Review – Blue Rose Code – Curios 2009 – 2020

“I see you on the road, trying to find your way home and I wish you peace in your heart…”

A new (old) album from one of my favourite artists Blue Rose Code, ‘Curios 2009 – 2020’ is a collection of B-sides, rarities and singles, including several unreleased tracks. Strictly limited edition and, furthermore, only available on Bandcamp or the band’s website, its release is being used to finance the band’s sixth studio album, slated for release in May 2024.

Blue Rose Code is Edinburgh-born songwriter Ross Wilson. At the edge of contemporary alt-folk, Wilson’s music evokes a meeting of Van Morrison and a young John Martyn, both shipwrecked with a bunch of Motown records.

When I heard there was a new studio release in the offing I was straight in to order this limited edition CD, Ross is one of the best songwriters around at this moment in time and any music he writes is always something to savour and take with you for ever.

I wrote these words about Blue Rose Code’s album ‘With Healings Of The Deepest kind’;

“When it comes to music that salves the soul and gives joy to the heart, this album has few peers. An utter musical joy and one that everyone should listen to at least once, it has an honesty and innocence that is rare in the music industry these days.”

I always consider it an honour to able to review music as special as this so read on to see how I feel…

Chasing Sunlight (2016) is a single that came shortly after the release of ‘…And Lo! The Bird Is On The Wing’, the album that introduced me to Blue Rose Code, but was too late to be included on the record. It’s a wonderfully breezy and light stepping piece of music with elegant, intertwined male and female vocals and a stunning horn performance from jazz legend Colin Steele. There’s a fine acoustic guitar solo and the lap steel playing just adds to the easy going and uplifting atmosphere. Love (2009) was BRC’s first ever single and features utterly gorgeous vocals from Samantha Whates and Ross that just add to the wistful, laid back and ever so lush atmosphere created by the elegant string arrangement, what a beautiful piece of music! November’s Ghost – Live At The Queens Hall (2017) was written by Ross after the death of his grandmother and moving to London. This touching version is taken from his homecoming show at Edina’s Queens Hall in 2017. There’s a tender, loving feel to Ross’ vocal on this pared back track. Aided and abetted by some delicate guitar playing, you can feel the feeling of loss in his voice and it makes this simple piece ever so poignant. Polaris – Live At Gloworm Studios (2017), this is a haunting, dreamlike version of a favourite track from the 2017 release ‘The Waters Of Leith’. The piano and echoing strings meander mystically through your psyche, never really touching you but always leaving its mark on this meditative journey. I thought I’d heard everything that Ross could deliver since I first became a fan but (I Wish You) Peace In Your Heart (2020) is rapidly becoming one of my favourite BRC tracks. Written coming out of the pandemic, it’s a song of hope for reconnection and an embracing of human interdependence. It just sings of hope, faith and optimism in such a beautiful way. The sublime horn and Ross and Karine Polwart’s spiritual vocals, added to the graceful piano, just leave a warm feeling in your soul and a lump in your throat, an utterly stunning piece of music.

Sunday (2019) was written to be included on ‘With Healings Of The Deepest Kind’ but was released ahead of UK and Ireland tour as the album’s writing stalled. Another delightfully upbeat song akin to Chasing… there’s a wonderful feeling of belief and optimism to this graceful track and the music is just superb. Ever since I first heard the music, Blue Rose Code have had a sort of defined sound to me and Acquainted With The Night (2012) is the first piece I’ve heard where they take a major detour from that. A Robert Frost poem put to music, late in the ‘North Ten’ sessions, it has a low down, darker hue than most of Ross’s other tracks and stands out because of that, but in a very good way. The insistent guitar and Ross’ low vocals, combined with the contemplative, almost psychedelic, keyboards, give some real drama to this impressive song. Sallyann (2017) is an ode to two people who were like Ross’ surrogate parents during his tumultuous time in London. A story of two childhood sweethearts, Terry and Sally, in East London who were reunited after following their own journeys through life to spend twenty years together before Sally died of cancer in 2016 with Terry by her side. It’s a beautifully poignant piece of music that really tugs at the heartstrings with Ross’ patient vocal and some more of that gorgeous lap steel. Another memorable track with power and passion, (I Will) Lay you Down (2018) is a love song and a plea for peace and relief, written for a woman suffering with severe post-natal depression. There’s a heartfelt feel to the vocals and a peaceful air to the guitar and piano as this graceful song glides effortlessly along, highlighted by some sublime guitar playing. It’s a very compelling piece of music that builds in intensity as it continues and finishes with a profoundly moving solo. 100 Years (2019) was written for Ross’ performance at No Man’s Land at Perth Theatre, a special concert commemorating 100 years since Armistice Day and follows a young Scot who lies about his age to sign up for the Blackwatch and go to the Front to give his life. A melancholy and plaintive track that lays bare the feelings of loss and of doing your duty, it is a profound statement that bleeds a wishful yearning.

Written in a little cottage just outside Biggar, like most of ‘The Waters Of Leith’ and recorded during those sessions, Lonely (2018) shows a clear line-of-sight to where Wilson will take his music and band in the years to come. There’s a proper feeling of Americana to this song, the vocals and music having a definite country feel to them but that Scottish brogue always means it never strays completely that way. I love the harmonised female backing vocals and the stunning performance on lead guitar from a young Lyle Watt, a track I keep returning to. Now we get to THE song that defines Blue Rose Code for me, the sublime, wonderful Grateful (2015). Up until hearing the version on this release, I’d only ever heard the abridged version on ‘…And Lo!…’ or live versions and this full version, featuring Nashville Gospel legends, The McCrary Sisters, just absolutely blew me away. Written by Ross upon leaving rehab in Bournemouth, its simple message is delivered with class and the music has a laid back, jazzy refinement to it that is just brilliant. The vocals from Ross and The McCrary Sisters are just perfect and lend this sublime song all the gravitas it could ever need, just stunning! Ardroil (2012) is perhaps the most Celtic track on this collection, especially with the striking fiddle playing and subtle vocals. A little known gem, released as a b-side to Julie (from the album ‘North Ten’) all those years ago, Ardroil is an other-worldly beach in Uig, Isle of Lewis and this marvellous piece definitely has that other-worldly feel to it. Scotland Yet (2017) was written by the late, great Davy Steele and commissioned for the opening of the Scottish Parliament in 1999. Ross gives this simple tune a feel of grace and refinement, realising that it needs no embellishment and it closes out the album with pride and dignity.

There is nothing better than music that connects with you at a basic level, music that moves you and music that almost becomes part of you and Ross Wilson and Blue Rose Code create music that is all that and more. This collection of B-sides, varieties and singles is something that should be cherished and I, for one, cannot wait for 2024 and a new album from this incredible musician. Ross Wilson, my friend, I wish you peace in your heart…

Released 3rd November, 2023.

Order from band camp here:

Curios 2009 – 2020 | Blue Rose Code (bandcamp.com)

Big Big Train announce new studio album ‘The Likes Of Us’; launch first single ‘Oblivion’

The award-winning progressive rock band Big Big Train will release their 15th studio album ‘The Likes Of Us’ on 1st March 2024. The album is the internationally-based group’s first full collection of songs since the unexpected passing of long-serving lead vocalist David Longdon in late 2021. Besides marking the debut of new frontman Alberto Bravin, a former member of the Italian band Premiata Forneria Marconi, ‘The Likes Of Us’ also heralds the beginning of a new relationship with InsideOutMusic, the group having self-released their music for almost two decades. 

The band comments: “We are delighted to announce the release of ‘The Likes Of Us’. After the events of the last few years, this is a particularly important album for us, both as a band and individually. We’re very proud of the new songs, which we recorded principally in a studio in Italy. Working together in one room brought additional inspiration, real energy and a clear sense of purpose. We’re thrilled with the results.”

To coincide with this announcement, the band have launched the first single from the album, a track titled ‘Oblivion’ which the band were seen performing on their UK and European tour in August and September 2023. The video was filmed by Tim Sidwell of Toward Infinity at Urban Recording Studio in Trieste, and you can watch the clip here:

Big Big Train – Oblivion (lnk.to)

‘The Likes Of Us’ will be released on several different formats, including for the first time as Dolby Atmos mixed by The Pineapple Thief’s Bruce Soord, while the stereo mixes were undertaken by the band’s regular engineer Rob Aubrey together with Alberto Bravin. The Dolby Atmos mix will come as part of the Limited CD & Blu-ray Mediabook edition that also contains the album as 5.1 Surround Sound & 24-bit high-resolution stereo. The album will also be available as a Gatefold 180g 2LP (available in black, sky blue, olive green and orange formats), Standard CD Jewelcase and Digital Album. The stunning artwork was created by the band’s longstanding collaborator Sarah Louise Ewing, with layouts by Steve Vantsis. 

Pre-order now here: https://bigbigtrain.lnk.to/TheLikesOfUs

The album’s full track listing is as follows:

1.     Light Left In The Day 06:10

2.     Oblivion 05:27

3.     Beneath The Masts 17:26

4.     Skates On 04:28

5.     Miramare 10:17

6.     Love Is The Light 06:11

7.     Bookmarks 06:23

8.     Last Eleven 07:55

In May 2023, six members of Big Big Train left their homes in England (bassist Gregory Spawton, guitarist Dave Foster and violinist Clare Lindley), the United States (drummer Nick D’Virgilio), Sweden (guitarist/keyboardist Rikard Sjöblom) and Norway (keyboardist Oskar Holldorff) to gather for a week in lead vocalist Alberto Bravin’s home town of Trieste in north eastern Italy. They convened at Urban Recording, a studio recommended by Alberto, to lay down the basic tracks for the band’s new studio album ‘The Likes Of Us’. Being face to face in a room, as opposed to emailing sound files, the intimacy of the process generated moments of inspiration that would otherwise have gone unheard.

The process would prove emotional. “There were some tears; I cried a few of my own,” recalls D’Virgilio. “There are many reasons to explain why we hadn’t worked that way in quite a while, but the process brought out the best in everybody.”

“These were stories from our lives and we have a deep, personal connection with them,” Spawton remembers. “If there was blood on the tracks, we did everything possible to let that sink into the music.”

On the group’s most recent tour, two selections from ‘The Likes Of Us’ – first single ‘Oblivion’ and ‘Love Is The Light’ – were introduced to an ecstatic audience response. During a tidal wave of rebirth and celebration for Big Big Train, Alberto Bravin was accepted as one of the family. Indeed, the chemistry of the band’s latest line-up has delivered mouth-watering results. “We’ve got a great mix of people that want to be here and go the extra mile to do something very special,” D’Virgilio concludes. “There’s a big world of talented musicians out there, and luckily some of them want to hang out with us.”

ALBERTO BRAVIN – Lead vocals, guitar, keyboards

NICK D’VIRGILIO – Drums, percussion, vocals, 12-string acoustic guitar, vocals

DAVE FOSTER – Guitars 

OSKAR HOLLDORFF – Keyboards, vocals

CLARE LINDLEY – Violin, vocals 

RIKARD SJÖBLOM – Guitars, keyboards, vocals

GREGORY SPAWTON – Bass guitar, bass pedals, 12-string acoustic guitar, Mellotron

GODSTICKS RELEASE VIDEO FOR THRONE  / UK TOUR STARTS NEXT MONTH

NEW ALBUM  ‘THIS IS WHAT A WINNER LOOKS LIKE’ OUT NOW ON KSCOPE

Order the album HERE (https://godsticks.lnk.to/winner)

Listen to Throne HERE https://orcd.co/godsticks_throne_single

Watch the video here:

After the release of their new album ‘This Is What A Winner Looks Like’ earlier this year, Godsticks unveil a new video in celebration of the album’s next single ‘Throne’. 

‘Throne’ itself exists very much in the heavier sphere of the band with downtuned chugging guitars forming the driving of the verse before the song opens up for a melodic and memorable chorus, culminating in a euphoric finale. The video, produced by Martin Holmes ( @ohmzfilm ) brings the ferocious nature of the band’s live performance to foreground. 

Frontman and guitarist Darran Charles had the following to say:  

“Throne was one of those tracks that had been taunting me for a number of years. I had the verse and intro nailed years ago but every time I tried to develop it further, I just hit a creative brick wall. I’m sure that wall gets higher and thicker for some songs more than others, but I don’t think I’ve ever given up on a song if, deep down, I knew there was potential there.

Thankfully with the help of the rest of the band, I broke through that goddamn motherfucking wall and as soon as I hit upon that chorus melody, everything flowed easy. It’s become one of my favourite songs on the record and also the hardest to play live, but given that we never shirk a challenge you can expect this song to feature in every setlist from now to eternity.”

Darran expands on the meaning behind the track as well:

“Lyrically, Throne is about the bottomless pit of someone’s narcissism when they have a position of power. Where they’re both absolutely sure minded and also the most fragile person ever, and how those two states usually go hand-in-hand. So as with the half of our songs, it deals with my frustration with other humans .. the other half of course dealing with my frustration with myself.”

To support their recent album the band will also tour the UK in 2024 

31/1/24 – The Lousiana, Bristol

1/2/24 – The Peer Hat, Manchester

2/2/24 – The Hope and Anchor, London

3/2/24 – Planet RockStock

09/02/24 – The Bunkhouse, Swansea  

The band is determined to do as many live performances as possible in support of ‘This Is What A Winner Looks Like’, especially because it was live performance itself that provided the initial creative spark that spawned so much of the music on the album. 

Darran Charles commented that:

“We asked and listened to where our fans want to see us play, so as well as returning to happy hunting grounds like London and Manchester, we’re doing our first ever headline show in Bristol. Plus there’s not one, but two chances for our Welsh brethren to come see us live again! We love being on tour so we’re very excited to be playing more headline gigs, and to be working with the good people at Planet Rock again for the Winter’s End festival.”

Their love for writing and productivity had been reignited simply by being able to perform live. Experimenting with electronic sounds and delegating writing duties in the band allowed ‘This Is What A Winner Looks Like’ to be their most collaborative album to date. 

YES Announce European Dates For The Classic Tales Of Yes Tour in 2024

Following their recent acclaimed tour in the USA, progressive legends YES have announced European dates for The Classic Tales of YES Tour 2024.   

Tickets go on sale on Friday 8th December at 10am GMT/11.00am CET  https://www.yesworld.com/live/

Buy UK tickets from https://bookingsdirect.seetickets.com/tour/yes/

The Classic Tales of YES Tour 2024 will include many iconic tracks from the YES back-catalogue covering fifty-plus years.    The tour will also include a celebration of the 50th Anniversary of Tales from Topographic Oceans as well as music from their current album Mirror To The Sky.

YES are: Steve Howe (guitars, vocals), Geoff Downes (keyboards), Jon Davison (vocals and acoustic guitar), Billy Sherwood (bass guitar, vocals) and drummer Jay Schellen.

The evening will begin with an on-site presentation by world-renowned artist and designer Roger Dean, whose masterful artwork of striking other-worldly landscapes has graced classic album covers and posters, most prominently by YES and Asia. Every show will feature a Roger Dean gallery in the venue’s reception/foyer area. His work – which also appears on the cover of their current album Mirror to the Sky – has sold more than one hundred million copies worldwide.

“We’re all excited to be bringing our show home to Europe and the UK!”  says Steve Howe, “We’ve selected a new playlist of Yes music but with some firm favourites in there too, of course! To keep our performances fresh, we ‘now’ carry our own lights, so we can present a consistent show each night, designed for us by William …….. Looking forward to seeing you out there!” 

“We are very much looking forward to the 2024 European leg of our YES Classic Tales Tour. Having recently completed the US, we are now really excited to bring that out to all our fans in the UK and Europe. It promises to be one of our most interesting sets to date, scanning through much of YES’s history and with some previously unheard pieces as well as music from our latest album, ‘Mirror To The Sky’. Bring it on and see you all out there!” Best, Geoff Downes

The Classic Tales of YES European and UK Tour 2024 dates are as follows:   Go to www.yesworld.com/livefor all ticketing information.

Europe

April 2024

Tuesday 30              Portugal        Lisbon Sabres        Sagres Campo Pequeno** 

May 2024

Thursday 2                Spain             Madrid                        Riviera 

Friday 3                     Spain              Barcelona                   Sala Paral·lel 62

Sunday 5                  Italy                 Rome                          La Nuvola 

Monday 6                  Italy                 Milan                          Teatro Arcimboldi

Wednesday 8           Italy                 Padova                      Gran Teatro Geox

Thursday 9              Switzerland  Zurich                        Kongresshaus**                               

Saturday 11              Austria            Vienna                       Simm City 

Sunday 12                 Germany        Berlin                          Theater am Potsdamer Platz

Tuesday 14               Germany        Halle                           Steintor-Variete

Wednesday 15         Belgium          Antwerp                     De Roma

Friday 17                            Netherlands Arnhem                     Music SacrumTheatre**

Wednesday 18        Germany       Moenchengladbach  Red Box**

Monday 20               France           Paris                          Salle Pleyel**

Tuesday 21              Luxembourg Luxembourg            Rockhall**

UK Dates 

Thursday 23 May                             Manchester               Bridgewater Hall*

Friday 24 May                                  Glasgow                    Royal Concert Hall*

Sunday 26 May                                Liverpool                    Philharmonic*

Tuesday 28 May                              York                            Barbican*

Wednesday 29 May                         Southend                   Cliffs Pavilion*

Friday 31 May                                   Bristol                         Beacon

Saturday 1 June                               Birmingham               Symphony Hall*

Sunday 2 June                                 Gateshead                Sage*

Tuesday 4 June                               London                      Royal Albert Hall

**European shows in bold are rescheduled from 2023 and tickets remain valid

*UK Shows rescheduled from 2023, all tickets remain valid.

European tickets go onsale on Friday 8th December at 10am GMT/ 11.00am CET from https://www.yesworld.com/live/

UK tickets from https://bookingsdirect.seetickets.com/tour/yes/

About YES

Steve Howe: guitars, backing vocals (1970 –1981, 1990–1992, 1995–present)
Geoff Downes: keyboards (1980–1981, 2011–present)
Jon Davison: lead vocals, acoustic guitar (2012–present)

Billy Sherwood: guitar, backing vocals ((1994, 1997–2000), bass guitar, backing vocals (2015–present)

Jay Schellen: drums and percussion

Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans, Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.

With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.

YES released their 22nd studio album in 2021, The Quest, produced by Steve Howe and which went to No. 1 in the UK Rock Albums Chart and entered the Official UK Album Chart at No. 20.

In 2022 came the sad news that drummer Alan White, ever-present in the YES line-up for 50 years, had passed away. The news came shortly before the band embarked on their classic, genre-defining album Close To The Edge 50th Anniversary Tour which they dedicated to Alan.

In February 2023, ahead of the news of the new studio album Mirror To The Sky, YES confirmed Jay Schellen as the new permanent drummer with YES, hand-picked to step into his mentor and friend Alan White’s role. “I had done the 2016 tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a beautiful partnership. I learned and discovered so much about Alan’s style. His passion and creativity was phenomenal. The new album has Alan’s presence all over it. It is inside of us. So, this is still, in my heart, Alan just being present and with us, and with me, in a big way.”

Mirror To The Sky, YES’ 23rd studio album, was released on 19 May 2023 to universally positive reviews in the music press. ‘Mirror to the Sky is very much a band album, where all five members…  have been at the top of their game’, stated The Progressive Aspect. ‘YES will continue to have a role to play in shaping the future sounds of prog.’

Review. -Ashley Reaks – Winter Crawls

‘Winter Crawls’ is the 13th solo album from prolific English musician, collage artist and writer Ashley Reaks. Writing and recording started in 2018 but was repeatedly interrupted and delayed by divorce, relocation, the Covid-19 pandemic and a string of chronic health conditions. ‘Winter Crawls’ is the first of Reaks’ albums to feature the polyrhythmic talents of drummer Rob Hirons, which nudges the material into a more ‘proggy’ sonic soundscape, whilst retaining the genre-hopping influences of previous albums.

Influences include Stranglers, cut and paste, Rip Rig And Panic, bebop, Captain Beefheart, collage, Magazine, post-punk, Yes, Ivor Cutler, religious imagery, The Pop Group, Gee Vaucher, psychedelia, Gabriel-era Genesis, Dada, nature books, Devo, Francis Bacon…

The players on this collection of musical curiosities and hidden gems are Reaks himself (vocals, bass, guitar, keyboards), Lucy Mizen (vocals), Nick Dunne (electric guitars, acoustic guitars and guitar solos), Joel Purnell (saxophone), Rob Hirons (drums) and Dan Mizen (percussion).

Where do we start on an album as diverse and wide ranging as this? It’s a cornucopia of musical brilliance in places and hugely disturbing (in a highly entertaining way) in others. Genre hopping with the best of them, I’m hearing psychedelic snippets of Lost Crowns, Gong, Knifeworld on one side, the Canterbury influences of Henry Fool, the sharp cutting edge of Bent Knee and even bits of Pink Floyd on the other! In some ways it just shouldn’t work but like some mad scientist, Ashley Reaks seems to be able to knit it all together perfectly to create something quite unique and, in places, utterly brilliant!

It’s very divisive, and that’s even for people that like it, and I do! There are days when I can’t go near it as it does require you to be in the exact mood to listen to it and get the most from it but, when that inspiration particle and the mood hits you, it is really rather marvellous. Nick Dunne’s guitar playing is of a seriously high calibre and he flits from intricate, fusion, left-field and straight up rock with ease and Ashley’s vocals are highly individual and distinctive in a very good way, especially when paired with the heady, delicate voice of Lucy Mizen, it’s haunting, mysterious and almost supernatural in places. One of the highlights for me is the superb saxophone of Joel Purnell, I do love a saxophone and Joel’s playing is utterly sublime, his jazz/fusion style being perfect for Ashley’s incredibly innovative and perhaps overactive mind. And we must take our hat off to Rob’s superbly intricate polyrhythmic drumming which gives a proper dynamism to the music.

The songs are as mad and brilliant as their titles, The Murmur of Things Divine, Fundamentally Christ Like (with it’s Pink Floyd Money style intro), Homesick at Home and Early Ripe Early Rotten are real standouts, magnificently over the top and proud of it but there’s no lull or drop in standards anywhere on this superb release. If I had to pick a favourite then it would probably be Homesick at Home (especially Nick’s superb solo and Joel’s uber cool sax) but that could change tomorrow when each song has its own delights to discover.

You won’t hear anything else quite like ‘Winter Crawls’, it has a mind and life of its own at times and that’s testament to the complex, inventive and ingenious imagination of Ashley Reaks. It’s not for everyone but when everything clicks and you get what he is trying to achieve, there’s some serious musical nirvana going on here and I love it!

Released 15th August, 2023.

Order from bandcamp here:

Winter Crawls | Ashley Reaks (bandcamp.com)

Review – AshFeathers – World Building

AshFeathers is a new acoustic project by singer-songwriter Tom Slatter. A mixture of one-man-and-a-guitar acoustic songs with synths and electronic percussion, ‘World Building’ is 10 tracks about getting lost – deliberately or accidentally – in fictional worlds.

“Part of the motivation in starting AshFeathers was that I wanted to do something quite different in tone from the melodramatic, sometimes dark prog-rock I’m known for. There are still hints of the things a prog rock fan might like – one track is in 7/8 for example. But this album owes more to my love of Thom Yorke, Tori Amos and Jon Gomm and lots of other singer-songwriters,” Tom said.

“Plus, i got a new acoustic guitar, and wanted some new songs to play with it…”

Tom’s a friend (at least I think he is?) and I’ve been a fan of his music since I first heard ‘Through These Veins’ way back in early 2014, he is a musician who continuously reinvents himself and the genre he chooses to work in. His steampunk sensibilities aren’t always to everyone’s taste but, if you don’t try something different, how do you know if you’ll like it or not? His irreverent and extremely clever music suits his bandcamp site’s description of, “A latter-day Victorian street-theatre barker with a guitar promising tales of mystery, imagination, ‘orrible murders and bloody great waving tentacles”.

Well, as Tom says, he’s gone from the dark and deliciously melodramatic to the wistful and contemplative with his new AshFeathers project and it is a direction that I think suits him a lot.

The opening two tracks Nothing You Can’t Buy and Mirrorworld both have their roots in Tom’s musical past, especially the lyrical content of the former, a clever tale of an assassin who has hidden his identity and taken refuge in a bizarre city where you can buy anything – including abstract concepts like broken promises. The music has a deep down honesty amidst its wistful delivery, Tom’s new acoustic guitar proving a very canny purchase but, for me, it’s how his unique and distinctive vocal seems to marry perfectly with the music that makes this something completely different. At once both dreamlike and yet mournful and forlorn, it is stripped back and rather lovely. The latter piece, Mirrorworld, is about losing a friend or family member to online propaganda and you can feel that feeling of loss throughout the track. There’s a halting edge to the guitar and the timbre of Tom’s voice all delivered in a candid emotive and soul searching song, painful, raw emotional wounds laid bare. Cuckoo has a serious tone to the music, a slight tension in the guitar and vocals, emphasised by the electronic vibe of the synths. Sad, reflective and thoughtful, it music that tests the grey matter and makes you think and there isn’t enough of that about nowadays. Driftwood is a song that takes after it’s title, seemingly wandering aimlessly through your psyche with no distinct purpose but it does so with a grace and elegance that is just so appealing. The sublime instrumental In Between is a haunting, ethereal piece of music where Tom’s acoustic guitar plays on nostalgia and sentimentality to leave its mark on your soul, it’s calming and reflective and just a delight to listen to.

Title track Worldbuilding is rather impressive, a song about getting lost in a fictional world, having lost hold of the thread that was supposed to guide you – Theseus – style – back to the real world. The guitar playing is intricate and precise and the vocal has a searching edge to it, it’s a serious feeling track with an eerie atmosphere that is really addictive. Another stand out track is the charismatic and engaging Every Word I Write with it’s jazzy electronic percussion and catchy chorus, “Everything I write is an ode to you..”, has Tom written a pop song? Don’t let him hear me say that! The music on My Love Is Bigger Than The Sky shimmers and shines and lights up this pensive song, it’s rapidly becoming an earworm for me with its irrepressible guitar line and that ever classy electronic percussive beat. Add in another contemplative vocal and you’ve got yet another quality track. A more upbeat track, making full use of the electronica, Map Of Scars could be straight from a recent Radiohead album, excellent musicianship and a banjo, if I’m not mistaken, giving this song a real storytelling feel and more than a little hint of prog. The album closes with the haunting brilliance of We Can Be Anyone, Tom hitting the heights with his songwriting on this dark feeling song. There’s always something positive to be found in the dark and that shines through in this pensive five minutes plus of music, Tom’s vocal leading the way.

With ‘Word Building’ Tom Slatter has introduced his new AshFeathers project to the world from a pretty exalted position. The more relaxed, laid back feel, full of airiness and space really suits this talented musician and has culminated in a highly enjoyable release that I think may introduce him to a wider audience and that may go someway to helping him pay for that new acoustic guitar…

World Building will be out on January 17th 2024 at ashfeathers.bandcamp.com. If Tom can get himself sorted by then.

Review – Zeelley Moon – The Author And The Dreamer

“Music is the moonlight in the gloomy night of life.” – John Paul Friedrich Richter

That’s a nice quote and as soon as I saw it, I knew it would be the lead line for this review for listening to this second album from Zeelley Moon, you do feel an instant affinity to the music and a feeling of warmth, light and goodwill falls over you. To put it simply, it’s bloody gorgeous…

‘Zeelley Moon is Pat Molesworth backed by his band mates, including some of the finest musicians. ‘The Author and the Dreamer’ features seven totally rocking melodic rock vocal tracks including one acoustic and one jazz-rock instrumental that bring to mind the progressive pop-rock sound of music legends Supertramp, piano rock legends like Billy Joel, Elton John with the melancholy of Pink Floyd. The album focuses perhaps slightly indulgently on a stream of consciousness and things we are troubled by or simply observing. There are often more questions than answers.’

Along with Pat (hammond organ, keyboards, arrangements, vocals), Zeelley Moon comprises Jim Kelleher (guitars, bass), Aled Peter Lloyd (drums), Sarah Mau (cello, violin), Katherine Sparks (flute), Meg Prickett (vocals) and Steve Picking (bass tracks 1 & 6).

Pat kindly sent me the wonderfully packaged CD which, in this age of digital everything, is a very nice touch. With excellent artwork complete with lyrics and intriguing photography, Zeelley Moon’s CD packaging features a hardbound book-like Digibook & CD.

Well, from the first note of opening track Main Moon Man the lush music and Pat’s earnest vocals instantly grab your attention. Yes, there is something of the piano rock vibe about it but, what I hear is a glorious meeting of English legends XTC and pastoral progressive rock luminaries Big Big Train and what a triumphant melding of sounds it is! A song about who you are but how it might take somebody telling you for you to believe it. A lovely violin and piano lead the track in before Jim’s echoing guitar heralds Pat’s vocals, the expressive bass and drums adding even more pathos to this rather impressive album opener. English Pride might be the thing relied upon as a default during a problematic period in which it wasn’t noticed but it’s ok “because everyone has problems right, and besides, we’re too proud to make a fuss and we’re alright now anyway, but thanks for trying”. This eccentric but highly intriguing songs opens with a busy piano line before a soulful guitar hits you right in the heart and then we’re off again with a wonderfully evocative guitar and piano that invoke those giants of English guitar rock XTC and just check out that fantastic Hammond organ! The lyrics and general vibe of the song (especially the flute and violin) bring to my mind the inventive songwriting of Big Big Train and just give this song a feel of nostalgia and of better times long gone, a feeling even more enhanced by the laid back instrumental part of the song. It’s a highly effective pice of music and has rapidly become one of my favourite tracks of this year. Four Walls is a short piece about breaking free from one’s own self-imposed limitations and has a real emotive feel to it. The shimmering guitar and keyboards and choir like vocals give a real dreamlike, almost surreal, feel.

Killing The Dream opens with a wistful atmosphere, yearning vocals and delicate piano and guitar that transport you in to a warm and hazy English summer where our protagonist appreciates the simpler things in life like either dropping his own children at school or observing happy children from his car while paused at a traffic light and reflects on the positive influence of the woman in his life. There’s beautifully ethereal violin that winds around the elegant guitar along with a subtle cello and the whole song has you reflecting about your own place in the world. Where the wind Blows doesn’t offer answers to the questions posed; only perhaps helps us to reflect from the options offered and takes us back to that superb XTC/Big Big Train axis, perhaps with added piano rock this time. I love the energy and almost restrained urgency that pushes this dazzling track along and Jim’s guitar playing is utterly sublime. The vocals and the way the song unfolds in its near ten minute running time does bring to mind something of the ‘piano man’ Christopher Cross and Billy Joel style but with added English peculiarity. There is something just ‘right’ about this album and the music, it is ‘proper’ music to my ears, music that Pat has worked on and deliberated over and spent many hours creating and I think it is just stunning.

Poison in my Tea is what you suspect when something just doesn’t taste right. You can sense it but you can’t quite figure out what it is. The news, popular opinion, big businesses all have an influence, sometimes helped along by an interest or just human nature and our need to be in a tribe. A musical rant with lost of humour and plenty of tongue in cheek, the vocals very reminiscent of Glenn Tilbrook, in fact the song has definite hints of Squeeze in the guitar and the keyboards/piano, that English idiosyncracy coming to the fore once again and making for a highly entertaining and satisfying song. So Many Words are spoken, sometimes wisely, but patterns of behaviour persist and maybe you’re going around in circles. Pursuing one area of excellence in your life is a nice distraction but for how long? A beautifully written and performed song where Pat joins forces with the stirring vocals of Meg Prickett to give a deeply touching song that is enhanced by the stylish and soulful guitar from Jim and Pat’s stellar keyboards. The chic rhythm section adds a real jazz influence to this sharp, polished track and closes the album on a composed and assured note.

I just love music that moves me and affects me on an emotional level. ‘The Author and the Dreamer’ connects with you in your sub-conscious, the songwriting and performances are second to none and Zeelley Moon’s innate Englishness and idiosyncracies are what make this music so appealing and enjoyable and one of my albums of 2023. Do yourselves a favour and get your hands on it as soon as you can!

Released 20th November, 2023.

Download and streaming on iTunes, Spotify, YouTube Music and the usual others.

Physical Album sales available on Discogs.com or direct at zeelleymoon@yahoo.co.uk.

Review GIANTSKY – Giant Sky II – by John Wenlock-Smith

GIANTSKY – ‘Giant Sky II’ is unusual for me in that it is well outside of any comfort zone that I occupy. This album, though it interests me, it’s a challenge and that makes it worthy of my time and effort, it’s good to be challenged musically at times and who knows what you may discover on the way…

So that is the attitude in which I approached this album, knowing absolutely nothing about the project except the blurb that says it is a amalgam of musical styles and influences including Nick Drake, Mogwai, shoegaze (whatever that means?) and, last but not least, the Blade Runner soundtrack, well that certainly piqued my interest as I consider Blade Runner and its soundtrack to be utter masterpieces.

Looking at a dictionary definition of ‘shoegaze’ in music it is revealed to be ‘A style of rock music in which the distinctions between separate instruments and vocals are blurred’, this term apparently came from bands who had that sound in part because they were looking down at effects pedals used in making it, which helps a little I guess.

Let’s get down to the main event; GIANTSKY are from Norway, main man Erlend Viken is the songwriter for Soup and this is a collaboration with the Trondheim Symphonic Orchestra, Combos, WZRD, Motorpsycho, Hanne Mjøen and more.

So what is all the fuss about or is it just hyperbole, does this have any musical merit or is it just tosh? Read on to find out…

The album opens, as does almost every progressive influenced or affiliated album nowadays, with Origin Of Species, an instrumental with a growling synth and almost Close Encounters Of The Third Kind notes that shimmer in the sound before a broader sweep of orchestrations is introduced. It’s all very effective and fairly traditional in tone, which cannot be said of the next track, Imposter, which begins with an acoustic guitar chugging with an echoed,reverbed vocal and the introduction of a fine female vocal. A distorted, fuzzy guitar then briefly enters the fray before disappearing, the female voice returning before a guitar and synth solo appears and the guitar solo plays out for the remainder of the track. Speak Through Walls opens with gentle acoustic guitar and a delicate female vocal once more, The track has some fine piano lines and also some lovely orchestral events (initially the flute) which sound really grand. A deep synth bass is added to the sound palette and the tinkling piano evokes Blade Runner, as does the sequence where an effect laden guitar plays with good use of tremolo effects. The latter part of the song is very busy and intense in sound, almost bordering on distortion, but it’s still a highly effective track nonetheless.

Space Farrier opens with piano and synths before an electronic drumbeat is added, all very 1980’s in tone, making it very intriguing. The songs then gains in intensity and the drums become more intense than before. This track is instrumental throughout its duration with great effects in the middle section, all very over the top and Hawkwind like in parts before the tinkling piano returns to tame the sound somewhat. A heavier synth bass is added to the mix most effectively as the track draws to a close ,with more tinkling piano. A very impressive track that segues into The Present with engagingly gentle guitar and keyboard washes which create big open sounds that compliment the narrative from Eckhart Tolle. To The Pensieve is far more moody and downbeat in tone and amidst it all are lots of chattering synths and a graceful piano along with more tremelo guitar lines. It is actually rather sweet and gentle, I really like this track as it has a great atmosphere to its sound. The song wells in the middle part, growing in intensity as it builds up in power before returning to the gentle sound once again with more flute and woodwinds playing. A couple of shorter tracks follow, namely Dispatch Of Species and Curbing Lights, the former is an atmospheric instrumental with a drone type melody and what sounds like a pipe organ, especially in the bottom end. Curbing Lights is a more sprightly number with synth and what sounds like Theramin effects and a busy drum pattern playing around everything in what is almost a wall of sound, it is very effective indeed.

The album’s longest track I Am The Night opens pretty gently with more piano and a good bass line sitting alongside the acoustic guitar. An electric guitar line then plays joined by ethereal vocals before a strong bass motif is played and a flute joins in. This is superbly constructed and performed, a double bass drum rhythm and then a decidedly more aggressive section begins with increasing sound and intensity. There are some impressive guitar lines added within the overall sound and, as such, are perhaps a little buried in the mix by all that is happening around it. It is definitely an interesting track but one that is maybe too busy at times, which stops it being the best track on the album, just my opinion though! Birds With Borders opens with a lovely folk section and more fine vocals. This initially gentle song builds in its intensity, creating its own unique voice in the journey and it certainly makes a mark, as do the excellent orchestrations that form part of its sound. Tables Turn is a harder sounding track with great effects and excellent male and female vocals, almost heading into atmospheric ambient territory. The penultimate track is King In  Yellow and it’s very interesting with lots going on and lots of orchestral embellishments along with a slow burning, almost sedate, rhythm section and lots of effects. There’s a sustained, almost Mike Oldfield-like biting guitar line within the mix as it powers onwards. It may only be a short track but, for me, it’s a great one that really connects.The album closes with Seeds which has another gentle opening, with duetting vocals, a sturdy piano motif and swirling sounds. It’s pretty lush overall with fine synth lines, all heavily modulated which sound really effective as they build and climb well, taking the song forward. A great guitar line is played as the song begins to wind down. This track is well delivered and epic in tone and it sounds really good, especially on headphones, as the song and album end on long sustained tones.

I really can’t quite make up my mind about this album, it certainly is very interesting, immersive and sounds fantastic in parts. However, I personally found it overlong and at times difficult to really get into, perhaps I need to hear the first album and then this one played one after the other. There’s no denying the musicianship and songwriting skills on show but I would suggest that you listen first before investing, it’s your choice.

Released 1st December, 2023.

Order from bandcamp here:

GIANT SKY II | GIANTSKY (bandcamp.com)

Review – Orion – Passing Through

Orion is the musical project of the hugely talented, and very humble, Ben Jones and John Wenlock-Smith reviewed Orion’s debut release, ‘The End Of Suffering’, earlier this year and was mightily impressed, closing his review with this paragraph;

“There is great musicianship and intelligence to this album, all in all ‘The End of Suffering’ is a most wonderful release, I highly commend it to all, especially those who like their prog harder and less symphonic.”

I had to heartily agree with John, the fact that it was totally self-financed by Ben and he wrote, performed and produced every single note was also worthy of much appreciation. Now, as Ben works on his second full length album, he has released a taster of the Orion’s musical direction with this new E.P. ‘Passing Through’. Ben gives us some background to this new release;

‘”Passing Through’ is a mini release, aimed at giving people an insight into where Orion will be headed next. It features three new songs, and hopefully breaks some new musical ground. There is also an extended version available, which also includes instrumental mixes of the three new tracks“, He goes on to say, With ‘Passing Through,’ I’ve been keen to implement different time signatures, more intricate playing, wider soundscapes, and generally take a bit more of an adventurous path with the music. Beyond expanding my synth library, I’ve also added some orchestral sample packs into my musical palette. I’m no Michael Kamen, but it’s been exciting to resurrect my music theory knowledge, and apply it to strings, woodwind and horn sections.  I’ve also added a seven-string guitar and a five-string bass to the mix, resulting in at least one track which is, I dare say, verging on heavy.“

So, without further ado, let’s dig into these three new tracks…

The opening track The Tumult of My Heart was inspired by a book of the same name by Jason Spencer from The Prog Mind. The book is about trying to deal with religious trauma from the author’s past. The song itself tries to deal with these issues. There are many good elements to religion, and there are many bad elements. That’ simplifying it a tad, but you get the picture. As for the music, well, what can I say, an imposing wall of sound is created by the layered widescreen guitar sound and the powerful rhythm section but the vocals add some real heart and soul so it’s not just a metal track. There’s a searching passion and questioning mind at the heart of this powerfully emotive piece of music and a feeling of fragility and a soul laid bare. It’s very compelling and influential and a great start to the E.P.

My favourite song of the three is The Ghosts Among Us, it is a profound piece of music written about the gut wrenching experience of caring for someone with a profound disability. Whilst it’s not something Ben has had to do, it is something he’s witnessed first hand. And I myself have a real affinity with this track as I have some experience of this myself and which came all flooding back as I listened to this brilliantly written song.

“Ultimately, it’s almost as if they’re no longer alive, other than physically. You can read their vital signs, but can you read them as a person? I can’t imagine having to make the decision to switch off the things that are keeping some people alive, but I also can’t imagine the horror of being trapped in an unresponsive body.“

Genres go out of the window when there is a subject as deep as this, it is just beautifully enlightened and discerning music that treats the subject matter with the gravity it deserves, a hauntingly graceful guitar opens the song before the hushed vocal enters, adding an earnest, insightful quality, before the drums and superb bass lay down a dynamic rhythm and Ben’s vocal takes over. I can’t really describe how the music touches you and makes you feel, you’ll just have to listen to it yourself, suffice to say I felt enlightened by the sensitive way the subject is dealt with on this utterly captivating track, bravo to Ben for getting it perfect, much like the superb guitar solo…

After the emotional roller coaster of the previous track, the in-your-face metal infused prog of This Sickness and it’s diatribe on the negativity of social media is just about spot on.

“When I finally become the Supreme Ruler of Earth, Tik Tok will be burned to the ground… Vote for me. I’m not a fan of social media. It’s just terrible. I appreciate the irony of the fact that my entire following is based around Facebook and Bandcamp, but that’s different. I don’t do absurd dances to terrible music… I write my own terrible music. As with all things, there are good parts and bad parts. In my view, the bad parts of social media seem to outnumber the good.”

And, man, is this track angry! Crunching guitars in the style of ‘Train Of Thought’ era Dream Theater and drums that are hewn out of granite open this thunderously compelling track. The vocals are distinct and authoritarian and the whole song just bleeds a potent intent. This is ‘proper’ prog-metal that puts a smile on my face, and not just because of the subject matter. The musicianship is sublime and Ben just seems to be having a whale of a time, venting his frustration in the best way he knows how. It’s a riot from beginning to end and I seriously enjoyed it.

It’s not often I review E.P’s but, knowing it was the follow up to Orion’s stunning debut album and a glimpse into Ben’s future musical direction, I just had to review this one. I am so glad I did, ‘Passing Through’ shows a musician highly confident in his abilities and features songwriting of the highest calibre. It’s a monumental achievement in only three songs and I cannot wait for what comes next, I can’t recommend it highly enough.

Released 1st December, 2023.

Order from bandcamp here;

Passing Through | Orion (bandcamp.com)

And, for the measly additional cost of £1, you can get the extended edition with the instrumentals here:

Passing Through – Extended Edition | Orion (bandcamp.com)

Review – D’Virgilio, Morse & Jennings – Sophomore – by John Wenlock-Smith

‘Sophomore’, the second album from the triumvirate of Nick D’Virgilio, Neal Morse and Ross Jennings, comes roughly two years after their debut album ‘Troika’ and, once again, we see three distinctly different voices blend together harmoniously, in tandem but also in good spirits.

The debut album was conceived and compiled during the lockdowns and around the movement and activities of these three working musicians in 2021, with one of the most impressive elements being that the trio had not actually met each other in person, well Nick and Neal had in their Spock’s Beard days but Ross was just a name at that time, known but, as of yet, not known by the others. This has been rectified for this release, with the three together in the video for Anywhere The Wind Blows.

Well, for those who enjoyed ‘Troika’, you will love this gentle further chapter of the trio’s story. The twelve track release is full of gentle, mostly acoustically driven music with more than a passing nod to the likes of CSN&Y, Graham Nash, Gordon Lightfoot, America or even James Taylor. This is especially noticeable on the track The Weary One, again the video will show you their great teamwork and their fabulous harmonies of voice. This really is a very relaxed, chilled vibe to listen to, however, for me the album really came alive when heard on headphones and when I had the lyrics as, although the vocals are clear, I just find it helps.

The opening song, Hard To Be Easy really grows on you, there is a lot of musical versatility on display and the bass work is great, the bottom end being very solid and consistent with the music. The songs warrant multiple plays to really engage with them fully. This album is not as straightforward as the debut was but, even so, it sees a real progression in their sound and there are multiple little touches that make this really work. It is an intelligent and somewhat compelling album of songs, all of which are well crafted and well written by the three of them. Tiny Little Fires is a case in point, this may be mostly acoustic but it powers along tremendously with a great little riff and a good synth solo that lifts the song well, it also has great Hammond Organ support. Right Where You Should Be has strong country elements, including pedal steel guitar sweeps and licks that supplement the track. It is an introspective song but tells us that we are right where we should be all along, it is possibly one of the albums strongest songs. Although to be fair, The Weary One is also a very strong contender with a good sympathetic cello part playing. There is also a very elegant fiddle that adds to the great dynamics of the song, the harmonies are also really fine on this track, making it another standout.

Mama is a more electric track and far more rock oriented than its predecessors. It is an ode to strong and firm mothers who guide their offspring into a good life, children who make them proud and don’t bring shame. This has a neat electric guitar solo from and is an interesting and rather rocky track and excellent fun. I’m Not Afraid is about doing right every day, another dose of Neal’s faith popping out I suspect with its generally positive lyrics. There’s another great guitar element and lines in this one. Weighs Me Down is another country music style song that has more of the stylish pedal steel amongst its sound and is a bit more downbeat and reflective in tone, it rolls along well though! Walking On Water has an almost Doobie Brothers swing and feel to it and the great lyrics and Spanish guitar flourishes add to this impression. There’s a great chorus too in this song, this one really impresses. You can hear the Doobies influences clearly but it’s all incredibly well done, the fiery guitar part in the middle does little to deny that view! What it is is a really great song, the albums longest and, to these ears, the best of the bunch.

Anywhere The Wind Blows is the albums final official track, and, again, there is a strong soft country-rock sound to it. This is the song that was the album’s lead single and has a rather excellent video that you can find at the end of this review. The track has a good accapella part in the middle, it’s a terrific song with sumptuous backing that really allows the trio to sing their hearts out. On the CD, that’s almost it except for the two extra songs which are slightly different takes on Right Where You Should Be and The Weary One, which are both very good but add nothing extra to their earlier incarnations, although they are possibly a little different vocally. Either way, they merely reinforce just how confident and accomplished the trio are, I believe further adventures, and possibly some live shows, could be on the horizon, it will be interesting to see what unfolds in that direction

However in the interim, sit back, enjoy and appreciate the craft that the trio offer on ‘Sophomore’. I really like it a lot, it’s different to my usual fare but fantastic to listen to when you want something different.

Released 10th November, 2023.

Order the album here:

Sophomore (lnk.to)