Review – Trifecta – The New Normal – by John Wenlock-Smith

‘The New Normal’ is the sophomore album from Trifecta,the band of Nick Beggs (Bass and Chapman Stick and Vocals), Adam Holzman (Keyboards and Synths) and Craig Blundell (Drums and Percussion). With Beggs and Holzman from Steven Wilson’s band and Blundell from Steve Hackett’s band, this trio craft mainly Jazz/Fusion pieces although this time around there are several vocal track on which Beggs sings, he actually has a really melodious voice.

The majority of these tracks are under three minutes in length but, even so, within those short pieces there is a definite invention and ingenuity within the playing to make something different to what could be expected. Chinese Fire Drill being a good example of this, out of a gentle keyboard melody comes a fiery guitar passage which later returns to the gentle melody earlier heard. Ouch! My OCD is another weird track, with dialogue between Beggs and Blundell on sibling rivalry that is a carry over from the previous track. There’s good use of a didgeridoo that plays a central part to the track too, a very ingenious track this one, another sturdy drum pattern is also important and Impressive here. Other tracks have a funky backbeat and Hammond organ blazing away to fine effect with Beggs’ bass or stick usually propelling the pace of the music from the front. Daddy Long Legs is a really interesting track with a rock solid bass line and some synth noodling from Holzman, all bound in the precision of Blundell’s drums. It’s a most gripping track with a great sound tand classy rhythm.

Also of note is the off kilter, acid jazz feeling, Just feel It Karen. Again, a great bass line from Beggs helps drive this track along and Holzman’s synths dive all over the rhythm section’s propulsive thrust. It’s another ingenious track which shows the formidable talents of Beggs, Holzman and Blundell off to a tee. The interplay behind the trio is highly impressive and extremely musically tight and satisfying, how they manage come up with these odd pieces is a question only they can answer but at least they are prepared to share these fruits of their labour with us, which is all the more rewarding. Once Around The Sun With You is possibly the most normal song of the album as it has a melody and a theme of sorts, whereas Ornamental Lettuce is just plain weird and sounds like something Frank Zappa could have conceived on an off day! This brief, yet very busy, track has a really powerful drum part that makes it stand out.

Canary In A Five and Dime is a song about ex US president Donald Trump and it is not a flattering song for him by any means. Stroboscopic Fennel is another brief but entertaining track with an Interesting tale to tell. Stupid Pop Song brings to mind Beggs’ Kajagoogoo years in style and it’s actually rather good and memorable. Wacky Tobaccy is a more jazzy track with great bass or stick playing throughout. Wake Up Call is another jazzy tune with an almost call and response feel to it and this works well here.

‘The New Normal’ is rather short and yet, within its eighteen tracks is some really excellent and unusual music. Okey, some tracks work better than others but, overall, I would propose that it is definitely much more hit than miss. It’s an interesting release and, whilst I understand it may not be to everyone’s taste, I enjoyed it immensely.

Released 12th April, 2024.

Order from the link here:

Trifecta – The New Normal (lnk.to)

Highway Prog All Day Festival 2024 Announced – Line up Includes Magenta

Al Winter of Yorkshire proggers This Winter Machine has announced the date, venue and line-up for the 2024 edition of the Highway All Day Progressive Rock Festival, ‘Highway ’24’.

Al Winter: “After holding the successful Highway Prog all day festival in Hull for the last two years, this excellent day of progressive rock moves to Leeds for 2024. The heavy hitting line up consists of Paul Brunton (acoustic), Candacraig, Simon Godfrey (ex Tinyfish), Stuckfish, This Winter Machine and superb headliners Magenta.” Al continues, “The venue is the Eiger Studios on New Craven Gate, the doors will open at 1pm and tickets for the day are £25 in advance from See Tickets”.

Highway ’24 will take place on Saturday 21st September, 2024 and tickets can be purchased from See Tickets here:

See Tickets – Highway ’24 Tickets | Saturday, 21 Sep 2024 at 2:00 PM

This Winter Machine.

Review – The Dave Foster Band – Maybe They’ll Come Back For Us – by John Wenlock-Smith

‘Maybe They’ll Come Back For Us’, the new album from The Dave Foster Band, lands at the end of May. Once again, Dave is joined by the talented Dutch vocalist Dinet Poortman, along with contributions from the likes of Steve Rothery (Marillion), Mark King (Level 42) and Carly Bryant (Big Big Train), among others. On This beautifully constructed album we have songs of great imagination yet also with genuine emotion and warmth.

This superb record opens with Sleep Spindles, which has a guitar sound that, to my ears, is very reminiscent of Brothers In Arms by Dire Straits. It is a stunning sound that Dave evokes and certainly fits the track very well indeed. It most definitely captures the attention with its atmospheric soundscape and palette, Dave’s guitar really soaring here with his fabulous tone and vibrancy. This is a stunning opener, along with it being a real statement of intent, I find myself really drawn to this mesmerising track with it shimmer of sound. It certainly evokes patterns of sleep and has a hugely impressive vocal from Dinet too. The epic guitar solo that concludes this great track is evidence of the great things that are to come. The uber-cool Talent To Failure features the unmistakable bass presence of Mark King who drives the track along in a powerfully upbeat manner, adding his trademark bass slap at certain points to give a real groove to the song. While Mark’s presence is felt here in  this busy track, Dave delivers another graceful solo as well and Dinet’s vocals are 100% on point. Overall this collaborative effort really pays off well and sounds great, one can only hope they do more together as the results could be really spectacular, only time will tell, I suppose. Pollyana has a very orchestral sweep to the sound, laid over a beautiful acoustic guitar, which is interspersed with electric guitar fills. This track sounds glorious with a warmth that is always evident, even when Dave’s solo comes in against the great background that really sounds glorious, another most satisfying song.

These Tendencies has Steve Rothery contributing, which makes it very interesting as both Steve and Dave perform regularly in the Steve Rothery Band. It’s good to hear them together here, Steve giving a beautifully melodic solo towards the end of this track. It is a short piece but where every note matters and it is wonderful to hear such excellence as is delivered on this stunning song. The Optimist has a touch of electronica amidst some strong power chords, very like The Who in places, and hugely effective. The song is very positive in tone as it calls for us live in hope, despite the world being as it is, and to realise that some days are better than others. Another blistering solo from Dave fires the song upwards, it’s a terrifically upbeat track. Queen Of Maybe is mostly piano driven with a stylish vocal from Dinet, who, once again, sounds wonderful here. Another good lyric impresses with it’s warmth and sensitivity, as Dave’s solo rises effortlessly from the melody lines, Dinet weaves a web with her expressive vocal. I love the positivity of this song, especially as it really connects with me.

With the penultimate track, Delicate Things, Dave gets to show his appreciation for Muse as he adds crashing power chords to great effect. The song talks about how we often neglect the small things in life and forget that everything worthwhile is usually free, which is a truth we probably all need to hear and employ in our own lives! The album closes with Whirling Of Whales, which is a briskly paced number with a thoughtful lyric that really appeals here. It’s cry of, “If we work it out, if we even this out” resonates vividly, it’s a great lyric and a strong chorus. A wonderfully vivid extended guitar solo break drives the song towards it’s close before a return to the chorus and another brief, but brilliant, guitar freak out fires the song to a climactic ending.

I didn’t think Dave Foster could top 2023’s excellent release ‘Glimmer’ but I have to concede that this album has grown on me significantly over the past few days and it’s star has risen accordingly. The truly great artwork by Japan based Tsuki Kitsune also really enhances the album and I really like the positive lyrics that really connect with the mess of a world that we live in today, they help these amazing songs shine out like nuggets of gold in a dark world.

Released 31st May, 2024.

UK/Europe order here:

English Electric Recordings (burningshed.com)

North America order here:

Dave Foster Band – The Band Wagon USA

FOCUS ANNOUNCE NEW STUDIO ALBUM ~ FOCUS 12 – CD, Vinyl and Digital Release : JULY 5th

Spirit of Unicorn Music are pleased to announce the forthcoming release of FOCUS 12, the brand new studio album from Focus.

Founded by Thijs van Leer, Focus have been at the forefront of the progressive music movement since 1969, yet they still continue to deliver engaging, innovative and skillfully crafted music.  Focus 12 exemplifies this and proves why they are still a firm fan favourite, the world over.

For Thijs van Leer (75) and Pierre van der Linden (78), age is nothing more than a number.  Both continue to contribute to Focus with a passion.  Thijs, who has written the majority of the new album, rises at 4.30am every day in order to work on his compositions.  Whilst the album boasts some of Pierre’s greatest and most energetic drum sequences to date.

Allowing the younger guard to take the audio reins for the first time, Focus 12 is produced by band members Udo Pannekeet and Menno Gootjes, who also contribute two compositions on the album.

Thijs commented “How beautiful life can be when a band plays so easily and so together.”

Focus 12 was recorded at the world-renowned Wisseloord Studios, in the band’s native country, of the Netherlands.  A first for Focus, the album features a completely improvised piece which was captured as it spontaneously took place in the studio, during the recording process.  Thus proving that more than 50 years on, the band are still excited by undertaking something new and different.

Van Leer continues “Thanks Pierre, Udo and Menno for so much musical passion!”

The band continue their long association with legendary artist Roger Dean whose stunning artwork graces the front cover and packaging.  The vinyl version features a stunning gatefold sleeve.

Focus continue to be one of the hardest working rock bands on the planet, regularly touring the globe playing live.  This July, they undertake a string of live dates across the USA and Canada, as part of Asia’s Heat Of The Moment Tour.

Thijs van Leer concludes “After all these years, Focus is in the here and now; the triumph of survival!

Focus 12 will be available on CD, Vinyl and on all good streaming services and can be pre-ordered here:   https://burningshed.com/store/focus

Track Listing

1.    Fjord Focus

2.    Focus 13

3.    Béla

4.    Meta Indefinita

5.    All Aboard

6.    Born To Be You

7.    Nura

8.    Bowie

9.    Positano

10. Gaia

Focus are:

Thijs van Leer : Flute, Organ, Piano, Synths

Menno Gootjes : Guitars, Piano, Synths

Pierre van der Linden : Drums

Udo Pannekeet : Bass, Synths, Programming

Produced by Menno Gootjes and Udo Pannekeet

Recorded by Danny Sykes, Udo Pannekeet and Geert Scheijgrond at Wisseloord Studios and Wedgeview Studios, Netherlands

Mixed by Udo Pannekeet

Mastered by Sander van der Heide

Heat Of The Moment 2024 Tour Dates:

Wednesday, 3rd July          : Ridgefield Playhouse, Ridgefield

Thursday, 4th July               : Fallsview Casino, Niagara Falls

Saturday, 6th July                : Chevalier Theatre, Medford

Sunday, 7th July                  : The Paramount, Huntingdon

Tuesday, 9th July                 : Bergen Performing Arts Center, Englewood

Wednesday, 10th July         : Count Basie Center, Red Bank

Friday, 12th July                  : Tropicana Showroom, Atlantic City

Saturday, 13th July              : Wind Creek Event Center, Bethlehem

Sunday, 14th July                : American Music Theatre, Lancaster

Tuesday, 16th July              : Spartanburg Memorial Auditorium, Spartanburg

Wednesday, 17th July         : Ryman Auditorium, Nashville

Thursday, 18th July             : Columbia County Performing Arts Center, Evans

Saturday, 20th July              : Hard Rock Live, Orlando

Sunday, 21st July                : Pompano Beach Amphitheater, Pompano Beach

Monday, 22nd July              : Seminole Hard Rock, Tampa

Wednesday, 24th July         : North Charleston PAC, North Charleston

Thursday, 25th July             : Macon City Auditorium, Macon

Friday, 26th July                   : Saeger Theatre, Mobile

Sunday, 28th July                : VBC Mark Smith Concert Hall, Huntsville

Tuesday, 30th July              : The Armada Theatre, St Charles

Wednesday, 31st July         : The Pabst Theater, Milwaukee

Review – Gallowstreet – A Trip Worth Making

Named for Amsterdam’s Galgenstraat (literally translated Gallows Street), Gallowstreet has grown from a street parade band to a show-stopping festival favourite in the Netherlands and beyond. The 8-man band of brass, saxes, and percussion, straddles the worlds of hip-hop and dance music with cinematic scores and hard-hitting beats. 

Explosive. Contemporary. Creative. Electric. Danceable. Often covered, never copied, seldom paralleled. All of the above are applicable to Gallowstreet, ‘A Trip Worth Making’ torpedoes the concept of brass groups straight into the 21st century. Blurring the lines of the genre, the Amsterdam-based group dedicates the record to over a decade of touring and setting dance floors on fire across Europe, blending brass, beats and electronics.

On ‘A Trip Worth Making’, Gallowstreet explores more electronics, different beats, and a radically different dynamic than on 2023 offerings ‘Laaglands’ and ‘Gallowstreet’ EP – truly, the group’s energy is about as high as their productivity.

When a lot of people in the UK hear ‘brass band’ they think of the colliery bands from mining communities, like The Brighouse And Rastrick Brass Band, made famous by legendary radio star Sir Terry Wogan and the film ‘Brassed Off’, starring Ewan McGregor so I was a little intrigued when the promo email for Gallowstreet landed in my inbox.

After having quite a few listens now, my intrigue has turned into outright admiration and wonder. ‘A Trip Worth Making’ has given me an appreciation for the amazing and intricate musicianship of this ever so impressive collective. When I first read ‘blending brass, beats and electronics‘, I cannot say I was excited but I am now utterly convinced by the music, it is energetic, upbeat, uplifting and just shedloads of fun!

The album is chock full of killer tracks where the energy never lets up, opener Assemble! gets the party started with infectious rhythms and beats and the ever so delicious sounding brass that marks Gallowstreet out as something exciting and different. Phoenix adds a cinematic element as it builds elegantly before becoming something uber-cool where jazz lounge sensibilities mix with a fresh sounding drum and bass vibe and then you get the musical punch to the jaw with the wondrous Proper Hired Guns that starts off with a poppy feel before turning into an addictive thrill ride that has a updated feel of the them to Hawaii 5-0 to these ears, I just love it!

These brass renegades hit you hard with the high energy beats of My Two Cents, an enigmatic, funk filled, dive into jazz and electronic beats. Consider It A Calling brings 70’s soul to the party, the brass intro like something from a Chic track before an edgy, irreverent vibe takes over, the uplifting brass adding heart and even more soul! There’s almost a storytelling element to the music of Hungry as it ducks and dives and jinks its way around you, jazz and brass surround-sound if you like, the brass talking to you in a wonderfully musical fashion.

A cinematic jazz live lounge emerges out of the intro to title track A Trip Worth Making, the music building in intensity as we get further in. Innovative and inspirational at once, it’s a wonderfully eclectic piece of music. Spirited Away is full of a soulful nervous energy that just seems to seep into your very being and become part of you, the music is uplifting and joyful and just makes you feel good! Everything comes to a close with On Borrowed Time, a laid back and low key track full of nostalgia, a wistful look at a life well lived or a journey well travelled.

With ‘A Trip Worth Making’ Gallowstreet have leaped straight into my musical affections,. It is such an infectious, upbeat and addictive experience that you forget just how technically impressive these musicians are because you are just enjoying the joyful brilliance that they bring to each of these compositions, the energy just free flowing and imbuing in you a fabulous joie de vivre.

Released 1st March, 2023.

Order from bandcamp here:

A Trip Worth Making | Gallowstreet (bandcamp.com)

Review – Rob Harrison – Explode My Head – by John Wenlock-Smith

One of the best things about writing reviews are the opportunities that I get, on a fairly regular basis, when an artist sends me an album that is not generally available for a few months yet. I consider such acts to be very satisfying and rewarding in that I feel that I am entrusted with their creation to listen to and, possibly, review. This is a honour I accept with sincere gratitude as it means that the artist feels secure enough of my opinion to offer me their creativity, as it were. Which is why I am pleased to be able to write a review for  Z Machine’s sax player Rob Harrison, whose solo album, ‘Explode My Head’ is due to emerge in June of this year.

This is a  very personal  album for Rob as he gets to play the music he wants to and on his own terms and, in addition, he gets to play the guitar (something he seldom gets to do with Z Machine). The album is mostly instrumental, although there are a few vocal tracks. In all it has just six tracks with the longest being just short of nine minutes long. Rob is joined by cello and violins on several tracks, alongside flute and bass clarinets. Rob himself plays all guitars, bass and saxophone, as well as supplying the vocals and sound effects and I suspect he plays the uncredited keyboard parts as well. The album is really rather good, although it is not always an easy listen as the sound is quite dense in places. It has touches of artists like King Crimson, Gong and many others of that ilk.

Opening track A Severe Lack Of Gravitas has some delicate Cello from Polina Faustova and violin from Julia Stein (Who Knows Sound), in between which is Rob’s bass and heavy saxophone parts. The song changes tempo constantly and has great guitar fills and runs along some great sax parts too. I especially like this track as it is very inventive and musically driven. A Bountiful Surplus Of Grace is an intriguing instrumental that also contains some spoken word parts to it. These tend to be a bit  low in the mix so it’s not always easy to hear what is being said. I detect that it is about Rob’s own struggles that are being talked about here. It is a very interesting and musically strong track which really impresses greatly.

A Profound Throb Of Dread is an odd tale of an old man. After the opening section, it moves more to be an instrumental piece, although the vocals are repeated at various points in the track, another compelling and thought provoking piece of music. An Absurd Case Of Iguanas is mostly instrumental with almost Middle Eastern sounding notes at the beginning, later superseded by a different tone and melody. There is some sumptuous bass on this track too, really strong, vibrant and funky at times. The pace increases as the track gains in tempo and intensity with some strong, fluid guitar lines emerging to deliver a quite captivating song indeed.

The penultimate track is An Acute Sense Of Being which sounds similar in style and tone to Starless by King Crimson but without that guitar line. However, it does have similarities to these ears, again, some engagingly fluid guitar lines run throughout and it is all rather impressive really. The record closes with A Fragile Harmony Of Desires, this is the track that possibly explains everything within it’s lyrics, which appear to be almost a stream of consciousness about the difficulties encountered in Rob’s life. The music is fairly jolly for such a deep song, Rob says that he is not good at expressing feeling and talking about things, preferring to let his music speak for him, as it were.

The cover art is brilliant as are the short stop/start Aardman Animation-like clay model videos that accompany the album. ‘Explode My Head’ is a really stimulating, complex and compelling album and one that repays repeated listens, Rob writes music for the mind that also stirs the soul and I highly recommend it.

Released 28th June, 2024.

Pre-order from bandcamp here:

Explode My Head | Rob Harrison (bandcamp.com)

Review – Storm Deva – s/t – by John Wenlock-Smith

Trawling the prog-rock related sites is always an interesting experience for me as I am friends with many of my fellow reviewers and their thoughts, opinions and recommendations are always worth taking note of. One such trawl led me to the band Storm Deva and their self-titled debut album as it was garnering some very positive comments indeed.

I got in touch through bandcamp and offered to write a review of the album as I liked what I had heard. Storm Deva replied in the affirmative and wheels were put in motion with a full download and a physical CD being sent to me. I was very grateful for this and for the kindness offered to me by the band. The album arrived mid-week and I sat down to really have a good listen at my leisure. Armed with the lyrics and the biography of the band, I was all set.

The album opens with Carpe Diem which has a fabulous guitar riff and strong keyboard textures, the riff is the chugging sort that propels the song along. Carolynn Eden’s vocals are a thing of real beauty and class, very operatic at times but with a noticeable hint of Kate Bush, amongst others. The dynamics between vocals, guitar and piano are exceptionally good, at times the guitar following the piano, interweaving and dancing all around the melodies. A fine, if short, guitar solo adds further dynamics to what is a very strong opening track indeed, a really great song and a fine opening statement of intent. Alchemy is next and this one has a very impressive video:

The track has a very nautical theme and good sound effects providing real atmosphere, as does the fine cello of Hannah Reeves that adds great colour to the piece. It is an excellent song with some fine acoustic guitar from Stuart Clark who captures the essence of the song wonderfully. I recommend that you watch the video for maximum impact. Title track Storm Deva is hinged on a strong bass line that is doubled with guitar, which then switches to some fluid arpeggio lines. I like the crunch of this track, it is so well delivered, powerful and yet well constrained and contains a fine fluid guitar solo alongside Carollyn’s excellent piano. Another well executed and delivered song with a theme of overcoming adversity (one that is repeated several times on this fine release) and hope.

Free opens with ambient birdsong sounds, the song is about a journey to wholeness, contentment and, ultimately, to freedom from the past and any hold it has on one’s current happiness. We are treated to more excellent vocals from Carolynn on this powerful track. Come Back To Me begins with a descending piano motif and solo vocal from Carolynn before the band all join in. The song has a fine acoustic guitar solo from Stuart, the song calling for a lovers return. A rather gentle, but no less powerful, song of lament. The Garden Of Wisdom has a longer running time giving opportunity for some extended parts to emerge. This is a really great track and the parts are both interesting and cohesive. There especially fine dynamics from the piano leading to an excellent guitar part from Stuart, who plays a blinder on the whole album, he is a player of both taste and brevity, as a second solo later in this track shows fully. This song has an epic feel and a very good build in its intensity, making it my favourite track thus far, it is about finding personal freedom through overcoming situations.

The Dance is a celebration of life, especially the new life that occurs in the spring time. There are references to the power of the sun and of connection, it’s a song calling for support to being stopped from falling. Believing is the album’s penultimate track and is a fairly gentle song about seeing things afresh with new eyes. It is a very hopeful track with another lovely cello part from Hannah Reeves that adds depth to this fine piece of music, another winner here. The final track is the album’s other epic, the almost eleven minute long Journey, which is a strong finishing track with more sound effects of nature to start before it both gains intensity and momentum, fairly charging along in a very spirited manner, some very fine guitar fills and exciting piano parts following, The song is about a journey into self-realisation and fulfilment, it is quite an emotionally charged and exhilarating ride too with some strong ensemble playing, a fiery guitar and a great rhythm section that certainly adds strength to this great track. Again, another excellent and succinct solo from Stuart leads us to the final closing sections of this song where the momentum and drive is revived to good effect. Strong orchestral elements adorn this track, in fact the entire album is tinged by classical chamber music, albeit with a rock edge. The album ends with the sound of the sea and surf and then the journey is complete on what has been a really fine song and album.

I must also point out the sheer beauty of the album’s artwork, possibly the best I’ve seen, apart from Roger Dean, it is simply sumptuous and very satisfying on the eye and shows Storm Deva to be a very accomplished and talented new group. In addition, they have great taste and style, the bookmark that came with the album is a lovely addition.

This is a really good and fine album, I really liked it and think that others will too. It will especially appeal to Big Big Train Passengers as various BBT alumni are thanked for their input and support.

Released 1st December, 2023.

Order from bandcamp here:

▶︎ Storm Deva | Storm Deva (bandcamp.com)

Review – Kyros – Mannequin – by John Wenlock-Smith

Kyros have been around for well over a dozen years. Originally a solo project formed in 2009 under the name Chromology by Shelby Logan Warne whlist undertaking an undergraduate degree at Middlesex University. In 2010 Warne began writing a debut album that would be released under the name Synthaesthesia. It was as a self titled album in 2014 and was well received. However, after releasing the album Warne began to put together a band to play the material live and for future activities.

This line up was composed of Warne on keyboards, vocal and production along with another University colleague Samuel Higgins on second guitar, guitarist Ollie Hannifan, drummer Robin Johnson and bassist Peter Episcopo. Hannifan decided he wanted a leave of absence and was temporarily replaced by American guitarist Joey Frevola who eventually joined as a full time member, replacing Hannifan. After recording ‘Mannequin’, Episcopo left to be replaced by Knifeworld member Charlie Cawood.

Anyway enough history and biography, let tell you about what this album is like…

Kyros specialise in an updated progressive rock version of classic 80’s Synthpop. Which, actually, they are really rather good at performing with this resulting album, ‘Mannequin’, being chock full of some familiar sounds and styles. Think ABC, Duran Duran, Propaganda and Japan, you wouldn’t be a mile off. The music is all performed so fabulously with style and conviction that you wouldn’t think this was recorded in 2024, it sounds so much like a lost 1980’s album and I mean that as a compliment.

I really have warmed to this album the more I hear it, the songs are strong and well delivered, the production is flawless and sonically spot on. All in all, it’s a remarkable achievement from the band and is definitely on my best albums of the year list, it is that impressive musically. This release plays like roller coaster with a series of tracks with ferocious drumbeats, a fiery guitar and thumping bass lines. I am seriously impressed with it all, especially Showtime which is full on, relentless and rather hi-energy in style, Shelby’s synths are all over this track all, it is simply glorious! Illusions Inside is another fine track with heavy elements of Propaganda’s Dr Mabuse track, this song really grabs the attention, especially the excellent bass from Charlie Cawood.

Esoterica is another stunning track with a running sequence of an ambient electro beat driving the track along. Lots of intense guitar chords add to the great rhythm of the track and, again, superb heavy synthesisers are present. A great chorus adds dynamics to this excellent track and I love how it mixes up the sound, a glorious, blistering, thunderous sonic assault. It is truly remarkable stuff, seven minutes of magnificence. The End In Mind has lots of intricate and dextrous bass lines giving another powerful groove that has strong echoes of Duran Duran, especially in that luscious bass, the spirit of John Taylor is definitely present and correct here. The guitar work of Joey Favola is superb too, driving a heavy groove offset by the Sonic the Hedgehog type keyboard sounds (the Sega Mega Drive game more than the movies though). It’s a fairly long track and that gives it time to proceed through its different sections which, taken together, form a very cohesive whole.

Digital Fear is a fairly short track with lots happening musically. It takes a while for things to really kick in on this track which is good as it’s and instrumental and a great one at that. Ghosts of You is so 1980’s that it is unbelievable! It reminds me a little of Go West or The Blow Monkeys as it has that sort of swing to it, or possibly Breakout by Swing Out Sister but it is one hell of an excellent track. Liminal Space puts us in prime a-ha territory, albeit with a very heavy bass line, or maybe it’s Roxette I’m hearing here? either way, it’s mightily impressive.

Technology Killed The Kids is the album’s penultimate track and there is a more moody delivery on offer here. Another powerfully pounding track, I’m sure it will be barnstorming live. More spidery guitar lines from Joey are propelled by Charlie’s strong bass work. I love the way the sound distorts like the tape has broken down, whether this is deliberate or not I can’t say, either way it is effective. The final song Have Hope opens with a very upbeat synthesiser sound, an all round excellent sounding track with shades of Kajagoogoo to my ears.

Whilst this album is heavily reminiscent of the New Romantics, it really is more of a celebration and homage than a carbon copy for within its grooves are some very fine tracks and exciting and committed performances that are really well delivered. ‘Mannequin’ is a wonderfully expressive and exceptionally bold release that you really need in your life. If Steven Wilson can gain kudos for his 80’s sounding albums then why shouldn’t Kyros?

Released February 2nd, 2024.

Order direct from the band here:

Merch — KYROS (kyrosmusic.com)

Kaipa release first single & share music video of upcoming album “Sommargryningsljus” / now available for pre-order 

Sweden-born, folkloric progressive rock band Kaipa proudly announce their new album Sommargryningsljus. 49 years after the release of their debut album, the band is set to reveal the 15th longplayer of their musical journey, Sommargryningsljus, which will be released via InsideOutMusic on June 28th, 2024.  Sommargryningsljus is now available for pre-order:

Sommargryningsljus (Single Edit) (lnk.to)

The announcement comes with the release of the first single of the album, which is a mélange of both the opening and closing track of Sommargryningsljus, subsequently named “Sommargryningsljus (Single Edit)”. Two of the songs from the album, the opening track Sommarskymningsljus and the ending track Sommargryningsljus, can be heard together in this single edit version, as they were originally written.

The song is about dusk and a journey through the night to meet the light again at dawn. The single comes with a lyric video that showcases the mystical vibes of twilight and gives a glimpse of the album aesthetics and illustrations.

Watch the video for Sommargryningsljus (Single Edit) here:

Listen to Sommargryningsljus (Single Edit) on your favorite DSPs here:

Kaipa – Sommargryningsljus (lnk.to)

Hans Lund comments:

„I had written all the songs for the album and the total playing time was 70 minutes, but then something unexpected happened. One day when I was recording with Aleena Gibson, we took a break and went out into my garden to have a cup of coffee. Suddenly Aleena started singing some notes and I said it was beautiful. ‘Okay, let’s write a song‘, she said. So we returned to the studio and 15 minutes later a new song had been born. We were both delighted with the result and said that this song must be on the album and the lyrics must be in Swedish. I developed the song and created an interlude built on the same chords. The melody was hovering around in the studio and it landed gracefully in my fingers when I started to play. One early morning a few weeks later, the words suddenly came floating down and landed in my consciousness.“

Sommargryningsljus will be available as

·      Ltd. CD Mediabook with extensive 24-pages booklet

·      12’’ Gatefold 180g 2LP black vinyl

·      digital album

Tracklist:

1.    Sommarskymningsljus 00:01:30

2.    Seven Birds   00:09:50

3.    Like Thousand Dawns 00:11:08

4.    Revelationview 00:09:28

5.    Chased by Wolves And Burned by The Sun 00:10:17

6.    Spiderweb Train 00:15:29

7.    Songs In Our Hands 00:13:00

8.    Sommargryningsljus 00:03:58

9.    Sommargryningsljus (Single Edit) 00:05:24

Kaipa are:

Hans Lundin – keyboards & vocals

Per Nilsson – electric & acoustic guitars

Jonas Reingold – bass

Darby Todd – drums

Patrik Lundström – vocals

Aleena Gibson – vocals 

Review – HFMC – Eternal Snapshots

The wonderful Swedish band HFMC (Hasse Fröberg & Musical Companion) formed in 2008, out of an idea by Flower Kings singer and guitarist Hasse Fröberg. The idea started to take shape and in 2009 HFMC started to play and prepare for what later became their debut album ‘FuturePast’.

HFMC also consists of Sampo Axelsson (bass guitar), Kjell Haraldsson (keyboards), Anton Lindsjö (guitar) and Ola Strandberg (dums). The band members have played together with names like Glenn Hughes, Michael Schenker, Jeff Scott Soto and Joe Lynn Turner amongst others… HFMC has a warm and unique sound of their own with influences from progressive rock, classic rock and even a hint of pop.

2024 marks the forty-year anniversary since Hasse released his first full length album. What can be better to celebrate forty years as a recording artist than to release a new one? The new HFMC record ‘Eternal Snapshots’ is the band’s sixth studio album.

It’s a concept album that deals with questions such as how do we become who we are. Is everything predetermined? Is destiny involved in our lives? The title ‘Eternal Snapshots’ reflects over the fact that new fate of lives is being born every second and here we get to follow two of them.

I will admit to being a big fan of HFMC, I made their 2021 release ‘We Are The Truth’ my album of the year saying, “This superlative gem of release is worthy of all the praise that is being heaped upon it and finishes 2021 on an utter high for this reviewer, the finest of a wonderful crop of albums released this year? You’ll have to wait and see but it is most definitely right up there with the very, very best.” So I had high expectations of this album and, being up front and central, Hasse and the guys have not let me down!

There’s just something immediately recognisable about Hasse’s vocals, maybe it’s because I am also a fan of the Flower Kings, I’m not sure but his vocal delivery is pretty unique and perfectly suited to the music and, in Anton Lindsjö, he has a superlative guitarist who can turn his hand to pretty much any genre he wants to and, in Sampo Axelsson and Ola Strandberg, a rhythm section as sharp and as cool as they come. What they have created is a masterly collection of brilliant, catchy songs that flow superbly and make a wonderfully cohesive album of progressive tinged hard rock that even has some poppy moments. It’s a record that makes you smile, tap your foot and sing along too and I love music like that!

Opening track All I Wanted To Be (Pt 1) has a big build up with some solid guitar and Kjell Haraldsson’s dextrous keyboards before it flies off with some thunderous drums and excellent bass play conducting the journey. Hasse’s almost plaintive vocal then joins in as the foot comes of the accelerator giving the song a more purposeful feel and then it segues perfectly into the upbeat and uplifting vibe of Deserve To be Happy, a track that showcases music with a sunny disposition. An earnest vocal with subdued music opens the song before it blossoms into something quite remarkable indeed, Kjell’s keys and Ola’s drums providing the driving force and Anton’s fine guitar playing the glue that holds it all together. Add in the wonderful, catchy chorus and you’ve got that joyous toe-tapper that just makes you smile, it’s just feel good music at it’s finest. I love the 80’s Asia/Boston vibe of the guitar, drums and keys that provides the musical palette for Hasse to paint his vocal lines on, “I deserve to be happy…”, you do indeed Hasse! Wistful and and nostalgic in feel, Wherever You may Go adds a quieter, inspiring feel to the album as the subdued acoustic guitar opens the track and Hasse’s poignant vocal begins. It is a beautiful song and one that just bleeds emotion, especially on the delightful chorus. It is a song that just stays in your head for a very long time, invoking sepia tinged memories that are almost melancholic but the music is just so spiritual that the feeling never lasts for long. Anton’s fabulous guitar work and Kjell’s Hammond organ are touches of genius, an outstanding piece of music indeed!

That 80’s vibe returns to grace another great piece of songwriting on No Messiah, an evocative mix of soaring keyboards, fiery guitar and a thunderous rhythm section that gets under your skin and drags you along on its emotive journey. Hasse said to me, “The lyrics might be a little “depressing” at times but as a whole it comes out as a positive experience listening to it.”, and I agree with him totally, they is a joy to the music and a real energising effect from the vocals, especially when harmonised as brilliantly as they are on this song! The sounds of a shipyard open Once In A Lifetime, a journey back in time with it’s 80’s hard rock feel. Powerful and reflective, a song that wouldn’t have been out of place on an album by Foreigner or Journey and it’s when I type the latter that an inspiration particle goes off in my head, that’s who Hasse’s voice reminds me of, the legendary Steve Perry! This is a song that lifts you up into its maelstrom willingly and you are captivated by the amazing musical journey. Only For Me and The Yard are two short interludes, the former having a feel of sunny shores and glimmering ripples in clear calm waters, “why can’t I see, this is for me…” and the latter could have come straight from a Spock’s Beard release and, despite being under two minutes long, possibly the most proggy track on the album!

The excellent songwriting continues with Searching For The Dark, which feels like a mix of classic Crosby, Stills & Nash and Yes with its gorgeous vocals and heavenly music that just floats suggestively in your psyche, the guitar is especially divine and helps make this engaging track something quite remarkable. A Sorrowful Marriner is another musical amuse bouche that has an almost choral feel to it, all church organs and heavenly voices. Just occasionally a band decide to do something quite left field from the other songs on the album, maybe just because they can and HFMC decide to channel their inner rock god with the utterly sublime Blind Dog, a brilliant, grin inducing, hard rocking song that wouldn’t have been out of place on a 70’s Led Zep album. I get the impression that everyone is having the time of their life on this fiery, thunderous behemoth of sinuous bass playing, primeval drums and Hammond organ to die for. Anton gets to cut loose and, boy, does he ever! delivering a lesson in classic rock guitar playing second to none, add in Hasse’s dynamic, ardent vocal and you have a superlative slice of rock music. The album comes full circle as it closes with the refrain of All I Wanted To be (Pt 2), the bells are ringing, the guitar is playing and we are coming to a tremendous tumultuous conclusion to an utterly exhilarating musical experience.

Music is written to connect with people, to move you on an emotional, spiritual and intellectual level. If it is done right then it leaves you in a much better place than when you listened to the first note and, with ‘Eternal Snapshots’, Hasse Fröberg & Musical Companion have delivered one of the most superlative musical events of the year so far.

Released 6th June, 2024.

Order from bandcamp here:

Eternal Snapshots | HFMC (bandcamp.com)