Review – This Winter Machine – The Clockwork Man

I love a good concept album, one where the creator takes an idea and runs with it, creating something quite remarkable in the process. I think you need to resonate with the concept yourself for it to work and, in This Winter Machine’s fourth album, ‘The Clockwork Man’, I have found a concept that really appeals to me.

In a dystopian future mankind has perfected human cloning. From egg to adult it takes an accelerated 7 months incubation, with the clones then raised and socialised for another 2 years in huge dome covered cities, where the sun is projected onto the roof to give the illusion of outdoors, never seeing the outside world. By the time they leave they’re fully adult in appearance.

They’re bred sterile and have no rights to travel or vote or marry. There are no females. They are ‘born’ simply to take the jobs nobody wants or are condsidered dangerous (footsoldier, factory worker, mining etc). They are given pills (ostensibly to fight infection and keep them healthy but actually the pills are to keep them docile, skinny and unambitious). 

Society has labelled them The Clockwork Men.

Being a huge fan of science fiction literature since I was young, that kind of synopsis really appeals to me so we are already off to a good start. Vocalist and main man behind the band Al Winter was unsure how the band’s first proper concept album would go down with their fanbase but, after quite a few listens, I’m pretty certain they will love it. Al says that while there are eight distinct parts or tracks to the album, it should be consumed in one sitting, like you are watching a film, then you will get the most from this engrossing story. If you were lucky enough to get involved in the pre-order campaign then you also got a fantastic comic book to accompany the music.

The protagonist (unnamed but we refer to him as TCM) has been away from his domed city for 6 months, earning a living as a street sweeper, and has a tiny bedsit above a shop in the outside ‘real’ city. He runs out of pills and rather than getting sick he finds himself becoming curious about the world outside. Restless.

A neon sign on the wall outside of his window illuminates the room while he cant sleep. 

He looks at his bedside clock and its 3am. he decides to go for a walk.”

The opening part of the story is The River, a fast, urgent piece of music that introduces the concept with some rather fine guitar work from John Cook, a man who plays like symbiosis of David Gilmour and Steve Rothery. There’s a fine atmosphere created by Leigh Perkins’ keyboards which swirl around your mind. The dynamic rhythm section of Alan Wilson (drums) and Dave Close (bass) provide the glue that holds everything together and Al Winter’s vocals perfectly deliver the story at hand. I feel instantly involved in the story, the music draws you in and Al’s fine voice does the rest, there’s a section towards the end where Leigh plays a beautiful piano note over Al’s hushed tones that sends a shiver down your spine, it’s just sumptuous and when John’s guitar breaks in, oh my, it’s just brilliant. Just imagine where Marillion might have ended up if Fish had stayed and their sound had matured over the years with him as a lyricist, I’m getting those vibes from this album. Solitude, Silence And Steam opens with a pensive bassline, drums and keyboards with John’s strident guitar enforcing the mood. There’s a mysterious quality to this fine track as the keyboards envelop us in some sort of musical mist. things pick up a bit as Al’s searching vocals being and the guitar takes on a harder edge that brings to mind a touch of Gabriel era Genesis. There is a linear forcefulness to the song, like people marching in line and in time, subservient and under control, before the music takes on a calming tone and feel to it and Al’s vocal softens. The intricate songwriting and stellar musicianship is very impressive to listen to, especially John’s guitar work towards the end of the track that closes it out to perfection.

“After a short time walking in the rain, he begins to wonder how he can continue in a world that has so much but with none of it offered to him or his kind. He see’s a bar for clones thats open. Going inside he’s soon joined at his table by an older looking clone and a regular female. 

The older clone tells him of a movement to gain more acceptance and fairness by force but TCM is more interested in the woman. At the end of the night they kiss and agree to meet again.”

Dave’s funky bass and John’s edgy guitar open Final Goodbye in style, this short, eloquent, piece carries on the story with Al’s vocal taking the protagonist through the next stage. It might only be a linking track but it’s aura of 80’s neo-prog is really rather good. There’s a rather funky guitar riff to open the almost Mission Impossible theme feel of the super cool intro to Change, especially the wonderful keys. The involvement of Andre Saint can be felt throughout the track but the highlight for me is the ever so impressive, and exceedingly catchy, chorus where Al gets to really open up with his vocals. Progressive rock meets funk-metal, it really grooves as it ebbs and flows and is possibly my favourite track on the album so far. A haunting, ethereal piano note takes flight in your mind as Reflections begins, the track then really takes off with a passionate guitar section and the drums and bass join in to give us an enterprising, intricate fast paced instrumental that really flows, imagine some 80’s Rush and you won’t be far away from the mark. Just sit back and let these impressive musicians take you on a marvellous musical journey. A delicately played guitar opens the ballad-esque beauty of Nothing Lasts Forever, a wistful, melancholy song where Al’s plaintive vocal plays a key part in engendering a feel of nostalgia and loss. Mention Neo-prog and you seem to get short shrift nowadays but when at its best, like it is here, it is quite fantastic and This Winter Machine seem to dip in and out of the genre at will and go full blown when Leigh’s brilliant keyboards and John’s fiery guitar take on the story. A really wonderful piece of music that touches your soul.

“A short while later they move into a small house together and at first its great and they’re happy. 

After a few weeks and months he notices she’s being mocked in public for her relationship with him, and she loses her job. He also loses his. Insults are painted on their door in the night. 

For her benefit, he waits til the middle of the night, packs a small bag and leaves her a note on the bedside table and leaves. He goes to join the march for better clone rights with the older guy they met at the bar. 

She wakes in the morning and sees the note he left that has just 3 words – ‘Nothing lasts forever’ and in panic she runs to find him.”

The Light opens with more delicate piano and Al’s hushed vocal awash with some ethereal synth, like water gently flowing down a stream. A refined, short, song that induces a state of calm reflection and contemplation and leaves you relaxed and hopeful for the future.

“She sees him at the front of a march, standing side by side with the clone from the bar, heading towards the government buildings. The clones carrying signs and banners asking for freedom and equality. She calls out to him but he doesn’t hear or see her, and as she does the police descend on the crowd of Clockwork Men and she see’s him vanish under cloud of batons and shields. She screams. His fate unknown.” 

Falling Through A Hole In The Sky,the final part of this enthralling story, begins with a gentle, flowing section where all these impressive musicians set the scene for what is to come. Al’s vocal becomes more passionate and stentorian and rises and falls with the tempo of the music as our Clockwork Man’s journey and fate reach their conclusion. John then hits us hard with a potent riff and the ever influential rhythm section of Alan and Dave ramps up the atmosphere, increasing the tension. Things really reach the heights with the stunning, lengthy guitar solo that closes out the track and this majestic and inspiring piece of work.

‘The Clockwork Man’ is modern, neo-tinged, progressive rock at its finest and most involving, perfectly created and performed by a band who have found their feet after three accomplished releases and have delivered their finest work yet. This Winter Machine now stand at the forefront of modern neo-progressive rock and can be rightly proud of a concept album that can stand the test of time with some of the best that have gone before.

Released 6th October, 2023.

Order from White Knight Records here:

This Winter Machine – The Clockwork Man CD (pre-order) | whiteknightrecords (bandcamp.com)

Review – This Winter Machine – Kites – by Leo Trimming

Kites can be blown about in many unpredictable directions but somehow they remain tethered to the ground, and that appears to be a perfect symbol of the journey of the third This Winter Machine album ‘Kites‘, which is due out on 25th October. Let’s face it, the world has taken a rather unexpected battering in the last couple of years, but, on another level, This Winter Machine have also faced considerable upheaval in that period, leaving the main man Al Winter to have to recruit a whole new band around him. Such disruption would have spelled the end of many bands but on the evidence of this album it appears that Al has used it as an opportunity for the band to be re-born.

Kites’ is still recognisably in the same vein of the This Winter Machine sound developed on ‘The Man Who Never Was‘ (2016) and ‘A Tower of Clocks‘ (2019), but there is a different feel to this album, with echoes of the 1980’s threading through an album suffused with nostalgia, regret and some defiance.

Al Winter has described the theme of the album as:

“how we fight against life and the directions it blows us in… It’s about how we fight against being blown in the wind, but we don’t realise until we look back that these were some of the best days of our lives… we were buffeted by the wind but we always had the rope anchoring us to the ground… …and some day we’ll all be kites for the last time.

So, it would appear that, buffeted by circumstances, Al was the rope that tethered This Winter Machine so it was not lost to the Four Winds. However, the question is has this new incarnation of the band managed to make a successful transition with their new album?

There is definitely a whole new feel around the double guitar attack (with a decidedly more fluid style) and the keyboard sound is significantly changed. The departure of keyboardist Mark Numan from the original version of This Winter Machine was potentially the most significant issue for the band as he was a central member of the band in terms of writing the music. Two songs on this new album, This Heart’s Alive and Broken, still feature music written by the talented Numan. Indeed, Mark Numan’s original keyboards can still be heard on the yearning, heart-breaking and beautiful Broken. Al Winter has partly solved the keyboard issue for this release by recruiting the talented Pat Ganger-Sanders of the band Drifting Sun to guest on keyboards for the majority of the album, along with Reuben Jones on the final two tracks of the album.

Apparently, the search for a long-term keyboardist continues but Ganger-Sanders definitely provides some high-quality input, particularly on his self-penned opening piano intro Le Jour D’ Avant, and, in contrast, some great, towering organ work on the following dramatic two part piece The Storm. This blockbuster opens with sinister apocalyptic warning announcements, some rumbling drums from by Alan Wilson and a sinister bass line from Dave Close that sounds like its slouching towards Bethlehem. Killer guitar riffs blast in and Ganger-Sanders adds Gothic pillars of organ to the structure of this epic sounding song. Meanwhile, Al Winter sounds like he’s bellowing defiantly into the teeth of a howling gale, such is the passion he is putting into the vocals. However, we seem to hit calmer waters with a sudden change in tempo and atmosphere with a gorgeous fluid guest guitar solo from Mark Abrahams of the legendary band Wishbone Ash, around which Ganger-Sanders weaves eerie, shimmering synth lines.

This lovely section fades away to the sound of water and acoustic guitar for part two of The Storm. In this calm eye of the Storm wistful, heartfelt words from Winter are framed in a delightful acoustic pastoral setting, with some lovely subtle bass work from Close. The full power of the Storm soon returns with an infectious wall of sound from the band as guitars and keyboards combine magnificently with the rhythm section, before a flowing guitar solo by Dom Bennison takes us towards an echoing guitar and synth coda which almost feels like light reflected in water.

That liquid sense is maintained in the short but smooth (almost jazzy in places) bass led instrumental Limited, written by bassist Dave Close. This feels like a linking piece as does the later much more dramatic Bennison written short piece Whirlpool in which Ganger- Sanders in particular shines in the musical maelstrom alongside Bennison’s lead guitar. Enjoyable as they were, there was a sense for me that these two shorter instrumental pieces sound like they could have been parts of more ambitious extended pieces. Maybe in future as this formation of This Winter Machine becomes more established, they may develop such pieces further… or maybe they just like them the way they are – what do I know?!! (😊)

This Heart’s Alive has been kicking around as a song for some time (the band spoke about this song as due to appear on ‘A Tower of Clocks‘ to this reviewer in an interview in 2018) but I can hear why it was held back for this album as the style very much fits the melodic and melancholic feel of much of this latest release. It commences rather pastorally with acoustic guitar and subtle synths and then flows along lushly with gorgeous harmony vocals for the refrain (and even a short beautifully sung acapella interjection later on). An understated and tasteful guitar piece from Bennison adds emotion and class – he really is quite a find for Al Winter and the band, complimenting Winter’s lovely vocal melodies with Andy Latimer and Steve Rothery type guitar flights. Some may feel the song out stays it’s welcome a little with its repeated refrain, whilst others will delight in its mantra like progress.

This Winter Machine tread rather new ground on the gorgeous love song Sometimes, which features the inimitable vocal talent of Peter Jones of Tiger Moth Tales and the legendary band Camel. This lovely song is testament to the fine song writing talent of Al Winter and also shows a generosity of spirit and insight into what other artists could bring to his work that he invited Peter to sing one of the best songs of the album. There is a distinctly Folk feel to the song with an acoustic guitar strumming as Jones imparts a great vocal melody and then is joined for a rich vocal harmony refrain. The band come in with finely judged contributions as the song builds towards a beguiling violin solo from Frenchman Eric Bouillette, who usually plays electric guitar with The Room and Nova Cascade. It’s an infectiously lovely sounding ballad.

Pleasure and Purpose, alongside The Storm and Sometimes, is one of the standout tracks from the album, and may be one of the best ‘songs’ that This Winter Machine have ever recorded as it skilfully and intuitively combines a touching set of emotional lyrics with memorable melodies and skilful instrumentation. It is also a great showcase for Winter’s classy vocals, smoothly ranging from fragility to real passion. This is a song which has really burrowed into my soul and has been on constant repeat for some days now.

Al Winter has shared the background to the song as follows:

“…it’s about how a lack of clear communication brings an end to relationships. Things that can be sorted easily grow until they become unmanageable. It often means there’s no going back”

It is remarkable that often the best songs are also the saddest, and this is a piece imbued with a great sense of regret with powerful lyrics touching on deep emotions:

I just needed Forgiveness, A Little Restraint, I needed the time so I could just explain

All the Pleasure and Purpose tumbling down, Now there’s nothing but anger, covered in shame

And I finally had to accept the blame, All the Colours and Virtue just left on the ground

At the zenith of Winter’s vocals This Winter Machine take the song onto more musical heights as first Simon D’Vali plays a stratospheric guitar solo which Dom Bennison then joins in a flowing dual guitar harmony. Bennison then takes on the second half of the solo in an equally rippling fluid guitar display before the piece suitably fades wistfully – it’s a wonderful song.

‘Kites’ concludes with the upbeat title song, commencing with an impassioned yell from Al Winter – yeah, it has been quite a year or two, Al! Whilst much of the album has explored more melancholic and introspective areas Kites feels more defiant and triumphant:

So all of the people for all of the time, You can’t go thinking it’s the end of the line,

There’s gotta be something that we can do anytime

This would make a great live song to stir the crowd, with the quality rhythm section of Wilson and Close driving this rock song on. In the latter half Bennison throws in another great guitar solo before a curious vocal sample haunts the melody. Al Winter has given two explanations for this mysterious haunting voice in the background as either ‘a disembodied voice recorded in a Haworth graveyard at midnight on the longest day…’ Alternatively and more prosaically he explained ‘it’s an early advert for an Edison Phonograph… it sounded quite romantic and nostalgic’. I think I prefer to believe the first explanation!

Well, what’s the answer to the original question: has this new incarnation of the band managed to make a successful transition with their new album?

As this album is called ‘Kites’ it may be worth recalling that Benjamin Franklin once rather eccentrically in the 1750’s reportedly flew a Kite in an electric storm to try to collect electricity through the line into a metal key in a Leyden jar (don’t try this at home, kids!) It could be said that similarly, Al Winter sent this new version of This Winter Machine aloft with ‘Kites’, and that the album has similarly been charged with a surge of electricity and new life. Exposed to the elements alone Al Winter formed a talented new band and has clearly drawn great energy and inspiration from this new This Winter Machine. After a torrid couple of years generally and for the band it is utterly remarkable just what a high-quality album This Winter Machine have created. ‘Kites‘ will rightly sail high to be regarded as one of the best melodic progressive rock albums of 2021, and the future looks very bright for the band… as long as someone holds on to the rope!

TRACK LISTING:

  1. Le Jour D’Avant                       (1.40)
  2. The Storm (Part One)             (5.37)
  3. The Storm (Part Two)             (4.37)
  4. Limited                                      (2.00)
  5. Pleasure and Purpose            (6.35)
  6. This Heart’s Alive                    (6.31)
  7. Whirlpool                                 (2.17)
  8. Broken                                      (4.58)
  9. Sometimes                               (4.05)
  10. Kites                                          (7.19)

Released 25th October, 2021

Order direct from the band here:

Kites – CD Album PRE ORDER – This Winter Machine