roster of artists. Peter is as enthusiastic about music as any of us who have it running through our blood.

I’ve reviewed some of Freia Music’s releases in the past so it was with anticipation that I downloaded the latest one as soon as it landed in my inbox.

Sebas Honing was better known to me as being a founder of Equisa with hs wife, Petra. Little did I know he also had a burgeoning solo career.

‘The Big Shift’ is his third (or is it his fifth?) solo album. His previous album met with critical acclaim both from the fans and the media. Sebas was even featured in the ‘Limelight’ section in Prog Magazine, issue 49 (September 2014). Sebas also took the criticism of his first album to heart and asked Christiaan Bruin to play the drums, his wife (a professional singing teacher) also helping him to strengthen his voice.

‘The Big Shift’ is, again, a concept album if, albeit, a loose one. It is about change and includes lyrics about leaving home, getting rid of fears and the birth of Sebas’ daughter.

There’s an eclectic mix of progressive and symphonic rock running throughout the album. Right from the thunderous opening salvo of instrumental title track Big Shift and Life pt.1 this is dynamic and compelling. Sebas is a seriously accomplished guitarist but he has a rather nice vocal too, vulnerable, yet with authority when required. Mrs Honing (Petra) provides classy lead vocals on a selection of tracks and her voice has a dreamlike elegance to it.

Sebas explores the more complex and progressive styles on tracks like Ditching Fear, Mercury Retrogade and OMG yet they still keep a more accessible feel to them. Stylish, concise and expressive, these are catchy tunes that, mixed with a certain degree of complexity, really appeal to the listener and, when Sebas lets rip on the guitar with his inimitable style, it’s a joy to behold. There’s even a touch of Metallica coming through on OMG, bringing a smile to my face.

Occasional lapses into a lighter, more fine-grained style do not hinder your listening enjoyment. Rather, tracks like All You Are, Freedom (a strong single contender if he wanted one) and Mild Smile give the middle part of the album a dose of humility and humanity. It is on tracks like these where Sebas adopts a cultivated edge to his music and vocals and rather stylish and urbane it is too.

Overall, the astute mix of styles blend together to deliver a distinctly cohesive whole and there is something for everyone to enjoy with nods to the more serious and then the light-hearted among us. Every now and then the added polish of Sebas’ brilliant guitar playing breaks out and everything lifts to an other plane altogether, the solo on Hometown being a case in point. Perhaps the most creative, serious and yet, elegant track on the album, Homeless sees Tessa Struijs join Petra on backing vocal duties to give us a symphonic-prog classic in the making.

It could be said that Sebas Honing leaves the best until last as the final two tracks, Life Pt. II and Lost close out proceedings with a bang. Sebas and Petra delivering a stellar vocal performance on the former, along with some rather intricate prog-metal shenanigans and the latter closes out the album with a touch of intimate class.

If you’re a fan of progressive rock with a little extra something, you’re going to really like this intelligently crafted record. Sebas Honing is definitely one to watch for the future, another highly recommended album from Freia Music.

Released 24th January 2016

http://www.fmls.biz/product/sebas-honing-the-big-shift/

https://www.youtube.com/watch?v=pmjJZsHjvS4

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