InsideOutMusic recently announced the signing of US-based rising instrumental progressive metallers Sometime In February to a worldwide deal. Yesterday the band announced their new single, ‘The Bad Fight’, is out to stream everywhere now, and for this one they received the help of a few friends. As the band explains:
“The song came together quickly, and as soon as it was written we knew we had to pull out all the stops for it. We asked our friend Paul Waggoner of Between the Buried and Me to feature on it with a guest solo that is pitch perfect. Eric Guenther of The Contortionist contributed keys, synths, and sound design to take it to the next level. Dan Briggs, also of BTBAM, sprinkled additional sound design on top. And of course, we love to feature saxophone when we can, so our friend Rich Castillo of The Callous Daoboys added his touch to create a tasteful layer.”
The video for the track was shot by Luke Gura inside a courthouse near the bands hometown. Watch it here:
The band have also announced US live dates for July 2024, and you can catch them at the shows below:
July 13th – DRKMTTR, Nashville, TN July 14th – Mag Bar, Louisville, KY July 16th – Amityville Music Hall, Long Island, NY July 17th – Imperial Lounge, Richmond, VA July 28th – The Milestone, Charlotte, NC
The band recently announced a brand new track called ‘Hiding Place’ which you can listen to here:
Originally founded as an instrumental solo project for guitarist Tristan Auman in 2020, Sometime in February became a fully rounded prog rock trio with the addition of drummer Scott Barber and bassist Morgan Johnson after making the jump from studio to stage following the release of their EP ‘Here Goes’ in 2021.
The Carolina-based group has kept their foot on the gas ever since, touring throughout the Southeast US and releasing their follow-up, the debut LP ‘There Goes’, in 2023. Their first full-length record gained attention from prog fans and peers alike, with Tristan receiving an invitation to join Between the Buried and Me in a live capacity throughout the Parallax II: Future Sequence Tour.
The band comments: “We are thrilled to be signing to the world’s premier label for progressive music, InsideOutMusic. Sometime in February wouldn’t exist without many of the artists on their roster, and it’s an honor to stand beside them. Thomas Waber has been supportive and encouraging to us for some time now, and we’re excited that we found the right moment to work together and make InsideOutMusic the home for the next era of Sometime in February.”
InsideOutMusic label-head Thomas Waber adds: “We are extremely excited to be working alongside this talented young US band. After talking to them for a while, it felt like now was the right time to welcome them to the fold, and on the evidence of the new track ‘Hiding Place’, bright things are ahead!”
EchoVerse is a Progressive Rock band that seamlessly blends Christian spirituality with elements of Prog, Hard Rock, and even Classical music. Set to release their debut album Whispers Between Worlds on August 20th, 2024, the band navigates complex themes of faith and the human experience through a series of powerful tracks.
The band are pleased to share the new video for “Not Like The Others,” directed by Christian Rios, here:
The band had this to say about the new single: “‘Not Like The Others’ confronts the hypocrisy within modern churches, highlighting the emptiness of outward displays of faith without genuine love, and challenges us all to embrace true compassion and humility in our journies with God. The track is also a straight-ahead rocker with some 7/4 riffs to help maintain our Prog cred. :)”
EchoVerse has also launched a Kickstarter campaign to support the album’s release, featuring an 8-panel Digipak CD, two limited Vinyl options, a Kickstarter-exclusive T-Shirt, and much more.
Drawing inspiration from bands like Spock’s Beard, Rush, Marillion, and Dream Theater, EchoVerse builds on the foundation of their former group, Ascher, with a new lineup and a fresh creative vision.
Whispers Between Worlds opens with “Not Like the Other,” which addresses outward hypocrisy in modern churches, and quickly moves into “Sins of the Father,” exploring the enduring impact of generational sin on today’s society. “Feelings of Grey” then offers a contemplative look at mental health, emphasizing the comforting role of faith during dark times. The narrative of hope and resurrection unfolds in “Empty,” which narrates the story of The Passion from the Empty Room to the Empty Tomb. Reaching a narrative crescendo, “The War Within” presents a 31-minute epic, divided into nine sections, that explores the battles between man and evil, both internally and externally. The album concludes with “Walk Alone,” which poses profound questions about the choices we make and the paths we choose to follow.
Track Listing
1. Not Like the Other (5:44)
2. Sins of the Father (6:45)
3. Feelings of Grey (6:42)
4. Empty (5:23)
5. The War Within (Total Time 30:54)
I. I Walk Away (5:17)
II. Something Sinister This Way Comes (1:51)
III. The Devil in My Ear (2:35)
IV. Push Back (3:20)
V. Now (3:57)
VI. Final Conflict (6:05)
VII. Back Where I Belong (3:51) VIII. I Know It’s You (2:52)
IX. The War Within (1:06)
6. Walk Alone (6:17)
EchoVerse: Kyle Graves: Lead Vocals Doug Bowers: Vocals, Keys, Bass, Guitar Rob Perez: Lead Guitar Kyle Fagala: Drums, Vocals
Progressive rock is all about progress, right? To a certain extent that is correct but not when we have progress for the sake of it and some times small changes and progressions make more of a difference than huge ones.
With their third album, ‘An Ordinary Life’, Long Earth have moved the game on from their sophomore effort ‘Once Around The Sun’, an album I greatly enjoyed, not in a big way but subtlety and this has produced a beautiful, heartwarming collection of songs that add up to one of the brightest releases of 2024 so far.
Before we delver further into the record, let’s have a bit of history;
Long Earth is a prog rock band from Scotland, four decades in the making. All seasoned campaigners of the Scottish music scene, they came together through a shared love of progressive music.
In 2017 Long Earth released their debut album ‘The Source’, popular with prog fans, DJs and rock writers alike, and began building a local audience at their gigs around Glasgow. ‘The Source’ was a serious statement of intent, showcasing the instrumental and songwriting prowess of the band. However, their identity was not fully formed until the arrival of Martin as the band’s new vocalist in 2018 during the writing sessions for the second album, the album that was to become the critically acclaimed ‘Once Around The Sun’.
In March 2020, Once Around the Sun was released on CD and download to critical acclaim. Widely regarded as a significant step up from its predecessor, it has received regular worldwide airplay throughout the year, and features heavily in many DJs and listeners’ “album of the year” lists.
The band line up is:
Mike Baxter – Keyboards, Martin Haggarty – Vocals, Renaldo McKim – Guitar, David McLachlan – Bass and Alex Smith – Drums.
The album opens with Fight The Hand That Bleeds You and a keyboard refrain that could be from a 1980’s Neo-Prog album, a feeling enhanced by the energetic rhythm section, Renaldo McKim’s stylish guitar playing (check out the fiery solo) and Martin Haggerty’s direct vocal delivery. It’s done with aplomb and class and has an up to date, polished edge. A high energy start to the album that makes you take notice, especially the catchy chorus. I have to be honest, while I’m as big a fan of excellent Neo-Prog done well as the next man, I was hoping for a bit more from these talented Scots (although the wonderfully nostalgic sounds from the keys of Mike Baxter are a revelation to hear). I needn’t have worried as the rest of the album is wonderfully crafted and really doesn’t sit in any one genre, although, if I had to pick one, it is definitely progressive rock oriented in flavour. The next two tracks, Morpheus and Life show us that Long Earth have not stood still since releasing ‘Once Around The Sun’. They are both deep and meaningful with gorgeously wistful vocals from Martin and a nostalgic sound that reminds me of the great songs that have graced the charts for years. Renaldo’s guitar on Morpheus just echoes in the background gracefully and the drums from Alex Smith and David McLachlan’s bass both have a cultured, jazzy feel to them. It is music for the mind and soul and, for me, that is some of the best music you can get. Thoughtful, contemplative and with a wishful yearning, Life just bleeds emotion from it’s elegant, piano led, introduction and the melancholy vocal, Martin is seriously on top form on this bewitching piece of music. An elegant musical journey that takes you through the full gamut of emotions and delivered by a group of musicians working at the height of their powers. Sand delivers a much harder, defining edge to the band’s sound with a crunching guitar intro and more forthright vocal delivery. It’s a fluid, punchy track more focused on hard rock but still with the polished feel you’d expect from Long Earth. Renaldo gets to do his best guitar hero impression with some fine riffing and a rather tasty solo and the bass and drums feel hewn from pure granite. It’s a focused and direct song that really leaves its mark and one I really enjoyed.
The longest song on the album, Shadows sees the band in storytelling mode in the best progressive fashion. There’s elements of folk rock at play here, Renaldo’s delicate guitar playing and Mike’s vocal, almost balladeering in style, give a touch of medieval to the sound. This refined piece of music draws you into its embrace with its introspective feel and, at times, pensive and sombre tone. I can believe that this track could become a staple of the band’s live set, it has that involving atmosphere that the audience could feel enveloped and included in. One of my favourites on an album full of superb tracks, The Arc sees Long Earth on their progressive, reflective path and has a feel of Talk Talk to my ears, the deliberation that goes into every word and note and Martin’s vocal has big similarities to Mark Hollis. A big claim I know but one I feel is justified on this fantastic five minutes of music and one of the best songs I’ve heard this year. Moscow is big in sound and in scope, creating a widescreen, dramatic musical experience that touches on the band’s progressive roots. Another immersive musical journey that you gladly participate in, swathes of elegant keyboards and the dynamic rhythm section lay the foundations for Martin and Renaldo to lay out the story in fine style. Symphonic prog maybe but it is just great music delivered by an exceptional band. The album closes with Empty Shore, Renaldo’s echoing guitar and Mike’s subdued keys followed by the soulful vocal of Martin Haggerty on this charismatic and impassioned track. A real slow burner of a song with a pent up, brooding tension that feels ready to erupt at any moment and one that brings proceedings to a close in a very satisfying fashion.
All great albums are the product of an intensive creative process and, in ‘AnOrdinary Life’, Long Earth have given us the highly impressive fruits of their artistic labours. A wonderfully immersive musical journey that will have you coming back for more, it is a highlight of what is becoming an extraordinarily outstanding year for new music.
“It was a strange inheritance, unexpected, an oak chest bound with iron straps come into my possession, from a relative of whom I knew nothing…
Nick’s seventh progressive rock album takes us on a cinematic voyage; a swashbuckling tale of love, loss and revenge. An unexpected bequest reveals the story of a young woman whose misplaced love condemns her to the grim streets of 18th century London. She is deported, travelling across the high seas to the New World where imperialism and injustice rule, and an island paradise that is not what it seems.
Watch the video for Bloody Money, featuring John Greenwood and Tony Patterson:
Composer, keyboard player and producer Nick Magnus is best known for his work with ex-Genesis guitarist Steve Hackett from 1978 to 1989, providing his keyboard talents to at least twelve of Hackett’s albums to date, as well as extensively touring Europe, the UK and the US.
Nick started his musical career in early 1976 with the cult symphonic rock ensemble, The Enid. At the end of that year, he left The Enid to spend two years with the progressive rock band, Autumn. In 1999 Autumn released a CD of their material originally recorded in 1977 entitled ‘Oceanworld’, subsequently re-issued in 2019 on vinyl. He has released six solo albums of his own compositions: ‘On Till Morning’ (1994), ‘Inhaling Green’ (1999), Hexameron’ (2004), ‘Children Of Another God’ (2010), ‘N’monix’ (2014) and ‘Catharsis’ (2019). A live album with John Hackett was released in March 2011.
The latter half of the 1980’s included session work with many diverse artistes such as China Crisis, Renaissance, George Martin, Mungo Jerry, Carl Wayne (The Move), Johhny Mars, Cilla Black, Jose Carreras, Brian May (Queen), Richie Havens, Bonnie Tyler, Mike Batt, Classix Nouveaux, David Essex, Pete Bardens (Camel), Duncan Browne, Chris Rea, and Colin Blunstone.
Nick’s skills as keyboardist, producer and writer are frequently in demand, with recent contributions for artists such as United Progressive Fraternity, Amanda Lehmann, John Hackett, Dik Cadbury, Damanek, The Rocking Horse Club, Tony Patterson & Brendan Eyre and the ‘Harmony For Elephants’ project. Nick is also a regular contributor to music technology magazine, Sound On Sound.
A Strange Inheritance is packaged in a 6-panel gatefold digi sleeve, with a 24-page full-colour booklet of photographs and lyrics.
All music composed and arranged by Nick Magnus, all lyrics by Dick Foster.
Nick Magnus – keyboards, synthesisers, percussion, tongue drum, production.
Album Tracks:
An Almost Silent Witness 10.07
Blood Money 4.45
Philadelphia 5.16
At Sea at Night 5.54
Four Winds 8.14
Welcome To The Island 5.19
Black and Scarlet 5.22
To Whom it May Concern 5.36
Total Running Time: 50.45
Guest Artists (bios on website)
Tony Patterson, Andy Neve, John Greenwood, Louise Young, Ginger Bennett and Steve Hackett
The sublime second single from Tim Bowness’s forthcoming Kscope label release Powder Dry is out today. The track, titled ‘When Summer Comes’, is a shimmering fusion of treated pianos, Mellotron flutes and bittersweet vocals. A quietly haunting soundtrack for a film that never was, the piece presents a potent mix of classic croon and blissed-out atmospherics.
Bowness says, “There’s a yearning, nostalgic quality to the song, I think. It’s about someone trying to convince themself that meaningful change will come, while instinctively knowing they’ll end up making the same mistakes again. It’s a cinematic ballad with hints of personal favourites such as late ’60s Scott Walker and Beehive-era David Sylvian. Inevitably, there’s some no-man (and a lot of me) in the mix as well.”
Mixed by Bowness’s partner in no-man, Steven Wilson, the evocative, abstract video for the song was created by Matt Vickerstaff.
WATCH THE NEW VIDEO BY MATT VICKERSTAFF
“This is the best and most creative of all of Tim’s albums.” – Steven Wilson
Featuring 16 pieces over its restless 40-minute duration, Tim Bowness’s eighth studio album Powder Dry represents a new beginning on a new label.
A collection of acute contrasts, the album is a vibrantly accessible and wildly experimental genre-blurring assault, embracing Industrial Rock, Electro Pop, singer-songwriter directness, haunted carnival soundscapes and more.
Entirely produced, performed and written by Bowness (a first), Powder Dry was mixed (in stereo and Surround Sound) by Bowness’s partner in no-man (and The Album Years podcast), Steven Wilson, who also acted as Bowness’s sounding board during the mixing process.
“The Geof Whitely Project was formed in 2011, it consists of Geof Whitely and special guest Musicians, the aim of the project is to put out original material in all types of musical formats from Prog Rock-Rock-Pop-Electronic-Instrumental. All albums will contain a mix of such musical songs, theres surely one that will appeal to everyone.”
I seem to be trotting out this introduction to Arny Wheatley’s musical project quite often at the moment as he is on another productive roll, this new album ‘Hard Words Break No Bones’ coming hard on the heels of January’s release of ‘The Reckoning’ and soon to be followed by ‘Paper Tiger’. For some musicians releasing albums this close together would dilute their output and content but, for some reason, it doesn’t seem to happen with Arny and the Geof Whitely Project. Each album is consistently of good quality with great songs and musicianship.
What we have got on this and the previous release is more of a darker, harder and edgier sound that is reflected in Arny’s increased reliance on a stand out guitar sound. It started on ‘The Reckoning’ and has become even more of an influence on this impressive new release. Flowing synthesisers and an elegant rhythm section are the foundations and key to what we expect from the Geof WhitelyProject but the darkly delicious and sometimes ominous guitar now adds another layer of refinement and sophistication. Arny’s instantly recognisable vocal gives a feel almost of a narrator on each of the nine precisely nuanced tracks and the album flows superbly from beginning to end. That’s the other thing with a GWP album, it’s not one where you pick tracks for a play list, every release works best when you listen to it in order and from the start to the finish.
There are many highlights throughout but the ones that really stand out for me are the demonstratively dynamic opener Corridors of Power with its catchy vocals, rumbling synth and brooding guitar, the polished and vibrant Creatures of the Night with its charismatic synth lines and superb guitar solo, the fiery Forbidden Fruit with its resonating riff, funky rhythm section and fine vocal performance from Arny and my personal favourite, Uncertainty Rules, which opens with portentous keys and a pensive, intense guitar before expanding with a super stylish keyboard and drumbeat. To my ears it’s one of the best tracks GWP have ever done and continues to impress with it’s sombre tone and Arny’s solemn vocals, add in the brilliant guitar that closes out the track and, trust me, you are not left wanting. Pirates of the Third Reich is an utterly absorbing listen but there’s no filler on this album.
‘Hard Words Break No Bones’ is yet another winner from the Geof Whitely Project, incisive songwriting and a powerful, widescreen sound combining to deliver a rather impressive listening experience. Bring on the next chapter Arny!
Released 20th July, 2024.
The album will be available to buy on bandcamp soon:
Leaving the comfort zone of your own band to embark on new musical paths requires courage. Marco Glühmann, the singer of one of the most successful German Artrock bands Sylvan, should not lack this, as he is used to being in the spotlight. It is a testament to his enormous creativity that he used an extended break from his main band to try something new without the necessary compromises, guidelines and restrictions of his fellow musicians. The result is a fantastic album, full of energy and esprit, which moves somewhere between rock, artrock and sophisticated pop music.
‘A Fragile Present’ includes a contribution from Steve Rothery, one of Marco’s musical heroes, on the first single released, My Eyes Are Wide Open as well as a ‘who’s who’ of the artrock and progressive scene, Billy Sherwood from Yes also makes a guest appearance: he contributed the choirs on Hear Our Voice in the very best Yes style. RPWL guitarist Kalle Wallner plays most of the guitars on the album and was not only involved as co-producer but also as arranger. Sylvan guitarist Johnny Beck also contributed many parts and the rhythm section consists of drummer Tommy Eberhardt and bassist Markus Grützner (RPWL). All of this was recorded, mixed and produced by RPWL mastermind Yogi Lang at Farm Studios, who also played some keyboards.
Marco on the album title: “‘A Fragile Present’ reflects the fragility of the ‘gift of life’ or the ‘transient present’, whether in a personal or global context. It’s not a concept album, but the songs are nevertheless connected in terms of content, as this fragility and fear of loss accompanied me in the creative process.”
Being a big fan of Kalle Wallner’sgentle art of music label, I will always check out any release that I get sent and, once again, the label haven’t let me down. ‘A Fragile Present’ is a glorious and uplifting celebration of life in music form, artrock, symphonic rock, progressive rock, they are all thrown into the mix to create one of the most impressive rock oriented albums I have heard this year. Marco Glühmann has a wonderfully expressive voice, highly emotive and passionate and his use of vocal harmonies on this album is a work of genius.
Marco composed most of the songs in a very short period, although a couple of them, Reach Out and Black The Shade Out, have their roots in original songwriting sessions from 2010. What you get is a powerfully stirring release with memorable melodies and many hooks and a fierce energy that just leaves you returning for more. The album opens in fine style with a trio of superb tracks, the widescreen symphonic rock of the wonderful Hear Our Voice, a powerfully intimate piece of music which uses Marco’s lush vocals to perfect effect. The crunchingly powerful chords of Wallner’s guitar are perfect counterpoint and the choirs make the harmonies even more impressive. Edgy and hard rock oriented, Never Say Goodbye is a pulsating track that keeps you on the edge of your seat and the beautiful, wistful notes of Reach Out, with its soaring chorus showcasing Marco’s elegant voice, is simply divine.
Faceless is granite hard with a primeval, chugging riff driving things along and Marco’s vocals having a much fiercer edge to them, it’s like a cross between prime Scorpions and something a lot more industrial (Rammstein perhaps?) and I really like it. Look At Me has a more introspective and nostalgic air and, with its progressive leanings, it’s almost like a pause for breath and a reset after the exhilaration of what’s gone before, Yogi Lang adding a refined feel with his keyboards. I adore the pared back, restrained beauty of the sublime At Home, where Marco’s voice is the centrepiece and For A While is a finely constructed piece of pop music with a fragility at its core and superb harmonies that would have been at home in the charts of the late 1980’s. A tense build up then thunders into the rocking thrill ride of Black The Shade Out, a proper cut of powerful and exhilarating music that grabs hold and just wont let go. A more muted vocal this time lets the music do the majority of the talking and there’s an almost wild, unhinged feel to the track in places, a proper, earthy, rocker proving less can always be more.
There’s also a tense, edgy atmosphere to One Last Hope, a staccato rhythm and coruscating guitar dominate before the sumptuous chorus gives another angle, a song of ying and yang and another fine piece of music. Life Is Much Too Short has a refined acoustic guitar backing Marco’s halting, yearning vocal on this melancholic track. There’s a rarefied, mournful, grace to the music and Kalle’s soaring solo is perfectly judged. The penultimate song on the album is the darkly moody Running Out Of Time, another track that has some stylish pop sensibilities to it. The rhythm section has a funky feel to it and the whole track just ebbs and flows superbly, Marco’s vocal used a foil to the clever music rather than the cutting edge. The album closes with the electronic grandeur of My Eyes Are Wide Open, the first single from the album and a song in which Marco sees himself and his son, “The lyric ‘Lay your head on me, oh my little boy’ still gives me goosebumps, because I imagine myself and my son here and feel the love, the shortness of the moment, but also the responsibility of ‘sending’ him into this world”. The keyboard sound is very cinematic and Marco delivers yet another sublime vocal performance, his voice, this time, the definite centrepiece of another stunning piece of music although Steve Rothery’s ever so elegant solo needs to be noted too.
‘A Fragile Present’ is an utter joy to listen to from beginning to end. The superb musicians and absorbing songwriting give us an album of utterly captivating songs and one where the memorable, engaging voice of Marco Glühmann is given free rein to take centre stage and deliver one of the best vocal performances of the year so far.
INCLUDES FIRST TIME VINYL RELEASES OF DIVINITIES: TWELVE DANCES WITH GOD, THE SECRET LANGUAGE OF BIRDS AND RUPI’S DANCE
Monday 24th June – Reissue specialist label Madfish have shared details of 8314 Boxed, a limited-edition deluxe boxset tribute to Jethro Tull frontman Ian Anderson’s treasured solo works. The package, set for release on 23rd August, will include –
Includes exclusive first-time vinyl releases of Divinities: Twelve Dances with God, The Secret Language of Birds (2LP), and Rupi’s Dance (2LP)
Walk Into Light, Divinities: Twelve Dances with God and Homo Erraticus remastered at half speed by Air Studio
Roaming in the Gloaming LP offers previously unreleased live recordings from 1995-2007
Beautiful side D etchings on 3 of the 10 records
96-page book with foreword by Ian Anderson, extensive liner notes by Paul Sexton and exclusive pictures
WATCH THE BOXED 8314 TRAILER
Ian Anderson’s solo albums explore different sonic landscapes and instrumental line-ups, each record in this boxset standing as a testament to his versatility. From the electronic experimentation in Walk Into Light and the profound narratives of Homo Erraticus, to the acoustic serenity of The Secret Language of Birds, these albums are a reflection of Anderson’s unending creativity and his ability to seamlessly blend diverse musical styles into cohesive, captivating works.
Divinities: Twelve Dances with God (1995) – first time on vinyl, half-speed remaster
The Secret Language of Birds (2LP) (2000), etching on side D – first time on vinyl
Rupi’s Dance (2LP) (2003), etching on side D – first time on vinyl
Thick as a Brick 2 (2LP) (2012), etching on side D
Homo Erraticus (2014) – half-speed remaster
Roaming in the Gloaming (previously unreleased live shows from 1995-2007)
“Hey, but someone has to try oddball things, don’t they?
Might as well be me…”
– Ian Anderson
Ian Anderson’s mind as a listener, which would mature into a lifetime of format-blurring creative ingenuity, was opened when he was a mere six-year-old. By then, already relocated with his family from his birthplace in Dunfermline to Edinburgh, he heard an old family 78 rpm disc of Glenn Miller and his Orchestra’s irresistible gem of 1939, In The Mood.
“My father had a few treasured wartime records, mostly big-band stuff,” he told Prog magazine. “I remember having an epiphany, because In The Mood introduces you to the elements of blues, effectively. That was my first moment of thinking: ‘Hmm, this music is something special.’”
A word from Ian Anderson on 8314 Boxed –
“Since 1983, I have made a few solo albums, not as dissatisfaction with fellow musicians or the group identity but usually just to try something a bit different, whether sonically, stylistically or in terms of instrumental line-up. These records all stand out for me as being quite different from each other and in some ways demonstrate a broader depth of my songwriting. The flute instrumental Divinities record is one of my favourites to this day”.
8314 Boxed will be released on Madfish on 23rd August
Pre-orders will open through Bandcamp on 05/07/24.
‘An Explosion Of Nothing’ is Jon’s fourth full-length album. It’s 46 minutes (ten tracks) of eclectic music, and his first major release since his ‘Emergency Call EP’ in 2019. It includes the singles ‘Conjure Something’ and ‘Penultimate’ (to be released 05/07/24).
Jon’s music has been played on Tom Robinson’s prime-time BBC6 Music show, and also by Gideon Coe on the same channel. His 2015 ‘Morning Sun’ compilation (featuring songs from his first three albums) had overwhelmingly positive reviews including ‘Classic Rock’ and ‘Prog’ magazines.
Programmed as a musical and lyrical journey, the album has a sound and feel which is obviously rooted in the 21st century, but with a spirit that hearkens back to some of the more ambitious albums of the past. Experimental, post and progressive rock flavours sit alongside industrial beats, yearning acoustic numbers, and quirky psychedelia. In one particular case all in the same song!
Says Jon: “I can’t stand using artists and bands as reference points, as a lot of my favourites have completely changed styles over the years. In terms of kindred albums to this one I’d probably have to mention the likes of ‘Jehovahkill’ by Julian Cope, ‘Hand. Cannot. Erase.’ by Steven Wilson and ‘Odludek’ by Jimi Goodwin (Doves) – if only in terms of musical variety and the album being a ‘journey’ that you can immerse yourself in.”
‘An Explosion Of Nothing’ will be released on Friday 9th August 2024 on all steaming services, plus CD in a digipak containing a 16 page lyric/artwork booklet for those that still prefer a physical product.
Track listing:
01 Bait & Switch 5:18
02 Conjure Something 4:52
03 Resonance 2:39
04 Lift To The Ritual 2:54
05 Dionysus Appears Close To The A36 5:39
06 Engaged/Living Life In Acres 7:10
07 So Much Mouth, So Little To Say 4:30
08 Strawberries & Milk (Engaged II) 3:26
09 Penultimate 5:17
10 Wonderful Life
Credits:
All words and music written by Jon Hunt.
Jon Hunt: Vocals, guitars (acoustic, electric, 12-string and bass), keyboards, samples &percussion.
Huw James (Carcrash Casino): Drums on tracks 1, 6 and 9.
Engineers: Jon Hunt, Sam Dyson, Simon Kitts, Tim Kramer, Jon Clayton, Dave Shalloe
Produced and mixed by Jon Hunt.
Mastered by Steve Kitch at Steve Kitch Mastering.
Discography:
2008: Truth & Bullshit
2011: Wanderlust
2013: So Much Promise
2015: Morning Sun (Compilation of tracks from first three albums)
New album Push Back The Horizon released 20th September 2024 (V2 Records
Lesoir, a five-piece band hailing from Maastricht, Netherlands, and formed in 2009, has quietly cultivated a global fan base and are now ready to step out of the shadows again for their 6th album ‘Push Back The Horizon’ to be released on September 20th 2024.
‘Push Back The Horizon’ includes 10 songs, composed by the bands guitarist Ingo Dassen, and lyrics and vocal lines written by singer and multi-instrumentalist Maartje Meessen.
The album is produced by John Cornfield, known for his work with Muse, Kashmir, Razorlight, Supergrass, Robert Plant, New Model Army & Ben Howard, among others. In addition, dedicated collaborated for the vocals with Paul Reeve, Matt Bellamy’s (Muse) vocal producer. The instrumentation was recorded at the Muziekgieterij, Maastricht. The vocals were recorded in Cornwall, UK. Mastering is done by Steve Kitch, keyboardist of The Pineapple Thief. String compositions and arrangements by Ingo Dassen, James Merryweather and Maartje Meessen. The album will be released on CD, LP (black), 2LP (Bloody Mary coloured with ‘Babel’ as bonus track) and digitally.
The album offers a snapshot of relatable stories, emphasizing life’s potential for both thoughtful moments and unexpected events that provide glimmers of hope. Centered on family and brotherhood, it transcends geographical boundaries, highlighting the power of collective action. Instead of dwelling on the past, the album encourages a forward-looking perspective, urging a collective effort to try again for a better outcome. On new single ‘What Do You Want From Me?’ the band state,
“In an increasingly hardened political and social climate, a government is increasingly diametrically opposed to its citizens. From that perspective, discontent predominates, and that feeling is reinforced when poverty grows and social securities decline. ‘What do you want from me?’ is about feelings of powerlessness and injustice, which unfortunately more and more people relate to.”
The video is produced by Crystal Spotlight, known for their work with Steven Wilson & many others. Watch it now –
Lesoir has always had a professional DIY mentality, for the last 4 years Lesoir built a team around them with Glassville Music as their management and bookings agent worldwide. This gives the band the opportunity to focus on their marketing and performance. The band has been completely self-supporting on social media, partly produces its own videos, has a permanent in-house crew, its own mixing desk, IEM, microphone, backline, transport and is equipped to play a show anywhere. For years, the band has been proactive in getting the story of & behind the band across the stage online and offline.
In 2019, the band toured for 5 weeks with prog legends Riverside. After the tour, the band made a real splash within the scene and the subsequent self-released album, with the help of Glassville Records, called ‘Mosaic’ was met with high praise and landed on several annual charts.
The band had about 20 headline shows lined up when the pandemic broke out. When touring was temporarily no longer an option, the band used its time to release the 20-minute-and-20-second epic ‘Babel’ on a ltd handmade etched vinyl. The 250 pieces were independently released and sold out within four weeks.
‘Push Back The Horizon’ is poised for a global release by V2 Records, renowned for their collaborations with Skunk Anansie, Mumford And Sons, Moby, Kaiser Chiefs and Ane Brun.
