Review – No Dakota – New Bronze Age

No Dakota’s debut LP ‘New Bronze Age’ is, essentially a post-rock ‘concept album’, musing on the nature of AI and human identity, it takes us on an imagined journey through time as Talos, the original automaton, mutates and reinvents. Drawing from diverse sources – the Colossus of Rhodes, ‘Hel’, the robot in Metropolis, and eventually in to the future android world of Blade Runner and Ex Machina – the album draws on both instrumental and elliptical lyrical narratives. Dark, cerebral, cinematic, immersive and surprising.

The project was conceived during lockdown 2020 by soundtrack composer noh1 / George Taylor (fratelli brothers, Dutch Head, The Ting Tings) and drummer / multi-instrumentalist Martyn Barker (Shriekback, Goldfrapp, Will Gregory, Adrian Utley, Alain Bashung) with guitarist Jez Coad (producer Simple Minds, Lost Boy, Surfing Brides) and guest appearances from Vienna’s Mira Lu Kovacs (Schmieds Puls 5K HD) and Berlin-based thereminist and vocalist Dorit Chrysler (Trentmoller).

If you like your music with more than little mystery and so far from the mainstream that it could be in another dimension then this release is really going to appeal to you. If you follow this music blog then you know the vast majority of the music I like and write about is progressive rock and folk with some hard rock thrown in just for the hell of it. However I really like music that is intriguing and asks questions of the listener and, while not melodic in the traditional sense, the notes all go together in a designated order to deliver something that you can really enjoy. ‘New Bronze Age’ fits that brief perfectly, it’s absorbing, beguiling and very, very puzzling in equal measure.

Opener Anima is electronic, pulsating and thought provoking in equal measure with more than a hint of Krautrock, mixed with a large dose of cinematic ambience. Cima brings some stylish EDM into the mix with a drumbeat straight from the canon of Prodigy (if not quite as mad!). It’s a real uplifting, high energy track with a subtle sci-fi vibe that gives it a really cool feel. The enigmatic shoe gaze/trip hop of Hel is so hip it hurts, the laid back, mellow vocals are perfectly judged and the whole song is as wistful and chilled as they come. Ichor has the feel of 60’s experimental psychedelia where you could literally get away with anything you tried and call it music and people would believe you. It’s creepy as hell, in a darkly delicious kind of way and really makes the hairs stand up on the back of your neck.

Title track New Bronze Age is hyperactive and on edge, like a Cardiacs track that’s been given a huge dose of paranoia and psychedelia and, you know what, it’s utterly addictive and I have no idea why. Maybe it’s the energetic staccato guitar or the hypnotic beat? whatever, you just have to listen to this song! Poseidon is just a captivating piece of music, a sparse, mournful piano plays over an irregular beat while a haunting note repeats in the background. It’s like a modern, cinematic composition, almost classical in feel and has layers of comprehension that are gently peeled away. Re-Turn/Suspension Bridge is the big track on the album, over nine minutes of cleverly constructed music that builds with every note into something darkly primeval and daunting. The diversity of musical styles on show is breathtaking as this brilliant collective take us on a musical journey of majestic proportions that leaves you feeling subdued, as if in the presence of a greater being. The album closes with the pulsing, experimental wanderings of The Letter Z, a profound, echoing end to what has been an intense listening experience.

Music like ‘New Bronze Age’ teaches us to take the musical road less travelled, to stretch our mental boundaries and challenge what is said to be conventional. It is not an easy listening experience in places but it is a very rewarding album that gives a lot more than it takes. No Dakota write music that makes you think and music that is ultimately enjoyable, you just have to make the effort and, in my opinion, you really should!

Released 5th August, 2022.

Order from bandcamp here:

New Bronze Age | No Dakota (bandcamp.com)

Review – Derek Sherinian – Vortex – by John Wenlock-Smith

Derek Sherinian is very much a keyboard player of the new millennium. Born in California in Laguna Beach in 1966, he has worked with many of the world’s finest progressive and metal groups, either as a member or a touring musician. His latest venture being with the progressive metal super group Sons Of Apollo, where, alongside Mike Portnoy, Billy Sheehan, Ron ‘Bumblefoot’ Thal and Jeff Scott Soto, they offer a very sophisticated and earnest progressive metal sound.

Alongside this activity Derek is also a solo artist has produced no less than nine solo albums of which this one, ‘Vortex’, is the latest. Unusually, he likes to play off against some of rock’s finest guitarists as he enjoys the challenge this offers, plus he is a big fan of guitars and their exponents!

This means that his albums have featured many of rocks finest six string heroes, including Zakk Wylde, Steve Vai and Joe Bonamassa, amongst others. This album continues that tradition with the prowess of Zakk Wylde and Joe Bonamassa appearing once more, along with Steve Lukather of Toto, Nuno Bettencourt of Extreme and the legendary Michael Schenker, the album also features Ron Bumblefoot Thal and noted jazz guitarist Mike Stern. Also present are Tony Franklin on bass and Simon Phillips, who not only provides the drums but also produced the album with Derek.

So we have a stellar line of talent, but is it any good you ask?

Well the answer is a resounding yes! It’s a very fine album with lots of exciting solos and performances, the only downside for me is that, good as these players are, the lack of vocals means this can be seen as very high class muzak at times as it is an intense listen and not something that you can play in the background really. It requires active listening to really get the most out of it all, well, in my opinion anyway!

The album opens with the strong track The Vortex which has Steve Stevens of Billy Idol fame providing some fiery guitar tones and lines. Derek’s music is often jazz/fusion in style and tone, as he feels that it allows him freedom to express himself. Opening with a torrent of synthesisers and some hard hitting drumming, this is a ferocious, attacking number with a strong melody that allows the guitar to break through at points, especially for the solo. It’s all very rhythmically driven and is a good opener really, but it does set the stall for much that follows. While there is little doubt of the quality of the musicianship, for this listener, it really does call for some vocals that could enhance what is already on offer and allow the solos to be as appraiser rather than a continuous cycle. Fire Horse follows and features Nuno Bettancourt (Extreme) who shreds freely over the track but, again, while his playing is fluid and impressive, I feel it is all showmanship without a ‘proper’ song to support it. To me, you could say it feels a little empty, all very  worthy but really needs to be in support of, rather than being, the main attraction.

Third track The Scorpion fares better featuring Derek’s very Keith Emerson like piano to fine effect, along with some fabulous bass work from Ric Fierabracci, who plays some great fretted and fretless bass lines. Also noteworthy is the track Seven Seas with Steve Stevens again and also, who provides sterling bass work. This is a real monster with great playing and very fluid guitar lines from Stevens, who again proves himself to be a formidable player who can shred with the best of them, a really impressive track.

Key Lime Blues features both Joe Bonamassa and Steve Lukather trading licks in a really funky sounding number similar to Bonamassa’s Rock Candy Funk Party sound and excursions of previous years. Again, this is a launching pad for wild solos from all concerned but it sure does sound good. There is also a superborgan part from Sherinian which adds to the track significantly. Die Cobra features the unusual combination of Zakk Wylde and Michael Schenker playing and trading guitar riffs, lines and fills. It is quite a thunderous track with an aggressive sound before slowing to a more melodious section where you hear some typical Schenker tones and sequences that wouldn’t sound out of place on an early MSG album. The track then reverts back to the harder edge initial sound. These two work well together which, when you consider it was all done remotely, is very impressive sounding indeed! It also has a touch of the middle east to it, not unlike Gates of Babylon by Rainbow, a really strong track all together.

Nomad’s Land is very straight ahead jazz/fusion with noted jazz guitarist Mike Stern shredding his licks all across the track. Again, Derek plays organ very strongly and it sounds like a jazz take of Jon Lord! It’s really strong stuff with a fluid solo from Mike and more organ fills from Derek, this one is another that really impresses, even without vocals. The last track Aurora Australis is also the longest at over eleven minutes and features his Sons of Apollo bandmate Ron ‘Bumblefoot’ Thal. The piece opens with lots of synthesisers and a steady Simon Phillips‘ drumbeat before more Hammond Organ from Derek. All hell then breaks loose with more wild keyboards and a solo synth line from Derek, all whilethe track is gathering speed and pace for a guitar and keyboard battle between Derek and Ron. This has real urgency to it and sounds utterly amazing, musicians at the top of their game reaching for new heights and actually reaching them too.

All in all it’s a great album, you can feel the chemistry that Derek Sherinian has with all the guests and it’s great to hear and experience in this way. I still think vocals would raise the album to even greater heights but, then again, that’s just my opinion! It’s still a very good album that’s well worth listening to.

Released 1st July, 2022.

Buy the album here:

Vortex (lnk.to)

Review – Glass Hammer – At The Gate

“Time crawls when we are very young; the older we grow, the more it hastens. If you’re living out a normal span of years, you know this to be true. “Where did the years go,” remarks the elder for whom the long night draws near. “It seems like just yesterday…”

“But what of the man who lives beyond his years, who finds he cannot die? Does time fly by at ever accelerating speeds? I am asked this often, for I have passed my thousandth year upon the wretched earth, most of it wandering cursed Andorath for a dream I once cherished but lost.“

‘At The Gate’, is the third album of the Skallagrim trilogy. This new album follows ‘Dreaming City’ (2020) and ‘Skallagrim – Into The Breach’ (2021), bringing the story of the ‘thief with the screaming sword’  to its conclusion.

Vocalist Hannah Pyror is back to front the group and is joined by bandleader Steve Babb, keyboardist Fred Schendel, and drummer Aaron Raulston. In addition, vocalists Jon Davison (Yes) and John Beagley (Life In Digital) both contribute, as well as guitarist Reese Boyd.   

Steve Babb says, “For those who love our newer, edgier sound, they won’t be disappointed. But I’ve brought back the pipe organ, the choirs, and the sweeping ballads for those who miss the sounds of our earlier albums.“

For those fans of fantasy literature, like myself, this new Sword & Sorcery storyline that began with 2020’s ‘Dreaming City’, and the excellent music that accompanied it has really hit the mark and has seen Glass Hammer reach new heights and become even more popular and venerated than before.

I have always been very lucky in that I get to hear the albums before most people and every time I am even more impressed with the creativity and musicianship that these US prog rock titans deliver. Well, to quote Michael Caine, with ‘At The Gate’ they’ve only gone and blown the bloody doors off!

“Lonely years roll by, Leaves me wondering, Don’t ask me why…”

The final part of the Skallagrim trilogy is wide screen music at its most impressive, opener, the ballad The Years Roll By, does see a return to the band’s earlier, classic progressive rock, style but beefed up with added layers of sophistication and skill. It immediately puts a smile on my face as soon as I hear the ever so stylish organ intro and Hannah Pryor’s voice is just magical. To hear Steve channelling his inner Chris Squire again is just a joy to these ears too and the guitar sound is just utterly compelling, giving the track a wonderfully symphonic style.

“There is a road, Hidden well but search, You may find it, There is a gate at the end, And only time can unlock it…”

Savage is just that, a slow burning, ominous opening is blown apart by a huge riff and Hannah’s voice takes on a darkly delicious tone. The symphonic moves aside for pure hard rock with a Led Zeppelin edge, the intricate guitar and keyboard parts are so precise that they make me smile and Aaron Raulston shows he’s lost none of his skill behind the drum kit. The musicianship on display is just dazzling but it’s that hard-edged, fuzzy riff that gets me every time, what a superb track this is!

“Lirazel! I found her name in a song, the melody of which cured me of all forgetfulness. Lirazel! They took you from me and hid you away, but the memory of love will not—cannot die.”

let’s go all 80’s and electronic shall we? North Of North is a really chilled and laid back instrumental that has a feel of Tangerine Dream to its wistful synthesised notes and I am a total sucker for a bit of old school electronica. You feel yourself getting lost in its pulsing rhythm before Fred lets loose with some super stylised keyboard licks, backed by some vibrant guitar and drums. This track is as uber-cool as they come.

“There’s gonna be hell to pay, When all is said and done, So many years have come and gone, And now I’m left with none…”

Prepare for a monumentally heavy aural assault as the blues-rock intro of All Alone makes way for the heaviest riff on the album, what an absolute beast of a song. Imagine King’s X and Metallica getting together for an anything goes jam and you won’t be far wrong, this track absolutely rocks and rocks hard. You can just imagine the band having the time of their life on this and it would be an absolute monster live, Hannah’s vocals once again giving substance to the down and dirty music. Creativity and songwriting prowess are both at an absolute zenith on this album!

Fred Schendel, Hannah Pryor, Steve Babb, Aaron Raulston

“You know where to find her, You know where to start, But only fools would go down, To the mountains heart…”

That ever so stylish hard rock feel continues with the funky grooves of All For Love, another edgy riff and some crunching bass lines from Steve adding some shadowy grunge to proceedings. The distorted guitar solo is a clever addition, as is Fred’s excellent, Deep Purple inspired, keyboard blast. It’s a hell for leather rollercoaster ride of immense proportions.

“I kinda thought this would be done soon, But I was born beneath a black moon…”

Snowblind Girl powers into focus on another thundering riff, the lengthy opening grabbing your attention before Hannah’s vocal begins, strident and demanding. There’s more a feel of symphonic metal to this song but it’s still bombastic and mightily heavy. Another verdant solo brings a smile to my face once again as these consummate musicians deliver yet another memorable track, the instrumental interplay is just jaw-droppingly good!

“Zagzagel, Here, the sorcerous city is buried now, Beneath a frozen lake For the king did justly curse it…”

Discordant and chaotic, the jarring opening to Standing At The Gate (Of Zagzagel) instantly grabs your attention, the crashing guitar chords and keyboards almost fighting each other for supremacy. Hannah’s authoritarian vocal delivers each line in a clipped manner before things calm down a bit for the memorable chorus,

“He’s standing at the gate, He’s pounding at the gate, Of dread, and now it opens.”

The guitar solo that follows is one of the best, flowing beautifully and full of passion and emotion in every single note and the song closes out with Hannah’s voice repeating the chorus as it fades into the background.

“There’s no life without you, There’s no life, If I walk this life alone, If I never find a home…”

In The Shadows sees the start of the final chapter in the album and the story and is also a complete sea change from the bombast and heaviness of most of what has gone before. It is an utterly captivating, ethereal track led by a gentle piano and Hannah’s haunting, sublime vocal. A wistful, melancholic song that bleeds sentiment through every note, the contemplative, almost mournful, music really gets you in your very soul and leaves you with a feeling of regret. The extended instrumental section is genius, utterly captivating and brings time to a standstill as it holds you in its thrall.

“Forgotten joy, the feel of sunshine, touch of summer sun, Don’t you know, my love…”

The album closes with the uplifting joy and charm of It’s Love, a fantastically inspirational song that sees Glass Hammer returning, once again, to the symphonic, orchestral prog for which they were well know. It is a perfectly constructed track, almost Queen-like (just check out that guitar!), that brings this mighty tale to a wonderful close.

Melodic, symphonic and, at times, monumentally heavy, ‘At The Gate’ is a superb, majestic leviathan of an album that enhances the band’s legacy as masters of the genre. This final instalment in the impressive trilogy brings things to a triumphant and proudly pompous conclusion, this is Glass Hammer at their finest, hugely expressive and sonically brilliant.

Released October 7th, 2022.

Order direct from the band here:

Glass Hammer official website




Gandalf’s Fist announce Pre-Orders on 8th Album “Widdershins”

UK Prog-rock wizards, Gandalf’s Fist, have today announced details of their 8thfull-length album, Widdershins, and have begun pre-orders on the title. The release marks their first full album following the hugely acclaimed 5-disc Clockwork Saga and is again a conceptual work, this time a collection of individually crafted songs, exploring the superstitious nature of human existence.

Gandalf’s Fist front man/guitarist, Dean Marsh, commented:

“We’re immensely proud of this album! It contains all the elements that make this band unique along with a fantastic collection of killer riffs, our best vocals yet and the longest song we’ve ever recorded! We really think this album captures the tone and feel of those ‘epic’ albums of the 70’s and 80’s and certainly allows fans, both old and new, to see this band firing on all cylinders!”

The album, which can be pre-ordered at www.gandalfsfist.com/widdershins is available at a special discounted rate on digipak, as part of Limited T-Shirt bundles and a special deluxe collectors’ box during this pre-order phase.

Review – Bjørn Riis – A Fleeting Glimpse

Just when Karisma Records were about to release Airbag co-founder, songwriter and lead guitarist Bjørn Riis‘ fourth solo album, ‘Everything to Everyone’, he approached them with an idea for a new mini album. With ‘A Fleeting Glimpse’, Bjørn Riis has let his inspiration from Pink Floyd really come forth.

In addition to Bjørn Riis on vocals, guitars, bass and keyboards, the album features Arild Brøter (Pymlico), Øyvind Brøter (Pymlico), Per Øydir, Durga McBroom and Mimmi Tamba.

I’ve never hidden the fact that I am a huge fan of Bjørn Riis and he has never hidden the fact that his biggest influence has been Pink Floyd so a new mini album where that influence is free to run wild is definitely going to be up my street and, after declaring ‘Everything to Everyone’ to be his best solo release yet, my appetite was well and truly whet!

I’ll just put this out there, this mini album is absolutely marvellous but too short! Four songs that are of this high a quality is just not enough! Joking apart, let’s dig a bit deeper…

Dark Shadows (part 1) is reflective and melancholy and features the amazing vocal talent of long time Pink Floyd collaborator from the 80’s and 90’s, Durga McBroom, who adds her undoubted class alongside Bjørn’s voice. There’s a hazy feel to the music and Durga’s beautiful voice just adds to the thoughtful, mournful air. The track has a proper feel of 80’s Floyd to it, the stadium filling mega-band with an arena filling sound and Bjørn’s soulful, sultry guitar just adds sheer class. Instrumental, A Voyage To The Sun, has a real feel of early, ‘Astronomy Domine’, Floyd to it, all moody and experimental, with spooky synthesisers and an ominous overtone. It’s actually deliciously dark and creepy and the guitar almost adds some menace to proceedings with its angular, almost harsh, tone, calling forth thoughts of Set The Controls For The Heart Of The Sun to this mind. I’m loving its brash, in your face attitude that’s interspersed with more reflective and mysterious moments, clever stuff!

The music of Summer Meadows invokes just that, hazy summer days, meandering streams, fields of flowers and a wonderfully peaceful feeling. There’s an innocence and beauty right at its core that just lights up your soul and takes the weight of the world of your shoulders, a simply stunning piece of music and I love it. The final track on this mini album is Dark Shadows (part 2) and a return to the reflections of the opening song. There’s a slightly ominous undertone to the opening, a cryptic and enigmatic quality to the music and vocals, as if waiting for something momentous to happen. Bjørn’s jagged, coruscating guitar then cuts through the atmosphere with a gloriously sparse and simple note, a cry out to the dark from the shadows, it’s eerily brilliant in its execution and then Durga’s plaintive vocal joins in to the close out the song in true Floyd style.

Bjørn once again hits the heights with superb, emotive, wistful and nostalgic music that just hits you right in the feels. There isn’t a guitarist alive who plays with so much expression, his guitar seems to have a life, and voice, of its own and is instantly recognisable and makes this release, mini album or not, one of the best of the year so far.

Released 30th September, 2022.

Order from Burning Shed here:

A Fleeting Glimpse (burningshed.com)

Review – The Round Window – s/t

“Fear not. For fear itself is fed by fear, and all fears pass. Did no-one tell you so? Come take my hand, my friend, and we will peer into this fear’s abyss. And jump! And know.”

Genres are often a contentious point when it comes to music and some artists can get pigeon-holed in one genre when they often blur the boundaries between quite a few. Take The Round Window, I was contacted by founder member and vocalist Rich Lock with regard to a review of the band’s self-titled debut release and expected something with progressive rock leanings to hit my inbox but, low and behold, there is more of a classic rock edge to their glorious sound but they definitely do have a touch of progressiveness to their music as well. The band actually call their sound ‘widescreen rock’ as it straddles genres and defies easy classification.

I’ll tell you one thing, what I heard definitely made me want to investigate further…

The Round Window was formed in 2018, originally as a duo with Rich and Thomas Lock sharing vocals, guitars, and keyboards. Jack Lock joined on drums on 2020 and the line up was completed with David Brazington on guitar and Dietmar Schantin on bass. The album has been produced by Robin Armstrong (Cosmograf) with artwork by Paul Tippett (Frost*/ Black Star Riders).

The completion of the line up has allowed the band to make a deeper exploration of layers and textures on the eight songs on the album and to deliver a polished and very mature record that belies the fact it is their first one. Opening instrumental track The Window is like a prequel to the main story with its moody piano, textures from the guitar and keyboards and portentous drums and sets you up for the main event perfectly. Take My Hand is the first of two singles released from the album and is a quality rocking track with a catchy chorus. The rhythm section power along in perfect unison and Rich’s vocals, well harmonised, add a huge dollop of cool. Add in the uber-stylish guitar of David Brazington and you have one excellent piece of music. Among The Clouds is the second single from the album and has a more serious feel to it, an urgent riff and vocal get you on the edge of the seat and give a real sense of occasion to the song along with a touch of 90’s indie rock in places. The swirling keyboards are a particularly nice touch, it’s a real up-tempo track that has loads of mood swings and one seriously good guitar solo!

There’s a solemn tone to the opening of Victory, a very serious and dignified piece of music that gets under your skin. Rich’s reflective vocal is intense and leaves a wistful and melancholy aura above everything. The guitar, drums and bass then join in and add a contemplative and nostalgic atmosphere. Dave’s fiery, plaintive solo is a work of genius and actually left a lump in my throat and the beautiful flute of Angela Gordon almost tipped me over the edge with its amazing sentimentality, what a wonderful song! We are then treated to a slow, brooding masterpiece of music in the shape of Out Of Time, seven minutes of near perfect blues rock with a prog edge that makes the hairs on the back of your neck stand up. Rich’s soulful vocal, Jack’s measured drumming and Dietmar’s smooth bass are building blocks on what is a masterfully created piece of music but the icing on the musical cake is the burning, fiery and passionate guitar and ardent keyboards, what an absolute gem!

Nobody Home sees a return to the elegant, flowing rock of the two single releases, a well written and tightly performed song that needs no extravagance, just a really good piece of music with a really polished keyboard solo. Ethereal, exquisite and just utterly sublime, Avalon keeps the high quality songwriting coming. Gorgeous vocals and graceful music add up to deliver a dignified, simple piece of music with a feel of wonder at its core, simply beautiful. The final, and longest, track on the album is, perhaps, the most progressive. Another Chance builds slowly on Rich’s vocals and a halting piano line, backed by ghostly keyboards, before a guitar note, calming at first but then more urgent, segues in. The guitar then opens up with a heartfelt tone, sentimental and eloquent before Rich’s vocal returns and the song begins to flow quicker and with more urgency before, finally, the release valve is opened and off we go to a final triumphant conclusion.

A high quality release with wonderfully emotive songs and superb musicianship, this self-titled album may be The Round Window’s debut release but it shows a group of musicians who are already playing at a very high level and have creativity to burn. I can’t recommend it highly enough, this should be in everyone’s music collection…

Released 30th September, 2022.

Pre-order the CD from Gravity Dream here:

The Round Window – CD Pre-Order – Gravity Dream Music

Or the mp3 at bandcamp:

The Round Window | The Round Window (bandcamp.com)

FROST* launch video for ‘Skywards’ ahead of November 2022 UK tour dates

Frost* are set to hit the road in the UK later this year, for their much anticipated live-return. The band will be celebrating the release of their 2021 album ‘Day And Age’, and in advance of these tour they have launched a brand new video for the track ‘Skywards’. Watch it now here: 

Jem Godfrey comments: “It will have been 5 years and 3 days since we last played in the UK when we go onstage in Wolverhampton on November 27th so we figured we’d do something special. To that end Craig Blundell has re-joined the band and we’ll be playing Milliontown, Black Light Machine, Hyperventilate and a few other classics from the repertoire to celebrate alongside a good chunk of the new album. It’s going to be a lot of fun.” 

The full list of dates is as follows: 

Nov 2022

 Sun 27th Wolverhampton Steel Mill

Mon 28th Edinburgh Queens Hall                 

Tue 29th Leeds Brudenell Social Club

Wed 30th Bath Komedia                                   

Dec 2022

 Thu 1st London Islington Assembly Hall 

Tickets available from MyTicket.co.uk

Watch the previously released videos from ‘Day And Age’ below:

‘Day And Age’: https://youtu.be/RmiAmW3sgHs

‘Terrestrial’: https://youtu.be/wda09d-QdUk

Island Life: https://youtu.be/gT_RH_pKQFk

Frost* returned in 2021 with ‘Day And Age’, the band’s fourth record and first new studio album in five years. It features Jem Godfrey joined by John Mitchell & Nathan King, as well as 3 guest drummers: Kaz Rodriguez (Chaka Khan, Josh Groban), Darby Todd (The Darkness, Martin Barre) & Pat Mastelotto (King Crimson, Mister Mister). The album also features actor Jason Isaacs. 

 ‘Day And Age’ was recorded over the course of 2019 and 2020, featuring 8 tracks and striking cover artwork by Carl Glover of Aleph Studios (Steven Wilson, Marillion, Steve Jansen). The album is available on Limited 2CD (including a bonus disc of instrumentals), Gatefold 180g 2LP + CD (with etching on Side D), and as Digital Album. Order now here: https://frost-band.lnk.to/DayAndAge

Frost* was formed in 2004 by keyboard player and singer Jem Godfrey, Released in 2006 the band’s debut album “Milliontown” was an instant success and is regarded by many as a classic in the modern prog rock genre featuring John Mitchell on guitar, John Jowitt on bass and Andy Edwards on drums. The band quickly followed it up with “Experiments In Mass Appeal” in 2008, in many ways the antithesis of “Milliontown” featuring a much more stripped back sound, more concise songs and a new band member and singer in the form of Dec Burke. 

The live album “The Philadelphia Experiment” followed in 2009 and the a long gap followed before 3rd album “Falling Satellites” was released in 2016 with a new line-up of Nathan King on bass and Craig Blundell on drums, plus returning guitarist and singer John Mitchell on guitar who also co-wrote much of the album with Jem Godfrey.

Review – Chas Cronk – Liberty – by John Wenlock-Smith

Chas Cronk may best be known as the long-term bassist for the Strawbs. He was initially with the band between 1973 -1980, after which he worked with Steve Hackett and Rick Wakeman before forming his own group Cry No More, upon the dissolution of which he re-joined the Strawbs, where he has remained ever since.

‘Liberty’ is his second solo album after ‘Mystic Mountain Music’ in 2002 and his album with Dave Lambert, ‘Touch The Earth’, in 2007.

Reviewing this album is different in that it has no noticeable progressive tendencies and, whilst that may be true, what is also noticeable is just what a fabulous album of songs this is. The album is mostly self-penned and performed by Chas with help from Dave Lambert on the track A Splash Of Blue, Dave Bainbridge on Slipping Downstream and also Major Baldini, who provides drums for the title track. Everything else is handled by Chas who also produces the album. It’s not a particularly long album as it was originally going to be an EP but Dave enjoyed the task so much that he decided to keep going and make a full album of songs.

The album opens with the title track, Liberty, which is a quite jangly, guitar led song. This actually reminds me of Rush for some reason, maybe it’s the jangle in the guitar? It’s is quite a strident track with a short but well constructed solo appearing after the second chorus. I really like this song it has good drive and dynamics to it. Next we have Take My Hand which opens with keyboard sounds and a bubbling bass line over some dancing keyboard lines. The song has a great vocal from Chas with everything again being underpinned by the bass and features another brief but elegant solo. This album grows on you as being a really fine set of songs and performances. It is simply a highly enjoyable and rewarding listening experience to have, nothing earth shattering but certainly very worthy indeed.

A Splash Of Blue has his Strawbs bandmate Dave Lambert on guitar and he contributes a fine solo. Everybody Knows is a well produced epic piece with good vocals. The song is about surviving the storms of life and how love can set you free, and that the beauty of the world can open our hearts to joy and to love, simple but powerful sentiments. Flying Free is an acoustically led instrumental. A brief but great little track with good keyboard backing to make it very memorable.

Into The Light opens ‘side two’ of the album and has a good back beat on the drums along with a neat bass line pulling the song along. It’s a mid-paced song but quite muscular in tone, with a good guitar synthesiser line floating over the top. Again, this song has something special to it, a good guitar break certainly helps and makes an impression making it another fabulous, well constructed and performed track. Slipping Downstream features fellow Strawbs’ man Dave Bainbridge whose guitar adds much colour to this song, he plays really beautifully on this track with a glorious floating guitar line, especially when he takes said guitar line up a key. Dave is well supported by the keyboards and Chas’s Bass line. This is really a spectacular track and Dave certainly let’s rip well here to form a strong impression. Away follows and this is yet another impressive track. The song has a strong melody, even if I can’t detect what it is on about really, and has a good sound and great dynamics. The whole album is a sequence of strong, intelligent and articulate tracks that, when taken together, are very life affirming. System Overload is a familiar sounding song but I can’t quite put my finger on who it reminds me of but it sure sounds good to these ears. This is a good penultimate  track before the instrumental of Reverie brings the album to a close. With its deep keyboard sounds and washes and its ethereal voices and gentle piano tones, it winds the album down to a close perfectly.

‘Liberty’ is a well constructed and produced, and superbly performed, set of songs for which we can all be glad and all can appreciate. I really enjoyed this short album as there is much to enjoy and I certainly will be returning to it frequently as it is an unexpected lockdown derived delight.

Released 11th February, 2022.

Order the album here:

Chas Cronk – Liberty (CD) (renaissancerecordsus.com)

KARISMA RECORDS REVEALS DETAILS AND SINGLE FROM UPCOMING OAK ALBUM.

Karisma Records has announced that the 11th November will be the release date for the third full-length album from Norway’s Progressive Pop/Rockers OAK. Titled “The Quiet Rebellion of Compromise”, it is an album in which the band has decided to write about the important, but controversial , subjects of suicide in particular and mental health in general.

Knowing that music as an art form is very open to interpretation, and knowing how emotive the subject matter is, OAK wanted to be sure that the message comes across clearly, and consequently sought advice from experienced scholars on the matter. 

And, with the release of the single “Dreamless Sleep”,  Karisma Records has given us a first taste from “The Quiet Rebellion of Compromise”.  It can be downloaded or streamed from a variety of services at:

Dreamless Sleep by Oak (karismarecords.no)

OAK originated as a folk-rock duo, which expanded into today’s lineup of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars, Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars, and Stephan Hvinden on lead, rhythm and slide guitars. The fact that OAK’s members come from diverse backgrounds, which range from classical piano, to electronica, to prog and hard rock, with references to both the  alternative scene as well as the progressive rock scene, has  allowed OAK to create a unique sound.

Musically, OAK’s upcoming “The Quiet Rebellion of Compromise” is the band’s most dynamic album yet, demonstrating a wide range of influences. There are some sharper edges, and some surprising  twists and turns to be found amongst the familiar Oak territory. Interestingly, after the release of their previous album “False Memory Archive”, the band set out to write some shorter songs for a change – and ended up with their longest songs yet!

“The Quiet Rebellion of Compromise” was recorded in Ljugekroken and was mixed at the Ghostward Studio by David Castillo (KATATONIA, LEPROUS OPETH, etc.). It was mastered by Tony Lindgren at the Fascination Street Studio, and, as with their other albums, “The Quiet Rebellion of Compromise” offers subtle hints to both past and future songs in the Oak universe.

Tracklisting on “The Quiet Rebellion of Compromise” is as follows: 

1. Highest Tower, Deepest Well

2. Quiet Rebellion

3. Dreamless Sleep

4. Sunday 8 AM

5. Demagogue Communion

6. Paperwings

7. Guest of Honour

“The Quiet Rebellion of Compromise” will be available in CD, Digital and Limited Edition white vinyl formats, and can now  be pre-ordered from:

The Quiet Rebellion of Compromise | Oak (bandcamp.com)

Shop | Karisma Records

The Quiet Rebellion of Compromise by Oak (karismarecords.no)

HAKEN announce 2023 European co-headline tour with Between The Buried & Me

Progressive rockers, Haken, are excited to announce a 2023 European co-headline tour with Between The Buried & Me, including support from Cryptodira. The ‘Island In Limbo’ tour will begin on the 21st February 2023, and will be the bands first European run since December 2019.

Ross Jennings comments: “After three years away, and two cancelled tours due to the pandemic, our return to the European stage is going to feel very powerful indeed. We’ve missed all those familiar faces in the audience, and can’t wait to welcome all the new fans to be part of the Haken live experience, too!

With new material imminent, and a bunch of songs from ‘Virus’ still not performed live, we’re super excited to put the set list together for this run.

We are also ecstatic to reunite with our dear friends and progressive metal cohorts, ‘Between the Buried and Me’ as our co-headliners.

The tour stops at some of our bucket list venues,  including London’s ‘Shepherd’s Bush Empire’, which is set to be our biggest London show to date! What could be better than celebrating our musical journey so far at the ultimate homecoming venue?!”

Tickets are on sale now (Scandinavia goes on sales tomorrow) and the full list of dates can be found below: 

21st February – Gruenspan, Hamburg, Germany

22nd February – Werk 2-Kulturfabrik, Leipzig, Germany

23rd February – Heimathafen Neukölln, Berlin, Germany

24th February – Proxima, Warsaw, Poland

25th February – Palac Arkopolis, Prague, Czech Republic

26th February – Simm City, Vienna, Austria

28th February – Dürer Kert, Budapest, Hungary

1st March – Freiheitshalle, Munich, Germany

2nd March – Stadtmitte, Karlsruhe, Germany

3rd March – Kiff Saal, Aarau, Switzerland

4th March – New Age, Milan, Italy

6th March – Ninkasi Kao, Lyon, France

8th March – Razzmatazz 2, Barcelona, Spain

9th March – Mon, Madrid, Spain

10th March – Garaje, Murcia, Spain

11th March – Custom, Seville, Spain

12th March – Lisboa Ao Vivo, Lisbon, Portugal

13th March – Hard Club, Porto, Portugal

15th March – Connexion Live, Toulouse, France

16th March – Ferrailleur, Nantes, France

17th March – Alhambra, Paris, France

19th March – Rockhal, Esch-Sur-Alzette, Luxembourg

20th March – Bürgerhaus Stollwerck, Cologne, Germany

21st March – Trix Club, Antwerp, Belgium

22nd March – 013 Poppodium, Tilburg, Netherlands

23rd March – SWX , Bristol, England

24th March – Academy 2, Manchester, England

25th March – The Garage, Glasgow, Scotland

26th March – 02 Shepherds Bush Empire, London, England

28th March – Voxhall, Aarhus, Denmark

29th March – Rockefeller, Oslo, Norway

30th March – Pumpehuset Kransal, Copenhagen, Denmark

31st March – Fryshuset Klubben, Stockholm, Sweden

2nd April – Olympia-kortelli, Tampere, Finland

3rd April – Vanha Ylioppilastalo, Helsinki, Finland

5th April – Pustervik, Gothenburg, Sweden 

Tickets available here: https://hakenmusic.com/tour/

The band recently completed the recording of their forthcoming new studio album, their first with keyboardist Pete Jones back in the band. You can listen to the recently released single, ‘Nightingale’, below:

Watch the video here: https://youtu.be/IeENKWcitCw

Stream & download the track here: https://haken.lnk.to/Nightingale-Single

The band comments: “Nightingale was the first track Pete Jones presented to the band after rejoining Haken this year. The initial song idea quickly inspired of the classic Haken sound and naturally evolved into some new harmonic territory. The song ranges from delicate moments to monstrous riffs. 

We enlisted Jens Bogren to mix Nightingale and, as always, he’s blown us away by capturing every detail while delivering power and energy. We couldn’t be happier with the finished product. 

Lyrically, the song reflects on the creative process itself; with a message that although it may be difficult of late, we must remember to be thankful for the positives in life; be they big or small.” 

In March, the band announced the initial details of ‘Nightingale’, as well as held a competition for fans to submit their own original artwork for the forthcoming single. The winning artwork was chosen by the band themselves, from Belgium’s Rein Van Oyen.