Kevin Thompson – Page 5

Review – Lazuli – Nos âmes saoules – by Kevin Thompson

Bonjour mes amis et bienvenue à un examen de la très merveilleuse bande la plus récente de libération de LAZULI. Il est si bon de vous de prendre le temps de lire cet éloge de leur nouvel album ‘Nos âmes saoules’.

Enough of my schoolboy French, I hope any misinterpretation doesn’t offend.

Hello my friends and welcome to a review of the quite marvelous band LAZULI’s latest release. It is so good of you to take the time to read this praisee of their new album ‘Nos âmes saoules’.

I’d like to start by ignoring the band and thank a couple of people without whom I might never have heard of our French import. Firstly the lovely Nellie Pitts (The Merch Desk), if not for her efforts in bringing the band to these shores, they may have passed me by. Secondly the big man that is Derek William Dick, for inviting these fine gentlemen to support him on his last tour.

I have to admit I saw them live before I bought any of the band’s output and what a revelation. The band did split in 2009, thankfully, some of the original members continued and recruited new musicians to form the current, extremely talented bunch who recorded this latest offering.

Mesdames et Messieurs puis-je vous présenter, sorry, Ladies and Gentlemen may I present to you:

Claude Leonetti (Leode), Gederic Byar (Guitar), Romain Thorel (Keyboards and French Horn), Vincent Barnavol (Drums and Marimba) and Dominique Leonetti (Vocals and Guitar).

Now to the meat of the matter, or tofu for any vegetarians among us, the album, ‘Our Souls Drunk’, sorry, ‘Nos âmes saoules’…….

Le Temps Est À La Rage: (Time is to rage)

Starting with slow, melancholy piano and Dominique’s distinctive vocals on this, the first and longest track of the album, may to newcomers, not seem the best way to start. But, keep faith you will be rewarded as the tone changes to a brighter key, picks up tempo into a swaying melody and the band’s familiar ‘musical box’ melodies drift in. Muted guitar throbs in the background then the rest join the fray as the track builds to finally burst out into some wonderful ‘Floyd’ style soloing..

Le lierre: (The Ivy)

Romain’s flourishing keyboards open proceedings and, for me, this is the track on which Dominique’s vocals really excel as he hits the highs from a whispering start. Now, it’s at this point I have to confess that, unless I am watching them, I sometime’s find it hard to distinguish who’s taking the lead between Claude and his wonderful Leode and the soaring guitar of Gederic, but, when a band plays this well who cares? I find this really uplifting and feel this would sit very well as part of a film soundtrack.

By now my pitiful knowledge of the French language is lost and in the emotion of the music I have somehow forgotten this is not being sung in English, this only seems to enhance the experience, and so on to track three…

Vita est circus: (Vita is circus)

Roll Up, Roll Up, listen to the show. A veritable ‘whirlwind’ of instruments, including acoustic guitar and vocals, as we waltz through the verses and a chorus vaguely reminiscent of Yes, round and round we go in circles to the circus style rhythms, Gederic’s rocket of a guitar solo spacing out, leave you pleasantly dizzy, as the tune echoes away from us.

Fanfare lente: (Slow wind)

A lovely musical interlude, the shortest track on the album, with Romain demonstrating his skills on the french horn (well it wouldn’t be an English tuba, would it?), is the band’s entry for the next Hovis advert. This wouldn’t be out of place on a Big Big Train release. It floats slowly past you, as a brass band would, and disappears toward the horizon, drifting into the distance.

Chaussures À Nos Pieds: (Shoes at our feet)

This is a slightly more serious sounding track, with Vincent’s marimba taking the lead in alongside the vocals. Again the rythms swirl, round and round, rising and dipping, in and out the track turns, tripping into a funky groove until guitar and leode cut in and speed up into a fine piece of shredding/soloing to climax abruptly as if the needle were lifted from the disk.

Le Mar Du Passé: (The march of the past)

Pulsing keyboards beep and fizzle, this could be mistaken for the start of a Riverside track. At times, there is a hint of Peter Gabriel in the composition, whispered vocal passages burst into passionate choruses with a doomish guitar. It all ends with just the vocals, pleading.

Le Labour D’un Surin: (Plowing a Superintendent)

Static, sound effects, a heartbeat rythm and background dialogue slither along in dark corners, finishing in an eerie scream on this creepy little instrumental passage that leads to…

Les sutures: (The sutures)

Breathless vocals and music which could have been used as the soundtrack to the current ‘Vikings’ TV series, drifting instrumentation woven with a sense of ambient dread, adding menacing guitar and a little middle eastern flavour, conjuring visions of a passing caravanerserie of the doomed, toward it’s finale.

Nos âmes saoules: (Our souls drunk)

Drifting, dreamy keyboards from Romain and ‘theramin’ type ribbons of music, (Mercury Rev anyone?), interlace with Dominique’s vocals, all of this in ambient patterns, until you find yourself sinking into the music and becalmed.

Which leads us along this journey to the last but by no means least track….

Un Oiel Jeté Par La Fenêtre: (A look thrown out the window)

Oh look! A balloon floating by on the gentle breeze, conjured by a wonderful piano refrain. It bobs, it weaves and dances gently away as we look wistfully on wishing we could follow.

And there we have it, not an album to be technically examined , but a wondrous tale of which you can be part. Lay back and revel in the versatile elegance of the wizards, LAZULI.

Released 20th January 2016

Buy ‘Nos âmes saoules’ from The Merch Desk

Review – Teramaze – Her Halo – by Kevin Thompson

WARNING!

IF YOU DON’T LIKE YOUR PROG ON THE METAL SIDE, LOOK AWAY NOW.

An endless list: Muse, Queen, Joe Satriani, Pallas, Evergrey, Symphony X, Dream Theater, Anathema, Threshold, and on and on……… I think I have found a new sub-genre, Alloy Prog, as this band combine so many different styles of prog metal and meld it into a melodic whole and it works, it really works, with the emotionally driven lyrics, co-written by Wells and Peachey.

Welcome to ‘Her Halo’, a concept of emotions, recounting the tale of a female trapeze artist embroiled in a love triangle and the fifth album from Australian band Teramaze. I have to say they had not crossed my radar until I heard the title track from this album and what a little belter it is.

I suppose I had best introduce the lads: Dean Wells (prodigious lead/rythm guitar), Dean Kennedy (thundering drums), Luis Eguren (throbbing bass) and Nathan Peachey (soaring vocals).

And so to the album:

Track 1: An Ordinary Dream (Enla Momento) – which I believe translates literally as ‘In the time’.

Ushered in on ethereal winds, with the distant sounds of a carnival, bringing a gentle acoustic guitar and piano intro, leaving us defenceless and unprepared as we are suddenly pinned back in our seats by a barrage of Dean Kennedy’s drum beats peppered with intense guitar fire from Dean Wells and Luis Eguren’s bass battering. It all relents slightly to introduce the melodic vocals of Nathan Peachy before returning to the fray, swooping in and out, this is the longest and most epic of tracks on the album, centred with a heart wrenching guitar solo, licks and hooks abound, leaving you in no doubt what’s to come on the rest of the album. The track ends with a gentle piano run.

Track 2: To Love a Tyrant – Eerie noises and ominous approaching footsteps and it’s into the heavy riffs. This has a sense of foreboding coupled with fear and is more ‘metal’ broken by a short piano interlude. It then returns to the churning guitars and drums, giving you the impression something wicked this way comes, Peachey using his clear, vocal range to a crescendo and good effect. The song ends with an unfinished chord on the piano hanging in the air.

Track 3: Her Halo – Everybody punch the air, here comes the title track. A pleasant string arrangement intro and a gentle verse from Peachy and you can feel the catchy chorus building. You are there by the ringside, as she floats through the air above you, arms raised and bursting your lungs to sing along. Slight editing could see this as a great single.

Track 4: Out of Subconscious – There is no escaping the fact I keep being reminded of Threshold, the drumming and guitar are straight in on this and pick up the pace from the title track. Another catchy chorus and great harmonising before we are allowed a brief respite before being lined up against the wall and shot to pieces by the drums and guitar work again. Peachey’s vocals fly off the scale and we are left to slide to the floor as the frantic guitar riff slides down to the end of the track.

Track 5: For the Innocent – Continuing apace with a great riff/hook, this starts with intent, easing to allow the verses some space, then pounding along again. Dean Kennedy‘s driving rhythms are nothing short of excellent on this album, of which Mr Johanne James himself would be proud, combined with the dynamic bass from Eguren frantically working away as part of the driving powerhouse that pushes the tunes along. This hammers to a sudden end, daring you to catch your breath before the only instrumental on the album begins.

Track 6: Trapeze – The shortest track but it allows the instruments to do the talking and loses nothing for it, Wells shredding with the best of ’em. The sound of something straining and snapping and a fateful scream precede this cinematic, bouncing tune of technical grandeur, showing the fine musicianship of the band members at their best.

Track 7: Broken – The ballad, on which the band come closest to AOR. Guitar work reminiscent of Neal Schon weaves throughout this, the plaintive lyrics from Peachey, once again with seamless harmonies, rising to an uplifting finish. Wells is allowed to shine with fabulous runs at both ends of the fret-board.

Track 8: Delusions of Grandeur – Drum roll to the grand finale and no less than you would expect from such accomplished musicians as they throw everything into this glorious end, including background circus noises. Melodic and compelling it builds breathlessly, bringing everything to a climatic and dramatic close, befitting it’s theme, with the sounds of fire and the sirens of emergency vehicles fading into the distance to nothingness.

The quiet is palpable at this stage and I scan the room to check nothing is burning/melting and there is still glass in the windows. All intact, there are no bullet holes in my clothing, furniture is intact and I have a rather large grin on my face. Thank goodness, time to grab a cup of tea and get some more jobs done. Then again, I could just have another listen, close the room door, who will know.

Love it.

Released 30th October 2015

Buy Her Halo from Mascot

Review – Thieves’ Kitchen – The Clockwork Universe – by Kevin Thompson

We welcome another new face the massed ranks of Progradar guest reviewers, please say hello to Kevin Thompson and his review of Thieves’ Kitchen.

We used to have a saying when I was in the RAF, never volunteer for anything. So here I am, having volunteered to review ‘The Clockwork Universe’ by Thieves’ Kitchen.

Thieves’ Kitchen are a band based in Swindon and Stockholm,who have been making progressive music since 1999. Their creative core is vocalist Amy Darby, guitarist Phil Mercy and keyboard player Thomas Johnson. They welcome a new bassist to the team, Johan Brand of Swedish progressive rock legends Änglagård, for this latest album.

Joining them on this release are friends and previous collaborators: flautist Anna Holmgren (of Änglagård) and drummer Paul Mallyon (formerly of Sanguine Hum) . The album was written and recorded in England and Sweden, and mixed and mastered by Rob Aubrey at Aubitt Studios (IQ, Asia, Big Big Train).

This is their Sixth release, having recorded five critically acclaimed albums previously, of which I must confess, have not heard any.

The band’s sound has elements of Canterbury, Folk, Fusion, Symphonic, Jazz, and Rock, producing music which, whilst adventurous, retains a familiarity. Melodic and intricate, blending both English and Swedish flavours.

The band say this is an album exploring the human experience of a complex world and these are songs about people whose experience brings them into contact with a universe of science and learning, whether as a child (Prodigy), a neglected spouse (The Scientist’s Wife), young lovers (Library Song) or as a bystander confronted with the inexorable progress of industrialisation (Railway Time). There are also two instrumental arrangements (Astrolabe and Orrery) .

Before we drill down to the ‘Nitty Gritty’ of individual tracks, can I just state this is my first ever full review of an album, for any publication and for me it is a trial by fire as, on first listen, it was not to my taste and, despite further consideration, not all the tracks float my boat. So I will try to be as objective and unbiased as possible in this review, remember this is only my opinion.

Track 1 – Library Song: Opens with some mournful guitar and slow Jazz style keyboards that increase in pace, ushering in the vocals of Amy Darby. The backing arrangement increases in complexity and I profess to enjoying some of the guitar work, and there is plenty of Steely Dan type keyboards leading to a climatic finale, but overall this it does not leave a mark on my register. I would have liked to have heard a little more excitement in the vocals as they seem too laid back and drag the track down and not the best introduction to an album.

Track 2 – Railway Time: Relaxed Keyboard intro,quickly increasing to a funky 70’s style Rock tempo, reminiscent in my mind of Rod Argent. Amy’s vocals seem better suited to this track. There is a short pleasant flute interlude which then weaves into the mix, along with the subject matter pushing this toward Big Big Train territory, which also seem to reflect in the lyrics. I also prefer the keyboard arrangements on this, to those on Library Song which, along with a flautist flourish, bring the second track to a close. I have grown to like this track more with each listen.

Track 3 – Astrolabe: The first of two instrumentals on the album and one of my favourite tracks. This has a beautiful piano which is joined by some rather nice complementary guitar. Poignant and delightful, the length giving it the feel of an interlude, which I would have liked to have lasted a little longer.

Track 4 – Prodigy: A rocky, Hammond organ style start to this which eases off to a flowing melody, once again introducing the flute which adds a touch of ‘Englishness’ to the song along with Folk and Canterbury scene elements. Amy’s vocal range is expanded a little more on this, making an entrance a third of the way through the track, but again not to my taste. The lyrics and keyboards seem quite reflective of earlier Genesis in places with this track coming to quite an abrupt end. There are parts of this that appeal, but not the sum of the whole.

Track 5 – The Scientist’s Wife: A more memorable, looping keyboard lead-in, dancing with Hammond and guitar to a good rhythm. Again some of the guitar solo flourishes sound rather good. This is the longest track and changes tempo after the first few minutes with some nice, Steve Hackett/ Anthony Phillips gentle style guitar slowing it down, to be accompanied by Amy’s floating vocals which seem more in keeping with the majority of the music on this track.

The vocal harmonising adds a more pleasant contrast and once more the flute solos play a part, lifting the track. This is one that appears to have a memorable chorus that sticks in my head a little, unfortunately the vocals on the chorus seem to echo what I don’t like in Amy’s voice, though I find it difficult to pinpoint.

Two thirds of the way through and the track rocks out a little more, the guitar and drums being let off the leash for an instrumental passage with the short interspersed vocal from Amy. It all quietens down to varied types of keyboards blended together and then the vocals return. The flute enters with some nice string arrangements and keys, to ease us into a gentle finish. Again, parts of this I like, but not the whole.

Track 6 – Orrery: Simple piano notes and what sounds like the ticking of an old clock are joined by the flute and guitar for the start of the second instrumental, and final, track of the album. (The title of this is the name given to working Solar System models). String arrangements are introduced giving it an airy feel as if watching birds in flight and is an excellent way to close, I only wish it was longer.

In summary there are tracks on ‘The Clockwork Universe’ that I would happily listen to again and some I would not. Competent musicianship flows throughout and the professionalism of the the band cannot be faulted. Amy has a relaxed, gentle vocal style along the lines of Joni Mitchell, but it doesn’t excite me and, in places, niggles. But then, I am not one to listen to Joni on a regular basis either. For me the two shorter, instrumentals with their, wistful arrangements are the best tracks and I would have been happy to hear more along these lines.

Released 23rd September 2015

Buy the mp3 of The Clockwork Universe from the band’s bandcamp site

Buy the CD of The Clockwork Universe from The Merch Desk

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