Tag: Marek Arnold

Review – Southern Empire – Another World

Music is the perfect accompaniment to life, when you listen to great music you don’t need to be doing anything else. There are all sorts of different music genres and we don’t like them all but, to me anyway, there’s no such thing as bad music, it’s just music that’s not for me.

Music that definitely is for me is, ‘Another World’, the new album from the brilliant Southern Empire, one of Australia’s greatest exports, music or otherwise! I’ve long been a fan of their bombastic and highly entertaining style of rock tinged progressive music and count the band’s second release, ‘Civilisation’, as one of my favourite all time albums. Well, now this band of antipodean troubadours are back with a new album and, perhaps controversially, a new lead singer!

“The dragon, unaware that Danny is still atop her massive frame, carries him afar to other realms and adventures. He is at peace, knowing that the others are safe and well, indulging in the countless distractions that this other world has to offer.

Then, a new paladin appears, our patriotic protagonist, Shaun of the Hollow Grove. Although familiar with the wind-swept terrain, he’s certain he’s never sojourned this far before… but he sets his sights on the embankment ahead and begins his sesquipedalian odyssey.”

Original lead vocalist and guitarist Danny Lopresto left under good terms (and still provides backing vocals on the album) but his are big shoes that new man Shaun Holton has had to fill. I spoke to Shaun about this and the new album;

“It was a long process! It began around May last year during a pretty challenging time for my family and I but, yeah, I have been a friend of Cam Blokland’s for a number of years and we have wanted to work together for a while (from early Projected Twin days in 2008).

So when Danny left, Cam put me forward quickly! I recorded Face the Dawn first, Sean and Cam loved it, but the other guys wanted to hear me do a bit more, so I sang Goliath’s Moon and Forrest Fire as well. Then it was White Shadows! (this was the song that made me really hope they went with me, I thought that we really had something with that!) Once the band had all heard White Shadows that was kinda it for them too.

So then it was a bit of work tracking the rest which we would have finished around January this year. Danny has heard a bunch and has let me know he thinks it’s really good and fully supported my entry into the band. I thought that was incredibly professional and spoke to his character greatly! It was challenging to replace vocals built for him specifically. Sometimes I had to go my own route. I’m happy with where we got it!”

I’m not going into the challenging time that Shaun references as it’s personal to him but let’s just say it shows what strength and character he has and why he fits the band perfectly.

Band leader Sean Timms said that;

“Shaun not only has an incredible voice, he’s also a gifted musician and song writer. He has a passion for life and is an incredibly upbeat person with amazing amounts of energy. When he commits to a project… it’s 100% all the way. He’s helping a great deal with the promotion of the new album, adding copious amounts of social media posting and always ready and available for interviews.”

Right, now for the music, ‘Another World’ is all that’s good about progressive rock, taking influences from all over the musical hemisphere, electro, techno, rock, funk and a huge dose of prog rock to deliver a hugely entertaining and theatrical romp. The songwriting and musicianship are absolutely superb and the production levels are off the scale, not surprising with Sean Timms at the helm.

What makes the new album stand out from the steampunk influenced (well, to me at least) ‘Civilisation’ is the harder edge epitomised by Cam Blokland’s superb, fluent and, at times, extremely heavy guitar. Add in to this the addition of not one, but two sax players (Adam Page on tenor and Marek Arnold on soprano), Steve Unruh (violin and flute) and Amanda Timms (flute) and we are treated to a veritable cornucopia of musical delights. The rhythm section of Brody Green (drums, percussion) and Jez Martin (bass) are the definition of stylish solidity and provide a firm (but always funky) foundation on which the music can soar, and soar it bloody well does!

Opening track and first single Reaching Out, inspired by the very prevalent multi-verse stories being told in a lot of films and TV series lately, takes the ‘What if’ scenario and runs with it at breakneck speed. Staccato riffs, swirling keys and a thunderous rhythm section marry up with a superb chorus to deliver a frenetic four minutes of musical fun and games. It’s all about understanding how the choices we make can have a profound affect on our lives… good, bad and indifferent. After that hell for leather introduction to Shaun’s vocal talents (the chorus harmonies are brilliant!), things take a more epic scope with Face The Dawn which was inspired by a documentary that Sean saw about climbing El Capitan in Yosemite (I’ve seen it and I also share his fear of heights!). It’s a twelve minute plus epic about facing ones fears and is an epic that only Southern Empire could do, funky, edgy and melodic in turn, the Leprous style repetitive guitar riff is slick and polished and yet the glorious piano and violin section is as emotive as they come. The song twists and turns, sometimes at a ferocious pace and, at others, laid back and leisurely and Shaun’s vocals are perfectly balanced throughout. It’s a veritable monster of a song and one that leaves you breathless and with a smile on your face.

Written by Cam and with his soulful voice on lead vocal, Hold On To Me is about staying strong for someone else to help them through their pain and is full of passion and soul. Cam lays down a beautiful acoustic guitar and is backed with aplomb by Shaun’s vocals and guitar and Sean’s wistful piano note. It is powerful but a lot more stripped back than the usual Southern Empire fare in most places yet, when it does blossom into something potent and compelling, it does so with sheer elegance and sophistication. Without out a doubt, it is one of the best pieces of music that the band have produced. On When You Return Sean married the subject matter about possible life on other planets with a sort of love song to the creator of the universe. The track features a great narration from the wonderful Lisa Wetton (who also lays down some percussion on the track), the jury is out as far as Sean is concerned regarding life on other planets, but he remains open minded about it as much as he can. I really like the lively, energetic feel of this track, the funky guitar, bass and drums remind me of Extreme and Living Colour in places and the uptempo beat is just a joy to listen to. Monstrous riffing aplenty, Moving Through Tomorrow is, without doubt, the heaviest track on the album, I’m sure Cam’s riff is hewn out of granite and Shaun gives his most dynamic and potent vocal performance yet. It’s a song about defiance, about getting through the obstacles of life, daily challenges, being humble but not broken and surviving. At one point you hear Shaun sing, ‘An angry call to arms…’, and there is a controlled anger in the song, a bravado and boldness that gives it a rebellious edge. There’s some fabulous harmonies and soulful keyboards but, at its core, there’s definitive call to live our lives how we want to and attributing as much meaning to them as we can.

“The birth of an electric sun, The Earth-bed dry, the colours run Left confused, so dazed and lost, With no one left to count the cost…”

As already said, there’s no prog epic quite like a Southern Empire penned epic and in the eighteen minute plus White Shadows, we are treated to one of the best. A legacy to the band from Danny, who had the main inspiration for the track, it’s a bit of a post apocalyptic piece about survival through horrendous conditions and circumstances. Ultimately uplifting and hopeful, it’s about loss and working through that loss to come out the other side… not unscathed, but hopefully wiser, more compassionate and resilient. You go through a whole gamut of emotions in its extended running time, emotions brought about by the impressive mixing of musical styles. There’s a magnificent, cinematic, instrumental opening section that spans horizons and takes you on a widescreen musical adventure, like an Oscar winning movie soundtrack with a classical influence, Sean’s piano playing is particularly impressive. The track then moves into a heavy techno, electronic section before Shaun’s stentorian vocal enters the fray. Brilliantly melodic and aided and abetted by some glorious sax, it’s very jazzy feeling, if jazz got all bolshy and aggressive and, once again, the song has a really catchy chorus.

“White Shadows were all that remained, A pulse and a heart beat were lost in the flame, White shadows were all that I saw, A ghost from the past here no more, here no more…”

There’s some quite violent but addictive riffing and the sax gets to weave its sinuous spell around your mind before the mysterious, enigmatic second part of the song begins. There’s a building of anticipation, all created by the inspired music, Shaun’s vocals and the quite sublime saxophone.

“Like a flash of lightning he fell, Shine on brightly, say farewell, “I will return” he said with rage, “And then I’ll truly come of age”…”

A wistful, ethereal flute then hypnotises as part three begins, laid back and undemanding with another sumptuous vocal combination from Cam and Shaun, Cam’s low voice a perfect accompaniment to Shaun’s more powerful delivery. It’s a hugely impressive part of the song and one of the best parts of the album, full of passion, intensity and fervour.

“This illusion disappears in the light of inspiration… inspiration…”

Jazz fusion then takes over with a brilliant keyboard, bass and drum led section that could have come straight out of the mind of Pat Metheny before we come towards the end of the song and a repeat of the impressive chorus section before Cam’s thundering guitar ends things in primeval style.

“White Shadows have faded away, The pulse and the heart beat are beating again, White shadows dissolve into dust, Descend into darkness, their dreams turn to rust…”

After that pulsating, heart pounding experience, the album closes with Butterfly, another of Cam’s songs, and a bit of a quiet closer and palette cleanser. It’s about letting the ones you love live freely without constraint from ourselves and it soars with a delightful, uplifting energy. Cam’s vocals are dreamy and contemplative and the music has a playful feel to it, especially the dancing flute, it’s a thoughtful and reflective end to an hour of musical wonder and joy.

A Southern Empire record is always just more than an album release, it’s a hugely significant occasion and one that I await with bated breath. Their music has been a soundtrack of my more recent years and is very, very important to me on a musical and emotional level. ‘Another World’ is an absolute masterpiece of musical theatre and, possibly, the band’s Magnum Opus, one of the best albums you will hear this or any other year, and the perfect accompaniment to my life.

Released 4th September, 2023.

Order CD from GEP here:

Another World – Pre Order – GEP

And the vinyl from GEP here:

Another World Orange Marbled Vinyl – Pre Order – GEP

Review – Damanek – Making Shore

Damanek are a sort of Prog Rock supergroup formed by fellow
Yorkshireman Guy Manning (lead/backing vocals, keyboards, acoustic guitar & instruments; loops; samples; percussion), Marek Arnold (saxes; seaboard; additional keyboards), and Sean Timms (keyboards; backing vocals; programming backing vocals & additional programming).

The talented trio are joined on ‘Making Shore’ by an impressive cast of musicians including Brody Green, Julie King, Cam Blokland, Kev Currie, Riley Nixon-Burns and Linda Pirie, to name a few!

‘Making Shore’ is the band’s third album and is another genre-defying collection of sophisticated songs that again manage to combine impressive technical proficiency with catchy hooks and vast soundscapes. I was a big fan of the band’s previous release, ‘In Flight’, saying, “A compelling, engaging and stimulating listening experience that leaves you high on music and life. Every absorbing minute of music is a minute that will bring a smile to your face.” So I was really looking forward to the new album and, thankfully, I was in no way disappointed.

‘Making Shore’ is music with morality, an object lesson in how to get your message across (over population, global warming etc.) without shoving it down people’s throats and alienating them. I’ve always felt that Damanek create music with the perfect blend of progressive rock and jazz and then the band introduce wonderful elements of world music into the mix (mandolin, bazouki etc.) and you won’t find a better use of the saxophone in modern prog than on one of their albums and Marek Arnold is on fine form here!

The album is split between seven ‘regular’ tracks and then ‘Oculus’, an epic gothic flight of fantasy that comprises an overture and four suites, when I see that written down it does sound a bit pretentious but it is actually superbly done. The regular tracks all have a socio-political or ecological theme and work really well, I’m especially a fan of opener A Mountain of Sky, a song literally about Everest and how the notion of conquering the mountain is ridiculous, it is, after all, aloof, majestic, beautiful and timeless and this track is a great tribute to one of the giants of nature. Upbeat, fast paced and monumental, the music breezes along and Guy’s elegant vocals just add real soul to the song, the keyboard breaks are properly 70’s prog, the sax is vibrant and dynamic and the guitar playing is, well, epic, just like the mountain. Back2Back is about over-population and how it could be aggravating global warming and pollution. It’s a more laid back piece, one where the keyboards are one of the main characters, supporting Guy’s soulful vocals. There’s an especially fiery break in the middle that adds a more serious overtone and Marek’s sax is always there in the background ready to erupt with class and spirit.

“If we do nothing at all, then we will watch as populations rise and resources decrease in a state of Global inequality…standing by as children die of hunger.” Noon Day Candles has a melancholy, wistful feel, not surprising considering the subject matter but it is quite a beautiful song. The mellowness imbued by the elegant music and Guy’s stirring vocals really hit home as Marek plays a tender sax in the background. It’s a really moving piece of music and shows what sensitive, mature people these musicians are. Americana is about a fictitious farmstead in the US Mid West where a traditional family struggles to keep their heritage farm going against a backdrop of increasing climate changes and poverty and brings to mind ‘So’ era Gabriel to my ears. Adding that signature Damanek soulful groove to an Americana inspired song is a really clever idea and the lyrics are particularly pertinent on this track. The outpouring of emotion on the chorus is particularly touching and, along with the superb piano, adds real gravitas to this impassioned tale.

“I wrote this piece for my youngest who has Aspergers and can find things challenging at times… On a holiday in Greece he decided (off his own bat) to try scuba diving…after the shock of the request settled in we of course said ‘Go for it!’…he went off by himself, signed up, faced his insecurities and did the dive…we were very proud of him and so I wrote this song all about it!”

That’s the story behind In Deep Blue (Sea Songs Pt.1) and the fact that this song is based on Guy’s own personal experiences really touches me, the love he has for his son and the pride he feels as he overcame his disability is there for all to see and it gives the track a whole different aura. A wonderfully flowing piece of music with elegant vocals, it has a real feel good factor running throughout its four minutes and brings a warm glow to my heart. Reflections On Copper is about as laid back a piece of jazz/prog you are going to hear and talks about how dementia affects the everyday lives of those who are afflicted. It treats the subject matter in a very sensitive way and the music has substance at its very core, a very intelligent piece of songwriting. The edgy, animated vitality of Crown of Thorns (Sea Songs Pt.2) has a coruscating beat to it, perhaps replicating the crown-of-thorns starfish about which it talks. In normal numbers on healthy coral reefs, COTs are an important part of the ecosystem, however, when the coral-eating starfish appear in outbreak proportions, the impact on coral reefs can be disastrous. A song with a very serious message but one that is put across with a sparkling vivacity.

Now for the mind warping, time spanning epic world of Oculus, a cautionary tale of a man who finds an alternative reality through a looking glass and how, after many trips back and forth, he nearly ends up trapped in the alternate world before, finally returning to really appreciate what he has at home. Now, let’s be honest, there’s something marvellously overblown and wonderfully pompous about a prog epic and, when they’re done right, I just absolutely love them. Well, Guy and the band perfectly nail it within the thirty one minutes of the gem of a piece of music. From the uplifting power of the overture, almost classical in nature, through Act I – Spot the Difference where there’s a childlike wonder of discovery that opens up into something more profound with an underlying medieval impishness and then Act II – The Corridor which could have come straight out of some 80’s stylish pop/rock album, the keyboard blasts and funky riff almost straying into Level 42 territory, theres a playful subtlety to the songwriting and a knowing nod to those epic multi-piece tracks of the 60’s and 70’s. Guy’s fine baritone is core to everything going on here, he really does have a great voice. Act III – Passive Ghost starts with a simple keyboard and piano overlaid with Guy’s heartfelt vocals. What seems an uncomplicated ballad then builds with layers of sophistication, musical and lyrical nods to The Animals, Joni Mitchell and even The Wizard of Oz, to become something all together more complex and delightful. Act IV – A Welcoming Hand is an inspirational, uplifting end to the saga and opens with some intricate sax play before Guy’s compelling voice takes centre stage. You can feel the hope and optimism throughout, the song really putting you in the right frame of mind and the funky sax and fiery guitar ensure that it’s a suitably joyous end to what has been a tremendously memorable experience.

Well 2023 has got off to a suitably auspicious start on the music front and this new album from Damanek has just raised the bar considerably. ‘Making Shore’ is a momentous achievement, full of sumptuous music and elegant vocals and yet the cautionary tale at its heart is never lost in the process, bravo gentlemen, bravo!

Released 13th, January, 2023.

Order from GEP here:

Damanek – Making Shore – GEP

Check out the Damanek website here:

DAMANEK – the official website (guymanning.com)

Review – Damanek – Making Shore – by John Wenlock-Smith

‘Making Shore’ will lift your spirits from any post new year blues that you might be troubled with, for this album is simply glorious. Well, it’s been a long time in is its realisation and, finally, the third Damanek album is nearly upon us. It will physically be released on the 13th of January 2023 and I can envisage big success for the band with this fantastic collection of songs, eight in total, in two distinct sections. Part one has seven songs of middling length and with various themes, part two is one thirty minute epic, consisting of five parts, which is an exploration of alternative realities and time travel.

The band consists of a core unit of Guy Manning (lots of keys, lots of acoustic instruments (guitar, mandolin, bouzouki), percussion and vocals), Marek Arnold (saxophone, keyboard) along with Sean Timms (keyboards, vocals, percussion, mixing and production duties). They are aided by a veritable who’s who of modern Neo-Prog. These include half of Southern Empire, that’s Cam Blokland on guitar and Brody Green on drums, also present are Ralf Dietsch of Cyril, Jonathan Barrett (ex The Tangent bass player), Riley Nixon-Burns (trumpet) and Linda Pirie on flute and piccolo.

Together these folks make truly special and spacious music that has a familiar feel alongside new sounds and textures. The music is rich and lush with melody woven strongly throughout. It is an album that will draw you into its orbit and will give you a satisfying musical journey that will take you from Mount Everest through the Great Barrier Reef , an American heartland and finally on a journey into a world of memories, hopes and desires. All are to be discovered within it tracks so buckle up for the ride of the month if not the year, such is the strength and stature of this album.

The albums first track is A Mountain Of Sky, a song about that most famous of summits, Everest. The sound is very clever in that it captures and conveys Tibetan sounds and is very evocative of that area, the song has a driving beat and rhythm to it and is as epic as the mountain itself, with a strong chorus and some strong guitar lines woven within its running time. The soundscape is everything you could want from Damanek making this epic track a superb statement of intent and it bodes very well for the rest of the album. The ethnic feeling percussion, woven with the expressive sax work of Marek Arnold, is a joy to hear and means this song really has a swing and a groove to it, even the cod reggae section works well. There is so much to enjoy before the song ends on a graceful guitar break, simply a brilliant opening to the album, it’s fabulous stuff. Back2Back is about how humanity has pushed the world into a difficult situation regarding the climate of the earth and its repercussions for us. There are very thought provoking lyrics within this song and there is also a further fantastic guitar solo. Noon Day Candles is a plea for a fairer share for all and contrasts our scientific and technological achievements with our unwillingness and inability to feed the worlds children. This is a very fine song and whilst it’s words are earnest and challenging the music is well balanced with the questions and pleas the song asks and raises.

This album is proving to be challenging in its subject matter and lyrics, never a bad thing in my opinion, it is good to have to think about these issues. Americana is a song about a fictitious American farm in the heartlands that is struggling with the demands of the present age, climate Change and poverty. Farming is not easy as anyone who has watched Clarkson’s Farm can attest, the song is short and direct.

There are then two songs of the sea interrupted by a song about dementia, In Deep Blue (Sea Songs Pt.1) is a very personal one for Guy as it about his youngest son who, despite having Asperger’s, decided whilst on holiday in Greece to go scuba diving. This song is Guys musings on his bravery and determination to have a go at it. He managed to accomplish his goal and this made Guy very proud of his son’s achievements. Reflections On Copper is a more sobering song, focusing as it does on the increasing number of people who are being affected by, and living with, dementia. Dementia is a cruel illness and disease that can take many forms, I personally am affected by vascular dementia as the result of a stroke meaning my neural pathways have been damaged by the stroke and whilst that dementia is mild at the present time, it may not stay that way, only time will tell so the sentiments expressed are certainly relevant to my own life. Crown of Thorns (Sea Songs Pt.2) is about how the Great Barrier Reef is being affected and how, again, climate change is affecting the balance with an increase in the Crown Of Thorns starfish who normally eat that faster growing coral which gives slower growing species an opportunity to catch up. Climate change has affected this though as the coral eating starfish have increased in outbreak proportions. This song concludes the first half of the album

The second section is the multi part Oculus, split into an overture and four acts. This is a very interesting and somewhat difficult song to digest but is best heard as a complete track (about thirty minutes in total). The song is about alternate dimensions and realities. This is a most interesting concept and this piece reflects that curiosity in a very well balanced manner. It is also a cautionary tale in that we can hear a warning that we perhaps need to heed and to consider. Of the four acts One is the scene setting, Two is the adventure, Three is the consequences of the action and, finally, Four is the redemption and return to normality. The song is epic and the story is illuminating and yet cautionary at the same time. The music in all acts is subtle and exciting and the piece ends with urgent horns and a dazzling guitar solo that bring it all together in a gracefully and satisfying manner with a well executed door slam to conclude proceedings.

This album has so much to commend it, great subject matter, challenging & thoughtful lyrics and superb & inspired playing. It certainly is a winner to these ears, a sublime, intelligent and articulate work of art, I urge, nae demand, you to pay attention and add it to your listening pleasure.

Released 13th January, 2023.

Order from GEP here:

Damanek – Making Shore – Pre-Sale – GEP

Further information can be found at the band’s website here:

DAMANEK – the official website (guymanning.com)

Review – Damanek – In Flight – by Progradar

“Who hears music, feels his solitude Peopled at once.”
― Robert Browning, The complete poetical works of Browning

Damn, 2018 has been a stellar year for some great new releases and another one has found its way to Progradar Towers!

Damanek are a sort of Prog Rock supergroup formed by fellow Yorkshireman Guy Manning (vocals, keyboards, percussion, guitars, bass), Marek Arnold (saxes and seaboard), Dan Mash (bass) and Sean Timms (keyboards, guitar, backing vocals & additional programming). This talented quarted is joined by a plethora of stellar musicians including Antonio Vittozzi, Luke Machin and Tzan Nico on guitar and Brody Thomas Green on drums.

Described as ‘a genre-defying collection of sophisticated songs..’, ‘In Flight’ is the follow up to 2017’s well received ‘On Track’. Once again Sean Timms’ sleek production adds to the overall sense of quality and class.

There’s a shiver of anticipation running through me as the opening notes of Ragusa break out, there’s already a feeling of class and quality shining through. Guy has one of those voices that speaks to you through and beyond the music, a familiar cultured tone that puts you at ease immediately. The music itself is impressively stylish and smooth and just adds to the feeling of sophistication. The guest guitarists add even more sparkle and inspiration, this is going to be one enjoyable journey. Oooh, jazzy piano and percussion, the opening to Skyboat is joyful and upbeat and, as the track opens up with gusto, we are sent on a rollocking musical ride. Funky guitar and edgy percussion, along with an ever so cool hammond organ, add to the feel-good factor and the grin spreading across your face. This is music at its inspiring best and music that brings joy to your soul.

The Crawler opens with a deliciously dark melody and feel, a mature and sophisticated aura permeates the song with Guy’s distinguished vocal adding layers of class. The captivating chorus with its elegant sax sends shivers down your spine. Sean’s production can be felt most here, giving us a stand out piece of music on what is becoming an evidently impressive album. There’s a levity to Moon Catcher, a lightness of soul and featherlight touch to the music. The sparsity of the production and laid back approach to the vocals, along with the meandering sax, leaves a whimsical feel, a really classy piece of music.

Catchy, addictive and upbeat from the first note, The Crossing is a jazz-infused delight, the carefree tinkling of the ivories a particular highlight. Add in some more of the impressive sax and Guy’s vocals and you are onto a winner. The 3 part epic Big Eastern closes the album, taking the listener on an emotive journey from East to West: from the poorest rural lands of China to the West Coast of the USA. Grand in conception, and inspired in execution, it’s a journey that you become deeply involved in and one that takes you across the whole galaxy of progressive music, visiting every nuance on its way. At just shy of thirty minutes it is a true epic but never outstays its welcome, every note and every word is there for a reason and that reason is to give the listener the best and most joyous experience ever when it comes to music.

‘In Flight’ is an album I haven’t remotely got bored of, even after multiple listens. A compelling, engaging and stimulating listening experience that leaves you high on music and life. Every absorbing minute of music is a minute that will bring a smile to your face. This year there have been some fantastic releases, releases that are finally bringing the joy back to music and Damanek’s ‘In Flight’ should be considered up there with the best of them.

Released 5th October 2018

Buy In Flight from GEP here

Listen to ‘Ragusa’ from ‘In Flight’ here

 

Review – Damanek – On Track – by Emma Roebuck

Damanek is DAn Mash, Guy MANing and MarEK Arnold (with Sean Timms coming to the party just a after the band name was decided, Guy tells me.)  A fairly stellar cast is joined by other heavenly bodies to guest on this, the debut album of this project.

Brody Thomas Green (‘Southern Empire’) – drums.
Tim Irrgang (‘UPF’) – percussion.
Antonio Vittozzi (‘Soul Secret’) – guitars.
Luke Machin (‘Maschine’/’Kiama’/’The Tangent’) – guitars.
Stephen Dundon (‘Molly Bloom’) – flute. 
Nick Magnus – keyboards.
Phideaux – vocals.
Ulf Reinhardt (‘Seven Steps to the Green Door’) – drums.

Their live debut at Summers End 2016 caused a stir and a buzz of excitement in the crowd and the Prog community as a whole. It is strong album from beginning to end and it is also, as you would expect from Guy, one with a message. If I am honest it has many messages all in the main told through the allegorical story telling of guys lyrics.

We have 8 tracks that have light and shade along with the complex use of instruments and layers to play parts in the sound. The production is outstanding and reminds of some of the classic albums of the 80’s (but without sounding like an 80’s Prog album.) Sean has done an excellent job in the mix and production of this truly global album.

The opener Nanabohzo and the Rainbow opens with a tribal rhythm and an insistent bass and drum riff throughout give an exotic feel to the track and a rather excellent ear worm quality. Marek has a big part to play with his Sax and, along with Sean on keyboards, is the flesh on the bones of the rhythm. Guy’s voice is on form all the way through the album, it slots so well in the sound as it shifts in form throughout the song.

Long Time, Shadow Falls, this has the most 80’s feel to me, drawing from the best of what Peter Gabriel in style and form did in the mid 80’s. I think it is the keyboard sound but the song is a commentary on poaching and the impact of man that is sung from the view of the victims, the Rhino, the Elephant and the Hippos. It is our gift to stop this but as a species we are doing a poor job.

“Just pictures in a glossy magazine
Long time, a shadow falls and the Earth is lessened”

With the demise of the natural world we are lessened more than we realise.

The Cosmic Score is told on a much larger scale with the keyboards of Nick Magnus adding much to it. Imagine if you will the stars are notes on the score of the universe and the music of the universe is playing forever but how badly are we affecting that score on our little planet? It is massive in scope and symphonic in sound.

Believer – Redeemer could be a jazz-funk soul piece, in fact it is to these ears and a real pleasure to listen to as well. The music is a metaphor to the lyric, challenging the prog fan to step outside and listen to a world beyond the Prog bubble. The lyric does the same to the intolerant and unaccepting people of this world. I could honestly hear George Benson or Stanley Clarke doing a cover of this with little or no changes. Oh, by the way, this is a good thing!

Guy has a pixie like sense of humour and in The Big Parade it comes out in spades. The guys here write an anti-war song to a martial beat. The pomposity of marching music along with the beat of an Umpah band make the idiocy of war look like what it is – a playground for overgrown bullies. Reminiscent of Tom Waits “In the Neighbourhood”, with hints of ragtime and New Orleans jazz, here Marek gets to show off his skills to great effect.

The Finale on the album is Dark Sun, a 14 minute epic and  truly prog of ‘end of days’ proportions, it’s honestly scary and as ominous as its topic. The sun is getting darker and light gets dimmer as we kill the planet. Air gets thicker with pollution. The sight of our cities in the sunlight with unbreathable air and thick smog hanging like a veil over our lives. It utilises an excellent instrumental break and brilliant piece of guitar keyboard jamming with the brass synchronising beautifully.

I paint a picture of an album that is fundamentally depressing and dispiriting but it is actually very uplifting. The music is tight and full with the quality you would expect from the players but no one dominates in this and it feels like a complete piece of work. The malbum feels global with influences from across boundaries and geography. The messages may be a warning but each song offers hope rather than a sense of inevitable doom. It bears playing and playing again.

I sincerely hope that Damanek produce another album and take it out on the road. I won’t reference bands (as I usually do) but this is an album that has melody and song structure by the bucket load and is not frightened to go outside limiting parameters.

Released 15th May 2017

Buy ‘On Track’ from GEP

 

 

Review – Cyril – Paralyzed – by Rob Fisher

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Light, airy piano chords gradually emerge from the silence and gently come to a slow halt; moments later a barely perceptible layer of tingling keyboards fills the air, bass and drum announce a pointed yet restrained arrival and a light, breezy acoustic guitar plays a Mediterranean air. Husky, breathless vocals overlay the soundstage with a bewitching melody, building to an echoing vocal, offset against a muted single piano interlude before launching into a punchy, power rock driven chorus.

Scarlet Walking, the opening track to ‘Paralyzed’,  the second album by German based band Cyril, casts a mesmerising spell which softly, almost imperceptibly seeps into your soul and weaves an enchanting magic that both thoroughly enthrals and completely captivates. As the doorway through which you pass on your journey to the rest of the album, it effortlessly exerts a wonderfully alluring and seductive welcome.

‘Paralyzed’ is a heart-warming, elegant and thoroughly endearing album of graceful vignettes and beautifully reflective compositions which mesmerise and enchant in equal measure. Unlike ‘Gone Through Years’, released in 2013 as a concept album based around themes drawn from ‘The Time Machine’ by H. G. Wells, this follow up album places greater focus on the progression of the band’s music by crafting imaginative compositions that are bathed in a fertile and embracing atmosphere of creativity, in turn forming the cradle for the most wonderful melodic expressions.

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Indeed, I think much of the beguiling charm of this album comes in no small measure from the careful and perceptive attention lavished on the layers within the songs, along with the context in which they stand and relate to each other. The tracks, individually and collectively, exude a permeating, enveloping atmosphere which significantly heightens and elevates the quality of the writing well above the ordinary. The soundstage is deep, expansive, full of resonance and an almost chilling clarity, capturing a moody, immersive mellowness and a refined, pervading, almost tender spirit and presence.

Within this are built a series of forced contrasts which either vigorously penetrate and stand out against the spacious openness of such an atmosphere or else gently fall back and dissipate into it time and time again. On some tracks, the growling, crunching animosity of the Hammond forms a solid bedrock and undercurrent but gives way to delicate pairings of piano and acoustic guitar, or a floating vocal like a wispy mist overlaying an isolated piano. On other tracks a smoky saxophone riff builds to an orchestral crescendo but then melts to an isolated single instrument enshrining an echoed vocal. The result is beautiful in both simplicity and finesse.

These energetic brushstrokes are in turn the vistas which give birth to soaring, melodic narratives which drive the music, giving life and voice to the plot of each song. Gravelly vocals are carried along on the back of waves of harmonic euphoria; reflective and introspective wistfulness muses over hushed symphonic arrangements. But these do not stand alone; the tone and structure is adorned, supplemented and enhanced by instrumental work designed to mirror, copy and reflect the central vocal stage. In particular, Rainbow (Track 4) is a curious delight, acoustic guitar and sprightly chord work supporting joyful, harmonies, with the occasional burst of Jamaican style reggae drums.

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(Picture by Heiko Schoneberg)

The narratives themselves are testament, if any are needed, to the desire to craft and construct songs which can embody the spirit, the passion and the experiences of the story being told. Guy Manning’s lyrical inventiveness is the perfect match for the musical innovation of the compositions. He brings a sober, thoughtful and reflective tone to the stories being told, filled with a mixture of wistful bemusement, puzzled wonderment, weary resignation but also a powerful sense of surprised contentedness despite or even in spite of the circumstances in which we find ourselves.

The framework within which these sentiments are shared are the outstanding feature of this release. Marek Arnold is, simply put, a phenomenon, a musical dynamo of breathtaking vision and originality. Band member of Toxic Smile, Seven Steps to the Green Door, Flaming Row, Manning, United Progressive Fraternity and Damanek, his resourceful construction and astute arrangements build songs that are delightfully intricate, constantly evolving and packed with unexpected, complex and satisfying transitions. In a nod to what is hopefully the promise of a third Cyril album, the final track, Secret Place (Part 1) is an 18 minute mosaic of absorbing segues, shifting rhythms and changing landscapes.

The combination of all these elements fashion an album which is riveting in scope, gripping in detail and an absolute pleasure to spend time with. There is an exciting sense of character and emotion from a band who are themselves evolving and transitioning and exploring a whole range of progressive avenues and pathways as they do so.

Released 27th May 2016

Buy ‘Paralyzed’ from Progressive Promotion Records

 

Guest review – Seven Steps to The Green Door – Fetish – by Rob Fisher

Here is the second guest review, this time by Rob Fisher.

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I will make no secret of the fact that I am a long time admirer of the truly remarkable Seven Steps to the Green Door. From the double award winning debut album ‘The Puzzle’ (2006), to the tour de force of inspired musical excellence embodied in ‘Step in 2 My World‘ (2008), to the beautifully crafted and lovingly composed journey that is               ‘The?Book‘ (2011: complete with painted nail in the CD release!), this seven-piece band from Germany always produce music which probes the boundaries of intelligence, passion and vision.

After a four year wait, they return with ‘Fetish’, a 78 minute musical tsunami which is simply breathtaking. The first listen, at times, can feel a little overwhelming. The music is alive, vibrant, full of energy, dynamism and joy. Full credit here must go to the superb arrangement and mixing by new guitarist Martin Schnella (guitar, bass, backing vocals) and excellent production values which allow the music to breathe in a revealing sound stage where each and every instrument is wonderfully transparent and quickly discloses the technical mastery and superb musicianship of the band.

Once you recover from the powerful initial impact, subsequent listens are a joyful revelation which repeatedly speak to something quite special being offered here in the perceptive and insightful writing of Marek Arnold (keyboards, sax) and Ulf Reinhardt (drums). There is a rich diversity of musical styles and creative segments that are thoughtfully sequenced and carefully fashioned to present an overall musical experience which is abundant in subtlety, nuance and finesse. Again and again you find yourself being engaged, being drawn in to so many different emotional journeys and captivated by the mesmerising ebb and flow of the   story which is unfolding in each track. As with previous albums, you are left in little doubt that this is a work of commitment, care and, ultimately, of love, it shines throughout the album and carries you along from start to finish.

What is, I think, noticeably different with ‘Fetish’ is the emerging (and quite rightful) confidence of the band to evolve their style where technical discipline flows hand in hand with joyful exuberance. The SSTTGD ‘sound’ from previous albums is alive, well and utterly unmistakable but this release gives it a new context in which to shine as a result of which, something new and much more profound emerges.

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From the very beginning, two things are immediately noticeable. First, this is an album built around exquisite vocal work. The voice as instrument becomes the focal point for everything else and off which everything else finds its place. Anne Trautmann is sublime in the range and quality of expression she brings to the material. She is joined by Lars Köhler who brings just the right tonal counterbalance and, in a guest appearance, the unmistakable Arno Menses from Subsignal. Together they give us a staggering range of performances which are a joy to hear. From the almost monkish purity of the opening 34 second track Possible Delayed (reprised at the very end of Ordinary Maniac), the fine interplay and layered harmonies of Still Searching (track 3) and the haunting melodies of Inferior (track 4) this album excels because the voices take centre stage, not as a dominant tool which drowns out the others but one which takes its place alongside them and by doing so enables them to become so much more.

Indeed, this leads to the second noticeable feature of the album: the quite brilliant orchestration of the band to build complex and interweaving crescendos that are full of presence, depth and inventiveness. With guest contributions from Steve Unruh (UPF), the foundations are set by controlled, unswerving and menacing guitar work, occasionally unleashed to soar, sweep and ascend to new heights. This is underpinned by driving, ambitious and atmospheric bass work (Daniel Mash of Machine, UPF and ex The Tangent guests). The drums beat out an assured and masterful array of rhythms, full of authority (with additional percussion from Justo Suarez). Keyboards join and swell the building soundscape, enriching the atmosphere and lifting the mood whilst the vocals combine to bring poignancy and emotional bite.

This is a band at the very top of its game, giving us music of the very highest calibre. It is a remarkable album which will surprise, astonish, captivate and delight; spending time with it only increases your awareness of undiscovered depths and hidden treasures. Enjoy it: and let us fervently hope we don’t have to wait another four years for the next instalment on this band’s remarkable journey.

Released 11th September 2015 via Progressive Promotion Records

Buy direct from the band’s website

About the author – Rob Fisher

robfisher

“Rob is a former academic and Head of Philosophy who is passionate about prog, scifi, wine and a curious array of US sports. He presently directs his own company which focuses on interdisciplinary events and publishing.”