Emma Roebuck – Page 3

Review – Orange Clocks – Tope’s Sphere 2 – by Emma Roebuck

“Originally devised in 1973 by eccentric producer Tomska R Huntley and destined for German TV, Tope’s Sphere was set to be a ground-breaking animation featuring a live soundtrack by 1970’s UK/Germany supergroup, Klementine Uhren. The series followed Tope, the knitted monkey protagonist, with his sidekick Chode on their outer-space adventures accompanied by lush layers of psychedelic music. Unfortunately for Tomska, Klementine Uhren were unhappy with the final mixes. They promptly disappeared with all the tapes for an ‘extended session’, never to be seen again. Tomska was bankrupted and his dreams shattered; he dumped what was left from Tope’s Sphere into a skip and vanished into the depths of the Himalayan Mountains “.

So reads the Bad Elephant Music promotional material. I think of myself as a Kraut rock fan but I will be the first to admit it missed me completely. That maybe me being a 9 year old in 1970 at the time and I am sticking to that rather than plead complete ignorance of something I feel I should know. It creates a mythology of nostalgia and finds me want to know more of this television series.

It is a story Of Tope, a knitted monkey and Chode his sidekick, a reimagining of the TV series in musical form. Musically it is uplifting and delightful, I hear so many different influences here but imagine Gong’s ‘Flying Teapot’ saga translated into a children’s series sound track. I won’t single out individual tracks here but the fun the guys had in the studio creating this is glaringly obvious and I’d love to hear the outtakes.

Orange Clocks hail from “East Northamptonshire”

Burn – drums, percussion, Derek Cotter – vocals, bass guitar, Tom Hunt – vocals, synthesisers, Ja Lee – samples and sounds, Dan Merrils – guitar, Stuart Paterson – guitar, Martin Winsley – narration, vocals, percussion.

They have produced something quite unique which holds a reverence for the past but has an amusing irreverence in the way they have made the music with more ‘in-jokes’ from the genre than a Brian (may he rest in peace) Pern series.

It opens with an audio lift from the original series telling one adventure against an arch-enemy of Tope and the battles worthy of any Steampunk adventure. You follow the tale from end to end with a solid narrative and characters. Good versus evil, the music and vocals representing the characters well. I hear Hawkwind, Gong, Grobschitt, Public Image Limited and Ashra Tempel all in the mix. Musically it is not hard work yet it is incredibly accessible and has its own unique identity.

This is, in true Prog tradition, a concept album but it is also a rollicking space romp of hilarious proportions in anyone’s book. Yes, you read that, hilarious proportions. I am a melancholy soul at best and my taste in music reflects that but I do like to smile and this album makes me grin from beginning to end. In classical music there are a couple of albums that act as doorways to the music, Prokofiev’s ‘Peter and the Wolf’ and Benjamin Brittan’s ‘A Young Person’s Guide to the Orchestra’, there is even a similar album for King Crimson that I seem to remember. This album, for me, is a great way to introduce the “young mind” to what good modern Psychedelic/Prog should be like without melting the brain. When I say ‘young’ I mean those with no knowledge or background rather than your average Bieber obsessed pre-teen.

This album is yet again proof the music industry should take risks and invest beyond the core “karaoake” style ‘zero outlay, high short term yield’ mainstream we have at the moment. I will not be forgetting this album come December when I look back and review 2017.

Released 3rd March 2017

Order your copy of ‘Tope’s Sphere 2’ from Bad Elephant Music here

You can listen to the whole album here:

Review – Napier’s Bones – Alpha-Omega Man – by Emma Roebuck

Welcome to Napier’s Bones’ fourth outing and they have decided to create their own mythology for this new album, ‘Alpha-Omega Man’.

A rare thing for me to quote biblical/religious texts but it’s appropriate

“I am the Alpha and the Omega,” says the Lord God, “who is, and who was, and who is to come, the Almighty.”

I have played and played this to get to the core of the meaning but I believe it has many levels for those willing to look. Gordon Midgely and Nathan Jon Tillet have, in the previous albums, looked at local and/or established mythology and drawn that their inspiration from that. Tregeagles Choice, which is referenced in the track Without Sentiment being an old legend form the south west.

This album appears to be the journey of the creation of a Messiah or Deity figure from its formation in some unseen mechanism attached to tubes and machines, comatose awaiting consciousness. This is essentially Awakening, the opening track. A being out of time and space cast adrift on the oceans of an empty void. The music is classic prog with Mellotron and guitar work and what sounds like analogue Moog synths. At 13 minutes long I could go down a black hole of paranoia and ‘End of Day’s’ language in massive volume here but I won’t, I promise.

The Messengers, a distant American News Anchor tells us of an all seeing, all knowing news service bringing harmony from discord, from Alpha to Omega. Heavy fuzzed bass and guitar with a mono synth is the insistent back drop. The voice of the creator in the void that our hero inhabits.

Leading Straight into Citizen, we finally hear the voice of the Alpha-Omega Man. The music makes you feel like you are travelling, a solid pressing bass line and massively distorted guitar solo of which John Lees or Andy Latimer would be proud. He surfaces slowly into the next track Hypno-Sapiens, a suitably ethereal track fitting its name and place.

You could take the concept of this album as that of a comatose man recovering from a near death experience, slowly lifting from the darkness. You could also take this as the second coming of the messiah from Judeo-Christian mythology, placed into a modern framing of St John’s Revelation.

I will not go track by track for the rest but, instead, I suggest you listen to them and seek your own meaning. I don’t want to spoil the ending either.

Musically I think that we have a definite ‘Napier’s Bones’ sound that makes them distinct from other bands and it is definitely one for the classic Prog fan. It is prog at its most ‘proggiest’, theatre, sci fi, mythology, death and deity all rolled into a musical epic. 3 tracks coming in over 11 minutes and a narrative that runs true from end to end. Yet, it is neither pretentious nor self indulgent, it is Gordon and Nathan pushing their musical boundaries out of the comfort zone of the previous albums to see where they can go musically.

Fans of The Tangent, Camel, Barclay James Harvest, Genesis, Big Big Train and their ilk will find something of worth here, but not in a plagiarist’s way.

Released 20th January 2017

Buy ‘Alpha-Omega Man’ from bandcamp

https://www.youtube.com/watch?v=EPrva9xMGBM

Review – Van Der Graaf Generator – Do Not Disturb – by Emma Roebuck

I feel like I am playing catch up here to be honest. ‘Do Not Disturb’ has been on my ‘to purchase’ list for a while but something always conspired to prevent me. I bought ‘Trisector’ the week it was released, like many in hope of a rebirth and a recharge of my passion for VDGG. I was disappointed, probably because expectation was too high, but I ashamedly did not rate it or give it the attention that VDGG’s music needs to have be appreciated.

Back to ‘Do Not Disturb’, though I have read other reviews of it long before I knew I was going to look at it from my critic’s perspective. I will try not to let the views of others seep into my piece but parallels will be drawn.

Messrs Hammill , Evans and Banton are past masters of Prog and Progression, ploughing their own furrow in a field of innovation and challenge. Peter Hammill famously being influential to the likes of Johnny Lydon and Fish, amongst others, in vocal style and lyrical content. They were the outsiders of the golden era of Prog even pushing the limits of rhythm and tone in an epic way.

The album comes out of the starting gate with a real shocker, Aloft, an ethereal and very open track that slowly bleeds into an urgent, intense examination of the avoidance of life by forever moving forward but never back. The fear that if you stop you will fall being the thematic key in this song, but fear not, the old intense rhythmic atonal VDGG kicks in from nowhere without missing a step, relieving any fear that they had given up on their identity.

Alfa Berlina comes straight from the past, Hugh Banton provides a silky Hammond backdrop that seems to speak of human frailty and what makes us human as a condition of the sum of our memories. I say seem as I am trying to interpret the lyrical content and I hesitate to second guess these guys. This is actually a sing-a-long VDGG with a discernible hook. A late 60s Psychedelia straight from the UFO club complete with oil slides, or maybe that’s just in my head?

Forever Falling is incredibly accessible with a chugging guitar riff carrying you along that could easily fit into an 80s King Crimson or Talking Heads bandwidth. It works because it’s not impersonation, it’s pure VDGG running with an idea to see what happens.

(Oh No! I must have said) Yes, What can I say about this track? It’s a high point and stood out on the first play through. This is classic VDGG and stands next to the classic tracks of old. I ask how the hell do you write the organised chaos and drag it back through a jazz feel and back through entropy to tease the listener? It has been mooted that this is an exercise in Evans et al doing a VDGG history through one song but I kind of hope that it’s more like they found a groove and followed it to its natural end.

Go, the closing track, is the guys going down the route of old school Krautrock and putting a different spin on it. It’s all atmosphere with a stillness all its own.

The album has tonnes of light and shade and isn’t mired in the past or shackled by it. It has very tight production and, as you would expect, the musicianship is off the chart. I don’t think I heard a bar of 4/4 rhythm from Guy Evans or, conversely, any contrived attempts to be clever. It crosses genres from jazz to progressive and onto electronic.

If this is the end of studio music for Van Der Graaf Generator,as has been inferred by the band, then it is a fitting album to end on. Unlucky thirteenth studio album? Well I don’t think so at all.

Released 30th September 2016

Buy ‘Do Not Disturb’ from Cherry Red Records

Review – Pain Of Salvation – In The Passing Light Of Day – By Emma Roebuck

Another reason to thank the late great Geoff Banks is for his recommendation of Pain Of Salvation, ‘Remedy Lane‘ was my first introduction to them. When I was given the opportunity to review the new release, I bit Martin’s hands off.

On the first play through I was unsure, to be truthful it felt like Daniel Gildenlow was grasping for something with this album. I was hoping for another ‘Salt Road’ I suppose but then I read the press pack and realised that this is an album of recovery and loss. Looking at it through that prism, the album is deeply personal and reflects what I recognise as Daniel voicing his recent history, one of a near fatal illness and the slow recovery to full strength and vigour.

The album is full of light, shade and some very dark music with all you would expect from PoS, the heavy riffs, thundering drums; the sonic assaults all there in abundance.

There is also a goodly amount of experimentation, subtlety and sensitivity in there too. The album kicks off with “On A Tuesday”, this is a full on classic PoS track coming in at 10 minutes plus with a metallic introduction coming at the listener like a supercharged tank then dropping off into in almost acoustic piano synth combination and, at times, I can hear an Arthur Brown like quality to Daniel’s voice.

“Full Throttle Tribe” Instantly hits you more than any other track. The riff from the keys becomes the refrain that runs through the whole track. Here we have a song relating to the need to belong and have some kind of person or people to call your own. It hammers home only relenting occasionally for breaths of reflective stillness before ripping back into chaotic riffology. Then it vanishes to the electronic pings of hospital machinery and ends in an industrial dark melee.

“Angels Of Broken Things” is as near as this album has to a pop song. Don’t get me wrong, this isn’t Justin Bieber territory but it is accessible and has a tension building bass line that drags you along seeking release when the spring is close to breaking. If Pink Floyd were young and still around this would their “One Of These Days”. It’s an ode to the angels on the wards and nod of thank you to them.

The Title track “The Passing Light Of Day” is a 15 minute epic that starts with pipe organ keyboards as if from a 60s BBC Children’s Programme then goes into an aching beautiful track describing loss, redemption and recovery. From the sound of the fingers sliding up and down the guitar strings to the plaintiff voice pleading against the inevitabilities of life you ache throughout the whole track. The band are restrained on this track and it shows their understanding of space and its importance in music.

This is not an album where you will instantly fall in love with whether you have been desperate for a new PoS album or not. It is worthy of the name of a good album. A classic? That is not for me to judge but it definitely is worth listening to if you like Progressive Music on the harder side. I’d say it will stand out in the genre in 2017. If you like Dream Theater or their ilk go here if you already haven’t done so. If you want to dip your toe in the water this may be a good introduction to this aspect of the genre. There is also a vinyl deluxe version for the collector and completists out there.

The album is littered with some great music and is a rebirth of the band as a force to be reckoned with. Worth the wait? I believe so.

Released 13th January 2017

Buy ‘In The Passing Light Of Day’ from InsideOut Music

Progradar Best of 2016 – Emma Roebuck’s Top 10

Emma’s 10 for the year November 2015 to November 2016. It’s difficult to select 10 out of a whole year of frankly remarkable music. This selection is based on what I have listened to outside my radio show and reviewing schedule. No doubt I will change it in 2 days or more but this is the list as I type the words. I have looked at the albums I have played most at home or in the car since I acquired them. I apologise to any I have omitted but 10 is 10 and there has to be a line. It is not because the quality is less but more that these albums have spoken to me more than others. I think it is representative of what the year has given us musically from the independent sector to the ones with recording deals.

Red Bazar – Tales From The Bookcase

What can be said about this out of the Blue album that already hasn’t? A good instrumental band gets access to a vocal talent in the extreme that is a bit of a musical polymath. You get the final ingredient they needed. You get a collection of storytelling songs that bode well for the future of good solid melodic Progressive rock that is a delight to ears.

Steve Thorne – Island of the Imbeciles

Brooding, insightful, dark and political, no, not my facebook posts but Mr Thorne’s latest output. I have returned to this album again and again this year. He captured the zeitgeist so well in this album. The songs stand up to repeated listening and are musically outstanding as well as lyrically. He has the ability for the melancholic which suits me down to the ground.

Birdeatsbaby – Tanta Furia

One of my more oddball, leftfield choices for the Prog scene, their publicist asked me to give it a listen and I duly obliged. What hit me straight away is the desire to just follow their path no matter what genre they were placed in by others. This is high energy music where a Gothic mentality meets Prog avante guard and adds a little Lana Del Rey. Yet it is all about the song not the ability to play. It’s dark and seedy, the world of Birdeatsbaby but worth a visit.

Kyros – Vox Humana

Adam changes a band name and then gets a band to make an album by a band rather than a solo project with musicians helping. It’s a jump in maturity for the song writing and although not an actual concept it is a thematic album on the “Human Condition”. I look forward to seeing this album brought to life on stage live.

Drifting Sun- Safe Asylum

This is Neo prog in its finest tradition. I played a track from this to a fellow DJ at Progzilla Radio and he was blown away in a fit of nostalgia for the days of a renown pub in Walthamstow. It is neo Prog of the highest standard. Full on, no holds barred and unashamed in where it comes from and long may it remain so.

Under A Banner – TheWild Places

If you have ever seen New Model Army or the Pogues then you’ll have some idea of the passion and power in this music. Add a strong political lyrical undercurrent and a joyous love of the music with a progressive ideology then you get a vague idea of what the music is all about but you must listen to the album to get the impact. It felt like a slap in the face. The raw power yet the sophisticated arrangements and music. Despite coming from a strong folk tradition it screams ‘hear me and be stirred’.

We Are Kin – …and i know…

We Are Kin come out with a second album on Bad Elephant Music. The previous album was a studio project using musicians to add to the core tracks of the composers and was not really designed for live performance and, as such, felt like a studio project, a good one, but it was more of a compositional process. ‘…and I know… feels like a band has gone into a studio and a written and album together. The flow and format gives strength and depth. They are part of an up and coming group of new “Prog” outfits coming up that give me hope for the future of music in general not just the progressive scene.

Tilt – Hinterland

I have said it before but, like Dylan’s backing group stepping out from behind the star to take centre stage (as an independent band writing their own music and doing a great job), TILT have stepped up from being behind that talented behemoth Fish and found another amazing vocal talent and given freedom to some amazing power prog that any band would be proud of making. I need to see these guys live and Prog Dreams seems like a great festival to do it.

Napiers Bones – Hell and High Water

A truly artistically independent effort, Gordon and Nathan live over 250 miles apart, one close to the wilds of Yorkshire moors and the other in Dartmoor. These places form a cornerstone of their inspiration and writing. This album I reviewed for Progradar when it came out and was knocked back that not only was this album being given freely but also the rest of their catalogue was free too. Very well written and produced storytelling of a high standard. Classic Prog coming from the local mythology of both localities this is music that needs a wide audience.

Maschine – Naturalis

The perpetually busy Mr Machin gets the time to write his own stuff and put out an album that feels considerably mature and still full of the passion and energy only the young seem to be able to maintain. I am a fan of great musicianship but never at the cost of the music. Maschine strike this balance very well indeed. This is another thematic album this one on the struggle between man and the natural world. The future of Prog is in safe hands.

I suppose I should state the struggle I had getting these 10 from the amazing releases that 2016 has had has been huge. The list of bands not in here because of making my criteria so strict is immense – Cosmograf, Opeth , I am The Manic Whale, Kate Bush, Verbal Delirium, Marillion, Steven Wilson, Van Der Graaf Generator, Twice Bitten, jH , The Tirith etc etc etc . These albums in my selection have the highest personal play numbers of any others in my list. I commend you to try them but also do not be afraid to listen to an album from any act despite having never heard of them. With streaming from most sites now like Bandcamp you can try before you buy. Go on you know you want to.

Review – The Fierce And The Dead – If It Carries On Like This We Are Moving To Morecambe – by Emma Roebuck

Well, this came out of nowhere. I was expecting that The Fierce And The Dead’s next outing would be the third album current being recorded in seclusion with an as yet undisclosed name or release date. Suddenly the Bad Elephant Music promo number 36, ‘If It Carries On Like This We Are Moving To Morecambe’, magically appears in my in box.

I never reviewed the original but had to revisit it to see what they had done to the smartly repackaged remaster. Mark Buckingham’s stunning artwork suits the band perfectly, the intrinsic darkness of the music mirrors the graphic novelist’s style very well.

I often think very little of remastered albums and feel certain artists are just cashing in on or increasing their pension plans (no names no pack drill etc.) I have all the TFATD material and Matt Steven’s solo stuff anyway but always felt it didn’t quite reflect what they did in the live arena, the sonic assault of the back line and the bass smacking you squarely in the chest, letting you know they had arrived and will not be ignored. The live version of Andy Fox, one of the bonus tracks on this release, has a crystal clarity and solid punch to it. The whole package is far more dense but,yet, has a clarity to it, it is not muddy or thin in the least and is a lot closer to what the band does on stage.

For those who have no idea of who The Fierce And The Dead are, they are a project that grew from Matt Stevens playing with some guys rather than doing his looping acoustic stuff and it gelled very quickly into a full blown project and the original version of this album was the first product of that. They grew from being a ‘Krautrock’ ‘electronica’ to something far harder edged with the addition of a second guitarist. They now have a line up of Matt (guitar), Kevin Feazey (bass), Steve Cleaton (guitar) & Stuart Marshall (drums) and with a hugely dedicated following to boot. Instrumental hard edged music that brooks no compromise but has a wicked sense of fun all rolled into one great package.

This is the version that I think, in 2011, they would have actually released if they had been able to. High points for me are Landcrab, 10×10, and Daddy’s Little Helper. They all benefit well from the remastering process and it breathes a new life in to them.

I am completely convinced this it was a very good idea to revisit the original release and make the best of the masters from what is the beginning of a very unique gem of an outfit. RoSfest in 2017 is in for a treat indeed!

Released 18th November 2017

Order ‘If It Carries On Like This We Are Moving To Morecambe’ from the Bad Elephant bandcamp store

http://www.fierceandthedead.com/

Review – Maschine – Naturalis – by Emma Roebuck

Maschine – ‘a progressive rock band without boundaries’ is the bands tagline and ‘Naturalis’, the second album from Luke Machin, Daniel Mash, Marie-Eve De Gaultier, Elliot Fuller and James Stewart, definitely pushes the envelope beyond ‘Rubidium’ which was a cracking album in itself and one that showed much promise for the future.

This album is primarily a vehicle for Luke’s compositions and stretches his writing in variance and styles as well as having a core concept to the album that speaks of mankind and how we sit uncomfortably alongside the earth and nature as a species. ‘Naturalis’ is grand in its aspiration and design and I believe that Maschine achieve those goals very well.

We are introduced to the album with Resistance, a full-on epic of traditional Prog proportions in what can only be called a ‘classical 70s’ style. It begins with analogue keyboard sounds and a tension creating guitar riff reminiscent of Jimmy Page which then goes on a full musical journey reflecting the uncomfortable fit man has with his environment. There is much light and shade here designed to mirror how humanity is trying to come to terms with something he cannot control and, yet, still believes he can have authority over. Coming in at a tad under 12 minutes this epic alone would satisfy any progger but this is just the start.

Night and Day is the story of Robert Cain and his experiences of the Battle of Arnhem. His story is of finding unnatural resources fighting beyond human limits long into the battle. This as close to a ‘sound’ for Maschine as you could get, as you could say it combines all the elements of the band in a perfect balance.

A personal favourite of mine on this album is Make Believe, it istands out as being quite an ethereal song and Marie-Eve comes out into the spotlight with a haunting voice that reflects a cynical back story of the political exploitation of resources. It is a genuinely beautiful track.

The finale and closing epic Megacyma is a modern epic, the other end of the musical time line from Resistance. Production and writing that fits 2016 so well, you can smell the ozone of the electricity used during the recording. This is the tale of one man’s experience in the centre of a huge Tsunami fighting for survival through every second of the 12 minutes of the song. It is a very powerful song that looks at how small one man is in relation to the planet and the forces it has at its disposal.

This album has taken 4 years to write and record and it is interesting to see how Luke has developed as a writer and composer and his desire be a strong writer of songs. Being a virtuoso guitar player in demand in various places (be it The Tangent, Damenek, Kiama, or Karmakanic) or guesting on numerous albums must surely be an asset, giving him a chance to experience a variety of styles and other musicians.

If you like “Rubidium” then get this, it’s a guaranteed winner for you. ‘Naturalis’ has good quality songs with a good level of complexity but not at the expnse of structure. The album as a couple of live tracks as a bonus which are not on my pre-release download. The artwork looks excellent and there are the usual extras with pre order.

Released 18th November 2016

Buy ‘Naturalis’ from Burning Shed

Review – FVNERALS – Wounds – by Emma Roebuck

Glasgow Based FVNERALS’ Tiffany, Syd and Chris sit in that dark world of Doom, Ambient, post rock, shoe Gazing alternative music. There is nothing, and I mean nothing, upbeat about the music this trio produce. No, that’s not insulting, it’s just a fact about the music they produce. This is their fourth release and they have been around since about 2012.

The name evokes an image and the music reflects that right back in the mirror. If can imagine the Cocteau Twins meeting Trent Reznor and then having a session with the Tangerine Dream (circa Zeit) then you have some idea of what to expect.

The sound is huge but full of space for Tiffany’s voice to swim in the soundscapes, more as a complimentary instrument than a vocalist putting lyrics over a song. This is Goth/industrial in the great tradition, following its predecessors and then leading the way to a different feeling. Their contemporaries, the likes of True Widow, Chelsea Wolfe and, to a lesser degree, Sigur Ros are ploughing the industrial furrow in an interesting way and getting an audience for it.

It is pointless doing a track by track description as this is an album that generates a feeling rather than songs which I would normally avoid except that we must never restrict ourselves to one path for we may miss much that is rewarding.

I will talk about Crown, the slow grinding guitar reminiscent of Tony Iommi on the first Black Sabbath album but without the release of any of the tension that builds from the beginning to the last 2 minutes, when it is replaced by a plaintiff keyboard and acoustic guitar sound. It lets you free long enough for a breather then goes straight into the next track Antlers. This is a lesson in guitar distortion and the use of Tiffany’s voice to provide a theme into an ambient openness drifting along on the current of the music. The closer Where is the most Spartan of all the tracks and it has a deep sense of loss and dread from beginning to end, I would draw a connection to early Anathema here, if anyone needs a link.

To sum up really this is not even close to mainstream and it’s progressive music in that its seeks to find a place of its own that is as far from the 4/4 3 minute pop song of the “X factor” as you could possibly get. It has an atmosphere that is at the same time chilling and terrifying yet has a sense of comfort at the core.

None of the music is fast paced banging or hectic, it has a consistent rhythm to it. If want something that is away from the mainstream and has a sense of ambient darkness then this is the one you want.

Released 14th October 2016.

Buy ‘Wounds’ from bandcamp.

Review – Kyros – Vox Humana – By Emma Roebuck

Kyros (Nee Synaethesia) is Adam Warne (vocals, keyboards), Joey Frevola (guitars), Peter Episcopo (bass, vocals), Robin Johnson (drums, percussion) & Sam Higgins (guitars, vocals). They have been tipped and praised in the media and rock press in their original guise growing out of Adam’s solo project into a fully fledged band. I am not one to patronise when I say this, but, these guys are young and this is a definitive advantage in many respects. They are not shackled to the 70s golden age but they pull influences from the 80s and 90s too. Like genuine artistic magpies they are content to take all that is good from a wide range of sources and put elements of it into their music.

The music is very very full on; the influences of Haken are obvious with drummer Raymond Hearne arranging the brass on various sections. It is a sonically dense album with so much going on that what at first appears to be a simple piece has hidden depths. New Paradigm is one such track. At face value it feels like a crooner from the 40s accompanied by a piano but then evolves into a an atmospheric combination of the harmony and keyboards that becomes almost ethereal in it quality.

To counterbalance this Technology Killed the Kids II is jam packed with intensity reflecting how much technology is filling the younger generation’s lives and leaving no space to breath or be real in a real world. It has a definite ‘Prog’ feel with massive keyboard sounds and it really stands out from the first listen to the last.

The single Cloudburst has overtones of later period Depeche Mode in it combined with post modern values in the writing. It is accessible and has a great hook and instrumental breaks that could easily be played on the mainstream radio. Yet it retains its “Progginess”, I hear IQ in the guitar breaks and keyboard combination but there is no plagiarism here.

Onto CD2 and the vision darkens here, beginning with track one Mind Electric, an ominous overtone of keys and guitar that has an air of a desperate struggle between humanity and technology. The endless struggle between humanity and its own invention is the theme that runs through the album from beginning to end. Monster is another stand out track, the keyboard riff that feels instantly familiar, frenetic musical breaks simulating a struggle between the Frankenstein’s monster of the theme and the inner humanity railing against the metaphorical windmills.

This drops straight into a far less fraught piece called Hounds that lulls you into a false sense of security as you become hunted by the music and the beast itself. The closing track of the album, simply called Dilate, channels everything into a climax of tragedy and despair as we inevitably fall into a trap of our own design.

Overall ‘Vox Humana’ works very well indeed and takes the project to the next level with the song writing and sophistication. It has been carefully crafted and created with much maturity that is rare in any band.

This record is full of clever harmonies but is clever merely for the sake of being clever but, rather, because it fits the need. It really feels like it has been written and created by the band rather than just Adam getting people to play his music. Which to be honest, as good as Synaethesia was, that is what it felt like to me.

If you want something that pulls musically from the 80s and 90s and only really offers a nod to the roots of Prog rock then this is for you. It has more from the likes of IQ, IT Bites, Muse, Radiohead, Depeche Mode and Haken than anything made in 1973. It isn’t a late night chill out but is excellent driving music and it shows that the future of our music is in good hands.

Released 5th November 2016

Buy ‘Vox Humana’ direct from the band.

Review – Sphelm – These Roots Know No Boundaries – by Emma Roebuck

Have you ever tried to categorise something and found it close to impossible because its fits some of them and yet none at the same time? I find myself there right now after over ten times around the album ‘These Roots Know No Boundaries’ by Sphelm and, having heard the Orenda EP from 2014, I find to be fascinating, challenging and yet still highly enjoyable. Mike McKnight and Tim Powell form the actual band but they have a great deal of help here with the Album from some excellent guest musicians.

They self-define as Acoustic Ambient Electronic yet I believe that is too limited a description. Sphelm were born out of Post rock metal band Cyril Snear and were looking for the next step to follow after that band broke up.

Mike and Tim have written music that, if played in a full electric band, would come out at the cutting edge of Progressive but the ‘stripped back to basics’ style gives it a uniqueness and identity all of its own with no box to fit. Whether you’d call it a new branch of music or some guys following their noses and seeing where it goes either way, this is worthy of exploration.

The music is complex and accessible with some outstanding songs that appear simple at first pass and then the detail surfaces on further hearing. Stillness is the simplest and yet it isn’t with its complex harmonies and harmonic on the acoustic guitar and keyboard backing. A song that asks us to stop and be still and think without the noise we have around us constantly in the 21^st century. After The Dopamine seems to refer to again to society and the bubble we exist in as people, consumerism being the Dopamine in question. Mainly with complex vocal harmonies but with atmospheric keyboards plugging the gaps, it stands out on the first few listens as one that has longevity.

Prince Rupert’s Drop has a folky feel to it at the start which then leads into a beautiful guitar lick. Is it a treatise on molten glass dropped into water or a metaphor for human resilience in our modern world? The title track really stands out too. A fine example of how the human voice can join in a harmony that is greater than the sum of the parts. The lilting Trumpet section is not intrusive but sneaks up on you and hypnotises you and, overall, the melancholy feel is achingly beautiful and emotive.

The whole album is not even close to the mainstream, it is ‘off piste’ even for the Progressive but not in any dissonant way but in a way that the likes of Sigur Ros and Steven Wilson travel their own path. In fact all you fans of Post Rock, Math Rock and those are partial to the ambience of Eno and Fripp and who have the desire to hear acoustic music, you should buy it. If you are adventurous in any way get your name on a copy of this album.

Released 21st October 2016

Pre-order from Bad Elephant Music on bandcamp

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