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Review – Keith Emerson – Variations – by John Wenlock-Smith

This review is not an easy one for in it I have to evaluate the career of one of the greatest keyboard players of the progressive era, namely Keith Emerson of The Nice, Emerson, Lake and Palmer and not to mention his own extensive solo works.

Keith Noel Emerson was born on the 2nd of November  1944 in Todmorden, West Yorkshire, as the family had been evacuated during the Second World War. After the war ended the family moved south to Goring-by-Sea. His Father Noel was an amateur pianist and taught Keith basic piano and, when he was 8 years old, they arranged formal tuition for him. This meant he was entered into competitions at the Worthing Music Festival and it was suggested he continue his studies in London. However, Emerson says he was bored of classical music by then, preferring to express his music in a jazz style.

After leaving school Emerson worked at Lloyd’s Bank Registrars and played piano in the pubs and local clubs at night. He played in a 20 piece swing band run by Worthing Council, covering Count Basie and Duke Ellington tunes and this led to The Keith Emerson Trio’s formation. He was later fired from the bank which allowed him to concentrate more fully on music.

Emerson then played in John Brown’s Bodies John Brown’s Bodies where members of the T-Bones, the backing band of blues singer Gary Farr, offered him a place in their group. After a UK and European tour, the band split, Emerson then joined the V.I.P’s,  who were a purist blues band, his great flamboyance was noticed at this point. Emerson then formed The Nice with fellow ex T-Bones member Lee Jackson, they replaced Ian Hague with Brian Davidson and started being noticed because of their blending and rearrangements of classical themes as symphonic rock, and also Emerson’s showmanship on his keyboards, mainly the Hammond Organ, which he mis-treated and abused by whipping it, riding it like a horse and tipping it over to create feedback and other sounds, he also used knives between the keys to create sustain.

Emerson first heard the moog synthesiser when a record shop owner played him Switched On Bach by Wendy Carlos. He got in touch with Mike Vickers of Manfred Mann who bought a moog over from America, with a view to Emerson using it for a concert with The Nice and The Royal Philharmonic Orchestra, which saw Emerson perform Also Sprach  Zarathustra by Richard Strauss. The Nice were no strangers to controversy either, especially when they burned a US flag at a charity event at the Albert Hall whilst playing America/2nd Amendment.

When The Nice broke up in the band actually tried to recruit a new guitarist with Steve Howe trying out at audition but he ultimately decided not to join with band so they continued as a three piece. They recorded further albums ‘Five Bridges Suite’ and ‘Elegy’ before Emerson decided to end the band to pursue other projects. which included working with Rod Stewart and the Faces and sessions with Roy Harper. In 1970 Emerson formed what was his most famous group, Emerson, Lake and Palmer ,who had immediate success with their performance at the Isle Of Wight Festival in August 1970.,

Anyway enough historical background as most will know the ELP years, instead this review will concentrate on the more obscure, unreleased and rare elements of Emerson’s musical career. These include a piece written for former record company owner, and friend, Tony Stratton Smith for who a lament was recorded that appeared on the ‘Hammer and Tongs’ retrospective but which makes a welcome appearance on the disc ‘The Early Years / The Bands’, which includes The Nice and ELP. Indeed, throughout this twenty CD set there are some real obscurities sprinkled from the frankly odd gospel version of Jesus Loves Me from ‘Honky’ and A Whiter Shade Of Pale from the Boys Club project, with Glenn Hughes on vocals, in an early foretaste of what would become The Keith Emerson Band, who are represented here with ‘The Keith Emerson Band’ and the excellent ‘Live in Moscow’ albums.

Also found in this comprehensive set are the ‘Emerson Plays Emerson’ and ‘Off the Shelf’ albums, along with the soundtrack albums for ‘Best Revenge’, ‘Harmaeddon / Godzilla’, ‘Inferno’, ‘Iron Man’, ‘Murderock’ and ‘Nighthawks’. There are also the hitherto unavailable ‘Live at BB Kings’ double CD, recorded in 2004, which also includes seven tracks by The Keith Emerson Trio which date from 1963 when Keith was just 19 and hadn’t turned professional yet. These tracks are far more straight jazz in sound, however these are really good and show a seldom heard side of Keith’s style.

We are also treated to the long deleted ‘Live from Manticore Hall’ CD with Greg Lake, which features several ELP revisitations and a great track called Moog Solo / Lucky Man in which both Greg and Keith talk about that moog solo and how Keith improvised on it. It is all rather glorious sounding overall and both Emerson and Lake introduce the tracks making it very interesting and informative and adds new textures to pieces you may already know and love. Through the intimacy of the show it is clear that both men thoroughly enjoy being together again in this rather unique setting. Thank heavens it was recorded for posterity.

This is a big set of albums and you need time, lots of it, to get the most out of this lovingly curated collection of music. But, if you dig deep, you will find some real gems that will captivate and entertain you. To be honest though, some of the soundtracks are a little underwhelming and aren’t really that good and, also, I find it strange that there is nothing from the Emerson Lake and Powell album, and I’m sure there are live recordings from that era. Nor is there anything from the ELP reunion years but these are minor quibbles in the overall picture of Keith Emerson’s life and times.

The booklet is good with good informative sleeve notes, credits and previously unseen photos from Keith’s own archives. This is presented in a 48 page hardback book. This is a great set, true nirvana for ELP or Emerson aficionados like me.

I was extremely sad when I heard of Keith’s death by suicide, brought on by his depression and alcoholism over fears of losing his abilities as a player, which, on the recorded evidence here, was mostly unfounded. The world lost a real innovator and classy musician whilst his family lost their father, partner, grandfather and far more, we lost his music whilst they lost the man.

There was a fantastic tribute concert a few years ago with many of the world’s famous keyboard players taking part to honour his memory. I actually interviewed Keith around the time of his ‘Three Fates’ album, which was remarkable for a fan boy such as I. Sadly that recording has been lost, although it was an honour for me to talk to the man whose music had been a soundtrack for many of my early years. I miss him still eight years on. This set seeks to showcase his amazing musical variety and skills in every part of his life so settle down for the long haul, you may be a while.

Released 13th October, 2023.

Order from Cherry Red here:

Keith Emerson: Variations, 20CD Box Set – Cherry Red Records

Check out a re-working of the Emerson, Lake & Palmer song Lucky Man, performed by Aaron Emerson and friends:

Review – Glass Hammer – Arise

“No, no! The adventures first, explanations take such a dreadful time.” – Lewis Carrol, ‘Alices Adventures in Wonderland’.

In music, most albums contain individual stories, the songs, and then some albums have a thematic link: concept albums. So, when one of my favourite bands tells me they are releasing a space-based concept album, trust me, I am going to be hooked…

Legendary American proggers Glass Hammer return with deep space exploration concept album ‘Arise’, this new release follows the extraordinary journey of an android dispatched by overzealous scientists to uncover the galaxy’s hidden wonders. 

So let’s delve into this musical space adventure, the explanation can come later…

An incredible amalgamation of prog-rock, 70’s hard rock, psych rock, doom and even a definite 80’s vibe, ‘Arise’ will at times leave you slack jawed and open mouthed at its audacity and in-your-face brilliance and, while definitively a Glass Hammer album, there’s new found confidence in every note.

A.R.I.S.E.
Android Research Initiative for Space Exploration

Statement From A.S.T.R.A. (Advanced Space Technology and Research Agency): Harnessing the powers of celestial-rift anomaly MARS-WRM-001, android ARISE ventures to deep space, unraveling cosmic enigmas and pushing the boundaries of exploration. Our audacious pursuit of knowledge shall illuminate the universe, leaving an indelible mark on the annals of cosmic understanding.

Let the adventure begin with Launch of the Daedalus, an urgent instrumental full of anticipation as we await the launch of the exploratory craft with the android on board. If anyone remembers Boston’s ‘Third Stage’ then The Launch comes to mind, painting a picture in your mind of a spacecraft rising majestically into a bright blue sky.

“Here I go, riding on a flame
Through the sky
I’m burning brighter
Than the sun, and can anyone
see me now.”

Wolf 359 hoves into view like a cinematic epic, the marching music full of pomp and circumstance before we hear the dulcet tones of Hannah Pryor and what a voice she has, a perfect match for the dynamism and majesty of the all-powerful music. It perfectly sets us on the interstellar journey. There’s a thought provoking keyboard section before the vastness of space is invoked once more.

The vastness of deep space unfolds, a testament to the extraordinary capacities of human and android intellect.

Like a majestic slice of hard rock infused electronica, ARION (18 delphini b) fires a warning shot with Steve’s effects laden voice leading us into the track before Hannah takes over again. It’s a wonderful thrill ride of galactic proportions and the funky keyboards add a touch of 70’s cool to the song.

“Thank God I found it
The only place I’d ever want to be
Thank God, who made it
My shining castle by the sea.”

Steve then trades solos with Reece’s scintillating guitar as our android protagonist stands upon the shore of Mare Sirenum marvelling at the singular beauty of its waters. Contemplating the wonders he sees here has conjured within him a deep longing for something he cannot name or explain. we then cleverly segue into the delicate wonder of Mare Sirenum, a delightful instrumental that pings and chimes and reminds me of early Sci-fi classic films.

“There I stood in perfect silence all alone Circled round by memories of all I’d known Then you called out from the darkness
All that I could do
Was turn and run away from you.”

A harsh and intense instrumental section ushers in Lost, invoking some painful feelings and memories before Hannah’s beautiful vocals begin, full of pathos and warmth. It’s a song of two extremes and they work perfectly, the alien intro a harsh reality against the beautiful pathos of the elegant vocals. There’s some delightful keyboards and drumming before that slightly off-kilter, almost alien back drop returns and then plays a game of cat and mouse with Hannah’s ethereal voice, what a superb track.

Transmission from Android Research Unit ARISE:
Curious anomaly detected at WASP-12. An indescribable rift emerges within the celestial expanse, heralding the arrival of unknown entities from dimensions uncharted. Their enigmatic presence evokes an inexplicable disquietude within me—a sensation both unfamiliar and captivating. It seems my neurosynaptic network is experiencing a cascade of perplexing algorithms…
[Intermittent signal disruption encountered}

Oh my, what a brilliant, thunderous monumental slab of space rock, Rift at Wasp-12 arrives like a homage to those legends of psych, Hawkwind, I love the way that, despite the heaviness (and I love the heaviness!), the music is instantly accessible but I keep hearing more and more with every listen! Steve provides a suitable demonstrative vocal and bass line hewn out of granite and there’s a brilliantly savage guitar solo from Fred Schendel that all adds up to a track that’s cooler than James Dean!

“I don’t know what calls to me from the rising mist at twilight
I don’t know what’s standing there wrapped in the glow of moonlight
I don’t know what’s led me here, this place on the verge of nightmare And I don’t know what you’ve been told but you really don’t want to go there”

We then segue into the even heavier Proxima Centauri B and there’s a joyous immediacy to the music, an intimacy and glorious flow. It’s a monumental piece of music, a sinister widescreen 70’s Sci-Fi soundtrack of epic proportions Reese once again fires his guitar like lightning bolts and Hannah’s evil twin turns up for vocal duties, it’s so good and puts a huge grin on my face. There’s a definite 70’s sci-fi feel to me, those great shows like Space 1999 but with a deliciously dark edge to it.

Regrettably, we must report the cessation of ARISE’s operations at Proxima Centauri B. The android, presumed destroyed, encountered insurmountable challenges, rendering it non-functional. Despite the emergence of sporadic “ghost transmissions” purporting to originate from ARISE, we must regard them as spurious and disregard any claims made therein.

Sinister and ominous in feel, the title track Arise ascends with a measured pace, like a leviathan of the stars, it’s a proper slow building track where the tension can be felt on every note and every word. Steve’s bass is disquieting and mischievous and the drums (which Steve played as well) are filled with a portentous tone. Hannah’s vocals are, once again, superb but they are just one cog in an ever impressive musical wheel. Reese delivers a slow burning, extremely bluesy, guitar section which just adds to the suspense, what a fine piece of music.

Statement from A.S.T.R.A. (Advanced Space Technology and Research Agency): Inexplicable sightings of the presumed-destroyed spacecraft DAEDALUS have emerged. False transmissions from an entity claiming to be android ARISE undermine our mission’s integrity. Urgent action is required to neutralize this deceptive presence upon its emergence through the Mars anomaly MARS-WRM-001.

This has been an excellent album and it ends on a suitably high note with The Return Of Daedelus, there’s a joyous immediacy to the music, an intimacy and glorious flow. Glass Hammer deliver music from a bygone era, digitally upgraded for the modern age. It’s like a mash up of 70’s rock and prog, the perfect union of early Rush and Deep Purple, like blues/Prog with an hard and improvisational edge.

Steve says, “It’s a huge guitar / bass jam and not something we usually do. I wanted to show Reese Boyd off. I usually end albums with a big triumphant victorious bit, but wanted something “catastrophic” for this one.”

He’s not wrong, it’s the long slow build that’s key and raises the tension and you end being completely blown away by the suave sophistication of the music and the incredible skill of the musicians. What a way to close out what has been a fantastic collection of songs, ones that combine together perfectly to deliver one of the best concept albums you’ll have heard in recent years.

There’s no weak link on this album, it just ebbs and flows beautifully, although the last three tracks go together so well. They’re possibly the best triumvirate of songs that the band have ever done back to back. With the Skallagrim series Glass Hammer proved themselves masters of the dynamic and grandiose and ‘Arise’ gives the impression that the creative skills of Steve Babb have gone into overdrive, is there a better storyteller in modern progressive music?

Released 27th October, 2023.

Order direct from the band here:

Glass Hammer official website


John Wenlock-Smith interviews Malcolm Galloway of Hats Off Gentlemen It’s Adequate

John Recently had a Q&A session with Malcolm Galloway of Hats Off Gentlemen It’s Adequate.

JWS: How did the band come about?

MG: At school I learned to play the tuba classically, and taught myself guitar and keyboard. Mark Gatland (bass guitarist) and I played music together at school. I was then distracted for a couple of decades by becoming a doctor, but continued to be passionate about music. After a positive reaction to my involvement in a hospital pantomime, I started playing my own songs at solo acoustic gigs, or with Kathryn Thomas on flute as an acoustic duo. I was also going to jam nights at the Fiddler’s Elbow in Camden, where I met guitarist Ibon Bilbao and drummer Rudy Burrell, both great musicians who helped encourage me to push my music forward. 

Mark came to see me playing a solo acoustic set in a pub and we decided to get back to making music together. Hats Off Gentlemen It’s Adequate evolved from being me on my own or with Kathryn, to a variable combination of myself and Mark with combinations of Ibon, Rudy and/or Kathryn. When Rudy moved out of London and couldn’t regularly play with us any more, Mark and I developed a very close way of working together that allows us to perform live with us pre-recording some parts, and playing guitar/bass/vocals (and sometimes keyboards) live as a duo. 

JWS: Why have you chosen the self release method of working?

MG: We like having the freedom to make whatever music we want, and to be able to design the whole package ourselves, so that hopefully the artwork and the music come together as a whole. I am extremely conflict averse, so not having to negotiate things with a label is helpful. I’m also not really sure what a label would add for us at the moment.

JWS: You also have a minimalist classical solo career as well, why is this?

MG: I’ve always had a parallel interest in contemporary classical and rock music. I was particularly influenced by the American composer Steve Reich’s music. Some of the music I want to write fits into a song structure, some fits as instrumental bits between the songs on a predominantly rock album. Other music I want to write just wouldn’t fit a HOGIA album. Often my classical pieces are long, and gradually explore evolving patterns generated by the interaction of simple motifs, with less of a melodic focus than the HOGIA songs.

JWS: How do you determine whether something should be for the group or yourself? Is there a criteria you utilise?

MG: I think the two sides of my music are coming closer together. In our new album (‘The Light Of Ancient Mistakes’) there is a track, Goodbye Cassini, which originally started as a classical minimalist piece, but then evolved into a flute-led instrumental. The Anxiety Machine is an instrumental divided into three sections, which also exists as a much longer continuous piece, which as a longer piece could be one of my classical pieces, or as a shorter version as a Hats Off Gentlemen It’s Adequate instrumental. So far, anything I’ve done with vocals has been labelled as Hats Off… . Generally the solo pieces are likely to be longer, more gentle, less likely to have a song-like structure, and to be more classical and/or minimalist.

JWS: Have any of the songs ever crossed over?

MG: Mark, Kathryn and I did play a concert at the National Gallery where we played both some of the less angry-sounding HOGIA songs and my minimalist music and video art. 

Some of my classical/minimalist music has started to use drums, so there is some cross-over there.

JWS: I have listened with great interest to  both your own albums and the band efforts. There has been a great progression in the material, how do you choose where to focus your thoughts on, what inspires you musically these days?

MG: I generally have numerous tracks in the process of being written at any time, and usually some of the minimalist music at the same time as the band material. I like to be able to pause writing in one sound-world, and jump into another contrasting musical space. I can then come back to the first piece refreshed. My main limitations at the moment for writing are physical – I have Ehlers-Danlos Syndrome, which causes chronic pain and joint problems. My hands and wrists get swollen, which I find frustrating. For example today, I had music in my head I wanted to write down, but couldn’t do much composing due to my wrist.

JWS: You obviously have a love of science, science fiction and of literature as well, how does this influence the direction you take?

MG: I listen to a lot of audio-books, and often a situation, character or even a phrase just jump out as inspiring a piece of music, whether in terms of a narrative or a musical theme. In the last two HOGIA albums there have been several tracks directly inspired by books. I’ve got a folder on my phone of books that I want to go back to as song inspiration. I’ve enjoyed combining songs inspired by real world historical events and those inspired by related themes in fiction in the same album. I’m currently relistening to a biography of Werner Heisenberg as research for a possible song.

JWS: how do you temper your frustrations politically, do you use that as an impetus into your writing?

MG: I am hugely frustrated at what appears to be a rise in racism, homophobia, and other forms of the dehumanisation of others. Most people, if they met one-to-one would get on well, but there seems to be a drive to get groups of relatively powerless people to hate each other, to deflect attention from those who benefit from division. Sadly, I think we need to be constantly vigilant against the resurgence of hatred. This is a recurrent theme in my songwriting.

JWS: Which do you prefer – live shows or recording and why?

MG: I enjoy both. Live performing is very important for me – it brings me a great deal of joy. How we perform the same piece varies a lot between shows, depending on how we feel and the response of the audience. I really love live performance, with that sense of spontaneous communication. On the other hand, in a recording, we have the time and space to decide exactly how we want everything to sound, and shape it in detail. 

Bonus Question 

JWS: If you were to highlight three tracks to introduce someone to your music which would you choose and why?

MG: Refuge, Walking To Aldebaran and Century Rain

Century Rain

This is one of my favourite tracks from the ‘Nostalgia For Infinity’ Album. I like the structure – it takes musical ideas and develops them in a fairly complex structure, while retaining a recurrent melodic chorus. Kathryn has some great flute parts on that one. When we play it live, it feels like we’ve been on a real journey by the end. I think the later chorus being faster than the earlier choruses helps give it that narrative direction.

Refuge

This is an instrumental track that follows the true story of my great-grandmother’s escape from the Nazi’s during the Holocaust. Musically it brings together my rock and my classical side.

Walking To Aldebaran

This is probably my favourite track from our new album. It is more metal influenced than most of our music, although it jumps between metal, prog, classical, experimental and musical theatre-style sections. It is also quite playful. I’ve been enjoying playing this live. It was inspired by Adrian Tchaikovsky’s novella of the same name.

Hats Off Gentlemen It’s Adequate’s new album ‘The Light Of Ancient Mistakes’ is out now and available to order from bandcamp here:

https://hatsoffgentlemen.bandcamp.com/album/the-light-of-ancient-mistakes

Interview with John Lodge – by John Wenlock-Smith

Picture by Frank Piercy

JWS: Hello John, it’s John from Progradar here.

JL: Hello John.

JWS: How are you?

JL: I’m fine thanks and you?

JWS: Yes I’m fine as well, let’s talk about your new album (‘Days of Future Passed – My Sojourn’). I’ve heard it and I think it’s great, a bold reimagining off a truly classic album, reworked for the modern times.

JL: Thank you very much, I tried to stay true to the emotion of ‘Days of Future Passed’ but with a twist for 2023. Hopefully people can relate to it, especially the younger fans. Hopefully they will wonder what the original version was like.

JWS: Well, I went back to the original and compared the two versions. I really enjoyed going back and hearing it again but I also liked the new version as well. I especially liked the way your bass was more prominent.

JL: When we made the original, we recorded it with two four-track machines. Now, of course, we have far more technology available to use so we were able to get the sound we’d originally envisaged for it. We were able to give the sound for the bass more room and, indeed, all the instruments were given more space, their own space.

JWS: Well I think it’s worked well, it’s a great idea. You’ve not just taken an album, you’ve not merely replicated it, you’ve reimagined it and made it sound more modern and contemporary.

JL: Well that was what I was hoping for, I’m glad you like it.

JWS: I also like that you have Jon Davison of Yes singing Tuesday Afternoon on the new version, I think he sounds really great.

JL: John is a good guy, a great singer writer and a great guy as well. I know him from 2017 and the Royal Affair tour I did with Yes and Asia where I joined them for an encore of John Lennon’s Imagine. Jon joined me for a version of Ride My See Saw, which Jon has done on several occasions very memorably.

JWS: I also liked that you managed to get Graeme Edge involved with his poetry,

JL: Yes I asked Graeme if he be willing to be involved and he said that he’d love to as he’d never read his own poetry before. So Graeme and I went into the studio in Florida where he recorded his poetry, sadly he passed the next week, so he never got to hear the finished recording. but at least I was with him near the end.

JWS: You were big friends with Ray Thomas as well?

JL: Yes I first met Ray when I was 15 and we’ve worked together ever since. I do a song in his memory in my show, Legend of a Mind, in his honour. He was a remarkable man really, I miss him dreadfully .

JWS: It’s good that you uphold their memory in such a manner.

JL: Well I want keep these songs alive otherwise they will fade away! They don’t get played much, unless it’s in a medley, and they deserve more than that really.

JWS: Well I have both of Ray’s albums, and both of Graeme’s, on my shelf. I was listening to some of your back catalogue recently, including a set on the ‘Timeless Flight’ boxset of the ‘Blue Jays’, live from Lancaster University. You had the Trapeze boys with you on that show.

JL: Yes, Dave Holland, Terry Rowley and Mel Galley, fabulous chaps one and all! I produced their ‘Medusa’ album, they were a great band.

JWS: Listening to your albums, as I have been doing over the past few days, has given me a fresh appreciation for just how ground-breaking you were as a band. The music on those first six albums was beautifully crafted, intelligent and well thought out. I think people simply failed to recognise that beauty.

JL: I’m glad you said that because I feel that way as well. People tend to overlook that, I don’t think the media ever gave us a fair chance really but we were pushing the boundaries of where music was.

JWS: I used to love the sleeve artwork as they told the story as well, with their imagery and artwork supporting the music in a complementary manner.

JL: Well that’s what I’m so glad that vinyl is making a comeback. This new album is being released on vinyl in November, I’ve just had the masters from Germany, and it sounds great.

JWS: I think kids today miss the sheer joy of trawling through crates of vinyl, discovering stuff for themselves.

JL: That’s the issue I have with streaming, they dictate what you hear so, say Lennon’s Imagine, you only get to hear certain songs and omit songs like Jealous Guy.

JWS: Well John, my time has gone so I’d better let you go, but thank you for talking with me about things, I really enjoyed it and appreciate your tim.

JL: Well, thank you as well John, I’ve enjoyed talking with you too.

‘Days of Future Passed – My Sojourn’ was released 22nd September, 2023.

Order the album here:

John Lodge – Days of Future Passed – My Sojourn (slinky.to)

Review – Built For The Future – 2084 Heretic

Built For The Future have been around since 2015, releasing two very well received, Sc-Fi themed, progressive albums, ‘Chasing Light’ (2015) and ‘Brave New World’ (2021). The albums are produced and performed by Patric Farrell, with vocals by Kenny Bissett.

Their new album, ‘2084: Heretic’, is a take on George Orwell’s 1984 dystopian future, as it parallels to our current times. 2084 is our future. As told through Orwell’s views and language. The album is said to be darker and heavier than anything the band have done before.

With Patric writing all of the music and Kenny providing vocals and melodies, the duo decided to return to the shorter song format and focusing on a more direct delivery and a heavier, alternative, sound.

What is immediately obvious is a very strong 90’s influence on the sound, Patric’s Fender Jazz bass really brings to mind that exciting Manchester vibe of the Happy Mondays and the like, add in Kenny’s Sci-fi intoned vocal delivery and the dominance of the Mellotron and you really get something unique and rather brilliant.

The urgent, driving nature of opener Memory Machines with Kenny’s at times strident and, at others, elegant guitar playing and the bang on tempo drumming and you could literally be in a world of machines. The bass and guitar riff at the start of The Thought Police has a real Inspiral Carpets note to it and the whole song has a cool, laid back vibe to it, I must admit I am really digging the drums on this album and the bass is ever so cool. Argot opens a little harder with an early Rush vibe to the riffing and some delicious, effects laden, guitar. Central to the concept of an Orwellian-like future that the band are trying to portray is Kenny’s unique vocal delivery. For some types of music, his voice wouldn’t really work but here he has found his home and that voice is perfect for the music.

The excellent songwriting continues with Proletariat, a dream like, thoughtful track that seems to mesmerise and mystify at the same time. Almost brooding in tone but with a chink of light just out of reach to signify hope, it’s a powerful piece of music. Supernatural has a edgy, risky feel to it from the get go, your joining something that doesn’t tow the line, you’re a rebel and you will fight for your freedom. Powerful guitars, moody keyboards and a dynamic rhythm section all combine on this musical thrill ride. That edgy feeling returns with Diaspora, a deliciously dark and heavy intro that brings to mind a dystopian underworld leads into Kenny’s powerful vocal and continues in the background. Then, from out of nowhere, comes a superb chorus that wouldn’t be amiss on a Tears For Fears album. It’s a track with a Jekyll and Hyde nature and one that makes an impressive statement.

Zeit sees Patric’s bass go all Peter Hook, it’s a modern day New Order song that just sounds so good. The way that Patric and Kenny get this brilliant sound with influences from all around and different decades is just incredible. The ebb and flow on this track lends it a feel of nostalgia and wistfulness and makes it one of the stand outs on the album. That nostalgia and longing continues into the mellotron heavy wonder of The Collective where Kenny’s voice is seeking solace and has a touch of remorse. A meaningful, profound song that leaves its mark. Title track Heretic is another driving piece of music that has the 90’s written all over it and I think it work so well with this concept, the guitar and bass are superb and exude energy and intensity. Things come to a close with the epic 101, based on Room 101 from the original Orwell novel. Ten minutes of profound wonder that hypnotises and draws you in to its embrace to leave a mantra running through your mind as the song comes to a close and the last note plays out. Like the best longer tracks, it always holds your attention. The lengthy, subdued and elegant, guitar section and the fractious, staccato piece play off each other perfectly to deliver a clever and inventive piece of music.

Built For The Future have returned with a highly accomplished piece of musical theatre, a concept album that promises a lot and delivers in every way. ‘2084: Heretic’ brings the band to another level entirely, their musicianship and songwriting is sublime and I am sure will just continue to get better and better. A highlight of the year for me!

Released 17th August, 2023

Buy from bandcamp here:

2084:Heretic | Built for the Future (bandcamp.com)

Review – Tiger Moth Tales – The Turning Of The World – by John Wenlock-Smith

This October sees the release of this latest album from Tiger Moth Tales which is, of course, the moniker under which multi-instrumentalist Peter Jones operates and releases his own music. Peter is a highly respected and regarded musician who also fronts Red Bazar as keyboardist and vocalist while also doing the same for Cyan and, more recently, Camel. He is also a member of Francis Dunnery’s It Bites and, in addition, Peter also has a dedicated following and has performed several Mothster parties as warm ups to Big Big Train shows (usually in London at venues near to where the BBT shows are taking place.)

All this is pretty remarkable, especially when you consider that Peter is totally blind and yet still strives to create new music, usually labouring by multi-tracking and mixing using an old 8-track recorder. His music really is a labour of love for him, it must take him a long time to get the sounds he envisages in his mind on tape when recording, but this he does and then shares these fruits of his labours with the world.

‘The Turning Of The World’ follows a different tack to earlier Tiger Moth Tales‘ albums in that it was composed mostly on acoustic guitar and, whilst this lends a softer tone to proceedings, it is abundantly clear who it is performing this music such is the uniqueness of Peter’s voice and the sound is easily recognisable as  a Tiger Moth Tales release.  

For this album Peter is in a fairly upbeat mood and it is clear that Peter, once again, is in a happy place and this comes across in the more personal, and even intimate, songs about friendships, family, love and life, several of which are autobiographical in their lyrics.

Proceedings commences with a short scene-setting instrumental, The Getaway, that  represents the madness, discord and overall business of the modern world in which we live in a post-covid age. The album’s first proper song, per se, is The Turning Of The World which concerns itself with Peter’s fear that, with the world being in the state it is, revolution is on the cards, although whether Peter’s fears are justified or merely baseless is as yet unknown. Peter is concerned about how a victory would look and how its winners would behave, this song makes good use of a melodica to make the song sound plaintive. This is in complete contrast, in terms of emotions, to So Wonderful To Be Alive, which is a composite of childhood memories that Peter holds dear. This song name-checks his grandparents fondly and the adventures they shared together, it also talks of Peter’s teenage years. The track is hinged on a fine acoustic riff, played with the style and progresses onto Peter’s memories of a very happy wedding day with his wife, Kimberly. He sings with real love, gratitude and fondness for her presence in his life. This is followed by the albums longest track, The Snail, The Horse And The River, which concerns itself with using nature to look at how you are feeling. This is possibly mindfulness in practice as Peter says it represents three instances where looking at nature really helped his mood. The first was as a child when a beloved pet had died and Peter felt a Snail moving beneath his fingers helped him to be able to move onward. The second was an interaction with a horse. Peter has a timbre that has tones of Peter Gabriel, his voice is rich, warm, gentle and mellow, it is quite remarkable in fact, there is also good use of a zither alongside the melodica.

Try is about perseverance, resilience or, as we used to call it, gumption! The ability to keep trying and carry carrying on with something, this is a clarion call to keep trying and is a lesson we can all learn from, I think! We’ll Remember is a song that is written about the unexpected and sudden death of David Longdon of Big Big Train with whom Peter recorded a version of Spectral Morning that was recorded in 2015 in aid of The Parkinson’s Society. When the sad news of David’s death was announced, Peter wrote this song in response and, to help him work out his emotions, he bought in Rob Reed and Christina Booth of Magenta to assist him in this touching tribute. Pass It On has another taste of the smooth sound and is again based of his memories of people who have passed on. This song mentions some of those folk, and how we should pass on the kindnesses we have received to others. The Good People Of Munchwald recalls the positive memories that Peter has of a house concert that he was invited to play at in Muchwald in Germany and the friends he made and excellent hospitality that he and his wife received whilst there.

You reached for My Hand is a very personal song, one that details the time that Peter’s father was in hospital and held his hand for support. Thankfully his father made a full recovery but this tender song recounts that time. The Lock Keeper is  ostentatiously about a lock keeper but, in actuality, it is about The March Of Progress and how, in that quest, skills are being lost, never to be replaced and how this, in effect, can make the world a poorer place as a result. It’s very interesting and realistic song that really makes good use of that softer toned. The track has a lively sax and melodica section to it but, for me the song doesn’t really go anywhere special. This is definitely not the case with the last song of the album, All I Need Today, which begins with open guitar chords and sounds not unlike Genesis’ more acoustic moments. The track has underlying keyboards and what sounds like a clarinet but is actually the returning melodica playing and makes for a very full sound. It is a warm song and Peter expresses how his wife and marriage help him to realise the good things he has in his life, in part because of her presence. It is a positive and touching note on which the album concludes.

This is a very different type of Tiger Moth Tales‘ album but its deep subject matter and its thoughtful words and sentiments are actually very worthy and act as a good counterpoint to the downbeat ‘Whispering Of The Wind’ of 2020. Whilst this album has some darker songs there is a prevailing sense of gratitude and warmth within and around these songs, which are a bit more direct emotionally.

It is good to hear Peter singing these songs as, from the heart, this emotionally direct approach pays rich dividends here indeed. I’m pretty sure that Peter’s next album will see him return to the style we have come to know and love but for now he asks us to embrace this different and yet deeply compelling album. Different? Yes, Enjoyable still? Definitely! Embrace it now, I think you will enjoy it if you do.

Released 6th October, 2023.

Pre-order the album from White Knight Records here:

Tiger Moth Tales (whiteknightshop2.co.uk)

Steve Hackett launches live video for ‘A Tower Struck Down’; taken from ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’

Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’, set for release on the 15th September 2023.

 Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, UK, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. 

Today they are pleased to launch a live video for the track ‘A Tower Struck Down’, a song that originally appeared on ‘Voyage of the Acolyte’:

Watch the previously released video for ‘Watcher of the Skies’ here:https://youtu.be/bFgdvFnAVX0

Mixed by Chris Lord-Alge & mastered by Ted Jensen at Sterling Sound, the album is now available to pre-order on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including bonus behind the scenes interviews, as well as 5.1 surround sound. A Ltd Deluxe 180g 4LP edition will also be available, and you can pre-order now here: https://stevehackett.lnk.to/FoxtrotAtFiftyHackettHighlights-LiveInBrighton

The full track-listing is:

1.    Intro / Ace of Wands

2.    The Devil’s Cathedral

3.    Spectral Mornings

4.    Every Day

5.    A Tower Struck Down

6.    Basic Instincts

7.    Camino Royale

8.    Shadow of the Hierophant

9.    Watcher of the Skies

10. Time Table

11. Get ‘Em Out by Friday

12. Can Utility and the Coastliners

13. Horizons

14. Supper’s Ready

15. Firth of Fifth

16. Los Endos

Steve Hackett & band continue their busy touring schedule with further “Foxtrot At Fifty & Hackett Highlights” dates in North America beginning in October. For the full list of dates, head to: http://hackettsongs.com/tour.html

Steve Hackett is joined live by Roger King, Rob Townsend, Nad Sylvan, Craig Blundell & Jonas Reingold, as well as on occasion special guest Amanda Lehmann.

About Steve Hackett

Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.

After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.

Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren(2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.

The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.

In 2021, Steve and his band returned to touring, celebrating the classic Genesis live album ‘Seconds Out’, on what was one of his most successful tours to date.

Review – Hats Off Gentlemen It’s Adequate – The Light Of Ancient Mistakes – by John Wenlock-Smith

‘The Light Of Ancient Mistakes’ is the new album from Hats off Gentlemen It’s Adequate and, again, we are offered an intriguing collection of songs, some of which are based on books and authors that Malcolm Galloway has read and been enthralled and inspired by. These books include works by Adrian Tchaikovsky and also the likes of David Cornwell, who wrote as John le Carré, and Conservative MP Chris Bryant. Other tracks are inspired by the works of Sci-Fi authors Iain M Banks and Philip K Dick. So, whilst not a concept album, many of the tracks are thematically linked to literature. This makes the album unusual and also challenging to listen to at times. However, the music is of their usual extremely high standard and there is a lot going on musically which grabs your attention.

The album has several instrumental tracks that combine to make a musical statement. This is pretty different to their last two albums, ‘The Confidence Trick’ and ‘Nostalgia For Infinity’, although the Science Fiction angle is covered by the choice of authors whose works inspired the music. There is some excellent music on this album, including the up-tempo opener Sold The Peace and the sad and aching hurt of Sixteen Hugless Years, which is based on the experiences of childhood neglect. This in itself is a sobering and desperately sad song, it is song where the hurt is palpable and deeply heartfelt. The track really makes an impression as you hear the hurt in the lyrics, all portrayed by Malcolm in a passionately delivered vocal. Also impressive is the song Glamour Boys which is about a group of mostly homosexual or bisexual Conservative MPs who were threatened by the reveal of their sexuality by Chamberlain’s government of the day. These men stood against appeasement and were prepared to suffer for their feelings and their different lifestyles, remember that homosexuality was actually a crime in that time. Many of these MPs paid a high price as a result.

Amongst all this heartache and pain you have interspersed some shorter instrumental pieces that act as a musical sorbet in cleansing the palate before the next song, for example the brief and deeply personal i’mtiredandeverythinghurts, Malcolm’s reflection on coping and living with an invisible disability (chronic pain due to Ehlers-Danlos syndrome) and how he feels when folk ask innocently, and with well meaning, ask how he is doing. It is a surprisingly upbeat track, very brief but it makes a good point about how we ask and often fail to understand or comprehend each other at times.

The next big track is Walking To Aldebaran, which is inspired by the Adrian Tchaikovsky novella in which miscommunication between an astronaut and a malfunctioning, but well intended, machine leads to a monstrous transformation. Parts of this inspiration comes from the novella and other parts come from rhythmic patterns inherent in Peter Maxwell Davies‘ ‘Eight Song For A Mad King’. This is a very diverse track, often jarring and abrupt, with a lot of sequenced keyboards and Chapman Stick. It is highly developed and has great sounds contained within its nearly nine minute duration. It is, ultimately, another rather sad and forlorn piece though. Goodbye Cassini is a flute led tribute to the space probe that explored Saturn and its icy moons. When its fuel supply was exhausted on September 15th 2017 it plunged into Saturn’s atmosphere, still returning data to its end. A rather profound tribute to what was a ground-breaking and important scientific research mission that last nearly twenty years and covered nearly five billion miles. The Man Who Japed is inspired by Philip K Dick (who wrote ‘Do Androids Dream Of Electric Sheep’) and the album’s title track was inspired by Iain M Bank’s ‘Look To Windward’.

The album is an interesting concept and also a very rewarding one ,especially if you delve into what thoughts lie behind the songs and then take the time to let the music work its own magic on you. Within this release you will find many excellent musical passages, some thought provoking words and some deep and important themes and questions. For me, this is another fine, well thought, considered and expertly delivered musical statement from Hats Off Gentlemen It’s Adequate.

Released September 9th, 2023.

Order from bandcamp here:

The Light Of Ancient Mistakes | Hats Off Gentlemen It’s Adequate (bandcamp.com)

Southern Empire share new single “Hold On To Me” from upcoming new album Another World

Another World is out on September 4th – Pre-order begins today!

Southern Empire recently announced the new album, Another World, due out on September 4th, 2023 on GEP Records. It’s been five years since their last offering ‘Civilisation’ made such a big impression on the music press and fans alike and now the band have again created a masterpiece of musicianship and production.

You can now Pre-Order Another World here:
CD: https://gep.co.uk/products/another-world-pre-order
& Orange Marbled Vinyl: https://gep.co.uk/products/another-world-orange-marbled-vinyl

Today, the band share the second single from the album. Watch the video for “Hold On To me” here:

Sean Timms had this to say about the new single:
“From the very moment Cam Blokland, our exceptional guitarist, strummed the opening chords of ‘Hold On To Me,’ I was filled with the certainty that we had stumbled upon something extraordinary – one of the finest songs we would ever record.

The sheer brilliance of Cam’s lead vocals, complemented by the mesmerizing backing vocals from Shaun Holton, our new front man and rhythm guitarist, left an indelible mark on my mind. As the last note faded away, I knew ‘Hold On To Me’ wasn’t just another track; it was destined to be a hit.

The emotional depth and captivating melodies woven into the song have an undeniable power to linger in the hearts of listeners long after the music stops. ‘Hold On To Me’ is an unforgettable masterpiece that showcases the immense talent and chemistry of our band.”

Tracklisting:
1. Reaching Out (4:17)
2. Face The Dawn (12:45)
3. Hold On To Me (6:31)
4. When You Return (6:20)
5. Moving Through Tomorrow (10:23)
6. White Shadows (19:23)
7. Butterfly (4:25)

Watch the video for the first single “Reaching Out’ here:
https://youtu.be/l-miycsFAHQ

Shaun Holton – Lead and Backing Vocals
Cam Blokland – Electric and Acoustic Guitars, Lead and Backing Vocals
Jez Martin – Fretted and Fretless Bass
Brody Green – Drums, Hand Percussion, Backing Vocals
Sean Timms – Keyboards, Programming, Lap Steel Guitar, Backing Vocals

Review – John Greenwood – DARK BLUE

Following a life training as a Plastic Surgeon and practicing as a Burn Surgeon and Director of the Adult Burn Centre of the Royal Adelaide Hospital. retirement has finally allowed John Greenwood to pursue some musical dreams.

Just prior to retiring, he met Mark Trueack who had been pointed his way by Jimmy Keegan (not that one), a very long-time friend of John’s and the guitarist in Trueack’s fledgling UPF Acoustic. Following a hand-injury, and unable to play, Keegan suggested that John might be interested. After a few rehearsals with UPF Acoustic, Trueack introduced John to Sean Timms, suggesting a rekindling of Unitopia and a studio album based on ailments suffered by the band’s members. At this stage, Sean helped John establish his own home studio.

John began to record a series of solo tracks (some with themes he composed as a teenager, and some completely new). The songs quickly divided into two camps; those about man’s inhumanity to man, governmental choosing of economy over citizens and even the health of the planet (DARK). The others focussed on sadness due to various forms of loss (physical, experiential, personal – BLUE). He added into that group his cover of what he considers the ultimate song of loss, Tony Banks’ Afterglow.

His ‘Dark Blue’ album features several family members (Wife, Helen, provided the inspiration and lyrics for A Proper Song; Daughter, Emma, sings on Rosco and The Ocean as well as playing the introductory ‘cello on the latter; Son, Sam, plays the Grand piano piece in The Ocean, whilst Sam’s wife Sarah plays violins on Too Late!, Too Late! Reprise and The Ocean whilst her sister Nicola plays flute on the same tracks). John’s brother-in-law, Andrew Fanning, helped with lyrics for Too Late! and The Ocean, whilst the daughter of a work colleague of John’s, Kirstin Damkat, spoke the child’s soliloquy.

A school friend of John’s (Andrew Rowland) provided all the artwork. Sean Timms added additional keyboards and some great sound effects, and a number of drummers were involved (international artist Craig Blundell and local drummers, Ben Todd and Mike Giuffreda). Sean drafted in Nick Sinclair to replace John’s bass on Rosco and Julian Ferraretto to play gypsy violin on Packin’ my Suitcase. Other than that, it’s all John on vocals, all guitars, most of the bass guitars, keyboards and orchestration.

So there is a really extensive introduction to John Greenwood’s solo album and, do you know what?, ‘Dark Blue’ has to be one of the most truly progressive albums I’ve heard this year. At times it is like musical theatre, bombastic, orchestral overtures and idiosyncratic, over the top, vocals and, at others, it is just utterly sublime, wistful and beautiful music with ethereal vocals (check out John’s daughter, Emma, on the epic The Ocean) but it never fails to captivate and engross you in it’s lengthy sixty-nine minute running time.

You’ve read about the supporting cast that helped to make this wonderful release, I mean Craig Blundell for god’s sake!, but this is John’s creation, 100% and his sureness of touch and songwriting genius can be felt in every word and note. If you’re a fan of Unitopia and UPF then you can feel the slight influences on the album and that is a good thing, the expansive music and thought provoking subject matter are cleverly integrated into this amazing creation.

The epic A Little Piece of Rosco Vidal is progressive rock at its finest, a build up of musical intensity, intricate melodies, fine vocals and music that is both cerebral and emotive, superb! The trio of Too Late!, Too Late! Reprise and The Ocean stray boldly into the territory of musical theatre where the elegant vocals of both John and Emma could grace any West End stage but it’s blended perfectly with fine progressive sensibilities to almost create its own identity and check out the wondrous violin and flute, just beautiful.

The passionate, powerful duo of Requiem and Heartless add some meat to the bones (John’s vocal on the latter is dynamic and vibrant) and the almost singer/songwriter vibe of Inside is powerfully moving. The whimsical, bluesy humour of Packin’ My Suitcase shows John’s humorous side with the gypsy violin of Julian Ferraretto the archetypal twinkle in the eye and there’s a simple splendour to The Kiss with Nick Magnus’ impressive orchestration.

John’s version of Afterglow, the moving track originally By Tony Banks, is just sublime and won’t leave a dry eye in the house and this sublime album closes with the fantastic A Proper Song, reminiscent of Wish You Were Here. Pared back acoustic guitar and elegant vocals along with Hammond Organ ( you’ve got to have a Hammond!) deliver a consummate listening experience and when the electric guitar solo kicks in, it’s just heaven!

It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!

Released 1st July, 2023.

Order from bandcamp here:

DARK BLUE | John Greenwood (bandcamp.com)