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!
Emerging from the progressive rock scene, EchoVerse announces the release of their first single, a distinctive cover of The Beatles’ “Eleanor Rigby.” EchoVerse, born from members of the Christian Prog Rock band Ascher, blend influences from progressive rock giants like Spock’s Beard, RUSH, and Dream Theater.
The track was mixed by renowned producer Rich Mouser, noted for his collaborations with bands like Weezer, Spock’s Beard, and Dream Theater. The music video, inspired by the iconic Yellow Submarine film, was directed by Christian Rios, a prominent name in the Prog Rock scene, known for his work with Neal Morse Band, Flying Colors, and Jethro Tull.
EchoVerse is thrilled to release their debut music video for their cover of “Eleanor Rigby”.
You can watch the video on YouTube here:
EchoVerse’s interpretation of “Eleanor Rigby” transforms the timeless song with a progressive rock perspective, preserving the essence that made the original remarkable while aiming to enhance the musical setting. This approach results in a creation that is both sharp and grand, offering a fresh take on a beloved classic.
“With ‘Eleanor Rigby’, we wanted to pay homage to The Beatles, but also put our own twist on it, maybe with a little more punch,” says Kyle Graves, the lead singer. “Our aim is to create music that’s enjoyable to listen to but also makes you think and feel, both with the sound and the stories we’re telling. And what better story than Eleanor Rigby?”
EchoVerse has a distinct sound, mixing complex music with experimental features. Their recent cover is more than a simple version of a song; it introduces their musical identity. Their first album with original songs “Whispers Between Worlds” is coming in 2024, and this cover gives a sneak peek at the fresh and inventive music EchoVerse will bring to Progressive Rock.
EchoVerse: Kyle Graves: Lead Vocals Doug Bowers: Vocals, Keys, Bass, Guitar Rob Perez: Lead Guitar Kyle Fagala: Drums, Vocals
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 got very excited about this release but, before you think I’m strange, let me explain myself…
I’ve always been a bit obsessive about details, I even make my own lists of albums I own, ranking them in order of personal preference. For many years the second Baker Gurvitz Army album featured highly in those lists, as did this live album (well, actually it’s a live set from Reading University along with a few extra tracks from a different show in London, at the New Victoria Theatre).
I was already a fan because of my often mentioned friend Peter Boner who had introduced me to the band when I was just fifteen. So much so that I acquired a copy of their 1974 debut single Help Me/Space Machine that, of course, failed to make any significant chart impact. More is the pity as that single really rocked with thrilling synthesiser sounds, a very fiery guitar break from Adrian Gurvitz and the thunderous drumming of one Ginger Baker. That single is on this release, albeit it in a slightly different form in that some of the singles dynamics are missing, but it’s still a great track.
This album confused me initially as it contains tracks from all three BGA albums, then I realised that their brief career only spanned three years in all, with their self-titled debut album in 1974, ‘Elysian Encounter’ in 1975 and ‘Hearts On Fire’ coming in 1976. Shortly after their career was severely derailed by the death of their manager in a light aircraft crash near Moffatt in Scotland in 1976. This scuppered the band’s activities and with the increasing tensions between Adrian Gurvitz and GingerBaker the band imploded and split to seek different activities. Which is why I was excited about this CD, especially as live recordings of the bands early days were not that accessible then and this is a particularly fine recording of this rather phenomenal band in action. They really deliver the goods in their performances, it’s really fiery and very well done.
The Baker Gurvitz Army were all seasoned musicians and this shows in the sound they offered. The band had been expanded from the trio format of the debut to a five piece with keyboard player Peter Lemer, his keyboards helping to add a jazzy edge to some tracks and Steve Parsons(Mr. Snips) was recruited as the band’s vocalist. The album has an earthy live sound, as you can tell from its rawness, also, many of the songs are extended from the studio recordings. Unsurprisingly, there are a number of drum solos and drum focused elements within the tracks although, to be fair, everyone gets their own moments to shine in tracks like 4 Phil, Remember and Memory Lane.
As I sadly never got to see the band in action (I don’t know why as they came to Birmingham Town Hall in 1975 so I could have gone), this cd is chance to experience, in some part, that missed opportunity for me. The set is balanced between the debut and ‘Elysian Encounter’ and, oddly, the title track that later appeared on ‘Hearts On Fire’ and there is a lot of time for improvisation throughout. Quite frankly, there may be a drum solo or two too many but, overall, this is a really fine snapshot of a great band who really warranted significantly more kudos and respect than they actually garnered.
The booklet is, as with most Esoteric releases, rather splendid with a good summation of their short career. The sound is very crisp and clear with only a few dropouts in a recording that is nearly fifty years old and it is an excellent document of an exciting evening that hopefully those who were there will still remember. This new release documents those moments for us all to relive and enjoy once again or, for younger folks, to discover and enjoy! For fans of 1970’ British Rock music this is a diamond and a much desired album, hearing a band hungry and accomplished and really firing on all cylinders. It is highly recommended from this possibly somewhat biased reviewer…
Well, I may have met my match with this one but, first, let me explain. I am always talking about how progressive rock albums need both length and space in order for the music to evolve and expand enough to make music make sense. The fact that brevity is not usually a big feature of prog does actually matter, well it does to me at least. Well this latest album from United Progressive Fraternity (UPF) really challenges that idea and could be seen as overload or just simply too much!
‘Planetary Overload, Part 2 – Hope’ is nearly three hours long and has thirty-one tracks, several of which hover around the fifteen minute plus length. Alongside which the cast of contributors is huge, ranging from Steve Hackett to Jerry Marotta and all points in between but it’s fun when you can spot their contributions, like Steve Hackett’s guitar tapping on Chants of Hope.
What I will say is that, this is the equivalent of a transatlantic flight in that it’s long and the scenery changes constantly. And in a similar vein, there are many musical elements that are employed here in the rather strange, and possibly difficult, third UPF album. You get everything including speeches from the likes of Sir David Attenborough and Chief Oren Lyons amongst others, for this is very much an environmentally focused album, in that this is a plea for us to change how we exist, evolve and engage with nature.
Anyway, enough waffle from me, what exactly are you getting with this album? Well, in a nutshell, you will find some staggeringly good and complex symphonic progressive rock music with more than a touch of Peter Gabriel’sWorld Music thrown in for good measure. You get songs that have good messages and that actually mean something and you get excellent musicianship and some really quite remarkable playing, all wrapped up in a strong, conceptual set of 3 CD’s with excellent artwork from Ed Unitsky.
What’s not to like? Fans of antipodean prog like Unitopia and Southern Empire or even the excellent Damanek will find music to both discover and enjoy here. There are a large variety of styles used from quite aggressive passages to almost swing and orchestral sections. Faultline, for example, has heavy sections and jazzy swing tempo passages to it that are most impressive.
The album begins with Hope Is Drums Of Hope and a symphonic overture, all very ethereal and airy, before Mark ‘Truey’ Trueack’s earnest baritone vocal begins. There is a lightness of touch in this opening section with an evocative violin from Steve Unruh, who plays a large variety of instruments including guitars, bass pedals ,violin and flute and also provides lead and harmony vocals in conjunction with Trueack. These two together form the axis of UPF, although they draw on a wide array of contributors to achieve their unique sound. This opener has a hell of a lot happening during its running time including that great violin, lots of drums, a delicate piano and masses of choral type voices, its’ all very over the top but definitely appealing to these ears.
One of the album’s longer tracks, Being of Equal, has a very middle eastern sound to it, almost Arabian really. This is all very epic sounding, as the song continues a strong electronic element and bass line is added which actually fits in really well with the mystical elements. It really sounds exciting and different, there is an excellent synth burst too that really empowers the track. Yes, it is a complex and engaging track but it is also an excellent album track that really helps set out what the band are all about. This is an album that you are going to have to invest your time with in order to get the most out of it so be warned, this is going to require your efforts here, although I will point out that this will be mutually rewarding as you will encounter some really remarkable and challenging music on your journey.
Justified is another interesting track, very minimal in its sound with just a drum beat along with a sole vocal before taking a more expansive and broader musical route at the early part of the song. Lyrically it is interesting as well, lines like; “If you lay down with dogs you’re going to wake up with fleas, you’re scratching the surface not treating the disease.” It’s very well written and intelligently crafted, the touches of world music really enhance the sound they make and it’s really gorgeous in places, like on this track. Another bonus is the third disc of tracks in which, as The Romantechs they revisit several tracks and even a couple of old Unitopia tracks like Justify from ‘More Than A Dream’ and The Garden from the album of the same name. These are interesting retakes and well conceived and delivered versions of two classic songs, When you factor this bonus disc is of nearly seventy minutes duration, you can tell this is a very rewarding album when you do your part in giving it time and space in your life.
UPF certainly have a valid message wrapped in an attractive, challenging and complex musical format. There is a lot to get your teeth into so what are you waiting for? Dig in deep and enjoy the vista that United Progressive Fraternity offer with ‘Hope’.
It may be worth mentioning that ‘Hope’ continues on with themes that were both raised, voiced and addressed on their previous album ‘Planetary Overload Part One –Loss ‘ released in 2019. ‘Hope’ was delayed in part by the pandemic and continues in expressing both environmental and humanitarian issues and concerns. I also recommend that you give that one a listen as well and embrace the whole picture.
Australian progressive metal outfit Caligula’s Horse are back! The four-piece from Brisbane is ringing in a new chapter with a new single and video release for Golem and album announcement for Charcoal Grace, which is set for release in January 2024 via InsideOutMusic.
Golem is the first taste of the new album and gives a glimpse of the thematical depth of Charcoal Grace. The band says about the new single:
“Golem is about how we all struggled with the weight of expectation through the pandemic. We felt that weight acutely as musicians, being trapped with no notion of when, or even if, we would return to the life we knew, all while feeling the pressure to create our next work rising. While that’s our specific experience, the themes of Golem are something we can all relate to. It’s a heavy song with an emphasis on riffs and driving rhythms.”
Charcoal Grace is the 6th studio album of the band, and it combines raw rock power with immense emotional depth. Charcoal Grace is borne of the static hopelessness that the pandemic forced upon the band and, indeed, much of the world, these past few years. It is an album reckoning with the experiences and outcomes of this time geared, ultimately, towards catharsis – moving towards a more hopeful future.
The title Charcoal Grace is described by the band as “the grim allure and strange beauty in stillness, silence, and loss”. This can be heard through the album’s 10-minute opening track “The World Breathes With Me,” a mission statement for the album’s main themes. Musically, it’s a work of contrasts, moving from the lightest ebb to the heaviest flow. Meanwhile, the second track and first single from the album, “Golem,” examines struggling with the weight of expectation through the pandemic. It’s a heavy song with an emphasis on riffs and driving rhythms.
At the center of the album is the 4-part title track suite, a 24-minute opus that pushes deeper into the album’s foundational themes: connection, alienation, and the ways humanity acts under duress. Musically, it covers every facet of the band’s vocabulary, from heavy and dense orchestral-accompanied intensity embodying the song’s darkest lyrical ideas, through to soft acoustic-driven moments and introspection.
Tracklist:
Side A
The World Breathes With Me (10:00)
Golem (05:20)
Side B
Charcoal Grace I: Prey (07:48)
Charcoal Grace II: A World Without (06:48)
Charcoal Grace III: Vigil (03:22)
Charcoal Grace IV: Give Me Hell (06:13)
Side C
Sails (04:31)
The Stormchaser (05:57)
Mute (12:00)
Charcoal Grace is available as Ltd. CD Digipak, CD Jewelcase (US only), Gatefold 2LP in various colours & Digital Album.
The band recently played tours in both Europe and America to fully present their 2020 release “Rise Radiant” for the first time after the pandemic. Caligula’s Horse are now supporting Devin Townsend for three gigs in Australia before returning to the US next year in support of their new album.
Australia:
10/11/2023: The Forum, Melbourne
11/11/2023: The Metro, Sydney
12/11/2023: The Tivoli, Brisbane
US:
31/01/2024: DC, Washington, Union Stage
01/02/2024: Philadelphia, PA, Underground Arts
02/02/2024: Boston, MA, Brighton Music Hall
03/02/2024: New York, NY, The Gramercy Theatre
04/02/2024: Montreal, Le Studio TD
06/02/2024: Toronto, The Axis Club
07/02/2024: Pittsburgh, PA, Thunderbird Cafe & Music Hall
After a near decade-long recording process, Swedish progressive rockers, Moon Safari are set to make a comeback this winter with their 5th studio album Himlabacken Vol. 2.The album will be released on December 6th through Marquee Inc. in Japan and worldwide on December 8th through the band’s own Blomljud Records Inc.
The band are pleased to share the album’s first single “Between the Devil & Me’. You can see the lyric video now here:
“It took us ten years, for a million different reasons. But we’re not dead yet. We return with what we know is a worthy comeback album, filled with our own special brand of symphonic rock cultivated over 20 years as an antidote to the long, dark winters of northern Sweden, with those trademark vocal group-inspired harmonies, uplifting melodies and soulful romantic lyrics that our fans have come to expect. With the addition of ex. Black Bonzo drummer Mikael Israelsson to the band we’ve totally revamped and boosted the low end of our sound, tightened it up, and that attitude shift is felt through our entire arrangements.Tying it all together is the mix by the great Rich Mouser. He’s been the go-to guy for the big boys in the genre for many years, and now we understand why. The mix is clear and punchy, booming and never flat. It just sounds expensive, and we couldn’t be happier. You’ll get almost 70 minutes of this heady brew, spread over nine tracks, with zero fillers. And of course there’s the obligatory epic. The whole thing is a banger, and we’re immensely proud of it.
“The first single from the album, ‘Between the Devil and Me,’ is at it’s core a story of self-exploration. It rides the pendulum swings of an unbalanced human mind from confusion to clarity. And it rocks, hard.
“We’ve all wanted to quit at some point during the last decade. It’s been a real test of our patience and our commitment to the music. But in the end, we were pardoned by the Gods of Rock ‘n’ Roll and we’re back in great form. To hear the whole thing in one go is absolutely liberating, and well worth the wait. If this thing won’t fly, nothing we’ll ever do will.
“So welcome back to Heaven Hill, dear friends! We hope you’ll enjoy the ride. All our love / MS”
Track Listing: 1. 198X (Heaven Hill) (3:55) 2. Between the Devil and Me (10:38) 3. Emma, Come On (3:19) 4. A Lifetime to Learn How to Love (8:28) 5. Beyond the Blue (2:12) 6. Blood Moon (5:44) 7. Teen Angel Meets the Apocalypse (21:03) 8. Forever, For You (10:08) 9. Epilog (3:22)
Moon Safari is: Petter Sandström – Lead and Backing vocals, Acoustic Guitar Simon Åkesson – Lead and Backing Vocals, Piano, Organ, moog. Pontus Åkesson – Lead and Backing Vocals, Electric and Acoustic Guitar Sebastian Åkesson – Backing Vocals, assorted keys, percussion. Mikael Israelsson – Backing Vocals, Drums, percussion, keyboards, piano Johan Westerlund – Lead and Backing Vocals, Bass Guitar
Special guest performance by Jamison Smeltz – saxophone on “Forever, For You”
Cinematic progressive rock band Proud Peasant return with their new album ‘Communion’, the follow-up to their debut album, ‘Flight’, and the second part of the It Does Not Cease trilogy.
Proud Peasant have forged a reputation for combining classic and modern sounds together, drawing comparisons to Mike Oldfield, Gryphon, Wobbler, and King Crimson, while also incorporating elements of movie and video game soundtracks, metal, thrash, chamber music, avant-garde, Chinese classical music, and ragtime jazz to create a cinematic mix of sounds.
There’s something refreshingly retro and nostalgic about ‘Communion’, the music has a feel of the 70’s and 80’s about it but brought bang up to date for the current generation. The excellent keyboards and guitar that open first track An Embarrassment of Riches give a touch of retro 80’s pixellated gaming to the song but crossed with Weezer’s brilliantly pastiche track Buddy Holly. We move into more early scandi-prog territory (Wobbler jamming with Marillion while Roine Stolt and Kaipa watch on), the vocals then start and just carry on that feel, it’s all very entertaining and sounds like the band are having an absolute blast, I know I am and as opening tracks go, Proud Peasant have nailed it! Instrumental A Thousand Cuts takes a dynamic, thrusting bass line and drums and adds to an edgy guitar riff and skittish keyboards to deliver a tense, atmospheric sound that leaves you on the edge of your seat as if something momentous is going to begin. It’s very arty and suspenseful before the shackles are off and it’s prog-jam time. Hectic, funky and delightfully intense, the music runs away with you and carries you forward on a wave of bonhomie. Then there’s the sax, oh what a glorious sound, utterly captivating and enthralling, it adds another dimension to what is already a pretty glorious track. The track closes with a seriously impressive drum section, like something out of an afro beat gig, the sonic shifts are mesmerising.
We then go all Romany with the delightfully intricate guitar that opens A Web of Shadow, delicately dancing across your aural synapses, you can imagine the musicians sat around a campfire and people dancing wildly as the tempo increases. Let’s segue then into something much more mariachi with the superb trumpets and vocals before the ignition is fired and off we go with a hell for leather guitar riff and a wondrous ebb and flow between the darkness and the light. There’s some very intelligent songwriting on show here which is performed to perfection by the band and it’s another exciting song with a an almost sinister intimacy at its core, I love it! A Storm of Swords enters the fray with a strong Rush feel to these ears. It’s an up tempo, high energy piece of music that never seems to let up and leaves you breathless in its wake. Take the fiery, monolithic guitar riffs and the almost demonic, squirrelling counter that dances across your mind in maniacal fashion, it’s restlessly brilliant and definitely not for the faint of heart.
Shibboleth takes that high energy from the previous track and raises it a few notches to deliver a post-punk/prog crossover of mammoth proportions before things calm down a bit and the less frenetic vocals begin. You never lose that feeling of the chaotic though, you’ve got no idea what’s coming next, the song structures and influences can come for just about anywhere on this album, it’s like a weirdly wonderful voyage of musical discovery and one you won’t want to get off. The lengthy, epic pièce de résistance of this superb album is the scintillating The Fall, a nineteen minute mind-blowing voyage of genre, mood, and sound. Strap yourself in for a musical ride that knows no bounds and just enjoy what is before you, these are musicians at the top of their game who have graciously invited you into their world to experience something dynamic, primal and just so damn good. I’ll not say no more about this song, you just need to listen and let it wash over you, commit totally to this delightfully eclectic adventure and you will love every second.
With the phenomenal ‘Communion’ Proud Peasant take no prisoners, from the obscure to the pompous and overblown, every minute is a joyous thrill ride of musical wonder and discovery. It’s a wonderfully immersive, exciting and ultimately rewarding experience that will live long in the memory.
