Tag: John Jowitt

Review – Frost* – Life In The Wires – by Kevin Thompson

After a busy weekend I now find myself sat at home full of cold and in need of cheering up.

Ooh! What’s this in my inbox?

Ooh! It’s the latest Frost* album for review.

Ooh! It’s a double album.

Ooh! It’s a concept album.

Can this be what I need to perk myself up. Let’s cough and sniffle through the upcoming album to see what we can find.

Ivor Novello award-winning composer and musician Jem Godfrey is best known for co-writing and producing a number of commercially successful songs for some well known musicians.  His own band Frost* are about to release their new album Life In The Wires which is a direct follow up to their last album, Day And Age, this has set up the premise for the new one. Fleshing out the imaginary world who’s character imagined on the previous album was searching to be heard, we are introduced to Naio, who Jem Godfrey describes as an aimless kid heading for a meaningless future in an AI run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find “Livewire” to see if there’s a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom.

‘Life in the Wires’ features the welcome return of drummer Craig Blundell (‘Blunders’ to the band), to join the continued guitar and vocal services of stalwart John Mitchell (also known as ‘Connaught’), the wonderful Nathan King on bass, and Mr Jem Godfrey himself doing just about everything else including lead vocals. Now I have a problem with John as I love his material and own all his output, but such is his distinctive voice and guitar work, that at times other people’s albums on which he features can sound like John Mitchell and Friends. But on this concept album the consistency of Jem Godfrey’s lead vocals, adds that distinguishing edge without John having to compromise.

Three tracks are already available to listen to on YouTube, (Life in the Wires, Part 1, Moral And Consequence and Idiot Box) which all seem to have been greeted with great enthusiasm. So, fortified with cold remedies, let’s without further ado, climb into the comfort of the album and delve into the individual tracks.

The first and shortest track on the new album, ‘Skywaving’, starts with the end of the last track from the previous album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?” Looping keys swirl as Naio decides he will follow his dream and the voice he has heard in the hope of finding a destiny of promise.

Notes blast morse code like from the speakers as if there is ‘Life in the Wires, Part 1′. The voice of ‘Livewire’ on the radio urging anyone listening, to step out of the dystopia they are living in and seek him out for a new life, as keys and guitars fizz across the airwaves, plundered by drums and bass. The signal drifts out on melancholy piano keys, is there something out there?

(A pause to blow my nose and grab another hot drink, must keep up the liquids and we’re back to it).

The piano drifts into the next song lyrics lamenting sorrowfully on a once warm family home devastatingly affected by circumstances and grieving guitar solo, turning it into ‘This House Of Winter’.  Warm breezes of instrumentation waft across the grooves easing the chill and drift into the following number….

‘The Solid State Orchestra’, as Naio prepares to defy the All Seeing Eye and set off on his dangerous search of paradise, will it be worth it? Will he find what he is looking for? He steps outside to the noises of the street.

Leaving no note he intends to escape the city and disappear like a mist created by an ‘Evaporator’,the music flows with urgency and there’s an increase in excitement and trepidation with bursts of guitar, as the rhythm section of bass and drums drive him forward with Jem’s keys holding it all together.

(For me this is probably the catchiest track on the album and I find myself wandering round singing the chorus, between sneezes).

Livewirebroadcasts on the hour every hour whilst Naio tries to find his way through this ‘Strange World’ on a more ambient track that blossoms and throbs to life with delicate keyboard passages from Jem’s nimble fingers.

The reverie is broken as guitar crashes in buzzing like an angry wasp and the keys jab with accusing pointed fingers. We don’t care what you want, do as you are expected and watch the Idiot Box. Turn against anyone who does not conform, they are the enemy, like a cold virus, like Naio. A message of encouragement from Livewire as another hour passes, keeps him going.

Confident in the affirmation of his decision to continue his quest, Naio thinks fondly of ‘Absent Friends’ he has had to leave behind on this gentle keys and orchestrated sound, no connections to link them to him as it is too dangerous.  They’re gone but not forgotten.

Obedience. All should follow, to learn subservience at the ‘School (Introducing The All Seeing Eye)’ (ASE) and be taught not to stray, as this foreboding instrumental patrols the grooves ensuring all toe the line. No revolution will be tolerated as the music storms forward.

The campaign and aggressive music search to discredit Naio and ‘Properganda’ is spread for all to hear, that he is not well and is against the ASE. The marching wall of instrumentation tries to rout him out and leave him no place to hide. Another message from Livewire with well wishes, but saying farewell.

(Another break for a hot drink and menthol lozenge to clear my head a little and focus on this welcome distraction).

The last message has left Naio doubting and questioning himself on this subdued track. He had hoped to find a ‘Sign Of Life’, but nothing other than repeat messages. Has this all been a futile dream, has it all been for nothing. This siren seems to have led him astray trying to crush his dreams on the rocks of oppression?

He thinks of the ‘Moral and Consequence’ he may face for his actions as fraught guitar goes round and round in his head. He had to try, there must be more to life, outside the reach of the ASE.  He is ready to face whatever happens he’s no longer afraid.

Is there ‘Life In The Wires (Part 2)‘ on this penultimate track of epic, composed music? There most certainly is with deliberate nods to the most excellent Milliontown from 2006, paying homage as it nears it’s 20th anniversary, most noticeably on this, the longest track that builds with a cornucopia of solo’s and rhythmic passages, meshed beautifully together. It ripples with ribbons of joy and flourishes like fields of swaying wheat blessed in sun-kissed fields, golden and bright.

There must be more to life, everyone needs to stand up and make waves, ‘Starting Fires’ of change and believe. The revolution will build, take shape and change the world and musical thinking as the album draws to a close, waving the banner for a better future.

Jem said he wanted to return to solos after the restraint and focus on astute arrangements for Day And Age, which has I feel added impetus to Life In The Wires, making it sound fresh and alive, with the band gelling as one in perfect harmony and synchronisation. It may not have cured my cold, but it is powerful enough to lift my spirits and give me the warm glow I always feel inside when an album hits the spot.

Milliontown is one of the most successful prog rock albums of the last 20 years and rightly held in high regard, lauded by fans and critics alike. Life In The Wires may not surpass it but damn! it runs it close. One of the best concept albums I’ve heard for sometime and one of the best albums of the year so far.

Frost* have certainly still got plenty of life in their wires, can you here me?

‘Life In The Wires’ will be available as a Limited 2CD, Gatefold 180g 2LP and as Digital Album, with subtle difference across the 3 formats for added interest. The album features artwork design by Carl Glover, who also designed the cover of ‘Day And Age’.

Released on October 18th, 2024 on InsideOut Music.

Order the album here:

https://frost-band.lnk.to/LifeInTheWires

FROST* return with their new double concept album ‘Life In The Wires’

UK progressive rockers Frost* are pleased to announce the release of their brand new double concept album ‘Life In The Wires’, due out 18th October 2024 via InsideOutMusic. “Every prog band worth their salt really should do a double album, shouldn’t they?” asks Frost* frontman Jem Godfrey. “We’ve always kind of had this idea of wanting to do one. So I sat down last summer and thought, well, I’m just gonna have to get my head down and go for it.”

Today also sees the launch of the first track taken from the album, the first part of the album’s epic title track. Watch the video for ‘Life In The Wires, Part 1’, created by Christian Rios/Ray of Light Films, here: 

Stream the single & pre-order the album here: 

Frost* – Life in the Wires, Pt. 1 (lnk.to)

“It’s actually a continuation from Day and Age” explains Godfrey, “the first track on the new album starts with the end of the last track from that album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?”. I remember putting that in when we did Day and Age as a possible little hook for the future; a character somewhere out there in Day and Age land trying to be heard. What does he want to say? Can anybody hear him? Day and Age kind of sets up the world that this character lives in and Life In The Wires tells his story”.

The story revolves around the main character Naio, an aimless kid heading for a meaningless future in an A.I. run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find “Livewire” to see if there’s a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom. Tune in at www.lifeinthewires.com and see if you can hear Livewire on the radio.

Helping create this parallel world are the “classic” Frost* lineup of guitarist John Mitchell, bassist Nathan King, and returning drummer Craig Blundell.

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record.

“With Day and Age, we made it a very specific point: we’re not doing any solos, we’ll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus, I wanted to have a little bit of a nod to Milliontown with this album, because it’s been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.” 

‘Life In The Wires’ will be available as a Limited 2CD, Gatefold 180g 2LP & as Digital Album, with subtle difference across the 3 formats for added interest. The album features artwork design by Carl Glover, who also designed the cover of ‘Day And Age’. The full track listing is as follows:

CD1:

1.     Skywaving 1:57

2.     Life in the Wires, Part 1 5:30

3.     This House Of Winter 6:10

4.     The Solid State Orchestra 6:35

5.     Evaporator 8:09

6.     Strange World 5:09

7.     Idiot Box 4:59

8.     Absent Friends 3:58 

CD2:

1.     School (Introducing The All Seeing Eye) 3:12

2.     Propergander 5:34

3.     Sign Of Life 5.44

4.     Moral And Consequence 8:13

5.     Life in the Wires, Part 2 15:51

6.     Starting Fires 4:40 

Band picture credit Will Ireland.

Review – Nataraja – Spirit At Play – by John Wenlock-Smith

This album, Natajara’s Spirit At Play’, really appealed to me having a fondness for jazz fusion and knowing the Mahavishnu Orchestra catalogue pretty well, as I do. Guitarist Jack Jennings is new to me but here, on this rather splendid album, he combines his love of Jimi Hendrix with his passion for the Raja’s of northern India to fine effect.

This album may be a fairly challenging listen for the casual listener, however, bearing in mind that it was recorded live in just one day. The levels of skill on display here are really astonishing, you have the flamboyant guitar of Jennings anchored with the superb and sympathetic rhythm section of John Jowitt (bass) and Andy Edwards (Drums), the subtle analog synths of Richard Charles Boxley adding delicate textures over the top in a very sensitive way. It does help if you like Indian classical music, Ravi Shankar or John Mclaughlin’s ‘Shakti’, all of which have connections to this style of music. Overall, I would definitely recommend this to the more adventurous types who will find much to appreciate within this release. The album is produced by Phi Yaan Zek, which is a good enough reason to be even remotely interested in this music, as he is excellent in his own right.

Back to ‘Spirits At Play’, it has just five tracks, two relatively short, one medium and two very long tracks, both over ten minutes in length. The sound is crisp and punchy throughout with great separation between all of the instruments. I do especially like how fluid Jack Jennings playing is as he can really let rip on these tracks, he is most competent indeed and can play a blinder, as he does on title track Spirit At Play, where he plays an extended solo with great skill, flair and at lightning speed too! It is really remarkable playing, you really appreciate the strong support he gets from John and Andy ,both of who are really great on here. Raag Hansadwhani – Vinayaka is another excellent track being bathed in synths in its opening section These a bubble and are not overpowering at al,l leaving room for Jack to improvise freely, which sound really good here. He is a player of both taste and style and that shows clearly here.

As I say not an easy listen, in fact it can be rather intense and dense music at times. That said, it does sound very good, if not a little different to most modern music. Within the music you do get a sense of the measure of respect that Jack has for this form and of how he is seeking to honour and respect this by through his own interpretations of these Raja’s. I think that he should be both noted and applauded for bringing this fresh and vibrant translations and interpretations to this live arena as he does here.

Released 23rd March, 2024.

Order from bandcamp here:

Spirit At Play | Nataraja (bandcamp.com)

Review Phi Yaan-Zek – Interdimensional Garden Party – by John Wenlock-Smith

I first came across Phi Yaan-Zek as many others may have, through the pages and tracks on Prog Magazine, although at that time it didn’t really grab me. I was probably on a different musical phase ,as is often the way with me. However, I recently read a review of his latest album from a writer for The Progressive Aspect whose eloquent words piqued my interest, hence this review.

In all the years of my life I have never really been a big fan of Frank Zappa, although I can clearly see his influence in this music. I certainly like it here, for sure, and definitely in the humour contained within these tracks. Phi is certainly a very fine musician and can play a very mean guitar line when required. He also enlists an extraordinary cast of collaborators, like Andy Edwards and John Jowitt of Frost* and he also has a couple of Aristocrats in tow to give this music much flair and finesse.

It has strong touches of psychedelia along with certain hippyish elements, but these are woven into the overall sound of the album. I am certainly highly impressed by all of this excellent and exciting music, it is all wonderfully produced with excellent guitar skills on display. The music also has jazz elements at times, giving the sound a definite jazz/fusion blend.

An outstanding track is track Wickety Wickety, which is a cross between a rumbling song, something like Nelly The Elephant but with brass embellishments. It is rather a fun piece but utterly engrossing and captivating. This whole album is different, it is definitely a positive sounding album and will imbue feelings of well being and contentment. Above all, this music is good fun and we should all be glad of that, especially at this time. Also notable is Anomaly Temporal with an almost reggae swing and spoken vocal from , this also has a touch of Star Trek to it and rounds out with an excellent instrumental finale.

I really enjoy the instrumental flourishes that abound throughout this very imaginative album, it really is a fascinating and captivating listen. Phi is a very fluid guitarist, think of folks like Steve Vai and you won’t be far off the mark, but he is also very melodic in tone and, whilst he can shred with the best, he works for the track, not just to stun.

This is clearly shown on My Favourite UFO which combines his fine guitar virtuosity with a strong tune to fine effect. This track has a dreamy type of sound and reminds me of 10CC in parts, it also has great bass from Bryan Beller of The Aristocrats. The song speeds up towards its conclusion and this proves very effective, as is the vocal from Ellie Williams. The next track Floating gives room for some free reign musical improvisation which is taken by Phi with Mike Keneally in tow, along with the fabulous and dynamic Aristocrats rhythm team of Beller and Marco Minneman. With Phi’s guitar floating over the top most efficiently and effectively, it really is a sublime piece of intent delivered really well.

Final track The Puffball That Ate My Village is another monster track with a similar pace to Wickety Wickety but with fiery guitar interjections and interplay between Phi and Chanan Hanspal, who play off against each other in a six string orgy of soloing. It’s all highly effective, especially with Andy Edwards‘ drums and Steve Lawson’s majestic bass playing that anchor it all together seamlessly. The song also features lots of guests adding chant type vocals, which really sounds good. When this track end there is a brief pause of about 2 minutes before A reprise of opener The Interdimensional Garden Party plays, this is a fitting close to an exceptional album but wait, there’s more as there is a brief untitled track that is basically the words spoken backwards deliberately.

This is a truly entertaining album with fabulous music and performances throughout. Definitely one of my album of the year contenders, outstanding. In a year that has seen so many really good albums, this one can truly stand tall and proud and I recommend it without hesitation, especially for its weirdness and sense of fun.

Released 7th October, 2022.

Order from bandcamp here:

Interdimensional Garden Party | Phi Yaan-Zek (pyzmusic.com)

Review – Drifting Sun – Forsaken Innocence

Drifting Sun are a UK-based Progressive Rock studio project. Their music has been described as dramatic, theatrical, and atmospheric, in the true style of Progressive Rock giants such as Dream Theater, Queensryche, Genesis and Jethro Tull, to name but a few of the bands that influenced their sound.

Or so says the PR material, well, with the addition of renowned greek solo artist and lead vocalist of Verbal Delirium, Jargon, I personally think you can add rock royalty Queen to that list!

I’ve long been a fan of this unique musical project, their amazing musicianship has touched areas of symphonic prog, progressive metal, hard rock and many others but this new album is truly the pinnacle of their work so far. It is pompous, ebullient and in your face at times but with a nod and a wink, and not a little humour, at times. Powerful vocals, soaring guitar lines and a monstrous rhythm section all contribute to a magical melting pot of musical brilliance.

There are no weak tracks on the album, opener King of the Country flies along at a breakneck pace with Pat Sander’s excellent keyboards leading the way. It’s when Jargon’s fine, distinctive vocals begin that I begin to feel we are being treated to something special here. In association with Pat’s keys, he gives me an impression of that great Queen track, Don’t Stop Me Now, but done with Drifting Sun’s own inimitable style and it gets me smiling immediately!.

Insidious is a more introspective track with a melancholy vibe engendered by the brooding vocals and dynamic keyboards, a dramatic and powerful piece of music. That melancholy feeling carries over into the melodramatic, theatrical inventiveness of Dementium, a pair of songs that take symphonic prog and elevate it to another level. New Dawn is a heartfelt, emotive track with a sincere vocal and Pat’s elegant piano giving an almost forlorn feel to the song, the emotion and passion are bared for all to hear, especially on the superb guitar solo.

Now things get really interesting with the two part title track. At over twenty five minutes in total, Forsaken Innocence Parts I & II is epic in every way and is some of the best music I have heard this year. A group of musicians at the height of their game and playing in perfect harmony, when that happens then music simply becomes a joy to listen to, every note resonating with you on a personal level. I suggest just sitting back and letting these impressive pieces of music just wash over you and marvel at the brilliance on show.

Time to Go is the final track on the album (not including the bonus track*) and brings things to a close with a clarity and calmness that just leaves you in a better place.

(*Bonus track Hand on Heart is a brief, but compelling, footnote to the album, authoritative vocals and energetic music delivering a short, sharp and effectual hit of Drifting Sun’s addictive music.)

‘Forsaken Innocence’ sees Drifting Sun step out of the shadows and cement their place at the top table of progressive acts in the UK. It’s an engaging, captivating and sensational listen every time you press play and is deservedly up there fighting for the honours of album of the year.

Released 27th October, 2021.

Order from bandcamp here:

Forsaken Innocence | Drifting Sun (bandcamp.com)

Review – Rain – Singularity – by John Wenlock-Smith

Rain are a new project that came to light during the first initial period of lockdown in the UK. So some time after 23rd March when the powers that be realised that this virus and pandemic were a lot more serious than had previously been acknowledged. So much so that ‘Herr Boris’ got serious and told us all to stay at home, not go to the pub, segregate and do not mix.

Now this in itself was unusual and very much outside of Boris’ perceived jocular foppish and playful demeanour where he likes to portray himself as a man of the people. It was that in this time that John Jowitt and Andy Edwards (both formerly of IQ and Frost*) decided to form a new group that would allow them to do what they do best, i.e., make some fine new music. To this end they drafted in Rob Groucutt (son of former ELO bass player Kelly Groucutt) who has followed in his fathers footsteps with a career in music and also adding Mirron Webb of Birmingham based band Hey Jester on guitar, vocals and lyrics and, as such, the stage was set.

Rain first appeared on the Fusion festival lockdown special in April debuting the song Devils Will Reign, which was certainly a strong and enlightening first peek into this new band,

The album ‘Singularity’ was released in November 2020 and it is a rather interesting listen, one that will stay with you for a long time. It is one of those albums that initially intrigues you, albeit in a good way, with that feeling continuing with repeated plays. As you do so, it begins to emerge what they are on about, for this is very much an album borne of the frustrations and limitations that lockdown periods have inflicted upon us all. Here Rain have channelled those feelings and thoughts into 5 gloriously crafted and formulated songs.

The album opens with Devils Will Reign which has two sets of lyrics, one from Rob Groucutt, the other from Mirron Webb, that Andy Edwards put together, finding that it worked particularly well. It is a song about one’s own personal demons which seem to come to the fore in times of doubt or when there is nothing else going on, times like a lockdown for example. This song really hits the mark right from the off, opening with gently plucked acoustic guitar and some subtle keyboard backing before the drums pick up the beat and then some strong percussive guitar riffing emerging. The song also features a very nifty Spanish type guitar solo that is exceptionally fine indeed.

Second song Dandelion is about the lies we get sold by those in power, especially as seen during this pandemic with test numbers etc. There are some remarkably interesting sounds on this song also referring to possibly the whole sorry saga of the lies surrounding Brexit and the dodgy Bus of Lies, all £350 million a week’s worth that simply disappeared somehow.

Walkaway is the first lengthy track and is about wanting to escape even if only temporarily. Again, there is some sublime playing on this track with a muscular section after the second chorus which really sounds good around the 3 min 45 mark. This includes with a nifty solo, Mirron, Rob and Andy all adding fantastic guitars to this mix. This is an exceptionally fine track indeed with superb vocals that really add to the tone of the song.

The Magician is the album’s second longest track at 11 minutes and 16 seconds, all of which is wisely used to craft a sinuous and twisting behemoth of a track with oblique lyrics which really suit the subject matter. This track speaks of a magician who hides the meaning behind the reveals so that the truth is meant to be unfathomable. The listener never really hears the hidden knowledge, implying that it is a drug trip or an interventional dimensional breakthrough. Which, of course, in itself hides what it is trying to say. Again, another fabulously diverse and rewarding track.

The final track, Singularity, is the title track to the album and, after the convoluted The Magician, this could be a gentle comedown or a return to the real world. It certainly is a far gentler track, free from the bombast that has been evident on the album this far. It has touches of Devils Will Reign, which adds emphasis to the song. Containing lots of ambient noises, including birdsong, it is a stunning finale to what has been a sensational and awesome set of songs. The musicianship throughout has been impressive and Rain certainly prove to be a significant new band with much promise for the future, once the virus is kicked into touch.

The album is well produced and sounds very impressive and, even as a late comer in the year, it still is impressive enough for me to rate it as one of my top twelve for 2020. This release is one that any fan of progressive rock (or who likes either Frost* or IQ) would enjoy and find much in it to admire and appreciate. 

Released 23rd November 2020

Order from the band’s bandcamp page here:

https://rainprogband.bandcamp.com/album/singularity