Dreamwalkers Inc is the brainchild of the multi-talented Tom De Wit, when it comes to music (especially prog-metal) there isn’t much this high energy Dutch wizard can’t do with regard to songwriting, playing, production and, on top of that, he’s a really nice guy and someone who I consider to be a friend. Having said that, this review will be objective, like every one I write.
Tom is a storyteller and with ‘The First Tragedy of Klahera’, that’s exactly what we get. Music started as a way for the latest news to be passed around, the bards singing the stories (with a bit of poetic licence, obviously!) to a rapt audience as they passed through settlements that were starved of the latest news and were often vast distances apart.
Storytellers. Society has had a place for them ever since history has been recorded. And stories can be deeper than one might see on the surface. The simplest of fairytales can hold deeper meanings and social commentary that takes some time to digest.
The album’s concept stems from a story written by singer/frontman Tom de Wit which was adopted into a novel by Janneke Stam (to be released somewhere in the future). The story is a high fantasy/steampunk epic, that details about a girl found in a forest on a dark fated night that is adopted into a small village by a loving couple. The girl is clearly different from everyone in the village and seems to be at odds with everything. It feels like everything she thinks and stands for is ‘not normal’ according to the world around her. This leads to a dark conclusion at the end of this record that will be revealed as the songs pass. The story of this girl named Klahera forms the basis of this album. Subjects like social alienation & trying to belong somewhere are present here. But also concepts as justice, how history is written & the influence and interpretation of religion and it’s consequences are touched upon.
Aided by a cast of voice actors known from other work in the progrock sphere, the band has tried to craft a record that almost plays like a movie from start to finish. ‘The First Tragedy of Klahera’ is the first in a set of albums and the story will continue on the next record. With this new body of music under their belt, Dreamwalkers Inc is excited to get out into theworld, play shows and tell this story to whoever wants to hear it. Because some stories deserve to be told and the band believes this is one of them.
Dreamwalkers Inc creates a melodic blend of progmetal & progrock with influences from all over the musical spectrum. The pandemic has seen the line up change and the new 6 person band that emerged sounds fresh and new. Featuring newcomers Sander van Elferen on Drums & Bjorn van der Ploeg on bass providing the rhythmic backbone of the band. Guitarists Lennert Kemper & Norbert Veenbrink provide the melodic and heavy tapestries on top. And the vocals are provided by Tom de Wit & Radina Dimcheva who provided different yet distinct voice colours to the mix. Aided by a cast of voice actors known from other work in the progrock sphere, the band has tried to craft a record that almost plays like a movie from start to finish.
With an introduction like that this album has to be something special and, once again, Tom doesn’t let us down. I have a love/hate relationship with concept albums finding some to be brilliant, musically diverse, musical events that stun and impress, while others are overblown and overwrought and, simply put, not worth the time. To save on the anticipation, I’ll tell you now that ‘The First Tragedy of Klahera’ sits firmly in the former category, so let me tell you why…
There’s all that’s great about prog-metal in this album, and in Dreamwalkers Inc’s sound in general, the loud “aggression” and amplified guitar-driven sound of heavy metal combined with the more experimental, cerebral or “pseudo-classical” compositions of progressive rock and the band do it extremely well, you can hear it on Oldstead and the darkly delicious, brilliant It Lives especially. However, what you also get is the inventiveness of tracks like opener Justice My Tragedy which is almost hauntingly gothic in places as well as delivering huge, monumental slices of heavy rock and growling vocals, a pure melting pot of musical brilliance. Despicable is another sublime piece of music, it’s almost jazz/prog fusion in places and puts a big grin on my face, oh and don’t get me started on the brilliant, intricate and incendiary guitar playing on this song! The wistful, soulful wonder of Pushed is just beautiful and Tom and Radina’s vocals are as emotive as can be, it just a gorgeous song.
And what also makes this a phenomenal album are the performances of the musicians, van Elferen and van der Ploeg make one of the most cohesive rhythm sections you will ever hear in any band, never mind a prog-metal one and the guitars of Kemper and Veenbrink almost have a life of their own and speak to you through the music. It’s not just the solos, it’s everything, there’s a superb section in the middle of the opening track where they are bluesy and soulful before breaking out into something much more primeval, it makes the hairs on the back of your neck stand up! And, as twin vocalists, Tom and Radina make just about the perfect pair, his harder edged, powerful clean and harsh vocal meeting the perfect foil in Radina’s glorious, almost operatic delivery and it fits this concept perfectly. Broken Puzzle Piece is a particular highlight of the ebb and flow that their vocal delivery adds to the music but it really shines on the longest track, Mother Dearest, one of the best songs I’ve heard this year, and not just in the prog-metal theatre either.
The addition of the voice actors is nothing short of genius and does give the impression of musical theatre, storytelling at its pinnacle. I recently went to see Les Miserables in London’s West End and , in my humble opinion, this brilliant album and story would fit there very well indeed.
Music has the power to move you, the power to enthral and beguile and this utterly immersive and captivating ninety minutes of music does just that. Dreamwalkers Inc have that innate ability to entertain and bewitch at the same time and with ‘The First Tragedy of Klahera’ they have delivered as powerful a music statement as you will hear this year.
Tribe3 are a progressive rock band who hail from Bridgend in South Wales, there must be something in the water down there as the area is awash with prog groups emerging this year with Last Flight To Pluto and The Mighty Ra both hailing from a similar geographical location to Bridgend.
This self-titled album consists of six tracks in all and lasts for about fifty minutes so, yes, its mostly longer tracks, with The Downfall of The Birdwatcher being the shortest at at just over six minutes. The music the band make is actually rather good and has elements of Rush and Yes, although I also detected hints of 80’s prog groups like Marillion, IQ, Arena or Pendragon. It’s certainly an interesting mix of both influences and styles, obviously bands are influenced by earlier artists and that influence is going to appear somewhere so these traits are unexpected really, but it is good to hear that the band are trying to create their own style here, and are mostly successfully at that.
The album opener is Invictus and is the albums second longest track. This sets out their stall rather well, starting with Mellotron voicings and sounds, mostly choral in tone, all very epic and stately really before morphing into something different where an intricate guitar motif is played by Chris Jones. Invictus refers to being unconquerable or undefeated in Latin and the song is about that feeling and not allowing life to beat you. It’s all about resilience in the face of what life throws at you really, a maxim that we can all adopt in these challenging days in which we live. The song has more than a nod to 80’s era Rush, especially with the Bass pedals moving the track along. Fear Is The Key is about how the world is controlled by a shadowy few who wield control over governments and power brokers, all whilst running to their their own agenda, they control by using fear to get their goals actioned. This is possibly a flawed idea, but the song has credibility in its music even if you don’t agree with its lyrics, it certainly makes you think, hopefully it does at least. The Downfall of The Birdwatcher is next and this shorter track lists the names of many common birds that a twitcher would seek to see for himself. In this instance our hero falls afoul of the law when his actions are reported to the Police and, when his actions are deemed innocent and he is cautioned and released, the offended party take matters into their own hands and damages his perch so that gravity will bring about his downfall, a cautionary tale perhaps.
Lament follows is hinged on delicate piano lines and a very Alan Holdsworth legato style guitar line that runs throughout the track. I really like this one as the build of the track is good and satisfying to hear, as is the excellent guitar break that plays out against the piano motif, it really catches the ear well. This song is definitely one of the albums strongest pieces, it is also the albums longest. Towards the end the piano refrain returns in a style very reminiscent of Marillion and this really impresses. Calm Before The Storm opens with a busy bass solo, all open notes and runs and you can definitely sense the Geddy Lee influence and inspiration here. This then has chiming guitar chords and syncopation akin to Rush and their epic soundscape. The song is a mournful view of modern earth and how everything green is disappearing to be replaced with greyness and dullness. It speaks of how nature will fight back by washing it all away, global warming, the rising seas and their encroaching will address the years of harm nature has suffered at the hands of man. A warning for us all possibly? The final track of the album is Dawntreader, a song about people who work away from home, usually at night, dockworkers, miners and the like who eagerly await the dawn in order that they can return home once again. This has a excellent and emotional refrain of “Stay With Me, You’re In My Heart…”. It is very laden with emotion and expression and is a slow burn interspersed with synths and strong effective guitar work on which this excellent album concludes.
It may have come to fruition after a few years of lockdowns and altered lives but with this album Tribe3 have taken an impressive and accomplished step forward into a new world. I eagerly await their next steps, meanwhile this album will no doubt continue to impress as will their upwards progression.
This November sees the release of the second instalment of the Cyan story. If you recall, this project saw the resurrection of an album and concepts from the very earliest years in Robert Reed’s musical journey and development where Rob and his school friends made an album that was actually released in the 1990’s on a small dutch label that allowed further parts to be released. Although Rob felt that these releases fell somewhat short of how he saw the album should have been envisioned.
To this end, when Rob decided to update the concept afresh with a more competent and rewritten version, he enlisted the talents of Peter Jones, Luke Machin and Dan Nelson, with Rob himself handling the keyboards and other things like production. ‘Pictures From The Other Side’ continues that journey and, again, the original source material benefits both from a 2023 production and also the reimagining and experience that has been gained the last 30 years.
The album has just six tracks, including the epic Nosferatu, opening with an extremely strong and compelling opening track, Broken Man, which allows PeterJones to sing and channel his inner Gabriel. The track begins with what sounds remarkably like Uilleann pipes but is probably more likely to be Peter’s whistles or something similar, this is accompanied with a soaring guitar line from Luke Machin that takes the track forward in style. The song has great backing vocals from Angharad Brinn ( who featured on the Kompendium album from 2013) and also benefits from the athletic and agile bass playing of Dan Nelson, who is all across this track, adding solid and expressive support. When Machin’s guitar lets fly it really warms the heart to hear this marvellous collective really making an impact and allowing the song to really flow. The vocals are very much like Peter Gabriel and, again, this really makes a strong and favourable impression, in conjunction with Angharad Brinn, this all sounds really strong and enticing, especially when you factor in the fabulous music that Cyan offer as a unit. It is very imaginative, well nuanced and textured with an expansive sound and simply excellent musicianship from all parties involved, a stunning opener all told. Title track Pictures From The Other Side opens with gentle piano lines before the band join in and a jazzy saxophone plays in tandem with the vocals. The song sings of stories from the other side of life, although what that actually means is a little abstract and unclear. It is another excellent song though, relatively short but with a strong keyboard part in the mid section and some classy saxophone lines before a sweeping Luke Machin guitar line plays out over Rob’s keyboards. This has great dynamics to it, an ethereal vocal from Angharad taking centre stage as the song moves forward. There are some fabulous guitar parts within this song and, again, it really makes an impact. The track ends on a syncopated jazzy section with guitar, keyboards and sax all playing their parts to perfection, another winner!
Solitary Angel is a more restrained piece really although, again, it builds well in its intensity and does allow room for more of Luke Machin’s flights of fingers and notes to occur. That takes the track to greater heights, Machin really lives up to his growing recognition and skills here. I’ve had the pleasure of seeing this young man grow, not just in his confidence, but also in his abilities, to become the valued player that he is. This understated song has real class and adds a testament to the strengths that the group possess and display so well. The wistful and poignant Follow The Flow is a bewitching and beguiling piece of music that focuses on the twin strengths of Peter’s vocal and Rob’s piano playing to deliver just shy of four minutes of musical wonder. Once again Angharad’s beautiful, touching voice adds to what is a marvellous musical brief encounter. Tomorrow’s Here Today starts with an acoustic guitar alongside a fine vocal from Peter Jones and ethereal vocals from AngharadBrinn, who really add to this slow burn of a track as their voices blend really well and expressively. Deep keyboards are employed to add to the atmosphere and the dynamics as a synth solo is performed by Rob and, as Luke Machin joins in the fun, the song gathers pace and urgency and becomes a platform for swapping solos before returning to the previous mood. I really like this track and its use of dynamics to convey its points.
The final song of the album, Nosferatu, is also the longest at just shy of eighteen minutes in duration. Nosferatu is a reference to vampirism like Dracula but with its roots further back to Roman times in Transylvania and that region of the world. It’s all very Gothic and removed from Whitby and the Dracula legend of today. This has a gothic horror element to it but it is all done with a degree of reverence and respect. The elongated running time gives room for the track to breathe, expand and explore the themes more fully and this means lots of spaces for Robs expressive keyboards, Luke’s fiery guitar and Dan’s solid bass and gives them all the ability to have room to breathe, Angharad Brinn especially gets the opportunity to shine here. There is a definite strident section that really works well before the song returns to a more gentle feel part and then Luke’s defining guitar break takes the listener on a flight of wonder, the closing moments are especially strong with real pace and urgency to them as Peter ushers in the morning sun to dispel the vampires. This is a class ending to what is a very accomplished album of strong material.
In a year that has seen some excellent releases this one can easily be added as one of the year better ones. A real treat and one that most definitely warrants inspection and deserves being heard by as many as possible as it contains much very fine music and strong performances from Cyan.
Legendary rock guitarist Steve Hackett will release his new studio album ‘The Circus And The Nightwhale’ on 16th February 2024, via InsideOut Music. A rite-of-passage concept album with a young character called Travla at the centre of it, ‘The Circus And The Nightwhale’s’ 13 tracks have an autobiographical angle for the musician who says about his 30th solo release: “I love this album. It says the things I’ve been wanting to say for a very long time.”
‘The Circus And The Nightwhale’ is Steve’s first new music in over two years. It follows the beautiful acoustic LP ‘Under A Mediterranean Sky’ from January 2021 – which rose to No 2 in the UK Classical chart – and, in September of that year, his metallic masterpiece Surrender Of Silence, which hit the UK Top 40. His 2023 live album, ‘Foxtrot At Fifty + Hackett Highlights: Live in Brighton’, reached No 2 in the Rock & Metal Chart. Steve’s new LP promises ballads, blues, blistering progressive rock… and healthy measures of theatre and fantasia.
Recorded between tours in 2022 and 2023 at Siren studio in the UK – with guest parts beamed in from Sweden, Austria, the US, Azerbaijan and Denmark, the line-up for ‘The Circus And The Nightwhale’ includes some familiar faces alongside Steve on electric and acoustic guitars, 12-string, mandolin, harmonica, percussion, bass and vocals. Roger King (keyboards, programming and orchestral arrangements), Rob Townsend (sax), Jonas Reingold (bass), Nad Sylvan (vocals), Craig Blundell (drums) and Amanda Lehmann on vocals. Nick D’Virgilio and Hugo Degenhardt return as guests on the drumstool, engineer extraordinaire Benedict Fenner appears on keyboards and Malik Mansurov is back with the tar. Finally, Steve’s brother John Hackett is present once more on flute.
The new album will be available to pre-order from the 1st December 2023 on several different formats, including a Limited CD+Blu-ray mediabook (including 5.1 Surround Sound & 24bit high resolution stereo mixes), Standard CD Jewelcase, Gatefold 180g Vinyl LP & as Digital Album. All feature the stunning cover painting by Denise Marsh.
The full tracklisting is as follows:
1. People Of The Smoke
2. These Passing Clouds
3. Taking You Down
4. Found And Lost
5. Enter The Ring
6. Get Me Out!
7. Ghost Moon and Living Love
8. Circo Inferno
9. Breakout
10. All At Sea
11. Into The Nightwhale
12. Wherever You Are
13. White Dove
Summing up ‘The Circus And The Nightwhale’, Steve says: “It’s a lovely journey that starts dirty, scratchy and smoky and becomes heavenly and divine. How can you resist it?”
Steve is currently on tour in North America, continuing his ‘Foxtrot At Fifty + Hackett Highlights’ run. Next year he will tour the world extensively, including a brand-new UK tour under the name ‘Genesis Greats, Lamb Highlights & Solo’, and that will see him return to the legendary Royal Albert Hall. For the full list of dates, head to: http://hackettsongs.com/tour.html
Here are reviews of six albums diverse in flavour and delivery but ones that have piqued my interest and resonated with me a lot recently. That’s the beauty of music, the variety of choice is never ending but the outcome is always the same!
The Oculist – Cautionary Tales
The Oculist is a boundary-pushing prog metal project that defies conventions. With their unique fusion of musical styles and genres, The Oculist is set to make a mark in the metal scene with their debut album ‘Cautionary Tales’.
The Oculist was formed by two longtime musical collaborators, Adam Dunn and Çağrı Tozluoğlu (aka Philamelian). The duo embarked on their journey for this release with instrumental recordings, drawing influences from the vast waters of metal, fusion, and prog. These demos evolved with the addition of further themes and developed arrangements.
The idea of adding vocals arose during one of the writing sessions when discussing common interests such as politics, true crime, and altered states of consciousness. Adam came up with the first lyrics for the project in the next session, and everything written up to that day took on a new form, transcending The Oculist to the next level.
‘Cautionary Tales’ is epitomised by the duo’s outstanding songwriting ability culminating in an eclectic musical playground with elements of heavy guitars, electronics, orchestra, ambient textures, and drones. The project’s rhythmical backbone features two extraordinary musicians: SimonFitzpatrick on bass and James Wise on drums.
I’m a big fan of quality progressive metal and The Oculist do it with style and a flare not often seen in the genre. The whole album is a triumph but the highlights for me are the three singles released. The first single from the album, Swan Dive, is six minutes of a modern metal and electronic soundscape, ebbing and flowing as Adam’s precise vocals deliver a stentorian, primeval assault. Çağrı’s mellifluous keyboards fly around incessantly, it’s a full on musical onslaught with Adam’s thunderous, monumental guitars and James’ dynamic drums a superb driving force. The electronica and ambient textures blend perfectly giving a feel of a manic melding of Threshold and Machinae Supremacy to my ears, and that is definitely no bad thing! Following on from the dynamic prog-metal of Swan Dive, The Oculist show a more measured and thoughtful approach with the symphonic wonder of Lavender. A wonderful, near eight minutes, of musical drama where the amazing vocals of KerryO’Dowd add an almost Celtic vibe to the song. Scintillating musicianship is a given, of course, and the whole track just leaves a feeling of immense wellbeing coursing through your very soul. There’s the more pragmatic prog-metal of opening track Twelve Step Sentence, which wouldn’t be out of place on an early Dream Theater or Haken album. Dynamic drumming and razor sharp guitar riffs adding real substance and Adam’s great vocals central to proceedings, his ability to move from clean to fierce vocals is just brilliant. All through this Çağrı’s keyboards guide the music on its searching journey.
‘Cautionary Tales’ is one of the freshest sounding albums you will hear this year, it is prog-metal for the thinking music fan and has real heart and soul at its core. I for one am intrigued to see what this talented duo come up with next.
James (Jim) Griffin is a musician who’s work I have reviewed (and admired) for a long time. While away in London recently, he sent me a link for a new album, released by the independent Australian label, Ramble Records.
Jim’s words about the album, “It’s a very different kind of thing – something acoustic and instrumental, designed for chilling out in a busy world. It’s a kind of “quiet” release I suppose. Not “Prog” at all really but I thought you might enjoy it. I recommend listening with a nice beer or perhaps a cup of tea!”, really intrigued me as I am open to listening to any kind of music and this sounded chilled, ambient and right up my street!
“This album occupies a place somewhere between the urban and the rural. In Ireland, it’s never too hard to get from one to the other. Dig a flowerbed, find an old horseshoe. Get chatting to a neighbour, find a connection to your Granny’s people. Drive for half an hour and visit the neolithic tombs of The Burren, then back home for a cup of tea in the back garden. Or around the kitchen table if the day is soft.“
I mean, who can resist a build up like that?
Eleven songs that just seem to blend regally into each other, forty-five minutes of music that requires no input from you and takes you to a place of serene calm and wistfulness. Music at its best sometimes just needs to be simple and uncomplicated and without a care in the world. There’s pain, suffering and tragedy in the world and I for one occasionally need to step out from all that, press pause and just have a moment of contemplation and calm and that’s what ‘Marginalia Suburbia’ gives you.
The songs relate to Jim’s day to day life in Ireland as he recounts here,
“And the days are often soft here in my hometown. A city actually (but only by Irish standards), Limerick sits wistfully at the mouth of the Shannon River. Her sinewy tidal estuary loops through our centre and gently blurs the edges between countryside, street, and suburb. It’s suburbia where you’ll find me, usually. Working a small garden as if it were the Bull McCabe’s field. Hoovering the house like a demon, cursing the tyranny of crackers. Feeding a cat who flatly refuses to love me like she should. Pretending we need milk so I can pop into town to walk by the waterfront.
And occasionally, sometimes stealthily, I retreat to the attic and noodle fragments of folky tunes on a loyal and sympathetic acoustic guitar. Birdsong bleeding onto the tape if it’s early morning. The neighbour’s dog barking at passers-by, creeping into the mix at night. Capturing the happy accidents that might get recorded from time to time, in the margins of the day.”
You feel like you are living that lazy, laid back Limerick life or certainly wish you were and that is the wonder and glory of this release that it transports you to another, simpler life.
I do like it when new music just blows me away unexpectedly. I was approached by Elaine Samuels, the power behind Kindred SpiritBand, as to whether I’d be interested in reviewing their new E.P. and, after just one listen to Morrigan, the lead track, I was hooked!
Exploring themes of greed and human exploitation by technology and the system, ‘Mechanophobia’ is performed by singer-songwriter and bandleader Elaine Samuels, with Piers Hogg’s lead guitar and Stevie Mitchell’s flute, saxophones, and cello weaving complementary melodies and supporting textures throughout, and co-produced by the band’s drummer Paul Austin and bassist Keith Buckman, the latter also writing one of the songs.
Boy, does that sound like music you can get your teeth into or what!?
There’s elements of rock, folk and prog all blended into a hyper addictive soundtrack. Opening track, The Machine is all darkly cool with its theme of modern technology. It’s a cautionary tale of humanity being lost to “the machine”. Elaine’s vocal demands your attention and the rhythm section of Paul and Keith take the track in the right direction, leaving Piers’ fiery guitar and Stevie’s epic sax and glorious flute to give substance to the tale. The Morrigan is a piece about the decimation of tribespeople and take over by the greedy modern societies, TheMorrigan is actually a Celtic Goddess, whose task is to watch over and protect the land. She is said to shape change into a crow or raven as an omen to warn of danger. There is a definite Celtic feel to this elegant piece of music as Elaine’s husky vocals and the ever so sweet flute add a mysterious atmosphere. The gentle acoustic guitar adds the rhythm and the required gravitas and the occasional flashes of Piers’ guitar evokes the fierce patriotism of the Celtic tribes. It is a fine, moving and emotive song that really hit me hard.
Keith Buckman wrote Algorithm Paradise about the lure of the web software which promises us something wonderful but traps us and takes control with it’s algorithms. This uber-cool track has a reel feel of late 70’s/early 80’s Fleetwood Mac style rock to it with Elaine’s vocal, Piers’ fine guitar playing and the addition of Toby Gehring’s classy trumpet. In fact the trumpet and Stevie’s alto and baritone sax playing give a really jazzy edge to the song too. With All About The Money Elaine has written a song about how money separates us from the reality of what we are doing to our world. She talks about the rich and the poor and how money drives the greed in society and fuels the destruction of our planet. There’s a serious message to this song and it has a very serious demeanour at heart too, all delivered within the framework of one of the best modern blues-rock tracks I’ve heard. Piers’ really gets to let loose on this excellent track, his guitar playing is utterly sublime and Stevie’s sax adds another coat of blues grandeur too.
‘Mechanophobia’ is the best E.P. I have heard this year, a wonderfully absorbing and entertaining twenty minutes that just leaves you wanting more and, thankfully, Kindred SpiritBand have a new album in the pipeline, due for release in 2024. While we wait for that, I am going to have another listen to this sublime musical gem!
‘A man of many talents, Henrik Fevre has delivered a vocal masterpiece that is nearly flawless. When things get too much for you or you just want a moment of reflection, shut yourself away from the outside world, put this little gem on the stereo and press play, there is no better antidote.’
I wrote those words about Henrik Fevre’s 2015 release ‘A Summer Can Change Everything’. When Henrik contacted me a couple of months ago to ask if I’d be interested in reviewing his latest album, I didn’t actually realise it was eight years since I’d reviewed his work! How time flies! Well, I had a quick listen and went back to him with an emphatic yes…
“After yesteryears solo pop album ‘Cityzen’ and this year’s very critically acclaimed prog metal album ‘Interference’ with Anubis Gate I found myself diving into a genre that I have always been fascinated by, but only sporadically touched myself: Ambient Music – with hints of jazz improvisation and classical chamber music. Out of it came ‘Quite Unusually Quiet’, 70 minutes worth of instrumental music, grouped in 12 moods, which by titles and sound form a kind of death mass – the aging process that we all go through in life with death as the inevitable ending.”
Now, while some may think that death is a somber, disquieting subject for an ambient jazz album, this glorious release is also celebrating life and everything that we do and go through in our time on this planet. This absorbing, introspective musical creation is more like a work of art than just a mere collection of tracks. Imagine your whole life, from the day you are born up until the day your soul leaves your body and you leave this mortal coil, set to a gripping and absorbing musical soundtrack and you will have some idea of what wonder Henrik has created.
We can go to the cinema and lose ourselves in an epic movie that runs at over three hours and this album leaves me in mind of that, a spellbinding, wistful journey that we all must take and there is hope at the end as Henrik talks of the Afterlife, what happens to us when we die, are our atoms and molecules scattered into the cosmos or do we carry on, not just as memories but as beings of light and energy.
This incredible release is hugely thought provoking and gets you wondering, ruminating and thinking abut that age old old question of life, the universe and everything. Consume this powerful, emotive and atmospheric listening experience in one sitting, let it wash over you and lose yourself in the mysteries of life, death and whatever may come after…
I just love it when I get an album to review that just oozes fun, joy and bonhomie and this latest album from Djam Karet mastermind Gayle Ellett and the Electromags does just that. Fifty-two minutes of feel good music, blues-rock, swamp rock, boogie woogie, southern rock, they are all there on this brilliant album.
“I wanted to capture that feeling of hanging out on your deck, playing music with your friends under the stars all night long”, says Ellett of his lockdown inspired desire to jam with pals. Only Ellett, the acclaimed Prog musician of Djam Karet, took the “Friends” concept one step further, inviting pals from all corners of the globe to make music together, virtually.“
Still based on the core group of Ellett (guitar), Craig Kahn (drums) and Mark Cook (bass), Friends features twenty-two guest musicians including members of BARAKA (Japan), Minimum Vital (France), Aisles (Chile), Electric Swan (Italy), Shylock (Germany), Edhels (Monaco), and California Guitar Trio (USA). The result is a late-night jam session full of fire and passion.
There’s nothing complicated about this music, it’s vibrant, hard rocking and just chock full of cool cuts and good time tunes. From the opening hard rock/blues edge of Viewer Discretion Advised (featuring Ted Price), with its swirling keyboards and fine guitar playing, through the stately, flowing, cinematic low down brilliance of Via Valencia (featuring Alfonso Rodenas) and the free flowing west coast grandeur of It’s All San Andreas Fault (with Marc Ceccotti, JoeeCorso), this sublime collection of brilliant songs never lets up in quality and delivery. Issei Takami and Shin Ichikawa, from the Japanese band BARAKA, are featured on the track TransPacific Highway and add power and authority to a piece that smacks of technical ability and virtuoso guitar playing.
On Splitting Hairs award winning Blues guitarist Dudley Taft adds some incredible guitar solos and pure blues power to Gayle’s towering Hammond organ and Maximum Connection just bounds along with pure abandon, aided and abetted by Thierry Payssan’s bouncing keyboards and includes tasty guitar licks and solos from high school friend Bill Polits and Topanga local Aquinas Magaña. The funky vibes and cool guitar playing on Guitar City are delivered by Paul Richards from the California Guitar Trio as he turns in his acoustic guitar for a rare chance to fire up his electric guitar and Sons Of Sebastien features the scorching hot (incandescent even!) guitar solos of the guys from Italy’s Electric Swan and Chile’s Aisles.
‘Friends’ is simply magnificent and a grin inducing musical masterpiece! I used to be a huge blues fan before I really got into Prog and I’ve never stopped smiling since I heard the first note!
The brainchild of French composer/keyboardist/producer Vivien Lalu, Lalu was founded in 2004 and ‘The Fish Who Wanted To Be King’ is their fourth album, but the second released via Frontiers Music. A major step forward musically, it takes a contemporary approach to Progressive Rock and incorporates elements of Prog Metal.
The band’s line-up includes singer Damian Wilson, Joop Wolters on guitar and bass, Jelly Cardarelli on drums and keyboard duties shared between Matt Daniel and Lalu himself.
“I never make the same song twice, let alone the same album,” states Lalu. “For this new record, I wanted to approach things differently, adopting a process to more closely mirror the dynamics of a band. I began recording my ideas on synths and piano, which I then shared with my regular collaborator, Joop Wolters, who crafted the guitar and bass parts. We then gave the other group members the freedom to express their creativity, which fostered a sense of unity and cohesiveness. It was an opportunity for everyone to shine and bring their unique talents to the forefront.”
“The album concept draws inspiration from the spirit of the original pioneers of Dada, who vehemently opposed war and ridiculed the power structure of the time,” explains Wilson. “It challenges conventional notions and delves into the realms of hierarchy, accountability and adaptability and continues the narrative from the previous Lalu album, ‘Paint The Sky’.”
‘The Fish Who Wanted To be King’ is one of those albums that comes out of nowhere and just sends you flying with its brilliance. Combining intricate melodies and thought-provoking lyrics with awe-inspiring performances, this astounding record takes all that’s great about progressive rock and just turns it up a few notches to deliver a technically stunning album but one that is full of heart and soul and one that contains seven thought provoking tracks where the musicianship is of the highest quality. I’m a huge fan of Damian Wilson and his vocals are probably the best I have ever heard them on this release.
Forever Digital is a dynamic, thunderous opening where symphonic prog rules the roost and sets the stall for what is to come. Title track The Fish Who Wanted To be King is one of two suitably epic tracks on the album, coming in at over ten minutes, and combines some excellent songwriting and outstanding musicianship to deliver a powerful tale. There’s no weak link on this ever impressive album, DeoxyribonucleicAcid (DNA to you and me!) and Is That A London Number continue the intricate, captivating storytelling with Wilson’s instantly recognisable vocal the key. The music is elegant and wistful at times and, at others, monumental and mind-blowing.
Amnesia 1916 brings poignant melancholy and contemplative nostalgia within its fourteen minute running time. This is edgy, symphonic progressive rock at its best and is a contemporary approach to the genre. Always to the point, it is a powerful piece of music delivered with intent and skill. The album’s final two tracks carry on what has gone before, A Reversal of Fortune flows beautifully, the gorgeous keyboards delivering a soundscape for the rest of the song to be written on and everything comes to a close with The Wondering Kind, a stylishly handsome track with a funky vibe engendered by the classy music and Damian’s polished vocal.
There’s a joy in music that’s just waiting to be discovered and when it comes out of nowhere, like this superb album, I don’t think life can get much better. ‘The Fish Who Wanted To be King’ is one of THE musical surprises of 2023 and just leaves a huge smile on my face after every time I listen to it. I can’t recommend it highly enough!
VINYL REISSUE OF ‘DAMNATION’ OUT ON 15TH DECEMBER (MUSIC FOR NATIONS)
To mark the 20th anniversary of Opeth’s ground-breaking 2003 album ‘Damnation’, a special vinyl re-issue was recently announced, which has been meticulously crafted to pay homage to a pivotal and trailblazing moment in the band’s illustrious history. Originally recorded in the serenity of Åkerfelt’s native Sweden, with additional production from Porcupine Tree’s Steven Wilson, the album acclaimed by fans and critics alike has since received a re-mix and master in 2015, pressed to vinyl on a double LP together with the dichotomous ‘Deliverance’.
Now just a month away from its release, Music For Nations have re-discovered the long lost video for the single ‘Windowpane’. Originally released in 2003, the Fredrik Odefjärd directed video has been digitally processed from the archival tape for 2023.
Watch the video now:
Released on 15th December (Music For Nations) this marks the first time exclusive and deluxe vinyl pressings have been given to ‘Damnation’. A record that represents a paradigm shift in the band’s approach to composition, seeing them side-line their metal roots from the forefront of their arsenal. Instead replacing it with an additional insight into ambience, atmospherics, and progressive rock, this together with Åkerfeldt’s signature lyricality and musicianship creates a unique record of ethereal beauty and longing, and one which remains top of mind for many Opeth fans.
The 20th Anniversary versions sees the 2015 re-mix and remaster pressed to standard black vinyl, as well as being available on deluxe and limited colour finishes, and for the very first time available on an exclusive picture disc that highlights and reflects the album’s ethereal and bleak visual world.
Speaking on the release, the band’s lead vocalist Mikael Åkerfeldt comments,
“Hello folks! Our old “partners in crime” Music For Nations are planning a 20th-anniversary re-release of one of our odd records, this time ”Damnation”. We want our records available on vinyl at all times, and it turns out we can’t keep stock! Our vinyl editions are flying out. I’ve seen it with my own eyes when I helped out in a record shop during the pandemic. Some customers didn’t know they’re buying it from one of the people responsible for the music. Of course I went: ”Good record, good band!”. So before there’s any moaning about ”another reissue, another cash grab” I want to stress out that it really comes down to public demand. We’ll present Steven Wilson’s updated mix (first available in 2015 or thereabouts) on limited edition opaque and transparent vinyl as well as on a picture disc, which I believe is the first time ever.
”Damnation” is a special record, even if they’re all special to me. I remember hearing the first mix on headphones in a crummy hotel somewhere in the UK. I had trouble believing it was us, myself, Peter, Lopez, Mendez (as well as ol’ Steve on keys). It was completely different from anything we’d done up to that point, and quite frankly, since. Out of all of our records, I think this one is most suitable for the vinyl format due to the fact that it is not really cluttered with stuff. A pretty airy recording with 5 musicians and done on 2 inch tapes as well. It’s a record I’m immensely proud over and it also remains a fan-favourite I believe.
Commenting further Steven Wilson adds “At the time I remember getting death threats from metal fans for “ruining” the band! As if it could be anyone’s intention but Mikael’s to do a record like that anyway. Damnation was when everyone understood that he was not going be trapped within the confines of any genre or label, and that the band’s importance and influence would be far reaching. Rightly so Damnation is now seen as a timeless masterpiece, and I’m very proud to have had my part in making it.”
John Kenneth Wetton left us too soon, much too soon sadly, he never had the opportunity to grow old disgracefully or to see his grandchildren, leaving us on the 31st of January 2017 in what was a dreadful year for the passing of legends, with legendary musicians like Tom Petty, Gregg Allman and Alan Holdsworth also passing the same year. John, however, did leave us many years of his artistry and songwriting craft with many recordings to treasure and enjoy from his work with bands like Mogul Thrash, Family, King Crimson, Roxy Music, Uriah Heep, U.K., Wishbone Ash, Asia, Wetton/Downes and Icon, in between which he found time to carve out his own lower key solo career, during which period he made the albums this set covers.
This new boxset gathers together all of his six solo Albums from 1979 to 2016, a sixty-four page book and two discs of unreleased tracks or hard to find demo’s. This set concentrates on John’s solo work so, whilst it has a slew of contributors, you won’t find any songs from either his Icon or Asia years. What you do get is a comprehensive trawl through John’s imaginative and artfully crafted music and his strong songwriting and playing. Further sets are a possibility, although quite what form that would take is very much a case of wait and see.
The set begins with ‘Caught In The Crossfire’ from 1980 and is followed by ‘BattleLines’ from 1994, ‘Arkangel’ from 1997, ‘Sinister’ from 2000, ‘Rock Of Faith’ from 2003 and ‘Raised In Captivity’ from 2011! The set also has 2 discs of unreleased tracks, mainly demos or alternative mixes and takes. So, although there is a lot for your money, as always the music is very mixed in styles and approaches and not everything may be to your tastes. There are progressive parts for sure, but its focus is on John’s compositional skills and how that translates into his songs.
Many folks may feel that his best work was in conjunction with various partners who helped him hit better heights, there is certainly nothing in here that moves in the same orbit of success that Heat Of The Moment or Don’t Cry did, for example. But it definitely must be said that John definitely sprinkled his magic over the recordings he made over the years and this set clearly shows that skill here. I would imagine that most folks know a little of John’s history and hopefully of his music too, making individual reviews of the albums superfluous really, instead, I will concentrate on the more obscure unreleased music in the main. John was certainly prolific in his writing, especially when you consider that he spent a large proportion of his life merely surviving his addictions and keeping his demons at bay.
He scaled the peaks and trawled the depths of addiction but still managed to be incredibly creative in his own right, he was a true professional musician who didn’t let his drinking affect his performance. His life is documented in part in the recent autobiography published after his death, in which his exploits are recounted. I’ve not read it myself but did hear Ken Hensley talk about how important John’s compositional talents were whilst making Uriah Heep’s‘High And Mighty’ album, lots of his fellow bandmates speak positively about John’s talent and skills.
The two bonus discs contain thirty-nine tracks in total, mostly demos or sketches of ideas that never reached fruition somehow. It’s an eclectic mix of material from the atmospheric instrumental of AD2023 to the more AOR stylings of Raven. The memorable Walking On Air with its accapella opening dissolves into a more traditional form of songwriting, mostly acoustic but with great keyboard support to flesh out the sound convincingly. The ballad Straight From The Heart is a good song that plays to John’s strengths, especially his baritone voice that floats gracefully over the track. This could have been a good Asia song, it certainly fits the mould well enough. A fine take on Dylan’s All Along The Watchtower is a fine interpretation of a classic song, with Wetton’s clear vocal impressing greatly. Deya 1986 is, I believe, an instrumental written about his son Dylan. Again, this moody piece is good listening. Tears Of Rage would have made a good track for Icon, with its striking violin playing making a real mark.
Marianne is another power ballad that Wetton could write in his sleep, all earnest vocals and surges of restrained power chords hitting the mark. As the song builds in its intensity, its pacing is possibly too slow and would be improved with a more strident march or beat. Healer Of Shattered Hearts is another mid-tempo, atmospheric, track with a strong chorus that is most impressive. I’d Give It All For You opens with church organ (an arena that John knew well) and strong vocals, again this is very earnest and emotionally compellingly performed, making another fine track. Wings Of An Angel (Intro) leads into a track of the same name, another strong atmospheric emotional piece. All For One is another Asia style track with excellent vocals and a strong middle section. From a Distant Heart is an emotion laden tearjerker ballad of the sort that John did so many of, and did so well, giving a good vehicle for his spectacular voice. For me, Real World somehow doesn’t really work for me with its sampled voices of John Lennon and Ringo Starr. Far better is The Greatest Show On Earth with its great power chords, guitar solo and keyboard backing, this is an epic track. Adagietto is another quieter song, again very choral in tone, an atmospheric instrumental that’s very religious and the sort of thing you expect to hear in a mass. The Water Is Wide is a somewhat subdued folk type song, again this has definite religious overtones. I’m not sure if John had any religious convictions but he was a choir boy when young and grew up with a church background, so it seems something stuck there.
The second disc is also interesting, nineteen tracks on this one. It opens with Raised In Captivity which is a searching song asking questions of his growing up, it has a very 1980’s sound with a particularly effective drum beat throughout. The Other Guy (Second Best) is another unrequited love song/power ballad and would have been another good Asia track. I Will is another punchy track and, again, very 80’s sounding but a very memorable track. Bad Thing is another AOR type track with a good vocal and catchy chorus. Boys Of The Diamond City follows and is another AOR stomper with 80’s drums, a great vocal from John and a strong chorus. This would have made a great single for John or even Asia. Flesh and Blood is a further AOR number with a very 1980’s rock style production, think of John’s performances on ‘Phenomena II: Dream Runner’ for a comparison. Again, it’s good single material, maybe John should have released this after he left Asia first time around, with Geffen’s involvement he maybe could have had a higher profile solo career. It’s an absolute corker of a song, as is the next track Burn Your Name In My Heart, which would have been another contender for that imaginary unrealised Geffen album. Sex/Power/AndMoney could also be on that album, a very strong track. In fact this second disc of tracks could really be that unfulfilled album, as its all there in the first ten tracks, including a duet with an unnamed female vocalist that sounds really sweet.
So what I’m hearing here is the unrealised and unreleased John WettonGeffen era album from the mid 1980’s which gives these songs a sense of direction and focus. After this we have several songs from the ‘Over The Top’ soundtrack that John both wrote for and sang on. The remaining tracks are in a similar vein, mid tempo AOR tracks, including Halfway To Heaven, another song for a soundtrack album. There are other gems scattered throughout the set but, for me, Disc 2 of the unreleased stuff really makes the set worthwhile and worthy of purchase.
So in all this is a really interesting set but possibly not for the casual listener, more for the fervent followers.
Australian progressive metal outfit Caligula’s Horse are back! The four-piece from Brisbane is ringing in a new chapter with a new single and video release for Golem and album announcement for Charcoal Grace, which is set for release in January 2024 via InsideOutMusic.
Golem is the first taste of the new album and gives a glimpse of the thematical depth of Charcoal Grace. The band says about the new single:
“Golem is about how we all struggled with the weight of expectation through the pandemic. We felt that weight acutely as musicians, being trapped with no notion of when, or even if, we would return to the life we knew, all while feeling the pressure to create our next work rising. While that’s our specific experience, the themes of Golem are something we can all relate to. It’s a heavy song with an emphasis on riffs and driving rhythms.”
Charcoal Grace is the 6th studio album of the band, and it combines raw rock power with immense emotional depth. Charcoal Grace is borne of the static hopelessness that the pandemic forced upon the band and, indeed, much of the world, these past few years. It is an album reckoning with the experiences and outcomes of this time geared, ultimately, towards catharsis – moving towards a more hopeful future.
The title Charcoal Grace is described by the band as “the grim allure and strange beauty in stillness, silence, and loss”. This can be heard through the album’s 10-minute opening track “The World Breathes With Me,” a mission statement for the album’s main themes. Musically, it’s a work of contrasts, moving from the lightest ebb to the heaviest flow. Meanwhile, the second track and first single from the album, “Golem,” examines struggling with the weight of expectation through the pandemic. It’s a heavy song with an emphasis on riffs and driving rhythms.
At the center of the album is the 4-part title track suite, a 24-minute opus that pushes deeper into the album’s foundational themes: connection, alienation, and the ways humanity acts under duress. Musically, it covers every facet of the band’s vocabulary, from heavy and dense orchestral-accompanied intensity embodying the song’s darkest lyrical ideas, through to soft acoustic-driven moments and introspection.
Tracklist:
Side A
The World Breathes With Me (10:00)
Golem (05:20)
Side B
Charcoal Grace I: Prey (07:48)
Charcoal Grace II: A World Without (06:48)
Charcoal Grace III: Vigil (03:22)
Charcoal Grace IV: Give Me Hell (06:13)
Side C
Sails (04:31)
The Stormchaser (05:57)
Mute (12:00)
Charcoal Grace is available as Ltd. CD Digipak, CD Jewelcase (US only), Gatefold 2LP in various colours & Digital Album.
The band recently played tours in both Europe and America to fully present their 2020 release “Rise Radiant” for the first time after the pandemic. Caligula’s Horse are now supporting Devin Townsend for three gigs in Australia before returning to the US next year in support of their new album.
Australia:
10/11/2023: The Forum, Melbourne
11/11/2023: The Metro, Sydney
12/11/2023: The Tivoli, Brisbane
US:
31/01/2024: DC, Washington, Union Stage
01/02/2024: Philadelphia, PA, Underground Arts
02/02/2024: Boston, MA, Brighton Music Hall
03/02/2024: New York, NY, The Gramercy Theatre
04/02/2024: Montreal, Le Studio TD
06/02/2024: Toronto, The Axis Club
07/02/2024: Pittsburgh, PA, Thunderbird Cafe & Music Hall
Glorious Wolf is a studio project from Dutch musician, Ruud Dielen, the name comes from his own name which, in Dutch, is derived from the Germania origin that translates as Glorious Wolf. ‘Mysterious Traveller’ is obviously a labour of love for Ruud and one that allowed him to explore his love of progressive music. After many years in various blues and cover bands Ruud decided to enlist some friends to help him realise his vision, the results being this very musical release, here Ruud gets to explore his influences and pay homage in his own style.
The album has just seven tracks, three vocally led and four instrumental tracks. If symphonic prog is your particular bag then I think you will find much to enjoy herein, Ruud was also kind enough to give an insight into the various tracks. The album has a very lush sound and is well produced with great separation between all the instruments, which gives a good overall sound and strong impressions.
The opening track Repentance begins with lush keyboards and a strong guitar riff that is repeated over the keyboards, along with some striking drums and bass. Ruud uses a wah-wah pedal to great effect here and a busy bass adds to the track’s dynamics well. That great riff gets a further airing and the bass pounds along in tandem. The song is about how the world is in repentance and needs love, which is pretty much true these days. This track has a lot of restrained power to it, you can sense it being held back, although why this is the case is not clear. Either way, it is an impressive opener and one that encourages you to keep listening to the album. The muscular sounding Slow Down is another fine track, one with strong keyboards and the organ is especially prominent on this track and to good effect. I like the great supporting bass that underpins everything and the swirling Hammond that gives body to this instrumental track. This piece has strong hints of ‘Meddle’ and ‘Obscured by Clouds’ period Pink Floyd, especially in the excellent guitar work from Ruud, who is channelling his inner Gilmour on this track before the synth comes to the fore. This is another excellent track with strong musical performances and one that oozes style. It is also one of the albums longer tracks, with that time being used to show the skill of the band, alongside their imagination. This is followed by a second vocal track, The True Story, which is a song about Mother Earth and how beautiful she is and that we should stop exhausting and depleting her resources. Again, this is a sentiment any intelligent person would agree with, I’m sure! The sympathetic support from bass, drums and keyboards really impresses. This is a slow burner of a track, one that definitely hits the mark, the great fluid guitar lines at the end are particularly impressive and give a touch of class to this track.
Howling At The Moon has a crunchy and prominent guitar riff and the pounding drums and great keyboards all give weight to this shorter instrumental track. There feels to be there a strong element of power being restrained once more and that actually makes the track all the more effective to these ears. Title track Mysterious Traveller is an instrumental about the Amazon Rainforest. This superb track has a great sound, especially in the bass department, making it another fine track and the brilliant guitar just adds to it all and making it rather impressive stuff. Battlefield is a call to stop the wars and to instead use the funds that war costs to solve world hunger. This is a highly sensible idea, except that we all know that war is a vehicle for certain industries, investors and individuals to make money, so this is an idea that will sadly go unheeded by the masses. Many a war has been used to support corrupt regimes and to enrich certain sectors of society, especially if countries involved in the arms trade have no scruples and peddle their wares to any interested parties, regardless of their record of human rights. The final track Beautifully Broken is in two parts, presented as one piece. War breaks hearts, Love heals, Greed is not what we need to feed our hearts. This song has lots of great guitar work, all of which is mostly understated, it also has lots of dynamics and contrasts, all with strong musicianship and musicality. The second half of the track is an amazing extended improvisation and runs out to the end of the album superbly.
Overall this album will not greatly tax you. It will ,however, give you a sense of satisfaction and fulfilment when you understand what it is trying to convey and the class and style it uses to these ends. There is a hell of a lot to enjoy here, I thoroughly enjoyed it and the artwork by the renowned artist EdUnitsky is most impressive too.
Often it seems to me that I review albums from the same bands on a regular basis. Whilst this may have some event of truth, it’s more because I have found the sort of prog that appeals to me the most. This is probably the reason why I have reviewed all five previous Fish On Friday studio releases, originally for DPRP, latterly TPA and now for Progradar. This can make these reviews a bit similar but then the bands sound has not changed greatly since their debut ‘Shoot The Moon’, although there have been changes, especially when Nick Beggs joined the band. ‘8mm’ is their new album, and the first since 2020’s ‘Black Rain’ album and, whilst that had a darker tone in part because of the pandemic, this one is a lot more upbeat with some great songs.
As with all previous FoF albums, there is a lot of lightness of touch in the playing and, once again, the ghost of The Alan Parsons Project is seldom very distant. This time the addition of Nick Beggs as co-producer has paid significant dividends, as do his vocals that add and weave well with those of Frank Van Bogaert. The additional voice of Lula Beggs on several tracks also adds to the overall consistency of the album.
The album begins with the track 8mm which is a song of memories or loss of a loved one. It is quite gentle and downbeat, although it does build in intensity as it continues. Collateral Damage has excellent bass/Chapman Stick from Nick that powers the song along. Again, this track is about relationships and how we can damage each other at times. Then we have cover from 1970’s band Metro’s self-titled 1977 album that impacted upon Frank and so he chose to highlight this much forgotten band on this album by covering the track Flames. This has been done in a respectful and intelligent way by not changing very much, apart from giving the songs both a platform along with a better production value. Overture To Flames has some chunky, funky riffing and a good bass-heavy part over sequencers. It is mainly instrumental apart from ethereal voices and has a picked guitar and strong bass notes. It is only a short, but very atmospheric and leads into Flames itself and a delicate vocal part.
Then we have a different style of collaboration with a Flemish musician Sofie Dykmans, who heard a piece played during lockdown and contacted the band, offering to write some lyrics for the track, with the song Jump This Wall being the result. This is a bit of an epic with lots of massed keyboard swathes and a strident step to it. Lots of good rumbling bass lines in the song help the song have pulse and pace in equal measure, A delicate flute part from Theo Travis assists in this track before yielding to a saxophone solo, again by Theo, that adds grace. Hopefully they could write together again as this track is great. This is followed by the harder, more propulsive, track Don’t Lose Your Spirit with a good descending riff, Hammond Organ and a busy bass part playing to the audience. A great fluid guitar line is played before the song switches tack and vocals commence. The song is about changes, possibly climate change, and how we wont notice fully until it is too late.
Funerals is actually rather quirky, as it deals with two people who only ever seem to see each other at funerals. It’s a song of unrequited wanting and longing for another. Lyrically it is very interesting and slightly unsettling, although the more upbeat dancing section works very well, as does the acoustic guitar instrumental that floats over it all. The song then returns to its previous tempo but overall this is a winner of a track and greatly impresses. With Fish On Friday you have to dig beneath the surface to get to the heart of the music and it’s a very rewarding listening experience when you do. Silently Raging follows, this has Lula Beggs sharing lead vocals to great effect. Instillers is a quieter, more downbeat, song and is very, initially at least, before a Chapman Stick part is played which increases the volume greatly, adding power to track which is itself a plea for us to instil positive values to our world and peace, grace and love towards each other.
The penultimate track is A New Home, which is another very atmospheric track with more superb bass accompaniment and slide guitar sounds over sweeping synthesisers and keyboards. Again, there is the call for love to be shown and cultivated in our lives. This track has a most effective and fabulous sound where Lula Beggs vocals feature once more and she does a great job. The final song, Life Is Like The Weather, acts as a wonderful conclusion to the album as it recalls past friendships and how they change, hopefully for the better. It is a beautiful and gentle end to another strong album from this extremely talented multi-national band with members from Holland, the U.K and the USA. As with previous releases the artwork, graphics and production are exemplary and add greatly to the look of the album. For me this one is definitely another Winner.
