Progressive multi-instumentalist and celebrated guitarist Richard Henshall has announced the release of his new EP – the first in an a trilogy – Mu Vol. 1, on 7th June,. He has also unveiled the first single ‘Mu’, along with a multi-cam play-through video.
During 2020 Henshall started work on his Mu collection, a trilogy of EPs that explore his love for jazz-infused, intricate instrumental music. The EPs will be released throughout 2024 and promise to be some of his most richly textured, adventurous music to date. Richard is joined by drummer Lang Zhao and saxophonist Adam Carillio, while he handles guitar, bass & keyboard duties.
On the Mu EP and launch single ‘Yang’ he comments: “I got the initial rhythmic idea for Mu on a flight home from a Haken tour just before the lockdown kicked off in the UK. Little did I know that it’d end up being the catalyst for a trilogy of jazz-tinged, instrumental EPs. The rhythmic powerhouse, Lang Zhao, is on the drums and his highly creative playing style has really elevated these arrangements to new levels. This new collection of songs has a strong focus on rhythm and explores some new ground for me as a writer and guitar player. I can’t to share what I’ve cooked up with everyone.”
Richard Henshall is a composer, guitarist and keyboardist hailing from London, England. He is acclaimed for his work as founding member of progressive metal juggernaut Haken, as well as his endeavours as a solo artist. Henshall has been named as Music Radar’s no. 11 ‘best prog guitarist’ and in Guitar World’s ‘top 15 best prog rock guitarist’.
In 2014, Henshall joined forces with Between the Buried and Me’s Dan Briggs and formed Nova Collective. Together they wrote the critically acclaimed ‘The Further Side’, which draws influences from the likes of Chick Corea and Mahavishnu Orchestra. In 2017, Henshall, alongside his Haken bandmates, featured in Mike Portnoy’s Shattered Fortress performing the songs of Dream Theater for a year of very special shows around the world.
In 2019, Henshall completed work on his ambitious debut solo album, entitled The Cocoon, which features Jordan Rudess as well as host of other guests. The music ranges from dense polyrhythmic passages to delicate minimalistic interludes and features Henshall’s trademark guitar and keyboard playing throughout along with his debut performance as a lead vocalist. Prog Radar described it as “a truly impressive release and one that shows Richard at the height of his creative powers.”
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.
‘Push Back The Horizon’ is preceded by the title track (already released) and new single ‘As Long As Your Girls Smile’ (out today) and delves into the intricacies of human existence, exploring relationships and life’s complexities. A sometimes limited control over circumstances adds nuance to the human experience, revealing a collective tipping point. 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.
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.
After releasing the album ‘Cautionary Tales’ at the beginning of the year, The Oculist present their latest offering with a video for their song Terminal. This song explores the sinister tale of Robert Berdella and presents the bands stylistic versatility, featuring stellar musicianship, effortlessly weaving between prog and death metal styles with aplomb.
Watch the video here:
The Oculist is Adam Dunn and Çağrı Tozluoğlu. Track features the extraordinary talents of Simon Fitzpatrick on the bass and James Wise on drums. Terminal mixed at TimbreWorks London and mastered by legendary Jens Bogren at Fascination Street Studios Sweden.
This is a very strange album for me, mixing as it does elements of almost rap, progressive metal and ambient textures. ‘Future Days’ is the brainchild of French musician Ivan Jacquin who, along with Lionel Fevre, was in an electro metal act which developed into Project Rage in 2007. Joined by Jeannick Valleur, they released an EP in 2009 but their attempts to become a fully fledged band faltered and, eventually, Ivan worked on a different project called Foreign Rock Opera. Now, joined by a dozen talented and prestigious artists, Ivan decided to revisit some old, lost tracks and revive them afresh.
The result is The Raging Project and this collection of themed/linked songs and soundscapes. It is not always an easy listen as the concept is a little vague and obscure at times, what is without question is the quality of the material that is very well constructed and contains some stellar performances from all the musicians involved.
The album features the wonderful Amanda Lehman (Steve Hackett Band) on guitar and vocals on a couple of track where she gets to really let fly. I was especially impressed with Even if I Bleed and the french version of the same song, Même si je saigne but also highly noteworthy is a dance track I Wanna Dance, which does actually work within the album bringing some light relief to the more seriously themed tracks. Ambient also impresses with some solid guitar links and an interesting wall of sound making a strong impression. In fact, the more I became attuned to this album, the more my appreciation for it grew. The vocals are especially pleasing on this track, soaring over some fine guitar lines, it is all really strong and impressive stuff.
For me, at least, the piece de la resistance here is the epic track On Earth which features Derek Sherinian on keyboards and theremin. It is nearly ten and a half minutes of wonderfully evocative sounds and features a stunning performance from Derek commencing with growling synthetic and spacey synthetic lines to create an emotive soundscape over which there is a spoken word narration, The theremin offers a suitably mysterious sound on this song about climate change that is most impressive sounding. It really is a great track with the keyboards adding significantly to the overall effectiveness of the song as it continues to express its regret for how we have treated the earth. I will admit to being a tad biased here as I do especially appreciate the keyboards of Derek Sherinian as a member of the various projects that he has been a part of. His presence here is a delight for me and it’s a well delivered cameo appearance from the current keyboard player of note. That said, the supporting musicians all play equally as solidly and their performances are equally as strong.
Processionis another strong track. Sung in French, it is a brooding and moody piece with superb drums from Henri-Pierre Prudent and an excellent guitar track and solo from Amanda Lehmann that evokes echoes of David Gilmour in its tone and style. It is all most impressive really, I do like this track, one of the albums strongest in my opinion, it is wonderfully fluid in sound. Wraith continues in a more muscular and metal style and adds a distinctive crunch to proceedings. gain strong vocals mix well with the powerful guitars and synths to make something memorable and strong
Final track Même si je saigne features Amanda’s epic guitar work again where she is able cut loose and shred a little. Apparently, it was a challenge that she welcomed and rose to in style. This is a lengthy track, rather intense but excellent nonetheless, there is some excellent fluid guitar on this track and Mr Hackett would be proud of her playing here as she really gets stuck into the groove.
So there you have it, a decidedly different album of moods and styles that may not always work but in the main it does. There is more than enough strong music here to at least warrant a listen so why not listen and make your own mind up? As for me, I certainly enjoyed it and feel that I will return to it, I’m just not sure how often.
When this first came into my orbit I’ll admit that I was reluctant to review it, partly because I reviewed the ‘Final Flight’ set last year and I wondered what could be different this time and did we really need another outing for albums that have pretty much been done to death with multiple releases and versions?
So what changed my mind then ?
I’ll tell you, it was the very heartfelt and emotional tribute to Paul Hanlon that opens the song Shine, a song written by Neil Morse about Paul in 2015. This touching tribute is a glorious celebration and tribute to a man who suffered terrible disability and yet faced life with bravery and dignity, always allowing his strong faith to sustain him. It is this facet that made him Shine in Neal’s eyes, hence the deeply moving song. On the live DVD they show a screenshot of Paul at Morsefest in earlier years, and a well observed tribute it is too. I’d been with Paul at a transatlantic show for the ‘Kaleidoscope’ tour where Neal had come offstage to embrace Paul in a spontaneous moment of brotherhood leaving barely a dry eye in the crowd, so this tribute is sincere and gracious and very heartfelt and emotional.
Another thing that caught my attention was the sole live performance of In Held (‘Twas) In I, originally by Procul Harum in 1967, which is a faithful and strong take on the song. In fact, it has made me revisit the original Procul Harum version afresh to enjoy and compare to the Transatlantic take, which is an authentic and solid version. There is also a looser version of We All Need Some Light that most definitely impresses greatly.
So, in the opening four tracks you are already fifty-five minuets plus before you even get to the main event, which is night one of the 2 day Morsefest, a run through of the full ‘Whirlwind’ album in all its glory, an album I own but have never really got to grips with in any significant way. Well, I have to say that here it is a revelation, maybe the passage of time has imbued the album with more gravitas or maybe I am more open to its charms now but, I have to acknowledge that Transatlantic have definitely given this old album a fresh new sparkle. The addition of strings and a choir adding hugely to the beauty and dignity of this album.
I Really enjoyed this rendering of this album. Yes, it’s long, possibly overlong, and definitely overblown and pompous but, hey, the prog world welcomes excess and pomposity with open arms and few deliver that better than this particular troupe. So, revel in its glory, and the recurring melody of ‘The Whirlwind’.
Now hopefully you are already acquainted with the ‘Whirlwind’ album that I barely need to say much about it, except for the fact that they deliver a polished recital of the album, taking in its highs and themes with a splendid sound and vitality that enlivens the material handsomely. Especially noteworthy is Is It Really Happening which has significant snap, crackle and pop, as does the end track Dancing With Eternal Glory / Whirlwind which concludes day one of the festival.
It is actually the latter part of the album that worries me, In that, whilst everything is certainly up to the usual Transatlantic standard, the question really is simply: why? Do we really need a further version of an album that has seen at least three different versions and a live “Final” edition? Why would anyone, except completists, want yet another, albeit well delivered, version of an album that was somewhat inconsistent and overblown/overlong already?
Yes, it may be nice to have but, for me, this feels like milking your audience and, despite the sweeteners of a hitherto unrealised live version of a deep cut from their earliest days and a new final encore that encompasses the ‘Bridge Across Forever’ album this, for me is a step too far and somewhat unnecessary even. Okay, I know Morsefest is a somewhat special gathering to Neal and his followers, but this in itself doesn’t really warrant such a colossal box set of 6 CD’s and 2 DVD’s or maybe it does and I’m wrong?
For me I think it isn’t really a valid reason for such excess, nice to have for fans and completists but, for the rest of us, not really needed and superfluous to requirements, you’ll have to decide for yourself here…
Polish progressive rock outfit Amarok were founded in 1999 by Michał Wojtas, taking on various forms over the course of the next twenty-five years. Their early works had strong influences from the likes of Mike Oldfield (the name of the band was taken from the title of one of his albums) and Pink Floyd. Later, the sound began to evolve with a more ambient nature, along with elements of folk – and it was then that the original, unique character of the band began to take shape. For many years the band’s core was Michał along with Marta Wojtas but, since 2020, it has been a four piece with Konrad Zieliński (drums) and Kornel Popławski (bass and violin). 2024 sees the release of the this, band’s seventh album, ‘Hope‘, after a three year hiatus. It contains ten ambitious, high-level compositions, developed over two decades and it will not disappoint fans, new or old!
I’ve been a big fan of this band for quite a few years now and this new album just cements Amarok as one of the seminal Polish progressive rock bands out there, up there with Riverside at the top of the pile in my opinion. Their musical style fluctuates throughout their discography and throughout this album but the core and the centrepiece that holds everything together is Michał’s stunning guitar playing. His amazing guitar bleeds emotion and sounds like it is almost talking to you, all the while surrounded by the dense, complex and primeval wall of of sound created by the epic rhythm section of Konrad and Kornel.
There is still more than a hint of Pink Floyd and Mike Oldfield to the band’s sound but they now have a sophisticated and mature sound that is unique to them, fans of the band will instantly recognise that this is an Amarok release from the first few notes of opening track Hope Is, an almost technical and industrial vibe coming from the bass and distorted guitars. Marta’s dominant spoken word piece demanding attention in a truly hypnotic way and the keyboards washing over you majestically. Michał’s compelling guitar solo is the icing on the cake, vibrant and awe inspiring. Stay Human takes a more wistful and nostalgic path, the music and vocals pared back and withdrawn in delivery. The delicately plucked guitar adding suitable pathos to the calm atmosphere before the track opens up into something much more dynamic and impulsive, an intelligently created piece of music that echoes in your mind long after it has gone. One of my favourite pieces on the album, Insomnia is Amarok at their very best, the guitar playing inspired by Gilmour at his height but the growing anxiety akin to insomnia itself. This is a sonic salve for the mind and for the soul, it makes you think while you also admire its sheer elegance and beauty, something that this superb band have become very adept at. The vocals are perfectly judged and, once again, a dazzling guitar solo crowns it perfectly. Trail takes us off into trance and electronica, and quite magnificently too! Imagine Mike Oldfield teaming up with Faithless and you wouldn’t be far wrong, the urgency instilled by the keyboards is palpable in nature and the guitars perfectly match the vocals, it’s just brilliant and time almost stands still as you revel in the music.
Welcome and Queen are the works of Konrad Zieliński and Kornel Popławski respectively. Let’s head back in time with the former as it moves into Depeche Mode territory and their ‘Violator’ album. Zieliński provides vocals on this leviathan of a track, a sound that is hewn from granite emanating from the speakers as it draws you in with its monumental distorted guitars and powerful drums. A totally different listening experience but one with its roots firmly in the Amarok universe. Queen is as leftfield as it gets for Amarok fans, trip-hop, shoe-gaze, call it what you like, it is low key and almost sinister in its delivery. It’s throbbing, animated groove leaves you feeling a little off-kilter and Popławski’s vocals are as direct as they get. How refreshing to see the band exploring new territory and just check out Kornel’s violin solos too, sinuous almost alive, they are deliciously dark and machiavellian. Perfect Run is a fast paced, electronic thrill ride of potent keyboards, aggressive drums and crunching guitars, an instrumental of epic proportions that holds nothing back and is another highlight of the album.
Wistful, moving and a simply gorgeous eclectic ballad, Don’t Surrender was written a few years ago and nearly didn’t make the album but I’m ever so glad it did. It tells the story of taking on every challenge regardless of the obstacles that stand in the way, using the metaphor of water that is at once gentle and elemental and it flows perfectly. The vocals are sublime and the music simply elegant with a spectacular, dazzling guitar solo, Amarok at their ethereal, lavish best. Simple Pleasures is possibly the most elemental track on the whole album, laid back, calm and collected, it still shines brightly as another fantastic piece of music. Thoughtful, dreamlike and, at times, nostalgic, it leaves you in a relaxed and contemplative mood, the stylish, uber-cool guitar a wonderful high point. Things come to a close with the simplistic brilliance of Dolina, the only Polish language track on the album. It is like listening to someone baring their soul and literally brought tears to my eyes, the raw emotion of the vocals and lack of any frills or glamour is perfect and is a wake-up call for dormant sensibilities.
An utterly stunning collection of songs that bears Amarok’s impressive hallmarks throughout, ‘Hope’ is one of those albums that hits you at a base level in a totally emotive way. It is music for the mind and the soul and in a world collapsing around our very feet, we all need some of that, don’t we?
Age of Distraction is a thrilling new collaboration which spans across the contemporary UK progressive rock circuit. In 2023, founder member and lead writer John Cook (ex-This Winter Machine, ex-This Other Eden) recruited rising-star Charlie Bramald (Ghost of the Machine, Shadows On Mercury) on vocals, gravity-defying bassist Mark Gatland (Hats Off Gentlemen It’s Adequate, IT), and multi-instrumentalist plus producer-extraordinaire Dom Bennison (Last Motion Picture, ex-This Winter Machine) to occupy the drum stool and handle production duties.
Together, the band has created a debut album which explores the boundaries of melodic, accessible progressive rock and metal, evoking an atmosphere all of its own in the process.
This blend of contemporary progressive rock and melodic metal opens with the pensive instrumental The Uninvited which features the emotion laden piano and keys of Ruby Jones (The Exotic Ices Project) and a post apocalyptic sounding vocal overlay. It’s a powerful intro that ebbs and flows dynamically before segueing into Break My Bones that gives up a thunderous intro before Charlie’s eloquent vocal takes over. A prime example of the progressive metal/ contemporary rock sound that is all the rage now, it flows melodically but there is always a persistent edge to the song. Featuring a guitar solo from John Cook that is both emotive and stirring in equal amounts, it certainly stands out. Dom’s machine gun drums open the edgy Compromised, a track that seems to stride purposefully across your acoustic synapses like a musical invasion. I really like the feel of this song and Charlie’s stirring vocal adds real menace. More of a hard rock track that leans into the metal genre a touch, there’s real power and soul to this stylish piece of music and, once again, a rather impressive guitar solo adds the finishing touch. Protect Me begins with a slow burning, low down feel, suspenseful in tone and delivery. The vocal is delivered in a measured and earnest manner, adding to the heartfelt aura that this impressive song engenders. There is a primeval power at the core of the music as the echoing guitars leave their impression on you and just check out that ever so soulful solo! The Plea is a short, musical amuse bouche full of wistful guitars that bleed melancholy and leave a lump in your throat, it’s very clever songwriting and just adds to the story that the band are creating.
The dark, brooding wonder of Take Me Down once again features the elegant piano and keys of Ruby Jones and also the distinctive, dignified vocals of Philip Stuckey (Stuckfish) and is one of the best songs of this genre you are likely to hear this year. There’s an age old wonder to the feel of the song, a nostalgic desire evident in Richard’s voice, it is music that is epic in scope and delivered in a widescreen fashion and I’m really impressed with this track. Title track A Game Of Whispers goes hard and heavy again with a monolithic feel to the drums and guitar and Mark’s bass has an age old feel to its delivery. Charlie delivers another menacing vocal and we end up with a song that wouldn’t be out of place on a Judas Priest album. There’s a melodic power at the core of everything that this talented quartet deliver and vibrant, densely layered feel to the sound and it is no more evident than on this highly impressive piece of music. This amazing musical journey continues with the vivid and animated hard rock infused instrumental The Point Of No Return, staccato and imposing guitars combining with the immense drums to create a phenomenal wall of sound that consumes all that encounter it.
The oasis of calm that is Oceans slows the pulse and reduces the blood pleasure after the enjoyable sonic assault that preceded it. A plaintive, pensive feeling song that leaves your breath catching as you let its emotions wash over you. The stylish, wishful acoustic guitar a match for Charlie’s heartfelt vocals on what is one of the albums more contemplative moments. Another short pause on the journey, The Left Unsaid is two minutes of thought provoking music that leaves its mark on your mind as it passes through. For me, the highlight on this ever impressive piece of work is the breathtaking Sneak Attack. It’s classic progressive metal at heart but with a real contemporary edge to the delivery. Intellectual and impassioned at the same time, there’s real drama to the music and an almost theatrical delivery to Charlie’s vocal. There’s been a resurgence of keyboards in contemporary, melodic prog rock and the writing on this album just leaves room for plenty of atmosphere and plenty of keys! A stand out track on an album of imposing songs, the highlight is most definitely John’s stunning guitar solo towards the end that makes the hairs stand up on the back of your neck. The album finishes with the uplifting My Peace, a beautiful, soaring piece of music that brought a lump to my throat (and tears to my eyes but we will ignore that bit!) and just leaves a feeling of hope and expectation in your heart.
2024 has already been a bumper year for superb releases and Age of Distraction have just added another fine album to the mix. ‘A Game Of Whispers’ is a collection of mighty fine songs that define the contemporary progressive rock and melodic metal genre and is a dramatic and profound listen from beginning to end. My recommendation is you just go out and buy it!
When is a solo album not a solo album? There’s a conundrum for you. Well, there’s a story behind this latest release from The Tangent universe, ‘To Follow Polaris’ by The Tangent For One. The ‘One’ in the artist name is, as I’m sure you can guess, Andy Tillison and let’s discover why this new collection of impressive progressive rock is not Andy’s latest solo creation…
‘To Follow Polaris’is a new ‘full on’ Progressive Rock album by The Tangent, set to be released on the 10th May 2024 (InsideOutMusic). That’s not necessarily a surprise, that’s what the band are known for. But at the same time, it’s something else too. As Andy jokes, playing on the Jaws strapline, he says “well this time it’s actually no personnel”.
In a year when members of The Tangent could be seen onstage all over the world and on recordings by many greats of the prog world, it became clear that there was not going to be time to get together for anything more than one gig in April 2023.
So the band agreed that the band’s leader/main writer Andy Tillison would keep the material coming and would make an album by The Tangent entirely alone. It would still be The Tangent. Just for one.
“Besides Which” Andy says, “I’ve always wanted to do this, use what I have learned from Luke, Jonas, Steve, Theo and many other alumni and take it to final production. Now was the time!”
What transpired over the following year is in one sense an ‘absolutist’ solo album and is entirely the work of one person in all aspects including artwork, layout, design, lyrics, composition, performance, recording, production, mixing, mastering and authoring. But in another sense it’s totally Tangent. “I could not have begun to make this record without having had the experiences of working with the band. So although the different instruments are not attempted to be played in the actual style of the normal lineup, they are inspired by the kind of things these guys do”
So there you go, it’s an album by The Tangent, but not all of them and yet it does sound like it’s by all of them, still following? Let’s have a listen and see for ourselves, shall we?
For anyone who is a fan of Andy and The Tangent you will know immediately that this is an album by The Tangent, he has created a very distinctive sound over the years and one that I can’t get enough of. Created from Andy’s love of artists such as Yes, Van Der Graaf Generator, Porcupine Tree, Groove Armada, Earth Wind & Fire, Roger Waters and his bands, Return To Forever, Deep Purple, GentleGiant, Steely Dan and any band featuring the keyboard player Dave Stewart, but neither a homage to those artists or a pastiche of their sounds. Andy’s instantly recognisable music is unique to him and The Tangent and is based mostly around his stellar keyboard playing.
The North Sky opens the album with style and panache and is indicative of The Tangent with the elegant keyboard flourishes, dynamic guitar playing and ever funky bass that has a wonderful jazz vibe to it (and is the first time you will hear Andy playing bass on any of his recordings). This song is a hopefully joyous celebration of life under the sky, there is a fluency to this vibrant piece of music, an urgency and joie de vivre that is as addictive as it is palatable, Andy’s stick driven (electronic) drums providing the drive and electronic wind controller the high notes and polish. The wistful, dreamlike section in the middle of the piece is an oasis of calm that gives you a moment to catch your breath and adds to what is a simply stunning start to the album, there could even be a musical nod to Close Encounters in there but that could just be me! Andy’s singular vocal is as acerbic as ever, love it or hate it (and I love it), to me it is much part of what makes The Tangent tick as anything else and his laconic storytelling adds a classic patina to everything the band do. Andy likens it to“sort of channelling the feeling you get contemplating the wonders of the seemingly infinite universe while riding a Harley Davidson”, exactly… A Like In The Darkness takes a more measured approach with a hushed vocal adding to the moody, thoughtful atmosphere. Imagine a smoke filled, whisky soaked venue with the lights down low and an attentive audience hanging on every word and every note, rapt in attention to the musician in front of them who is holding everyone’s attention with his charismatic persona. A beautifully observed slice of jazz/prog fusion, idiosyncratic in delivery and design, it’s a brilliant piece of music with its roots most definitely in the 1970’s and that era of creative, sometimes mind boggling, music that crossed so many genres that it became obfuscated but was always highly entertaining. For Andy it is a personal look into the world of being an obscure artist in the 2000’s, a world where legalised piracy starves musicians and the rationale for that has actually somehow succeeded in replacing payment with “likes” on social media as a sign of “success”.
“A song about “Constant Bad News – something I have heard nearly everyone I know speak about regardless of their age or background.” That’s Andy’s short precis of The Fine Line, a song that, despite its subject matter, has a real cool and elegant feel to it. Imagine Gentle Giant turning up to a 70’s disco party dressed as Earth, Wind & Fire and you’re some way to getting the vibe of this gloriously funky piece of music. An acerbic social commentator he may be (or that could just be the Yorkshireman in him!) but Andy is just a lover of music and a lover of creating music at heart and that can be sensed through every word and note of this track and please just check out his fantastic, laid back bass playing! Andy says it owes a lot to ‘Aja’ period Steely Dan and is also a nod to Petula Clarke’sDowntown and, let’s be honest, it doesn’t get more prog than that! While Andy and The Tangent may be known for their brilliantly creative prog epics, it’s songs like this that define the true nature of the man and his music for me and I love it. Talking of lengthy prog epics, no true album by The Tangent could be classed as complete without twenty plus minutes of prog largesse and pomp and circumstance, all with a bit of true Yorkshire caustic diatribe thrown in for good measure and that’s what you get with The Anachronism. The song posits that all forms of government are manifestly unfit for purpose, unless the purpose actually is to create division, argument, suffering, war, poverty, racism. It centres on elections in so called democratic nations in which the amount of “say” a person actually has in this democracy is so vanishingly small that in two major Western Nations only four manifestos will even be actually considered in 2024. The longer song is a format that Andy likes to work in and he has loved this format since hearing Close To The Edge by Yes and you can tell, all of the longer tracks by The Tangent can be considered classic songs by the band and this is no exception. A track driven by purpose and calculation and a piece of music with a lot to say and which is delivered eloquently and in a direct manner. The music is as stylish as ever and travels across many genres seamlessly, almost a who’s who of 70’s prog styles and embellishments but all delivered in Andy’s witty and self-effacing style.
The Single (Taken From A Re-Opened Time Capsule) is a re-recorded version of a track Andy wrote more than 25 years ago for his band Po90. As it never reached that many ears he thought he would update it. “It comes from an album called ‘The Time Capsule’ which I did say that one day I might revisit… because that was implied by the title.” Andy continues, “It is a song that in many ways was the place The Tangent actually began. in and among all the dark Po90 stuff, here was this little ditty that was almost a blueprint for songs like “GPS Culture” , “Spark In the Aether” and even “The North Sky”. Now Spark In The Aether is my favourite all time shorter track from the band so it means that The Single had a lot to live up to and, while it may not replace Spark in my affections, it is definitely up there. Lyrically it’s very focussed (As Fine Line) on News Media/Music Business and the contemporaneous attitudes towards Progressive Rock Music itself. It’s a marvellous piece of The Tangent history updated for a new audience and you can see the evolution of the band and Andy’s songwriting in its six minute running time.
The album closes out with a Radio Edit of The North Sky which intensifies and concentrates the inspirational feel of the original and, if you get the limited edition CD Mediabook or 2LP Vinyl, the bonus track Tea At Bettys, seventeen polished minutes of delightfully 70’s feeling easy jazz music, interjected with some frenetic and intentionally chaotic interludes, dedicated to the iconic Harrogate Tearooms that I have been lucky enough to frequent on several occasions.
‘To Follow Polaris’ is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five. However, taken in isolation, what you have is a wonderfully inventive and amazingly performed collection of songs that stay true to the core of Andy and the band’s beliefs. Witty and acerbic throughout but with some moments of pure musical bliss, it is yet another highlight in this storied musician’s stellar career.
Renowned producer, singer, and multi-instrumentalist Shaun Holton, known under the moniker Projected Twin, is set to mesmerise audiences once again with the release of his latest single, “A Feat of Rage,” from the highly anticipated album “The Life & Death of Shaun Holton.”
Holton, who recently assumed the role of lead singer for the critically acclaimed Australian Progressive Rock band Southern Empire, has been making waves in the music industry. Southern Empire’s 2023 album, “Another World,” received widespread acclaim, with Holton’s vocal prowess earning him recognition as one of the best vocalists of 2023 by Prog Press “The Prog Mind.” The album itself was listed among the top 10 releases of 2023 by “Prog Magazine,” standing shoulder to shoulder with progressive icons Steven Wilson and Peter Gabriel.
“A Feat of Rage” marks the first single from the forthcoming Projected Twin album, which represents Holton’s fourth full-length release. This album is highly anticipated as it follows the conclusion of a conceptual trilogy of albums, the cult-celebrated “Earth/World” series.
Projected Twin’s sound is deeply rooted in progressive rock, drawing influences from 90s alternative, pop, rock, and metal icons such as Filter, Incubus, and Alice in Chains. Holton’s journey into the world of prog began in late 2005 when he was introduced to the discographies of Porcupine Tree and Opeth, alongside local Australian alt-rock/prog icons Cog and Karnivool.
Commenting on “A Feat of Rage” and the upcoming album, Holton shares, “This single is a glimpse into the sonic journey of ‘The Life & Death of Shaun Holton.’ It’s a blend of progressive elements with the raw energy of alternative rock, offering listeners an immersive experience.”
“The Life & Death of Shaun Holton” represents an ironic take on Holton’s public display of an identity crisis since Projected Twin’s conception, questioning whether he is, in fact, the artist ‘Projected Twin’ or ‘Shaun Holton.’
Listeners can immerse themselves in the captivating sounds of “A Feat of Rage” on all major streaming platforms starting 12/4/2024. Stay tuned for the release of “The Life & Death of Shaun Holton” for a musical experience that transcends boundaries and genres.
Listen to, and order, the track from bandcamp here:
Projected Twin is the musical brainchild of producer, singer, and multi-instrumentalist Shaun Holton. With influences ranging from 90s alternative to progressive rock icons, Projected Twin’s music offers a unique blend of sonic textures and emotive storytelling. “The Life & Death of Shaun Holton” represents the next chapter in Holton’s musical journey, promising an immersive experience for listeners.
After the release of their new album ‘This Is What A Winner Looks Like’ last year, Godsticks have continued to keep up the momentum in 2024 with a run of UK shows at the start of this year alongside an appearance at Planet Rock’s Winters End Festival.
Now in June and September the band are continuing to build on this success with even more live dates across the UK. Frontman and guitarist Darran Charles had the following to say:
“Our last few tours have easily been our most successful to date. Upon reading some of the reviews of those shows, it’s heartening to see that we’ve become recognised as a high-energy live act, even a ‘must-see’. This recent success is why we’re planning on touring far more regularly and travelling to places that we’ve never been to before.
If we can keep growing the audience numbers as we have been, then it’s our ambition to create an even more special live experience and perform on some even bigger stages. However, we must admit that the intimate venues we’ve been playing of late have definitely made for some very memorable shows, so we’re determined to create more.
One thing we’re confident of is that once you come to one Godsticks show, we’ll guarantee you’ll come to the next one – it’s a great time for both the band and the audience. Miss us at your peril!”
Their love for writing and productivity had been reignited simply by being able to perform live. Experimenting with electronic sounds and delegating writing duties in the band allowed ‘This Is What A Winner Looks Like’ to be their most collaborative album to date.
