I can’t recall exactly where I came across Regna, a progressive rock outfit from Barcelona in Spain. However, I do recall that whatever I saw piqued my interest enough to warrant some further investigation with a view to reviewing the album, ‘Cinema’, and hopefully being of assistance in heightening the band’s profile amongst prog fans looking for some good quality material to listen to.
This album was released on the 22nd of December 2023 so narrowly managed to avoid eligibility for my end of year listing. It’s possibly not the best time to release your debut album when the world is on the cusp of Christmas celebrations, no worries though as we here at Progradar are always open to hearing new music like this rather interesting release.
The album has just six tracks, including one epic of some twenty minutes plus duration. The album followed an earlier release of the ‘Meridian’ E.P. that emerged in the summer of 2015 and introduced the world to their somewhat unique style and sound through is four tracks. The E.P. ad a theme of alienation and abandonment, this theme was carried through the four separate movements of the EP.
This new album declares itself to be a musical arch of two hemispheres and, whilst not exactly a concept album, there are recurring themes and common threads, such as fear and loneliness and the need for an emotional shelter. So this is not exactly easy listening as such, rather it is a voyage of discovery for the listener. The album is beautifully presented in a lush and solid digipak sleeve with a thick and well defined booklet containing all the lyrics and the credits for the album, the inner sleeve shows a row of empty cinema seats, hence the album’s title of ‘Cinema’.
The album begins with Opening Credits, an instrumental track performed mainly on Hammond organ, although there are some arpeggio guitar lines and chords played. This leads into Return to… , the first vocal track and one that is sung in English, even if the phrasing is a little different in places. It certainly sets out the band’s stall sound wise, i.e. heavy organ imbued with great melodic guitar lines in parts and latterly synth pieces. This is a very organic sounding album that could have come from earliest days of prog, it sounds that convincing. In fact, I would offer to suggest that Uriah Heep were an influence, aong with Italian prog bands of the time. Spyglass opens with more arpeggio guitar before acoustic chords are played. This song has great dynamics, especially when the organ re-emerges like an old friend, a single guitar notes adding to the tension of the song and to the dynamics. I really like this track as it is very clever and builds well in intensity. With good synth lines dotted over the strong beat, this one is a winner to these ears.
Tangent is next, and is nothing to do with Andy Tillison and his group of the same name, apart from both like complicated time signatures and rhythms, as are on offer here. Strong bass work powers this track along, it’s always good to hear solid bass as very often it can get overlooked next to the guitar and keyboards. Here the bass is keenly felt, inventive and central to all that is going on as it really does provide an anchorage from with the other musicians can truly fly. This track has some excellent rippling piano lines in its latter stages and also a guitar line that echoes the vocals, it really adds to the great dynamics of the track, making it another standout for me. After the short, immersive interlude of Dramatis Personae, the longest track Accolade follows and opens with a very Greenslade vibe and sound to it, although it majors on guitar. The song flows through its sections in a carefree manner, the organ is really gripping and exciting to hear as it storms away in conjunction with some bass parts. This track certainly impresses, especially in the long instrumental section in the middle of the track, an undoubtedly fine musical segment that really showcases all the bands skills and talents, along with their influences before it comes to a close on sustained chords.
‘Cinema’ is a most interesting album of exquisite sounds and textures and a great representation and platform for Regna and the talents of singer Marc Illa, guitarists Alejandro Domínguez and Xavier Martínez, keyboard player Miquel González, bassist Arturo García and drummer Eric Lavado.
Be aware that you will need to listen intently to really appreciate the music but the effort is most definitely worth the investment. Fans of 70’s prog from America, Germany and Italy will find familiarisation threads to follow in the music, highly recommended.
“The Geof Whitely Project was formed in 2011, it consists of Geof Whitely and special guest Musicians, the aim of the project is to put out original material in all types of musical formats from Prog Rock-Rock-Pop-Electronic-Instrumental. All albums will contain a mix of such musical songs, theres surely one that will appeal to everyone.”
‘Prolific: producing a great number or amount of something..’
The Geof Whitely Project, or Arny Wheatley, (he is the one man project after all!) have a new album out and I have been lucky enough to hear this album before it’s release on 5th January, 2024. Arny is a one man musical creating machine and prolific is a word that describes him to a tee, having released thirty studio albums since he started.
The formula of a Geof Whitely Project, and the ethos, is if it ain’t broken then don’t fix it. He never strays too far from what has been a successful format for him, although there does tend to be a little something extra or slightly different with each release. That is definitely true of his latest album ‘Curse of the darkness’, although the striking cover is something that has become a definite norm. The sound has always been majorly keyboard oriented with swathes of lush sound coming from the synthesiser but I feel that the guitar has taken more of the centre stage on this album and it is played with a lot of skill and dexterity.
Arny has one of those voices that never changes and it shouldn’t as his delivery is precise and very melodic and, basically, I like it a lot. There’s a laid back feel to much of the music, engendered by his mellifluous vocals and those ever so stylish and lush keys, especially when the piano comes in to give some added class and kudos. An elegant rhythm section of bass and drums drives everything on with a breezy precision to give a really immersive atmosphere to the music.
The album is one of those that is best consumed as a whole, you need to sit back with time on your hands to relax and enjoy the album as a total experience rather than picking out tracks here and there which now seems to be the accepted way to listen to music. That makes me shudder, I’ve listened to music for over fifty years and I have always enjoyed it when I can concentrate and be fully involved in an album as a musical journey and an accompaniment to life, or even a getaway sometimes!
‘Curse of the darkness’ is full of superb tracks and it is hard to pick out highlights, opener The Reckoning, smouldering title track Curse of the darkness (with some superb guitar work) and the upbeat Under burning skies (more echoing guitar) all showcase Arny’s prodigious talents but then so do the elegant Supernatural casualty and the album closer Slight of hand with it’s ever so cool 80’s feel. To be fair, there are no duff tracks on the album but you need to have a listen and make your mind up for yourself.
So, the Geof Whitely Project and ‘Curse of the darkness’, is it just more of the same? I think, with this album, Arny has stretched himself even more and it shows. There’s real musical nous on show and his songwriting is as good as ever, if not better and the guitar playing in parts is just stellar. This man can be as prolific as he likes when it keeps on being as good as this!
Was there something in the water last year? There seemed to be a resurgence of progressive fusion arriving at various points of the year, from the utterly exceptional ‘Quadrivium’ album from Nick Fletcher and the extremely promising debut of Tribe3 to the excellent Z Machine and their ‘Merging Worlds’ opus. There was definitely someone going on and when this first album from Looped Squares emerged online then the die was cast as this is a bold, fresh and satisfying first album that mixes progressive elements with jazzy fusion in an utterly immersive manner.
Looped Squares hail from Germany and came to be when four individuals who were working at Thomann (A large German music store) bonded over their shared love of prog and fusion elements and began working together on what would become this very versatile collection of songs. It is all fully instrumental in nature with each musician offering a solid platform where they could all shine in their own right. The music is extremely tight and proficient with a great sense of melody and spacing. A lot of the tracks have lots of keyboards, synths and organ and, to a lesser extent, piano holding it all together and their name comes from a computer shortcut when programming keyboards!
The album reminds me very much of 1990’s GRP Records output from the like of Dave Grusin, Larry Carlton and the like, which is not a bad thing by any means, it gives a reference point for the sound of the album really. The band comprise of four members; Dave Mola who plays the guitars, Jan Essantam, who provides keyboards throughout and the rhythm section of Adrian Sardi on bass and Frank Tinge on the drums. Together these four make a formidable sound, very hard hitting but also fully able to handle the intricacies the music requires with grace and style.
The album consists of eight tracks, each running around the five to six minute mark so nothing overstay it’s welcome by any means. There is a fair amount of unison playing with the guitar and keyboards copying each others lines, this is especially so on Aquafied Spheres, which also has a strong bass presence to it, along with some very fluid guitar soloing. Cactus Recovery is a standout for me as it has a great running bass line that echoes and drives the track along most pleasingly, this one sizzles with rhythmic delight. In addition the track features some really atmospheric organ parts along with a fiery guitar break. Add in some fine fretless bass lines and it really makes a strong impression to these ears. It is very satisfying to hear a new group really making a mark and when the heavy riffing guitar section begins you are captivated by the dynamics the group have and use to really commanding effect making it definitely the albums standout track for me. Elfendertigste is another strong track with great piano and synth sound to it, more fretless bass and a thunderous drum beat, again most impressive indeed. Title song Looped Squares is a funky, brisk sliver of virtuosity played extremely proficiently with a great groove and soaring synths amongst the overall sound. The track gains in intensity half way in before a surging guitar line take the track to it conclusion.
New Life is a lot calmer although it still has that stunning fretless bass. Delicate piano lines tinkle before an emotionally laden guitar line plays over everything. It is all rather beautifully delivered and you find it hard to believe this is their debut such is both the strength of the material and also the confidence of the delivery, it’s remarkable really and all very excellent sounding. Rockdown is played in a similar vein with more fine bass and some fiery guitar amidst the strong keyboard performances. Tall Order brings the album to a more restrained close, full of growling bass, great piano and more fiery guitar lines, all carried by the sturdiness of the rhythm section who deliver in real style throughout the whole album. The great funky bass and electric piano make this track another strong showcase for this excellent band who really play with intelligence and a hell of a lot of skill.
That’s it, a wonderful, if short, album that, sadly, is only available as a download at the moment but fusion fans will find much to salivate over here. You must have a listen for yourself and see if you agree with me about this extremely good release that is hopefully just the start of many more great things to come for Looped Squares.
Clive Mitten is, I guess you could say, what was called back in the day (pre internet age) eccentric raised in a musical family. Clive only discovered rock music at his boarding school. He was originally taught an appreciation and understanding of classical music forms and structures from his Grandmother. He then later graduated to being a bass player in Twelth Night and these days spends his time deconstructing and reconstructing progressive rock classics alongside transcribing old musical scores for the modern age. Clive definitely walks his own path these days, and that is good for all of us as he has turned his gaze to some of progressive rock’s finest moments and created stunning takes and remakes on the likes of King Crimson, Yes, Genesis, ELP and Rush, among others, with this remarkable 2 disc album.
Clive performs everything you will hear in what has been a very labour intensive task. Most of these tracks will be very familiar to most listeners but what you will notice afresh is the sheer brilliance and beauty of these pieces that Clive conveys and I’m sure you will gain a freshly found appreciation for these old songs. There are no vocals and everything is handled in an orchestral manner, so no wild guitars or the like. In addition, familiar passages are recorded with different instruments taking centre stage so, for example, ELP’sFanfare For The Common Man has a very layered sound and the throbbing bass of Greg Lake is replaced by a strident piano, with the synths also being replaced by the piano. Yet, even so, the piece does not entirely lose its power, it is just a little more restrained in tone. Yes, you may miss some of the synths but it is still fully recognisable, albeit in an altered form. I actually really like what Clive has done here, it is a bold reinterpretation of a very well known track, it is also abridged from its more familiar nine-plus minutes running time. The drums may be a tad pedestrian in places but it still passes muster, as does the Genesis segment that pulls together the main themes from Watcher of The Skies, Fountain Of Salmalcis, The Musical Box and Firth of Fifth together into a rather fine medley, especially the final Firth of Fifth section which is utterly sublime and highlights just how utterly graceful and gorgeous the original piece truly was. I’m sure a certain Mr Anthony Banks would approve of this very graceful and sensitive working. Purists might, I guess, take issue with the version of Firth of Fifth as it relies on orchestrations rather than the one we all know and love, the guitar solo being taken by other instruments yet, once again, within that remains the highly recognisable melody line. Again, I feel his version definitely has merit and allows for a fresh appreciation of the original track.
I think any Progressive Rock fan will find these takes interesting as they show these pieces in a different light and that is a very good thing. Okay, you miss certain little thing like the parts and power chords that Alex Lifeson plays on Cygnus X1 but does it really matter? I think not as when Rush played it live, it was always different from the recorded version. This version highlights just what incredible interaction and harmony Rush had at the time and just how much they were pushing their own boundaries, okay the drums aren’t in the Neil Peart realm, but they work well with the track as it is. The link between Cygnus X1Books I and II is interesting and totally new but is in the same spirit as the original versions. Overall this sequence works well as, again, the brilliance of the original is clear to see.
The 21st Century Schizoid Man/Starless combo really makes an impression with the piano playing the main riff and marimba also plays a striking part in the complex rhythms. The original’s almost atonal discordant sound is realised here by the use of these other instruments and their tones, especially in the part that was covered by the guitar. Although the majority of that section is overshadowed by the switch to the Starless melody, with the fabulous guitar line being covered by brass instruments. This really makes a different sound to the original version, a double bass also covering the bass lines with style and grace. I really love this version of what for me is King Crimson’s finest moment.
The albums other songs covered include Close To The Edge by Yes which is also extremely well done, as is Tarkus (again by ELP), Marillion’s Garden Party/GrendelIQ’sWidows Peak and Refugees from Van der Graaf Generator.
Taken together this album does a wonderful task of fresh revisitations of some truly classic pieces. It is a complete labour of love and a show of total commitment to making an interesting and intelligent re-reading of the seminal tracks.
An instrumental prog tour-de-force from the Greek duo
Residuos Mentales is a studio-based instrumental progressive rock project from Athens, Greece, formed by Stratos Morianos (on keyboards) and Alexandros Mantas (on guitars and flute) in 2012. A Temporary State of Blissis their second release (their debut album was ‘Introspection‘ back in 2018) and were it not for Epic Prog Rock Radio DJ Bob Prigmore giving it generous airplay towards the end of 2023 on his show, it might well have flown under my radar (as so many worthy releases on Bandcamp can do).
I am so pleased that I discovered this glorious musical endeavour, because not only has it turned out to be one of my top albums of 2023, but over the last few months it has significantly grown further in stature and regard with repeated plays. As a result, I felt that a full review was needed at the start of this year to spread the word within the prog rock community of this sparkling jewel.
This is modern instrumental progressive rock of the highest order. Influenced by the classic era bands such as ‘Camel’, ‘Yes’, ‘Genesis’, ‘Pink Floyd’, ‘Gentle Giant’ and ‘King Crimson’ – but it has a fresh, vibrant and contemporary sound which takes in heavier and prog-metal influences to create truly cinematic and panoramic soundscapes, along with Greek influences from their homeland.
There is no doubt that a lyrical content to progressive rock does provide a compositional structure which the instrumentation may not be able to do on its own. As a result, many instrumental releases can be long, drawn-out affairs which lack variety and depth once the key themes are rendered. Keeping the music complex and ever changing can avoid this, but then there is a danger of the music becoming merely technical and virtuoso grandstanding, lacking continuity and emotion. Residuous Mentales have successfully avoided both these pitfalls with A Temporary State of Bliss, producing an album full of epic themes, unexpected twists and turns, and, quality musicianship, without sacrificing the emotional heft that the music can deliver.
By 2016 Alexandros and Stratos (who is also a member of the acclaimed Greek prog band ‘Verbal Delirium’) had composed enough material for 3 full albums, but it was the more recent output that comprised their Introspection debut album. The material on A Temporary State of Bliss, pre-dates that, but has gone through significant changes in the studio, led by producers Vangelis Spanakakis and Dimitris Radis, and then revised and adjusted over the extended lockdowns of the Covid pandemic. In fact, Dimitris has contributed guitars and bass to the final album, whilst YiannisIliakis (from the Greek prog rock band ‘Ciccada’) has supplied the dynamic drums and percussion that embolden the whole album. Other guest musicians add their sparkle here and there, to create a very cohesive and exciting release.
A Temporary State of Bliss starts wonderfully with the first, and longest, of the two epics on the album, called The Stuff of Dreams. Sub-divided into seven sections, each with a distinctive musical character, this 17-minute tour-de-force is never allowed to drift along aimlessly, as many such extended instrumental tracks can do at times. It begins atmospherically enough with the soothing sound of repeating, futuristic, ‘Vangelis’-like synth patterns, supported by resonating bass synths, as a simple, melodic guitar-led pattern slowly develops. The music then builds majestically with a rich flurry of keyboards from Stratos, before the tempo quickens with strummed acoustic guitar, accompanied by soaring and exuberant, multi-layered keyboards and dynamic drumming from Yiannis.
The subsequent interplay between guitar and keyboards is a joy to behold, with soaring and sweeping electric guitar soloing and keyboards flights of fancy, but with shifts in tempo throughout. Stabs of piano, rich bass and percussive excursions maintain the variety, producing a sound at times bright and uplifting, and then dreamy and blissful – all held together with intriguing musical transitions and a myriad of twists and turns. While the influence of classic 70s prog is undoubtedly there, especially early ‘Camel’ (I also picked up hints of classic ‘Mike Oldfield’ midway amongst other musical echoes), it is all directed through a more contemporary lens, keeping the music fresh, vibrant and delightfully unpredictable.
The track takes on a much darker character later on, as some dense guitar riffing and eerie solo notes, combine with a creeping bass guitar, nervy, discordant piano and ticking percussive sounds conjuring up unsettling ‘Red’-era King Crimson atmospherics. The nightmarish trip to Hades and back is cemented by haunting vocals from Maria Tseva intertwining with dynamic synths. The manic intensity and pace build and shifts back and forth, following Dimitris’s Rush-like guitar soloing, but there is still time for Alexandros to deliver a soothing, closing Floydian guitar solo to bring us out of the darkness. The pace doesn’t drop though, and the track gallops towards a satisfying fade out with spritely drums, a repeating guitar pattern and lush piano and keyboards. Simply marvellous!
The Missing Part provides a welcome lull in the musical ensemble intensity but is equally impressive, despite it being the shortest track on the album at under 6 minutes). Stately piano from Stratos and a melodic, fluid and yearning electric guitar create real magic over the background wash of keyboards. The spirit of Andy Latimer resonates, before a beautiful, haunting trumpet solo from Vaggelis Katsarelis (written by Stratos), brings a late-night jazz feel to proceedings, as modal piano chords anchor the music firmly. However, just when you think the track has peaked, Alexandros delivers a simply stunning, melancholic and deeply personal guitar solo to melt your heart, before the pace quickens and trumpet and piano sign off this little musical gem. The song title remained the same throughout the relatively quick compositional period and refers, according to Alexandros, to the missing parts of our lives.
A Series of Self-Correcting Errors might be shorter than the opening epic by 5 minutes, but it is another stunningly diverse, ambitious and exhilarating instrumental that never rests on its thematic laurels for too long. Originally titled ‘Void, Prog and There Again’, Stratos, along with Alexandros, shaped the musical journey over nine months and the composition was driven by the need to make each specific part as interesting to listen to as possible. Their thinking was: “If this song would come on the radio, would you reach for the knob and change the station? If the answer was yes, we would scrap it and come up with something else!”
Gentle, slightly off-kilter, acoustic guitar playing is joined by a layering of electric guitar and piano, with string-like synthesisers building up tension, but nothing quite prepares you with the sudden explosion of raucous, swirling and devilish electric guitar over a bustling bass and drum rhythm (echoes of ‘Rush’ and specifically ‘La Villa Strangiato’ for sure). The music takes a smoother course temporarily, but the dynamic beat still maintains the frantic intensity, with more complex guitar and keyboard interplay, before the prog-metal power returns and the twinkling, descending piano and keyboards take us down the proverbial rabbit hole to places unknown.
The music becomes more serene and pastoral in nature for a time, flowing beautifully – propelled by dreamy synthesiser sounds and an effortlessly smooth guitar solo from Alexandros over luscious Mellotron-like chords. Things seem reconciled and at peace, but then a subtle but more menacing tones begins to pervade the soundscape and we are propelled back into full-on, dynamic and wild section full of driving drums, ethereal flute sounds (from Leonidas Sarantopoulos), powerful guitar shredding complexity from George Karayiannis, and a wickedly catchy, funky Hammond organ that ‘Keith Emerson’ would have been proud of.
After some musical stops and starts the final section is heralded by a wonderfully dark and dirty bass rhythm from Dimitris that provides the impetus for the driving beat and the subsequent urgency and cinematic sweep the track delivers, with Dimitris also behind the expansion guitar solo that closes this stunning epic.
The album closes impressively with Impending Catastrophe and takes us on a voyage from calmer waters to impending doom in only 9 minutes. It begins with tranquil, twinkling nursery-like keyboards, over lush background chords and serene flute notes, and the sense of innocent serenity is emphasised by soft acoustic guitar patterns. However, the introduction of ‘Spock’s Beard’-style keyboards, resonating guitar patterns and some punchy brass instrument programming provides a drive and sway to the music – with a darker tone set by more prog-metal guitar riffs. Suddenly, we are in a full-blown ‘proggy’ extravaganza of melodic guitar soloing and delicious flurries of keyboards to savour fully. It would have been an easy option to have prolonged this charming section further, but the track’s tempo eases, and a rich church organ sound permeates the music prior to the introduction of dreamy chiming bell notes.
There is a mid-way majestic rise in intensity followed by a galloping sense of threat, and even an interim moment of tranquillity produced by the expressive flute, melodic piano and evocative keyboard chords cannot hold back the impending catastrophe to come. Orchestral-like sounds shape the symphonic prog splendour typified by Stratos’s rich ‘Six Wives’ ‘Rick Wakeman’-like keyboards accompanying the rising drum tempo, before the final diminution and eulogy of the final church organ notes. The dramatic atmosphere seems to hang in the air as album finally closes.
Over 4 tracks, and a total running time of 44 minutes, the album is perfect for listening to in one sitting, and never feels like it overstays its welcome at any time. If intelligent and modern instrumental progressive rock appeals to you, A Temporary State of Bliss will not disappoint. Classic era prog and symphonic rock themes mingle with more contemporary influences, including touches of prog metal, jazz, Greek folk and even a hint of funk, with the music constantly weaving and displaying stylistic shifts, but without losing its dynamism, emotional content and unique identity. Highly recommended!
This is a list of the albums that have made a big impression on me this year. They are not in any order although several marked☆ are my favourites and I will nominate one as my album of the year.
Here is the list:
1.Orion– The End Of Suffering – This came out of nowhere and it is a testament to one man’s vision and willingness to create music that he wanted to.
3. John Greenwood – Dark Blue ☆☆ This arrived, again largely unnoticed, but what a brilliant release, thoughtful, emotional and an utterly captivating listen.
14. Nick Fletcher – Quadrivium ☆☆☆ My album of the year. Fusion for today, an album forging forward and beyond while embracing the past.Unbelievably fine music that is beautifully realised.
15. Pattern Seeking Animals – Spooky Action At A Distance – Fourth excursion from some-time Spock’s Beard men along with John Boegehold and a further step forward.
16. Cyan – Pictures From The Other Side – Second album from Rob Reed’s excellent young project, with Peter Jones and Luke Machin firing on all cylinders.
20. Swan Chorus – Achilles and The Difference Engine – My favourite vocal led album of the year, especially the wonderfully poignant track Being There about Peter Sellers, a beautiful song.
It’s been a tremendously fine year for music. A post-covid boom has inspired some stalwart activities with some excellent and impressive releases, here’s to an even better 2024!
2023 has been a fantastic year for music with an absolute plethora of superb albums that I have reviewed. It’s always very difficult indeed to pick out my favourite twenty releases from such a stellar year but here are the ones that have really left a mark for me.
They are in no particular order for the first nineteen but I have debated long and hard about my number one album so read on and find out what has taken the honour for 2023…
This Winter Machine – ‘The Clockwork Man’
‘The Clockwork Man’ is modern, neo-tinged, progressive rock at its finest and most involving, perfectly created and performed by a band who have found their feet after three accomplished releases and have delivered their finest work yet. This Winter Machine now stand at the forefront of modern neo-progressive rock and can be rightly proud of a concept album that can stand the test of time with some of the best that have gone before.
One Sided Horse – ‘My Favourite City At Night In The Rain’
So, there you have it, ‘My Favourite City At Night In The Rain’ is quite possibly one of the most important albums you will listen to this year. If you want an example of why music is so wonderful and moves people in so many ways then you cannot pick a better example than this utterly triumphant work of art, Mark Whiteside and OneSided Horse please take a bow, I thank you from the bottom of my heart…
Well, what can I say, I knew that a new Hekz album would be something pretty good but I had no idea it would be this special. With ‘Terra Nova’, Hekz have given us the ultimate involving musical thrill ride and I just don’t want to get off. To tell the truth, it’s the best progressive-metal album I’ve heard in many a year and, if this is the future of the genre, I’m completely sold!
‘Threnody For A Dead Queen’ is Comedy Of Errors at their very, very best, the music builds, almost as if alive, it has moods and emotions and captivates from the very first note. This band just get better and better with each wonderful album they create and, without exception, this release is up there with the very best of the year so far. Hell, in my opinion, it is Comedy Of Errors’ best yet, their Magnum Opus if you like and you should just go out and buy it!
‘The Author and the Dreamer’ connects with you in your sub-conscious, the songwriting and performances are second to none and Zeelley Moon’s innate Englishness and idiosyncracies are what make this music so appealing and enjoyable and one of my albums of 2023. Do yourselves a favour and get your hands on it as soon as you can!
Released 20th November, 2023.
Download and streaming on iTunes, Spotify, YouTube Music and the usual others.
Physical Album sales available on Discogs.com or direct at zeelleymoon@yahoo.co.uk.
The Round Window – ‘Everywhere & Nowhere’
Everywhere & Nowhere’ takes everything that was great about the band’s debut and just lifts it several levels. It is lush, classy, insightful and so melodically impressive and is an album that The Round Window should be mightily proud of. Difficult second album? not for these highly accomplished musicians!
Music has the power to move you and impact on your life in a positive manner and, with ‘Himlabacken Vol. 2’, Moon Safari have delivered the most wonderfully uplifting collection of songs I have heard this year. A joyous, mood enhancing release that just makes this world we live in a better place to be, if only for a short time. Trust me, you need this album in your life!
With ‘The Cycle Undone’The Twenty Committee have not only returned triumphant, they have also delivered one of THE musical experiences of 2023. Highly emotive songwriting allied with musicianship of the utmost quality, the band’s sophomore release builds on the enormous promise of their debut all those years ago. It may be ten years after but, boy, what a way to make a comeback!
‘Cautionary Tales’ is one of the freshest sounding albums you will hear this year, it is prog-metal for the thinking music fan and has real heart and soul at its core. I for one am intrigued to see what this talented duo come up with next.
A Southern Empire record is always just more than an album release, it’s a hugely significant occasion and one that I await with bated breath. Their music has been a soundtrack of my more recent years and is very, very important to me on a musical and emotional level. ‘Another World’is an absolute masterpiece of musical theatre and, possibly, the band’s Magnum Opus, one of the best albums you will hear this or any other year, and the perfect accompaniment to my life.
It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!
There is nothing better than music that connects with you at a basic level, music that moves you and music that almost becomes part of you and Ross Wilson and Blue Rose Code create music that is all that and more. This collection of B-sides, varieties and singles is something that should be cherished and I, for one, cannot wait for 2024 and a new album from this incredible musician. Ross Wilson, my friend, I wish you peace in your heart…
There’s no weak link on this album, it just ebbs and flows beautifully, although the last three tracks go together so well. They’re possibly the best triumvirate of songs that the band have ever done back to back. With the Skallagrim series Glass Hammer proved themselves masters of the dynamic and grandiose and ‘Arise’ gives the impression that the creative skills of Steve Babb have gone into overdrive, is there a better storyteller in modern progressive music?
I chose ‘The Last Great Adventurer’ as my album of the year for 2022 and, in a fast paced world that never stands still, Galahad haven’t rested on their laurels. They have returned with ‘The Long Goodbye’, another wondrous musical journey that mesmerises and bewitches from beginning to end, and even surprises in places. Could this be another contender at the end of the year, I definitely don’t see why not!
Beatrix Players return triumphant with the mesmerising ‘Living & Alive’, a collection of songs that are bewitching and compelling and leave you in no doubt of their stature in the music industry of today. The sublime voice of Amy Birks and outstanding musicianship on show have created one of the most outstanding releases of 2023 and one that should be on your list of must buy albums, it really is that good!
One of the things I love about music is when it surprises you and this debut release from The Anchoret has been a revelation. ‘It All Began With Loneliness’ is an astonishingly good album, in fact jaw-droppingly so, and is already up there as one of my favourites of the year. As prog-metal albums go, it doesn’t get much better than this!
When you listen to as much new music as I do, it takes something truly special to stand out and ‘Mad & Killing Time’ is just that, Ebb delivering a musical highlight of the year and one that is totally unique to this incredibly talented bunch of artists. Go seek it out, you will not de disappointed in any way at all.
Riverside are a band who have always gone their own way and been proud to defy convention and after the dark melancholy and sadness of recent releases, the band have returned with a brightly shining beacon of light. ‘ID.Entity’ is a generally uplifting album that puts a huge smile on my face every time I hear it and one that, I’m sure, will still be lighting up people’s lives for years to come.
The Tangent – ‘Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017’
Ah, to reminisce is a joy we should always hold dear and this wonderful live release from one of the UK’s most venerated prog bands is a sentimental journey down memory lane and one that will remind you why The Tangent are held in such warm regard and also why live music is something worth cherishing and preserving. We, the fans, hold it in our hands to make sure music stays live so albums as brilliant as this can still get made!
And so it all comes down to this, the one album that just about reared its head above all others to be my favourite of 2023. It’s not a default decision, this release has really moved the game on for one of the UK’s most influential underground bands…
The Fierce And The Dead – ‘News From The Invisible World’
News From The Invisible World’– true fans will love it, there’s real maturity and creativity in this album, The Fierce And The Dead shift effortlessly between different styles to show they are no one trick ponies. You could say that this is a case of a band reinventing itself but staying close to their roots but it’s more than that, this is band raising their game to the highest level and that is really where they belong…
Thank you if you have made it this far and thank you for supporting Progradar through 2023, I don’t have a crystal ball but I’m pretty sure that 2024 is going to be another fantastic year of music so hang around for the ride, it’s going to be exciting!
Anthony Phillips is the forgotten former member of Genesis who was there at the beginning but due to his extreme fear of being on stage, quit the band after the ‘Trespass’ album, leaving the door open for a certain young Steve Hackett, whose story is widely known.
Anthony is not the first musician to quit or to struggle with stage fright as many others, like Eddie Van Halen and Ozzy Osborne have also suffered through its clutches. Andy Partridge of XTC is also a fellow sufferer, although that is more with anxiety though but still, it is similar in nature and has an a debilitating effect. Many others also are affected, more than you would imagine really. Anthony simply wasn’t able to function in this realm and he decided to leave the group he had helped found and devote himself to a more classical direction, he was also a qualified music teacher for a while and he also studied orchestration.
All of which leads me to this newly remastered and extended version of his 1990 album ‘Slow Dance’ which is heavily classically influenced and gives rein to his wonderfully inventive playing and orchestrations. There is more than a hint of 1977’s ‘The Geese And The Ghost’ album which has a similar style.
Whilst I am not a classical buff by any means, other than the basics and well known classics, I find there is much to appreciate in this fine reissue. I think of it more as a tone poem or score and as such, it is definitely a case of repeated listening to get the subtle moments of brilliance that are on display here. The main album is in 2 parts, although the extra tracks on the second CD are also interesting, mainly being edited portions of the entire main album.
I actually prefer Slow Dance Part One for some reason, I especially like the repeated gentle motif that reappears throughout the piece. This music is gentle, delicate and beautifully crafted, when you read in the accompanying booklet of the trials and tribulations that had to be stared down to enable its completion, you will, like me, no doubt be in awe of both the vision and commitment employed whilst making this album come to life. It really is a sumptuous piece of music, uplifting and life affirming in equal measure. It is a triumph of talent, perseverance and, above all, a towering testament to the grace and beauty of the music it contains.
Did I mention that it is totally instrumental? That said there is a wealth of creativity here. Slow Dance Part One is of twenty four minutes duration whilst Slow DancePart Two is twenty six and a half minutes in length and has more orchestrations, strings and synths than part one does. The synths are all very 1980’s in tone and, whilst good, sound slightly dated in parts. I also feel that part two lacks the same emotional depth as part one, although that may be my perception having heard part one more than part two.
Let’s explore each part in greater depth shall we?
Part One begins with washes of synthesisers laying down a great sound and setting the stage for a delicate acoustic guitar motif that will be repeated at frequent intervals. The synths swell again before a fingerprinted guitar line is played and the opening melody is played on synths. I really like the gentleness of this pastoral sounding section, it is very satisfying to hear such gracious and gentle tones amidst all the synthesised backing. A stronger note then ushers in an almost pizzicato played part along with woodwind and a chopsticks sounding piano section that returns to the main melody played once again. Lush strings return to the chopsticks sounding part and a clarinet leads to orchestrations. There is then a sectionis reminiscent of the main theme of ‘The Geese And The Ghost’ album as it has a similar sound to it, not identical but definitely similar in sound. We then enter a section of syncopated percussion elements which is very effective, after which we return to the main theme once again. The final section of part one is a keyboard along with a drum machine playing and whilst it doesn’t affect the quality, it does date the music to the era in which it was recorded, this piece then ends with a few more syncopated piano notes.
Part Two is decidedly different and more keyboard focused with the major portion being concerned with keyboard orchestrations, there are less guitar parts in this as a result, although this does give the whole piece room to evolve naturally, again the drum machine plays its part in keeping the pace of the piece. As we get further in a sequenced section begins with woodwind playing alongside it most effectively, the theme from part one reappearing in a slightly different form. The vast orchestrations are introduced to the sound interspersed with the sequenced section and a harder section with guitar fills is added but soon gives way to the orchestrations once again. This is where I feel the piece lacks a little focus and is merely using synthesisers to swell the sound without much substance. The sequenced part returns with string flourishes which actually sounds really good, although a bit like 1980’s Tangerine Dream in places. After this section ends we return to the main theme through sweeping strings and synth orchestrations, I’m hearing the open sweeping soundscapes of ‘Stratosfear’ by Tangerine Dream once again but this proceeds at a stately pace. It is all very epic and measured, the final section returns to little piano and keyboard runs to good effect. Part Two ends on gentle notes before fading away in the distance with a final play of the central melody.
In summary a most interesting but, possibly for most, not essential release with a great booklet explains the background to the album. I am very glad to have heard this for myself as I really enjoyed it even it lies outside of my normal listening material.
“I see you on the road, trying to find your way home and I wish you peace in your heart…”
A new (old) album from one of my favourite artists Blue Rose Code, ‘Curios 2009 – 2020’ is a collection of B-sides, rarities and singles, including several unreleased tracks. Strictly limited edition and, furthermore, only available on Bandcamp or the band’s website, its release is being used to finance the band’s sixth studio album, slated for release in May 2024.
Blue Rose Code is Edinburgh-born songwriter Ross Wilson. At the edge of contemporary alt-folk, Wilson’s music evokes a meeting of Van Morrison and a young John Martyn, both shipwrecked with a bunch of Motown records.
When I heard there was a new studio release in the offing I was straight in to order this limited edition CD, Ross is one of the best songwriters around at this moment in time and any music he writes is always something to savour and take with you for ever.
I wrote these words about Blue Rose Code’s album ‘With Healings Of The Deepest kind’;
“When it comes to music that salves the soul and gives joy to the heart, this album has few peers. An utter musical joy and one that everyone should listen to at least once, it has an honesty and innocence that is rare in the music industry these days.”
I always consider it an honour to able to review music as special as this so read on to see how I feel…
Chasing Sunlight (2016) is a single that came shortly after the release of ‘…And Lo! The Bird Is On The Wing’, the album that introduced me to Blue Rose Code, but was too late to be included on the record. It’s a wonderfully breezy and light stepping piece of music with elegant, intertwined male and female vocals and a stunning horn performance from jazz legend Colin Steele. There’s a fine acoustic guitar solo and the lap steel playing just adds to the easy going and uplifting atmosphere. Love (2009) was BRC’s first ever single and features utterly gorgeous vocals from Samantha Whates and Ross that just add to the wistful, laid back and ever so lush atmosphere created by the elegant string arrangement, what a beautiful piece of music! November’s Ghost – Live At The Queens Hall (2017) was written by Ross after the death of his grandmother and moving to London. This touching version is taken from his homecoming show at Edina’s Queens Hall in 2017. There’s a tender, loving feel to Ross’ vocal on this pared back track. Aided and abetted by some delicate guitar playing, you can feel the feeling of loss in his voice and it makes this simple piece ever so poignant. Polaris – Live At Gloworm Studios (2017), this is a haunting, dreamlike version of a favourite track from the 2017 release ‘The Waters Of Leith’. The piano and echoing strings meander mystically through your psyche, never really touching you but always leaving its mark on this meditative journey. I thought I’d heard everything that Ross could deliver since I first became a fan but (I Wish You) Peace In Your Heart (2020) is rapidly becoming one of my favourite BRC tracks. Written coming out of the pandemic, it’s a song of hope for reconnection and an embracing of human interdependence. It just sings of hope, faith and optimism in such a beautiful way. The sublime horn and Ross and Karine Polwart’s spiritual vocals, added to the graceful piano, just leave a warm feeling in your soul and a lump in your throat, an utterly stunning piece of music.
Sunday(2019) was written to be included on ‘With Healings Of The Deepest Kind’ but was released ahead of UK and Ireland tour as the album’s writing stalled. Another delightfully upbeat song akin to Chasing… there’s a wonderful feeling of belief and optimism to this graceful track and the music is just superb. Ever since I first heard the music, Blue Rose Code have had a sort of defined sound to me and Acquainted With The Night (2012) is the first piece I’ve heard where they take a major detour from that. A Robert Frost poem put to music, late in the ‘North Ten’ sessions, it has a low down, darker hue than most of Ross’s other tracks and stands out because of that, but in a very good way. The insistent guitar and Ross’ low vocals, combined with the contemplative, almost psychedelic, keyboards, give some real drama to this impressive song. Sallyann (2017) is an ode to two people who were like Ross’ surrogate parents during his tumultuous time in London. A story of two childhood sweethearts, Terry and Sally, in East London who were reunited after following their own journeys through life to spend twenty years together before Sally died of cancer in 2016 with Terry by her side. It’s a beautifully poignant piece of music that really tugs at the heartstrings with Ross’ patient vocal and some more of that gorgeous lap steel. Another memorable track with power and passion, (I Will) Lay you Down (2018) is a love song and a plea for peace and relief, written for a woman suffering with severe post-natal depression. There’s a heartfelt feel to the vocals and a peaceful air to the guitar and piano as this graceful song glides effortlessly along, highlighted by some sublime guitar playing. It’s a very compelling piece of music that builds in intensity as it continues and finishes with a profoundly moving solo. 100 Years(2019) was written for Ross’ performance at No Man’s Land at Perth Theatre, a special concert commemorating 100 years since Armistice Day and follows a young Scot who lies about his age to sign up for the Blackwatch and go to the Front to give his life. A melancholy and plaintive track that lays bare the feelings of loss and of doing your duty, it is a profound statement that bleeds a wishful yearning.
Written in a little cottage just outside Biggar, like most of ‘The Waters Of Leith’ and recorded during those sessions, Lonely (2018) shows a clear line-of-sight to where Wilson will take his music and band in the years to come. There’s a proper feeling of Americana to this song, the vocals and music having a definite country feel to them but that Scottish brogue always means it never strays completely that way. I love the harmonised female backing vocals and the stunning performance on lead guitar from a young Lyle Watt, a track I keep returning to. Now we get to THE song that defines Blue Rose Code for me, the sublime, wonderful Grateful (2015). Up until hearing the version on this release, I’d only ever heard the abridged version on ‘…And Lo!…’ or live versions and this full version, featuring Nashville Gospel legends, The McCrary Sisters, just absolutely blew me away. Written by Ross upon leaving rehab in Bournemouth, its simple message is delivered with class and the music has a laid back, jazzy refinement to it that is just brilliant. The vocals from Ross and The McCrary Sisters are just perfect and lend this sublime song all the gravitas it could ever need, just stunning! Ardroil(2012) is perhaps the most Celtic track on this collection, especially with the striking fiddle playing and subtle vocals. A little known gem, released as a b-side to Julie (from the album ‘North Ten’) all those years ago, Ardroil is an other-worldly beach in Uig, Isle of Lewis and this marvellous piece definitely has that other-worldly feel to it. Scotland Yet (2017) was written by the late, great Davy Steele and commissioned for the opening of the Scottish Parliament in 1999. Ross gives this simple tune a feel of grace and refinement, realising that it needs no embellishment and it closes out the album with pride and dignity.
There is nothing better than music that connects with you at a basic level, music that moves you and music that almost becomes part of you and Ross Wilson and Blue Rose Code create music that is all that and more. This collection of B-sides, varieties and singles is something that should be cherished and I, for one, cannot wait for 2024 and a new album from this incredible musician. Ross Wilson, my friend, I wish you peace in your heart…
‘Winter Crawls’ is the 13th solo album from prolific English musician, collage artist and writer Ashley Reaks. Writing and recording started in 2018 but was repeatedly interrupted and delayed by divorce, relocation, the Covid-19 pandemic and a string of chronic health conditions. ‘Winter Crawls’ is the first of Reaks’ albums to feature the polyrhythmic talents of drummer Rob Hirons, which nudges the material into a more ‘proggy’ sonic soundscape, whilst retaining the genre-hopping influences of previous albums.
Influences include Stranglers, cut and paste, Rip Rig And Panic, bebop, Captain Beefheart, collage, Magazine, post-punk, Yes, Ivor Cutler, religious imagery, The Pop Group, Gee Vaucher, psychedelia, Gabriel-era Genesis, Dada, nature books, Devo, Francis Bacon…
The players on this collection of musical curiosities and hidden gems are Reaks himself (vocals, bass, guitar, keyboards), Lucy Mizen (vocals), Nick Dunne (electric guitars, acoustic guitars and guitar solos), Joel Purnell (saxophone), Rob Hirons (drums) and Dan Mizen (percussion).
Where do we start on an album as diverse and wide ranging as this? It’s a cornucopia of musical brilliance in places and hugely disturbing (in a highly entertaining way) in others. Genre hopping with the best of them, I’m hearing psychedelic snippets of Lost Crowns, Gong, Knifeworld on one side, the Canterbury influences of Henry Fool, the sharp cutting edge of Bent Knee and even bits of Pink Floyd on the other! In some ways it just shouldn’t work but like some mad scientist, Ashley Reaks seems to be able to knit it all together perfectly to create something quite unique and, in places, utterly brilliant!
It’s very divisive, and that’s even for people that like it, and I do! There are days when I can’t go near it as it does require you to be in the exact mood to listen to it and get the most from it but, when that inspiration particle and the mood hits you, it is really rather marvellous. Nick Dunne’s guitar playing is of a seriously high calibre and he flits from intricate, fusion, left-field and straight up rock with ease and Ashley’s vocals are highly individual and distinctive in a very good way, especially when paired with the heady, delicate voice of Lucy Mizen, it’s haunting, mysterious and almost supernatural in places. One of the highlights for me is the superb saxophone of Joel Purnell, I do love a saxophone and Joel’s playing is utterly sublime, his jazz/fusion style being perfect for Ashley’s incredibly innovative and perhaps overactive mind. And we must take our hat off to Rob’s superbly intricate polyrhythmic drumming which gives a proper dynamism to the music.
The songs are as mad and brilliant as their titles, The Murmur of Things Divine, Fundamentally Christ Like (with it’s Pink FloydMoney style intro), Homesick at Home and Early Ripe Early Rotten are real standouts, magnificently over the top and proud of it but there’s no lull or drop in standards anywhere on this superb release. If I had to pick a favourite then it would probably be Homesick at Home (especially Nick’s superb solo and Joel’s uber cool sax) but that could change tomorrow when each song has its own delights to discover.
You won’t hear anything else quite like ‘Winter Crawls’, it has a mind and life of its own at times and that’s testament to the complex, inventive and ingenious imagination of Ashley Reaks. It’s not for everyone but when everything clicks and you get what he is trying to achieve, there’s some serious musical nirvana going on here and I love it!
