Progradar

Review – Haken – Affinity – by Shawn Dudley

I’ve been living with this new Haken album for a couple of weeks now, attempting to wrap my head around it. Each time I think I’ve got it figured out some new detail jumps out at me that requires me to reevaluate. Like the band themselves, ‘Affinity’ remains wonderfully elusive and that just makes me appreciate it more.

Haken have been an enjoyable enigma from the very beginning. Over the course of four impressive full-length studio albums they have remained defiantly hard to categorize. The proverbial square peg. You can sit down and catalog all the elements, you can ascertain their stylistic influences, you can dissect and study their compositions but any attempt to accurately file them away into pre-existing little boxes? Futile. The only box they fit into is the one labeled, Haken.

Opening single Initiate sways back and forth from driving and propulsive to ethereal and contemplative with the always-impressive voice of Ross Jennings guiding the way. The arrangement seems deceptively simple on the surface, but there is a wealth of detail here that becomes more apparent on repeated listens (this holds true for the entire album). The heavier guitars don’t make an appearance until over 2 minutes into the track and provide a visceral edge to what is otherwise a primarily keyboard-driven, clean-toned arrangement. This concise 4-minute track serves as the appetizer for the full-course buffet that follows.

At the center of ‘Affinity’ are two equally impressive if stylistically diverse epics.

The first of these is the appropriately named 1985. On their prior album ‘The Mountain’ from 2013 a lot of discussion was spurred by their incorporation of “retro” instrumental sounds from the 70s, particularly in the infectious single Cockroach King, which wore the influence of Gentle Giant proudly upon its sleeve. This time out we move forward a decade to the digital 1980s. 1985 conjures up memories of the birth of personal computers, 8-bit video games, boom boxes, MTV and just about every keyboard sound and 80s production element introduced during the first half of the decade. In the press release the band mentions their love of albums like ‘90125’, ‘Toto IV’ and ‘Three Of A Perfect Pair’ (and even though Rush isn’t specifically mentioned their early 80s albums are an obvious inspiration as well).

To their credit, Haken takes these elements and instead of creating a pastiche, they expertly incorporate them into their signature sound. They are just additional colors in an ever-expanding palette. Their ability to liberally borrow sounds from different eras and styles has been apparent since their debut album ‘Aquarius’, but with each successive release it has become more organic in structure and more assured in execution. This maturity has also carried over into the recording studio, ‘Affinity’ is a quantum leap forward in production and sound design, showing that Haken is just as adept at “playing the studio” as they are at their individual instruments. On most albums a track as impressive as 1985 would be the clear highlight…but ‘Affinity’ has more riches to offer……

The second epic is the main course of our buffet and would also serve as an impressive introduction for the uninitiated. By far the heaviest track on the album The Architect is an absolute stunner, a 15-minute tour de force of the power and diversity this band can conjure.

Roughly split into separate movements it begins in muscular technical prog-metal territory, but this isn’t your typical paint-by-numbers variety, this is exciting, driving, heavy music played with passion. The mid-section is absolutely gorgeous, an ambient pad of voices and sound effects provide the backdrop for new bassist Connor Green to take a lyrical, fusion-inspired solo and then the guitars enter playing a gorgeous contrapuntal figure that harkens back to the sound of ‘Discipline’-era King Crimson. The following section increases the intensity with a side-trip into Opeth/Enslaved territory (the melody in this section is reminiscent of The Drapery Falls) and a guest appearance from Einar Solberg from Leprous providing a brief harsh-vocal contribution. It’s an immense arrangement and an impressive achievement.

While these tracks demonstrate the further refinement of the Haken elements we’ve come to know, I think the most exciting aspects of ‘Affinity’ show the band moving forward and expanding their sound into uncharted territory. Tracks like the lovely Lapse and the outward-leaning experimentation of Red Giant are thrilling, thoroughly modern compositions that point the way toward exciting chapters yet to come. They show an increased interest in electronic sounds and atmospherics, yet never venture into cold/clinical territory, remaining warm and inviting throughout.

I have to throw out a special mention to the wonderful mix by Jens Bogren who first came to my attention because of his excellent work with Opeth. His mixes sound HUGE, incredibly powerful without sacrificing any of the intricate detail and that made him the perfect choice for ‘Affinity’.

Easily their most impressive album, ‘Affinity’ solidifies Haken as one of the best bands that modern Prog has to offer and their potential for the future appears limitless.

Released 29th April 2016

Pre-order ‘Affinity’ from Burning Shed

Review – Matthew Parmenter – All Our Yesterdays – by Leo Trimming

This review is dedicated to Jean Trimming R.I.P

Matthew Parmenter, the charismatic front man of Discipline, has released his impressive third solo album, imbued with emotion and narrative skill. This album marks his first release with Bad Elephant Music, following on from their ‘fire alarm meeting’ outside the Summer’s End Festival in 2015. The dramatic impact of Parmenter’s stunning show with Discipline at that event led to a great social media comment that the most memorable sound of the whole weekend was the sound of so many jaws hitting the floor in amazement at his performance. However, this solo album shows a very different side of Matthew Parmenter.

Scheherazade was the wife in ‘One Thousand and One Night’s’ who had to tell stories that would keep her husband on tenterhooks until the next night instead of executing her. It is appropriate that Parmenter opens the album with a fascinating song about this story teller, ‘weaving stories into stories’, grabbing one’s attention immediately with a high alto voice intro, akin to Antony Heggarty. Parmenter is filled with stories and poetry which he pours into this work. For the title track he uses probably one of the most famous soliloquies from the greatest story teller of them all, Shakespeare, drawn from Macbeth Act 5, scene 5:

‘… And all our Yesterdays have lighted fools the way to dusty death, out, out brief candle’

Some may question the wisdom of tackling the Bard in this way but Parmenter has the poise and skill to capture the despair of this speech without overpowering it, and his voice is perfectly suited to conveying the presence of a Shakespearean tragic hero. Much of this work is pervaded with a sense of melancholy, particularly in the finale Hey for the Dance and, particularly, I am a Shadow, which perfectly frames Parmenter’s voice as a finely crafted instrument in itself, conveying Bowie-esque delicate agony. Favourable comparisons with Peter Hammill of Van Der Graaf Generator are inevitable, and this seems most clear in the vocal stylings and lyrical approach taken on Hey for the Dance and All for Nothing, accompanied with an appropriately bleak violin and organ. It is no coincidence that All Our Yesterdays with it’s the Shakespearean themes follows – we are clearly walking in the ominous presence of tragic heroes.

However, Parmenter shows he has a lighter almost jaunty side as Stuff in the Bag rolls along in fine style, ‘taking a holiday from consciousness’, reminiscent of the jaunty asides from King Lear’s Fool. This is not an album full of all pervading darkness as Parmenter’s punctuates the album with moments of relief, such as the short delightful instrumental Danse du Ventre, moving in to the fine song of conflict feelings evoked in Digital.

Previously in reviews I have tried to be ‘objective’, but that is all an illusion as ALL reviews are subjective, filtered through all of our individual thoughts, feelings and experiences. Some records will mean more for different reasons, and the feelings conveyed may affect us in unexpected ways. Similarly, the actions of the artist may impact upon us. With that in mind, the song, Inside, really connected with me, and I know that one small unheralded action by this artist had a positive effect upon me at a difficult time, which I think says a lot about him as a person as well as an artist. Please forgive the personal angle at this point but this is essential for me to convey the meaning of this song and album to me.

After seeing Discipline in October at Summers End 2015 I bought 2 Discipline albums at the festival. Later I found that a CD booklet was missing, and unfortunately the vendor could not help as they had sold out. I forgot about this for a while as other things of more importance were happening in my life. In December sadly my Mother passed away quite suddenly, which devastated me. In my grief I looked for slight distractions and recalled the missing CD booklet. I decided to e-mail the record company in America to explain the omission, and to my surprise I got a very swift reply back directly from Matthew Parmenter, promising to send the missing booklet. I replied that I was impressed with his speedy and helpful reply, remarking in passing that it was nice to have such a positive response as my mother had just died. Just after New Year’s Day a package arrived from America and not only was there the missing CD booklet, but also a complimentary copy of a Discipline album! There was no note but so much had been said by that thoughtful and compassionate action. I am also pretty certain Matthew would have had no idea I do occasional reviews – this was a simple moment of generosity, reaching out to someone in sadness.

Fast forward a few weeks to my first listening of Matthew’s new album and I get to hear the wonderful song Inside with the powerful refrain:

“You May Be Lonesome and Uncertain, I may be Feeling I’m Alone, We May Find Comfort in this Moment here – Inside…”

I probably do not need to tell you how that song hit me as I drove along listening to it for the first time. It’s a wonderfully understated song with sensitive vocals and atmospheric organ as the song builds in restrained power and emotion.

Matthew Parmenter has stepped aside from the magnificent, gothic group dynamic of Discipline to create a solo work of art suffused with dramatic shades and emotional lyricism, conveying tragedy and hope. This is an album that is likely to captivate and beguile with subtlety and delicate emotion. It certainly gave me unexpected comfort – Inside.

Released 11th March 2016

Buy ‘All Our Yesterdays’, on digital and CD, from Bad Elephant Music

All live photography thanks to Sam Holt.

All other photography, much thanks go to Graham Stead.

This review is dedicated to Jean Trimming R.I.P.

Review – Halo Tora – Omni/One – by Kevin Thompson

I have had this CD floating in and out of various players around the house for a few months seducing me, whilst the glorious cover artwork from Sandy Wilson calls to me like the outstretched siren in the picture, waiting to drag me into it’s depths and hold me in her cold, watery embrace.

Coming together in 2011, with influences ranging from such luminaries as Oceansize and fellow Scots, Mogwai and hailing from Auld Reekie, these Glaswegians made 2015 a very busy year in their drive to push themselves, tirelessly, with support slots for the likes of My Vitriol and a UK tour of their own as well as recording ‘OMNI\ONE’. There is no chance of finding heather growing under these lad’s feet as they strive to feed the demand of a rapidly growing fan-base.

Ian McCall and Chris Alexander share the deliciously melding vocals and substantially atmospheric, densely rich, guitar interplay. These are underpinned with eerily haunting piano refrains from the adept fingers of Ryan Connery and Chris McKeown’s thunderous drumbeats and rhythms matched by Mark Young’s vigorous bass work, cementing a solid band structure, built to last, with eyes fixed firmly on the course they take toward greater things.

They also have a little help on the album from additional musicians: Kene Wraight – Bass, Neil Slorance – Double Bass, and Sara Ann Dawodu – Violin.

OMNI\ONE

Tranz/Zero – the instrumental introduction with desolate echoing guitar notes hammered from the fretboard, sets the scene of a gloomy mist drifting through the Glaswegian streets, the wind echoing through the dark alleys dispersing suddenly as it turns the corner… Leading seamlessly into..

Permanent Revolution – a tick-tock rhythm issues in the interlaced vocals from Ian and Chris for the first time, playing off each other, sailing together and drifting apart, with the sense of urgency growing, the guitar solo begging as the boys sing ‘take me away’. The beating drums from Chris and Mark’s bass builds a wall of sound as the guitars scream to a halt.

Echoing guitar push in the next track Ruins, drum and bass marching together as the desolation all around collides with the bitter vocals, slowing into a solo with a glimmer of hope. Could there be a chance of escape? The vocals rise and the instruments overrun into a dramatic finish, the mist floats in again, obscuring the bid for freedom and, when it clears….

A guitar warily ventures out into The Bones that Rock the Cradle, fearful of the piano striding forward. As the vocals search for a way out they are blocked by a wall of menacing six strings, reinforced by the bass, as the drums try to push their way through. Will there be a getaway down the shady back street, the guitars give chase as a defiant promise to return is thrown back at the pursuing six strings.

Catching a breath as the dreamy keyboards give respite on Tonight. The pursued appear to have given those tracking the slip for now. Simon and Garfunkel style harmonising eases troubled minds as emotions rise, whilst the guitars search in the distance and the drums berate them. The net closes in and suddenly the guitars emerge in front of the fugitive voices.

Acoustic, whispered regret and decisions not made. The guitars’ Hangman looms menacingly over the voices. Muttering, was it just that they did not get out when the piano afforded them chance or was it that they prevented themselves leaving?, cymbals ring dizzily around their heads and the fret drifts in again.

The vocal realisation that the chance may have passed as the guitars and drums cry triumph. Will the words sink Under the Surface with the weight of the music? Still refusing to do the guitars angry bidding, causes them to stop abruptly and tinkling keys ripple against the voices, before waves of guitar and drums hit and raise cries for a way out. A lull in the tide as the vocals drift, the acoustic guitar keeping them afloat until the waves come crashing in again and the voices rage against them. They fall away again and drums swim through the waters as the the guitars circle before plunging in, smashing against the metaphoric rocks, to silence.

Regaining consciousness, vocals sail lazily on a current of drums and low piano, the conscience is pricked with Needles of remorse as echoing, re-verb guitar notes suggest that something holds the songs there. On calm reflection another may be to blame, allowing a turmoil of guitars to enter the head, but drowned out and pushed aside by the verbal insistence that the fault lies elsewhere.

The guitars hunt with renewed vigour in this Age of Terror, charging forward, drums announcing the vocals as they do battle and stand their ground against the heavy chords and bass, harmonies. Forcing the instruments to retreat, before they attack with dark rhythms. Keyboards rise and replace the vocals against the guitars who, with a whine, fall from the edge.

The vocal,s accompanied by faithful acoustic guitar notes, warn they will be The Executioner to come as strings soothe the unsuspecting into slumber. “Run”, they warn, as ripples of piano and bended, distorted guitar strings toss and turn restlessly in dark dreams.

X is Mandatory, as the whistling wind and cold mist shrouds haunting piano, in this short instrumental, finding the acoustic beginning of the end, the last and title track….

Omni\One. Melancholy is relieved by the gentle vocals with promise of a change to better things. Hopeful acoustic guitar and piano take the lead as the guitars, vocals and all other instruments rise to a more peaceful resolution in release and then silence.

There is a Gothic type melodrama to the music on this album, a yearning and longing which may on the surface appear gloomy but, just as Anathema have accomplished, Halo Tora create beauty from these elements and carve them into something wondrous, that clings to you, won’t let go and you are happy it is there.

Look out for these boys crossing Hadrian’s Wall, they intend and deserve to be greater. Mark them as ‘one to watch’.

Released 3rd September 2015

Buy ‘Omni/One’ on digital from bandcamp

Buy ‘Omni/One’ on CD direct from Halo Tora

Review – Section IV – Superhuman – by Progradar

“With the aim to make progressive music accessible to the masses and not content to follow any musical trends, Section IV fuse melodic hooks, rich soundscapes and musical dexterity to create music that defies genres.”

So says the band’s bandcamp page anyway…..

To be honest, I’d never heard of Norwich based Section IV until a message arrived at Progradar from the band’s manager Dean Shepherd:

“Hi,
Section IV have released their début album “Superhuman” Should you want a physical copy of Superhuman I would be happy to send you one, if you could furnish me with an address to send it to.”

Dean also furnished a link to the band’s website which, while being sparsely populated with information, intrigued me enough, especially the striking artwork, to reply in the affirmative.

Section IV website

It was difficult to glean anything much from the band’s online presence but I figured out they’re from Norwich (yes, well done to me, I know!) and Section IV consist of Robben Harrop (guitar), Sam Linay (vocals), Stuart Robertson (drums), Richard Lockett (keyboards) and Nicko J Ruddock (bass).

Listening to the music is a whole different proposition, there’s a whole bundle of influences fighting for attention over the ever present rock base. Like most good albums, it takes two or three listens to unveil the inner delights so, after quite a few more plays, I’m ready to give you my considered opinion…

This album is book-ended by two longer tracks, the first being the title track Superhuman and this is one with full-on neo-prog tendencies. Like a leap back in time to the 80’s and early 90’s, all the pointers are present and correct. Sepia tinged keyboards and jangly guitars are the mainstay and everything is kept cohesive by the slightly metallic drum sound. Sam’s vocal is strong and powerful and, while everything is stylish and professional, it doesn’t quite put its head above the parapet as being something better than what you’ve heard before.

The next two tracks, Out Of The Dark and In Danger has a more definitive AOR feel to them and I get the feeling that this melodic and catchy style is where the band truly sit, they are masters at it. Wistful and endearing, the music is classy, polished and, basically, really good. The vocals fit perfectly with the sound and I find myself being drawn in, lulled by the quality on offer, Robben Harrop’s impressive guitar work really starting to shine as well. Inside is one of the stand out tracks with some polished acoustic guitar work and superbly harmonised vocals. It is a pared back little gem.

The bombast returns with the opening to So Far Away, all pounding drums and staccato guitar. A feeling of apprehension is created by the voices running underneath the music. This track actually sticks one toe firmly in the progressive pool and does it exceedingly well to give an almost post apocalyptic feel but doesn’t quite go the whole hog. The rather catchy chorus has its roots firmly in hard rock and AOR. Idwtstwt is an enjoyable anomaly in that it even treads the boards as a heavy metal track with its punishing opening riff before turning the flame down a bit to hover on the edge of hard rock heaven and heavy metal hell in quite an innovative manner, the interplay between the guitar and keyboards just manages to avoid being cheesy. That hard rock/AOR vibe returns with Guiding Light, another track that, while being entirely palatable, is also a bit generic. I even feel a hint of 80’s metal joining the fray on tracks such as Take You Down, if brought up to date for the twenty-first century. The keyboards are nicely done, the riffing is smart and perceptive and Sam has one of those unique and memorable voices that stays with you, especially on the uplifting chorus.

So, to the final track on the album and a return to the neo-prog feel of the equally extensive opener. Exile, however, does seem to take its progressiveness just that much further and, as such, makes itself the stand out track on the album. To me, it feels like the band have, basically, decided to forget any formulas and just lay down what they’re good at. The sweeping opening is full of grandeur before a lone piano takes over, quite heartfelt, to lead into the rest of this sixteen minute epic musical journey. Uplifting and dynamic, it is worth the entrance fee alone. It is quite cinematic in scale and stops you in your tracks, a heavyweight slice of pomp and circumstance.

So, to my ears, Section IV has delivered a highly competent and eminently likeable album in ‘Superhuman’. However, with tracks like Inside and, especially, Exile, they show they have the capability to produce something exciting and different to the norm and, to me, they should be exploring that side of their music further.

Released 31st March 2015

buy ‘Superhuman’ from bandcamp

Review – Sebas Honing – The Big Shift – by Progradar

There are lots of small, independent music labels around this great big planet we live on, I even work with one. It was a pleasure to meet Peter from Freia Records at the recent Bad Elephant evening. This Dutch imprint have been going for quite a long time and have built up a nice roster of artists. Peter is as enthusiastic about music as any of us who have it running through our blood.

I’ve reviewed some of Freia Music’s releases in the past so it was with anticipation that I downloaded the latest one as soon as it landed in my inbox.

Sebas Honing was better known to me as being a founder of Equisa with hs wife, Petra. Little did I know he also had a burgeoning solo career.

‘The Big Shift’ is his third (or is it his fifth?) solo album. His previous album met with critical acclaim both from the fans and the media. Sebas was even featured in the ‘Limelight’ section in Prog Magazine, issue 49 (September 2014). Sebas also took the criticism of his first album to heart and asked Christiaan Bruin to play the drums, his wife (a professional singing teacher) also helping him to strengthen his voice.

‘The Big Shift’ is, again, a concept album if, albeit, a loose one. It is about change and includes lyrics about leaving home, getting rid of fears and the birth of Sebas’ daughter.

There’s an eclectic mix of progressive and symphonic rock running throughout the album. Right from the thunderous opening salvo of instrumental title track Big Shift and Life pt.1 this is dynamic and compelling. Sebas is a seriously accomplished guitarist but he has a rather nice vocal too, vulnerable, yet with authority when required. Mrs Honing (Petra) provides classy lead vocals on a selection of tracks and her voice has a dreamlike elegance to it.

Sebas explores the more complex and progressive styles on tracks like Ditching Fear, Mercury Retrogade and OMG yet they still keep a more accessible feel to them. Stylish, concise and expressive, these are catchy tunes that, mixed with a certain degree of complexity, really appeal to the listener and, when Sebas lets rip on the guitar with his inimitable style, it’s a joy to behold. There’s even a touch of Metallica coming through on OMG, bringing a smile to my face.

Occasional lapses into a lighter, more fine-grained style do not hinder your listening enjoyment. Rather, tracks like All You Are, Freedom (a strong single contender if he wanted one) and Mild Smile give the middle part of the album a dose of humility and humanity. It is on tracks like these where Sebas adopts a cultivated edge to his music and vocals and rather stylish and urbane it is too.

Overall, the astute mix of styles blend together to deliver a distinctly cohesive whole and there is something for everyone to enjoy with nods to the more serious and then the light-hearted among us. Every now and then the added polish of Sebas’ brilliant guitar playing breaks out and everything lifts to an other plane altogether, the solo on Hometown being a case in point. Perhaps the most creative, serious and yet, elegant track on the album, Homeless sees Tessa Struijs join Petra on backing vocal duties to give us a symphonic-prog classic in the making.

It could be said that Sebas Honing leaves the best until last as the final two tracks, Life Pt. II and Lost close out proceedings with a bang. Sebas and Petra delivering a stellar vocal performance on the former, along with some rather intricate prog-metal shenanigans and the latter closes out the album with a touch of intimate class.

If you’re a fan of progressive rock with a little extra something, you’re going to really like this intelligently crafted record. Sebas Honing is definitely one to watch for the future, another highly recommended album from Freia Music.

Released 24th January 2016

http://www.fmls.biz/product/sebas-honing-the-big-shift/

https://www.youtube.com/watch?v=pmjJZsHjvS4

Review – Headspace – All That Your Fear Is Gone – by Progradar

Crikey, the plethora of excellent new music arriving daily at Progradar Towers is definitely increasing in volume!

With this in mind, welcome to the first in an irregular series of shorter, more concise (yes, I know!) reviews to empty your wallet. You can thank me later….

Headspace – All That You Fear Is Gone

Damian Wilson has one of the more recognisable voices in Prog Rock/Metal and his band Threshold have, while not exactly being at the forefront of progressive-metal, certainly gained a cult following over the years.

Leaving the day job to one side, Damian, alongside keyboard player Adam Wakeman, bassist Lee Pomeroy, drummer Pete Brook and guitarist Pete Rinaldi, formed the so-called ‘Supergroup’ Headspace in 2006. It wasn’t until 2012 that they released their debut album ‘I Am Anonymous’ and, to be fair, I was left slightly underwhelmed by it.

Fast forward to 2016, the band have replaced Brook with Adam Falkner and released their sophomore effort ‘All That You Fear Is Gone’. Time for a rethink from this music hack? Let’s see….

The new album has a strong conceptual strand running throughout.

“The concept is mine,” says Wilson. “On the first album we were focussing on the individual trying to fit into the group. This time, we are looking at the group’s inability to control the individual. It’s about governments, big business and religion but also the smaller social groups we form. They exist as a method of ensuring conformity, always with a pecking order.”

This release has the signature dense and heavy sound employed, not only by Headspace but, also by Threshold. Thunderous riffs and dynamic drumming abound on tracks like the opening duo Road To Supremacy and Your Life Will Change and the Audio Plastik-a-like Kill You With Kindness. There is an intelligence running throughout though, the stylish bass and astute, polished keyboards laying an impressive infrastructure.

To be honest, what you have to decide is, whether you like Damian Wilson’s distinctive vocals or not as they are all pervasive on this release and are the foundation of Headspace’s sound and style.

Me? I love them, he has brilliant nuances in his voice that really come to the fore on the expressive blues style of Polluted Alcohol, a gem of a track where Rinaldi’s pared back delta blues guitar work is an absolute delight yet Wilson’s vocal is the real focus, and the epic The Science Within Us, a song that really showcases how far this impressive group of musicians have come since the debut release. A track of different parts and one where Wilson seems to vocalise different characters and his tender, heartfelt voice is at its supreme best. The way he sings the chorus will make the hairs stand up on the back of your neck. He hits the heights again on the superior closing track Secular Souls, an engrossing musical journey that enthralls and captivates from the first note to the last, powerful and bombastic and yet with a compassion and benevolence deep at its heart.

‘All That Fear Is Gone’ was produced by the band, and mixed by Jens Bogren, who also worked on ‘I Am Anonymous’.

To me, this record is a true cohesive whole but Damian wasn’t convinced at first,

“When all the separate parts for this were first put together, I thought it sounded crazy,” laughs Wilson. “In fact, I’d go so far as to call it unlistenable. But then Jens worked his magic in the studio, and has made it all settle down and make sense.”

I could try and pick out some stand out tracks but, you really need to take this album as a whole listening experience, there really are no weak moments at all. For me, at least, this is a huge improvement on the debut release and I highly recommend it.

‘All That You Fear Is Gone’ is the second part of a planned trilogy, and Wilson already has the blueprint for the final instalment in his mind. But that’s still in the future. Right now, the band are concentrating on touring in 2016.
“That will definitely happen. We are working on the dates right now.”

‘All That You Fear Is Gone’ was released on 26th February 2016

Buy from the band’s online store

Review – Driven Serious – Ballad of Bones EP – by Progradar

You may gather from the name of this website that it is aimed at reviewing, and talking about, Progressive Rock and, most of the time, that would be an entirely correct assumption to make.

However, I am not just a prog-rock fan, I am a music fan first and foremost and that means any type of music that catches my ear as being different and just bloody good to listen to.

I’ve written reviews of hard rock, heavy metal, folk, blues and even viking metal (no, me neither!), you name it, I’ll listen to it and write about it if I think it fits into my warped view of what makes good listening material.

Folk driven they may be but that’s about where the similarity to traditional folk begins and ends with the North-East’s Driven Serious, a band who I was introduced to by the excellent Hartlepool based photographic artist Howy White.

Howy put me in touch with the band’s main-man Rob Jones, who introduced me to their blend of punk, folk, steam-punk and general mayhem and I haven’t looked back yet….

Driven Serious formed in 2011 and has been gigging in the North
East and beyond since 2012 with its current lineup – charismatic
frontman and songwriter Rob Jones, award-winning Shetland
fiddler Cathy Geldard, bassist and multi-instrumentalist Tim
Packer and drummer and percussionist Johnnie Walker – to which
they now add the stunning voice and cello of Katie Hall.

‘Ballad of Bones’, follows up their 2013 album ‘The Importance of Being
Serious’ and showcases new fifth member, cellist and vocalist
Katie.

This 4 track E.P. sees live favourite Ballad of Bones given a studio release alongside three tracks recorded live at headlining shows at Newcastle’s Cluny and Middlesborough’s Twisted Lip.

The title track is a really emotive five minutes of exquisite folk rock which only occasionally betrays the band’s punk undertones. The string biased opening frames Rob’s distinctive vocal as he begins to tell you his tale. The gentle folk heavy backing music is really well crafted and removes any rough edges. When the track picks up pace it becomes a real foot-tapper, the drums leading the rhythm section quite impressively. The harmonies on the melancholy chorus are just about perfect. When you go past the two-and-a-half minute mark there is a dramatic, short instrumental interlude that just makes you stop and think for a bit. This is really intelligent and, at times, uplifting folk music with a rocky edge to it and, I for one, really like it.

The three live tracks are utterly compelling and will make you want to go see these remarkable musicians play live as soon as you possibly can. Sinking Sand (recorded live at The Cluny) is dynamic and edgy with a really memorable and emotive chorus. The staccato violins are ably supported by the pumping bassline and Rob delivers some heartfelt vocals, again, the punk tendencies seem to be keeping a low profile on this song, the violin solo with bass accompaniment that close out the track is actually quite exuberantly spine-tingling. Crucifix Kiss (recorded at The Twisted Lip) is a more low key and gentle affair. Maybe not quite ‘get your lighters in the air’ but, you know where I’m coming from. On this song the stringed instrument is king, providing a really sombre and wistful backdrop to the pensive and emotive vocal. Everything changes about half-way through as that mournful air seems to dissipate somewhat and a feeling of the sun breaking through the dark clouds emerges. These extremely competent musicians lay a vivid backdrop of music that really appeals. Fasten your seat belts, the blue touch paper has been lit and off we go! World of Fear (again recorded live at The Cluny) definitely has that punky edge to it, edgy riffing and a superb electric violin power this strident track along at a breakneck speed. Rob takes on a bit of the wild man in his vocal delivery, a hot and sweaty cauldron of intensely theatrical music that assaults the senses to leave you battered, bruised and yet with an inane grin on your face as the animated violin continues to hit you from all sides.

An utterly irresistible force of nature, these self-styled ‘punk-folk’ exponents deliver on all fronts. It’s Folk music Jim, but not quite as you may know it (to paraphrase Gene Roddenberry), it’s a whirling vortex of energy and musical nous and one that I hope to revisit soon.

Released 5th March 2016

Buy ‘Ballad of Bones’ from bandcamp

Featured Image: Howy White. Ballad of Bones cover: John Chadwick, The Importance of Being Serious cover: Sara Borges. Live image: Paula Smart.

Review – Lazuli – Nos âmes saoules – by Kevin Thompson

Bonjour mes amis et bienvenue à un examen de la très merveilleuse bande la plus récente de libération de LAZULI. Il est si bon de vous de prendre le temps de lire cet éloge de leur nouvel album ‘Nos âmes saoules’.

Enough of my schoolboy French, I hope any misinterpretation doesn’t offend.

Hello my friends and welcome to a review of the quite marvelous band LAZULI’s latest release. It is so good of you to take the time to read this praisee of their new album ‘Nos âmes saoules’.

I’d like to start by ignoring the band and thank a couple of people without whom I might never have heard of our French import. Firstly the lovely Nellie Pitts (The Merch Desk), if not for her efforts in bringing the band to these shores, they may have passed me by. Secondly the big man that is Derek William Dick, for inviting these fine gentlemen to support him on his last tour.

I have to admit I saw them live before I bought any of the band’s output and what a revelation. The band did split in 2009, thankfully, some of the original members continued and recruited new musicians to form the current, extremely talented bunch who recorded this latest offering.

Mesdames et Messieurs puis-je vous présenter, sorry, Ladies and Gentlemen may I present to you:

Claude Leonetti (Leode), Gederic Byar (Guitar), Romain Thorel (Keyboards and French Horn), Vincent Barnavol (Drums and Marimba) and Dominique Leonetti (Vocals and Guitar).

Now to the meat of the matter, or tofu for any vegetarians among us, the album, ‘Our Souls Drunk’, sorry, ‘Nos âmes saoules’…….

Le Temps Est À La Rage: (Time is to rage)

Starting with slow, melancholy piano and Dominique’s distinctive vocals on this, the first and longest track of the album, may to newcomers, not seem the best way to start. But, keep faith you will be rewarded as the tone changes to a brighter key, picks up tempo into a swaying melody and the band’s familiar ‘musical box’ melodies drift in. Muted guitar throbs in the background then the rest join the fray as the track builds to finally burst out into some wonderful ‘Floyd’ style soloing..

Le lierre: (The Ivy)

Romain’s flourishing keyboards open proceedings and, for me, this is the track on which Dominique’s vocals really excel as he hits the highs from a whispering start. Now, it’s at this point I have to confess that, unless I am watching them, I sometime’s find it hard to distinguish who’s taking the lead between Claude and his wonderful Leode and the soaring guitar of Gederic, but, when a band plays this well who cares? I find this really uplifting and feel this would sit very well as part of a film soundtrack.

By now my pitiful knowledge of the French language is lost and in the emotion of the music I have somehow forgotten this is not being sung in English, this only seems to enhance the experience, and so on to track three…

Vita est circus: (Vita is circus)

Roll Up, Roll Up, listen to the show. A veritable ‘whirlwind’ of instruments, including acoustic guitar and vocals, as we waltz through the verses and a chorus vaguely reminiscent of Yes, round and round we go in circles to the circus style rhythms, Gederic’s rocket of a guitar solo spacing out, leave you pleasantly dizzy, as the tune echoes away from us.

Fanfare lente: (Slow wind)

A lovely musical interlude, the shortest track on the album, with Romain demonstrating his skills on the french horn (well it wouldn’t be an English tuba, would it?), is the band’s entry for the next Hovis advert. This wouldn’t be out of place on a Big Big Train release. It floats slowly past you, as a brass band would, and disappears toward the horizon, drifting into the distance.

Chaussures À Nos Pieds: (Shoes at our feet)

This is a slightly more serious sounding track, with Vincent’s marimba taking the lead in alongside the vocals. Again the rythms swirl, round and round, rising and dipping, in and out the track turns, tripping into a funky groove until guitar and leode cut in and speed up into a fine piece of shredding/soloing to climax abruptly as if the needle were lifted from the disk.

Le Mar Du Passé: (The march of the past)

Pulsing keyboards beep and fizzle, this could be mistaken for the start of a Riverside track. At times, there is a hint of Peter Gabriel in the composition, whispered vocal passages burst into passionate choruses with a doomish guitar. It all ends with just the vocals, pleading.

Le Labour D’un Surin: (Plowing a Superintendent)

Static, sound effects, a heartbeat rythm and background dialogue slither along in dark corners, finishing in an eerie scream on this creepy little instrumental passage that leads to…

Les sutures: (The sutures)

Breathless vocals and music which could have been used as the soundtrack to the current ‘Vikings’ TV series, drifting instrumentation woven with a sense of ambient dread, adding menacing guitar and a little middle eastern flavour, conjuring visions of a passing caravanerserie of the doomed, toward it’s finale.

Nos âmes saoules: (Our souls drunk)

Drifting, dreamy keyboards from Romain and ‘theramin’ type ribbons of music, (Mercury Rev anyone?), interlace with Dominique’s vocals, all of this in ambient patterns, until you find yourself sinking into the music and becalmed.

Which leads us along this journey to the last but by no means least track….

Un Oiel Jeté Par La Fenêtre: (A look thrown out the window)

Oh look! A balloon floating by on the gentle breeze, conjured by a wonderful piano refrain. It bobs, it weaves and dances gently away as we look wistfully on wishing we could follow.

And there we have it, not an album to be technically examined , but a wondrous tale of which you can be part. Lay back and revel in the versatile elegance of the wizards, LAZULI.

Released 20th January 2016

Buy ‘Nos âmes saoules’ from The Merch Desk

Review – Proud Peasant – Cosmic Sound – by Progradar

So, what do you do in-between albums? Chill out for a bit? develop a side project? release a solo album? or none of the the previous?

Well, if you’re cinematic instrumental progressive rock band Proud Peasant you release a limited-edition 7″ vinyl EP that consists of cover versions of Eloy and Manfred Mann’s Earth Band and, why not?

Released on the acclaimed UK vinyl-only label Fruits de Mer Records, ‘Cosmic Sound’ will be released on April 6th and, ahead of that release, my friend, and band member, Xander Rapstine, gave me the chance to hear what it’s all about.

Austin, Texas band (actually, more of a collective), Proud Peasant are described as being cinematic and pastoral instrumental progressive rock, the soundtrack to sublime dreams and wicked nightmares, they released their debut album ‘Flight’ in 2014 and I wrote these words about it;

“In places Flight is quite an exhausting listening experience as lots of differing musical styles vie for your attention and, in some parts it is just too much, almost turning you off. I suspect that the band is taking it for granted that you have a certain level of intelligence whilst listening to their music. It is convoluted, enlightened and creative but not for the faint hearted. In fact, occasionally, it is too clever for its own good. That should not detract from the fact that Proud Peasant have produced a very good album that captivates throughout and I await their next release with not a little anticipation.”

Well, the anticipation of a new, full-length release will have to wait a little longer as Xander has told me that Proud Peasant won’t start recording the new album until April at the earliest and will be looking at a late 2016/Early 2017 release date.

Never mind, I’m intrigued by this new ‘covers’ EP and it’s trippy cover art so let’s dive straight in at the deep end and see what’s going on in Austin, Texas….

The first track on this mini-EP is a cover of Daybreak, a bonus track on the 1973 album ‘Inside’ from Eloy and it opens with some rather furious percussion and a fuzzy, funky guitar riff that basically just knocks you off your feet in a ‘WTF was that’ sort of moment. The low down and dirty guitars really give this a feel of 70’s rock with a stoner edge to it. I love the intricate and undulating guitar work that leads you on a fantastical musical journey through your mind. I’m not advocating the use of illegal ( or even legal) highs here but this music is utterly spaced out and way out there in the cosmos, that feeling only enhanced by the psychedelic keyboards. A short, sharp jab to the solar plexus by flower power infused musicians.

Saturn, Lord Of The Ring/Mercury, Winged Messenger was originally recorded by Manfred Mann’s Earth Band for the 1973 album ‘Solar Fire’ and is given the full retro treatment here. A subdued sci-fi opening that could have come straight from the 70’s jars your nerves with its angular notes and intonation, the silky bass and stylish drums adding serious gravitas to the sound. I’m thinking flares, long hair and straggly beards here as the laid back music washed over you. Everything glides to a halt before a spooky guitar and wondrous noises emanate from the speakers, anxious and experimental in tone and feel, what’s coming next? you wonder as the song seems to be building up to something ominous. What you get is hectic and frantic rush to the end of the track, the fuzzy riff and staccato guitar dragging you along with reckless abandon. Frenzied and frenetic it gives you no pause for breath before coming to a tumultuous close.

Proud Peasant take their signature wide-screen cinematic approach to two classic 70’s tracks and the result is rather good indeed. A mad, turbulent and yet utterly immersive ten minutes of self-indulgent fun and worth every penny!

Released 6th April 2016

Buy ‘Cosmic Sound’ from fruits de mer records

Review – Body English – Stories of Earth – by Progradar

It’s funny how you discover new music, a recommendation from a friend, a snippet on the radio, a video posted on social media, the list is never ending. I tend to find that the best endorsements come from people who appreciate the same music as I do.

So, first, a little background story, stay with me, it won’t take long….

Fine upstanding citizen, music reviewer and a friend of mine, Phil Lively, introduced me to the music of Josh Goldberg, Chapman Stick specialist and a superb musician. I reviewed Josh’s solo work and came to be friends with him over social media.

Through this concord, I recently received, and reviewed, the debut piece of work from his band GEPH and got to talking to Josh about other musical projects. His next recommendation was ‘Stories of Earth’ by Body English, a musical project of Clint Degan and one in which Josh was now involved, although he didn’t play on this particular release.

Well, what can I say, one listen and I was hooked, a real ball of nervous, upbeat musical energy with a freshness that has to be heard to be believed and the rest, as they say, is history, here we are at the review…..

Album opener Kiss Them, begins with a really summery and upbeat guitar riff that just gets you tapping your foot to the rhythm before Clint’s vocals join in. He has a very distinctive voice with clipped enunciation and I think it works perfectly with the sharp and incisive music. This is feel-good music at its best, it will put a smile on your face from the first resonating note. The intricate drumming fits perfectly well with the relatively pared back sound on this track and the beautiful guitar runs just add another layer of class. There is a more emotive feel to You Were Something Else, from the effusive opening you can feel a more serious tone. The piano and heartfelt vocal deliver empathy and sentiment which builds up until the graceful violin adds the final touch. I get a real feeling of a hometown finesse to the music. Take some Ben Folds Five, add in some of The Tea Party and garnish with The Twenty Committee and you’ll have some idea of the rather excellent sound of Clint’s creation. The dashes of organ and strings adds a real feeling of lazy Sunday afternoons and a hint of almost ecclesiastical polish. A slightly off-kilter guitar solo leads in another softly delivered vocal section, underpinned by some more compassionate piano playing. I don’t know why but, I get a real sense of 70’s rock about this track, albeit updated to modern times with the excellent production. Prose and Poetry is just that, a rhythmical literary piece intelligently set to music. The halting vocals and delicate music that open the track keep you on the edge of your seat in anticipation of what is coming. There is a build up of tension as the song unfolds before you, Clint’s voice increasing with passion before an elaborate and convoluted instrumental section impresses with musical chops. The song then carries on with that slightly dense musical delivery, the vocals being the centrepiece and the music providing excellent support, a clever piece of musical theatre.

Next, a most raucous track that has real country music undertones and some jazz pointers too, I Don’t Want To Be A Housewife (for Someone Else’s Family) seems to bound along with a relentless and infectious energy, the slightly manic drumbeat a case in part. Strings, saxophone, piano and guitar all combine to deliver something almost vaudevillian with tongue firmly in cheek. Clint’s vocals are impish and full of mischief. The song flies along breathlessly, dragging you along in its wake, thoroughly enjoying the ride. The impressive fiddle adds an electric-folk edge, there’s so much going on here that it could easily become an untidy mess but the skill of the musicians keeps it flowing, laughing its maniacal little head off. Once you’ve calmed down from the fun and frolics of the previous track, Do It Slowly is an acerbic, wistful love story. It begins all slow paced and solemn with a deferential drumbeat underscoring a melancholic, powerfully harsh guitar. A remorseful and unfeigned vocal from Clint delivers the sad story to the listening audience, the forceful guitar interjections adding to the sorrowful atmosphere. A compelling track of love and loss delivered in Body English’s own inimitable style, leaves you with a lump in your throat. Americana influenced with lap-steel sounding guitar and vibrant piano, Rock n’ Roll Will Save You is short and sweet but still leaves its own mark on proceedings. A vibrant, fast-paced little song that wears its heart on its sleeve, it has a sanguine tone of hope and, yet, the slightly grating solo adds a little edge to the pleasantries. The run out to the close is quite inspiring.

Sound Asleep takes Clint’s tentative and tender vocal as its focal point, opening with a laid back tone before the brass lifts the pace slightly. It seems to be treading water, letting the vocals take the lead, the drums holding pace perfectly. Perhaps the most lightweight track on the album in stature before opening up with a theatrical, almost cinematic guitar and brass instrumental section. A more serious overtone muscles in, edgy and nervous, trying to stay in the background but giving an anxious tone to the vocal. I love the funky almost ‘movie soundtrack’ feel to the repeated instrumental section and the guitar solo could have come direct from a 70’s Bond theme, a really clever song. So onto the last, and longest track and one with a title to match its 10 minute plus running time, The Humour in the Heart of the Old Grey Mountain begins with a real spooky sci-fi tone, all ominous and inspirational. A laid back and low key guitar then takes over before the vocals begin, soft and gentle, accompanied by an unadorned piano. Profound and sincere, Clint delivers his most open and honest performance on the album. A song that draws you in and leaves you caught on every word and note, the expressive songwriting and rousing music lending a spring to your step and pride in your heart. This track that has theatrical overtones then seems to segue into a progressive overture full of pomp and circumstance and one that fills you with joie de vivre and hope. Insistent, dynamic drumming is the foundation on which this labyrinthine section is built on, all the other instruments then taking their place in the greater scheme of things and lending a cinematic tone. As the song, and the album, reaches its final chapter, we return to the almost pastoral beginnings and Clint’s hope-filled voice leads us to the close, accompanied by that contemplative piano.

I love it when I find really good music by chance, this album is a breath of fresh air compared to the glut of incoming music that I have heard recently that all sounds the same. Yes, it might not appeal to everyone but, I for one love it. Give it a chance and there is a high possibility it could be brightening your day anytime soon….

Released May 13th 2016

Buy Stories of Earth from Body English’s bandcamp page

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