Tag: John Wenlock-Smith

Review – The Wood Demons – Angels Of Peckham Rye – by John Wenlock-Smith

I first came across this rather interesting and somewhat unusual sounding band very recently when they supported the Hats Off Gentlemen It’s Adequate chaps at their album launch for the splendid ‘Light Of Ancient Mistakes’ in that there London, my first time in “The Smoke” for several years, well March 2021 to be precise. I had not heard anything by The Wood Demons anywhere and, despite seeing their name in various gig promotions, I knew nothing about them,

Well, I saw and enjoyed their brief set, several songs from which appear on this great album. These includ the album’s title track Angels Of Peckham Rye, Arithmomania and All Heaven’s Breaking Loose, to name just three, although they might have also played The Odd Particle, come to think of it.

Their sound is rather different, mixing in styles of progressive rock, psychedelia,  folk and even ambient and classical touches. Their line up consists of Rick Startin (keys, guitar, vocals), John Silver (bass), Simon Carbery (lead vocals, guitar), Ed Kontargyris (drums) and they also have a secret weapon in the lush and enticing violin of Naomi Belshaw. The album is a very satisfying listen but, for me, it’s the elegant violin parts that add the icing to a very tasty cake. In places I was reminded of Caravan as Simon Carbery has a similar vocal style to Pye Hastings and several of the tracks are in a ‘Caravan’ type sound.

Opener Arithmomania certainly made my ears prick up with stylish arpeggio guitar and clever juxtaposition of lyrics and how we can count numbers to show the scope of the world and help us define it but also not just reducing it to a series of measurements. This song reveals a sense of wonder in our world and will hook you in as it is a terrific opening track and one that shows what The Wood Demons are all about. It distils their craft into one decent length track that is blessed with that sublime violin. I’m waxing lyrically as this track has rapidly become one of the best things I’ve heard in ages, believe me when I say that, in a year full of exciting and often excellent music, this one stands out and confirms just how good a track this really is, utterly compelling. The Odd Particle is a busy instrumental that allows John Silver’s classy bass to lead us on a merry saunter whilst Naomi struts her stuff with superb pizzicato playing and plucking and Simon lays down some great guitar tones. It’s a shorter piece, very atmospheric and almost cinematic wide-screen in sound and has the whole band blending together in a glorious melding to create a really worthy piece of music.

This is in turn followed by the equally as memorable Big Game Fishing, which is simply a gorgeous song with a gentle but very sweet acoustic guitar part and earnest yet warm vocals. This is very folk like and almost like a sea shanty in parts although when the mellotron kicks in with its lush sound, you can tell this is actually a rather more intricate track. There are great harmonies in this song too and some great understated and dexterous bass playing on offer from John. Of course Naomi’s lovely violin swoops and soars throughout making it all very splendid indeed. Starstruck is a very fine song too and one that works well, it’s harder sounding with the guitars very much to the fore here, they have a real crunch and bite to them. This song is chock full of chunky, chugging riffs and excellent dynamics and it also has a somewhat discordant guitar break, which works especially well with the sax of Michael Wilkins to make a really great sounding track. This is in part powered by more fine bass work before the song enters a more gentle section with keyboard effects and chiming guitar arpeggios and fingerpicking. It’s all very pastoral and in complete contrast to how the track began, unsurprisingly the momentum gathers pace again and the whole band sound urgent as they return to the harder sound once again. This is very impressive and dynamic and a fabulous track ends on sustained guitar riffs.

Angels Of Peckham Rye is inspired by the story of poet William Blake who, aged 8, saw visions of angels in an oak tree in Peckham Rye. Blake also wrote the classic Jerusalem, as made famous by Emerson, Lake and Palmer on their ‘Brain Salad Surgery’ album and also Tyger Tyger Burning Bright, which was covered by Tangerine Dream for their ‘Tyger’ album in the 1980’s. This track is really rather good too, mixing eastern sounding violin lines into the overall sound to create some epic sounds and a riff not dissimilar to Rainbow’s Gates Of Babylon. It is all very impressive sounding and yet another excellent track. This leads into the album’s final track, All Heaven’s Breaking Loose, which is hinged on busy bass and guitar riffs, above all of which there is a soaring violin. This song is actually very energetic and there is a lot going on, with everyone seemingly doing their own thing but, somehow, it all seems to work and the track impresses greatly. There’s an excellent guitar solo from Simon, whose playing here is very effective and eloquently delivered and it ends the song, and indeed the album, in style.

At the live gig, the band also showcased a couple of new tracks that will, hopefully, appear on their next album but, for now, this will do very nicely. ‘Angels Of Peckham Rye’ is truly a splendid, interesting and engaging listen and one that you will want to return to frequently, I know I will. I do recommend this band and album to you, it’s worth it to hear that great violin!

Released 4th December, 2020.

Order from bandcamp here:

Angels Of Peckham Rye (album) | The Wood Demons (bandcamp.com)

Interview with John Lodge – by John Wenlock-Smith

Picture by Frank Piercy

JWS: Hello John, it’s John from Progradar here.

JL: Hello John.

JWS: How are you?

JL: I’m fine thanks and you?

JWS: Yes I’m fine as well, let’s talk about your new album (‘Days of Future Passed – My Sojourn’). I’ve heard it and I think it’s great, a bold reimagining off a truly classic album, reworked for the modern times.

JL: Thank you very much, I tried to stay true to the emotion of ‘Days of Future Passed’ but with a twist for 2023. Hopefully people can relate to it, especially the younger fans. Hopefully they will wonder what the original version was like.

JWS: Well, I went back to the original and compared the two versions. I really enjoyed going back and hearing it again but I also liked the new version as well. I especially liked the way your bass was more prominent.

JL: When we made the original, we recorded it with two four-track machines. Now, of course, we have far more technology available to use so we were able to get the sound we’d originally envisaged for it. We were able to give the sound for the bass more room and, indeed, all the instruments were given more space, their own space.

JWS: Well I think it’s worked well, it’s a great idea. You’ve not just taken an album, you’ve not merely replicated it, you’ve reimagined it and made it sound more modern and contemporary.

JL: Well that was what I was hoping for, I’m glad you like it.

JWS: I also like that you have Jon Davison of Yes singing Tuesday Afternoon on the new version, I think he sounds really great.

JL: John is a good guy, a great singer writer and a great guy as well. I know him from 2017 and the Royal Affair tour I did with Yes and Asia where I joined them for an encore of John Lennon’s Imagine. Jon joined me for a version of Ride My See Saw, which Jon has done on several occasions very memorably.

JWS: I also liked that you managed to get Graeme Edge involved with his poetry,

JL: Yes I asked Graeme if he be willing to be involved and he said that he’d love to as he’d never read his own poetry before. So Graeme and I went into the studio in Florida where he recorded his poetry, sadly he passed the next week, so he never got to hear the finished recording. but at least I was with him near the end.

JWS: You were big friends with Ray Thomas as well?

JL: Yes I first met Ray when I was 15 and we’ve worked together ever since. I do a song in his memory in my show, Legend of a Mind, in his honour. He was a remarkable man really, I miss him dreadfully .

JWS: It’s good that you uphold their memory in such a manner.

JL: Well I want keep these songs alive otherwise they will fade away! They don’t get played much, unless it’s in a medley, and they deserve more than that really.

JWS: Well I have both of Ray’s albums, and both of Graeme’s, on my shelf. I was listening to some of your back catalogue recently, including a set on the ‘Timeless Flight’ boxset of the ‘Blue Jays’, live from Lancaster University. You had the Trapeze boys with you on that show.

JL: Yes, Dave Holland, Terry Rowley and Mel Galley, fabulous chaps one and all! I produced their ‘Medusa’ album, they were a great band.

JWS: Listening to your albums, as I have been doing over the past few days, has given me a fresh appreciation for just how ground-breaking you were as a band. The music on those first six albums was beautifully crafted, intelligent and well thought out. I think people simply failed to recognise that beauty.

JL: I’m glad you said that because I feel that way as well. People tend to overlook that, I don’t think the media ever gave us a fair chance really but we were pushing the boundaries of where music was.

JWS: I used to love the sleeve artwork as they told the story as well, with their imagery and artwork supporting the music in a complementary manner.

JL: Well that’s what I’m so glad that vinyl is making a comeback. This new album is being released on vinyl in November, I’ve just had the masters from Germany, and it sounds great.

JWS: I think kids today miss the sheer joy of trawling through crates of vinyl, discovering stuff for themselves.

JL: That’s the issue I have with streaming, they dictate what you hear so, say Lennon’s Imagine, you only get to hear certain songs and omit songs like Jealous Guy.

JWS: Well John, my time has gone so I’d better let you go, but thank you for talking with me about things, I really enjoyed it and appreciate your tim.

JL: Well, thank you as well John, I’ve enjoyed talking with you too.

‘Days of Future Passed – My Sojourn’ was released 22nd September, 2023.

Order the album here:

John Lodge – Days of Future Passed – My Sojourn (slinky.to)

Review – Z Machine – Merging Worlds by John Wenlock-Smith

I came across Z Machine, who hail from South Wales, via Facebook when they reached out for someone to listen to their music and I was very pleased to assist them with this. ‘Merging Worlds’ is a mixture of jazz fusion with some metallic edges and it also mixes in natural sounds to create something rather unique in its own way. The Band have a great sound and the use of Rob Harrison’s sax really works in their favour, as does having a drummer, Lester Greenhalgh, who is steeped in jazz which gives a lightness of touch, the high degree of talent and flair is also excellent. There are also two excellent guitarists in Gareth Piper and Owen Rosser who add significantly to the dense textures with some great licks and fills in the songs.

My initial thoughts were of Mel Collins work with King Crimson as the sound is heavy and dense with lots of room for the sax and flute to shine. Bassist Kristian Rees holds things down very tightly, his rumbling bass being another good fit to these songs. Well I say songs but they are all instrumental tracks, the album has six full tracks and six connecting pieces that act as a bridges between the tracks. This approach works especially effectively for the group and the use of natural and industrial sounds makes this a most interesting project and a very good listen too.

The album begins with Introduction – Amphibiospaien, the sound of birds and elephants, and what sounds like sirens but probably isn’t. This leads into Bonus Eruptus with a heavy riff and strong horns and drumming that powers the track along. There is also good interplay between the guitars and sax to create a most effective wall of sound with some great guitar fills. It’s all very musical and very Crimsonesque in parts and an excellent statement of intent from the band. This leads into the sequence track Interlude – Thunder in Paradise, which features thunder and percussion embellishments in a short piece. Big Old Hen is, again, very sax heavy with interjections by the guitars as the sax of wails most impressively. There are great dynamics at play here and also some great guitar flourishes and squeals that sound really impressive. This track, although short, has a lot going on throughout its seven minutes running time including a great guitar solo from Owen Rosser in which he channels his inner Mahavishnu as Rob Harrison adds supporting sax tones, another winner.

Interlude – Saltwash is next and this has radio chatter, electronica and what sounds like computer game noises before urgent drums lead in Myrtle the Turtle, Rob’s heavy sax playing a complicated syncopated riff, along with guitar fills. Thereafter aa short bass solo from Kristian takes the track into more heavy guitar licks and riffing as, again, the syncopated riff is repeated as drums crash all around the music with the guitarists peppering the riffs with tidy little fills and flourishes to sound really strong. It’s blistering and spirited and a really excellent track. Interlude – Whalespice Subdepth has ocean sounds along with train noises and then whale song and that leads us into Spacewalk with Kristian’s walking bassline accompanied by Robs Sax. There are yet more guitar embellishments courtesy of Gareth and Owen, who are both driving this track forward with drummer Lester Greenhalgh providing solid percussive support and drive. The middle part has a less urgent section where the band lesssen off and let the sax play languidly in places before regathering the tempo and moving forwards once again. I really like the interplay that is present in this track.

Interlude – Coyote Dusk features dogs barking and other night-time noises before Joining the Q opens with more solid bass work from Kristian. This shorter track has another great sax part from and more stylish guitar lines from Gareth and Owen, who follow the Sax melody with chiming arpeggios and harmonics. A short drum break from Lester then takes centre stage, eclipsed by the great fluid and lyrical guitar lines of Owen and Gareth who bring the track to a grand finale. Interlude – Driftscene has guitar tones and synths playing over forest noises before final track Synoceratus opens with a great flute over a quick bassline and guitars that are wailing in a most agreeable manner and tone. This piece burns like a Brand X outtake, it is most agreeable and satisfying to hear this degree of enthusiasm and dynamics being presented here. This is probably my favourite track of the entire album and really impresses, it’s a very good ending to what is a really strong album.

If you like the brassy strains of King Crimson this one might very well be for you. It is brilliant and incredibly interesting jazz  fusion for the modern age, I highly recommend this wonderful album.

Released 30th September, 2023.

Order from bandcamp here:

Merging Worlds | Z Machine (bandcamp.com)

Nick Fletcher Interview with John Wenlock-Smith

I took the opportunity to talk with the ever affable, Huddersfield based, guitarist about his forthcoming new album release ‘Quadrivium’.

JWS: Good afternoon Nick, how are you doing?

NF: I’m doing very well thank you!

JWS: So let’s talk ‘Quadrivium’, What’s it all about Nick?

NF: Well the album which is fully instrumental with no vocals this time (due in part to be unable to locate vocalists who could sound right for the albums themes), it’s based upon Plato’s four noble arts, Mathematics, Astronomy, Geometry and Music. This album, ‘Quadrivium’, links three of those; Astronomy, Mathematics and Geometry, under the overall one of music, as the whole album is, in effect, music. It may be a lofty concept yet I feel it is a valid one.

JWS: It is definitely an interesting one and I found it interesting that drummer Anika Nilles hardly appears on the opening track and then her presence is strongly felt thereafter.

NF: Yes, that was a deliberate decision to ease her in gently, I think it works?

JWS: Yes, I agree, how did that tie up come about?

NF: It’s a long story so I’ll give you a shortened version of it, I was going the see Jeff Beck but the tour got cancelled because of the pandemic. It was rescheduled, which also got subsequently cancelled as well. When it was rescheduled once again, I couldn’t get a ticket, however, a friend of mine told me I’ve got tickets but we can’t go, do you want them for half price?

Well, I almost bit his hand off to get them, this was in May 2022 and when the band came onstage I was surprised to see that Vinnie Colaiuta was not amongst them, instead this young girl was on drums. I thought, what!? As I really like Vinnie as a drummer but, with the first songs, I could see why see was there (those first songs were Rumble and Isolation, the latter with Johnny Depp on guitar).

After the concert I looked her up online and got in touch to see if she would play on my next album. I heard nothing for a while and I thought she’s probably busy or not interested, so forgot about it. Then, out of the blue, I got an email saying “Hi Nick, sorry for the delay in replying but I was checking you out and, yes I would love to play on your album.”

I was gobsmacked I can say, so we talked and shared the music and Anika did her parts in Germany where she is based (in Berlin) and the results can be heard on the album. Anika has all the skills I was after, she can go from a whisper to a scream within the same track, she is a percussive powerhouse. I am very proud of the parts she played for this album, she is a phenomenal talent and I am proud to introduce her to the world on this album.

JWS: She is joined by some familiar names like Dave Bainbridge and Tim Harries, Along with your regular collaborator Caroline Bonnett who, along with being the producer, also provides keyboards.

NF: Yes, I’ve known Dave since we were both 19 and Caroline from my earlier career as a session musician for mainly Christian music artists like Dave Bilbrough and Martin Joseph, amongst others.

That Jeff Beck concert was fantastic, Jeff was a totally unique player with his own identifiable sound and style, he was a master of his art and it almost made me want to give up playing as he was so good!

JWS: I saw Jeff in Birmingham in 1982, his concert was like a guitar masterclass really, totally remarkable. He’s start a solo and something new would come out of it or that’s how it seemed to me. So, on to the new album then…

NF: Yes, well it begins with a track that is referenced in the last track of my previous album, ‘The Cloud Of Unknowing’ and the latter part of that album’s last track The Paradox Part 2, which is reprised on this album in the opening track, A Wave On The Ocean Of Eternity. In addition, The Fifth Parallel uses repeated harmonics within the track.

The album takes you on a journey through life to death, from the earth to the outskirts if the solar system. It is a journey best undertaken in a single setting so that various soundscapes can be fully heard and appreciated fully. You will find all of the styles I employ, fast, emotive, soft and heavy, although you won’t hear any whammy bar effects as I don’t use those, nor do I use any tapping techniques. I feel that this lick is a trademark of mine, it hopefully marks me as being different and yet still, hopefully, I remain interesting to listen to.

The album changes moods often within the same track and my collaborators have made this album a worthwhile listening experience.

JWS: I’d have to agree, it’s a wonderful release and one of the albums of the year, many thanks for talking to me and all the best.

NF: Thank you John, I much appreciate the comments, look after yourself.

‘Quadrivium’ was release don 15/9/23 and you can order direct from Nick’s website here:

ONLINE STORE | Nick Fletcher Guitar (nickfletcherguitarmusic.com)

Review – Nick Fletcher – Quadrivium – by John Wenlock-Smith

‘Quadrivium’ is the latest solo release from Sheffield based, highly acclaimed guitarist, Nick Fletcher who, as anyone who has seen him can testify, is a very accomplished player who can not only shred with the best of them but is also a player of taste and style. So, it is with little wonder that even Steve Hackett regards him very highly, possibly sensing a kindred spirit and, finding in Nick, a musician who strives to be the best he can be, whatever the situation in which he is found.

Well this album is particularly fine, it is entirely instrumental and it is very fusion focused. Within its tracks you can find many references and nods to those gods of fusion, from Al Di Meola, Alan Holdsworth, Pat Metheny and, of course, Jeff Beck, to point out the obvious ones. There are also a whole slew of others that Nick has drawn upon in his style and playing and this is all put together perfectly into a melting pot with this album emerging as the result. This release is a musical journey that demands listening to as a whole, you need to clear fifty-five minutes in your schedule and settle down to enjoy this masterful slice of fusion pie. It is also an album that uses lots of atmosphere and nuances to punctuate is dreamy sound, in between the bluster there are gentle moments of almost serenity occurring, this gives the album an even pace and allows individual contribution to shine, like the excellent bass work of Tim Harries who is there at every turn, propelling or  pushing the bear along as needed. His sympathetic playing adds greatly to the overall dynamics and sound, he also provides a solid platform for Nick’s fiery guitar flights of expression and frees him to really soar,

This is fusion for today with nods to the past but generally forging ahead in new directions and pathways, it is extremely musically strong and focused. I doubt if you will hear another fusion album that burns this hot, it is almost incendiary such is the firepower contained within its grooves, this is blistering in its intensity and depth of vision. Now, if fusion doesn’t usually grab you then, don’t worry as this is more than just fusion, it has great rock sections as well and some truly jaw dropping guitar playing, enough to make you sit up and even to put away your own guitar in envy. The album has eleven tracks ranging from the very brief Ziggurat Of Dreams Parts One & Two to the longer tracks like Aphelion and The Journey To Varanasi, the songs changing in style, often within the same track.

Nick is aided by several of his good friends like Dave Bainbridge and the aforementioned Tim Harries, who provide excellent keyboard and bass support. On the drums Nick has enlisted Anika Nilles (who was previously in Jeff Beck’s last band and is also a drum teacher and has her own band as well). She is very much an up and coming fusion star in the making and adds strong syncopation and delicacy along with the powerhouse drive as required. Anika is like a young Billy Cobham in style at times, in short, she is a truly exceptional talent and really makes her mark here.

The album has a theme as Nick is very interested in philosophy and especially the works of the Greek masters, Plato, Aristotle and the like. This record is based on Plato’s four noble arts, these being mathematics, geometry, music and astronomy.  Well, the music relates to either mathematics, geometry or astronomy and the whole album is music, the fun is spotting which track relates to which! There  is a lot of fun to be had by doing that, so I won’t actually tell you and leave you to find out for yourself but look at the track titles for clues. The use of Google might be of use in this task, at least you will learn something new in the process.

I always feel that, for me personally, knowing and understanding the background to a music piece aids my enjoyment and enriches it significantly. Not for nothing is the maxim that knowledge is power quoted. However, don’t let the concepts behind the music stop you from listening to this extremely masterfully delivered release, instead let knowledge lead you onwards in your journey from the inner soul to the edges of the universe, life and beyond, onwards into eternity. A very entertaining and illuminating concept for certain but also a very worthy one for our modern age.

There are so many highlights on this album from the gentle introduction of A Wave On The Ocean Of Eternity that had me in mind of Beck’s The Final Peace, with its emotive guitar lines. The Indian styled The Journey To Varanasi has some very heavy guitar parts featured prominently, in all it is a very rewarding listen and does bear repeated listening thereafter as it has many depths to be uncovered as you absorb the music fully. I also appreciate that this album ends as it begins, delicately as the circle is completed.

This album is really rather a revelation in sound as it sounds absolutely gorgeous and is extremely well recorded and produced, with a full and clear production that allows room for everything to be clearly heard. There is excellent definition with good separation between the instruments, alongside which you have really great sympathetic and skilled performances from everyone that all combines to make this an astonishing musical accomplishment. Kudos must also be given to Nicks co-producer Caroline Bonnett who aids him in this crafting so diligently and adds some fine keyboard work too.

‘Quadrivium’ is an absolute stormer of an album, most impressive and very highly recommended and is my fusion album of the year so far. There is so much to discover, to embrace and to enjoy in this mighty fine stew.

Released 15th September, 2023.

Order the album from the artist’s website here:

ONLINE STORE | Nick Fletcher Guitar (nickfletcherguitarmusic.com)

John Wenlock-Smith Interviews Steve Hackett

JWS: Good morning Steve, how are you?

SH: Morning John, yes I am good, thank you.

JWS: You’ve just come back from South America haven’t you?

SH: Yes, we’ve done three weeks over there and spent the last week back here recording. In fact, I’m putting the finishing touches to a new album this very day.

JWS: What is that going to be?

SH: It is a new rock album.

JWS: So any nice long tracks for me to enjoy on this?

SH: Well I am trying to link it all together so it’s a continuous journey. I was actually talking to Jo about that earlier, about how much space do we leave between things. There a short guitar instrumental that I think my mother will like, it’s only short but it has the trill of the guitar that makes it exciting, There was a guy I was playing with in South America called Luis Fernandes and his band Genetics, I’d call him a jazz rocker really, we were trading solos, it was a lot of fun.

I was playing with my Fernandes (guitar), I have two of them, one was Gary Moore’s but I think mine is actually sounding better than his at the moment. These things change as guitars sound different every day. It’s very strange how it changes from day to day and, you know, I can tell the difference. Others say it sounds like it normally does but I can tell when it’s responding differently, some times its the electricity but other times it something else but I can tell.

I’ve just had to get my Iron Man pedal refined, it had stopped working, so I’ve had it rebuilt. It’s actually more of a treble booster that gives you a bit of an edge to your sound and it’s all good now after failing in South America.

JWS: So I’ve heard the new ‘Foxtrot at 50’ live album, I have to say it sounds really good, very clear sounding with good clarity to the vocals too.

SH: Well that’s because we had it mixed by Chris ‘Lord-Alge’ to get that clarity of sound. I’ve not heard the Blu-Ray of the concert yet though, I’ve seen it but not heard it properly. That’s all up in Norfolk at the moment but I’m expecting it to sound equally as good though.

JWS: We saw that tour in Buxton at the Opera House and we thoroughly enjoyed it, especially as it is such a great little venue, very old and very intimate.

SH: Yes that is a great venue, as is Holmfirth in Yorkshire, where they filmed ‘Last Of The  Summer Wine’. That is similar to Buxton, plus Buxton is easy for my brother John to join us as he lives in Sheffield.

JWS: I think John was with you when we saw you.

SH: Possibly, I am very pleased for how things are working out so well for him at the moment, his band, The John Hackett Band, are getting more recognition and getting good reviews, he deserves it and they are an excellent band musically too.

JWS: Actually my wife and I got married in part because of you.

SH: Really, why’s that?

JWS: When we first met we were talking and she asked what I did in my free time and I said I write music reviews and do interviews. Then I told her that I had spoken to you and she said the exact words my brother had said, “Steve Hackett from Genesis rang you!”

Then, when you did the first Genesis Revisited 2 shows in Manchester, we came along and she was overwhelmed by it all. She was very emotional, especially for Firth of Fifth, and the guitar solo reduced her to tears of happiness and joy, it was such an emotional time for her, she really enjoyed it so much.

SH: See, my mother says that I think the guitar solo does that to her, it seems to get to people, it’s a lovely melody to play as it sounds a little bit like Erik Satie. Of course, Tony Banks wrote it on piano and it has a kind of eastern melody a million miles away from what it sounds like on the guitar. It’s almost like an adagio where the guitar functions like a voice, it takes me back to my Quiet World days.

That solo seems to do things to people so a german, two French people an English guitarist and an English man came up with the whole thing. When I play that solo I feel quite secure in knowing that it’s a really good piece of music. With a nod to Bach and Erik Satie and even Ravel in the piano solo!

JWS: Anyway Steve, I think my time has gone so I’ll say thank you for your time, we’ll speak again soon I hope, keep well.

SH: Yes thanks John, you too, au-revoir for now.

Review – Tiger Moth Tales – The Turning Of The World – by John Wenlock-Smith

This October sees the release of this latest album from Tiger Moth Tales which is, of course, the moniker under which multi-instrumentalist Peter Jones operates and releases his own music. Peter is a highly respected and regarded musician who also fronts Red Bazar as keyboardist and vocalist while also doing the same for Cyan and, more recently, Camel. He is also a member of Francis Dunnery’s It Bites and, in addition, Peter also has a dedicated following and has performed several Mothster parties as warm ups to Big Big Train shows (usually in London at venues near to where the BBT shows are taking place.)

All this is pretty remarkable, especially when you consider that Peter is totally blind and yet still strives to create new music, usually labouring by multi-tracking and mixing using an old 8-track recorder. His music really is a labour of love for him, it must take him a long time to get the sounds he envisages in his mind on tape when recording, but this he does and then shares these fruits of his labours with the world.

‘The Turning Of The World’ follows a different tack to earlier Tiger Moth Tales‘ albums in that it was composed mostly on acoustic guitar and, whilst this lends a softer tone to proceedings, it is abundantly clear who it is performing this music such is the uniqueness of Peter’s voice and the sound is easily recognisable as  a Tiger Moth Tales release.  

For this album Peter is in a fairly upbeat mood and it is clear that Peter, once again, is in a happy place and this comes across in the more personal, and even intimate, songs about friendships, family, love and life, several of which are autobiographical in their lyrics.

Proceedings commences with a short scene-setting instrumental, The Getaway, that  represents the madness, discord and overall business of the modern world in which we live in a post-covid age. The album’s first proper song, per se, is The Turning Of The World which concerns itself with Peter’s fear that, with the world being in the state it is, revolution is on the cards, although whether Peter’s fears are justified or merely baseless is as yet unknown. Peter is concerned about how a victory would look and how its winners would behave, this song makes good use of a melodica to make the song sound plaintive. This is in complete contrast, in terms of emotions, to So Wonderful To Be Alive, which is a composite of childhood memories that Peter holds dear. This song name-checks his grandparents fondly and the adventures they shared together, it also talks of Peter’s teenage years. The track is hinged on a fine acoustic riff, played with the style and progresses onto Peter’s memories of a very happy wedding day with his wife, Kimberly. He sings with real love, gratitude and fondness for her presence in his life. This is followed by the albums longest track, The Snail, The Horse And The River, which concerns itself with using nature to look at how you are feeling. This is possibly mindfulness in practice as Peter says it represents three instances where looking at nature really helped his mood. The first was as a child when a beloved pet had died and Peter felt a Snail moving beneath his fingers helped him to be able to move onward. The second was an interaction with a horse. Peter has a timbre that has tones of Peter Gabriel, his voice is rich, warm, gentle and mellow, it is quite remarkable in fact, there is also good use of a zither alongside the melodica.

Try is about perseverance, resilience or, as we used to call it, gumption! The ability to keep trying and carry carrying on with something, this is a clarion call to keep trying and is a lesson we can all learn from, I think! We’ll Remember is a song that is written about the unexpected and sudden death of David Longdon of Big Big Train with whom Peter recorded a version of Spectral Morning that was recorded in 2015 in aid of The Parkinson’s Society. When the sad news of David’s death was announced, Peter wrote this song in response and, to help him work out his emotions, he bought in Rob Reed and Christina Booth of Magenta to assist him in this touching tribute. Pass It On has another taste of the smooth sound and is again based of his memories of people who have passed on. This song mentions some of those folk, and how we should pass on the kindnesses we have received to others. The Good People Of Munchwald recalls the positive memories that Peter has of a house concert that he was invited to play at in Muchwald in Germany and the friends he made and excellent hospitality that he and his wife received whilst there.

You reached for My Hand is a very personal song, one that details the time that Peter’s father was in hospital and held his hand for support. Thankfully his father made a full recovery but this tender song recounts that time. The Lock Keeper is  ostentatiously about a lock keeper but, in actuality, it is about The March Of Progress and how, in that quest, skills are being lost, never to be replaced and how this, in effect, can make the world a poorer place as a result. It’s very interesting and realistic song that really makes good use of that softer toned. The track has a lively sax and melodica section to it but, for me the song doesn’t really go anywhere special. This is definitely not the case with the last song of the album, All I Need Today, which begins with open guitar chords and sounds not unlike Genesis’ more acoustic moments. The track has underlying keyboards and what sounds like a clarinet but is actually the returning melodica playing and makes for a very full sound. It is a warm song and Peter expresses how his wife and marriage help him to realise the good things he has in his life, in part because of her presence. It is a positive and touching note on which the album concludes.

This is a very different type of Tiger Moth Tales‘ album but its deep subject matter and its thoughtful words and sentiments are actually very worthy and act as a good counterpoint to the downbeat ‘Whispering Of The Wind’ of 2020. Whilst this album has some darker songs there is a prevailing sense of gratitude and warmth within and around these songs, which are a bit more direct emotionally.

It is good to hear Peter singing these songs as, from the heart, this emotionally direct approach pays rich dividends here indeed. I’m pretty sure that Peter’s next album will see him return to the style we have come to know and love but for now he asks us to embrace this different and yet deeply compelling album. Different? Yes, Enjoyable still? Definitely! Embrace it now, I think you will enjoy it if you do.

Released 6th October, 2023.

Pre-order the album from White Knight Records here:

Tiger Moth Tales (whiteknightshop2.co.uk)

Review – Psychoyogi – Brand New Face – by John Wenlock-Smith

Psychoyogi are a band who hail from London and who describe themselves as ‘left field, punk jazz’ and their music as being a diverse mixture of instrumental colours, melodies and words. Their songs offer current social and political critique alongside personal moments, which is a way of saying that they are a little different and, possibly, an acquired taste for many. I personally like them a lot but I can understand why some would struggle to get the drift.

In Chris Ramsing they have a talented and imaginative guitarist and vocalist who has a different view of the modern world and feels strongly that persons who upset the apple cart should be held accountable. One thing that will definitely assist in getting to the heart of this album are the very clever and intelligent lyrics for the songs which can be found on the band’s website:

PsychoYogi Leftfield punk jazz

So, what this latest album all about? First, the details, ten tracks in total and an approximate forty-two minute duration. The five band members are Chris Ramsing (Guitar and Vocal), Izzy Stylish (Bass), Justin Casey (Drums) , Toby Nowell (Sax and Trumpet), Ben Woodbine- Craft (Violin) and there is a guest, Tim Smart from The Specials who provides trombone, all of which makes for a great sounding album.

The album opens with Destitution, which is about the gulf between the have and the have not’s, i.e. the rich and the poor. In the lyrics there is the call for a redress of the balance, which isn’t on the cards for the foreseeable future but at least the opinion is clearly stated here. Musically this song fuses Zappa-ish guitar along with trumpet and violin to create a pleasing soundscape. In fact, the interaction between the brass and the strings is very fine indeed, a different but pleasing sound that lends itself well to the music being played. I am reminded of 80’s jazz outfit Working Week who took a similar musical approach. Arts and Farces is about creating art and the issues that raises in being true to yourself. Again the brass is sympathetic and supportive and makes for a lovely track. The Process opens with a languid and sneaking guitar line, which is supplemented by that excellent brass section once again. Even I can find the music of Psychoyogi challenging at times but I am also very aware of its ability to stay in your mind for days, usually it’s a little melody of line that achieves this effect. The track itself is about the relentless onslaught of change that is all around us. Whether we like it or not, we are all caught up in the endless march onward, all in the name of progress There is a great section where the use of percussion interludes marry up with the guitar to create some moments of almost peace and serenity before everything gallops forwards once more, a most interesting song indeed.

A Happier Song actually isn’t that happy at all, rather it, once again, points out the disparity in today’s society. It’s a common theme for Psychoyogi and makes their music that rare beast, intelligent but also unafraid to challenge and question, which I feel adds to its validity. Hence the left field punk tag, as wasn’t that what the punks were trying to do in the late 70’s? We then have The Chase, nothing to do with the quiz show but rather more of an instrumental that allows the violin to perform a longer part and take centre stage There are parts that almost sound like a Celtic jig with brass interjections playing in harmony. The drums are mostly using deft touches and brushes rather than powering ahead, this is a very welcome change and allows the musicians to really showcase their imagination imagination and skills. All this make this the album’s standout track thus far for me as it is very musical with great performances from all parties. The album’s title track, Brand New Face, has interesting and questioning lyrics, there is a lovely trumpet part that leads to a brief flurry of Chris’ guitar, a real flight of fancy. There is also a brilliant recurring guitar motif the underpins the track and makes it yet another impressive song that definitely gets the thumbs up from me.

We are then on the final stretch home for the album with Opportunity, Everything Before and Open Season. These three songs continue the questioning and challenging nature of the band again to good effect, showing that Psychoyogi’s music is never less than interesting, difficult, uneasy listening for sure, but still wholly worthwhile. The final track, Find Peace Within, is superb, again brass heavy but not overpowered. It has a slinkiness to it that greatly appeals. This song is about coping with modern life and urges us to find peace within when all around us is tumultuous, again worthy sentiments for sure but, possibly not always within our grasp!

My verdict on this very clever release is, if you like quirky, intelligent and questioning music then this new Psychoyogi album might just be your thing. I liked it for sure, especially the fabulous interaction between the guitar, violin, trombone and trumpet that all meld into a truly glorious sound.

Released September 29, 2023.

Order from bandcamp here:

Brand New Face | PsychoYogi (bandcamp.com)

Review – Duncan Parsons – I’m Here, All Weak – by John Wenlock-Smith

I don’t know how these musicians manage to do all this, Duncan Parsons is not only the drummer for the John Hackett Band, he is also the bass player for author Joanne Harris‘ Storytime project, along with which he is a composer of his own musical journey bridging progressive music and mixing it up with elements of jazz, funk, ambient and whatever else takes his fancy! All that is before his main work role of software development for GForce Software where he recreates classic analogue keyboards for the digital age, specialising in Mellotrons and String Machines, quite an impressive C.V. really!

In the midst of this activity he has self released six solo albums, mainly via bandcamp. This new release is actually a compilation of those albums and it is an eclectic selection of music ranging from story song Ladybird through to the flute led J: Oi!, which features both the Hackett brothers, John and Steve, along with Nick Fletcher and Gary Boyle and a spoken piece from Bill Bruford, a grand collection of prog luminaries gathered in one glorious piece of music.

F: lower is another imaginative track in which Pink Floyd tones meet Canterbury whimsy and it all ends with John Hackett and Nick Fletcher doing what they do so well, I just wish it were much longer! Furry Leaves will most probably make you smile with its simple well known melody(Fleur De Lis) being developed well, with some fiery guitar from Nick Fletcher really hitting the mark and the more you hear J: Oi!, the more you realise how excellent a track it is. Lavender Rose is also an interesting track, mixing funk and progressive in a new style but all done with taste and aplomb. The Last Mango In Powys takes an approach of mixing ambient electro-folk, like the Penguin Cafe Orchestra, in space to create something both minimalist and also rewarding at the same time.

Variety is definitely the space of life for Duncan on this collection, his voice may be an acquired taste for some (not to me, I love it) but his imagination and how he applies it to this music is certainly not in question. He is truly progressive in his approach and thinking and whilst this doesn’t always make this a straightforward easy listening experience, it is one that will refresh parts that other prog musicians daren’t venture to explore, which I think validates the bravery Duncan exhibits so well. He is not afraid to try new things and new ways of working. I personally feel his way of approaching and applying his musical vision bears great fruit, the performances are good and the guests all contribute worthwhile ideas in their parts and, overall, make this 17 track album a highly interesting and very well realised set of songs.

This Day benefits from the sultry clarinet of John Helliwell, whose touch is delicate, profound and captivating, all at the same time. This track is an edit from his album ‘On Earth As It Is’. Also worthy of note is the almost mariachi style of Gonville, with Raul D’Oliveria’s trumpet leading the way over a sumptuous background of bass and synth sounds, all very sprightly and impressive sounding. Duncan’s willingness to reinvent during this album is very refreshing and appealing, he is one that likes to reimagine and re-envision his own music, thus retaining its freshness for him. This is very laudable and few would be so bold and for this we should applaud him and recognise his efforts to this end.

I for one find this release one that will given space in your music collection with very rich dividends indeed. I admire its balance of thoughtfully considered songs and its sympathetic use of guest musicians, whose touch greatly enhances these efforts of Duncan’s. The booklet is informative and gives a fine insight into what the music is about. I think that all this makes this a very worthwhile listen and I commend it and, indeed, all of Duncan’s music to you as you find within it all a plethora of wonder and imagination. It’s a collection very fine music indeed, everything from folk to funk, via jazz, ambient and even classical. Minimalist ideas abound and there is truly something for every taste, so why not check it out for yourself? You might thank me for the recommendation!

Released 6th October, 2023.

Order from bandcamp here:

I’m Here, All Weak | Duncan Parsons (bandcamp.com)

Review – Steve Anderson – Journeyman’s Progress Part One – by John Wenlock-Smith

Steve Anderson is one of the founding members of The Room and is also a part of Grey Lady Down and Sphere3, ‘Journeyman’s Progress Part One’ is his first solo album and explores his musical ideas from a completely blank canvas. This release is naturally guitar focused with the instrument taking centre stage but Steve also provides good bass work and keyboard support throughout the whole eleven tracks, which range from acoustic sketches and interludes through to the epic title track.

It all begins with a brief acoustic moment, Solus, which is swiftly followed by Coda which introduces Steve’s electric guitar lines as they slot over a delicate keyboard sound. This is a very melodious sounding track with a strong organ sound that gives way to a more up-tempo section alongside a solid beat, taking the track forward, an exciting part, the pacing steady and well thought through. This allows space for the guitar to stretch out a little which is done in great style. A Glimpse Of Light opens with a gentle acoustic guitar and great playing that delights, as does the sensitive backing supporting and enriching the track. The piece moves along most satisfyingly, it is a good track with lots of imagination at work. Hellebore is an acoustic vignette, almost like a track from the likes of Will Ackerman or similar. This is followed by the further short soundscape of Circlet which is suitably imagined and engaging.

The percussion sounds that open Mr Mekano are contained within angular and jagged riffing which creates an atmosphere of unease. It is certainly a bit darker sounding in tone, a good bass part runs through this track and when the sound breaks out into a harder sounding and jarring rhythmic section, one cannot fail but to be impressed by its sheer musicality that really captures something special. This then morphs into Descent, which definitely has a feel of going down that is conveyed by the music. The tone is almost bleak sounding, well it conveys that feeling to me, and the low bass part adds depth to help reinforce the sentiment. All in all, it is a most impressive track and guitar effects add to the mood. For Nancy is much lighter and was written for Steve’s wife. This piece is both joyful and also beautifully realised, it conveys warmth and contentment and satisfaction in its brief running time. Glass Quartet returns us again to the percussive sounds, similar to clocks but that are actually wine glasses being hit with wooden skewers. The First Step sees Steve getting all ambient and using synths to create a track that could easily be used for a science fiction film, with its nods to Blade Runner and Jean-Michel Jarre really hitting the mark. It is a most interesting track, very well delivered and imaginative in its scope and ambitions. The Title track Journeyman’s Progress concludes the album with its extended ten minute running time that allows space for its many sections to emerge fully, from acoustic to full flights of electric guitar passages, it is a very good track indeed. I especially like the use of counterpoint harmony where the keyboards soar over the main melody and how the build up for the extensive guitar segment is introduced, and subsequently delivered, all with very solid backing. It really is a glorious section of the track, the synths really take this track to great heights, it is most satisfying to hear the degree of craftsmanship that has gone into making this music.

Nothing here overstays it’s welcome in addition the variety of styles and approaches utilised throughout help to create a very solid and engaging sound palette. The whole album is served up in a classy looking package which includes some intriguing artwork from Ruby Anderson and a good logo design that would look equally as fine on a T Shirt. Additionally the album was mixed and mastered by The Tangent’s Andy Tillison (a man who certainly knows how to do these things) exceedingly well and to a very high standard.

‘Journeyman’s Progress Part One’ has many hidden charms and many fine musical passages and, overall, the album has a great flow to it as it moves through its many moods and emotions. The music has some most excellent dynamics that enliven and highlight the excellence of the compositions, I think it a very well realised musical statement and I urge you to check it out for yourself as it’s definitely one worth seeking out!

Released 4th February, 2022.

Order from bandcamp here:

▶︎ Journeyman’s Progress Part One | Journeyman’s Progress (bandcamp.com)