Progradar

Progradar Big Big Train Feature Part 1 – Review – Stone & Steel – by Progradar

There’s a place inside us where we can still be that small child who was in awe of every new experience, every sight and every sound. You know that unfettered feeling of sheer joy when you happen upon a picture book scene that is near perfect. Living in Yorkshire, I get to see and appreciate these virtually every day and they still fill me with a sense of wonder, life’s shackles thrown off momentarily by the sheer beauty of nature.

To be honest, we need these moments of purity and astoundment to counter the wear and tear of everyday life, to stop us being ground down by what can become a normality of drudgery and boredom, a very grey day indeed!

For me, music can often release that inner child and leave me enjoying the purity of something that is intended for you to enjoy and make your very life a better place to be. I have found that, as I get older, music touches me with more and more intensity and really has become my raison d’être and why I will happily get out of bed in the morning to face every new day as a fresh challenge to be enjoyed and overcome.

I’ve been a big fan of Big Big Train for a while now and a self-acknowledged ‘passenger’ along with many other fans of this great English progressive rock band.

After the undoubted success of ‘The Underfall Yard’ and the ‘English Electric’ albums (Parts 1& 2 and then ‘Full Power’) the band decided that the time was right to take to the stage for live performances again.

Unsure how easy it would be to do justice to the band’s recordings on stage, Big Big Train’s now established line up of David Longdon, Greg Spawton, Andy Poole, Danny Manners, Dave Gregory, Nick D’Virgilio, Rachel Hall and Rikard Sjöblom decided to try out live renditions of their songs in a controlled environment.

The wonderful surroundings of Peter Gabriel’s converted water mill, Real World Studios is where the recording took place and, to add even more lustre and brilliance to the event, the five piece brass ensemble that featured on both ‘The Underfall Yard’ and ‘English Electric’ albums was included.

Real World website

Recorded in August 2014 ‘Stone & Steel’ (the title referencing both the band’s lyrical themes of English landscape and history, and the very fabric of Real World Studios itself) documents the weeks rehearsals and the band’s transition from studio to stage.

‘Stone and Steel’ features performances of nine songs recorded live at the Real World sessions and four songs recorded live at the band’s London gigs in August 2015 alongside interview and documentary footage. All live performances are presented in 5.1 and stereo.

I’m not one known for staying power when it comes to watching music DVDs, I tend to dip in and out again but I sat through the whole three hours (including bonus material) in one sitting and loved every single minute of it, that inner child was transfixed by the moment and the spectacle.

In fact, the day I got home and saw that ‘Stone & Steel’ had been delivered, I couldn’t help but be impressed by the quality and design of the Blu-Ray packaging along with the glossy 64 page booklet with some fantastic pictures of the Real World sessions and the live concerts at King’s Place (although my head is obscured by the much more interesting features of the lovely Rachel Hall).

Honestly, like a kid with a new toy, I couldn’t wait to get in in the player and press ‘play’ for the first time……

As with all things BBT, ‘Stone & Steel’ was never going to be a mere performance blu-ray, you always get more than you expect from these guys and the excellent documentary style pieces that intersperse the music are a proper insight into the band and the whole Real World recording experience.

The opening introductory video of the band members arriving and setting up is really interesting as is Greg’s reluctance to be in front of the camera, not that he has much choice in the end!

Having been lucky enough to have been invited to the ‘Folklore’ album launch (more about that and a review of the new album in the next installment…) I get even more of a shiver up my spine as they set up for recording in the ‘Big Room’ and we see David Longdon arriving at reception, I’ve been there!!

We see the unveiling of a work of art, David’s B4 joke (it’s funny, honest!) and you begin to feel part of the whole process, received into the welcoming bosom of the band as a participant in something special.

These interludes, despite being an enjoyable and definitive part of the whole experience, are mere introductory pieces to the main event, the actual musical performances.

The ‘live’ renditions of songs that are extremely familiar to all fans, like members of our own family, are something quite special. From the true story of a man called Alexander Lambert who dived heroically into the flooded Severn Tunnel in 1880, the wonderful The First Rebreather, through the spine tingling version of Master James of St. George with its delightfully intricate vocal melodies, to the rollicking toe-tapping tale of forger Tom Keating that is Judas Unrepentant, I was kept rapt in attention to this masters of their musical art.

Normally I like to absorb music while I am doing something else, almost a process of aural osmosis if you like but, this time, I just sat on the settee and turned up the volume to feel like I was actually there in the studio. This feeling of integration is only enhanced by the rather whimsical delivery of perennial fan favourite Uncle Jack. Performed acoustically in the ‘Wood Room’ at Real World it has a folk meets hillbilly feel and I love its childlike and carefree feel. Dipping out of material garnered from ‘The Underfall Yard’ and ‘English Electric’, we are treated to a rather enchanting & pared-back rendering of Wind Distorted Pioneers from ‘Goodbye To The Age of Steam’, one that takes you away to another place of calm serenity.

Then the lump in the throat nostalgia of Summoned By Bells takes you on a meandering and emotive journey of yesteryear. A song inspired by Greg’s memories of his mother and “the golden thread of continuity running down from the past.” There then follows a haunting version of Kingmaker, a track that originally appeared on their 1992 demo album, ‘The Infant Hercules’. I’d heard this before, a reworked version appeared on the import and iTunes version of the ‘Far Skies Deep Time’ EP released in August 2011, but this interpretation is utterly spellbinding.

There’s no doubting that Big Big Train’s studio albums are works of art in themselves but, to see and hear these singular musicians actually performing them in a live situation, controlled or not, makes you feel quite privileged.

To close out the Real World recordings we are treated to two of the band’s seminal works, both from, possibly, their most venerated piece of work ‘The Underfall Yard’. Here the brass band really come to the fore on this recording, on both the title track and the electrifying brilliance of Victorian Brickwork, these musicians add to the band to give something just, well, utterly astounding. The hairs on the back of my neck rise as soon as I hear the first strains of the brass, something that has become definitely synonymous with Big Big Train now.

There’s over thirty minutes of music spread over these two masterpieces and not a note is wasted. Almost hypnotic in their delivery in this unique setting, it really is a musical experience like no other, you sit rapt, your attention focused on the performers in front of you on the TV set. There is no disappointment just a phenomenal performance of two of the band’s finest songs and, as the final notes of Victorian Brickwork play out, I am reminded of why I love music and why this band attract such devotion from their fans.

But it doesn’t end there, oh not by a long shot! I was also a lucky blighter who was able to attend one of the Kings Place concerts in August 2015 and, as a very welcome addition to the blu-ray package, we are treated to four tracks from those remarkable performances.

(That’s me, right behind Rachel’s right shoulder, I know, you can’t see me!)

From the edgy, sing-a-long high energy of Wassail, through the tear inducing wistful beauty of Curator of Butterflies and the achingly poignant brass enhanced sentimentality of Victorian Brickwork right to the grand finale of East Coast Racer, it was an unforgettable experience and one that I will never forget as I was present at one of those eagerly anticipated shows.

The stunning memories that come flooding back can almost threaten to overwhelm you, such is their severity. I said at the time that it was a life affirming weekend and I stand by that now, even as I cringe at the lone voice (mine) shouting out “apart from the encore!” as a reply to David Longdon’s statement that East Coast Racer would be the last song……

For fans of Big Big Train there is never a feel of ‘Stone & Steel’ being a completist release, one that you buy just so you have an artist’s full collection of works. It stands alone as being brilliant retrospective of the recent endeavours of this most English of Progressive Rock bands. If you are new to this wonderful world, it is also a great introduction to them and one from where you can branch out and further your education (for further it you most definitely should!).

For this inner child it is a musical release that, once again, takes me back to that moment of wonder and delight, that feeling of pure joy that, in this weary modern age, we rarely feel nowadays.

Released 21st March 2016.

Buy ‘Stone & Steel’ directly from the band.

Review – Ticket To The Moon – ÆSense of Life – by Kevin Thompson

Hailing from Basel, Switzerland, founded in 2003 by DANIEL GOSTELI (Danny) – drums, vocal and percussion and ANDREA PORTAPIA (Andy) – guitars and vocals, they went through several changes before MATTHIAS ZWICK (Matt) -keyboards and synthesisers and GUILLAUME CARBONNEAU (Gys) – bass completed the current line-up in 2007.

3TM’s sound is a blend of metal influenced, atmospheric progressive rock. Three years after their first opus, ‘Dilemma on Earth’ they emerge with new album, ‘Æ Sense of Life’. A more passionate and personal album, the band wanted to incorporate things they feel matter and what made them who they are.

Divided into seven sections and running to 57 minutes, it leans to the lighter side of prog metal, with splashes of heavier elements dropped in at intervals, for added impact. They fall into the same area as Dream Theater, (though definitely superior to their latest concept), the up and coming Long Distance Calling and Leprous.

Sliding in to the instrumental INTRO on ominous rolls of foreboding keys over waves falling on the shore and gull like noises with echoing chords, leading seamlessly into THE CALL WITHIN, the first track featuring vocals, written by Gys, struggling to make sense of his own worth. The loss of a father and fatherhood a theme running through the next few tracks.

Interlinked, mostly instrumental, tracks follow in PATIENT CONFORMISM/RESSURECTION, with spoken German passages about the life of the “extremely intelligent” species, ants, with their complex behavioural strategies,defence mechanisms, rules and hierarchy. Crunching riffs and throbbing drums both race and slow down in turmoil with mellow Marillion like keyboard passages and aching solos.

Whilst there are vocals on many of the tracks, the meat of the album is taken up by the excellent musicianship of the band members, never straying too far down the road of self indulgence, showing a maturity in their playing, beyond their apparent years.

Dan’s heartbreaking spoken lyrics of a FATHER committing suicide and the Son finding a book containing his innermost thoughts and poems, follows. Do we tell children the truth or try to cover it up to soften the blow? And how does it affect them as they grow and learn the true details? There is never an easy way.

Where death stalks there is always life to balance. In FOETUS, the fear of becoming a Father manifests itself in disturbed dreams echoing a lack of self confidence, only to be banished in waking and the reassurance of his Wife that it is all part of being a family.

Two more joined tracks, in PERPETUAL I&II, follow the daily, repetitive and monotonous life of a man who in his younger days had such dreams. The feeling of being trapped conveyed in the musical passages from fine piano to punching guitars. The wish to escape but again the fear of doing so and the risks it might run, preventing a breakaway despite feeling stifled, bored and depressed. Trapped in an endless circle of commitment, merely existing.

A synthesised string like INTERLUDE of melancholy, mixed with keyboards flutters momentarily before a Gary Numan like synthesiser backed final track, HYNKEL. The inspirational use of the Charlie Chaplin speech from the ‘Great Dictator’ (as his character Adenoid Hynkel) to give a message of hope, is pure genius and finishes the album on a high as all the instruments rise to the climax of the oration.

They often say the second album is the difficult one, not for these boys. I predict bigger things to come and look forward to hearing them. Well done Gentlemen.

Released 15th December 2015

Buy ‘Æ SENSE OF LIFE’ direct from the band’s website

Review – Elaine Samuels & Kindred Spirit -Phoenix Rising by Emma Roebuck

I will be honest, Kindred Spirit and Elaine Samuels are new names to my ears so, when this landed into my inbox, I had no expectations or preconceived ideas as to what I was going to hear. I rarely read the promotional material before I hear the music. As ever, the first listening is in the dark late night/early morning to get the feel and impact of the 12 tracks and the flow of the album.

I have a love/hate relationship with the Folk based aspect of the progressive music scene. When done well it can be outstanding but when it is done poorly it feels too inward, regressive and inaccessible to my ears. I will start by saying this album is not in the latter category and is very close to the former.

It feels odd that I review the Album shortly after the sad passing of Dave Swarbrick, fiddler supreme, a player whose style is obviously an influence on Gavin Jones, the violin player on the album. The Violin is the primary lead instrument on this album and it is used well and with power and skill. On It’s not too late it counterpoints Elaine’s voice superbly, giving strength to the mystic quality of the lyrics that Jon Anderson would be proud to produce.

The Cover version of Horse with no name blends directly into Drunken Landlady and it feels like Stéphane Grappelli had joined a jam session with a very Jazz feel with a Celtic Flute vs. Violin battle going on. This is where ex Judas Priest Drummer Les Binks shows his skills driving the song from behind the beat. Bizarrely I am reminded of the Horslips’ ‘Book of Invasions’ here, but it works very well.

Feed the Fire is a very prog rock driven song, with the emphasis on ‘Rock’, a heavily distorted bass and guitar combine cleverly with some fine soloing from Flute, Violin and Guitar.

I am not sure whether Kindred Spirit, as a track, is another of those songs that reflect the journey of the music or the journey with a fellow musical traveller given form but it opens the album well.

Children of the Stars has some beautiful Sax playing in it and is a truly great piece of music with great harmonies and structure. I have a small suggestion for the next album – more Sax please!

The title Track The Phoenix is obviously a deeply personal lyric of loss and renewal reflecting her own personal back story but, then, I get the feeling all of her lyrics come from that place inside her where we all hold our pain and seek catharsis.

These songs have been written by Elaine over a long period of time from the start of the century up to 2015. The main themes I detect are about renewal and celebration preceded by pain and toil. It’s not a concept as such but, like many song writers, I know the muse comes from a certain place in this case.

The inevitable comparisons can be drawn and this where I refer to the promotional notes provided by Stephen Lambe. If you like Renaissance, Curved Air, Solstice, Touchstone (in their softer moments), Big Big Train and, obviously, Jethro Tull and Fairport Convention then you should definitely check it out!

Re-released 3rd May 2016.

buy ‘Phoenix Rising’ Direct from the band

Review – Preacher – Aftermath – by Gary Morley

The wallet emptier complained that I’d not done my homework. Where was my review?

Ah… Don’t own a dog so cannot claim that it ate it.

Can’t claim I left it on the bus.

So , honesty being the best policy, I confessed to not having the time to listen – all these new albums venturing out into the world, taking their first steps to fame and fortune and a place in the queue ( sorry Andy Tillison, I’m sure that’s a copyright infringement J )

So, being a good listener I volunteered to listen to “Aftermath”, the second album from Preacher. I confess I volunteered for this based on having just watched the pilot for the Amazon TV series of the same name and Martin mentioning that they were a bit Floydian.

A Bit Floydian-That’s more music to my ears.

And there are touches of Gilmour and crew throughout this musical book. There are also echoes of Demon too, especially in the vocals.

Keeping up with the Floydian similes, Roger Waters’s influences abound, both in vocal phrasing and in lyrical dexterity.

Preacher– I’m not too keen on the name. Remember all those NWOBHM “ER” bands? No? Exactly. The Urban legend of the curse of the “ER” band name strikes fear in those of us that lived through that era.

But then, Gandalf’s Fist? Spock’s Beard? Who am I to judge a name? A rose still smells, no matter what it calls itself.

Anyway. Should you buy this album? Do you like a big expansive drum sound? Nice piano playing? Killer guitar hooks and proper solos? You do, Then stop right there.

Go to Bandcamp.

Purchase.

Download.

Enjoy.

The songs are not long in a ‘Supper’s Ready’ time frame, but they grow and breathe and unfurl over 5 minutes or more. You are taken on a journey with the sound; there are choirs, drums and beautiful soaring guitar lines on the opener that invite the Pink Floyd comparisons.

This is not the slavish cloning of PF, but an Airbag style exploration in that universe. If Hollywood can reboot films, or just remake them and people accept it, then there is more than enough room for Preacher to exist and if they produce music of this quality, then they deserve your money.

Welcome To The Fray continues further into the black hole at the centre of The PF universe, with a rhythmic vibe lifted from “Echoes”, and layered over this is a guitar solo that Mr G would be proud of. This is “Welcome to the Machine” rebooted with even more anger, almost a punk snarl from the vocalist. There is a sense of menace from the way the track builds, I would love to this live as I can picture the band getting locked into the groove and funking it up. Yes, Prog goes funky here, it’s all in the drumming. I’m not a musician, and it’s hard to explain without doing the “sounds like” sketch, but the rock solid groove with the chopping guitar over it, the angelic female voices… bliss. Shame it fades as I could listen to that groove for a lot longer.

The PF ambiance only hit home on the third listen as I started typing this rubbish.

It’s a lazy and almost stereotypical reviewer tactic to list the influences that spring to mind as you want people to relate to where the music you listen to takes you. So let me play join the dots with the tracks

Preacher take me back to my youth, when I was discovering new bands, new albums at a vast rate.

War evokes the band Demon and their album “The Plague”. It’s the vocals that trigger this memory, resonant and on the edge of a scream, but never out of tune, a classic “rawk” performance. The song grows from a military snare drum, with layers being added to evoke the atmosphere, then that voice comes in. It’s the calm before the storm moment, Imagine “Soldier of the Line” by Magnum meeting “The Plague” by Demon. That’s the vibe.

Hold On is the big ballad. A blast of guitar heroics, very Francis Dunnery in tone and feel, but with that Roger Waters soundscape under it . Another ‘Play Loud’ track.

Vinyl, is a punkier, more aggressive band. All angular guitars and angst gripped emotion. Rallying against the music business might not be a great career move for a signed band , indentured to a multinational conglomerate, but the band are outside of that, like a lot of bands today, forced to “Do It Yourself” It’s not punk , it’s post punk, or “new wave” with an amazingly deep drum sound and more guitars swirling around .

Sleep, if we are playing our “spot the influence” is very Roger Waters / Final Cut , a big powerful song of desperate longing. I loved “Final Cut” and love this track for evoking it. The protagonist tells of waking from the same dream every night. A dream of “visitors”, his friends that he wants to return. Are They Aliens? Lost loved ones? Who knows? The beauty of this album is that the words wash over me , I acknowledge them on one level, but it’s the guitar that takes centre stage.. I always was a sucker for a good guitarist. Some might sat a bit too David G at the climax of this track, but I loved it.

Vision is back in the Pink Floyd/ Alan Parsons / melodic universe where the melody is strong and the craft of song writing is not relegated to a pile of repeated phrases and earworms.

The song grows and grows and the accompaniment reflects this. You know that there is going to be an epic guitar break any minute now… there’s a dramatic pause and the song is turned through 90 degrees and we embark on a piano led diversion out into the country before a squeal of guitar drags us back to a funky little place on the edge of prog town where the band kick up a storm .The coda demonstrates the “chops” of the band nicely with great guitar and piano to the ending choir of joy.

Next up, we have Always, a slower, more mature vibe, the drums drive this remorselessly before we all stop, a solitary guitar line then cues the return of the drums and a joyful organ, combining to lay a bed of notes for the long awaited guitar solo . Which delivers? Not in a too many notes to count shredding battle, but in a stark white light, head back, foot on monitor show stopping blast of sonic joy. This I want to see live. I get a blast of Prince, at one with his guitar at the Climax of “Purple Rain”, Francis Dunnery coaxing pure emotion out of his start at the climax of “You’ll Never Go To Heaven” too. It’s a real hair on the backs of your arms emotion.

And it leads us to War reprise – a big slab of guitar setting out the framework for a sonorous vocal performance that is intense and full of depth and emotion. It’s a climatic point, with big Led Zeppelin Levee style drums under a guitar and keyboards piece that deserves to be played loud through speakers, played loud enough that the neighbours can hear the emotion in every note.

This is the big guitar solo on an album that oozes classic guitar shapes and colours. The acoustic guitar is the bedrock of Always. Another strong vocal performance, but I must mention those drums. This track has a real “live feel to the drumming, it add a further layer of flavour that come s from a real band playing in a room at the same time.

There, a lazy review to an album that’s anything but lazy.

P.S.

The CD arrived today and sounds even better.

One caveat. The track listing is not as per the sleeve or Bandcamp. For reasons that are beyond me, “Sleep”, track 5 on the cover and the Bandcamp page is actually track 7 on the CD. With my Mental map adjusted, I’m now listening to the CD .At Volume. It sounds terrific. Swirls of synthesiser, thumping drums and awesome guitar . Yes , It’s Prog, but with guitars set to stun , Blue Oyster Cult style.

Released 2nd April 2016

buy ‘Aftermath’ from bandcamp

Review – Cosmograf – The Unreasonable Silence – by Progradar

“The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.”

The Myth of Sysiphus – Albert Camus

Camus introduces his philosophy of the absurd: man’s futile search for meaning, unity, and clarity in the face of an unintelligible world devoid of God and eternal truths or values. Does the realization of the absurd require suicide? Camus answers: “No. It requires revolt.”

Let me introduce you to the fifth studio release from Cosmograf, ‘The Unreasonable Silence’ is an existential concept album with an alien theme, based on ‘The Myth of Sysiphus’ by the French philosopher Albert Camus.

“It’s essentially a more modern re-telling of Camus’s writngs about makind’s struggle to understand the universe and our role within it”, says the concept’s creator Robin Armstrong.

“Camus desribed man standing face to face with the irrational, longing for happiness and reason which leads to a confrontation between the human need and the unreasonable silence of the world.”

Cosmograf is a progressive rock project lead by Robin Armstrong, a multi instrumentalist progressive rock musician from Waterlooville nr Portsmouth UK. The sound is rooted in 70s classic rock with a contemporary and progressive twist. Influences are Black Sabbath, Deep Purple, Pink Floyd, Genesis, Yes, Porcupine Tree, Muse and many others.

Through four previous albums, ‘End Of Ecclesia’ (2009), ‘When Age Has Done Its Duty’ (2011), ‘The Man Left In Space’ (2013) and ‘Capacitor’ (2014) Robin has been joined by a ‘who’s who’ of musical collaborators to create amazing jewels of intense musicianship woven around immaculate storylines and ‘The Unreasonable Silence’ sees him tackle his most ambitious project yet.

Music produces something inside me that mere life cannot replicate and Cosmograf’s work has, on occasion, opened up the universe with a clarity I haven’t seen before so a new release is always something I am going to look forward to with intense longing.

Robin’s cast of distinguished guest performers includes Nick D’Virgilio (drums), Nick Beggs (bass), Dave Meros (bass), Rachel Hawnt (vocals) as well as a number of voice acting contributions (including my dulcet tones, but don’t let that put you off).

Between our quest for knowledge and refusal of the world to give up its secrets, lies the concept of absurdism. Camus, in his original essay, describes Sysiphsus condemned to a pointless labour, to illustrate the absurdity of human existence. Robin Armstrong twists the story to portray a modern character disillusioned with his own life to the point that he believes his destiny may reside in another world.

‘The Unreasonable Silence’ explores the themes of paranoia, social withdrawal and conformity, and ultimately the search for meaning in our own existence.

“The Absurd is born of this confrontation between the human need and The Unreasonable Silence of the World.”

Echo $abduction is the atmospheric instrumental opening to this theatrical feeling work. It fades in quite ominously with a languid guitar line and atmospheric keyboards. The sound of a V8 Mustang engine piercing the uncanny and supernatural gloom beginning this mysterious paranoiac tale perfectly.

“10ft tall and eyes of black, I saw them on this lonely track, Lights around me in the sky, couldn’t move I thought I’d die.”

This Film Might Change Your Life begins with a distorted soundtrack and then the drums join in before the whole thing erupts with a video game vibe. A voice over holds you rapt, the music rooting you to the spot, holding position perfectly. The cinematic feel is tangible, it’s like a movie running in your mind to which you can only hear the soundtrack. A big riff kicks in, rhythm section complimenting perfectly before Robin’s guitar breaks free on a convoluted, contorted guitar run of intense brilliance. The wait has been worth it, this is Cosmograf and then some. A calmer mid-section precedes another spine-chilling voice over, the tension building before the vocals finally begin. The story begins of an encounter with a supposed alien, the protagonist’s terror is almost tangible. The music and words depict the paranoia perfectly and you are already awaiting the next instalment with bated breath…..

“These toys are the same again, They make the same noise, The feel of the plastic men, imagine their voices.”

A dolent piano note opens Plastic Men, overlaying a telephone answering machine filling up with messages for the missing man. There’s solemn tone pervading the track as the vocals begin with an impassioned note. Dark thoughts from a disillusioned mind, the music imparting this feel perfectly. A massive riff hits you along with Robin’s tortured voice, almost screaming the words. This ebb and flow between the almost cathartic verses, low key and downbeat, and the thunderous delivery of the chorus really plays on the mind allowing you to sympathise with what misapprehensions may be present. Another worried telephone message closes the song with a disquieting feel.

“Ask me what I can see, ceiling pushing on me. Feeling stress in a queue, lost without you.”

Uncertainty and anxiety are at the core of the notions here and the opening to Arcade Machine is no different. Tension builds again, the lyrics convey a man lost in his own world and the music just builds on that thought. Cinematic and theatrical concept music that you feel a part of and hang on every note and word. A wild and heavy riff and impassioned vocals lead into the seriously icy cool chorus, keyboards and guitars whirling around all Pink Floyd like and the bass and drums providing perfect accompaniment. There’s quite a 70’s psychedelia party going on under the conspiracy theory, mind-bending and multi-coloured and you find yourself slap bang in the middle of someone’s kaleidoscopic meanderings. The music is utterly engrossing and absorbing, the guitar solo tears at your psyche, never letting go, deliciously compelling……

“Born. Live Die. Insert a coin, lose a life.”

“The TV’s on. Addiction Strong.”

“John Gibson we are coming for you…”

RGB is a dramatically tense four minutes of delicate music overlaying Robin’s hauntingly whispered vocals. The tension is delivered more by what you can’t hear than by what you can, like the days when you hid behind the sofa watching Dr. Who. It seems to have a hallucinatory atmosphere like you are trapped in the mind of the man who is confused by reality. I really like its nostalgic and obsessive ambience.

“I don’t believe you. When you say it’s brighter on the outside. These walls are friendly. They don’t intimidate or argue or exhaust me.”

A psychedelic guitar opens Four Wall Euphoria with a far out feel to it before the vocals begin, telling the story of a man deep in his paranoia. Stuck inside his own ‘four walls’and happy to be separate from the outside world. A real Pink Floyd sound permeates the whole song with the epic backing vocals from Rachel Hawnt,the 70’s infused keyboards and the funky guitar note. There is a really insular aura emanating form the track, the lyrics speaking of fear, dread, religion and medication. Superb musicianship enhances the believable storyline and you feel as if you are in the middle of a man’s very personal breakdown.

“Hit the road with a tank full of gas. Watch the gauge if you’re driving too fast. Take it slow and the journey is long. Go too fast to the nd of the song.”

For those of a delicate nature, look away now, my voice over is somewhere in The Uniform Road, I won’t spoil the surprise any more. The edgy, suspenseful atmosphere is brought to boiling point by the phone messages and industrial feel to the opening. Harsher notes from the keys and percussion underscore a hushed vocal before a heavy, staccato riff and Robin’s piercing voice ramp up the intrigue even more, real ‘edge of your seat’ stuff. Is it just paranoia or are they really coming? The riff has a feel of Led Zep’s Kashmir to it and the ever increasing power of the vocals give it real stand out presence. The 70’s edge is more and more of an influence as the Led Zep comparison increases. There’s a real sci-fi feel to the off-kilter guitar solo with the impression of lasers firing and you sense you could be in the middle of an alien invasion but, is it real or imagined, this song really screws with your mind in a brilliant way.

“I’ve seen them….”

“I drive to this field. It’s lonely. They need my design. They need my mind.”

Spooky and euphoric, the groove of The Silent Field is definitely full of expectancy and suspense. Our protagonist believes he is going to meet the aliens and seems happily resigned to his fate. The song gets under your skin and definitely leaves a question mark in your mind.

“Leave the ground, I see myself ascending…”

Relativity is a dreamlike song, much akin to the tracks on The Man Left In Space, laid back and chilled even. There’s a surreal aura around Robin’s laconic vocal and the airy guitar note is almost hypnotic. In his self-absorbed psychosis The man really feels he has been abducted and you have the box seat as you absorb and ponder over his experiences. Punchier riffs and more emotive vocals bring an undercurrent of anguish and despair to the song and the restless and uneasy guitar solo and drum beat do nothing to dispel that notion. A deliciously dark track that lays itself bare before and leaves nothing behind.

The final, and title, track on the album, The Unreasonable Silence is Robin Armstrong at his absolute best. A superbly constructed and thought out song that probes and quests and holds your attention rapt throughout. The laid back, uninhibited and self-possessed guitar solo that opens this piece is sublime and then the vocals begin with world weary depth to them that feels like it spans the ages. There are subtle ebbs and flow, hints of things unseen and an intelligence that is most definitely of alien origin. Next comes an utterly mesmerising solo that steals your soul,at this point you raise the white flag and surrender to the stunning and superlative skill on show. The tension then builds to a mouth watering close to the song and the album with Rachel providing the dramatic vocal ending to this sobering and inventive tale, was it all in his mind though?

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

Released 13th June 2016

Order ‘The Unreasonable Silence from the cosmograf shop

Review – Dave Foster – Dreamless – by Progradar

“For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.”
― Franz Liszt

‘Virtuoso’ is quite an honorific and Dave Foster would probably hate me calling him this for he is an unassuming and humble man who just happens to be a stunning guitar player. He can make the instrument come alive and even talk to you and, if that is not what being a virtuoso is all about, then I don’t know what is!

Dave is probably better known as the guitarist from the bands Mr So & So and Panic Room and for being Steve Rothery’s foil in the great man’s solo band. Never being in the spotlight but being a purveyor of intense guitar licks, solos and riffs that have gained him renown in the world of those in the know.

His first solo album ‘Gravity’ was released in August 2011 and I was suitably impressed with its mainly instrumental songs that were performed with more than a tongue-in-cheek hint of Joe Satriani or Steve Vai extravagance.

The press release for Dave’s second solo release tells us we have something different in store:

” ‘Dreamless’ follows his first solo release ‘Gravity’ from 2010, although as Gravity was a largely instrumental album, ‘Dreamless’ is, for the most part, made up of ‘songs’, with guest appearances by vocalists Anne Marie Helder (Panic Room/Mostly Autumn) and Dinet Poortman (NOONe) and Dave also sings a few tracks himself.

The impressive line up on the album features guest appearances from Steve Rothery (Marillion), Jonathan Edwards (Panic Room), Yatim Halimi
(Steve Rothery Band, Panic Room), Riccardo Romano (Steve Rothery Band, Ranestrane), Leon Parr (Steve Rothery Band), Matthew Cohen (Ghost Community, The Reasoning), Stuart Browne (Mr. So & So), Charlotte Evans (Mr. So & So) and Wal Coughlan (Gary Numan, Luna Rossa).”

Antonio Seijas has provided the artwork and, as with all his work (including ‘Dreamless’), the cover is stunning. The album has been produced by Dave and long time recording partner Al Unsworth and the album has been gorgeously mixed by Al.

(Photo by Antonio Seijas)

So, what has this influential and distinguished musician got in store for us? ‘Dreamless’ is a cornucopia of musical delights, mixing styles and moods effortlessly.

The opening two tracks Cabello and Amitriptyline have a grown up and mature feel, they are songs with more than a touch of classic rock to them (Amitriptyline even has a punky tone to it), sharp-suited and super-smooth. Dave’s guitar is distinctive in sound and intonation and drives these two pieces along at a steady pace. Dinet Poortman has a great voice, full of emotion and lustre and it drips class. The rhythm section does what all great rhythm sections do, holds a steady course without being intrusive. The songs are well written and well crafted and, while adding nothing new, they are delivered with such finesse and artistry that they are going to be distinct anyway. The first song denies us a classic Dave Foster solo but the second follows that up in spades!

Sandwiching the dark and dangerous Black Sunrise (we’ll get to that soon) are the twin delights of New York Rain and Lingering with their wistful and winsome appeal. Vocals that have more than a hint of folkyness to them are ably abetted by Dave’s guitar which is delicate, organic and even slightly ethereal. If you’ve heard Neal Schon’s solo release ‘Beyond The Thunder’ then you’ll know what I mean. Intended or not, I really get a feel of paring back and returning to nature on these two beautiful songs. Dinet’s voice has a light tone of Joni Mitchell in places, just a gentle catch here and there and it really plays on your mood lifting you to an impossible high with its clarity and refinement. On New York Rain the subtle elegance of Jonatham Edward’s piano and Charlotte Evans’ exquisite backing vocals give a haunting grace and Riccardo Romano adds his tasteful keys to Lingering. Hazy summer days and nostalgic longings abound around both of these refined songs and they are a lingering light of hope in any darkness.

So dark, dangerous and seriously moody, yep, that’s the epic Black Sunrise, a monster of a track hewn from the granite of musical ambition. There’s a mysterious feel around the whole song, the vocals have an enigmatic ease to them and the guitars are decidedly heavy. It starts as a brooding beast that you know is building up to something cryptic and in your face. The monolithic chorus, massive riffs and in your face vocals, are brilliant but, if there is one thing that raises this track well above the norm, it is the enormously incandescent solo that springs from Mr Foster’s guitar, not once but bloody twice, quite superb.

The stylistic mood changes continue with title track Dreamless which begins with a touch of middle-eastern promise before opening up into another smoothly delivered classic rock piece. Dave provides vocals on this song and he shows he has a talent for singing too. A slow building track that opens up with flashes of urbane, harmonised backing vocals and some rakish riffs to give a slight Floyd feel in places. A staccato, off-kilter solo jabs at you to deliver the killer blow. Simple, pared back and gossamer light in texture and delivery, You Have No New Messages uses the twin talents of Dina and Dave to give you a moment of calm in the maelstrom around you. Three minutes of absolute elegance and grace, it calms the soul and lightens the heart.

Ache returns to that ominous, brooding tone and introduces Matty Cohen and Steve Rothery to the fray. A slow, involving number with Dave and Dinet sharing vocals, there is a yearning and longing at the core of its intensity. Taking a more progressive and convoluted route to your mind, the heart of this intricate track is the profound and intense solo that takes a serpentine route across your synapses. A song that leaves a sense of profound loss as it comes to a close. Brahma sees AnneMarie Helder take over vocal duties and has an almost flamenco style guitar opening before her deep and meaningful voice takes over. I like its profound atmosphere and prog-tinged classic rock notes. Clever songwriting invokes a palpable sense of profound anticipation running throughout that keeps you on edge and, when Dave turns into rock-god mode and lets loose with a scorching solo, it is with a feeling of extreme relief.

Another piece of refined brilliance, Counting Clouds is all acoustic guitars, humble vocals and a peaceful easy feeling that permeates all. Ann-Marie and Dave trade vocals with aplomb and harmonise delightfully to create an aura of west-coast joi-de-vivre that wouldn’t have been out of place on an Eagles or Crosby, Stills and Nash release. The guitars are used to compliment the tone and there is an utter feeling of contentedness and completeness as it comes to a close. Our journey through the differing colours and emotions of Dave’s mind finishes with the obscure wonderment of Morphine Sleep. Seven minutes of differing soundscapes with a cinematic feel that is performed in its entirety by Dave himself. There’s a hunger and passionate longing in the sparse delivery of the guitar and a humble aspiration as it offers itself up for your delectation. It demands your rapt attention and you give it willingly as this wide variety of musical personalities and characters comes to a close.

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

Released 25th April 2016

Buy ‘Dreamless’ from bandcamp

Review – Drifting Sun – Safe Asylum – by Progradar

“Tradition is not the worship of ashes, but the preservation of fire.”
― Gustav Mahler

“Tradition is a guide and not a jailer.”
― W. Somerset Maugham

I like using quotes in my reviews, they can give some instant idea of what I am trying to get across in a pithy and memorable way.

Maybe you would say the phrase ‘Taditional Progressive Rock’ is an oxymoron (a figure of speech that juxtaposes elements that appear to be contradictory), how can something seem to progress if it’s traditional and, by definition, resistant to change?

Well, look at it from another angle and maybe the artists in question are not blindly following or copying what they admire but are being influenced by it to take their music to a different level. As W. Somerset Maugham said above, they are using it as a guide to produce something quite unique in its own way.

And to further Mr Mahler’s statement, they are preserving what is loved and respected by taking it further and, yes, progressing what has gone before.

Drifting Sun are a UK-based Progressive Rock studio project which dates back to the early 90’s when Keyboardist/Composer Pat Sanders left his native France for England with Bass Player Manu Sibona. Their music has been described as dramatic, theatrical, & atmospheric, in the true style of prog rock giants such as Dream Theater, Queensryche, Genesis and Jethro Tull, to name but a few of the bands that influenced their sound.

Drifting Sun’s eponymous debut CD was released in December 1996 to positive reviews from across the globe. Following line-up changes, ‘On The Rebound’, the band’s second CD was released in the autumn of 1998. After taking a long break from the music business during which time he pursued other interests, Pat decided to revamp his project, and, armed with a brand new line up, released their third opus ‘Trip The Life Fantastic’ in January 2015.

Now Drifting Sun return with their most ambitious project yet. The current line-up of Pat, Manu, Peter Falconer (vocals), Dan Storey (guitars) and Will Jones (drums) recorded the new album ‘Safe Asylum’ and it was released on the 21st May 2016.

Opener King Of Hearts starts with some dramatic keyboards giving a feeling of apprehension as the track builds before the vocals begin, Peter Falconer has a rather special voice, melodic and very pleasing on the ears. A rising keyboard wail introduces a staccato riff and drum beat that gives the song more impetus. The guitar almost becomes lyrical as it backs the more insistent vocal on the verse. Everything then begins to flow nicely in a song that has more than a hint of the medieval to it. Excellent guitar runs and precise backing form the rhythm section deliver a really progressive feel. This track ebbs and flows nicely between the low key and laid back sections, that are sung in a sort of minstrel style, and the harder edged, more metallic interludes of stylistic prog. Music telling a tale in a jaunty fashion, it holds your attention throughout and the delightful guitar runs and intricate soloing that punctuate the song towards the end are really rather good. An excellent opener to the album.

The Hidden Truth begins with an offbeat keyboard and drum combo that gives it a slightly jazzed up feel. Peter’s vocal then joins in, quite sublime in its delivery. He really does have a voice full of warmth and compassion and it is the true focal point of this track. The music acts as a wonderful canvas on which the vocals can be painted. The delicate guitar and precise harmonies give a feel of a laid back Moon Safari to the song and the graceful solo adds some serious panache. This song draws you into its wistful, gossamery embrace before a burning guitar solo breaks out to add some fierce passion to the fine-grained aura of the rest of the track.

Let’s turn up the tension a notch and move into firmer neo-prog territory with next track Intruder. This was the first song that Pat let me hear from the album and the one which hooked me in immediately. A repeated synth note opens proceedings before a calming bass line and drum beat underpin a swirling guitar and the vocals begin, adding a sense of momentum. Hold for a chugging riff and we are off on a heavier musical trip. The powerful crescendo of the chorus is quite addictive and, as Peter’s voice starts to hit the high notes, the transformation is complete. Heavy and precise riffs join stylish keyboard runs and everything is held together by the glue of the superb rhythm section. It comes in at over ten minutes long but never feels like it is outstaying its welcome. Properly progressive and yet quite dynamic and compelling, the repeated ‘I’m The Intruder’ line sticks in your mind long after the song has finished. Intricate keyboard wizardry is joined by some sophisticated guitar playing to lift this above the ordinary and into the arena of the distinctive and, as it comes to a close, replete with chugging riff and repeated chant, I find myself silently nodding in rapt appreciation.

That medieval bard-like feel returns with the ethereal and winsome delights of Alice. A calm and collected acoustic guitar and tender piano begin the song before Peter’s bewitching vocal joins in. The addition of the pleasing flute and string arrangement adds even more gravitas to this charming song under which there runs a slightly melancholic tone. There is an aura of nostalgic sombreness running throughout, a longing for something lost and never to be found perhaps? I can feel a lump forming in my throat and I must have something in my eye! The superlative strings and flute add an almost otherworldly feel to this beauteous piece of music and, when it comes to a close, you feel ever so slightly lost for words.

Wonderland opens with a keyboard introduction, backed by acoustic guitar before the storytelling continues in a superior vein. All echoing harmonies and precise instrumentation, it is captivating and quite wonderful. It is progressive rock but with a theatrical edge, in fact, when the pace picks up and the guitar riff breaks out, I am reminded of early Queen, Peter does have a touch of the Freddy Mercurys in his vocal delivery at times and the guitar has a magical voice all of its own. With the titles Alice and Wonderland you don’t need to guess the subject matter of these two tracks (and album) which weave their own little conceptual ideas around your brain. The dynamic section in the middle of the song just knocks you back with its energy and dynamism and the guitar work that follows is pure genius, Dan is seriously channeling his inner Bryan May here with a solo of technical wizardry and yet one that is full of emotion. These are some seriously clever and extremely competent musicians that are on a real high with this album and it shows on this ever impressive track.

That theatric and showy feel returns with the melodramatic Gods. This is not just a collection of songs, it is also a collection of stories and tales and one that you could just about imagine watching in the West End of London as some sort of Rock-Opera. Again that showy feel, reminiscent of Queen, is present in large quanitities, Peter’s vocal brilliance and the virtuoso playing of Dan give it tongue-in-cheek pomposity. The keyboards swirl and envelop everything with this musical sheen and the drums and bass sit there supremely confident in the background, the rock on which everything else is founded.

The next two tracks are so entwined you could see them as one. The yin and yang of Desolation and Retribution. Two sides of the same coin, the dark and the light. Desolation has a feel of the darkness of Opeth mixed with the subtleties of Mystery. Almost mantra like vocals, subdued and solemn, give an occult feel and the music plays out as if it is a Greek Tragedy, the nebulous solo a case in point. It is quite ominous in tone and atmosphere, leaving you crestfallen and subdued. The segue into Retribution is some edgy and jazzy drums followed by a riffing guitar and Peter hitting the highest of high notes, the blue touch paper is lit and we are off! Fast paced and upbeat, this track is a stellar opposite to Desolation with its great harmonies and irrepressible riffs that are delivered in a symphonic prog hue. Overblown and unapologetic it fires off into the distance strutting its stuff. The solo is forceful and in your face and the whole song just rides over anything that gets in its way like an irresistible force.

There are two instrumental bonus tracks on the version I received and, in the interests of completeness, I must mention them.

Emphasis (For Sienna Joy) is a lovely little piece just over one minute long that just dances lightly over your aural synapses to leave a very satisfied feeling in your heart and soul and Vagabond is a more potent and charismatic piece that focuses on the guitar to give a feel of a Joe Satriani song. The excellent interchanges between guitar and keyboards give it some added zest. These two tracks, while not exactly necessary, just give the album something extra and I really enjoyed them.

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

Released 21st May 2016

http://www.driftingsun-music.com/shop/

Review – Landskap – III – by Shawn Dudley

Layers and more layers. A great deal of music I hear these days is built around complexity; whether it’s modern progressive rock music designed around dense instrumental arrangements or modern pop music stacking countless vocal tracks and studio effects together creating a giant wall of sound. It’s, of course, a valid approach and a lot of my favorite albums use this method.

However, taking the opposite course is also a valid artistic outlet, stripping things down to their bare essence, the DNA if you will. In a lot of ways I think it’s a more difficult path, the foundation has to be rock solid and each part must contribute to the fullest extent to create a rewarding musical statement.

London-based quintet Landskap is up to the challenge. Built off the most basic of structures, they’re able to create an immersive and spacious experience, at its core a deceptively straight-ahead heavy rock template, but one that, through purity of purpose and laser-sharp focus, weaves a unique and wholly organic vibe.

A track like The Hand That Takes Away demonstrates the Landskap methodology. A solid and simultaneously fluid rhythm section starts things off with drummer Paul Westwood and bassist Christopher West churning up an approaching storm of a groove, one that immediately builds anticipation for the cloudburst that you know will eventually come. Lead guitarist George Pan enters next, further enhancing the mood with some lovely Hendrix-influenced psychedelic flavoring, still holding things in check as the drum fills become more insistent underneath. A solitary pedal-point organ note from keyboardist Kostas Panagiotou provides the pad as the guitar riff starts to chug along and the arrangement picks up momentum. The storm breaks with a juicy gallop riff, the guitar and organ locking in tightly together. The final ingredient comes in the form of the powerful, crystal clear vocals of Jake Harding who has a great rhythmic approach and firm grasp of how to build his performance to dramatic effect. Half of the nearly 7-minute arrangement is the build-up, but it’s so nicely paced the song feels half that length. It’s a concise, powerful statement, one they are able to duplicate throughout the 5 tracks of this thoroughly enjoyable album.

Without going too far down the rabbit hole of pigeonholing Landskap to a genre, let’s just say that loosely you could apply the term heavy-psych without it being too inaccurate. There’s a definite analog mindset here, both in instrumental sounds and overall recording approach, yet it doesn’t sound like a calculated attempt to be “retro”, it just sounds authentic. They are definitely heavy, but they don’t fall into the Sabbath-trap that ensnares so many bands plowing the stoner/retro/doom field. I’m especially fond of the guitar sound; it’s a classic warm analog roar without getting too fuzzy, the notes always distinct.

For the finest example of that sound check out the monster closing track Mask of Apathy which features some tasty lead work and some crushing riffs in the closing section. If you have to label them metal, then keep in mind it’s closer to the early 70s variety. But I think it’s best to just listen and not worry about categorizing them, the influences will present themselves (The Doors, Led Zeppelin, Uriah Heep, etc) but the way those elements are applied shows a definite conviction to chart their own course.

‘III’ is initially available as a Bandcamp name-your-price download release; hopefully a record label will come along to release an LP and CD version in the near future. It’s most definitely worthy. While you’re on the page be sure to check out their previous albums “I” and “II”.

All band photographs courtesy of Patrick Casey.

Released 1st May 2016.

Buy ‘III’ as a name your price download from Bandcamp

Review – Thence – We Are Left With A Song – by Progradar

“Storytelling–that’s not the future. The future, I’m afraid, is flashes and impulses. It’s mode up of moments and fragments, and stories won’t survive.”
― Dexter Palmer, The Dream of Perpetual Motion

Knowing the brief attention span of most of today’s music listening populous, used to flashes of music, the instant gratification of MTV and three minute songs, would you release an album that ran for fifty seven minutes and yet had only one track on it? No, neither would I….

Well.that’s what Finnish duo Thence did with their debut release ‘These Stones Cry From The Earth’..

“We are the edge of the biggest ride in history. Is this the year when the cosmic clock finally runs down to zero days and zero hope? The deepest questions of our time are looking for answers from the past, facing alarming complexity. Vanishing species…or something? Thence is something from there. Just to feel the ambience of the surrounding world.”

Deep? quite so, this was the concept behind that first album, the music began to grow and the band felt that it must be done in this way. The album was composed and recorded almost at the same time, maybe that is the reason why the listener cannot leave it unfinished, and must listen it to the very end.

Juha Sirkkiä founded the band in 2003. However, the band had been kept in limbo until Erno Räsänen joined the band and immediately from that day they started making the first album and it finally saw the light of day in 2011.

To my ears, it was one of the most exciting, deep and innovative albums of its day. Yes, for most mere mortals, the idea of a 57 minute long track making up the entire album was, perhaps, too much but, for those of us with the requisite attention span, we were treated to an absolute musical delight.

2016 sees the duo return with the long awaited follow up ‘We Are Left With A Song’ which, this time consists of seven tracks instead of one long ‘paragraph’. The content itself has remained, broadly the same: all kinds of emotionally descriptive, diverse and beautiful music.

““Hope. Maybe it is the best adjective to describe this album. It’s a feeling, and it is wished that, after all the difficulties, there is always hope.” says Juha Sirkkiä, of the album’s theme.

Opening track I Burn The Day, The Ghost begins with birdsong and a very slow building guitar, low down and sombre and also quite apprehensive. You’re on edge, awaiting what is to come and then, bang, we’re off. A thunderous riff and epic drums power to a massive crescendo of all consuming music that takes you aback. Once you’ve recovered, the pace eases slightly as the laid back vocals begin, not to say things have calmed completely as the keys wash over you and the music drives you on. A huge wall of luscious sound assails your very soul and Juha’s slightly muted, if very noted, vocal guides you along the pathway to hope and salvation. A fast paced, powerfully upbeat and yet slightly dark tinged song that opens your eyes and awakens your senses and closes out with a lonely piano note.

No One, Anyone, Be Someone opens with a lazy, wistful tone to the vocals and the music. All moving languidly along, unhurried and impassive. The catchy riff gives it some sort of impetus but that feeling of mellow, unhurried tranquility remains at the core. As we move through the track it takes on a more dramatic and theatrical feel as the keyboards take on the feel of a string section and bring a huge wave of emotion to run over you. Then an absolutely delightful saxophone solo adds a huge grin to my face, and no small amount of grace to this impressive track, as unexpected as it is brilliant. A pensive track that opens up to deliver a feeling of hope and optimism.

The opening to Abundance is wistful and silky smooth and you just feel yourself going with the flow as its gentle air of expectancy draws you in. The drums pound out a rhythm that gets under your skin before a suitably graceful and elegant guitar note takes up the baton. I find a sense of serenity take over my whole being as this composed and self-possessed piece of music lets me join it on its effortless travails. Juha’s vocal is totally relaxing and unruffled and matches the mood perfectly. This song leaves you in your own bubble of self-absorption as an undemanding, subdued guitar solo flows around your mind, wonderful.

There is a feel of 90’s techno synth to the opening of It Is Truth That Liberates, even the title has a touch of Massive Attack to it. The guitar is only hiding in the background though and opens up with an aggressive and dynamic riff to counter the slightly spaced out feel of the keyboards. Another track where that dense and substantial soundscape, immediately recognisable as Thence, takes centre stage before a coruscating guitar adds fire and incandescence to the mix to give a uniquely memorable sound, a complicated tapestry of music is laid before you for your delectation.

A slightly distorted guitar note jars your senses at the opening of Pursue as it jangles and resonates inside your head. A hushed, yet passionate, vocal joins the music to give a feel of yearning and hunger. A cool bass line adds gravitas, the drums and percussion giving an undercurrent of longing. You feel this is building up to something as the pace begins to pick up slightly, there’s still an anxious and expectant aura that hangs over everything though. The trance is broken by another monstrous riff that hits you hard and grabs your attention before Juha’s crying guitar adds another edge of despair but wait, you hear a baby’s cry and sense a lifting of something oppressive, there is now more of a feeling of hope central to the music. The piano that takes up the reverie is thoughtful and reflective, it heralds the introduction the superb saxophone again. You are taken on a wondrous journey of sound and tone, one that touches your very heart and soul and, as the brilliant guitar joins the fray, it becomes an almost rapturous and utterly captivating musical experience that closes out to the yearning refrian of that extraordinary saxophone.

Oars In Our Hands opens with a seriously ominous tone, the note of the keyboards giving a feeling of foreboding before the heavy riffing begins and gives it a solid impetus and deliberate feel. This track is the one that reminds me the most of ‘These Stones….’, the scenic sound that fills the horizon and the arena filling vocals. A wide vista of musical theatre that is delivered to your senses and one that engrosses and enthralls at every turn. There is a unique quality to the music that comes from Thence and it is one that I hugely admire as this duo defy what you expect to hear from two musicians. The drama unfolds before you through the music and keeps you intrigued and immersed thoughout, once again, the potent and compelling ending to the song leaves you on a high.

The final seven minutes of the album is devoted to Life Will Get You Eventually, another song that is more than mere words and notes on a page. A melodic, symphonic soul cleansing journey of affirmation and expectancy is laid before you in its genial grace to leave you feeling like you are on the shore of an ocean as the waves gently lap around your toes. An almost infinite space lies in front of you as you gaze towards the horizon, a melodramatic scene indeed but one that this hugely involving tune imbues. The heartfelt, sincere vocals touch you deeply and the rest of the track envelops you in its sonorous embrace, as it comes to a close I honestly feel like I have been changed inside for ever, emotionally cleansed by what I have just experienced.

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

Released 27th May 2016

Buy ‘We Are Left With a Song’ direct from the artist

Review – Steve Thorne – Island Of The Imbeciles – by Emma Roebuck

Steve Thorne’s 5^th solo album ‘The Island of Imbeciles’ is rumoured to be his last solo project. Hopefully this is not true as he continues to write tight, prescient songs with a great ear and eye for the moment. There is still a timeless element to the music but the timeliness of the subject matter places it very much in the now.

Who has he got guesting on this one? none other than Tony Levin, Nick D’Virgilo and James McLaren, with spots from his old chums in Jadis and even Robin ‘Cosmograf’ Armstrong but, according to his interview recently in Prog mag, instrument-wise, he pretty much plays the majority of the stuff on the Album himself.

I often talk about the craft of writing music and songs and Steve has brilliantly crafted the whole album, 50 minutes of music that flies past in way too quick a time for my liking. I wanted more much more music, in a really good way. All the songs are very easy on the ear, full of melody, variation and different themes.

The musical ability shines through but does not swamp the album. Guitar and keyboard breaks blend section to section, fitting beautifully into the song. A fine example is Don’t Fear Tomorrow, a message to the anxious and the worriers of this world, or someone carving out their life after tragedy.

The title track, Island of Imbeciles, is an overtly vicious attack on corruption and current state of politics, it is keyboard driven and lyrically potent, delivering a message of cynicism and disgust.

My personal favourite, They are Flesh, is a direct attack on the privileged class and their ‘so called right’ to such privilege. It’s pretty much an acoustic number in an almost old-school ‘protest folk style’ but with much more sophistication.

The 10 tracks on this album cover such a wide range of topics, from loss of love (and the terror to commit to someone again) to big political stuff about the planets resources and man’s general inhumanity to man.

He draws from all sorts of areas musically but it is still a coherent album that connects from beginning to end.

I look forward to the ‘Salamander Project’ which appears to be his new project with the likes of John Beck, Steve can draw talent to his projects but that embellishes what he does and it’s not a place he hides behind.

As ever I will make recommendations for those who know nothing of his music or his pedigree.

I hear a direct connection with the Likes of Steven Wilson (particularly Blackfield), Talk Talk (Spirit of Eden), Divine Comedy, Big Big Train and oldsters like Pink Floyd. If you are a fan of the song and lyrically interesting melodic music go for it.

Released 1st April 2016

Order ‘Island Of The Imbeciles’ from White Knight Records

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