The Book of Revelations – ‘The Plumes of Enceladus’ is a very interesting release and is the brainchild of one Gerard Freeman who has, for many years, wanted to make an album in which he could entertain his version of early Genesis music. He has done this mainly on his own but with some assistance from Russ Wilson of Genesis tribute act Visible Touch.
Gerard became entranced by the music of Genesis after playing his older brother’s record collection and seeing Curved Air in Sheffield in 1971. He uses samples of vintage keyboards, synths Mellotrons etc. to craft a truly authentic sound, indeed so well constructed and performed is this music that one could believe that you have discovered a hitherto unknown or unreleased Genesis album. Gerard also has a very Gabriel-esque vocal style along with elements of Fish.
Overall this record is captivating, being the best Genesis album you’ve never heard. If imitation is the finest form of flattery then Gerard has triumphed here for sure, he even has the lyrical style of Steve Hackett and the dexterity of Anthony Phillips in the guitar parts. There is more than a passing nod to the likes of ‘The Geese And TheGhost’ with its beautifully layered sound and its overall lightness of touch, it really is most impressive stuff.
The main theme of the album is that of Greek Myology and the tales of Zeus, brothers Prometheus and Epimetheus and Pandora and their tales of destruction and control. The story is not simple and I found it hard to follow. With its subplots of violence, torture and incest, it’s like an prog episode of Eastenders, just with a progressive music soundtrack rather than the Mitchell brothers infighting and it has sections of great intricacies and beauty that really draw you in.
The keyboard work is obviously very Tony Banks influenced and it shows with lots of delicate sections and big chords and sounds. Good use of sampled analogue equipment gives an authentic sound and feel to the music too. Greek mythology was a big part of early Genesis music as the classical trained public schoolboys used that form as an inspiration for much of their earlier years. So this theme works well for Gerrard, it’s like an updated sonically improved version of what had gone before. As a teenager Gerard and his friend transcribed ‘The Musical Box’ and in doing so learnt it’s composition. This was all pre-internet and was very laborious work, it was also very rewarding and satisfying to him and Gerard has redrafted music in a similar style and vein.
The album has seven tracks, the first five form a suite called Malice À Forethought (a cautionary tale in five parts), there’s another track titled Love Letter from aNewspaper to a Coffee Shop and a further, four part, concept piece entitled The Chthonic Deities Of Vengeance, which is a really great multi-part piece of over eighteen minutes duration and has a real whiff of Supper’s Ready to it. The song has a very dark tone to it but that just adds to its intensity as it uses Mellotrons and synths to fine effect, along with an epic and skilled keyboard break that has distinct echoes of Firth Of Fifth. It is beautifully delivered, although it lacks the majestic guitar solo that elevates that particular song. This track does have a lot going for it, it is sweeping, epic and very good indeed.
The album’s title was taken from a space related program that Gerard saw where they discovered water in an ice form on one of Jupiter’s moons, Enceladus and, Gerard being interested in that sort of thing, made note of it as a possible title for the album.
This is a great album and one that I am sure many would relish as it has a slew of treats in a style many would enjoy and embrace.Apparently there is more planned but for now, sit back, embrace and enjoy this rather exquisite epic music as there are such excellent passages and sections to this amazing album. It has a good booklet with lyrics to follow as you listen and excellent artwork. In all, this is a classy album and one I would highly recommend to all.
According to the dictionary Glimmer means to shine faintly with a wavering light, which is interesting as I think Shimmer would be an equally meaningful title for what is a rather fascinating album from the Dave Foster Band. This release is one that uses lots of strong musical passages to get its point across. Through the entire album Dave Foster himself glimmers on the guitar, proving that his association with Steve Rothery is a symbiotic one in which both parties gain significantly in the process.
Take …Or You Steal Some with its creeping bass lines and it’s arpeggio guitar lines that form the thrust of the track. Vocalist Dinet Poortman’s excellent, breathy, and often fiery, vocals add much power and passion to the music the band offer. The song has tasteful guitar work from Dave and a solid rhythm section playing throughout, it’s a rather splendid track that draws you into the music. As does Chasing An Echo which has heavy bass keyboards and slide guitar from Dave that weaves it way through the track hypnotically. This song grows on you with repeated plays, as indeed does the whole album. It’s is a very mesmerising with lots of great highlights and is very ‘Marillion’ in parts, in the sound sculptures it paints, yet it has its own identity and uniqueness retained. Dive In is a little lighter but with a funky backbeat to it, it is a very bouncy number with crashing power chords that elevate the track once again. Dinet’s vocals really grab the attention with her great bland of power and subtlety proving a winning formula. Again, Dave delivers some snake slide guitar that impresses greatly, as does the really excellent solo he offers in the closing moments, blistering stuff!
Opening track Every Waking Moment is another blistering assault on the ears with lots of feedback and sustained chords and notes being used to good effect. Although it is when the song opens up sonically that the real crunch takes effect, and it is very satisfying when it does. The skill being employed here is very high indeed, especially when Dave delivers another fiery guitar break over a strong throbbing bass part and keyboards. This is really strong and exciting music being played here, barnstorming even. Memory Box is, on the face of it, a somewhat lighter track but don’t be fooled as within its grooves are some searching lyrics about keeping secrets and not being open. This is definitely a radio friendly track with lots contained within its four minute running time. Run is similar with real presence and punch. Again, this rocker is very satisfying, the more I hear this album, the more impressive it becomes. It is a definite grower, the synths looping on this song are most memorable and create a great atmosphere and add to a really good track.
Stigma is another hard hitting track with good power chords alongside a powerful lumbering bass line and good keyboards. This creates a fantastic sound, harmonious and yet powerful at the same time. There are good guitar fills from Dave in this track too, this is a very powerful performance that has melody and dynamism. Another excellent solo rounds the song out well. I love this guitar solo over the crunching rhythm section. I really like this track, it’s possibly the best on the album. The RulesHave Changed is hinged on a spidery guitar riff and more crunchy chord work that drives the song along nicely. The riff is repeated again, as are the punchy chords, which, combined with Dinet’s excellent vocals, work really well and create a great atmosphere. More guitar lines are added as the riff powers up before another fine Dave Foster solo really impresses.
This album has really grown on me over the past few weeks as I find much to appreciate and to enjoy within its grooves. It is a very accomplished and well produced set of songs where nothing outstays its welcome. Several of the tracks are absolute belters and make the album highly worthy of your attention as it is really very good indeed. I highly recommend it, now to check out his earlier releases I think.
Ahead of the release this Friday of the band’s acclaimed new album ‘This Is What A Winner Looks Like’, Progradar sat down with frontman/guitarist Darran Charles to get the lowdown…
1. Godsticks were formed in 2009, for you, personally, how much has the music scene changed in the last 14 years?
Good question. I suppose in terms of the prog scene, I’ve seen that a subset of Prog – Prog metal – has now become the dominant force in terms of popularity, and arguably they’ve become the new boundary pushers, which is what prog has always been known for.
Obviously the way music is now consumed means there’s less income to be derived from the sale of physical media, so we now see bands having to earn their income mainly from touring. And since Brexit it’s also proving cost-prohibitive to play shows in Europe. All in all, there hasn’t been much that has changed for the better for bands!
That said, the consumer has never had it so good. The music scene is absolutely saturated with bands and a huge percentage of these bands are absolutely great. As technology has become more accessible as the years go by you see more and more people being able to exercise their creativity and produce things on par with anything that was created with a huge studio budget.
2. Who were your influences then and who are they now?
At the time of the EP, I was mostly listening to Frank Zappa, Steely Dan, and a lot of jazz-fusion. I might have even been listening to Alison Krauss a lot.
It’s hard to say who my influences are currently. I listen to music a lot differently than I did when I was younger, and I have to say that I miss physical media, CDs especially. My car doesn’t even have a CD player anymore so everything has to be streamed digitally. In the last few years I’ve been mostly listening to pop music, but the last band to truly inspire me were ‘The Smile’ – featuring Thom Yorke and Jonny Greenwood. I’ve watched the recent live performances on YouTube and the quirky complex songs are quite often a mind-fuck that require complete absorption.
3. You had a run of very good albums from the self-titled EP, right through to ‘Emergence’ after which you were signed to Kscope, did signing for a major label put any additional pressure on you?
To be honest, they’ve always been very supportive. They’ve never tried to change us and given the type of non-mainstream music we produce they kind of knew what they were in for when they signed us. I work closely with Johnny Wilks from the label who is a fantastic source of help when I ask him to scrutinise the album demos.
4. Your initial sound was described as being progressive but the new album ‘This Is What A Winner Looks Like’ is definitely more intense and hard rock oriented (in my opinion), is that a natural evolution of the band’s sound or was it intentional?
It’s a natural evolution because we’ve found that the heavier music is more enjoyable to play live due to its intensity. However, we still have a wide range of musical styles that we enjoy writing in. In fact, we recorded 7 other songs that were not as heavy as the other material on the album which we purposely left out because they didn’t necessarily fit with the vibe of the album. Three of those songs are included on the bonus track ‘Crushed’ while the other 4 tracks will be released over the course of the next 12 months. I suppose you could say that these tracks showcase the gentler side of Godsticks.
5. There is a lot more focus on guitar riffs and a dissonant edge, do you think this will transfer into a live arena particularly well and are you looking forward to getting out there and unleashing the new music on your fans?
Always! Every time we write a song we try to imagine what it would sound like live. Not that we would impose any restrictions on ourselves by reducing the instruments/overdubs etc but we simply imagine what we would like to hear if we were the ones in an audience. It’s important for a song to have some sort of physical impact upon me, which is usually manifested with a vigorous head-nodding!
6. Is the new album a lot different to your last, ‘Inescapable’? You say that the writing process was different with a lot more collaboration with other band members?
Each album has resulted in more and more input from each member. I’m the main songwriter primarily because I find it almost impossible to come up with good vocal melodies over ideas that other people have written, which is a shame because Gavin often comes up with some great riffs. But Godsticks music has always been about textures as well as riffs, and the parts that Gavin comes up with on synth and guitar are integral to the songs and enhance them in a way that I would likely be unable to do.
Tom also ‘hides the seams’ between seemingly disparate sections of music, and without his ingenious drum parts the songs would sound very different indeed, and worse for it.
7. How do you go about writing a Godsticks track, what influences the creative process?
Usually, things start with a guitar riff or drum beat and I take it from there. A lot of ideas emerge from either studying music, practising or transcribing things. It’s usually when I least want to be distracted from the task in hand that inspiration strikes.
Sometimes, although it’s very rare these days, I’ll get inspired by a new band or song which I love. The last occasion something creative happened like that was when I watched a live show of ‘The Smile’ – I was so blown away by the music that I felt inspired to sit at the piano and write something. That track ‘Crushed’ features on the bonus disc.
8. How did you cope with the lockdown? A lot of musicians I know have actually said that they found the whole period to be very creative and have come up with a lot of new ideas?
Well, I experienced the opposite sadly. I never wrote a single piece of music during the lockdown period. I tried to force it but in truth, most of it was poor.
That’s not to say that I didn’t make use of the downtime. I spent all my time either studying or practising and even began delving into the world of electronics and having zoom conversations with expert amp builders.
I also began reading books on synth programming and understanding exactly how they worked. That episode will definitely benefit our music in the future.
9. Obviously, due to the pandemic, you couldn’t play live after you released ‘Inescapable’, how frustrating did you find that?
It was incredibly disappointing as you can imagine, but at the same time the fact the world was a little bit strange to say the least put things in perspective a little. Then as the pandemic dragged on we started to worry if there would even be any venues or promoters in business when the world eventually re-opened its doors.
So whilst it was frustrating, that feeling was eventually subsumed by relief that things could finally get back to a state of normality.
10. I know most musicians will say that their current release is their favourite but do you hold any of your previous albums in particular regard and, if so, why?
I would say ‘Emergence’ is probably the most important of our albums, as it heralded the future sound of the band. At the time of its release, It may have seemed like an abrupt left turn in terms of heaviness but I think the overall sound and vibe of that album proved that this was our natural sound.
11. Who would you consider to be the best live act today and one you would pay to go and see?
Meshuggah! I’m desperate to see them play live. The last time the opportunity arose the nearest place they were playing was Bristol, but I absolutely hated the particular venue they were playing, so didn’t go.
12. What’s next for Godsticks or are you just concentrating on getting the new album out and playing it live?
Our sole focus at this time is rehearsing the new music to perform live at our upcoming shows in June. Then it’s just a question of how many gigs we can successfully put together and how many festivals that will welcome us.
13. What do you do to relax away from music?
Most of my life is taken up by music, whether that’s practising, studying or writing, but in the evening times I like to watch TV. I’m a big fan of shows like ‘Succession’, anything HBO, and stand-up comedy. I also like to read non-fiction books on biology and history.
14. Finally, what, if any, advice would you give to that younger version of yourself who was just about to release the debut EP in 2009 now you have been on the rollercoaster for 14 years?
As someone with an aversion to reading manuals and instead intuitively fumbling there way around new technology, whether that’s creating synth sounds or learning how to use my gear, I would advise myself to take the time to learn the technology you’re surrounded with, especially production techniques. These are often invaluable tools to assist with your creativity. That’s something I’ve changed my approach to in the last 3 years or so, and these days I look forward to reading a manual!
‘This Is What A Winner Looks Like’is released 26th May, 2023 on Kscope
ASIA are a multi-platinum selling, English Rock band who formed in 1981 and celebrated their 40th Anniversary in 2021. ASIA announce the release of Phoenix for the first timeas a 2 vinyl LP set on 26th May. Phoenix was originally released in 2008 and was their first studio album with the original line-up in a quarter century.
In terms of sound this emotional, compelling comeback album sees Asia continue the very high standards from where they left off in 1985, as ever displaying suppleness when stretching out into multi-part suites while retaining a knack for big, arena pop hooks.
Their 1982 self-titled debut album reached number one in several countries, including 9 weeks topping the US charts, with lead single ‘Heat Of The Moment’ making the top 40 in over a dozen, including US #4.
This is the second of four critically acclaimed ‘reunion’ releases (2007-2012) featuring vocalist John Wetton ex of King Crimson, guitarist Steve Howe and keyboard player Geoff Downes from Yes and drummer Carl Palmer from Emerson, Lake & Palmer.
The sleeve comprise unique artwork by world famous rock music artist Roger Dean.
Pooling the talents of bassist/vocalist John Wetton, drummer Carl Palmer, keyboardist Geoff Downes and guitarist Steve Howe, ASIA immediately became the epitome of a supergroup of rock aristocracy and the natural heir to its members’ legendary bands of the 70s – King Crimson, Emerson Lake & Palmer, The Buggles and Yes.
Leaving behind their progressive roots, ASIA embraced the commercial FM rock sound that dominated US airwaves and took that, and the new MTV video channel, by storm. The single Heat Of The Moment was a world-wide monster smash and their eponymous 1982 debut album spent an incredible 9 weeks at No. 1 on the Billboard chart as Asia became the biggest selling album of the year and world tour dates sold out.
A second album, Alpha, was released in 1983. The four original members reconvened in 2006 for a world tour, to celebrate the 25thanniversary of that incredible success, and the album Phoenix followed.
While the members were still heavily involved in other projects, they came together again to record Omega in 2010 and XXX in 2012, both albums were acclaimed by their faithful fans and supported by more world tours.
Steve Howe stepped back from ASIA to concentrate on his work with YES and was absent for 2014’s Gravitas. Following this tour came the news of John Wetton’s treatment for cancer, a fight he sadly lost in 2017.
John Wenlock-Smith: Good day Steve, trust you are well?
Steve Howe: Hello John, yes, I’m fine thanks, trust you are too?
JWS: Let’s talk about the new Yes album, ‘Mirror To The Sky’.
SH: If you have questions, I should have the answers!
JWS: Is there an underlying theme to the album?
SH: Yes have only done one themed album (‘Tales From Topographic Oceans’), other things we have talked about but aren’t really thematically related as such.
JWS: I’ve heard the new album, I like it and the fact that you are doing longer songs. Once again, I think it is an approach that really works for you.
SH: After ‘The Quest’ and the good reaction it received, we were inspired to carry on and content to make more new music as we had songs written to work with. This album is the result of that time.
JWS I saw you in Manchester, it was very good and I enjoyed it a lot. You turned in a good show that day.
SH: Thank you, glad you enjoyed it. We enjoyed that short run of shows and it went down well, apart from York which didn’t go so well, I’m afraid.
JWS: I have a question from my friend who asks about your involvement with Queen’s‘Innuendo’ album. How did that come about?
SH: I was in Montreux in a restaurant that I like when a guy called Martin spotted me and invited me to the studio (Mountain Studios, where Yes recorded the ‘GoingFor The One’ album). As I’d finished my meal, I happily went with him to the studio and the band wanted to play me the album. After which they asked me to play on the track Innuendo, as they wanted something extra in the guitar department.
When I pointed out that Brian had done lots of guitar they said they’d still like me to play on it and gave me free rein to play whatever I liked. So they played me the track and I just improvised as I am quite used to doing that, jumping in and creating on the fly. They liked what they heard so, after we’d had dinner together, we returned to the studio and put the two takes together, making what you hear on the album. It was a fun day with great friends.
JWS: I have a question about GTR. Wow come you didn’t record a second album? Is that something you would consider revisiting 30 years on?
SH: Well we did record a live album for King Biscuit Hour in Germany, I think? (it was actually in Los Angeles in 1996) but we split the band after that and, whilst certain parties wanted us to do it again, it adds a certain complexity with managers and timings etc. Finding time in what I’m doing now means doing it all again would be a huge undertaking. I’ve moved on from those days, although I did enjoy that time, we had a lot of fun doing those tours. It was easier to revisit Asia actually but, again, I had to curtail that as I was busy with Yes.
JWS: So, Yes is your main focus these days then?
SH: It is really, especially as we are on a creative roll at the moment, things are going well, plus I still have my solo stuff around to keep me occupied.
JWS: So the tour this year was postponed because of insurance issues? I was looking forward to the ‘Relayer’ shows actually.
SH: Yes, we decided to postpone those shows after a few years of uncertainty over them and the insurance was a major factor, but not the only factor.
JWS: You probably have lots of demand on your time with everything you are involved with?
SH: Well, actually, I don’t. I have Yes and my solo stuff and I control what I do so that I run it, not the other way around.
JWS: I’ve written a review about it (the new album), I was generally positive about it, I said that Genesis and King Crimson have ended and Deep Purple and BOC are nearing the end and, really, we should respect that and appreciate you while we still have you.
SH: Good perspective and insight for us all, I think!
JWS: Well, I think that’s it from me apart from to say thank you for your time and trust the album goes well for you and hope to see you next year in Manchester
SH: Thank you John.
The new Yes album, ‘Mirror To The Sky’, is out now and available to order here:
This review of ‘Beyond Tomorrow’ by Ruby Dawn will be slightly different from usual and, rather than describing the music, instead I will comment on the feelings this music evokes whilst listening to it.
First, a look at he history of the group. Formed in 2019 by Carola Bear, at that time a mainstream Teacher who wanted to express lyrics she had written herself musically. To that end, she searched out musicians who could help turn that vision into a reality and she found musicians who would support her in that vision, these being Dave Salsbury on guitars, Ian Turner on bass and vocals and Adam J Perry on drums. Together they worked on their own songs and attracting the interest of Ireland’s Progressive Ears label) who support lots of upcoming prog bands and artists), they ultimately secured a deal.
The album is very much an expansive and immersive one that uses a plethora of soundscapes and timbres to present something quite unique. You can hear elements of music like Pink Floyd and Porcupine Tree, along with a more ambient style of musical voicing. This excellent sounding release marries feeling, strong musicianship and a slightly different vocal phrasing to good effect. The music has a lot of extremely fluid and powerful guitar work from Dave Salsbury who plays up a storm here and it is very pleasing to hear his skilful playing.
I’ve spent a few weeks with this album, really waiting for it to sink in fully and now I think it is definitely beginning to click with me. This is a grower that warrants time and, possibly, the use of headphones to really allow the music to seep into your mind fully. However, when that moment happens, it is very powerful stuff indeed. I am reminded of Steve Hogarth’s unusual vocal stylings at times along with the modern Marillion sound, the inclusion of an ambient sound is also very satisfying as it allows the quirkiness of the group to come through well.
I am really enjoying this music as it has much to commend it, anyone who is prepared for something different will find much to appreciate and to enjoy within its grooves. The album rocks and also shimmers excellently, it evokes feelings of both frustration with how the world is but also offers a hope for better times, of awareness, acceptance and understanding for each other. This is a good thing, music should have meaning and should help instruct as well as entertain. Progressive music should question, encourage debate and thought. It can be a force for change, I feel this album has that potential to do just that, challenging attitudes and perspectives and showing a different way in which to be and to live.
This music brings out those feelings in me and inspires me to be a part of a world that is prepared to engage, to accept others where they are in their lives and to be there when they need support. I think this is something we can all do, be the change rather than being the problem. Allow this music to guide you in such unfamiliar settings and benefit from the satisfaction and fulfilment that can come as a result.
These may be heady thoughts but, somehow, I find this music very inspiring to hear and I appreciate it’s sheer existence. It makes you feel better for hearing it, it is not especially upbeat lyrically, rather it is sincere, which is highly acceptable to these ears. Here are a band who are pushing forward, making music of worth for the open minded and that is totally acceptable to me.
There is, among its twelve tracks, some blistering, scorching guitar work and a highly dynamic rhythm section. Add in the fluid keyboards of Carola and her excellent vocals and it all combines to make a great melting pot of ideas and influences to create something both different and yet familiar sounding.
Heartily recommended, this music should be available from your Doctor as it is good for your heart, soul and well being. This album can be a balm for your troubled or bruised spirit, it is that special. I urge you to get involved with the marvellous music, let it influence your worldview, it is that good! Highly Recommended indeed!
King’s X first came to my attention through an article in Kerrang, of which I was a regular reader, they certainly sounded intriguing. This was proven when I found a promo copy of their debut album ‘Out Of The Silent Planet’ in a local record store, well it was actually a tiny shop tucked in a very narrow street, Swordfish in Needless Alley in Birmingham City centre. Neither of these exist there now and have been replaced by another shopping mall. Swordfish relocated, as I discovered last year, and is still an interesting place to visit.
Back to King’s X , this set is a collection of their first six albums for Atlantic, ‘Out OfThe Silent Planet’, ‘Gretchen Goes To Nebraska’, ‘Faith Hope Love’ , ‘King’s X’, ‘Dogman’ and ‘Ear Candy’, along with a whole slew of single versions and live tracks that complete the package. There is also a tasteful and informative booklet that gives more information about the band and the history surrounding these albums.
The music is, in the main, sensational, although I do feel that the band made a misstep with the overly grungy ‘Dogman’, an album that disappointed me greatly upon its release, time to see how I feel about it twenty-plus years later…
The debut and sophomore releases albums both sound excellent and prove that this group had value and that they could deliver live on stage, as was proven when I saw them at Nottingham Rock City in the early 1990’s. They were crafting a different sound, one in which melody and harmony were met with real crunch and power to make something special. The distinctly Beatles influence in the harmonies and voices made for a very unusual sound and one that really worked, along with the fiery and often psychedelic guitar of Ty Tabor and the solid whump of DougPinnick’s muscular bass driving the music forwards, this was a new style of rock, a very impressive one too! ‘Out Of The Silent Planet’ contained some great songs like Goldilox, which has great vocals and great guitar tones and solos. This was 1988, to be fair, but listening again thirty-four years on you can still sense the sheer brilliance and innovation the group offered the casual rock fan. Unsurprisingly the U.K. took them to their hearts and, whilst they may not have become huge, they certainly garnered much acclaim.
Even better was their sophomore album, ‘Gretchen Goes To Nebraska’, which carried the style further, marrying crunching guitar and multi-part harmonies in a truly exciting amalgam, as displayed on the blistering rocker Over My Head and the gorgeous Summerland, both of which had the magic combination. Also of note is the funky take Everybody Knows a Little Bit of Something, which is another fiery performance. Over all of this you hear all sorts of influences, apart from the Beatles you can detect the funkiness of Sly Stone, Jimi Hendrix like guitar virtuosity and James Brown, to name but a few. There are also delicate acoustic parts like in The Difference (In the Garden of St. Anne’s-On-The- Hill) that allow this band to make one of the outstanding albums of the late 80’s and one that still impresses today.
King’s X continued by making the third excellent album in three years with ‘FaithHope Love’ in 1990. Opening with the strong, stirring We Are Finding Who We Are to kick things off in style. Doug Pinnick’s bass and vocal really drive this track along, the Beatlesesque It’s Love follows with its blend of vocal harmonies melded to a solid riff. I have to say this album has its moments but is not a strong as the previous two, maybe they were running out of ideas or the touring had taken its toll. Moanjam is still a great workout/jam for the band and things improve with I Can’t Help It, Talk To You. We Were Born To Be Loved and the nine minutes of Faith Hope Love with its spirituality clearly present. Whilst King’s X had christian faith, they wisely didn’t let that define them. These things are individual and personal, they recognised that and acted accordingly.
The next we heard from the band was their self-titled, fourth album which was another strong set of songs, although heavier and moving towards the grungy sound that they would explore more fully on the ‘Dogman’ album. This album brought changes, they split from long-time friend and manager Sam Taylor and opted to employ Brendan O’ Brien’s services as producer. He had previously produced albums for the likes of Pearl Jam and The Black Crowes and he bought a 90’s grunge rock sheen to the band. This the album on which I lost interest in the band as I didn’t feel their sound worked for me any longer. That was 1994, so nearly thirty years ago now, and, in retrospect, that was possibly a misjudgement on my part as upon rediscovering this album, it is far better than I recall. Whilst the sound may be more brutal and harsh, it still rocks strongly. In addition, much of what endeared me to those earlier albums is still present in places. The song Shoes, for example, rocks with a vengeance. In fact, overall, the album is a slow burn that sneaks up and overpowers you making a solid impression and I actually like it now.
The final album in this set is 1996’s ‘Ear Candy’, an album I completely ignored despite my friend Steve saying it was a good one. Well, surprise, surprise, he was right. Although it disappointed the critics, ‘Ear Candy’ is a great album full of psychedelic touches, strong songs and inspired tracks like opener The Train, that has more than a whiff of Enuff Z Enuff about it. A Box is anther fine song on offer here but, sadly, this album was to be their last for Atlantic after which they spent most of the next two decades on independent labels, releasing a lot of albums that sank without a trace until 2005 when they were signed to Inside Out (prior to that becoming part of Sony Music) and released the excellent ‘Ogre Tones’ and ‘XV’ albums and a live set. Recently they have released ‘Three Sides Of One’ which is a definite return to form.
King’s X continue still and, whilst much older now, they are still making good music that mixes psychedelic rock, some progressive elements and fabulous harmonies. This set is an excellent summation of their days with Atlantic as you will find much strong, vibrant music and is highly recommended, especially for fans of the band.
‘Seasons End’, first released in 1989, is the last release in Marillion’s series of EMI era deluxe re-issues. It is also the most pivotal album in the band’s history as it marked the beginning of the ‘h’ era of Marillion with Steve Hogarth as the vocalist. Steve Hogarth has been around ever since and has imprinted his mark and class on the Marillion brand so indelibly that it is hard to remember what it felt like at the time when he emerged from virtually nowhere to replace Fish. This deluxe re-release gives us the opportunity to re-evaluate ‘h’s debut with the band.
Whilst we can look back on this album as an assured and high-quality album it belies a period of great uncertainty leading up to its recording and release. Following great success with albums and singles the future of Marillion was far from clear after they parted company with Fish in 1988. There was an assumption by many that the band could not survive without their charismatic front man, but the remaining band were confident in their music and knew that Marillion were far more than just a backing band for Fish. A largely fruitless search for his replacement commenced with tapes received and various auditions, (including Stuart Nicholson of Galahad). Meanwhile around the same time Steve Hogarth’s band How We Live was coming to a disappointing end due to a lack of success and he was thinking of leaving the music business entirely, such was his disillusionment. Ian Mosley spotted his potential from a tape sent in of Hogarth singing the How We Live song ‘Games in Germany’ and the band agreed to give ‘h’ an audition. Even at that point it took a mutual friend of Hogarth and Mosley, Daryl Way of Curved Air, to persuade ‘h’ to consider doing the audition as he was seriously considering joining the touring band of The The for a major tour instead. To cut a long story short Hogarth eventually agreed to join the band and they set about writing their first album together. So what did they manage to put together?
Most readers will know ‘Seasons End‘ well, and will be most interested in the remix and additional material, but there may be some new to this album. Therefore, we will go through the album, and there may be some things even the most devoted fan may not know or gain new insights into this album. After initial and deceptively easy writing sessions at the Mushroom Farm studios near Brighton the band convened at Hook End Manor Recording studios in Oxfordshire, formerly owned by DavidGilmour. The ‘Seasons End‘ writing and recording sessions were deceptively easy for the band, as they came to discover at the far more problematic sessions for the follow-up album ‘Holidays in Eden.’ In truth the ease of the process was because much of the music had already been written in previous unused sessions with Fish for the album after ‘Clutching at Straws’ which, of course, did not happen. Additionally, before Hogarth joined, they had also looked for lyricists to help, including asking Van Der Graaf Generator’sPeter Hammill (who declined) and a peculiar meeting with the eccentric Viv Stanshall, which persuaded them that he was probably not a great fit! They eventually commissioned lyricist John Helmer (of the punk band The Piranhas) to produce some lyrics to go with their music, which definitely gave the album writing sessions quite a head start. Helmer composed the lyrics independently of the band, but in the fascinating accompanying video documentary ‘Seasons Change’, Steve Rothery did share he suggested the idea of doing a song about ‘Berlin’ due to the band’s connection with the city, and the concept for the lyric which eventually emerged as later song, ‘The Collection’. Significant elements for King of Sunset Town, The Uninvited Guest, Seasons End, Berlin and The Space… (plus the eventual ‘B-Sides The Release and The Bell in the Sea) were all in place for the album which the band worked on together to hone with Hogarth.
What all the band agree upon is that there was immediately a chemistry with Hogarth which reinvigorated the band, who felt rather liberated from the shadow of their former front man. It was also clear that this album was not going to sound like some of the more baroque old style progressive rock with which they had emerged in the early 80’s. It is apt that the first song on ‘Seasons End‘ is also the first song Steve Hogarth sang in his audition outside Pete Trewavas’ house (as it turned out he was allergic to Trewavas’ cats!) One of the things which impressed the band and helped persuade them to offer Hogarth the vocal role was his ability to immediately improvise the vocal melody in the audition. In his excellent autobiography ‘Marillion, Misadventures and Marathons’Mark Kelly recalled: ‘By the time he got to the refrain “watch a big wheel turning round…” we knew we had our singer’. Hearing Hogarth belt that out so dramatically and clearly on this remix one can understand the excitement of the band back then – there was definitely something special about this guy! Apparently, some of the music for King of Sunset Town is based on the aborted ‘Sunset Hill’ song with Fish (on the bonus disc of the 1999 remaster of ‘Clutching at Straws’), but a comparison will show King of Sunset Town is a polished and stirring piece a very long way from the embryonic ‘Sunset Hill’. There is an atmospheric synth, bass and drums opening before Rothery comes in with an anthemic guitar line, and the song recedes to the vocal section and Hogarth’s memorable opening line:
A Ragged Man come shuffling through, A Puppet King on the 4th of June
The original lyric was largely written by John Helmer, but whilst the album was being recorded the Tianenmen Square massacre was occurring in China on June 4th, 1989, watched with horror by the band on the TV news at Hook End Manor studios. Hogarth incorporated elements of that event in the lyrics, including the rhyming ‘puppet king’ of Chinese premier Deng Xiaoping and a later reference to ‘Before the 27th came…’ about one of the units of the Chinese army sent to attack the protestors. It is a testament to Hogarth’s lyrical skill that the introduction of this theme helped elevate an already good song with a fantasy feel into one of the finest opening songs on any Marillion album with a contemporary political perspective. It certainly announced Hogarth as a significant talent in his own right with his own distinctive lyrical and vocal skills. It also marked that the band were moving away from the intensely personal ‘confessional’ type introspection of much of Fish’s lyrics, and focusing on a wider range of issues and subjects.
Famously Hogarth had a bucket of tapes for ideas and from it he produced the almost complete and wonderful Easter, originally intended for his band How WeLive. Rothery added a beautiful, lilting guitar solo, apparently improvised from the start in the form which is still played today – intuitive, fluid and evocative. JeanPierre Rasle’s pipe playing added a subtle Irish flavour to the song. Hogarth has described it as his ‘Skye Boat Song’ for the Irish, and shared in his ‘Corona Diaries’ podcast that it is partly inspired by the poem ‘Easter 1916’ by W.B. Yeats. The gentle folky, melodic style is certainly a world away from the caustic, rocking anger of much of ‘Clutching at Straws’, signalling that this band was going in quite a different direction, and it remains one of the finest songs in the Marillion musical canon. The Uninvited Guest is a very different beast, with its origins in some ideas played around with at the aborted Dalnagar castle sessions with Fish in 1988. Ian Mosley starts the piece with a quirky drum part before the band drive it along at quite a furious pace, but with a hint of whimsy although the lyrics are rather sinister. The Uninvited Guest ends with a ‘cuckoo’ noise, indicating an invasion into our nest. Lyricist John Helmer has revealed it was about the shadow of AIDS in the 1980’s, the ultimate unwanted ‘guest’ in sexual relationships. Hogarth tweaked some of the lyrics and there may be a tongue in cheek reference to the previous singer, or maybe not?!
One of the most prescient songs on Seasons End is the outstanding title song with Helmer lyrics about climate change. A simple chiming guitar riff slowly emerges from the synth mists along with Hogarth’s mournful voice and there’s a real feeling of something portentous as the song builds. This is another piece with its roots in the Dalnagar sessions and an embryonic version of the music with different lyrics can be heard in ‘Beaujolais Day’ (another song available on ‘Clutching at Straws’ 1999 remaster. Fish later recycled some of the lyrics for ‘Fortunes of War’ and ‘Just Good Friends’.) This thought-provoking piece is a real showcase for Hogarth’s vocal range, rising gradually in passion. There is a sense of magisterial progression as the song gathers power but with restraint up to a tasteful guitar solo and an orchestral keyboard peak (which always made it a prime candidate for adapting for the 2019 ‘With Friends with the Orchestra’ project.) Hogarth’s evocative, echoing final words: ‘You never miss it till it’s gone, so say goodbye, say goodbye’ bring the main theme to a close but Marillion flow on with a wistful coda of tinkling synths, a subtly floating guitar motif, gentle throbbing bass and shimmering cymbals, whilst in the distance ‘h’ dreamily reprises some of the lyrics. It is a haunting, gorgeous finale to an ageless song still sadly relevant today.
Steve Hogarth shared in the ‘Corona Diaries’ that a waving hand from a window in Holloway Women’s prison was the inspiration for his emotive lyric of Holloway Girl, and is one of only two songs from ‘Seasons End‘ which was fully formed in the studio writing sessions with nothing drawn from previous sessions. Strangely, in the ‘Seasons Change’ documentary Hogarth stated that he has ‘never been quite been sure about it’. I view this as one of the most under-rated Marillion songs. Right from the start with Pete Trewavas’ unique opening playing the pick over his bass strings to give that distinctive metallic intro into Rothery’s subtle spectral guitar line as the tempo and volume increases to Hogarth’s impassioned cry ‘One day Freedom will unlock your door, so hold on, believe on…’ this is a song which grabs you and speaks for many of the poor inmates of the prison. Hogarth learned from a TV documentary that many Holloway inmates would have benefited far more from help with their mental health issues than from incarceration. This is also a real collaboration musically between ‘old Marillion’ and ‘new boy’ Hogarth with ‘h’ writing the music for the verses and Mark Kelly composing the more anthemic chorus passages.
Berlin is a city with a special meaning for Marillion as they recorded their most successful album ‘Misplaced Childhood’ there at the famous Hansa studios, and it turns out Hogarth also had some interesting experiences in this city with such a turbulent history. It probably helps to recall that Berlin was still a divided city back in 1988/9 when Rothery suggested it would make a good theme for a song to lyricist John Helmer. Berlin is probably the song most similar to their earlier much more old school ‘Prog’ style. This is hardly surprising as musically it can trace its roots back to the Dalnagar sessions with Fish in ‘Story from a Thin Wall’ (available on ‘Clutching at Straws’ 1999 remaster). Indeed, musically ‘Story from a Thin Wall’ is almost identical to Berlin so it seems they felt they were on to something. Fish later used the powerful lyrics from that song on ‘Family Business’ on his solo debut, but Marillion replaced them with some excellent new lyrics. Berlin may be one of Helmer’s best lyrics as his words seemed to capture the tense, desperate atmosphere of a city split by a wall built by a dictatorship imprisoning its population on one side and a rather hedonistic lifestyle on the other side, seemingly feverishly generated by the shadow of oppression over the wall. Hogarth sings it with such intensity and the band put on a stellar performance. An atmospheric opening led by Rothery’s delicately played guitar, supported with some suitably restrained bass and percussion, supports the scene setting vocals of decadence and desperation from Hogarth… and for the first time ever in a Marillion song a suitably seedy saxophone from Phil Todd emphasises the decadent ‘Cabaret’ feel of this city. It simply reeks of Berlin of that era. The whole piece recedes in the middle section with crows ominously crowing over a synth and guitar soundscape. The atmosphere changes and the tempo quickens as Hogarth screams passionately ‘With a Hole in our Hearts’. The whole band drives forward with a tidal wave of rock as Hogarth recites a litany of ‘the quick and the dead’, presumably all the sorts of varied people who yearned to cross the wall to freedom, many of whom were shot over the years. Balancing along the top Rothery teeters with a tortured and twisted guitar solo reflecting such desperation. This all fades to a mournful synth wash with ‘h’ reprising the opening lines about ‘the Mascara’d Blonde from the Berliner bar’, seemingly fated to endlessly repeat her prostitute life without hope. Berlin was a powerful statement, clearly designed to be a centrepiece of the album, with outstanding lyrics and great rock music fused together with such skill and impact… but the good thing is that in some ways that the Fall of the Berlin Wall less than a year after the album was released soon made this feel very much like a period timepiece – and that’s not a bad thing!
On the original vinyl release of ‘Seasons End‘ the little gem After Me was not included, and was released as the B-side for the single release of Hooks in You. It was available on the CD and cassette version and it is rightly on this deluxe edition in all it’s delicate beauty. Rothery picks out a gorgeous acoustic guitar intro with Hogarth’s richly resonant voice dripping with regret, singing words written for his then wife about how little time they were spending together. Halfway through a tinkling, shimmering keyboard cues in a much more assertive passage with the whole band backing his increasingly impassioned vocals. The finale with Rothery’s climbing arpeggio guitars is derived from the final section of another 1988 Dalnagar session song, ‘Voice in the Crowd’, (which as the name suggests Fish took the lyrics for the title song of his ‘Vigil’ debut solo album, and is another song available on the 1999 ‘Clutching at Straws’ remaster edition) – but this is a song which Hogarth very much owns with his own rather personal and touching lyrics.
Hooks in You was formed in the studio with Hogarth out of a cracking riff Rothery was jamming which Hogarth loved and they pulled together a cracking 3-minute rock/pop song. The high energy rock launches in spectacularly with drums and bass in 7/8 under the chopping guitar riff before a keyboard fanfare underpins that infectious Rothery riff, which Rothery has likened to It Bites whom he was into at the time. The lyrics are lightweight fluff about a girl having ‘Hooks in You’ – it’s simple, straightforward and just great fun. There’s no deep meaning or complexity – it’s just rock and roll, and also indicated that Marillion were not afraid to dive into some of the Van Halen type ‘hair rock’ type anthems popular at the time. The direct commercial appeal of this song marked it out as a single but in hindsight it may not have been the wisest choice as the first single of the album as it was so unlike anything Marillion had ever released, and it only reached Number 30 in the U.K. charts.
The finale of the album is the expansive and elaborate drama of The Space… In the ‘Seasons Change’ documentary Rothery shares that the music for this piece had its origins again in the 1988 Dalnagar sessions which he says was inspired by seeing Pink Floyd at Wembley. One can certainly hear the more expansive ambition of this piece with a relentless orchestral keyboard string intro with Hogarth’s echoey voice describing the fickleness of fate, as Mosley and Trewavas join in rhythmically. Rothery’s guitar swoops wraith-like above this increasingly weighty musical vehicle as it drives forward. The song then opens out with the refrain ‘The Space around the stars is something that you know’ with some lovely flowing piano from Mark Kelly underpinning the main driven theme. The initial opening section is recapitulated with added power, before the whole piece drops into a more introspective and restrained passage. However, this is a brief respite before the main musical storm returns with particularly Rothery’s overarching manically spasming guitars and Kelly’s choir keyboards. The final section commences with the echoing Hogarth proclaiming anthemically:
‘Everybody in the Whole of the World, Feels the same inside, Everybody in the Whole of the World…’
The band take it home majestically with sweeping synths and stately drumming and The Space… seemingly just fades away into the distance. It’s quite a dramatic and ambitious finale for the album. Hogarth explained in the 1997 remaster edition sleeve notes that the lyrics were partly inspired by seeing a tram in Amsterdam ripping the side off a car without even slowing down, and wondered whether the driver even noticed the great damage his vehicle had casually inflicted (indeed, the demo version of this song on the Blu-ray is called ‘Amsterdam’). Hogarth went on to state rather poetically ‘I have occasionally been the tram. And I have often been the car.’ There is also a rather curious song writing credit for this song, which apart from the usual band members, includes Colin Woore, Geoff Dugmore and FergusHarper. These were all previous band mates of Steve Hogarth in The Europeans (and Woore was also in How We Live). It eventually emerged that Hogarth had used the exclamatory ‘Everybody in the Whole of the World’ vocal section in an unreleased song by The Europeans called ‘Wrap me in the Flag’, and the opening vocal melody of ‘Amsterdam / The Space…’ had its origins in a How We Live song which never came to anything. Hogarth had used those sections thinking that as he had more or less written them that it was OK to recycle them in this song, but at the time of the album release this did cause a bit of a controversy. These former Hogarth band mates were subsequently all co-credited on the 1997 remaster, and it appears that Hogarth and Woore are now reconciled on this issue as the last line of this edition’s sleeve notes is a ‘thank you’ to Colin Woore for inspiring The Space… – who knows how we influence each other sometimes?
That’s the album – so what do you get with the deluxe edition, particularly if you are already familiar with the original album?
Michael Hunter has done the remix with his usual care and attention as is his way – he’s like an extra member of Marillion such is his intuitive relationship with the band and their music. To be fair, the original mix of this album by Nick Davis, who on the back of his good job on his first album as a producer went on to produce Genesis, was already of a very good standard. What we do not have here is the totally transformative experience heard with the massive improvement in the remix of ‘Fugazi’ which was frankly rather shoddy originally. This remix is definitely more dynamic and ‘brighter’ (if that makes sense) with more of the subtle nuances standing out, such as the ‘Cuckoo’ at the end of The Uninvited Guest. Seasons End does seem to particularly benefit from the remix with Hogarth’s gorgeous tone of voice full of restrained power and feeling and Kelly’s keyboards so lush. The improvements are not startling or revelatory which is a compliment to the original production, but they are noticeable. Of course, one’s perceptions about the differences in this remix will be largely affected by the quality of one’s sound system. The more you invest in such systems the more you are likely to hear some subtle improvements and differences… and if you’ve spent a LOT of money on your system you will REALLY want to hear those differences, even if in truth you may need the auditory senses of a bat to actually hear them! (😊)
As is customary with these deluxe editions CD’s 2 & 3 are of a live gig associated with this album. On previous deluxe editions these shows have been of shows contemporary with the release of the album, but on this occasion they have chosen to use their brilliant performance of the album at the U.K Marillion weekend in Leicester in May 2022. This has been the source of some disappointment from some fans because… well, I’m not entirely sure why? Some fans just don’t like change, which is ironic when you consider this album marked the biggest change in the history of the band. My guess the main reason the band did not include a recording from their first tour with Hogarth in 1990 is that there is already a cracking version of the 1990 Leicester show from that tour released on the ‘The Official Bootleg Box Set Volume 2’ in 2010. Normally that would have been the ideal live show to include with such a deluxe edition, but if the band had included it one can already hear some fans complaining that this material had already been released… and to be fair they would have had a point. However, another reason for using the 2022 live recording could be to show just how well this gem of an album has aged in the last 30+ years. The Leicester De Montfort 2022 show is an excellent performance with fantastic clarity of production and thrilling performance. Another difference between the 1990 show and the 2022 show (apart from the total lack of any Fish era material) is that the audience were now so much more familiar with the album and sang along and rapturously received such masterpieces as Easter, Seasons End, Berlin and the stellar, celebratory B-Side The Release with such joy. Holloway Girl really shines in this show, right from Trewavas’ cool metallic bass pick intro to Rothery’s steepling guitar runs and Hogarth’s impassioned vocals. This recording also completely dismisses any notion that Hogarth is starting to lose his voice – yes, he’s over 30 years older so his voice has aged and is not identical to 1989, but in some ways he has grown into these songs so much and wears them with such assurance, confidence and passion. Oh… and the other reason you won’t find me moaning about having the 2022 show on this deluxe edition is because I was there – it was a stunning gig and joyous experience. The main show featured only the ‘Seasons End‘ album and the associated B-Side The Release as the band now realise that one instrument they really do need to protect for a full three intense nights in a row is Hogarth’s voice, particularly as he does not hold himself back with the intensity and passion of his vocals. CD 3 comprises the encore of only two songs, but when those two pieces are the excellent and stirring epics of Gaza and The Leavers that was quite enough to satisfy the crowd.
The main attraction for many of these deluxe editions are the extras, including the ‘Seasons Change’ documentary in which each band member and the producer NickDavis are interviewed at the legendary ‘Crooked Billet’ pub in Oxfordshire where Steve Hogarth made his debut live with the band in a packed room of a country pub with hundreds in the roads outside! Previous editions have often interviewed the band collectively, but an advantage of individual interviews is that you hear more from band members whom are usually more reticent in a band / group setting. It is particularly interesting to hear more from drummer Ian Mosley, whom you can tell STILL loves being in this rock band after an early career of theatre and session work. This documentary is well produced by Tim Sidwell whom is becoming a past master at these presentations by Marillion.
The Blu-ray includes the album in 5.1 Audio which reveals the album in gorgeous surround sound clarity if you have the equipment. It sounds massive, expansive and more resonant in this splendid 5.1 version. The B-Sides and Bonus tracks from the ‘Seasons End‘ 1997 remaster are also included on the Blu-ray, including the excellent The Bell in the Sea and The Release. These are two more songs with roots in the 1988 Dalnagar sessions also available on the ‘Clutching…’ 1999 Remaster. ‘Tic-Tac-Toe’ provided a lot of the music for The Release, and ‘Shadows on the Barley’ was the basis for The Bell in the Sea. There will be some fans without that previous 1997 remaster disappointed that these tracks are confined to the Blu-ray on this edition. Interestingly there are also some previously unreleased demos of songs and song ideas, including a couple of cool string grooves from Dalnagar sessions which may explain just why this was a band who were confident that they still had something to offer without Fish. The Audio content is completed by a ‘Montreal Bootleg’ from a gig in 1990, presumably to satisfy the desire of some fans for an audio show from that era. As the name suggests the sound quality is not superior but for a bootleg it is very good quality, but to be honest if I want a show from this era I would put on the later ‘Rock Steady’ show.
The Blu-Ray is jam packed full of video content, including 3 promotional song videos which now look like curious time pieces. The Uninvited Guest does provide some fascinating imagery with Hogarth suspended in mid-air maniacally in an armchair! The previously released early documentary ‘Stoke Row to Ipanema’ is an interesting look back to a band striking out in a new direction with a new front man. Last and certainly not least, one of the crowning elements of this deluxe edition is the ‘Rock Steady’ Concert Film, which is the TV show recording of the audio show from Leicester De Montfort Hall in 1990, previously released on ‘The Official Box Set volume 2’ in 2010. The quality of the performance and the filming is excellent, with plenty of great close ups of all the band members (although Kelly seemed a little under -represented in that department!) Looking back now it is hard to believe that this was Steve Hogarth’s first tour with the band, such is the incandescent and staggeringly confident nature of his performance. What is also remarkable is the assured way he handles the Fish era material, especially Warm Wet Circles and Script for a Jester’s Tear – he was not trying to be Fish, but inhabited these iconic songs with his own personality.
Once again, the deluxe edition book and lyrics are decorated inside with some great artwork from Simon Ward and Rich Wilson provides some interesting sleeve notes. The box set artwork has caused some debate with some fans disappointed that much of the original cover design has been ditched or only subtly referenced. To be honest, I can understand why the band wanted to re-package the artwork. The original cover was a conscious effort at that crucial juncture in their career to remind fans that Marillion were still around with the original classic logo still in place (for the last time) and photographic imagery subtly referencing Fish era elements, such as the Jester’s face and hat. Fast forward 34 years later and there is absolutely no need for the band to re-use such self-conscious imagery and it felt entirely appropriate to leave the old logo and those other references well behind and use more subtly presented images of the Four Elements.
Personally, I can distinctly recall getting ‘Seasons End‘ when it first came out with some trepidation as I was a great Fish era fan. What was this ‘new bloke’ going to sound like and what he done to ‘my band’?! At the time I do remember thinking this is ‘pretty good’ – I may even have thought that rather grudgingly, such was my feeling for Fish at the time! However, as the years have gone by, I have increasingly come to realise that this album was far better than ‘pretty good’ to say the least. It is an excellent transition album, utilising some of the elements of their previous manifestation fused with a new style and sensibility introduced by an equally charismatic but very different front man.
What this deluxe edition of ‘Seasons End‘ most certainly does do is underline and remind us what an outstanding ‘debut’ album this was for the Hogarth era of Marillion. ‘Seasons End‘ was a magnificent re-birth of the band and ignited a different trajectory in their career, and this excellent deluxe edition cements its place as one of the finest albums in the history of Marillion.
TRACK LISTING:
CD One – Holidays in Eden 2023 Remix
King of Sunset Town
Easter
The Uninvited Guest
Seasons End
Holloway Girl
Berlin
After Me
Hooks in You
The Space…
CD Two – Live at De Montfort Hall, Leicester, 29th May, 2022) (pt 1)
King of Sunset Town
Easter
The Uninvited Guest
Seasons End
Holloway Girl
Berlin
After Me
The Release
Hooks in You
The Space…
CD Three – Live at De Montfort Hall, Leicester, 29th May, 2022) (pt 2)
Gaza
The Leavers
BLU-RAY DISC
Audio Content:
‘Seasons End’ 2023 Michael Hunter Remix – 5.1 Audio Version:
Same Track listing as CD 1
B-Sides, Demos & Early Versions
Strings Groove (Dalnagar Castle – August 1988)
String Groove (with Synths) (Dalnagar Castle – August 1988)
Amsterdam (The Space… Demo – March 1989)
Easter (Demo – March 1989)
Hooks in You (Early Version – March 1989)
At the End of the day (The Release – Early Version – March 1989)
Sunset Town (M8 idea – H Dictaphone – March 1989)
(All tracks below previously released on 1997 remaster edition)
The Uninvited Guest (12” Mix)
The Bell in the Sea
The Release
The King of Sunset Town (Demo)
Holloway Girl (Demo)
Seasons End (Demo)
The Uninvited Guest (Demo)
Berlin (Demo)
Bell in the Sea (Demo)
Montreal Bootleg – Le Spectrum, 2nd & 3rd February, 1990
The King of Sunset Town
Slainte Mhath
Script for a Jester’s Tear
Easter
Warm Wet Circles
That Time of the Night (The Short Straw)
Holloway Girl
Berlin
Seasons End
Kayleigh
Lavender
Heart of Lothian
Hooks in You
The Space…
Video Content:
‘Seasons Change’ – Documentary Film (83 Mins)
‘From Stoke Row to Ipanema’ – Documentary Film (63 Mins)
Rock Steady Concert Film
Live at Leicester de Montfort Hall, 1990 (90 mins)
Promo Videos
Hooks in You
Easter
The Uninvited Guest
MUSICIANS:
Steve Hogarth – Voice
Steve Rothery – Guitars
Mark Kelly – Keyboardsm
Pete Trewavas – Bass
Ian Mosley – Drums & Percussion
With:
Phil Todd – Saxophone (Berlin)
Jean Pierre Rasle – Pipes (Easter)
THANKS:
Progradar would like to thank Fraser Marshall of the website:
‘Marillion – Explanations of Song Elements’ for his permission to refer to his blog about some of the background to the songs.
Big Big Train will be on tour this summer and to celebrate and promote the forthcoming ‘The Journey Continues’ Tour this August & September, the group have been sharing videos of songs filmed on tour last year. The band recently shared the videos for “The Florentine” and “The First Rebreather” recorded in September 2022 at The Boerderij in The Netherlands.
The band is pleased to share the performance clip of “Atlantic Cable” recorded live at Friars, Waterside Theatre, Aylesbury, UK in September 2022. The live audio recording of the song is included on the band’s forthcoming Ingenious Devices album to be released on 30th June 2023 (full details below).
You can see the video of that performance here:
Bassist Gregory Spawton says: “One of the recurrent themes we’ve explored in Big Big Train over the years is how humans have been able to harness technology to make the world a better place. Atlantic Cable is a song about the laying of the first telegraph cables across the Atlantic Ocean in the 19th century. It was a mighty endeavour which helped to bring people together. We really enjoyed playing Atlantic Cable at the legendary Friars, Aylesbury last year and are pleased to share this film of the performance.”
Keyboardist Oskar Holldorff adds: “Following a warm-up show the night before, the gig in Aylesbury was my first official performance with Big Big Train, and what a night it was! Atlantic Cable was positioned early on in the set, and it felt great to work our way through a proper BBT epic in the beautiful Waterside Theatre. I particularly enjoyed the instrumental section starting at the 11-minute mark, in which Rikard Sjöblom’s brilliant clavinet solo was followed by Dave Foster shredding the house down!”
Saturday 26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands Sunday 27th August – Markthalle, Hamburg, Germany Monday 28th August – Stora Teatern, Gothenburg, Sweden Tuesday 29th August – Cosmopolite, Oslo, Norway Wednesday 30th August – Fryshuset Klubben, Stockholm, Sweden Thursday 31st August – Viften, Copenhagen, Denmark
Saturday 2nd September – 2 Days + 1 Festival, Revislate, Italy Sunday 3rd September – Z7, Pratteln (Basel), Switzerland Tuesday 5th September – Neuberinhaus, Reichenbach, Germany Wednesday 6th September – Carlswerk Victoria, Cologne, Germany Thursday 7th September – Colos-Saal, Aschaffenburg, Germany Friday 8th September – Mozart-Saal, Stuttgart, Germany
Sunday 10th September – The Queen’s Hall, Edinburgh, UK Monday 11th September – Town Hall, Birmingham, UK Tuesday 12th September – Cadogan Hall, London, UK Wednesday 13th September – Cadogan Hall, London, UK
Support at all shows except Wednesday 13th September comes from rising Norwegian stars Dim Gray, who feature BBT’s Oskar Holldorff. There will be no support at the Wednesday 13th September show.
Big Big Train will release the album titled ‘Ingenious Devices’ on 30th June 2023 on CD, double vinyl (black and sky blue vinyl) and hi-resolution (24/96) Bandcamp download. ‘Ingenious Devices’ will be available on all major streaming platforms from 28th July 2023.
‘Ingenious Devices’ features 59 minutes of music, including new versions of “East Coast Racer”, “Brooklands” and “Voyager,” which prominently feature an elite 17 piece string section recorded at Abbey Road Studios in London and have been re-mixed for this release.
Additionally, ‘Ingenious Devices’ includes a previously unreleased orchestral piece called “The Book of Ingenious Devices”, which links “East Coast Racer” and “Brooklands”, as well as a live version of “Atlantic Cable”, which was recorded on the band’s tour in September 2022.
Norwegian progressive rock group AVKRVST will release their debut album ‘The Approbation’ on 16th June, 2023. The Approbationis a concept album about a bleak soul who is left solely with his thoughts, isolated on a cabin deep into the dark forests, far away from civilization. The 49 minutes long concept album contains 7 songs, which take the listener though the thoughts of a man struggling towards the acceptance of death, being hauled into the abyss.
Previously released as a single on streaming services, the haunting new video for the album’s second single “Arcane Clouds” is out today and can be seen here:
The band had this to say about the track:
“Arcane Clouds is the second single off the concept debut albumThe Approbation, and the anthem of forsaken hope. An inner voice trying to convince you to fight back and keep your head above water, while the ghosts are hunting you down.”
At the young age of 7 years old, Martin Utby and Simon Bergseth made a pact that they would form a band when they got older. Now, 22 years later they’ve created an album inspired by everything they grew up listening to from Mew, Anekdoten and Porcupine Tree to Opeth, Neal Morse and King Crimson, yet unique in its own right.
The Approbationwas written and recorded at a cabin in Alvdal (Norway) during a rainy, cold fall and winter. Simon (composer, guitars, bass and vocals) and Martin (composer, drummer and synths) were later joined by Øystein Aadland on bass/keys, Edvard Seim on guitars and Auver Gaaren on keys.
Sonically, The Approbationis a massive sounding piece of music. It’s everything from lush, melancholy moods to heavy, more aggressive atmospheres capturing the feeling of a cold, gloomy fall – a dark sky, filled with gazing stars above the mist.
Watch the video for the first single “The Pale Moon” here:
The band have shared a video on how to pronounce “AVKRVST” which you can see here:
