Tag: Long Earth

Review – Long Earth – An Ordinary Life

Progressive rock is all about progress, right? To a certain extent that is correct but not when we have progress for the sake of it and some times small changes and progressions make more of a difference than huge ones.

With their third album, ‘An Ordinary Life’, Long Earth have moved the game on from their sophomore effort ‘Once Around The Sun’, an album I greatly enjoyed, not in a big way but subtlety and this has produced a beautiful, heartwarming collection of songs that add up to one of the brightest releases of 2024 so far.

Before we delver further into the record, let’s have a bit of history;

Long Earth is a prog rock band from Scotland, four decades in the making. All seasoned campaigners of the Scottish music scene, they came together through a shared love of progressive music.

In 2017 Long Earth released their debut album ‘The Source’, popular with prog fans, DJs and rock writers alike, and began building a local audience at their gigs around Glasgow. ‘The Source’ was a serious statement of intent, showcasing the instrumental and songwriting prowess of the band. However, their identity was not fully formed until the arrival of Martin as the band’s new vocalist in 2018 during the writing sessions for the second album, the album that was to become the critically acclaimed ‘Once Around The Sun’.

In March 2020, Once Around the Sun was released on CD and download to critical acclaim. Widely regarded as a significant step up from its predecessor, it has received regular worldwide airplay throughout the year, and features heavily in many DJs and listeners’ “album of the year” lists.

The band line up is:

Mike Baxter – Keyboards, Martin Haggarty – Vocals, Renaldo McKim – Guitar, David McLachlan – Bass and Alex Smith – Drums.

The album opens with Fight The Hand That Bleeds You and a keyboard refrain that could be from a 1980’s Neo-Prog album, a feeling enhanced by the energetic rhythm section, Renaldo McKim’s stylish guitar playing (check out the fiery solo) and Martin Haggerty’s direct vocal delivery. It’s done with aplomb and class and has an up to date, polished edge. A high energy start to the album that makes you take notice, especially the catchy chorus. I have to be honest, while I’m as big a fan of excellent Neo-Prog done well as the next man, I was hoping for a bit more from these talented Scots (although the wonderfully nostalgic sounds from the keys of Mike Baxter are a revelation to hear). I needn’t have worried as the rest of the album is wonderfully crafted and really doesn’t sit in any one genre, although, if I had to pick one, it is definitely progressive rock oriented in flavour. The next two tracks, Morpheus and Life show us that Long Earth have not stood still since releasing ‘Once Around The Sun’. They are both deep and meaningful with gorgeously wistful vocals from Martin and a nostalgic sound that reminds me of the great songs that have graced the charts for years. Renaldo’s guitar on Morpheus just echoes in the background gracefully and the drums from Alex Smith and David McLachlan’s bass both have a cultured, jazzy feel to them. It is music for the mind and soul and, for me, that is some of the best music you can get. Thoughtful, contemplative and with a wishful yearning, Life just bleeds emotion from it’s elegant, piano led, introduction and the melancholy vocal, Martin is seriously on top form on this bewitching piece of music. An elegant musical journey that takes you through the full gamut of emotions and delivered by a group of musicians working at the height of their powers. Sand delivers a much harder, defining edge to the band’s sound with a crunching guitar intro and more forthright vocal delivery. It’s a fluid, punchy track more focused on hard rock but still with the polished feel you’d expect from Long Earth. Renaldo gets to do his best guitar hero impression with some fine riffing and a rather tasty solo and the bass and drums feel hewn from pure granite. It’s a focused and direct song that really leaves its mark and one I really enjoyed.

The longest song on the album, Shadows sees the band in storytelling mode in the best progressive fashion. There’s elements of folk rock at play here, Renaldo’s delicate guitar playing and Mike’s vocal, almost balladeering in style, give a touch of medieval to the sound. This refined piece of music draws you into its embrace with its introspective feel and, at times, pensive and sombre tone. I can believe that this track could become a staple of the band’s live set, it has that involving atmosphere that the audience could feel enveloped and included in. One of my favourites on an album full of superb tracks, The Arc sees Long Earth on their progressive, reflective path and has a feel of Talk Talk to my ears, the deliberation that goes into every word and note and Martin’s vocal has big similarities to Mark Hollis. A big claim I know but one I feel is justified on this fantastic five minutes of music and one of the best songs I’ve heard this year. Moscow is big in sound and in scope, creating a widescreen, dramatic musical experience that touches on the band’s progressive roots. Another immersive musical journey that you gladly participate in, swathes of elegant keyboards and the dynamic rhythm section lay the foundations for Martin and Renaldo to lay out the story in fine style. Symphonic prog maybe but it is just great music delivered by an exceptional band. The album closes with Empty Shore, Renaldo’s echoing guitar and Mike’s subdued keys followed by the soulful vocal of Martin Haggerty on this charismatic and impassioned track. A real slow burner of a song with a pent up, brooding tension that feels ready to erupt at any moment and one that brings proceedings to a close in a very satisfying fashion.

All great albums are the product of an intensive creative process and, in ‘An Ordinary Life’, Long Earth have given us the highly impressive fruits of their artistic labours. A wonderfully immersive musical journey that will have you coming back for more, it is a highlight of what is becoming an extraordinarily outstanding year for new music.

Released 5th July, 2024.

Order direct from the band here:

Long Earth – Music & Merchandise (longearthmusic.com)

Order from bandcamp here:

An Ordinary Life | Long Earth (bandcamp.com)

Review – Long Earth – Once Around The Sun

“Long Earth is a prog rock band from Scotland.

We came together by a series of fortunate but unexpected coincidences. A bunch of musicians, some of whom had played together decades earlier, who just wanted to create new music and have fun. By strange coincidence, Mike, Ken, Gordon, Renaldo and Hew all played at the same Glasgow Festival in the 80s…but in 3 different bands!“

So says the PR info accompanying the second album from Scottish proggers Long Earth. I am a fan of their debut release as evinced by these words from my review of The Source,

“Taking what was great about classic 80’s Neo-Prog and adding some modern drama and pathos, Long Earth have given us a debut album that has been years in the making and all the better for it. Yes, it is not without some minor flaws but it certainly is an album that you will return to many a time and will be even more gratifying every time you do, bring on the next one guys!!”

And ‘bring it on’ they have indeed…

Martin Haggarty – Vocals

Where The Source was a great debut and a quality example of Neo-prog, ‘Once Around The Sun’ takes all that was good about that album and raises it not just one notch but a whole plethora of the bloody things!

The arrival of new vocalist Martin Haggarty in 2018 has added that extra level of je ne sais quoi, you know what I mean, something that you can’t quite put your finger on. Martin joins bassist Gordon Mackie, drummer Ken Weir (both of whom have a connection with Martin through legendary Scottish band Abel Ganz), guitarist Renaldo Kim and keyboardist Mike Baxter to give Long Earth the kind of stature already enjoyed by Scottish progressive’s royalty, Comedy of Errors, Grand Tour and the aforementioned Abel Ganz.

The final cog in the wheel is Hew Montgomery (who has history with all of the above luminaries) who has been a motivating factor in Long Earth, and co-producer of both ‘The Source’ and new album ‘Once Around the Sun‘.

‘Once Around the Sun’ comprises nine tracks of lushly composed and executed progressive rock where every note has a place. The whole album is joyously created and contains a part of every member. It speaks of the wonder of fresh spring days, a hazy and never ending summer, the first leaves that fall on a beautiful autumn day and the joy and warmth to be had sat in front of a log fire with those you love.

The songwriting is exemplary, take neo-prog classic opener We Own Tomorrow, a pin sharp example of the genre with Mike’s keys taking us right back to the 80’s with their wonderfully nostalgic sound. The balladesque wonder of My Suit Of Armour will bring a lump to your throat and a tear to your eye, wistful and melancholy in equal parts. Both tracks bring Martin’s superb voice front and centre, he has emotion and passion deep in his core and it shows with every word he sings and the guitar solo on the second track is just exquiste.

Gordon Mackie – bass

The urgently driven A Guy From Down The Road is suitably mysterious and enigmatic and lengthy, coming it at exactly twelve minutes. There’s a definite jazz-funk feel to the bassline and the whole song just grooves along nonchalantly, you may have guessed that I like this track! The band obviously hit it off and just seem to play off each other, there is a feeling of bonhomie that runs throughout the album and its a joy to feel and hear it in every note.

Mike Baxter – keys & Ken Weir – drums

What About Love seems a little out of context with the rest of the album with its more mainstream feel, like a cross between early Wet Wet Wet and Fish era Marillion. It is, however, full of childlike charm and a simplicity that is difficult to ignore and eventually you begin to appreciate its appeal. Mystery and conundrum surround The Man In The Mirror with its 1950’s film noir feel and gallic undertones. A modern day soundtrack to films like The Maltese Falcon, you can’t help but love its enigmatic aura.

Renaldo Kim – guitar

The album closes with four tracks named after the four seasons and every song fits each one perfectly. Spring has that feel of rebirth after a long winter, full of joie de vivre and a hope for the future. You’ve got to check out the guitar note on Summer, fans of early 80’s Simple Minds will definitely hear touches of The Big Sleep in there and it gives the song a feel of those long, lazy, hazy days of summer. You know what I mean, the ones when you were a child and had no cares in the world, this track definitely echoes those times and its sepia tinged invocation of memories is perfectly judged. The solemn, serious introduction to Autumn fits that time of the year perfectly as the long golden days of summer become just a memory yet those memories are full of love and you know we are going into a period of change which can be exciting. Kids love winter, they love the snow, the frosty mornings and the run up to Christmas and Winter is a perfectly written feel-good nod to the memories of the last twelve months. Good or bad, they make us what we are, let’s get together with those we love and salute what has passed and what we have to come.

With the provenance flowing through the band, Long Earth were never going to produce anything but a great follow up to ‘The Source’ but in ‘Once Around The Sun everything seems to have clicked and we see a band nearing their creative zenith. Take my advice, go and listen to what may well be one of 2020’s subliminal releases.

Released 18th March 2020

Order the album direct from the band here:

https://longearthmusic.com/shop/

Review – Long Earth – The Source – by Progradar

Not sure if you’ve noticed but I like music, I like a whole gamut, a plethora even, of different musical styles and the bands that produce it but, being the man who actually runs this website, it also means I get sent a lot (and I mean A LOT) of new music on a weekly basis and sometimes it’s difficult to keep up with it all.

When I met Neil Mackie (vocals and guitar) of Long Earth at last year’s ‘A Prog Before Christmas’ gig we had a good chat about their forthcoming new album and, don’t ask me why, that seed stuck in my mind and grew when news of the impending release of ‘The Source’ broke.

So, while it may have taken me time to get round to it (due to real life pressures and earning a coin), I always intended to review the album and here is my take on it but, first, a little background…

Long Earth came together by a series of fortunate but unexpected coincidences. Born from an agenda of no agenda, the principal from the outset was to create a musical adventure with no preconceived plan of the final destination.

Mike Baxter (Keyboards) came from an exemplary background of having been at the forefront of the Glasgow music scene. It was during Mike’s tenure with Identity Crisis that, despite moving in converging circles, Mike played with Gordon.

Gordon Mackie (Bass) has a background in music spanning more than 40 years. Moving into the ’90’s, and a move east, saw Gordon hooking up with Mike in Identity Crisis.

Ken Weir (Drums & Percussion) was the foundation not only musical but also in terms of timeline of Abel Ganz. During his time with the mighty Ganzers, Ken was there from the early days of Milgavie Town Hall through to and beyond the Gullible’s Travels days – featuring a line up changed to Paul Kelly, Hew Montgomery, Gordon Mackie and himself.

Neil Mackie (Vocals & Guitar) is, surprisingly enough, Gordon’s brother. Due to Gordon’s influence, Neil learned bass and performed with a number of Central Scotland covers bands from the ’80’s onwards. 

As things progressed, the band agreed we needed an amazing and very particular type of lead guitarist to join the ranks – so the hunt began. Thankfully in September 16 we were joined by the insanely talented Renaldo McKim (ex Suicide Underground).

The final cog in the wheel is Hew Montgomery, Abel Ganz / Comedy Of Errors / Grand Tour who acts as a motivating factor in Long Earth. A semi silent partner almost…

Neo_prog started in the early 80’s and hit its heyday later in that decade with the likes of Marillion, Pendragon, IQ, Pallas et al and it’s influences can still be felt today, just listen to the recent solo releases from Alan Reed (ex Pallas) and Paul Menel (ex IQ) and you’ll know what I mean.

You can hear the way that Neo-Prog has shaped Long Earth’s debut ‘The Source’ but the quality of the songwriting gives it something a little different. It’s made up of two song ‘suites’ and three other tracks and is an engrossing listen throughout. Title track The Source is made up of four constituent parts beginning with i -Through The Void, a stylish instrumental that takes me straight back to the 80’s with it’s simple keyboards and elegant basslines. To these ears it almost combines the era’s other stand out music, New Romantic, with some stylish prog overtones and is a great opening to the album. There’s a segue into ii – The Source which is another nostalgia soaked unpretentious piece of music but one that grows and morphs into something much more up-to-date. There’s a relaxed tone to the music and Neil’s vocals and when the tempo increases, it becomes something more vibrant. Up to now it’s been Mike’s keyboards that have been the overriding contributor to the music, aided and abetted by Gordon and Ken’s stylish rhythm section and there’s a nicely laid back keyboard solo in the centre of the track. To be fair, everything is nicely judged but it’s just missing that little extra, until it arrives in the shape of a classic guitar solo from Renaldo towards the close, powerful and compelling and making the circle complete.

iii – First Steps is a short, slow moving and brooding instrumental with a dreamlike quality to it, the music washing over you and putting you into some kind of relaxed stasis, calm and composed before iv – The Call begins, an intelligent song which gets me in a thoughtful frame of mind straight from the off. Haunting keyboards and jangling guitars give an alternative music vibe, like something out of 1990’s North West England. That dreamlike aura lingers among the smooth vocals and the effortless rhythm section. Below the unhurried surface the guitar adds some edge and body without spoiling the tranquil ambience. It’s a piece of music to lose yourself in and just enjoy the mesmerising music, let another quality guitar solo from Renaldo lift your spirits high and let them soar on the musical updrafts. and enjoy the serene ending to the song.

The second multi-part track is Ghosts and the first piece is i – Invisible, an eerie sounding keyboard precedes the haunting vocals as the track builds slowly with a slightly nervous and tense feel. It has a wistful sound to my ears, it’s almost like a song of longing and regret, of looking to the past with a heavy, melancholy heart. The subdued guitar solo is dignified and seems to be holding back the sea of emotion waiting to spill out. This is a song that is not in a hurry to get anywhere and its presence is felt deep in your soul, the contemplative voice over works very well and the whole track leaves you looking into your own mind in a sobering manner. ii – Above And Beyond is another short and pensive instrumental with an absorbing and reflective atmosphere, there’s an almost otherworldly sound to the keyboards but it is fleeting as it segues straight into the sombre tones of iii – Ghosts. The solemn vocals add to the absorbing music to leave the listener pondering life, the universe and everything. I love the echoing guitar note, it just adds layers and layers of pathos and sentiment and the whole song is a really poignant piece of music with a deep yearning and sentiment. Overall this is a melancholy song about loss and longing that stays with you long after it fades out.

The last part of these two multi-faceted tracks is iv – Her Ghost In The Fog and it opens with an almost euphoric keyboard note, a feeling of hope in the desolation of loss, much more upbeat than what has preceded it and the 80’s feeling repeated guitar motif is really catchy, you will find yourself humming this at the most inopportune moments. There’s almost a nostalgia overload with the keyboards slap bang in the 80’s but the great songwriting once again lifts this song above the ordinary. Neil’s voice has an emotive overtone, quite affective and touching and the keyboards and piano add real gloss. Once again that excellent rhythm section of Ken and Gordon provides the engine room that keeps things ticking over and Renaldo weaves his special brand of magic throughout.

Where Is The Laughter takes a slightly different route with a really engrossing introduction where Gordon’s bass is more front and centre before Neil’s plaintive vocal begins. There’s more of a mainstream feel to the song, although it is still rooted in the neo-progressive arena (dare I mention that well known & tall Scottish singer). I like the elegant music that seems to just glide over your synapses and leave an indelible mark as a layer of sophisticated calm falls over your shoulders. Music for lazy days and long drinks in the garden, a smooth jazz aura seems to emanate from the keyboards in the middle of the song, the bass and drums joining in the impromptu musical jam session. It is one of the best lead outs to a track I have heard this year, just so relaxed and uber cool, just stop what your doing, relax and enjoy it. Children Of War is a superb song that occasionally lets itself down, and that is by the verses being a tad too long. It starts with a feeling of suspense and trepidation, Neil’s moving vocals making the hairs stand up on the back of your neck and all is well. It’s a haunting song about the unknown casualties of war, mainly the children, and it is a moving sentiment but it tends to meander too much for its own good and you get a feeling of treading water with no particular destination in mind. When the brilliant guitar breaks out that spell is broken and you sit, wide eyed, at Renaldo’s virtuosity, it really is quite superb. The verse begins its slow traverse and, once again, things become a bit static, only to be lifted by the rarefied harmonies, it’s a small criticism but a criticism nonetheless. Things come to a close with The Deafening Silence, an organ opening proceedings with Neil’s high pitched vocal adding a bit of theatre. Next, a smile breaks out on my face as a really catchy riff hits you full in the face and the powerful drums and keyboards drive things on. More of a hard rock song that your neo-prog, it works really well with some funky bass and edgy guitar thrown in the mix. It’s a pleasant surprise to have a short and relatively uncomplicated track closing an album out and I’m really enjoying it when Gordon goes all 70’s funk on us with his short but ever so sweet bass solo and, not to be outdone, Renaldo leaves us with another thunderous guitar solo. To me, it’s a great choice of song to close out what has been a thoroughly entertaining listening experience.

Taking what was great about classic 80’s Neo-Prog and adding some modern drama and pathos, Long Earth have given us a debut album that has been years in the making and all the better for it. Yes, it is not without some minor flaws but it certainly is an album that you will return to many a time and will be even more gratifying every time you do, bring on the next one guys!!

Released 9th May 2017

Buy ‘The Source’ from Grand Tour music:

http://grandtourmusic.org/