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Danish tech-metallers GHOST IRIS release new single and video ‘Save Yourself’

Called ‘Denmark‘s next big thing’ by Metal Hammer, GHOST IRIS have released new single and video ‘Save Yourself’ from their upcoming album ‘Blind World’.

Vocalist Jesper Vicencio Gün said “Save Yourself is the next level of Ghost Iris. We wanted to create almost a pop song but with metal instrumentals, which I think we achieved. The video is our bid for a “Euphoric State” pt. 2. We upgraded from the bicycle to a limo. We’re funny like that.”

Blind World will be released worldwide on 17 February via Long Branch Records. The album contains 10 brand new tracks from Denmark’s most streamed metal act in 2016, including the singles ‘Pinnacle’ and ‘Save Yourself’.

UK tour dates to be announced soon.

Interview With Tim Bowness by Progradar

After my review of Tim Bowness’ excellent latest release i got together with the man himself to ask him some probing, journalistic type questions…

1. Your new album ‘Lost In The Ghost Light’ is due to be released 17th February, how would you say this differs from your three previous solo releases?

I think the main difference is that I was working towards fully realising the story, rather than making a Tim Bowness (or No-Man) album.

‘Abandoned Dancehall Dreams’ emerged out of demos I’d written and compiled for a follow-up to ‘Schoolyard Ghosts’. Steven (Wilson) was too busy to commit to a No-Man album so he offered to mix what I came up with. I was forced to make a solo album (or my idea of what a No-Man album could sound like). The reaction to the album was very positive, so I embarked upon making an album that came out of ‘Abandoned Dancehall Dreams’, but accentuated the extremes and what it was I thought was ‘Tim Bowness’. I see ADD and Stupid Things as strongly linked, whereas my debut solo album (‘My Hotel Year’ from 2004) always felt like a patchwork compromise as it comprised offcuts from several separate projects I was working on.

‘Lost In The Ghost Light’ is as much a themed and coherent album as ADD and Stupid Things are, but it sprung entirely from the concept and the music was written to enhance the lyrical themes. In some ways, it’s my version of a Moonshot album!

Because the album deals with someone who made classic ‘Progressive’ music, it gave me an excuse to take the bits of that music that I still love and integrate them into my own music.

2. The album was mixed and mastered by Steven Wilson, how involved were you in the process and who makes the final call on when the album is considered finished?

I make the final call. Basically, I give Steven the material and some instructions and he weaves his audio magic. All creative decisions regarding arrangements and how the album should sound and flow are mine though. Steven’s great to work with in that he’s very quick, very good and knows what I like / want.

3. We have both agreed that there is a definitive ‘Tim Bowness’ sound, would you say this has been there from the start or developed over the years and the different releases?

I think that my ‘signature’ vocal approach and sound has been there since the early days of No-Man. It’s a blessing and a curse in that it’s an instant identifier, but one that’s strong in a way that people either love or hate.

I would say that vocally and lyrically I’ve subtly developed over the years, while the contexts I sing over have often frequently changed.

4. Where did the ideas for the album come from and how do you go about writing the songs?

As I say in the Album Notes for the album, I’ve always been fascinated by the iron grip holds over fans and musicians alike, and how supposedly adolescent obsession can become a lifetime’s prison sentence for some of us.

It‘s a requiem for a type of music, a type of musician and a particular form of music production (the album).

I was interested to know how the fact that people don’t financially or culturally value music as much as they did in earlier eras impacts on musicians who grew out of the 1960s revolution (where music was vitally important on so many levels and in so many sectors of society). Also, I’m interested to know how playing to an older audience just wanting ‘the hits’ affects a musician who once believed they could change the world with their music. Of course, some of my own fears are wrapped up in the story.

5. Do you have a personal favourite track on the album (mine is ‘Worlds of Yesterday’) or is that like asking a parent which of their children is the favourite?

In this case, it’s more difficult than most, because I think it works as a whole album as much as anything else. I suppose my favourites would be Worlds Of Yesterday because of the solos by Bruce Soord and Kit Watkins, and You Wanted To Be Seen because of its unpredictable shift. I also really like Bruce’s solo at the end of You’ll Be The Silence and Ian Anderson’s stunning contribution to Distant Summers.

6. When you finish an album is it consigned to the past as you move on to the next project or are they more than just musical compositions to you?

They are more in that I’m completely obsessive and immersed in my albums when making them and some of those albums remain very close to me. That said, I do tend to immerse myself in a project, and once it’s out listen to the official release all the way through on headphones and then move on to the next obsession/album.

7. Do you prefer the process of making a solo album to collaborations like No-Man?

I enjoy both. I really like seeing where I can take my music as a solo artist, but I also like the collaborative aspects of No-Man, Memories Of Machines, Bowness/Chilvers and other projects. Alternating between both works because it means there’s a sense of constant movement, rather being stuck in the same groove.

8. How did you come to sign with InsideOut for your solo releases?

I was really lucky that a few labels liked the album and wanted to release it. I went with Inside Out because the core people at the company were so enthusiastic. Kscope were very positive about the album, but admitted they wouldn’t do much with it in terms of promotion and that they’d just market it as a No-Man offshoot. By comparison, Inside Out (who have a slightly different audience from Kscope) said they’d put it out, do their best and see what happens. In other words, it was less predetermined. They’re really easy to work with as well as being proactive, so I don’t regret the decision.

9. Your career started in the 1990’s, did you always want to be a musician, how did you get started and who were your early influences?

I was obsessed with music from my early teens onward. Along with books and films, it was a great escape from a pretty miserable adolescence.

I started singing at 18 with a band of friends and by 19 I’d moved on to a band of older musicians in Manchester and was making music of a more ambitious nature.

One of the most influential albums for me when I stated out was Peter Hammill’s Over. It gave me the belief that an audience could get something out of the music I wanted to make. For a couple of years, the Peter Hammill influence was strong, particularly on my singing style.

Outside of that I loved Kate Bush, Gabriel/Genesis, Pink Floyd, King Crimson, David Bowie, The Beatles, Roy Harper,10cc, The Who, Led Zeppelin, Gentle Giant, Yes, Al Stewart and some of the more fashionable bands of my youth such as Associates and Joy Division.

10. What’s different about being an artist now compared to then? Is it harder to get started in the music business nowadays?

Much, much harder (and it was never easy). When I started I could walk up to major DJs (Mark Radcliffe being one) and get my demos played on the likes of Piccadilly Radio. It did take a few years to get a decent deal and a foothold in the industry though.

11. What one piece of advice would you give to up and coming musicians?

Truthfully, I wouldn’t know where to begin as the industry has changed so much over the last two decades.

12. Which other musicians do you listen to now?

Too many to mention. I’m still an avid music listener and purchaser, so over the last few months even, I’d have listened to music old and new from George Gershwin to Arvo Part, Michael Chapman to Leonard Cohen, Opeth to Big Big Train, Elbow to Mark Eitzel, The Strawbs to Labi Siffre and so on.

13. The advent of the internet, streaming downloads etc. Do you think this is a good or a bad thing and why?

It’s both. I still buy physical items and love the intricacy and possibilities of album artwork, but I also use streams to discover music that I may want to buy.

I don’t feel streams encourage detailed listening or an engagement with music / ’the album’ as an art form. On a personal level, the move towards streams (and ‘single’ streams at that) pushes me even more towards making detailed artwork and sonically rich ‘album experiences’.

14. Your specialist online label/store Burning Shed that you run with Pete Morgan is considered a success story, how did you come to set it up?

It developed out of two things, No-Man’s Mail Order company (we sold exclusive releases to a mailing list and it operated from Steven’s and then my house), and an idea I had for a label (to make cost-effective, idealistic side project albums). It evolved into hosting No-Man’s and Porcupine Tree’s online stores and grew via word of mouth from there.

15. Is there one artist you would love to have on your label?

Lots! Elbow, Sigur Ros, Brian Eno, Lindsey Buckingham, Peter Gabriel, Kate Bush, Mark Eitzel, Arvo Part, Camel and dozens of others.

16. Will there be a tour to support the new album?

So far, I have a support slot to Marillion at the UK Marillion Weekend, but nothing else planned . As it worked so well in 2016, I might do some more co-headlines with iamthemorning. Outside of that, it would be great to do a full theatrical production of ‘Lost In The Ghost Light’ if there was interest in it.

17. Which do you prefer, making records or playing those records live?

I enjoy both experiences, but probably prefer the control of the studio environment and the thrill of coming up with something unexpected that inspires me.

18. Finally, what lies ahead for Tim Bowness?

There’s going to be a second Bowness/Chilvers album, which is a continuation of ‘California, Norfolk’ (from 2002) and quite different from ‘Lost In The Ghost Light’. There’ll also be an album with pre-No-Man band Plenty; an arty Electro Pop confection!

I’ve also written material with Kit Watkins and would very much like to follow on from ‘Lost In The Ghost Light’ on a solo level and see if I can take some of the sounds and ideas on the album further.

You can order ‘Lost In The Ghost Light’ here

Progradar’s Best of The Year For 2016 – Editor’s Choice

So we have had a wonderful selection of Top 10 picks from some of my great collaborators and now it is my turn. I’m going to stray from the norm because mine is going to be a Top 20 to keep it in line with my TEP selection that I spoke with David Elliott about.

Yes, it is a bit of a cheat but it is my website so I don’t have to follow the rules. Anyway,without any further ado, here are my top albums of 2016,not in any particular order but they have all made a big impact on my life this year…

You will also notice that there are no Bad Elephant Music releases in my Top 20. The label I work with had another superb year but it would have been a bit unfair of me to include any releases from the artists on BEM.

Bad Dreams – Déjà vu

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

Blue Mammoth – Stories Of A King

Proper seventies epic prog of massive proportions from these excellent Brazilians. The artwork alone is very striking but the music will literally knock your socks off, play it loud,VERY loud!

Cosmograf – The Unreasonable Silence

Thought provoking, questioning and inventive, ‘The Unreasonable Silence’ has all that I ask for in my music. A well constructed and intelligent concept brought to reality by a gifted musician with incomparable support from some incredible guests. It makes you really think about what you have heard and, above all, is a peerless, outstanding and incomparable listening experience that you will not forget any time soon.

Tony Patterson – Equations of Meaning

Well I was utterly mesmerised by ‘Northlands’, Tony’s collaboration with Brendan Eyre and this album deserves to be mentioned in the same breath. To get the utmost from the album you must listen to it from start to finish, preferably with headphones on, in a darkened room and with your choice of relaxing alcohol. To me, ‘Equations of Meaning’ is not merely a great release, it is a state of mind that we should all aspire to when our Life in the Fast Lane gets too much for us. Superb and highly recommended.

Big Big Train – Folklore

It was always going to be hard to follow ‘The Underfall Yard’ and the ‘English Electric’ albums but the acknowledged masters of pastoral progressive rock and intelligent and incisive storytelling have returned with a fresh collection of stories and tales gleaned from our heritage and history. With their penchant for heartfelt lyrics and beautiful music it is an involving and mesmerising journey that everyone should take at least once in their life…

Damian Wilson – Built For Fighting

Funny how music fits in with your life isn’t it? I was listening to this album walking back home last night and it just struck me as to how much it was a soundtrack to how my life has turned out this year. Painful lows, beautiful highs and, ultimately, balance has been restored.Taking a break form his Prog-Metal roots, Damian delivers a solo release of sublime brilliance.

David Foster – Dreamless

The usually modest and self-effacing Dave Foster has stepped out of the shadows and onto centre stage to deliver his second solo opus and is to be applauded and admired for doing so. Such a variety of moods, styles and colours doesn’t always mix well but when it is done with consummate skill, like it is here, you are treated to a cornucopia of musical delights. While neither ground breaking or game changing, what it is is really rather good.

Gandalf’s Fist – The Clockwork Fable

Gandalf’s Fist truly believe that this is the finest musical work that they have ever created. There’s a mix of all of their influences and, were you to put all of the best bits of our discography into a huge melting pot, you’d end up with something quite close (but not as awesome) as what the guys have created! But don’t just take their word for it – head over to the pre-order store and have a listen to a whopping 10 minutes of audio previews!

Ghost Community – Cycle Of Life

‘Cycle of Life’ is a thought-provoking, beguiling and fulfilling musical journey that excites and satisfies at every turn. Ghost Community may have had to endure trials and tribulations while making this record but the experiences have enabled them to deliver something quite magical and rewarding that will stand the test of time, worthy of a place in anyone’s musical collection.

Glass Hammer – Valkyrie

With its insightful, thoughtful lyrics every bit as important as the mightily impressive music, ‘Valkrie’ is a concept album in the true sense of the word. With some delightful departures from what some would call their signature sound (The Beatles anyone?) Glass Hammer continue to evolve into one of the world’s foremost Progressive Rock bands. This iconic group of musicians lead you on a journey through the horrors of war with a totally immersive sixty-five minutes of music and you will come out the other side changed forever. I can’t recommend this album enough, one of the best albums of 2016? One of the best albums of recent years more like…

iamthemorning – Lighthouse

‘Lighthouse’ is an amazing musical journey from the first note to the last. It is bewitching and beguiling and removes you from your everyday life to a place of wonder. Darkly captivating, it is not all sweetness and light but is a musical legacy that iamthemorning can build on and the ‘Lighthouse’ can light the way. These two exceptional artists have now moved into the major leagues and it is well deserved, album of the year? why not!

Nerve Toy Trio – Accidental Bar-B-Que

A really impressive and ultimately satisfying release that really gets into your psyche and has you reaching for the repeat play button again and again. Nerve Toy Trio has given us one of the best instrumental releases of the year with ‘Accidental Bar-B-Que’ and one with which the music really does stand comparison to the excellent album art. Seems my gut feeling was right once again, a highly recommended release.

I Like Trains – A Divorce Before Marriage

A real late comer to the party, in fact I haven’t reviewed it fully yet! This sublime and haunting collection of instrumental marvelousness from these Yorkshire musicians is a soundtrack to the film of the same name. Ethereal and yet solidly powerful, I haven’t heard anything like it all year and it demanded to be in this selection of top releases.

Patchwork Cacophony – Five Of Cups

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

Blue Rose Code – …And Lo! The Bird Is On The Wing

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. A deep emotive well of stunning music that affects you at a core level, another late discovery of 2016 for me but a band I will be keeping my eye on now!

Of the new record, Wilson says, “It’s an album for music fans and musicians. A challenging record, I think, and it’s abundantly clear that the process has been undertaken away from the cynicism of any record company.”

Ray Wilson – Makes Me Think Of Home

Ray Wilson has taken us on a deeply personal musical journey full of hope, despair, pain and, ultimately, salvation and I was hooked on every word, every note. This is music at its very best, written from the heart and full of the passion and soul of the artist. This is an album that I will return to again and again, no matter how much new music crosses my path and is surely a collection of songs that can, and will, stand the test of time.

Thence – We Are Left With A Song

What Thence have delivered with ‘We Are Left With A Song’ is no mere album, it is a breathtaking, creative powerhouse of sonic delight that grows to fill any space that it occupies to take on a life of its own. It is a life that you will want to share until your dying breath, above mere superlatives, it is an utter triumph.

Tilt – Hinterland

What TILT have delivered is a superb album by a cast of very accomplished musicians. Brilliant vocals, burning guitar solos, a thunderous rhythm section and songwriting of the highest quality combine to deliver one kick ass release that I keep returning to again and again. A fine combination of excellent rock music with all that’s best about progressive rock, these guys show how it really should be done!

Marc Atkinson – Home Grown

To me, this is what makes writing about music worth every single minute I take. I have been involved in this long musical journey in some small way from start to finish and when you hear the finished article, it is almost like welcoming a newborn into the world. Marc Atkinson will have agonised about every single word and note on this album and to my ears it has been worth every single second he has taken. This is music that takes over your mind and soul and which you can relate to on a very personal level. Fifteen songs that are extremely personal to this gracious man and we should be glad that he has released them for us to enjoy. A great album and one that I have no doubt is the complete pinnacle of Marc’s solo career to date, I am extremely proud to be able call him a friend.

Drifting Sun – Safe Asylum

Drifting Sun have delivered quite a work of art, one that touches on the past for influences but, also, has its own, confident vision of the future. Consume it in one listen to get the full effect of this great album, it is one that will live in the memory for a long time.

So, there you have it. 2016 was another brilliant year for music and I hope our End Of Year choices might make you go out and buy the music to support the artists involved. Please join me and my fellow authors at Progradar in 2017 for what I hope will be another stellar year for lovers of music.

Iconic Eye – New Line-Up Announcement

Iconic Eye unveiled their new line up to the public at noon on Saturday, November 19th, 2016, via Facebook.

The band has replaced Tim Dawkes with Jane Gillard. The band wanted a singer who has a passion for their live performance. As the new front woman of the band, Jane will be leading all Iconic Eye interviews, which can be requested at http://www.iconiceyemusic.com/contact/

The band has also replaced Neil Fraser with Robin Mitchard. At only 22 years of age Robin brings bounce and youth to the band, together with a playing ability that belies his age. Both Jane and Robin will both be involved in song writing for the 2nd album, together with all existing members.

The band will have re-recorded “All she needed” and “Let it rain down” with the two new members and videos for both tracks can be seen below.

Beatrix Players Release Video of Debut Single ‘Lady Of The Lake’

Beatrix Players have released a video of their debut single Lady Of The Lake, released on November 25th and taken from their debut album ‘Magnified’, which is scheduled for release in 2017.

Lady of The Lake is the stunning first single to be taken from Beatrix Players debut album, with the single launch being held at the Green Note in Camden on Tuesday 22nd November. This first release tells a story of disconnect, difference of opinion and the demise of a relationship.

“In the video we used a mystical figure to portray how the male perceives the female in the relationship,” explains lead vocalist Amy Birks. “She is seen as seductive and somewhat dismissive in character, although the lyrics are written sympathetically towards her”. The powerful chorus tells of torment “although the man knows it’s over, he is still drawn to her qualities” explains pianist and co-writer Jess Kennedy. The listener is taken on a journey through the powerful & emotive expression of the music, whilst the delicate, almost hypnotic vocal counter melodies add to the unearthly and ethereal sound of the track.

Through their enchantingly dark and evocative melodies, expansive
arrangements and empowered orchestral sound BEATRIX PLAYERS tell stories of real life and fantasy. Citing influences as diverse as Michael Nyman and Regina Spektor and drawing comparisons to the likes of Kate Bush and Einaudi Ludovico; this London-based, all female trio combine elements of Folk, Jazz, Progressive and Classical music. In 2015 the band (Amy Birks, Jess Kennedy and Amanda Alvarez) took their unique sound – a beautiful combination of vocals, piano and cello – into the studio to record their self-produced debut album, which has been mixed by two-time BBC Folk Award winner, Jim Moray.

www.beatrixplayers.co.uk

Review – Gabriel – Sacrifice – by Progradar

I love revisiting an artist when they are releasing a new album. It is always great to see how they have progressed and if their sound has changed. I reviewed ‘Unforgiven’ by Gabriel last year and this was my conclusion:

“A classy blend of hard rock, metal and symphonic rock with its own core identity, Gabriel a massive sound for just two people. Pigeon-hole them if you dare, there is more going on with this musical collaboration than you could fit into any one box. Sally Elsey’s vocals are worth the entry fee alone but, with the excellent musical talent of Albert Vinasco at her side, you have something a little bit different and special.”

Gabriel is a collaboration between singer/songwriter Sally Elsey from London and guitarist and recording engineer Albert Vinasco from Buenos Aires. Together, Sally and Albert combine their highly melodic approaches to create music that is both sweet and powerful. Sally primarily composes her music around piano-based progressions and lyrics. The result is a soft, warm and melodic sound that is full of dimension and emotion.

Albert Vinasco: lead guitar, rhythm guitar, bass guitar, synthesizers, samplers, drums and drum programming, arrangements, engineering and final production. Albert is a guitarist and recording engineer whose compositions are inspired by the portrayal of emotional content through modern rock and metal guitar, Vinasco has composed a wide variety of music ranging from intense metal to soft classical.

Together, Sally and Albert combine their highly melodic approaches to create music that is both sweet and powerful. The result is Gabriel. All music is written, recorded and produced by Gabriel (Sally Elsey and Albert Vinasco).

I was approached by Sally earlier this year to give my impressions on their new release ‘Sacrifice’.

The new album sees this talented duo mature and offer a hell of a lot more than what a stereotypical so-called ‘female fronted metal band’ would. You wouldn’t think this so much from the first two or three tracks. Running has the powerful riffing and energetic percussion that typified the previous album. Add in Sally’s distinctive vocals and you have what I would have previously called the definitive Gabriel sound, powerful but with a silken core, Albert’s guitar flwoing freely and giving the music its direction. Falling Down has the symphonic vocal opening again heard often on the last release. There is a dynamism beginning to make an appearance though, something less in evidence on ‘Unforgiven’. Sally’s voice has that gossamer feel that comes from an almost operatic delivery and then the music powers in and gives an edgy aura, almost Karnataka-esque. Both these songs are great tracks and carry on the Gabriel legacy, a sound that invites you in on the promise of more to come. There’s almost something spooky about the intro to Holy water, Fire and Ice before it bursts out in the a pastiche of overblown 70’s blues rock, a very enjoyable pastiche though. The riffing is hard-edge and tight and the drums have all the energy of a runaway locomotive. Sally’s vocals take on a more aggressive and energetic style and the whole track really rocks. A funky, blues tinged hard rocking solo keeps things flying along in a perfectly enjoyable manner and all seems to be in order.

Things take an interesting turn with the wistful opening to Rebecca, a song with an almost Celtic feel to it. The delicate piano note matches Sally’s ethereal vocals perfectly before this track opens up and blossoms into something more solid and visceral. Things ebb and flow with seeming intelligence all of their own, a keyboard that could have come straight from the 70’s adds a wicked aura and the flamenco style guitar picking gives another layer of sophistication. To me, this is where these two impressive musicians take things to another level and really improve their sound adding additional maturity. This carries on with the intensity of Broken, an intelligent song that really raises the heart rate with its heightened intro. Slow and brooding with a dark heart, I really liked the way it seems to creep into your psyche and take over. There’s something I can’t quite grasp going on, something clandestine that is enhanced by the short and calculating guitar solo. A song that really moves the game on for Gabriel. That feeling of unease, of being observed from afar carries on into The Watcher, another deliciously sombre and shadowy song that demands your attention. There are subtle nuances and ruminations at play hear, an heightened intellect that is always just out of reach. The music just seems to roll over you and subjugate you with its dark intentions. The music has moved up several notches in my opinion.

I love the wistful beauty at the heart of Suddenly, a track that grabs at your heartstrings with its melancholy feeling. Sally’s voice has real touch of sadness and sorrow to it in places, it matches the sparse elegance of the music perfectly. The chorus lifts the gloom and sees shafts of sunlight appear fleetingly. This is a song that really plays on your emotions, the lows of the pensive verse in complete contrast to the highs of the appealing chorus. Now to perhaps my favourite track on the album, The Reveal opens in that symphonic style, a winsome and nostalgic feeling pervades everything, gentle piano and soulful vocals blending perfectly to engender a feelgood atmosphere and sanctuary before the guitar kicks in with a smooth riff that just takes me back to some of the great rocks riffs of the 80’s, think Clannad meets Whitesnake (pre-1987)and you won’t be far wrong. A real melting pot of influences and sounds that Gabriel blend together perfectly and a song that shows they have moved their game on considerably. Beyond The Highlands is another track showcasing the new direction that the band seem to be going in, not sticking to any one stricture but successfully opening up their palette of sounds to a number of new influences. It builds up wonderfully to give us something akin to a Mike Oldfield vocal track but with more density and substance. The light and airy guitars are a delight and Sally gives one of her best performances on the album, subduing the symphonic/operatic style for a more rock and folk friendly delivery. It is at this point that I actually went back to listen to ‘Unforgiven’ and it showed me how far that Gabriel had come, the increased sophistication and variety that their music has now.

True Believer is a proper ‘rock’ track in the true sense of the word, powerful and insistent riffing matched by the tireless percussion and the spirited vocals. A proper foot-tapping or even head-banging song that drives on relentlessly, you know exactly what is coming next and Albert doesn’t disappoint with his stellar guitar solo. A really enjoyable ‘balls-out’ rocker that put a big grin on my face. An aggressive riff opens title track Sacrifice and we have an intriguing song in front of us. A bit of low down mystery is added by the subdued music and vocals that follow but that in your face riff returns on the chorus with added attitude and belligerence. I can’t help but be put in mind of that great American band Heart and their break through hit ‘Barracuda‘ with the raw hostility at the core of this song, especially the coruscating and edgy solo, vintage stuff indeed! Benedictus closes out the album in a Latin choral style with the haunting chanting delivered perfectly by Sally at the start of the song delivering a sublimely ethereal and ghostly aura before Albert lets fly with a blistering guitar solo that smoulders with a searing energy. The beautiful vocals return and the guitar plays a vistuoso lament over the top before the song and the album come to a close with the graceful piano and Sally’s tender vocals.

‘Sacrifice’ is an excellent album and one that sees Sally and Albert seriously move their game on from the great ‘Unforgiven’. This release sees Gabriel mature into an exciting band that still hold onto their core values but one that is now happy to explore different musical avenues and incorporate them very successfully into their future direction.

Released July 8th 2016

Buy ‘Sacrifice’ from bandcamp

https://www.youtube.com/watch?v=BAJ60ymn95c

Review – TDW – Aphrodisia EP – by Progradar

(Cover picture by Kelly Thans Photography.)

“Can you expect to cure an itch, when you are wired to the core to revolve ’round it?”

A question that symbolizes the way it sometimes feels if you long for something dearly, but society just blatantly says ‘no’ to your face. This sentiment of frustration, disillusionment, anger and sadness forms the foundation for the brand new TDW songs featured on the ‘Aphrodisia E.P.’

Tom de Wit has helmed his TDW project for 13 years now, starting writing his first music at the age of 16. The proper start was made with 2008’s release of ‘The Haunts’, Tom’s first real album. After releasing multiple albums in its wake, 2014’s ‘Music To Stand Around And Feel Awkward To’ was a record that showed the diversity and intent of this musician’s output. Showcasing that the music of TDW could be intense, layered and heavy at one moment and intimate small and fragile at others.

The ‘Aphrodisia E.P.’ is a special release, part of a pre-ordering campaign that started in September of this year. This is a supporting campaign for the upcoming TDW album ‘The Antithetic Affiliation’, slated for an April/May 2017 release.

The four tracks on this E.P. are completely finished but will also change in their final incarnations on the album. More layers will be added and more nuances will be put into the final versions. Therefore, the songs on this E.P. sound genuinely different to what the final album versions will sound like. This E.P. is a gift for those who support TDW and the musical concept it stands for.

TDW are Tom de Wit (vocals, guitars and synths), Lennert Kemper (guiatrs and vocals), Vincent Reuling (synths and vocals), Hanna van Gorcum (violin, vocals), Peter den Bakker (bass) and Rik Bruineman (drums).

Guests on the E.P. are:

Radina Dimcheva – Vocals on Aphrodisia

Cailyn Erlandsson – Vocals on Dirge

Dave Mola – Guitar Solos on Aphrodisia

Sophie Zaaijer – Violins & Viola on Anthem

(picture by John van der Zee)

The opener on the E.P. is the title track Aphrodisia and it has a very calm and collected introduction with laid back music and delightful, hushed vocals of Tom de Wit and Radina Dimcheva overplaying each other with some lovely harmonised sections. The violin adds a particularly classy touch to the song and you feel that you are drawn along upon a lulling wave of emotion. This is the calm before the storm though as the guitars crash and the keyboards roar and the blue touch paper is lit! Bang!!! off we go on a powerful maelstrom that flings you forward through the sheer forceful power of the music. Excellent riffing and the dynamic voices of Tom and Radina give the song a real energy before we break into a keyboard section that Jordan Rudess would have been proud of. The technical instrumental sections have real virtuosity and skill at their core, proper progressive metal at its best. Trun the volume right up and enjoy the frenetically challenging guitar solo from Dave Mola that follows, this track has it all in spades! I love my mellow pastoral prog but every now and again you need music that just blows the cobwebs into next year and this delivers big style! Then a complete turn around and a beautiful closing to the track as Tom’s vocals deliver a wonderfully winsome ending.

This segues nicely into the melancholy and sombre feel to the opening of Dirge, a song that feels like a lament from the get go. Cailyn Erlandsson’s vocals add a wistful loveliness to the track and, yet, you cannot get away from that feeling of sadness that pervades all. The piano and delicately strummed acoustic guitar add a keen sorrowful edge to the fragile beauty at the heart of this song. A pensive, wistful track that leaves you in a nostalgic mood, looking back at what may have been, the fading glory of the past.

Anthem strides out with a bombastic glee, a thunderous riff and powerful drums powering this enigmatic song right into centre stage. Progressive metal tinged with a bit of power metal, forceful, compelling and dominant, with a guitar sound hewn out of graphite and drums that could fell mountains. The compelling, anthemic chorus adds a nice counter-balance to the mightily potent verse and weighty feel to the music. The guitar solo is mad, manic and, ultimately, a hell of a lot of fun and the way the track closes out is just sublime, I must have put this track on repeat about four or five times with the volume turned up to max, sod the neighbours!

The final track on this excellent E.P. is the electronica tinged Lovesong with its sci-fi sounding keyboards that open proceedings. Tom’s vocals are heartfelt and full of a laid back honesty. I really like the feel of the song as it is completely different to the rest of the tracks on the E.P. It just goes to show the diverse skills that this talented musician and his cohorts have. It is a song that puts you in a thoughtful and pensive mood and the use of Hannah’s soulful violin is perfect as it interchanges with the tender notes of the piano. A real change of pace for TDW that shows a graceful subtlety to their music and one that I hope makes an even bigger contribution to the new album.

So you will have to pre-order TDW‘s new album to get your hands on this little gem of an E.P. and I have to really emphasise the fact that you should. On the strength of these four very varied tracks, the new album is going to be something special indeed and, as a stand alone release in its own right, the ‘Aphrodisia E.P.’ is well worthy of being in your collection, the guest vocals of Radina and Cailyn adding another exciting dimension. Tom de Wit continues to impress me with every new turn in his excellent career.

E.P. released 19th September 2016 only with pre-orders of ‘The Antithetic Affiliation’ which will be released April/May 2017.

Pre-order ‘The Antithetic Affiliation from Layered Reality here and get the ‘Aphrodisia E.P.’

Review – Maschine – Naturalis – by Emma Roebuck

Maschine – ‘a progressive rock band without boundaries’ is the bands tagline and ‘Naturalis’, the second album from Luke Machin, Daniel Mash, Marie-Eve De Gaultier, Elliot Fuller and James Stewart, definitely pushes the envelope beyond ‘Rubidium’ which was a cracking album in itself and one that showed much promise for the future.

This album is primarily a vehicle for Luke’s compositions and stretches his writing in variance and styles as well as having a core concept to the album that speaks of mankind and how we sit uncomfortably alongside the earth and nature as a species. ‘Naturalis’ is grand in its aspiration and design and I believe that Maschine achieve those goals very well.

We are introduced to the album with Resistance, a full-on epic of traditional Prog proportions in what can only be called a ‘classical 70s’ style. It begins with analogue keyboard sounds and a tension creating guitar riff reminiscent of Jimmy Page which then goes on a full musical journey reflecting the uncomfortable fit man has with his environment. There is much light and shade here designed to mirror how humanity is trying to come to terms with something he cannot control and, yet, still believes he can have authority over. Coming in at a tad under 12 minutes this epic alone would satisfy any progger but this is just the start.

Night and Day is the story of Robert Cain and his experiences of the Battle of Arnhem. His story is of finding unnatural resources fighting beyond human limits long into the battle. This as close to a ‘sound’ for Maschine as you could get, as you could say it combines all the elements of the band in a perfect balance.

A personal favourite of mine on this album is Make Believe, it istands out as being quite an ethereal song and Marie-Eve comes out into the spotlight with a haunting voice that reflects a cynical back story of the political exploitation of resources. It is a genuinely beautiful track.

The finale and closing epic Megacyma is a modern epic, the other end of the musical time line from Resistance. Production and writing that fits 2016 so well, you can smell the ozone of the electricity used during the recording. This is the tale of one man’s experience in the centre of a huge Tsunami fighting for survival through every second of the 12 minutes of the song. It is a very powerful song that looks at how small one man is in relation to the planet and the forces it has at its disposal.

This album has taken 4 years to write and record and it is interesting to see how Luke has developed as a writer and composer and his desire be a strong writer of songs. Being a virtuoso guitar player in demand in various places (be it The Tangent, Damenek, Kiama, or Karmakanic) or guesting on numerous albums must surely be an asset, giving him a chance to experience a variety of styles and other musicians.

If you like “Rubidium” then get this, it’s a guaranteed winner for you. ‘Naturalis’ has good quality songs with a good level of complexity but not at the expnse of structure. The album as a couple of live tracks as a bonus which are not on my pre-release download. The artwork looks excellent and there are the usual extras with pre order.

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

Barcelona based festival Be Prog! My Friend announce Mike Portnoy’s Shattered Fortress / Will join Jethro Tull, Marillion, Anathema & more

30^th June – 1^nd JULY 2017 – BARCELONA

THE FESTIVAL WHICH HIGHLIGHTS THE WORLD’S BEST PROGRESSIVE BANDS ADD MIKE PORTNOY’S SHATTERED FORTRESS TO THE LINE UP

Since its inception in 2014 the Barcelona based festival Be Prog! My Friend has played host to the likes of Opeth, Steven Wilson, Anathema, Devin Townsend, TesseracT, The Pineapple Thief, Magma, Agent Fresco, Camel, Meshuggah, Katatonia, Riverside, Ihsahn and Alcest.

Taking place in the beautiful open air surroundings of Poble Espanyol – a huge stone built architectural museum – the site is one of the most important and striking landmarks of tourism in Barcelona. Whilst by day the Catalonian hotspot may play host to some of Barcelona’s most interesting historical articles, by the end of June to the start of July it will instead play host to some of the world’s finest progressive bands.

This year saw the festival co-headlined by Steven Wilson and fellow progressive heavy weights Opeth. So far for 2017 Be Prog! My Friend have announced the legendary Jethro Tull as Saturday’s headliner alongside Norwegian music collective Ulver, Anathema, Animals as Leaders and Caligula’s Horse. While Marillion will headline the Friday.

Now Be Prog! My Friend have announced that Mike Portnoy’s Shattered Fortress will join the bill. Mike Portnoy comments:

‘I am so excited to be bringing my Shattered Fortress show to Spain and Be Prog My Friend! The Shattered Fortress is myself and an all-star Prog lineup performing Dream Theater’s 12 Step Suite live in it’s entirety for the first time!

This is not “a new band or project” for me, it is an exclusive event that will be making several select live appearances in select markets throughout the world in 2017…and Be Prog My Friend is one of the selected shows!

The setlist at the show will be comprised of the 12 Step Suite and select other Dream Theater songs that I’ve written the lyrics to.

Keep in mind, I have no plans (or interest) in revisiting DT material in any of my other bands…this is not an ongoing “project” or career move…this is merely a unique event that I am doing in select markets in 2017 to share with fans around the world…so catch it while you can!!’

Tickets are on sale now at the fixed price of 130 Euros:

http://www.ticktackticket.com/entradas/goto.do?claves=.127248&origin=TTT&codIdioma=ING

Press for Be Prog! My Friend festival 2016:

‘And so Prog finds itself in love with Barcelona, the delightful weather and everything that Be Prog! My Friend has to offer’ – Prog Magazine

‘The leading festival for progressive music in Spain, showcased avant-garde music in a magnificent location’ – The Independent

‘Set in the hazy sunlit square of Barcelona’s historic and quite stunning Poble Espanyol, it certainly beats the sodden mud of the British festival season’ – Total Guitar Magazine

‘If nothing else, it proves that prog is alive and kicking. Especially in Catalonia’ – Classic Rock Magazine

http://www.beprogmyfriend.com/

facebook.com/beprogmyfriend

Be Prog! My Friend takes place in the heart of Barcelona and with an airport only 12km away, regular, cheap flights make it an easy festival to get and from the UK. Bands will start playing from mid/late afternoon each day which will also mean visitors have plenty of time to explore the stunning city of Barcelona while they are there.

http://www.barcelonaturisme.com

PAIN – NEW LYRIC VIDEO FOR “DESIGNED TO PISS YOU OFF” RELEASED

The Swedish metal force PAIN, led by multi-instrumentalist and producer Peter Tägtgren (HYPOCRISY, LINDEMANN), will return to the road with their Coming Home Tour 2016 this week. The band will join forces with THE VISION BLEAK, DYNAZTY and BILLION DOLLAR BABIES.

Today, the band released the brand new lyric video for the song “Designed To Piss You Off“.

“Coming Home Tour 2016”
PAIN
THE VISION BLEAK
DYNAZTY
BILLION DOLLAR BABIES.
13.10. D         Berlin – Astra
14.10. D         Wuerzburg – Posthalle
15.10. D         Leipzig – Hellraiser
16.10. CZ        Prague – Meet Factory
17.10. A          Vienna – Szene
19.10. D         Ludwigsburg – Rockfabrik
20.10. D         Munich – Backstage
21.10. CH       Lausanne – Les Docks
22.10. D         Lindau – Vaudeville
23.10. D         Essen – Turock
24.10. UK      London – Underworld
25.10. UK      Wolverhampton – Salde Rooms
26.10. UK      Bristol – The Fleece
27.10. F          Paris – Petit Bain
28.10. E          Barcelona – Razzmatazz 2
29.10. E          Madrid – Changó
30.10. P          Lisbon – RCA Club
01.11. E          Bilbao – Stage Live
02.11. F          Marseille – Jas Rod
03.11. F          Lyon – Ninkasi Kao
04.11. F          Nancy – Nancy On Rock Festival*
05.11. D         Markneukirchen – Music Hall
07.11. NL        Tilburg – 013
08.11. B          Antwerp – Trix
09.11. D         Hamburg – Klubsen
10.11. DK       Aalborg – Aalborg Metal Fest
11.11. S          Gothenburg – Brewhouse
12.11. S          Stockholm – Debaser

17.11. FIN       Kuopio – Henry’s*
18.11. FIN       Oulu – Hevimesta*
19.11. FIN       Helsinki – Nosturi*
24.11. FIN       Tampere – Klubi*
25.11. FIN       Jyväskylä – Lutakko*
26.11. FIN       Seinäjoki*
*without support

Order ‘Coming Home’ below:
Limited Edition Gatefold Orange Vinyl from the Nuclear Blast UK store:http://nblast.de/PAINComingHomeNBUK
Limited Edition 2 CD Digibook / CD / Vinyl via Amazon.co.uk: http://nblast.de/PAINComingHomeAmz
And digital album: http://nblast.de/PainDownloads

More on ‘Coming Home’:
“Call Me” (feat. Joakim Brodèn of Sabaton) official video: https://www.youtube.com/watch?v=Ml4iBTfoplY&feature=youtu.be
‘Black Knight Satellite’ lyric video: https://youtu.be/UBRMKyuwS54
Track-By-Track Part 1: https://youtu.be/awXfEcUm2SY
Track-By-Track Part 2: https://www.youtube.com/watch?v=P68y-RpYtls
Track-By-Track Part 3: https://youtu.be/l_t0pM92WT0
Album Trailer 1#: https://youtu.be/FnT0i5bjMw8
Album Trailer 2#: https://youtu.be/_pkOCSEbuWE
Album Trailer 3#: https://youtu.be/0QWJJBGlki8
Peter recently sat down to discuss his introduction to music – including the first record he picked up, how he switched from drums to guitar, plus his discovery, and the profound impact of the late and great David Bowie. Video here: https://youtu.be/614Kof_kqjk

—

More info:
www.painworldwide.com
www.facebook.com/officialpain
www.nuclearblast.de/pain

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