Leo Koperdraat – Progradar

Review – Fractal Mirror – Beyond Borders – by John Wenlock-Smith

This album is the fifth, and latest one, from the internet based & curated band, Fractal Mirror, which is comprised of a couple of Dutch and US members, amongst others including British local Boy Gareth Cole on guitars. Brett Kull of Echolyn acts as both a backing vocalist and as a creative muse or foil to the members to the band, perhaps to stimulate and enhance their creativity?

The album also marks a return to the longer tracks in which their progressive leanings can be unleashed fully, an element perhaps missing from their last two albums. Well, this release rectifies that issue conclusively as this allows for two of the album’s six songs to come in at well over the ten-minute mark and it really works on this record. Ashes is over seventeen minutes long and Borders runs out at just under thirteen, both songs benefitting from this extended running time as they have chance to expand well, allowing various themes and sections to emerge that are embellished and reworked during the running of the track.

There are also some exceptionally fine musical segments to these songs, especially in the guitar lines of Gareth Cole and in the mellotron of Leo Koperdraat, which really adds to the mood of the piece. I find the track to be very evocative and with its fabulous guitar lines from Gareth Cole, to be something a bit special sounding really. Even the shorter songs do not lose the progressive elements entirely. This is especially the case on Shadow Man which twists wonderfully with a very serpentine guitar line that threads through the final sections of the track.

The album opens with the brief Instrumental, Beyond, as is often the way in prog albums. It starts with swathes of keyboard sounds and textures, also there are some graceful acoustic guitar lines at play and then, latterly, some smooth electric guitar. It is all very pleasant and sets the album up perfectly for what is to come.

Ashes, the first of the two epics, is one to really get yourself immersed in as, over its duration, you will be taken on a voyage of sorts. Lots of ominous sounds and effects and a strident tone emerge and, again, it is very pleasing to the ear. All the while the sound is underpinned by the sounds of the rhythm section and also the electric guitar of Gareth Cole The vocals commence and work well, they are certainly strong enough on this song which also has some nifty bass runs from Ed, Leo’s Mellotron showing itself to be in fine fettle here too. This song talks of ‘ashes all around me’, and I suppose the song is about a relationship and about making it right. Relationships can be hard going at times and, as I’m sure we all know and agree, the key is commitment and communication, both of which will give a stable footing to build upon.

The lyrics go on to speak of another day wishing you weren’t here, another day of living in fear so I guess there might be an element of abuse within this relationship. Very sad words really and, overall the song has a melancholy feel and its subject matter is dark but, the music is very strong, the final solo from Gareth being suitably epic in both tone and nature, in all, a really good track.

Kingdom Of the Lost is another shorter piece but one with great vocal harmonies. This piece sounds very much like a song of loss and, as such, it has traces of slight melancholia at certain points. In contrast, it also has subtle slide guitar lines woven through its grooves, which work to create fine effect and impact.

Borders concludes the album in a lengthy workout, during which there are several great instrumental passages that unfold gracefully, as does the song itself. This track calls for holding the border one last time but what this really means is not clear. Even so, this sentiment is clearly expressed at various points in the track and with some power presence and influence.

When you add all this together what emerges is another fine album from this band for whom bigger things, audiences and shows must surely beckon and, with the power of Bad Elephant Music behind them, their future certainly looks very promising indeed. So hop on over to their bandcamp page to find this fabulous modern prog album and see what you think.

Released October 15th, 2021.

Order from bandcamp here:

Beyond Borders | Fractal Mirror (bandcamp.com)

Review – Fractal Mirror – Close to Vapour – by Jez Denton

Pop music often gets a bad press; often because it is thought of as being bland, uninspiring and repetitive, and often with good cause. However, pop music can be anything but those criticisms with brilliant melodies, lush production and funny and quirky lyrics. Right from the moment Brian Wilson created ‘Pet Sounds’ in 1967, through Bowie’s many different reincarnations in the 70’s and 80’s and via the melodic cleverness of The Smiths, The Teardrop Explodes and World Party, pop music can offer moments of greatness and genius.

Fitting into that roster of clever pop influenced music is the latest release from Leo Koperdraat and Frank Urbaniak, better known as Fractal Mirror, ‘Close to Vapour’. The album has ten tracks that soar and grow with an ebb and flow, a gentle build to heights of dreaminess, and which take the listener deep into the stories being told. With production by Brett Kull of Echolyn, the band has created an album of outstandingly tuneful and clever songs that deserves the high plaudits that will surely come its way.

If I was to make a small criticism it would only be that the lead vocals will take a bit of getting used to. Leo has a slightly nasally style that, whilst not being a huge problem, does surprise and even disconcert, but only until you get used to his sound. Once the initial impressions have receded the idiosyncratic nature of the delivery adds to the depth and multi-faceted sculpture of the album.

Being released on Bad Elephant Records in the first quarter of 2018 this album is one of the highlights of the year so far. Also featuring guest appearances from original member Ed Van Haagen, Tom Doncourt and producer Brett Kull, this album will entrance and beguile the listener with its superior pop melodies. I urge you to search this album out for all the rewards it will give you.

Released 23rd February 2018

Order ‘Close to Vapour’ from bandcamp here

Review – Fractal Mirror – Slow Burn 1 – by James R. Turner

James R. Turner’s first review for Progradar!

It’s a strange half life you have as a reviewer, you’re at one step the conduit between the bands and the audience, hoping that what you write influences others to investigate some of the exciting new music out there, on the other hand you end up meeting musicians, talking to the bands and becoming friends with them either online or, even better in real life, and that friendship you build up, you have to be careful not to let it influence your writing or your relationship with the band, a balancing act that shouldn’t compromise your principles or your opinions.

Of course you get sent albums to review, and having a day job, or indeed the house move from hell (never move, or if you do move, never use the decorator we had), it sometimes takes longer to get round to writing the reviews than intended, that’s the trouble with life, it always gets in the way.

Making friends in the progressive genre is an easy thing to do, as it’s such a small scene, and for the most part a friendly and welcoming environment that you can go to gigs on your own and end up in a big group at the end, which is how coincidentally I met Leo Koperdraat, back at Eppyfest 2014.

That’s how Fractal Mirror, Leo, Ed Van Haagen and Frank Urbaniak, met, via a Facebook group, and from such an everyday occurrence, something magical was born.

‘Slow Burn 1’ is their third album following on from 2014’s astonishing ‘Garden of Ghosts’, which was one of my albums of the year, and see’s them consolidate their sound, an evolution rather than a revolution, after all if something ain’t broke, then don’t break it for the sake of it.

That is no criticism by the way, the band are in no way playing it safe, instead they are bolder with their sounds, and broader in their vision without compromising anything of their heart and soul that helped make ‘Garden of Ghosts’ such a great album.

Working again with Brett Kull, who produces and co-writes a few tracks on here, this is an exceptionally assured album, the Fractal Mirror sound is unique, a step away from what other artists are doing at the moment.

This means that you can tell who is playing the minute the album starts, and there are not that many artists who are instantly recognisable.

What’s also striking is the fact that each song title is just one word, which adds to the effect.

There is no sound and fury and bombast here, the sound is deceptively relaxed, and the album is as its title suggests a slow burner, one of those gems that works it’s way into your head subtly and each time you play it, you pick up more and more from each track, the beauty of the music being so subtle and almost chilled out, is that the lyrics then work their way into your consciousness.

Fractal Mirror have a clever way with lyrics, similar to how The Beautiful South used to work, by having beautiful music, with quite stark lyrics, the lyrics to Embers for instance are quite dark and haunting, belied by an amazing tune, in fact whilst there is light on this album, there is also a lot of dark, and understandably so, the times that we are currently living through are turbulent and unstable, and all the best art reflects the times we live in.

Tracks like Mist and v838 have an element of optimism about them, however the darkness of the lyrics on Enemies, Embers and Fading has it’s polar opposite in the final track, which I will come back to.

The music that Fractal Mirror make is superb, the synth and guitar work on Enemies for instance is striking and powerful, whilst the vocals of Leo are superb throughout, and the way the band work together in creating this music considering how spread apart they are is a testament to their vision and their friendship. Whilst some of the vocal harmonies are stunning and on Embers are very Beatlesque, particularly with the guitar work reminiscent of George Harrison.

Back to the closing track, never finish a set on a downer an old poetry tutor told me when structuring a reading, and I think this might be something Fractal Mirror have also learnt.

I don’t think I am overstating the importance of the message in Universal when I say it is all about the message of togetherness and how we could all be so much better together, the ambiguity of the closing suggests, like so many things that it could go one way or the other. With it’s musical refrain, and it’s almost pop sensibility it has some great hooks, wonderful keyboard sounds and great guitar work (with guest bass from Leopold Blue-Sky), I don’t like to overuse clichés, but I would say it is anthemic and one of those songs that can come to represent a time and a place, particularly with the haunting coda at the end.

However there is no ambiguity here, ‘Slow Burn 1′ is another fine piece of art from Fractal Mirror, musically and lyrically superb, and packaged beautifully with the work of Brian Watson, another friend of the bands who met in the Facebook melting pot. It’s so good to see bands taking as much care over their artwork as their music. I am from the era where how records look are s important as they sound, hands up how many of you out there have bought a record based purely on the sleeve? I know I have.

People criticise social media for keeping people apart, here we can see it has brought together like-minded creative individuals, all of who have something to add to the prog genre that we love.

Progressive, adjective, happening or developing gradually or in stages, favouring change or innovation, engaging or constituting forward motion.

I think looking at the true definitions of the word progressive, we can apply all those to ‘Slow Burn 1’ as it is an evolution of the Fractal Mirror sound, there is definite innovation in their work, and it’s another mighty step forward for them from ‘Garden of Ghosts’.

Released 23rd April 2016

Buy ‘Slow Burn 1’ direct from the band

James R. Turner

The best thing to come out of 1977 (the 2^nd best being ‘Out of the Blue’ by ELO) I have been writing about prog since I joined the Classic Rock Society back in 1994, and have written for several online magazines, the BBC website as well as contributing two articles about Cult television to two anthologies.

I like cult TV specifically Doctor Who, and see where prog and Doctor Who meet in the music of the BBC Radiophonic workshop.

I live in Bristol with my other half, have a large collection of rubber ducks and more CDs/Books/DVDs than I have space to store them.

Review – Mike Kershaw – What Lies Beneath – by Gary Morley

Mike Kershaw is a “Passenger”, or fan of Big Big Train, and we’ve met (in cyberspace) and our lives have been connected through their Facebook page.

I was invited to review this, Mike’s latest solo recording, by Martin Hutchinson, another Passenger whose life is a little more connected to mine in that we have had conversations: Exchanges of ideas and the like, in between him sending me albums to review and me handing in my homework.

So I transferred the files onto CD, placed it in the player and after sharpening my reviewer’s pencil, pressed play.

The following are the notes written as I listen, a running commentary if you will.

The first impression is that the drum sound is warm, jazzy and gentler than other recent Prog albums. There are none of the extraneous fills and beat s that detracted from Dream Theater’s recent excursion into Lloyd Webber land here.

I will research later, but the instrumentation on this is warm, organic and very “English”.

Mike’s voice is not a musical weapon of mass destruction, not chilling roars or over enunciated shouting here. The nearest comparable voice I can think of is Marianne Faithfull. His voice falters and cracks as hers does on “Broken English”, both frail and resilient at the same time. It adds to the charm of the piece as the voice makes the words even more personal and the deliver almost intimate, a rough take charm that grows as the album progresses.

(Picture by Scott Smith Photography)

The album hints at the great journey we are all on, unfolding and layered with detail that adds to the repeated listening pleasure. Track 2 starts off with a drum track that brought Dire Straits to mind, that simple shuffle beat underpinning the mix. Keyboards float above it, Mike’s voice is higher, almost childlike here. It’s always tricky to write about lyrics without the aid of a “cheat sheet” album cover present, so I tend to leave that to the end user (and the writing on CD inserts is not “People of a certain age friendly at all! That’s why we collect vinyl – to read the notes!)

There are chiming guitars; beautiful bass playing that had me thinking of the Cure at their most pastoral on track 3. The melodic force is strong in this one, the song growing, tide like before the chorus crashes on the shore, then fades and ebbs with lovely electric piano . We have a military drum beat and a ghostly choral backing that fades to voice and rhythm section.

Mr Kershaw, you are a very talented man. Songs that unfurl gently and reveal secrets, your folk singer delivery brings another point of reference here, The spirit of Roy Harper seeps through the 4^th track, with it’s guitar textures and space between the component parts allowing the voice centre stage.

“Another disguise” is full of lovely slide guitar and swooping keyboards, this track is very Pink Floyd in it’s sound, warm guitar and icy keyboards over a solid drum part , again no pyrotechnics from the players, the ebb and flow is complimentary to the lyric.

Or does it bring back memories of The Enid circa 1981 that ? That period when RJG discovered vocals? There are hints of that too, along with a smatter of Dylan, Track 5 being a bouncy charmer, full of gruff guitar charm and a timeless vocal performance.

(Picture by Scott Smith Photography)

Track 6 starts with a gentle keyboard piece then we hear of the protagonist, who seems beaten by life, a frustrated individual trapped in some private hell. Kershaw’s words of rallying around a flag, joining a cause, whether wrong or right spookily poignant after recent events in Yorkshire that shocked one and all, here we have the plight of the loner , the isolated man captured in a 3 minute song.

I’ve played the CD 4 times now, each time it releases another little Easter Egg …

This time, Mike’s Voice on track 1 reminds me of Tim Blake (Hawkwind and solo artist) performing “Lighthouse” – half spoken, half intoned lyrics set to a jaunty, almost funky soundscape with keyboards coming at you from all directions. Lyrically it’s not a million miles from the anti war rhetoric of Hawkwind / Tim Blake /The Enid from the 80’s ( we were all going to die in a mushroom cloud caused by Reagan and Russia goes to war over Europe with tactical Nukes proliferating on both sides. Scary times, but produced some great music – “Who’s Gonna Win The War” & “ And Then there were none” being the two that this shares a common bond with.

This is the “Proggiest” track here, with some great synth lines at the conclusion sliding over your ears into your brain.

The more I listen, the less convinced that it’s Prog. Not in a derogatory way, but this album is full of songs, some great musicians playing to complement each other, most tracks are around the 5 minute mark, there are no dragons, anthropomorphic creatures, aliens or starships. No warriors on the edge or any vast inhuman machines keeping people in ignorance and servitude.

There are some glorious tunes, great instrumental pieces and a sense of warmth, almost organic well being generated through the listening experience.

It’s just good music, no matter which box you think it should be put in.

Mike has produced a fine album, a personal statement of where he sits in the musical pantheon and the world is a better place for his efforts.

Released 27th May 2016 by Bad Elephant Music.

Buy ‘What Lies Beneath’ from bandcamp

Review – Fractal Mirror – Slow Burn 1- by Progradar

“For fast acting relief, try slowing down.” – Lily Tomlin.

Modern life can be likened to being on an express train that only runs between two stations, the one where you board and the one where you alight. The common complaints of ‘not enough hours in the day and too much to do to fill them’ arriving on a regular basis.

We really need to get off this never-ending stressful ride more often, for our own health and sanity, if nothing else. I know it’s easy enough for me to say it but, it certainly helps my well-being to be able to take a step back now and again.

My way of forgetting the intimidating rat race is just to listen to some calm and relaxing music, music that I can unwind to and that soothes my furrowed brow. One of the artists that have delivered this gentle, sedating relief to my busy life in the fast lane has always been Fractal Mirror and they have just released a new album, ‘Slow Burn 1’ so, when the promo arrived, I pressed play to see what wondrous, whimsical world they had conjured up for us this time…

Fractal Mirror is an international recording band. Leo Koperdraat (keys/guitars/vocals) and Ed van Haagen (bass/keys) have made music together since the 80’s in the Netherlands. They met Frank Urbaniak (drums/lyrics) online and compose and record their music via transatlantic data exchanges. While Ed has visited the US during mixing sessions, Leo and Frank have never formally met. The band’s name and compositions are a reflection of their passion for the wide variety of music that has influenced them and has provided the soundtracks for their personal lives.

The themes in ‘Slow Burn 1’ are a reflection of the disruption that technology is triggering in all phases of life, and the platform it provides for consent and dissension about the direction in which our world is heading.

There is a wide selection of guest artists helping the band on this release including Patric Farrell, Kenny Bissett Sr., Don Fast, Leopold Blue-Sky and Brett Kull (Echolyn) who, once again, mixed and produced the album. Brian Watson of Plan A Art provided the stunning artwork.

Prelude is a calming opening, lowering the heart rate and getting you ready for what is to come. The signature Fractal Mirror keyboard sound and Leo Koperdraat’s dulcet tones all present and correct. There is a real light and airy feel to Miracle as it opens up. The jangling guitar and Frank’s drums giving a dreamy feel, a deliberate note is in the vocal though, all serious for a moment. The guitar gravitates in earnest and the catchy chorus is really good. Some stylish bass playing adds a touch of class to proceedings. Immediately you feel that the band have matured and progressed in their songwriting, there are layers of complexity on show here, shown in the late 60’s psychedelic feel to the opening of Numbers. The swirling organ note and deliberate drumming add a thoughtful note to the song and Leo’s vocals have an earnest note. It is all cleverly whimsical and wistful, lulling you into a serene state of calm. I see a new found depth to the musicians and one that I am liking a lot so far.

Patric Farrell provides bass on V838 and lead guitar duties are taken on by Peter Swart. On the verse, the song has an upbeat feel, uplifting and light, the rhythm section bringing their ‘A’ game along. Leo delivers another reflective vocal performance. There’s a note of regret, even warning, on the meditative chorus. This track showcases the new, polished sound that is crystal clear and lush. A contemplative and plaintive note pervades Floods. This song has an almost melancholy and ethereal beauty to it, I listened to it with my headphones on and was lost in its sublime, calming grace. Charlotte Koperdraat and Kitty Diepstraten add serene backing vocals, there’s some heartfelt guitar playing and you are left with a blissful lightness of being.

That sanguine, optimistic note returns on Mist, positive drumming, quick-stepping keyboards and Leo’s buoyant vocal all come together to give the song a really upbeat note. Stopping just sort of becoming annoyingly twee, with Don Fast’s elegant 12-string, it left me feeling like I could take on the world, the sun was shining and everything was right with the world. Both Enemies and Embers have a determined and businesslike note to them. While at first resonating a little less with me, they are both still clever, involving pieces of music that did, at first, seem a tad one paced. Charlotte returns on backing vocals for the former, this time joined by Jason Himmelberger. Both songs initially seemed to lack the instant involvement of the rest of the songs on the album but, after repeated listens, they both proved to be slow burning diamonds. It is true that all comes to he who waits, apparently….

A delightful guitar note opens Fading before a tidy drum roll introduces the rest of this feel-good track. A jangling guitar riff and Leo’s expressive vocal add another layer of benevolence. A proper ‘foot-tapper’ it seems to fly along slightly out of grasp with its more AOR friendly feel. Throw in a Peter Gunn style riff and you have another song that lifts its head above the parapet of normality on this increasingly impressive release. Artifacts is another smoothly polished song that just drips panache and style and yet seems to suffer slightly against the inspiration of some of the other tracks on the album. It is a rather nice piece of music anyway, great vocals from Leo and Jason again, combine them with the superlative musicianship and you will never fall below rather good but, to me anyway, there just seems to be something lacking. However, the final track on this expressive musical world of wonder is every bit as good as, if not better than, the rest. Universal is Fractal Mirror doing what they do best, sumptuous music, intelligent songwriting and delightful vocals combine to give over eight minutes of intriguing and involving musical enchantment and it really does leave you on a high. On this final song, the majority of the musical guests make a final appearance with Patric Farrell, Kenny Bissett Sr., Leopold Blue-Sky, and Dan Fast all joining the exuberant gathering. The harmonised vocals are just one of the joys on show and the song runs out with a serious feel of the Beatles circa Sgt. Pepper.

A band that constantly strives to improve and progress, Fractal Mirror’s new album is testament to their devotion to this ethos. ‘Slow Burn 1’ is a multi-faceted delight and a joy to behold. I doff my cap to you gentlemen, after ‘Garden of Ghosts’ I expected something special from you and, boy, have you delivered!

Released 18th March 2016

Buy ‘Slow Burn 1’ direct from the band

Exclusive!! – Fractal Mirror reveal details of New Album – Slow Burn 1

In a great exclusive for Progradar, the eclectic Dutch band Fractal Mirror are due to release their third album ‘Slow Burn 1’ in February 2016 and I was extremely lucky enough to catch up with band member Leo Koperdraat this morning and find out more details about this highly anticipated release.

Leo, Ed van Haagen and Frank L. Urbaniak have released two previous albums, 2013’s ‘Strange Attractors’ and last year’s ‘Garden of Ghosts’, of which I said:

“Not just an album of songs but a journey into a world of profound understanding, ‘Garden of Ghosts’ is not for the fickle of heart or soul. It requires commitment and intelligence to fully benefit from its deeper connotations, once smitten though, you will never want to leave. Fractal Mirror are currently working on their third album and I, for one, cannot wait.“

Fast forward nearly twelve months and the band are about to release ‘Slow Burn 1’, what’s the main differences between the two records?

Leo Koperdraat: “The songs are shorter and to the point but we paid a lot of attention to vocal arrangements this time. The Progressive Rock influences are still very much in place (Patrick Farrell of Built 4 the Future even plays Rickenbacker bass on one song and Leo Blu Sky really shines with his bass on the Beatles meets Tears For Fears 8 minute closing track), but we do hope that ‘Slow Burn 1’ will also offer new things to the listeners.”

The band could also be looking at a Crowd Funding option to finalise the album.

I was also lucky enough to listen to one of the new tracks from the album called Numbers and it showcased the evolution of the shorter tracks with great vocal arrangements, add in some rather intense guitar work on show and it all augurs well for the new album.

‘Slow Burn 1’ features Brett Kull (Echolyn) again on every track and there are guest appearances (so far) from; Don Fast (guitars), Charlotte Koperdraat (backing vocals), Patrick Farrell and Kenny Bissett Sr (from B4tF on BV and bass), Jason Himmelberger (from Jhimm on BV), Peter Swart (guitars) and Leopold Blu Sky (From Unto Us/Mike Kershaw on Bass).

Larry Fast will be mastering again. The expected release date is February 2016.

The striking artwork is provided, once again, by Brian Watson.

I was really impressed by the one track I heard and, if it is representative of what is to come, I am sure that Fractal Mirror will deliver another outstanding and immersive musical experience.

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