Tag: John Wenlock-Smith

Review – Wegferend – En Autremonde – Chapitre Second by John Wenlock-Smith

One of the main issues with fans of progressive music is their general unwillingness to listen to anything that is new or out of their comfort zone and, whilst this is possibly an unfair generalisation, it does mean that many are closed off to exploring new bands and artists for themselves.

Social media, like Facebook or X (or whatever it’s called this week) has to take the blame as part of this problem. I hear that bands are finding it harder to get any publicity these days without having to jump through certain hoops, all of which means albums like ‘Chapitre Second’ from french trio Wegferend will struggle to find a market for what is a very interesting, and very different, prog related release. Which is really a shame as this rather quite gently layered album is full of some great music and moods.

Allow me to unfold this album a little for you. First a little background, Wegferend (which is olde English for wayfarer) are a trio composed of two sisters, Manon and Alexia Cazaméa on guitar and recorder respectively, both also provide vocals with Alexia being the foremost voice. They are joined by percussionist and multi instrumentalist Thomas Boisser who adds to the captivating melodies the sisters offer. This music is very gentle, yet intricate, and blends an almost world music feel with their use of ethnic instruments in their songs.

First track Gedim opens gently with guitar and percussive interjections and a high pitched voice. A Gedim is a kind of a spectral form of the deads in the Aramean mythology and this song is about the cycle of life and death following the cycle of the Sun creating days and nights and you can certainly enjoy the gentle mood. The music takes you on a journey of many moods, darkness and emotion with some delicate guitar from Manon in the middle section that really adds to the atmosphere and mood of the piece. It is a lovely track full of great performance and vision and ends with a bell chiming majestically. Holy Ghost is full of a Celtic sounding recorder and very lively rhythmic chiming guitar chords that work as a great contrast to the recorders and vocals. This piece has a lot of life to it and it impresses greatly, it’s so very musical and complete. Next is the albums centrepiece and almost title song, The Wayfarer. This stars gently with Irish low and high tin whistles and another delightful vocal from Alexia, the recorder parts really add greatly, creating an other worldly atmosphere. I am detecting elements here that have touches of The Emerald Dawn and their singer Tree Stewart as this track has that sort of feel to it, it is also full of great guitar playing, mainly rhythmic, but it is all well conveyed and the track works well as a result. When we get to Druide, I especially like how the music is layered to create a depth of sound, mostly on acoustic guitar with percussion fills for emphasis. A great vocal from Alexia brings the music to life, this is music you have to allow to settle in your sprit, although I can say the Celtic elements of the sound are very satisfying to these ears.

Lost In Reveries is an instrumental track built on wordless voicings and acoustic guitar that Manon plays with great feeling and good style, using the guitar to make and establish a rhythm which is maintained by Thomas’s percussion, an approach that pays good dividends. I really like the simplicity of the style and it defines and elevates the great musicianship of the trio. This is an album that really grows on you as you begin to appreciate it’s fine crafting and unique style. Jos L’Uelh De La Breissa is full of recorder flourishes and has a distinct touch of the folky side of Led Zeppelin to it (not a bad thing in my opinion at all). I really like how they work so well together to make something of note and value, it makes for a really good listen. Final track En Autremonde is also striking with it slow, almost funeral march, beat and time along a deep cello aiding the melancholia. It is very moving, dark and deeply atmospheric in tone and really impresses, as does the whole album with its mood and dark ambience. It is really rewarding to hear something that is so well imagined and delivered with such grace and style, it is simply a beautifully crafted track.

This album has grown on me so much that I have no hesitation in recommending it to the more adventurous prog listener. Within its songs you will find a world of wonder and enchantment. I urge you to check it out for yourself, the album is available on Bandcamp and the band will appreciate your interest and support, a truly wonderful and enchanting release.

Released March 31st, 2023

Order from bandcamp here:

En Autremonde – Chapitre Second | Wegferend (bandcamp.com)

Review – Headstone: Bad Habits/ Headstone – by John Wenlock-Smith

How much music is known to us because of our friends and families is something I have often pondered. For me personally, I grew up with parents who listened to light classics and easy listening like James Last, Johnny Mathis, Herb Albert and the like. When I became a teenager Virgin Records was very much still in its infancy, selling most of its music through adverts in Melody Maker. I had friends who bought albums that way and they would talk about their purchases regularly.  

I seem to recall ‘Who Will Save The World? The Might Groundhogs’ and ‘Hogwash’ by The Groundhogs being discussed and recommended in this manner. Shortly after this, around 1975, a good friend of mine, Peter Bonner, introduced me to musical nirvana when he took me to Reddington’s Rare Records in Birmingham (behind Marks and Spencer’s) where I began my aural journey into proper music and not the chart music normally heard. This was grown up music, with Reddington’s being my mecca, a place where you could learn both the art and the thrill of crate digging. This also introduced the concept of album trading, something I began to do on a very regular basis.  

When I started my career in shipping and forwarding (or logistics as we call it now) this meant a whole new world of friends and acquaintances to deal with. For me, being a puny, weak but feisty youth, this meant finding common ground was crucial and music became the access key I would use frequently in conversations. I was an avid learner who scoured the music press weekly for news and information that could help me with this. 

During this time I met a friend called Trevor Hopkins, whose brother Micky was a guitarist in local Birmingham band Quartz and who had released a live album, ‘Live Quartz’, via Redding tons own label. Micky was also friendly with Jeff Lynne of ELO and Trevor used to sell me albums of his. These included an album that came from Polydor signings Rare Bird, it was a prog album, only I was not educated in that realm at the time, more’s the pity as I definitely missed out there. He also introduced me to Little Feat’s ‘Sailin’ Shoes’ and ‘Dixie Chicken’ and sadly, again, I didn’t really get it. My main sphere of musical reference being ’24 Carat Purple’, ‘Made In Japan’ and Yessongs. 

Nowadays, of course, it’s different, my tastes have broadened and developed much further. In 2012 I began, at the age of 53, reviewing music and this opened up even more opportunities and musical vistas! Which is a very long preamble to this review of Headstone’s Polydor albums!

Headstone were, you see, related to Rare Bird as Mark Ashton had been Rare Bird’s drummer for their first two albums. When he left (musical differences no doubt), he formed Headstone with Steve Bolton, previously with Atomic Rooster, with him the main writer and singer. Headstone were touted as a super group but failed to really establish any kind of form, they only recorded two albums, ‘Bad Habits’ and ‘Headstone’ in 1974 and 1975 respectively. The albums are not too bad really but failed to make any great impression. There is a strong almost soul and funk style to them and most tracks are short ones leaving little room for much improvisation.  

When I heard about this release I wanted to hear it as the Rare Bird set was very good and held good memories for me. This is a pity as the potential was certainly there it just was not captured and as such didn’t translate into very captivating music. Of the two albums, ‘Headstone’ is a better listen than ‘Bad Habits’, this is possibly because the line up was more stable and, being mostly younger players, was a little more hungry to make it, although they failed on that score. Even a Hipgnosis styled cover didn’t help shift albums either, the songs are quite good, the playing is proficient enough and the production is clear and uncluttered, it is just not that interesting and nothing really makes you go wow. 

The opening two songs on the ‘Bad Habits’ album do make a mark though, Don’t Turn Your Back and Take Me Down are both great songs and show a direction the failed to follow fully. One thing Headstone did have that increases interest is the violin playing of Joe O’Donnell who elevates the tracks substantially but, even so, are let down by the actual songs which really aren’t very good either and whilst musically proficient, they don’t make a lasting impression.  

Hard Road does a fair stab at being interesting with a Dylan-esque opening and some great violin flourishes that try to take the song somewhere new and fresh, but even this gets a little lost on the way and drifts into directionless, a missed opportunity it seems. Best track of the lot is actually both the longest and the last track on ‘Headstone’, Someone’s Got To Give, which has a sense of urgency sadly missing from most of the album. It has good violin parts, great guitar and some stylish dynamics that are missing elsewhere on the record. It is not a bad song overall and the middle section at least has a bit of fire to it, again, sadly lacking from what has gone before but it is more rewarding as they at least have to space to stretch out a little, which is really needed.

So, in summary, this 2 CD set has it moments although, in the main, these are few and far between and the band fail to capitalise on the potential and talent. As usual, the presentation by Esoteric is flawless and the booklet gives a good insight into their story. Sadly Headstone folded not long after the second album, despite support slots with Roy Harper, John Cale and Rory Gallagher. Ashton disappeared for a few years but resurfaced for a few albums made for 20th Century and Arista before the 1988 album ‘Modern Pilgrims’ on RCA whichreceived critical acclaim but he disappeared back into obscurity once more. Sadly Mark is no longer with us but this set allows us another opportunity to reconnect with his music once again.

Released 25th August, 2023

Order from Cherry Red here:

Headstone: Bad Habits/Headstone, 2CD – Cherry Red Records

Review – Downes Braide Association – Celestial Songs – by John Wenlock-Smith

Some albums you wait for eagerly only to be ultimately disappointed and let down. Well, that is certainly not the case here as this fifth instalment of the Downes Braide Association is a triumph in every sense, continuing on from the utterly wonderful and captivating release that was ‘Halcyon Hymns’ in 2021.

‘Celestial Songs’, due to be released in September, delivers a further eleven slices of perfectly concocted, aurally magical, progressive pop/rock brimming with melodies and inventiveness. It is a gloriously life affirming listen, with pretty much the same team that presented us ‘Halcyon Hymns’. With Geoff Downes adding his keyboard magic to a varied sound palette and Chris Braide providing vocals that are very expressive throughout, this material is possibly their strongest yet. They are joined by Dave Bainbridge who adds guitar to several tracks and Marc Almond, who provides a good vocal for Darker Side Of Fame, a tale of a faded rock star, possibly based on his own experiences? Also present is the stylish bass playing of Andy Hodge and Geoff had this to say about his fellow musicians;

“It’s very useful having this core of musicians that are ready to enhance our music,” agrees Geoff Downes. “Andy Hodge is very much an integral part of this unit. When we send him stuff to play, he has incredible feeling and creates a more interesting bass part than we could have thought of ourselves.

“Having Dave Bainbridge with us has added another dimension to the DBA-sound and I’m very happy with that. Dave’s got his own stamp and that’s something that we appreciate having on board.“

This album has a lot of variety to its tracks, every song is different yet each casts its own spell and it all provides an interesting spectrum of colours and sounds and is wonderfully produced and delivered with style and commitment. As always, the artwork for the album by Roger Dean is lush and vibrant and is eminently suited to the music the album contains, the power of the music definitely elevated by the magnificent and deeply impressive artwork. A further pleasing aspect of this album is the clever application of knowing when a track warrants an extended running time or benefits from brevity. These skills come from experience really and on this album they have the balance about right This means the three longer tracks get room to reach their full potential, making this is a rewarding aspect of the album it is stronger for it.

Highlights include the fantastic, ballad-like, opener Look What You Do, a lush and gorgeous evocation of love with Chris Braide’s hauntingly elegant vocal front and centre, Clear Light, the first single, which is pure 80’s prog-pop excellence in the vein of Asia (no surprise with Geoff Downes involved!) and the aforementioned Darker Side Of Fame, a nostalgic feeling song where Marc Almond and Braide deliver a stunning vocal performance. Hey Kid is a more laid back and piano led track with breathy, hushed vocals and a wistful tone and Will To Power is all electronic, swirling keyboards, funky guitar and dynamic bass that opens up into what would have been a shoe in for a single release, when people used to buy 7″ vinyl that is!

The first of the longer tracks, Heart Shaped Hole, begins with delicate keyboards and short guitar interjections, The track also benefits from a soaring guitar solo from Dave who is playing with fluidity and feeling, oozes emotion and is a sheer joy to listen to here. The song isn’t bad either. Dear Petra seems to be about war in Ukraine and is a sensitive and impassioned cry for help, support and an end to the inhumane and abhorrent practices of war. This song has real depth and empathy and its message will stay with you long after the song ends, this also has a strong spoken introduction.

On The Run is another storming track with a strident beat and excellent lyrics. In fact, all the lyrics on this album are generally excellent, helping to create great songs with real depth feeling and meaning. These things are rare in a world of shallow unfocused music that is unsightly heralded by the media, so, when you come across music that actually has real merit it should be encouraged, praised and, above all, noticed and this album showcases that perfectly. Goodbye To You (Sister Shame) is up next and this one is a musing on the nature of love and how fate plays its part in making connections. The words are very profound and earnestly sung and the sound has overtones of the Beatles in parts, a really good track with more expressive guitar from Dave.

Closing track Beyond The Stars is also the albums longest, opening with synths creating an aural soundscape before giving way to church organ sounds underpinning the spoken word introduction. The song moves into more epic keyboards before a meaty guitar line plays over the synthesised soundscape with an orchestral sound. The use of dynamics in this album is really impressive, creating wonderful moods and taking you, the listener, on a great journey of discovery through different worlds of wonder, hope and even joy. This is a journey that you need to experience for yourself through this excellent sounding and sublime album

Now I am going to listen to this again from the start and marvel again at the depth of talents that have made this a wonderful warm and life affirming album. DBA aren’t afraid to ask deep probing questions and offer their own interpretation on the big questions of life. Don’t be afraid to join in this quest, I think you will enjoy the challenge and hear some great music whilst you do so. If you like symphonic or orchestral type prog then this one is most certainly up your street for there is much that will entrance you here.

Released 8th September, 2023.

Order from Cherry Red here:

Downes Braide Association: Celestial Songs, CD Edition – Cherry Red Records

Watch the videos for Keep On Moving and Clear Light ;

Review – AQ&F – 2nd Life – by John Wenlock-Smith

AQ&F (or Arnaud Quevedo and Friends, to give the full name of the group) are a French collective who “fuse jazzy troposphere, improvisation, funky grooves, powerful rock-metal riffs along with progressive elements”, all of which is a way of saying this album has several strands and approaches that are merged to make something that is really quite interesting and even captivating at times. It is an album of realised ideas and concepts, all delivered in an appealing manner. The album has eight tracks, four of which are new and the other four are revisitations of earlier concepts and ideas that have been successfully reworked for this album.

There are four phases to the album which, in total, is an interpretation of life phases, from Awakening, Journey and Inner Demons through to Hindsight‘s, these are punctuated by the reworked sections that are receiving a ‘Second Life‘. This is a different approach but I actually think this works here, it makes for some great music.

Everything begins with 2nd Life Part 1 – Awakening which opens with keyboard notes and what sounds like brass sounds with a low sounding bass, possibly fretless, sliding around the music. This turns into a more standard groove with drums and vocals, sung by Eloïse Baleynaud, in a breathy type voice. It’s actually rather a good vocal with great nuances, in addition the bass of Noé Russeil also impresses. There is also a guitar interjection by Arnaud that adds great dynamics. With the saxophone of Julien Gomila and sturdy drums from Anthony Raynal, the whole band gel together really well to create a great composite sound. The element of distinct heavy add something extra to proceedings. All in all, it’s a very respectable opening track and one that bodes well for the rest of the album. This continues with the first reworked piece, Any 2.0, which begins with a delicately strummed acoustic guitar and an adventurous bass line before the stylish vocal comes in. This is quite an atmospheric track and it gains in intensity as a edgy violin introduces funky urgent jazz with free rein saxophone flurries being added, along with flute from Lucille Mille. There is also good guitar syncopation going on before Arnaud plays a fiery solo. The song has some fine bass towards the end which helps you understand that this is a very musically rewarding track. Yuki shifts dramatically through softer, more urgent tones, the lyrics are shown but the ones in the song are very different for some reason, no explanation is given but still this doesn’t detract from proceedings especially. There is a further excellent guitar solo from Arnaud that takes the track into an urgent sprint or so it seems. Either way, it is a great track and one the really grips the listener .

2nd Life  Part 2 – Journey from the off has powerful rock riffs front and centre and has a more rock focused approach, although it also has quieter moments of plucked arpeggio guitar lines and bass that underpin the sound. There are also some great  saxophone lines, I really like this track, there’s a lot happening during its twelve minute plus running time. There’s a wonderful palette of sonic colours here and great vocals, you can really hear the various styles used here very well. An urgent synth solo from Marin Michelat and great bass and guitar sections take the track to the chorus before a brief guitar solo draws the song to its end. No Soy Breton is next and this track is a bit of a mystery to me as I have no idea what it is on about at all. It begins innocently enough with a soft flute before the vocal begins, once again these don’t match those in the booklet but, still, interesting enough, it’s just confusing to me, there are good bass parts in this song though.

2nd Life Part 3 – Inner Demons has good bass at the start, it’s an interesting track, asking questions of what’s happening amid some great guitar lines and unison playing between the vocals and the guitar that really impresses. It’s all very fluid and jazzy improvisation led. The final track of the album, 2nd Life Part 4 – Hindsight’s,  opens with a deep double bass from Eva Tribolles, this gives way to electric bass as Eloise’s vocals begin, she sings of being the best version of you and to live without letting the comments of others stopping you from achieving that goal. The track has more heavy riffs, all offset by the flute which floats over the top of it all. There’s a great synth solo too, the song is good and works well giving a great ensemble sound.

This album may be a difficult one for many prog fans, especially if they are not jazz music lovers, but listen with open ears there is a lot of very enjoyable, thoughtful music offered here. Okay, lyrically it might be a bit odd but, if you accept that and listen, I think you will enjoy and appreciate it’s undeniable charms.

Released 10th July, 2023.

Order from bandcamp here:

2nd Life | Arnaud Quevedo & Friends (AQ&F) (bandcamp.com)

Review – Hats Off Gentlemen It’s Adequate – The Light Of Ancient Mistakes – by John Wenlock-Smith

‘The Light Of Ancient Mistakes’ is the new album from Hats off Gentlemen It’s Adequate and, again, we are offered an intriguing collection of songs, some of which are based on books and authors that Malcolm Galloway has read and been enthralled and inspired by. These books include works by Adrian Tchaikovsky and also the likes of David Cornwell, who wrote as John le Carré, and Conservative MP Chris Bryant. Other tracks are inspired by the works of Sci-Fi authors Iain M Banks and Philip K Dick. So, whilst not a concept album, many of the tracks are thematically linked to literature. This makes the album unusual and also challenging to listen to at times. However, the music is of their usual extremely high standard and there is a lot going on musically which grabs your attention.

The album has several instrumental tracks that combine to make a musical statement. This is pretty different to their last two albums, ‘The Confidence Trick’ and ‘Nostalgia For Infinity’, although the Science Fiction angle is covered by the choice of authors whose works inspired the music. There is some excellent music on this album, including the up-tempo opener Sold The Peace and the sad and aching hurt of Sixteen Hugless Years, which is based on the experiences of childhood neglect. This in itself is a sobering and desperately sad song, it is song where the hurt is palpable and deeply heartfelt. The track really makes an impression as you hear the hurt in the lyrics, all portrayed by Malcolm in a passionately delivered vocal. Also impressive is the song Glamour Boys which is about a group of mostly homosexual or bisexual Conservative MPs who were threatened by the reveal of their sexuality by Chamberlain’s government of the day. These men stood against appeasement and were prepared to suffer for their feelings and their different lifestyles, remember that homosexuality was actually a crime in that time. Many of these MPs paid a high price as a result.

Amongst all this heartache and pain you have interspersed some shorter instrumental pieces that act as a musical sorbet in cleansing the palate before the next song, for example the brief and deeply personal i’mtiredandeverythinghurts, Malcolm’s reflection on coping and living with an invisible disability (chronic pain due to Ehlers-Danlos syndrome) and how he feels when folk ask innocently, and with well meaning, ask how he is doing. It is a surprisingly upbeat track, very brief but it makes a good point about how we ask and often fail to understand or comprehend each other at times.

The next big track is Walking To Aldebaran, which is inspired by the Adrian Tchaikovsky novella in which miscommunication between an astronaut and a malfunctioning, but well intended, machine leads to a monstrous transformation. Parts of this inspiration comes from the novella and other parts come from rhythmic patterns inherent in Peter Maxwell Davies‘ ‘Eight Song For A Mad King’. This is a very diverse track, often jarring and abrupt, with a lot of sequenced keyboards and Chapman Stick. It is highly developed and has great sounds contained within its nearly nine minute duration. It is, ultimately, another rather sad and forlorn piece though. Goodbye Cassini is a flute led tribute to the space probe that explored Saturn and its icy moons. When its fuel supply was exhausted on September 15th 2017 it plunged into Saturn’s atmosphere, still returning data to its end. A rather profound tribute to what was a ground-breaking and important scientific research mission that last nearly twenty years and covered nearly five billion miles. The Man Who Japed is inspired by Philip K Dick (who wrote ‘Do Androids Dream Of Electric Sheep’) and the album’s title track was inspired by Iain M Bank’s ‘Look To Windward’.

The album is an interesting concept and also a very rewarding one ,especially if you delve into what thoughts lie behind the songs and then take the time to let the music work its own magic on you. Within this release you will find many excellent musical passages, some thought provoking words and some deep and important themes and questions. For me, this is another fine, well thought, considered and expertly delivered musical statement from Hats Off Gentlemen It’s Adequate.

Released September 9th, 2023.

Order from bandcamp here:

The Light Of Ancient Mistakes | Hats Off Gentlemen It’s Adequate (bandcamp.com)

Review – Nova Cascade – The Navigator – by John Wenlock-Smith

‘The Navigator’, the upcoming latest album from Nova Cascade, is really rather interesting and impressive as it is, at its heart, a sincere, heartfelt tribute and celebration of the life and impact of violinist, guitarist and all round excellent musician, colleague, friend and inspirational muse Eric Bouillette, who sadly died of cancer last year after a long protracted battle. This album is based on the collective’s feelings and memories of Eric, he features throughout the album, as his magnificent violin work is on many tracks.

The album sales will raise funds in his honour and for Pancreatic Cancer UK, it is very much as one would expect, a collection of ambient progressive music with orchestrations and some vocals, flutes and guitars, all arranged and collated by Dave Hilborne, who adds keyboards and sequencers to create the atmosphere. Whilst the album is a personal tribute, it is not maudlin and is rather a series of generally positive pieces, the fact being that Eric did not wish for his friends to be sad but to celebrate his existence and his skills with their music and to make the music positive where possible.

Haunting, sympathetic and beautiful at times, this is largely instrumental music although there are vocalisations to some tracks. Charlie Bramald of Ghost Of The Machine provides the flute parts on several tracks and where there are vocals, they are performed by Dave Hilborne. He actually manages to sound not unlike Feargal Sharkey, which is actually oddly effective and the style suits the track.

The music is really rather superb, Submerged is a long epic guitar solo from Eric Bouillette, performed over an expansive keyboard sequence and given room to stretch out and soar. This is very expressive and impressively performed, the backing support adds to the dramatic dynamism of the guitar performance, it is only a short piece but thrilling nonetheless. Other memorable and notable tracks include opener Sleeping Dogs and Safe Haven, which is hinged on some stirring piano chords and motif, sounding not unlike the early 1990’s Windham Hill label albums in places and, yes, that is a good thing, I used to love those album.

A Walk Along The Canal is a moving expressive violin part from Nina Chikvildze. Its mood is one of dignity and expression and creates a warm tone in tandem with the sensitive backing and a great guitar line from Colin, possibly my favourite track of the album, such is its simple beauty. The Navigator is a centrepiece of the album and also the longest, opening with a sixteen piece choir from Chile and Charlie’s ethereal flute tones. This is an excellent track that builds and has another epic guitar solo section, the track moves through its various parts seamlessly and is both highly effective and very memorable with standout performances from all concerned. A delicate acoustic guitar part adds dynamics and allows space for the dreamy keyboards to shimmer and shine clearly and evocatively. This is a simply stunningly well realised track, all the more impressive when you know it was all recorded remotely as the band have never met!

The Night Crossing also impresses, especially Colin’s guitar, as does The Fever Dream that continues in a similar vein. Again, this is keyboard dominated with great supporting bass from Dave Fick, who adds solidarity when required and is more subdued at other times. Any Minute Now is another excellent track with more vibrato vocals from Dave, expressing how we are taken before our time, as was the case with Eric, it is a very moving song. The Noble Lion is a shortish track but one that has lots of movement within it. Ambient type sounds prevailing alongside prominent bass notes, before a memorable piano motif appears, as do the drums, and the track builds in intensity. This carries across into the next track Submerged which takes us back to where this review began.

Return To Haven features more fluid violin from Nina and acoustic guitar sounding synth trickery from Dave. Colin’s suitably fluid electric guitar provides great counterpoint to the violin and synth and this makes for another standout track. Somewhere Between Here & Now begins to draw the album to a close with a spoken introduction from Olivia Steele. Final track, Au Revoir, performed entirely by Eric, is a touching and tender moment, deeply personal and very profound too and serves as a fitting conclusion and celebration of a life taken too soon of a person who will be deeply missed but who leaves us a legacy of emotionally enriched musical excellence.

This is an album to listen to quietly with contemplation and affirms the importance of love and the companionship of friends and that we should treasure those whilst we can. Very impressive and highly recommended.

Released 29th September, 2023.

Order from bandcamp here:

The Navigator | NOVA CASCADE (bandcamp.com)

https://www.youtube.com/watch?v=Nl6lB3TgCOg

Review – Materialeyes – Inside Out – by John Wenlock-Smith

I spend a fair amount of my free time trawling the internet, now that I am retired, streaming music and checking favourite websites, mainly prog related ones, taking a note of the general chatter and recommendations folks make there. All of which helps keep me informed of what’s happening in the world of prog, I hardly ever post my own recommendations though, quite why, I’m not really sure, but, as my listening tastes vary daily from 70’s classic rock to as yet unreleased music, I would find recommending music hard and possibly biased.

Whilst trawling recently I came across Wakefield based prog act Materialeyes and decided to check them out via bandcamp. I listened to their earlier album, ‘Three of a Kind’, which piqued my interest enough to contact Martyn Hawes and ask about the upcoming album release, ‘Inside Out’. Martin kindly sent me the album with a view to me reviewing it for Progradar and its my pleasure to be able to do this. I am always impressed by the quality of the releases you can find on bandcamp, I also like that funds go mostly to the artists directly, especially on bandcamp Fridays, which is even better for all concerned.

Well I’m glad to report that this a most interesting and rewarding release, whilst it may only has five tracks, it is an album of quality material starting with the solid opening track This World, that is about how we are hurting the world with our actions. The song begins with a chunky guitar chord and is followed by some glorious swathes of keyboards and a flute solo from Dave Westmoreland. It oozes pastoral progressive rock in the vein of Barclay James Harvest, that is a very worthy band to be compared to and Materialeyes do not disappoint either. There is a lot of layers to this track, Woody Wolstenholme would be proud hearing this strong song with it’s excellent style and good dynamics. Second track, Eric Upon Tweed, is a tale of a lad called Eric who finds himself removed from his family for attacking his drunken father, after seeing how he mistreat his mother. She arranges safe exit for Eric to his aunt’s in Berwick-upon-Tweed. This has distinct traces of Genesis’ style of storytelling, especially those with a social conscience to them. The story ends with Eric’s first sexual encounter in Berwick-upon-Tweed and latterly some words of praise from his dying father with whom there is a degree of reconciliation at the end. The tale is musically very rich with a great guitar line playing throughout and a great vocal from Martyn.

Longship is a maudlin and atmospheric track about Vikings returning to their homeland, the haunting sound being made by Will using his Ebow to create the haunting melodies. This melancholic piece has another great vocal from Dave, it is short but very moving and memorable indeed, a great track. Horsemen is inspired by the 1921 silent film The Four Horsemen Of The Apocalypse and starts with an acoustic guitar before prominent bass and keyboards join in. This is another longer track with room for expansive soundscapes, flute and synths, there are also western films referenced throughout. The track has echoes of the softer moments of Wishbone Ash’s Argus initially but soon becomes more strident, I really like this track and the panoramic soundscape it uses, it is a very well written, conceived and delivered piece of progressive music. The added length gives space for the music to unfold in the piece, additionally, the use of good dynamics really make a good impression, as does the fine bass playing from Martyn Howe, especially in the middle section. It makes this all the more rewarding to listen to, as does the fine guitar work from Dave Westmoreland and you can definitely hear the ‘Argus’ influence here.

Clay Man is the last and longest track of the album and was inspired by a heavy Wensleydale cheese eating session! The song is interesting, it’s subject matter a bit weird and dark in tone. It is mostly instrumental but with a few words, more music than words in fact and has more prominent bass alongside acoustic guitar and keyboards. It also has handclaps and what sounds like foot stomping and other syncopation, the song is one that builds in its intensity, which makes for interesting listening. A slower section with ethereal voices follows before the vocal of Will Lawery, who also provides excellent guitar on the whole album. The words seem to be about a man who has seen much pain and horror in the world and is traumatised by it all, hence the sad nature of the track.

Well that’s it, you are left wanting more of this fine music and I’d recommend checking out their back catalogue as it has some great music available there. Hopefully they have a bright future, if they continue to make music of such an excellent calibre. ‘Inside Out’ is a most rewarding release and more than worthy of investigation if you can. I think you will like it a lot, there is much to enjoy, especially if you like more pastoral prog like BJH.

Released 18th August, 2023.

Order the album from Bandcamp here:

Inside Out | Materialeyes (bandcamp.com)

Review – Sherinian/Phillips – Live – by John Wenlock-Smith

Derek Sherinian is a fine creative and accomplished keyboard player who’s CV includes stints with Kiss, Alice Cooper and Billy Idol, to name but three. He was also a member of Dream Theater and has made eight solo albums, which are usually made in tandem with Simon Phillips, who has an even more impressive CV, with the likes of Judas Piest, Jeff Beck and, latterly, Toto. Simon also had his own group, Protocol, who have released five albums thus far in a similar fusion type style.

Derek and Simon both share a love of fusion, which mixes jazz and rock elements together in a shimmering stew of musical chops. Normally Derek uses a whole slew of well know guitarists, which is definitely interesting, especially as he tends to play a more supportive role rather than be keyboard heavy and laden. He is very much a team player, whose aim is for the music to be the star rather than his own chops. Simon is of a similar persuasion and he is content to be a solid rock from which others can soar!

Well that is certainly the case here, this album features four good musicians who have played together previously and enjoy each others company and playing. The band is Derek Sherinian (keyboards), Simon Phillips (drums), Ron “Bumblefoot” Thal (two necked guitar) and Ric Fierabracci (bass). These four can definitely play up a veritable storm, this album was recorded at The Grape in Ventura, California on August 29th, 2022 and this live album is the result of that rather unique show.

The album has eleven tracks, three taken from ‘The Vortex’, three from ‘The Phoenix’, one from ‘Inertia’ and one from ‘Mythology’ . Of the two additional tracks, Barnacus is a drum solo from Simon Phillips.

Most of these tracks replicate their studio incarnations without really adding very much or varying from what was originally created. Which kind of begs the question ‘Why?’, what is the point of all this? Ye, its all very listenable, technically accomplished and exciting but it is ultimately one that falls short by offering nothing very new or different to what is already known and already available. Also, I think they missed an opportunity to include the filming that took place that evening, as that would be a good addition and offer some added value to this album.

The music that is here is excellent extremely well recorded and delivered but, for the reasons stated, probably won’t get heavy rotation with me because, much as I like Derek’s music, on this occasion I wanted something more. What is different, I suppose, is that these four musicians are replicating parts played by others, like The Vortex, which ŵas recorded with Steve Stevens on guitar and Tony Franklin on bass. Here those parts are played to perfection by Ron “Bumblefoot” Thal and Ric Fierabracci respectively. This makes it interesting to compare the versions also, live, it is very slightly longer in length, although what the additional sixteen seconds are is not easily ascertainable, I guess it could be at the start of the track with the crowd noise?

Empyrean Sky gives opportunities for Derek to really lay down some strong Hammond Organ tones, which he does remarkably well, and his interplay with Bumblefoot is exciting, if a tad brief. In fact several of these tracks would have benefitted from a more expansive time to allow further improvisation and room to explore the material more fully. Temple of Helios is another example of where extension would have greatly improved the track. This truncation is frustrating when a band as talented as the guys are are held back and unnecessarily restrained from really letting fly.

Whether there were time constraints or something else is not clear and I guess we’ll never know but, aside from that, this album deserves more than it delivers, it’s good, whereas it could have been so much more, it is a real missed opportunity by Inside Out.

Still, what is here is very good, I just wish it was either a double CD or had a DVD of the events with rehearsals and interviews and other extras added for completeness. So, again, my question is Why?

Released 25th August, 2023.

Order the album here:

Derek Sherinian, Simon Phillips – Inertia (Live 2022) (lnk.to)

Review – I Am The Manic Whale – Bumper Book Of Mystery Stories – by John Wenlock-Smith.

These are my thoughts on, ‘Bumper Book of Mystery Stories’, the new album from Reading based outfit I Am The Manic Whale. Following on from 2020’s ‘Things Unseen’, this new collection of eight themed and linked tracks is a strong return to form as ‘Things Unseen’ was a little to unfocused really. Despite having several great tracks, a few others fell a bit short quality wise in parts. This album has redressed that particular issue clearly and the post-lockdown era has enabled the band to strengthen their musicianship to even higher levels. This is especially noticeable in the more focused bass playing of Michael Whiteman and the ever improving fluidity of guitarist David Addis. The keyboards of John Murphy, and Ben Hartley’s drums, add consistently sympathetic and worthy support to the proceedings.

The album is themed as a set of songs inspired by a book Michael found in an old and strange antique shop that was full of stories for boys. He decided to revisit these tales in song, adding mystery and suspense, to make something rather unique and different. The band even created their own tales that are available in a book as a companion piece to the album (not that I’ve read it, but the concept is a great one!). The music is everything that you have come to expect from this massively underrated band, strong melodies, dynamic pieces, class musicianship and interesting and intelligent songs. There is a lot going on here, there is also a marked improvement in confidence, possibly as a result of a higher standing after the collaboration with Ryo Okumoto’s recent solo album that Michael was heavily involved with, and which no doubt improved his own personal belief in his and his band’s abilities and worthiness.

The album has a mixture of styles and song lengths, from short tracks like Ghost Train (part 1) that opens the album, through to the two epics; Nautilus and We Interrupt This Broadcast…

So let’s delve a little deeper shall we?

Ghost Train (part 1) has echoes of John Finnemore’ s Souvenir Programme’s story elements. I know that Michael is a fan of this fine radio programme and went to some special recordings last year, which possibly were part of the inspiration for this track. The song has a suitably sombre tone as we are told that we are going to embark on an unusual and different type of journey, there’s also has some lively guitar work throughout, David Addis proving just what an inventive and tasteful player he truly is. In fact his playing on the whole album is excellent and inspired as he reaches new heights on several songs, enlivening with some truly melodic, flowing and fluidly inventive playing that significantly enhances the tracks with his combination of skill, technique and intelligence. He adds much icing to an already delicious musical cake. Second track, Patient AB, is based on a true story about a lady who was able to self diagnose a brain tumour that was subsequently found and dealt with successfully. Dream Fortune is based on the old folk tale The Pedlar of Swaffham, who travels to London where he believes he will meet a man who would make him rich. Instead, he is mocked by another dreamer who reveals a story of treasure buried under a tree in Swaffam. The dreamer discovering the treasure in his own garden and using it to fund the repair of the local church A great organ and choir are used to create great atmosphere in this track.

Secret Passage is a thrilling track with a strident bass at the forefront. This track blends images of Narnia and the Famous Five, amongst others, it is quite a robust number with another lovely guitar line in the middle section. It’s this level of skill and lightness of touch that really highlights the strength of this material written by the various band members. This song has an extended keyboard solo from John Murphy that is real delight, it’s great to hear him stretching out here, he is a great player and his contributions are invaluable. The Incredible David follows and is inspired by a story in a book John owned as a child, that told the tale of a boy who had insight into ancient history, with knowledge of things he could never have seen or known. The band have updated the tale by telling it from the father’s point of view and it’s an approach that works well, the song is multi layered with great piano and soaring Steve Vai type guitar in places. This is an album that requires time to allow its treasures to emerge slowly, in their own satisfying manner and that will capture your imagination, as they very much deserve to. Nautilus is influenced by Jules Verne’s 20,000 Leagues Under The Sea and Captain Nemo. This watery tale has some great guitar in its thirteen-plus minute running time, along with keyboard contributions from Ryo Okumoto, who delivers a great synth section. The song is in five sections and is a very interesting track indeed, Michael’s love of science fiction comes across strongly here.

Penultimate song, Ern​ő​’s Magic Cube, is a sort of continuation of a song from ‘Things Unseen’ that extolled the virtues of Lego, this track being about the Rubik’s Cube and is a direct relation to that earlier song, Build It Up. It is a very 80’s sounding song, again this one makes a good impression. We Interrupt This Broadcast… details the strange incident of a spoof radio transmission which detailed Alien activity and interest. This is the longest track of the album and, again, David sizzles on his guitar, playing a great solo. It concludes an album that really delivers, upping the ante considerably from previous releases.

With stronger material and inspired performances that offer a deeply rewarding listen, this is an album that will draw you back repeatedly and one that is a highly recommended release indeed.

Released 7th July, 2023.

Order from bandcamp here:

Bumper Book of Mystery Stories | I Am The Manic Whale (bandcamp.com)

Review – Kurt Michaels – Stones From The Garden – by John Wenlock-Smith

This is the new latest album from Chicago born musician Kurt Michaels whose own career started in 1975. Since then, he has either worked with, or shared a stage with, a veritable cast of luminaries and classic musicians ranging from Chris Squire and Alan White of Yes, Carl Palmer, members of Supertramp and many others.

This album features contributions from Billy Sherwood, Michael Sherwood,  Amanda Lehmann, John Abbey (John Cale) and Dennis Johnson (Survivor and Dennis De Young). The album is generally AOR with a few touches of progressive rock (especially in the epic track The Road Beyond). The whole album consists of eight songs, mainly of around five minutes duration, although there are a few longer tracks.

On opener Trouble, Kurt sets out his stall pretty well with a bass heavy riff that runs in parallel with his own meaty guitar. There are some great keyboard fills in the mix here too, the song is slightly menacing sound wise and is all the better for it too. The vocals are clear and strong and backing vocals are good too. There is a lot happening throughout, I really like this track as it is both imaginative and clever. There is a tidy guitar break at the five minute mark that plays the song out, it’s a most impressive sounding track. Why Must Life Be Such A Fight follows and this one impresses greatly with its pop sensibilities. Again, good atmosphere is created in this track alongside some interesting musical passages and with some excellent harmony vocals from Kathie Mills. There is also another excellent solo from Kurt, whose guitar work is really fine and focused though out the entire album, this is another excellent track. I’m In Love With That Dream is the first longer track to appear on the album. On this song Kurt’s voice sounds highly reminiscent of the Flower Kings‘ Roine Stolt, which is certainly different but this style works for this song. Good backing vocals from Annie Carlson also impress as does Kurt’s excellent guitar break. This track has a wistful feel to it, with excellent interplay between Karl and Annie’s voices that definitely deepen this feeling. It is another splendid song on what is emerging as a really good album.

Next up is the rather poppy and bouncy Relax…Nothing ‘s Under Control, which has vocals from Amanda Lehmann, who also adds some atmospheric voice tones to this track. This also has quite a funky feel to it, another good track and well performed by all. Forever (So Completely) opens with some neat slide guitar riffs, again the Flower Kings’ type vocals work really well. The song is quite an urgent number with another fluidly impressive solo leading the song along well. Happiness has a sense of yearning somehow. It’s almost like an unattainable target that is being sought and he is striving to reach. It is another wistful song really, with interesting musical backing. More great backing vocals from Kathie Mills make this another winner.

Will I Ever Pass This Way Again? is another searching track where Kurt is thinking about a loved one and how it all went wrong and how he would love to be able to fix and repair the relationship to a better one. This album seems to have a fair few wistful songs of hope and yearning. The final track, and longest and possibly the most progressive of the lot, is The Road Beyond, which runs for just over seventeen minutes The song begins with some guitar harmonics and tones which help create a sense of atmosphere alongside the keyboards of Jim Gully, which allow room for Kurt’s effect laden guitar tones to shimmer and shine. This track is basically a long guitar instrumental that is bookended by brief spoken word passages in which we are encouraged to dwell on how we live and how that affects how we act. The music is moving and yet, somehow, it is also very hypnotic almost like a dream sequence in parts and with excellent dynamics. I feel this would appeal especially to lovers of electronic music as I hear elements of Tangerine Dream here, amongst others It is a most interesting and impressive track as Kurt’s improvisations are really strong and fine. Furthermore, the song keeps the listener engaged and interested throughout its duration. I also hear the shimmering harmonies of Tom Verlaine here in this track, which is also a really interesting and revealing insight, it closes the album on a beautiful note.

This fantastic album will unfortunately pass most folks by, which is sad, as there is much great music to be found within this album. I implore you to check it out and support this fine musician.

Released 7th July, 2023.

Order from bandcamp here:

Stones from the Garden | Kurt Michaels (bandcamp.com)